In the context of China’s overwhelming urban construction outspread, numerous newborn cities spring up at yesterday’s farmland. However, this apparent prosperity may actually be a polished but fake veneer. Utopian urban planning makes cities become dreadfully alike. By pursuing broad roads and lavish museums and theaters, our cities gradually lost its intimate sense of scale and its regional sense of identity that it once had. Under these circumstances, as being a future architect, we should search for a way to response the monotonous expansion of modern city as well as strengthen the ties between architecture and city in order to reshape the urban sense of scale. 
 Riverside Scene at Qingming Festival provides a solution. This huge masterpiece was created by ancient Chinese painter Zhang zeduan, in which tries to depict the city scene of Song dynasty. Behind his proficient skills, what particularly attracts me is the amiable atmosphere among people’s urban social life and the texture freely extends along riverside, and especially, those all kinds of bridges.   The bridge plays a crucial role in the history of Chinese urban development. It not only serves the city via a special way but also incites the format development of river’s source and end. Although the bridge is a traffic structure, its role and responsibility have unwittingly beyond its proper function, which means at this time the bridge is functioning its own role in the name of Architecture. Thus, the dividing line between bridge and architecture has been blurred. From then on the architecture melts in the city.   Based on the consideration above, I am trying to interpret the function of bridge by using modern architectural language. Meanwhile, I am also attempting to make the architecture turn into a part from the whole urban landscape. I am looking forward the impending possibilities when the architecture is given to a new carrier. 
 Types of bridge are categorized into six conditions that corresponds to their scale, ways of construction and materiality, relation to the surrounding contexts. 1, The smallest scale in the village; 2, The only one wooden structure, with one side cutting through the building to the lane along the river; 3, With a special wall to visually separate the street and the bridge; 4, With steeper stairs, occupying the space of building; 5, An dispensible part of the village, connecting the ground floor of surrounding buildings with their second floor, playing an role for both architecture and village; 6, With 40 meters wide,connecting North and South side of the main river in the village, also it has become a landmark.
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 On section, different levels of connectivity among floors are shown. Architecture and urban infrastructure are mutually penertrated and transformed into integrated entity. The architecturalized bridge innovatively inherits the infrastructural role of bridge as well as brings new meaning in it.
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 The whole structure is a giant steel box supported by two concrete beam column constructions. The steel box pulls up the lower floors with columns below. As the program on the river is redefined, a sense of transparency is what I want to exaggerate. With no interior columns, the space is flexible and neat, functioning as the town's platform, a place for displaying the history and culture of Zhujiajiao. At the same time, this steel box is viewed as a landmark, having a conversation with the old bridge—Fangsheng Bridge, which is sitting right on hundreds of meters of the east side. The new is not only a derivation of the old, but also a transformation. 
 Several physical model photos depict specific moments of daily life in the village that happen around and on the bridge. The new bridge functions as a place where people's interactions are encouraged. Also the length of a day is extended because of new civic and commercial programs are inserted into the bridge, making the bridge as an observatory deck for tourists to learn about local and a window for local to see the outside.
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