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, In China lijkt het bou- i-j:-::.,:rr l:.,: j-rri::: ..i:;::::;':::.. .. In China constructronni{ril tuii,r,nit onopgemerkt plaats te vinden. Hoewel appears to take place almost imperceptibly. Despiterbru,raiirgn-ekkende cijfers getuigen van een onge- mind-boggling statistics attesting to an unparalleled

'u'r'tuinerde bou$'productie, sieren maar weinig construction outplrt, relatir.ely few cranes adorn the[minqqftranen de skyl ines van Beij ing, Shanghai, skyl ines of Bei j ing, Shanghai, Guangzhou, Shenzhenffirsmrafosrr. Shenzhen en andere miljoenenste- and other megacities. The speed u,ith nfiich a tower4m De :snelheid waarmee een toren uit het niets can appear out of noq,here causes many inhabitantsmr'*ursrlhiint- doet menig bewoner oprecht twijfelen to doubt the evidence of their o\\'n eyes. Colourfuirurum "r.at hi j ziet. Kleurige bi l lboards schermen bi l lboards neatly screen bui lding sites from view andumflupurten neties af en geven gebouwen pas prijs only reveal the builclings alter they have reached autt l ls rc een onontkoombare hoogte bereikt heb- certain height. In short, in no other country do newhrcm' triortom' in geen enkel land verrijzen nieuwe buildings and districts springJ up s'ith such frighten-lflE{finli{rren en stadsdelen met zo'n onheilspellende ing speed and apparent ease. Construction and town*r[ i .h'eid en schi jnbaar gemak. De architectoni- planning have real lv taken off in the last ten years.*uhr en stedenbouwkundige ontwikkelingen zijn One of the main drir.ing forces bel.rincl this boom islr ,r-frelopen t ien jaar in een stroomversnell ing the real izat ion of the nes'Chinese clream: a successfulgyclranht-- Een van de belangrijkste oorzaken hier- life with an apartment ancl a car in a rnodern metrop-r';lrm ir* de r-errvezenlijking van de nieuwe Chinese olis. The cities are being rigorouslr- aclapted to thisiidnmnm: een succesvol leven met eigen apparte- all-powerf-ul vision of the lirture..\ highly clevelopedr*!trrt en auto in een moderne metropool. De ste- inf'rastructure, upmarket shopping centres, fbrests oflnm rrorden r igoureus aan dit al lesoverheersende towers and higlr-tech architecture are the would-bemmhomstbeeld aangepast. Een hoogontwikkelde guarantors of the nes' l i fbst-r. le. -\ society so intentllndrastructuur' luxe winkelcentra, reeksen woon- on pursuing a nes lision of the firtpre has little inter-rlir'rreni en hightech architectuur moeten voor de est in the present. After all, the present is complex,ormewq-e levensstijl garant staan. Een maatschappij chaotic and confusing, n'hereas the future is clear,oijfle met een dergelijke intensiteit en overtuiging comprehensible and unproblematic. Small wondereru nieu$ toekomstbeeld nastreeft, heeft maar then that in sketching i ts r- ision of the {uture, ther'einiE oog voor het heden. Het heden is immers Chinese government should proceed on the basis oftmimrpler ' chaotisch en verwarrend, de toekomst tabula rasa. In one fbi l slvoop the troublesome present&&^r.rregen helder, begrijpelijk en probleemloos. is erased.D'e Cbinese overheid neemt bi j het schetsen van Western interest in China is as great as ever'o'rt toekomstbeeld dan ook een tabula rasa-situ- and as yet dominated by fhscination with the speed,lrrrc als uitgangspunt. Het is d6 manier om schoon modernity and gigantic scale of development. Impres-*ufuip te maken' sive, barely verifiable statistics convince Western

De aandacht vanuit het Westen voor China is architects that they shouid be part of this scene, butorut erminderd groot en wordt vooralsnog beheerst say nothing about the current architectural climate

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0mgering.

Wtru glmrieus het beeld r-an de toekomst ookfllfrrurn- de huidige Chinese maatschappij ver_

lun q:rs[e onzekerheid, ook de avant_garde_L,,r.u rich hier onmogelijk aan onttrekken.

nmry.g,crem op deze onzekerheid, maar ook opran een ongekend urbanisatieproces

nuiltrir,*ieh onderdeel uit van het ontwerp.Gri l#'rf,ntm de turbulente omstandigheden dannm . Ierronderlijk dat de geselecteerde ont_

m,i:nschien niet altijd het meest adequatein zich hebben. De architect en zijn zich

fcrdege bervust. Desalniettemin l iggenu'u,nfueid r an hun concepten en ontwerpen

oplossingen besloten die met ietsro,or onderzoek en reflectie kunnen door_

l let hoogtepunt van de Chinese architec_i-n die zin nog komen.

IDr ruuroonstelling en dit artikel getuigen dantdtth'tl r'an een momentopname. Het essay

in eerste instantie het huidige Chineselimaat te karakteriseren en de gese_

errhitecten hierbinnen te positioneren.onderscheiden ze zich van de hoofd-

rat zijn hun specifieke kwaliteiten en hoerijn ze daadwerkelijk? Vervullen ze eenhersrol of is dit een posit ie die louter in

Wu:*ren leeft.door alle aandacht voor het werk

'*lrr architecten in boeken en tijdschriften?

'{rn de hoofdstroom lijken de geselecteerdetnunrten de realiteit als uitgangspunt te nemen,

ftrne bepalend zijn de huidige omstandighe_nuilDr een nieuwe architectuur? Met andere

er\-aren zij de chaos, de onzekerheid en*{heid als vruchtbare omstandigheden en

juist deze praktische belemmeringen totmrcuw idioom? In het Westen heerst vooral de

hoe de Chinese identiteit zich in al deze ont_staande houdt. En ten slotte. kunnen

r-an deze ontwerphouding leren?

,: :. :=::-:.:: : t-::.i i::: a.j i: L * China is het land,dtl grote stappen voorwaarts en in zijn archi_

is er evenmin sprake van een geleidelijkehel ing. In de twint igste eeuw is meerderenaar een moderne, eigenti jdse Chinese

ofthis. Nonetheless, behind the roughness oftheirconcepts and designs are ref'reshing solutions which,with a little more time for research and reflectiorr, arecapable offurther refinement. In that sense, the hiehpoint ofChinese architecture is st i l l to come.

The exhibition and this essay consequently rep_resent no more than a snapshot. The essay attemptsfirst ofall to describe the current Chinese architec_tural scene and to place the selected architects withinit. To what extent do they differ from the mainstream,what are their specif ic qual i t ies andjust how cri t i_cal are they? Do they fulfil a pioneering role or isthis a purely Western notion based on the attentiontheir work has received in books and magazines?More so than the mainstream, the selected architectsappear to take real i ty as their start ing point, but howdecisive are current circumstances ior a new architec_ture? In other words, do they perceive the chaos, theuncertarnty and the speed as fruit fut condit ions anddo such practical obstacles actual ly result in a newidiomP A major concern in the \\-est is how Chineseidentity will fare in the face of all these developments.And, finally, can we learn somerhing from this desrgnapproach P

i$r:-:::-r:f ,i iiui:i .':i.:i=iJ:::iii*:-iir-j: :iii j::i-i.:5i I .-_ China rsthe land ofgreat leaps forward and architecture isno exception: there is no question ofa gradual evolu_tton. In the course ofthe twentieth century, therewere several attempts to arrive at a modern, contem_porary Chinese architecture.' Unsurprisingly, these

tuur gezocht.' Niet verwonderlijk viel dit

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pooruasselA Eput-l

turmi Ffut rlieu$ e architectuurklimaat kreeg over_rtttllndlrpr.lijli,n gestalte met de toenmalige hoofdstad{ulrrrrilnq naasr sreden als Shanghai, Guangzhou ennnl rry aeilere hoogte ook Beijing) als belangrijkstefll||tildfr{5-irorrir.1" :

tLm u:l kl imaat waren westerse architectuur_mmd[rr'&ler alomtegenvloordig. In de opleiding vanliillllx,* 4fiffr,1iire gelreratie architecten zelf,maat ook in

' i t t tru,* luqumnryeriEheid t-an buitenlandse architectenrillr{ft m*?arrr }Iurph-v (t877-tgS4), Curt Rothkegelllrltr{iilrfi-i s$s en Laszlo Hudec (rass_rs58), die niet

rrlr;#llliilufi ueiamgrijke opdrachten in de wacht sleep_pmrr ruirljreen al r anuil Shanghai opereerden beginillmrulll ouf;rig ruim vijftig buitenlandse bureaus. Inrilfr* pro'--r'r.de z ij n,r-ier b elangrij ke architectu urop _rtttltfitlitlriluqrrn aan te rvijzen die veel overeenkomsten]ilrilrnil..i' (ie h.uidige architectuurpraktijk vertonen.rtttl1l]llhrl'{ller.i r een a rc hitectuur geheel naar we stersur*wr,rr**e,i,'i- die volgens velen het beste uitdruk_

liilnirrlH $qn!m Eel'en aan voor china nieuwe typolo-l$rwdn rln'atrs publieke gebouwen en commerci.lernrrmdu:rnreun in gen. D aartegenover stond de poginglrnnr d* ::lditionele architectuur zo veel mogelijkrfriu[ hLm,ulrrnuit te moderniseren en invloeden vanttt t tuurrmiemaf- bi jr oorbeeld nieuwe bouwtechnolo_

ryundrn e-treen beperkt toe te laten. De ruimtelijke{mm{ur(t. bet kleurgebruik en de Juiste'proportiesqrum de :r 'adit ionele paleisarchitectuur werdenll l r l ldr- lLnheli jk nagevolgd; bovendien kregen de

Silrillho*lnmem een gebogen dak aangemeten. Een vrij_ilrttililff, hrrnf,rerpretatie leidde tot trouwwerken dieflnif{r is1e1*r,genuanceerde combinatie van de wester_wmr, ,m ::r,oCiirionele bouwstijl tentoonspreidden enMilruunntronnr op het eerste gezicht niet Chinees leken.lffixr gororrgen dak kreeg bewust geen navolging,nnrlrlurrun rurrdrre traditionele elementen zoals de gede_rLlrrmlr'nrf,loe rokkel, het portaal en een op het zuiden

rynr,r-uhre faqade u'erden gecombineerd met ondermrniltcy muralerne bourvtechnieken, materialen en eenilrfl1il nrrirrerse principes gestoelde compositie. Eenililurnlde i*langrijke beweging bekommerd e zichilm tilpr b,ehoud van de traditionele architectuur;fillltorrr tt*[ hevorderen van de algemene kennis door

lplrrumamuge srudie en documentatie hoopten onder_iliriilrrr.r{i{dr*r lnet r oortbestaan van deze architectuur te!]1!rurmume,ren. j

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(1899-195s), who not infrequently managed to securemalor commissions; in Shanghai alone, orrer fiftyibreign firms u'ere active in the early 193os. In thisperiod it is possible to identify four main architecturalapproaches that display many similari t ies with cur_rent architectural practice. F irst ly, an architecturemodelled entirely on Western architecture, r,r,.hichaccording to many offered the best means ofexpress_ing typologies that were nerv to China, such as publicbui ldings and commercial enterprises. A second andvery dif ferent approach aimed to rnodernize tradr_tional architecture as much as possible from withrnand to keep the introduction ofoutside inf luences,such as new bui iding technologies, to a minimum.Under this approach the spatial composit ion, use ofcolour and'proper' proport ions of tracl i t ional palacearchitecture u,'ere resolutelt. irnitated; cun.ed roofswere de r igueur. A lreer reinterpretat ion resulted tnstructures displaying a more nuancecl cornbinationof Western and tradit ional bui lding si l , les that didnot imrnediately str ike the l ies.er as Chir.rese. Thecurved roofwas consciouslr. abancloned, but other tra_dit ional elements, l ike the clecorated base, the portaland south-fhcing facade, s'ere corlbined * i th moremodern bui lding techniqr.res, ntaterials ar.rd Western_inspired composit ion. A fourth ir lportatrt rno\.ement\'\ras concerned with the preser\ ation of tr.aditionalarchitecture lvhich it hoped to guarantee b_y promot_ing public knowledge through r igor-ous stLrdy anddocumentation.s

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-:11I uelsao."'r"""'"po- ua arlrp,I, arre^eoq ur

lplr{s bereEen d. \-at i ona Iea arul i tectuuropleidingen

ryprffcn en hun *-erknemers

dfudana gestuurd. Het beroep

#[6 lrlr en in diejaren beli_

Sgr{lour:en het non-ont *,erp.E itrr lJrts fiormeel s'as r-oltooid.

ruerdcringen pas op na demr rur?fi- Ecn periode van ruwweg

ir*rr neette dat de arch itec-me;r sorden aangezwen-

cdrurin sording begon dan&rur cen aoehtocht naar een

Clirse architectuur. Aan-mrri.hteling nog in de luwte

hmhlrdemenr aan beelden en

'* L- l- Fei- de al jarenlang in deuaomrhtige Ch inese architect.irtmi-buirenlander een uitzon_

[frmqr hii de opdracht een van deta hnriten Beijing \-orm te geven.d.frl otrrerp voor het Fragrant

lrchitectuur nieuw levenrner zijn reruggrijpen op de

eeu vs61[€'gld te stel len."

op de tuinen van Suzhou.ctl reehs binnenhoven, witge_

a criire dakpannen allerminstmrn dr Chinese architectuurwereld

rrul i tecruur. Pei st imuleerde,lsmdacfr't r,oor inmiddels vergeten

rstijlen. Het leidde tot een'- dm rich in dejaren tachtig over

,*anpre,iden. Desalniettemin bleeking, grotendeels geba-

ger-oelens en een afkeerniet te passen bij een land

juist dolgraag wildeO;rcndien regeerde bij architecten

bemedering door onvoldoendemgimrte bou*'stijlen en vormden

crperimenten geen adequaatm'*r *tedenbous-kundige opgaven.

l\silttfr 11.r1 de jaren tachtig verschoof

1969) betokened little good for architecture. Mostnationai design institutes and architecture schoolsu'ere closed down and their employees dispersed tothe countryside. There was no name for the oro_fession ofarchitect ancl in these years anonymousbuitdings epitomized the absence of design. Althoughthe revolution officially endecl in 1969, no fundanren_tal changes occurred until after the death ofMaoin 1976. After a ten-year intellectual vacuum, thearchitectural debate had to be ignited all over again.So, with a new culture in the making. the search fora contemporary, modern Chinese architecture beganfbr the third time. Initially this took place away fromlhe l imel ight , f ree f rom any bombardment of imagesand ideas from the West.

:**!- ==i:.:.==..i:i+:= := One exception to this was theChinese-born, US trained architect I.M. pei, a long_trme resident of the United States and as such a semt_foreigner. In 1977 he was commissioned to design oneofthe new hotels springing upjust outside A"rJing.Pei wanted to revitalize national architecture with hisF ragrant Hill Hotel and hoped that his return to tra_ditional building styles would set an example.5 Withits series of internal courtyards, *hite_rer-,dered wallsand grey rooftiles, the hotel, inspired by the gardensof Suzhou, was not at all the Western architecturehoped for by the Chinese architecture world. Instead,Pei's example stimulated interest in the by then for_gotten regional architectural styles. The result wasa 'new vernacular' that spread throughout China int98Os. Ultimately, however, this architectural move_ment, based on nostalgia and an aversion to Westerninfluences, came to be seen as inappropriate for acountry eager to embark on the process ofqlobaliza_tion. Besides, scanty knowledge of regionuibui ldir,*styles led to a formalistic approach by architects,while their small-scale experiments did not consti tutean adequate response to complex new urban plan_ning chal lenges. In the second halfofthe tgsos thefocus switched to the swelling stream of informatronfrom the West and the .new

vernacular, architecturemovement faded into the background. However, asmall group of architects (mainly academics) neverabandoned regional ism; since the late t99os cri t ics

'ry de groeiende informatiestroom

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rllll l l l l l{lll l l l l l l l l l l[ ' dl! nurg:n'aliseren de architecten met name his work, at worst the developer u,ill engage someonelllll l l l l i lrlil ln,n nilw.1lltrtrrg -rr(11 atie'e architectuur \-an ze te else to rearize the design more cheaply. F.r young,\mnfiillttltnryrry:il fi*i ct onrsikkelaars heerst daarnaast architectural firrilil,,**,r uilft$Jr' &nr: r:'rhrirrerten geen marktbesef hebben enorrnousry r.rJ:il::ilrt::*:'*ffiH::::r{fillltdMlllull5rilanp!'t' l ''e'r adequaat kunnen ontwerpen. Een are consequently refusing to take part in what they,*r*,m'10**rrm&** mrrktconsulent past de fagade om seeu...o..upt, iompetit ions.rulllllirrrrr umrrr*rn r rr'rfi niilg e\ en aan. Bo'endien hanteren In the early l99os, developers embraced a widel1{llllnilrrrlllNllln,,lll?ll'lmnr:w-:r helaars prijs'ragen als h6t middel range of western national architectural styres asnlllllllfl,, L{tt/ fiir"t1?1[],o:'d met flitsende ontwerpen te bewe- symbols of a rnodern tifbstyle. As part of a ne,,.mar_]$mlill,,lil *mnunilE &l. xe te r erkoPen' Na een succesvolle keting strategy, entire districts were sometirnes gi'en'illl&,illllll,nft,'rr'lr* w'rrdt de *innende architect meestal an Italian, German, spanish, Swedish, Ame'can.rututtttttttttttrrrrdt". duumn: ge*tho'en' hij rvordt niet ofnauwelijks Dutch appearance. As well as square rnetres, devel-iillil,,ldll,,u'"*eirur,,'d *n in het slechtste geval laat de project- opers now thre'r, a western lifestyle into the salesut''*,*nm'ilu.lthier,'ar het ont*'erp door een andere partij package, brithely notlng that they rvere ,authenticlffllfl*rrrrlril,ilhilm*ff ]'irr oslgn' Bij vooral startende archi- copies'. fhis fbrmula pror.ed to be a financial winner.mi*ilwd*"'*r'ns leiden deze praktijken tot enorme Most architects consequently catef to the r,l,hims ofliittNttttttttntmmruxnru:*' F{err maakt dat steeds meer architecten the market an<l produce architecture tliat satisfiesrrllllllllllilllll LllrEqner r'au in hun *'oorden'corrupte'prijsvra- the commercial dernands of.the client. In t'e wordsflmililll,lrrmm' r' --ren doen' of Li Xiaodong: Architects had a choice to be either inlh: m -nren negentig omarmden project- the lbshion or out of the competit ion.,"rrrlnrrnrnwn fo iiuli,i*riu"rrs a I I erlei westerse nationale archi_l[lrnllltntilltr,r.+n :.' -en aIs st mtrool voor een modernerrttrrmrurlltlnrri*rl*ri.liiL, ,{i s onderdeel van een nieuwe verkoop_illiolllllut$tsr-E f,:egen soms hele stadsdelen een wel heelI lllnrrd4lrurormr' Dri.r i ts. Spaans, Zweecls, Amerikaans of1l*irrrrrrlilnumlrlumrrrr,c* uiiterlijk aangemeten. Naast vierkanteiillllnurutrrlilr J,.[il], hil en pr oj e c tontwi kkel a a rs nu o ok e enlltffiflililmlufrrllr"hr ]*."eattailt in de aanbieding en melddentlilluililrilbir r--zag dat het om authentieke kopie€n ging.il0urrunn dlnr.m ule bleek financieel bijzonder s,rc"e"rrol.liif,rrirtiirr n**r:urleel r-an de architecten speelt om diedlitiltilllrllln im ro de r-raag van de markt en produceertllllml,ltiilM;mur:r.ui;an die r-oldoet aan de commerci€le eisenrrttiiiillirrl dh nm,nnachtgever hem stelt. In de woorden vanllJllli,,, [,,reu'r,nr:"ng: '.\rchitects had a choice to be eitherillllllil fllrut :insitnon or out of the competition.'"

Een preoccupatie met het beeld leidtIrrrrrrrurtrn ruurr:-,c ror de meest originele en best farnctio_ltllrulnnwlr*dr* rrchitectuur, maar het levert wel adem_illturrrrumum,e,nde animaties en renderings op die de,uurrrur***trentrijking r-an de nieuwe Chinese droom opurtttl6iim'-.rL*cme N ijze illustreren: vanuit allerlei onmo_lgr,rrtrt.ltilli* p'osities zien we gebouwen en stadsdelen,rrrrt i rm mur4,,tr651selen uit de grond schieten, nieuwe{i{tllrilili,itirrle.* in het donker oplichten en bossen dieirrrrlunri glrrl,,eue tapijten eenvoudig over het landschap

.r:; i : : : . i : i : .- : : . A preoccupation with image may notah.vays result in the rnost original and efficient archi_tecture, but i t certainly gives r ise to stunning anima_tions and renderings, euphoric i l lustrat ions ol-th.real izat ion of the new Chinese dream: from nrult ipleunl ikely viewpoints, we see bui ldings and distr ictsshoot out ofthe ground, new skyl ines i ight up in thedark and forests roll out over the landscape lik. g.""r_,carpets; l ight shows and bal loons regularly pro_claim the arr ival of the ner,v urban landscape n hose

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: i ' r ,rnf lsr4 maquettes per jaar, heeft inmiddelsi :r ! eel lokale als internationale klanten en ziet

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. ' ' : : : , Los van de eerder beschre- , . : , . , : : Lear. ing asidc the aforemen_"r

' r l i ldiscussies is het interessant om na te gaan t ioned styl ist ic debates, i t is interesting to fol lou,.the' t l r t proces van international isering binnen international izat ion ofarchitectural information inI " : :rrrmatievoorziening heeft plaatsgevonden. china. In the seconcl half r>f the t98os, go\.ernmentI I t tq eede helft van de jaren tachtig namen de restr ict ions on the irnport of fbreign ide;rs rvere eased

I -r- 'eidsrestr ict ies op de import van buitenland- r 'vi th the result that altcr clecades of totai absence," l 'e€n af w-aardoor, na decennia van complete translat ions of ' \ \ 'ester.n architecture books and art i-i ru : i i rhsid' westerse architectuurboeken en cles coulcl non' be publishecl. I t is relevant to ask hor.vi '* !€len in vertal ing mochten verschi jnen. Een this infbrrnation \\ as subsequently interpreted. In a' ' ; r 'sr i jke vraag hierbi j is hoe deze informat ie recent inte^, ie*, archirect . r -et f reor iststanl .unghad" - ' lgens rverd geinterpreteerd' In een recent this to say: "rhe nrost colr) 'olr response on the part' 1- i le\\ zegt architectuurtheoreticus Stan Fung of Chinese architects arcl scholars to Western ideas is" t ' - " i trr het volgende: 'The most common respon- radical nominal isnr. fhis is a cor)sequence of *,orking

'^ r : :hepartofchinesearchi tectsandscholars inaninfbrmat io ' -poorco. l r t1. . \ , .* ,h ichdoesnotmean' '& * ' ter l t ideas is radical nominal ism. This is a that people arc e'trrel-r- Ll lra\\ are of the terms ol west-I " i quence of working in an information-poor ern discussions. Rather. i t mears the encounter lvi t l rr i : r r ' * 'h ich does not mean that people are westernideastakesplacei .ag.e 'eral context that is

' t : : i -r una\l 'are ofthe terms ofwestern discussi- characterized by thc desiccation of infbrrnation, ther ' Pi 'arher, i t means the encounter with Western dissociat ion of images f l .om rerts, the anrbig. i ty of: s i * ls kes place in a general context that is cha- al l conceptual temirolog-r-. ancl poor.-qual i ty transla-

'r - : :rzed bv the desiccation of information, the t ions. People's interesr rn specif ic ,arnes and boohsl '*r ' : iat ionof imagesfromtexts, theambigui ty areol tenrelatedtotheaccic lcntsof \ rhat istranslated' r i - ionceptual terminology, and poor-quali ty into Chinese and also *hich fbreigp architects have- i T l let ions' People 's interest in speci f ic names been given comnrissiols i ' Cl i i 'a. , , ,

' ' t : 'oks are often related to the accidents of I t is necessary, ho*-e'er, to cl ist inguish betr.veenrr ! i : 1: t ranslated into Chinese and also which the infbrmat ion f lo*-s of thc t98os and the t99os. ln' - ' gn architects have been given commissions in the t98os, an architect l ike Tadao Ando u,as able to

becorne fair ly fhrnoLrs in spite of or thanks to a dearthEr i ls echtereenonderscheidtemakentussende of infbrmation. After rs, lgg governnlent contr. l rvas' ' ' -r :at iestroom uit dejaren tachtig en dejaren eased st i l l further ancl untranslated fbreign publica-

""1: : : ig Eenarchi tectalsTadaoAndokoninde t ionsw,ereal lon'edintothecountry.ontt " faceof ';r ' '1 : rachtig in China behoorl i jk beroemdworden i t , this shoulcl har..e led to a better and more cri t ical

' I t I I k s of dankzi. i een minimale berichtgeving. er.aluation of infbrrnatron, but many chinese archi-' i i 1J neemt de overheidscontrole verder af en tects chose this mornent to distance themselr,es lrom: ' r rn bui tenlandse publ icat ies ook onvertaald thewesternizedarchi tectural theoryofthe 198osu - : r Ir geimporteerd' Een betere en meer kri t i - because i t had resulted in the image being placedil i n P ' ' Lrordel ing van de informatie l i jkt hierdoor above the text in china. The same fate arvaited trendyrr ' i= ' i ik 'maarveelchinesearchi tectennamenin

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isrnnmlxiour- opi nionated

6:!!r,{nntl lrtechr nithout mucbmrq:rlbnrtion-"

Ect i* duidel i jh dat derrtg trer \r'aliteitssprong

!frrqr hne doeltreffend zijn debij het bestr i jden van

{E narcr:erchiLre posit ie r anlh & Cnftnurrle Rer-olutie lag de

en architectuurfa-q,an hd*rorische architectuur.ht mder grote druk kunnen

ilrq r,rnnel opleidingen inmid_er de lesprogramma's zijn

frl & ncoingen over de kwali_,cndernijs niet positief; stu_

i*ch gebied een stimulans

denkvermogen. Er#rcn o,nderzoek plaats, zodatrncdelijle omgeving met alle

ppelijke dilemma,sciln dii*russie u-ordt. Bovendien

mil?r r0or de dagelijkse archi_l&Jilrn*rllesloomd, maar blijft het

tdii ;oede onts-erptechnieken

hr,mni,ngen binnen het onder_lm in hun laatste fase beland

krel i tei tssprong wel vaniraire opleidingen wor_

iLril |Crrr-tduate Center of Architec_

I r 1999) en het Research& Planning r.an Nanjing

Ew drie.iarig architectuurpro_

Filltor o|pEezet door architect yungqt{tldiirg in \anjing door archi_

, ; .; il;;";il:;:, ;"'J"';".11,"",::i:::::: :J;:desired, sojust how effect ive are the architecture

and original design vvorks. Exaggerations and cop_ies are srr ict ly prohibi te<1. I t is ernphasized rhat thedesign works are not clarthe design quarity rr:::::":iiill'if;?lliJ,

schools in combatting a lack ofcriticai analysis, a fas_cination with image and the subordinate poritio., ofthe architectp After the cultural revolution, the sur_viving architecture faculties concentrated on trainingstudents in historical architecture, drawing skills ancrperforming under enorn,,.Tf ". of s choor s n,. *l:IlJ...,l il::ffr".tri^,j "syllabuses have been modernized, opinion. as to thequality ofcurrent training are not positive. There rsno theoretical st imulus ofstudents,cri t ical and con_ceptual faculties. Little <so that the rapidry "n",;;;;il: ""*H:jx;its attendant social and community problems, is not asubject of discussion. What ts more, students are norb_eing prepared for everyday architectural practice.With some exaggeration it can be said that archi_tectural training does not go beyond good designtechniques and pretty presentations.

Although architectural education is still inthe process ofbeing reformed, the desired rise instandards may well come from two new post_gradu_ate rnstitutions: peking University,s GraduatJCenterofArchitecture (toso) and the Research Inst i tuteof Architecture & planning at Nanjing University(zooo). The three_year architecture

-r.r" in Beying

was established by architect yung Ho Chang, thecourse in Nanjing by architects Ding Wowol ZhangLei and Zhao Chen, who met one another while study_rng at the ETH Zurich. Both schools aim to offer afuli-fledged, multi-year course with particular fbcuson research and practice. '* The RIAp describes i tspursutt of 'excel lence in no uncertarn terms: .RIApencourages its architects to meet the reasonabledesign requirements of the owners with creative

Zharg Lei en Zhao Chen. dieZirirrh hebben ontmoet. Beide

mtuniu crlrlar om een r.ohvaardiger.rtr te bieden met daarin

r,om onderzoek en de praktijk.,,

lnft b*. nattreven r.an krvaliteit!t["i,P Gn(our:rges its architects to

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I dlrr& f"asserrood

i - - r ttt- >l\ \'ears, holr.ever, avant_garde archi_. -: rr d> alt ul ldercurrent in Chinese architec_

i : - : - r i .e . ' : ;' . r !9 kreeg deze onderstroom langzaam_

" - " . rdheid door een tentoonstel l ing t i jdens, ' - : \ .Dngres in Bei j ing, In qOOr volgde een

' - - : r ,roonstel l ing in het buitenland: .TU MU

,. - . . \rchitecture of China' in galerie Aedes:L - Het zi jn overigens Chinese en daarna

, i r , : . : r rse archi tectuurcr i t ic i d ie deze groep' : , r rn als avant-garde bestempelen. Zhou:

- --d this term to describe a small circle of"

- r :L_ hirects who prefer pure modern styles,{, ' . r er,r' different from the popular eclecticr " - . .1 ro style. 'Het doel van de avant_gardeI - r ' t n a 194,9 en daarmee de vierde generatie

-- , :en: $-as eenjaar of t ienjaar geleden glas_ru - r,-r! bieden van een alternatief door zowel

, als technisch kwali tat ief hoogstaande| , : n r€ realiseren. Daarbij hielden ze zo veel

rr | " ' . l lstand van de commercidle architectuur

i r I :r . a?nval lkel i jk bevriende galeriehouders,- - : trrs en een kleine groep vooruitstrevende

' ' - n:\ \ ikkelaars als opdrachtgever. Zhou:- , - : r r i rnental archi tects looked for every

'- - : i t r ' . no matter how small the project, to, ' - . i i ideal bui ldings. In their projects, one

i , - . : :n rhe character ist ics of the basic pr in_' : lodern architecture, such as functiona_". : .nnal ism, minimal ism, and the ordered: r :-chitectural syntax. '

: rar5t€ gereal iseerde projecten waren

" i i11a's en kantoorinterieurs. Hoewel niet

' . " dc behoefte had om aan een zogenaamde" .. . lenti teit te refereren, speelde ook bi j de-:rrr le de vraag in hoeverre tradit ie onder_

- rtoeten zi jn van de hedendaagse Chinese': . i t rur. Pasten nieuwe levenssti j len met bi i_

r e programma's en een op traditie gestoel_rrctuur i iberhaupt bi j e lkaarp Konden

:,trn zoals aarde en hout in moderne bouw_

-..en s'orden opgenomen? IIet was echter

: r trr-een rneteen duidel i jk dat de essentie vanr r : i Lr l l ele architectuur in haar constructie en. r jke verhoudingen gezocht moest worden- rn haar uiterl i jke verschi jningsvorm. Een: e re al iseerde proj ecten i l lustreert daarbin_

tecture \,vas an undercurrent in Chinese arclr i te<:turalpractice."tt

This r.rndercurrent gradually gained u.iderrecognit ion as a rcsult oi 'an cxhibit ion held duringthe UIA congrcss in Beijing in t 99s. It w.as fbjlor,r,ecrin 2oO1 by the f irst fbreign exhibit ion, ,TU

MU- Young Architecturc of China,, in the Aedes gal leryin Berl in. ' ; As i t happens, i t rvas Chinese rather thanWestern architecture cri t ics u,ho f irst label led thisgroup of 'arcl ' r i tects 'avant_garde'. Zhou: ,Thcy

useclthis terrn to describe a srnal l circle oi 'voung archi_tects r.vho prefi:r pr-rre rnoclern sfi.lcs, n hiclt is l.erydi l lbrent from the popular eclect ic approach to style.,-fhe airn of this alant-garclc (bor.n after 19.19 anothus the fburth generation of 'architccts) s,as crystalclear ten years ago: to ofJbr an alternatir e b-v real izingbui ld ings that r ,verc both s l r ; i1 j2 l l1

"n, l t . . hnicaJly

superior. In so doing the.r ' l iept their cl istancc i l .orncornmercial architecture; their- cl ients \ \ efe s,\ , l rpa_thetic gal lery owlrers, art ists ar)( l a snral l group ofprogressir,e dcvelopers. ZhoLr: .- f he erperintentalarchitects lookcd lbr evet.-\- r , l r | , ,r- tult i rJ. nu nlatterhorv smal l the project , to bui lc l their . ic leal bui lc l ings.In their pr<rjects, one c-an cl iscer-n the characteristrcsof ' the basic principles ofnroclern alchitecture, sucfras funct ional ism, rat ional isur. rn in inral isrn, ancl t l reordered logic of architcctural s.\ ,nta\.

The f irst real izecl pr-o. jecrs s rr.r gal ler ies, r. i l lasand ofEcc interiors. Althoueh not c\ ef, \ .one iblt theneed to rcf i :r to a so-cal jecl Chinese iclenti t-r. , the ques_tion ofthe extent to n'hich tracl i t ion shoulcl be partofcontemporary Chinese architecturc. concerned thear,-ant-garde as u'el l . \ \hs a conrbinatiolt of the newli festyles and their corresponcl ing prog-rarnrnes andan architccture based on tradit ior.r real l l , f-easiblc?Could rnaterials l ike earth ancl loocl be incr>rporatedinto nodern bui lding techr.r iqr-res? It u.as clear toeveryone, liolver,er, that the csseltce oftraclitionalarchitecture had to be sor_rgl.rt in i ts construction anclspatial proport ions and not in i ts outr,vard appear_ance. A number ofreal ized projects i l lustrate the dif_fering vier.vs on this sul lect: f i rst ofal l a very prcctsetranslat ion oftradit ion into a modern architecturervith special attention to feng shui, yin yang and totradit ional forms. Alongside this a ntore conceptualrelnterpretat ion that integrates tradit ional architec_ture less ob', ' iously, and f inal ly a cri t ical regior.ral isrn

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- : t : r . i r .e i t in het bui tenland gestu_I r . r I r rpel t . ju ist deze ruwheid als

- ! : : r l t .

- : : , . i j f jaar heeft het minimal isme: - j : r l Dopii lar i tei t gewonnen en is het: r r . ie le markt zel fs als beeldmerk

- I t became a kind of commercial' . p,-r iy11. because people started to

,, , ' : - : - :r lred rnodern culture. For example,_ - r rrr-: ago, the most popular bui lding' - - : : - r : t t r€ f ie ld was the so_cal led Euro_

. rJ ar jn:- : :3r t re archi tect door. : - : - i t i rn land bi jzont ler veel

: r - , l t r :ng hecht. getuigen deIr : . t re ru\ \heid die oyerduide-

r ' r i i lu: t rat ief is voor de hui_

- r . i r lo\\ ' ferver and fewer developersI " . j rst minimal ist-sty le apartment

- - : . . r red in Bei j ing in qoo4 (designed. : . i ren. more and more developers haver-. " :nal ism. Property developers com_

'. , : : ts t rom avant-garde archi tects, but- : : i ,ar1d, a large group of commercial. : . learning to change their taste from:ir lc ro ar.ant-garde. But although they.rr le of taste, avant-garde archi tects: .pp.r ' because i t was not their victorv.. aarralsed about their s i tuat ion and: rbout their future. 'Kortom, de archi_L Je ar-ant-garde werd als al lesbehalve,: i isch beoordeeld.

Het is duidel i jk dat-- : r rde de twee eerdere pogingen om.r: eigenti jds te bouwen heeft geprolon_

:t l taat is gebleken een eigen idioom te: . rn. De meeste archi tecten denken ech_: rLrg nl instens t ien jaar nodig zul len zi jn: ' enste niveau te bereiken. Hierbi j wordt. r t ruLlr van buur land.Iapan vaak als pro_:ir eelt succesvol le transformatie aange_

.iern, eigenti jds 6n Japans. Hoe belang_:r i \ \ erpoplossingen van de avant_garderr:r i ikkel ing van de architectuurprakti . lkrn essentie biedt de anti formalist ische

cLrlture. F-or exaniple, f ive to cight years ago, the nrostpopular bui lding style in the real cstatc f ie1d l i ,as rheso-called Europcan Style, but norv fetver ancl fi:u,erder.elopers adopt i t . The f lrst nrinimalist_style apart_rrrent complex appeared in l3ei j ing in 2oO.1, (designed9Oo2). Since then, nrore and nrore cler,.elopers haveadopted minitnal ism. property der,.elopers colnnus_sion dcsigns f iom ar.ant_garcle architects, but on theother I ' rand, a large group of conrmercial architectsare lean'r ing to change their taste f iorn Western clas_sic to avant-garde. Br,rt although they n,on the batt leoftaste, avant-garde architects didn,t fbel happybecause i t lvas not their victory. They fblt ernbar_rassed about t l -reir si tuatior.r ancl arlbir.aient abouttheir future. ' Ir-r short, t l te architecture ofthe ar.ant_garde rvas regafdecl as everything but anti_fbrmalist.

. I t is clear that th_ar..ant-garde has extended the trvo earlier attemptsat rnodern and conternporary architecture and herspror.ed capable of der-cloping its or,r,n idiont. llolr,e.,,er,ntost architects think that i t n, i l l take another terryears at least to reach thc desired star_rdard. fheyoften cite the architecture ofneighbou.i , .rg Japan ,sthe prototypc of 'a successful transformation: rnodern,contentporarJ/ and Japanese. I Iorl ,el.er important thear.ant-garcle's design solutions may be lbr the der.el_oprnent of architectural practice, the errrt i_fbrrnal i starchitecture o1'the ar..ant_garde does not yet pror. iciea cri t ical response to the rapidly changing city and

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" ' - r rurrrgs usual lyI ' r:':.rl staa'sebourven doorgaans mid- bu'dings

",." ".":l'":t;:Tffi:fiilij,:,,1';;;",,l" , .,'.i.;:l;;'::11li ;il::H?::ouwen so that trrey are r.ery inrvardJookins' : :::;;,,,, i _, i*,,; ;;ffi ir; rhn*t il,:: **i:'i:mi;"- : r : r9*9) en de vi j fde generat ie (dert i_ The issue ofchin,' ' ::'crerr is inmidders zichtbaar. voo. a" vornger r"."r",,riiJ,1;::ffi*:il,"l::j:::r::r:r"I r l -" - : rr ' ret ie is het vraagstuk van de chinese both the \\rest a'd china. -f l rey use tradit io.al chi_ri" - , ecl nrinder zwaarwegencl: ze beschou_ nese u."hit". tu." i' ' irct \\-esten ars china als een belangrij- experirnent

"""" ,r:,:"ttlr:iii,;::ff:i:T;:iil:::1.

' - i t rcttrur oP een meer spontane manier en rerat ively .rnntt urJl l

l lower-cr ' has nrainJy to clo * ' i th' " : : l i t r€11 l logmeermetmater ia len.Deher-

an*lseuln.rr , " r , " t ' *nt t tents l ikea' i l la,agal leryor' - ' . - .c heeft echter vnn' l k^r-^r-r , !

. i n e op gave" i'"; l;;"i, fi : ".fi iU: ", rb a n p roi e-.',: J:,:';1;l* ilin ::]#:""'n " _ . r l t rn ; de stap naar de grotere bor*opgu_

, ' : , r .nbouwkundige projecten is auiaet i lkI " - j . tnaakt. "

111

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t,

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4l

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liii

- ' r c I l i tectonische projecten staat een goede' fhe main feature of . ther' ;':1 irr het stedelijk weefser centraal u'1, ""r, that they are

'r.eu "_o"olJjli]r||:,.-.]j|:ili:;;;1' i ' een 'ci ty of ob' iects' : een verzameling a reactio' t . a 'ci ty of objects,: a colectio. . f . iconrc, :,:::ii-:;T"'""""."J#il." r:*il:I.li *' .f ;;;';;';;',ii",,"" to the direct s,,.rou'd-." {e\e'Ste dichtheid niet uit in een stan- l"il;,}iii}H.,?I::illT::::::ii:H"i,- r-rr1' rnaar in een vorume waarin architec- in a r. .ru're in r,vhich arcl' oetrbare ruimte optimaal geintegreerd are optinrarly i.tegratedt{r"r.".];:r1ilil:]]]:,:i]|':- r r t rb i t ie bestaat uir het verbeterfn ran

' 1e stederijke condities, hetverrevsndigen 1,"'il:l]il::i::::::::;;lili:i:il::::::i:: l ' I t r r tenhetaandragenvaneenoplossing

increa.singdissipat ionof 'publ icspace.Tlr isreqLr i res

ll,j::;lT::l::-::lo*t"g van de op",,l u nexible, r,any-,ia"a un.r dy,ar'ic prosr:i,'rne

, r' i s c h p r o g r u _,o u,, o l j,"J.tl,",jffi:,; l;: i:; *;.;: X;t ** : :::,,:1 "" ru",, *;' - i rnte rondom het gebouw kri jgt 'pt" i , l"

ate surrorrndings and aro*, 'gJ a publ ic character tul i door goede overgu"g"" -""t-d"

l i .""t" n".nrn" part of the bui ldin.g. unifbrmity has beer.r

47

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d1a,tr1z1er u sr ..(1ro aql lsprurp sa8u1ir,t,3o suorlrpuoc

eql olur qf,Juasag .(lrnurluoc aaliru;en8 o1 sr lurodureru aql arurs trraql surular dlleraue8 1nq 'sarnlcn;1s

IBrf,os pup uuqrn Surlsrxa sesf,leue f,1a.rr1oe aJnlJa]

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l re\ \ 'concept inchina,asisthepreser 'at ionofthe

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catalyse the preser'ation o{-ord factory sites, fbri T " . : :: -d \ an 0,,'

"il''"J"'ii :il::T:::ljirnction as connectinsr rinks betrveen

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' fhearchi tecturarof f ic

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I an china' rn 1978 only 25y"u. , ,h" "rrr t r" . ' ,( i,r ilil " *:t.,.,"..1.',,t j]jI::T::"1* in-.].,]:,,ootoan un,,ificili:::li:iT:,:i,,Tl"'

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fl rrrllrlltu'''lr rir i : I rp'lglsn die ziinbliiven t:t:T::::Y as a re'strit

"1'n't'' "tt"t'"nt t.tt".r rr,,

r ( r i r r ur i l i " * : t . . . : , : " Economische Zone " i

, "a tu dtr u l r ( ) rncral count oi ' tDore t j tan

*' ,"rrsr,, , , { ,- , . : : ." .r . .h;; ; ; ; "#:: :

ten.mil l ion. In i ts urgc i i rr erParsro, the citr l ras, , , , , , , i i , , , , i , , , .H . i . - - : r , . , " ; : : ; ; j : : " : ' r^ ' - : : : inthernea'r t i ' ' ' " . ' , ; , . , , , " , i , . ,1, , , inr , , , , . , . , r . r . i1au.. .

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; , , ; , , , '

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1 ' l r611r1hs<e

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"',..i','",,i,; - - : : : r , leze n i jken, die in China