Chinese Modern Architecture Using Traditional Chinese Elements

Qiuying Huang, Degree of Postgraduate

Department of Architecture, Faculty of Engineering, University of Strathclyde

13 March, 2014

Contents

Abstract 1

Introduction 3

Chapter 1--Background of Beijing 14

Chapter 2--Thoughts of traditional elements 20

Chapter 3--Case studies 25 Ju'er Hutong 25 Nan Luogu Xiang 29 Fragrant Hill Hotel 34

Chapter 4--Younger generation architects in China 39 Wang Shu 42 Qingyun Ma 46 Liu Jiakun 51

Discussion and conclusion 57

Reference 60

List of images 62

fig1 Qingwa Fengjing (Views of Tiles)

fig2 Wa Yuan introduction

Abstract

In modern times Chinese architectural design has often blindly imitated

the western architectural style. When Wang Shu, a Chinese architect,

won the Pritzker Architecture Prize in 2012 (fig 1-2), it was a

breakthrough for China, leading to more and more young Chinese

architects starting to consider the development of Chinese architectural

design. They realised that traditional Chinese culture plays an important

role in Chinese architectural design. An increasing number of new

design based on the traditional culture, Chinese architects are

incorporating old with the new and creating fresh possibilities in

developing a new Chinese modern style.

Architecture is the basic element of a city, but at present, there is

almost no difference between cities in China due to a trend towards a

more standardised style based on ‘ global ’ architectural norms. The

situation is much more serious in well-developed cities. It is difficult to

find personality in cities that appear to mainly consist of high-rise

apartments and office buildings. However, in response to this, more and

more young Chinese architects are moving their vision from abroad to

their homeland and concentrating on incorporating traditional Chinese

culture in their designs. The capital Beijing for example, has many

examples of architects who have adapted methods to combine different

1

styles between traditional architectures and modern architecture,

designing modern architecture with traditional features. Since the

1980s, the rising younger generation of Chinese architects are

dissatisfied with the global phenomenon and try to choose different

methods in their architectural design.

For China, picking up traditional culture and combining features with

modern styles, is giving birth to new Chinese style. It is this direction

that many architects are considering and working with currently in

China.

2

fig3 ‘Qianqing Gong’ in the Forbidden City

Introduction

Chinese culture can be traced back to almost 5000 years and this is

reflected clearly in its traditional architecture. For example the status of

a house owner could be recognised from their building’s roof (fig 3); the

timber framework is influenced by Chinese words and traditional

philosophies are revealed in the layout of its traditional gardens. Most

Chinese people have an understanding of implicit expression in

architectural and landscape design due to the influence of the

Confucianism. To some degree, the cultural personality impedes the

development of design patterns in China. When turned into modern

times, because of differing reasons, China did not develop as stable as

its ancient times or western society.

However, in modern times, technology and architectural materials have

developed rapidly in western countries. Western countries went

through large social change and completed the industrial revolution in

the early 20th century. Following the 1st and 2nd World Wars, the

economic and political systems became more stable in the west creating

a climate promoting rapid development and advancement in a number

of different areas including architecture.

In contrast, China experienced a tough era for wars and only achieved

3

fig4 Oil painting ‘Kaiguo Dadian’ by Dong Xiwen in 1953

their national independence in 1949 (fig 4). The Chinese learned an

crucial lesson from wars that they should not lose their competitive

edge. But in that era, China concentrated initially on the establishment

of social systems and developed the market economy. Comfortable

residential areas and practical public architectures were also a priority

for Chinese people at that time. For such reasons, the Chinese studied

expertise in advanced technology and architectural design theory from

western countries in order to build their new homes. This continued

until Chinese kept learning and adopting western knowledge for their

designs for around three decades following the establishment of new

China in constructing its cities. As a result it can be hard to find some

traditional architectural elements in modern architectures in China.

China has seen high economic growth in the past three decades. This is

in part down to the rapid industrialisation of the county creating many

new jobs in and around cities. This has transformed the country from a

traditionally rural population to one that is increasingly urbanised

(Zhu,2009). Due to the influx of workers to the cities large-scale

construction projects have been needed in order to meet the needs of

soaring populations such as improved infrastructure and public service

buildings including school, hospitals and parks. With developments at

4

fig5 Guangzhou Opera House

times struggling to meet demand, construction projects have not always

met with perfect success even if the main living conditions on the whole

have improved. Due to the rising development of the economy and new

political systems, the Chinese people have greater aspiration that they

could have better lives ever in this new society. The painful experience

of wars and the painful colonizalium the desire to become a thriving and

powerful nation has become a pressing need for the Chinese. Learning

from developed countries has been the primary method at that time for

the Chinese.

Some artist and architects who studied abroad earlier in Europe and

America came back to China and brought western theory about modern

architecture (Zhu,2009,P105). Moreover, some American architectural

companies expanded their activities to China and invested Chinese in

the architectural market who saw it as an ideal place to practice their

architectural ideas. Today, most landmark buildings in Chinese modern

cities are designed by famous western architects for instance Zaha

Hadid designed Guangzhou Opera House (fig 5). Consequently, since the

1940s, China has almost abandoned its traditional architectural patterns

and western-style buildings have became the main trend since that

period. Undoubtedly, it is an open and soaring development era but

5

fig6 Feng Huang

fig7 Time Square in New York City

also chaotic period. Almost each step of development is a kind of

fumble. ‘ Gaige Kaifang ’ or Reform and Opening-up policies were

launched in 1978. Thanks to the policies, China has seen high economic

growth in three decades since then. Through almost four decades,

China developed numerous modern cities with well-known astonishing

speed. After that, Chinese gradually started to consider some

consequences from massive development without traditional relevance.

As Chang (Yung Ho Chang) and Ma (Qingyun Ma) both acknowledged

the separation between ‘theory’ and ‘practice’ in the west is not always

suitable to China.

The urban appearance in Chinese economically developed cities, such as

Shanghai, Guangzhou and Beijing, is completely different to many

remote area, like Fenghuang (fig 6), Lijiang and Guilin. It seems they

derive from two different cultural systems. Essentially, it is easier to

compare these Chinese economically developed cities with some

modern western cities such New York (fig 7) or London, as more

common elements can be discovered. China has been satisfied with its

hard-won progress meanwhile more and more architects and planners

are rethinking whether the loss of urban identity is beneficial for

Chinese architectural design development or not.

6

fig8 High-rise residential in Guangzhoufig9 analysis for high-rise residential building

7

fig10 Beijing's CCTV Building

As an example high-rise residential building (fig 8) house almost 80

families, but there is not enough public space (fig 9) for such large-scale

use. ‘Privacy’ is an important item in western people’s daily life, but for

Chinese, sharing and communication is more important than privacy.

These living habits and customs are characterised by the design and

layout of traditional Chinese dwellings such as the courtyard house

(detail analysis in case study Ju’er Hutong ). It can be conclude that the

Chinese have not necessarily obtain a better life than in the past even

though many seem satisfied with the consumer benefits offered though

modern life. This paper aims to introduce and analyse some

presentative projects located in Beijing, and offer suggestions for future

designer and planners inspired by this city.

Beijing is the capital and one of the most globalised cities in China. It

plays an important role in economic, political and cultural developments

of Chinese urbanisation. Lots of controversial modern projects have

been located in this city. CCTV Buildings (or Bigness) (fig 10) was

designed by Rem Koolhas. It is a great expression of Koolhas’s modern

architectural theory on ‘Decomstructivist Architecture’ . For the design

itself, it is an classical precedent of modern architecture in China. “In

the perspective of China’s own modern history, this borrowing of a

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radicalized modernism from the west, while displaying a closer

integration with other nations of the world, has also expressed a level of

modernisation and national strength that China has attained in a long

struggle in recent history.” (Zhu,2009,P208).

But for urban identity, such a huge stride across without obvious

connection with tradition, history or culture, would cover the most

essential features of Beijing. Beijing is not only an modernised and

globalised city but also one with a rich cultural history capital. As a result

of this there has been growing conflict in recent years around the

direction that architectural project are taking. For example artistic

conflict took place in the development of the National Grand Theatre,

where the Chinese central government decided to award the

development to Paul Andreu, a French architect whose ultra-modern

western design caused much debate amongst Chinese architects at the

time. In response 108 senior architects, including He Zuoxiu and Wu

Lingyong, signed a letter to the central government asking they scale

down or cancel the project. The architects thought Andreu ’ s proposal

contained a number of functional and safety problems and felt the sites

centralised location should require something more ‘tradition’ going as

far as saying that the worst consequence of National Grand Theatre is

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fig11 National Grand Theatre

destroying the original historical features in its located area (fig 11). And

it also breaks skyline and urban identity of Beijing.

Both the design of CCTV building and National Grand Theatre deliver a

message for Chinese people that not all of the advanced modernisation

theory they followed and adopted is suitable in their own country.

Drawing from traditional styles doesn't mean copying the exact

architectural forms but utilizing the thoughts and philosophy hidden in

the traditional Chinese architecture. Modern architecture, which as a

term means a design method following the current developments and

using advanced technology in simplified forms, is the essential trend,

however, traditional elements could vivify modern architecture.

Tradition and modern elements are both in oppositions and

complementary to each other. Without modern technology, structure

and material, tradition would lose its vitality, but without traditional

elements, Chinese modern architecture loses its identity.

The study of Beijing attempts to contribute to the question of how

today’s architects are using traditional elements in modern architecture

and how they fit in to modern building functions and current

construction methods (details in analysis of the Younger Generation

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architects in China). Thus, it is not only a revolution in the domain of

Chinese architectural design, but it is also attracting the attention of the

world to Chinese traditional culture and the developing of Chinese

architectural design abilities. By combining methods of traditional

elements with modern technology and materials in Chinese

architectural design, architects could offer a viable platform for Chinese

urban identity.

11

fig 12 the Forbidden City

fig 13 Evolution of Chinese capital cities (all city plans are drawn to the same scale) fig 14 A map of imperial Beijing , 1553-1911

fig15 axis wire

Background of Beijing

Beijing is one of the 122 state listed famous historical and culture cities

of China and has 3000 years of history. The city was founded as the

capital of the state of Liao (916-1125 AD), Jin (1115-1234 AD) and Yuan

(1271-1368 AD), while it flourished during the Ming (1368-1644s) and

Qing Dynasty (1644-1911s). Since the Yuan kingdom, a number of vast

places were built in Beijing with the earliest stretching back nearly 2000

years (fig 13). The historical architecture makes the city one of the most

vivid in China. Beijing has a large number of palaces, gardens, temples

and mausoleums. The easy o navigate chess-board layout (fig 14) and

abundant architectures and spacial structure around the urban axis has

made Beijing a popular tourist attraction. ( Wu,1999,P4)

In its early history Beijing was designed as the ‘ ideal ’ city for the

emperor to rule his state. The original principle of urban planning in

Beijing, recorded in the ancient book ‘Kao Gong Ji ’ in Chun Qiu era, is

city formed as a square and each side of it has three gates, with the

streets shaped in a chess-board pattern. The principle decided ‘axis wire’

(fig 15) appeared in Beijing and the Forbidden City located in the city

centre. The Forbidden City was the palace of emperor, it symbolise the

supreme power of the state. This design method could be learned from

traditional ideology of China and the culture of it still influence the

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urban planners and designers in the current day. For example the

government has expanded the axis several times in order to place

important projects within its boundary since the People ’ s Republic of

China era (1949-present) such as the Olympic projects of 2008.

In 1949, Beijing held an important meeting about the overall direction

of its city planning. Liang Sicheng, famous architect and architectural

educator of China, and his partner Chen Zhanxiang put forward their

planning project in the meeting (fig 16-17). They advocated placing a

newly proposed new government area in the western part of Beijing

away from the historical significant Forbidden City area. They also

proposed using a traditional aesthetic in order to protect and maintain

the whole historical urban appearance - the ancient city walls and

continue to have the traditional styles after reconstruction. Professor

Liang had predicted the contradiction between the ancient city and its

requirement of being a modern capital and so was attempting to help

resolve the long standing issue. However, the Chinese Central

Government went with a different proposal – to house the new

government area within the central ancient city area due to its superior

transportation links and the fact it would better serve as a central hub

for government workers. As a result of the construction a number of

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fig16 Proposal for the master plan of Beijing by Liang Sicheng and Chen Zhanxiang (1949) fig17 Proposal for the new administration centre in the west suburb of Beijing by Liang Sicheng and Chen Zhanxiang (1949)

ancient walls and pailou (decorated archway) were dismantled

( Wu,1999). (fig 18)

In the past three decades, landmark architecture, high-end shopping

malls, plush hotels and high-rise apartments have been constructed in

large-numbers, with rapid economic development being the main driver

behind this. The economic development can be attributed to the

opening up of the Chinese market and allowing capitalist reforms which

started in 1978 and have been going on ever since. “ China has been

experiencing rapid commodification and privatisation of land,

blossoming of labour, intensive commodify industries for the global

market, and place promotion in cities.”(Fei Chen,2010,P411). All of the

policies launched at this period which followed the opening-up reform

theme have been influenced Chinese socio-spatial order for cities.

Moreover, the influence reflect on contemporary urban identity directly.

It was not until 1982 that the central government recognised a potential

identity crisis could manifest itself due to a lack of cultural identity in

the Chinese architectural design. The launched laws and regulations

concerned with urban conservation and regeneration (Jia, 2007). It

built up a series of ‘Cultural and Historical Cities’ , the term has been

17

Fig18 Multi-centre Cluster development strategy for Beijing A. Proposal for Beijing's master plan. B. Structural analysis of master plan C. Locational analysis of master plan

determined and launched by the State Council since 1982 to reinforce

historical cities to be protected entities, to enhance historical cities like

Beijing. According to the central government’s guidelines, conservation

aims to sustain and preserve the traditional characteristics with

appropriate urban development’ (Chinese Central Government, 2008).

Beijing, as one of the ‘ Cultural and Historical Cities ’ , is not an

internationalised city which abandoned its traditional characters but

developed in respect of its tradition. There are a number of ongoing

projects to support this. For example, one project seeks to update the

‘ Forbidden City ’ area whilst maintaining its own identities without

external influence; this will be achieved by reconstructing local alleys in

new dwellings or shops to make the old area better suited to modern

times but in a way that maintains traditional elements.

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fig19 "Chuandou Shi" -- Structural system of Chinese traditional architecture

Thoughts of traditional elements

Tradition is the immediate resource for restoring or maintaining urban

identity. Literally, tradition is something inherited and transmitted over

generations with clear continuity. Human expression through long

period after generations is passed to generations which have been

formed as fixed and proper meaningful culture patterns. Also

environmental changes and life styles are adapted in cultural patterns.

In connection with architecture and urban identity, cultural patterns are

presented as traditional architectural forms which could be inherited as

a kind of specific strategy. (Giddens,1991) “ In Lefebvre ’ s theory, lived

space, being related to a life-world of energies and desires with religious

and artistic expression, contains revolutionary potentials, which can be

employed to challenge a conceived world of abstractions and

rationalities of power and knowledge in modern state, market

capitalism and technological systems. ” (Zhu,2009,P220). Zhu ’s

borrowing of Lefebvre ’ s ideas here indicated potentials that tradition

could be an effective mirror to correct inappropriate phenomenon in

modern development. Tradition can offer vast number of possibilities

which contribute to Chinese modern architectural and urbanism

development. According to Lefebvre ’ s theory, clues could be learned

that Chinese tradition is a balanced, composite, correlative process

which help correct and guide the abstract crystallise meaningful

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fig20 "Tailiang Shi" -- Structural system of Chinese traditional architecture

modernisation.

Based on the dominant western culture of the 1980s, western life style

and way of thinking quickly took root in China. It performed as a kind of

advanced productivity and culture that forced Chinese to take note and

accept new methodologies and ways of working. The traditional Chinese

value system was influenced and even overturned by western culture.

In this period, unconditional belief in western culture was reflected in

the sometimes chaotic development seen in architectural designs of the

period. Though the use of traditional styles did also occur the method

was to simply copy shapes of historical architectures which is a

superficial strategy. In the 1980s, with obvious contradiction between

copying the shapes of historical architectures and modern materials,

designers started to reconsider how to inherit tradition in a better way.

Featuring the traditional ‘Chinese huge roof’ was not to be seen as the

only way to utilise traditional features. In reality, traditional

architectures is the source that has inspired architects (Xue,2006). “As

Lutz and El-Shakhs(1982)claim, the real challenge of the integration is

how to achieve an internally consistent order. In the current Chinese

context, it is a challenge to incorporate tradition within the

modernisation process and to achieve the consistent order in social,

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economic, political and environmental aspects. “(Fei Chen,2010,P411).

To summarise Traditional urban forms are worth preserving and re-

employing for the following three reasons:

Psychologically, traditional urban forms are imprinted into the collective

memory and become symbols of a culture. (Fei Chen,2009,P51)

Functionally, they have been playing an indispensable role in the

inhabitants ’ daily lives. For example, the physical form of social

interaction between dwellers; the courtyards are ideal communal places

for public dinning gathering, doing housework and children’s play. The

streets and alleys in the neighbourhood have human scales and are

away from automobiles so that they are pleasant spaces for informal

chatting and activity. (Fei Chen,2009,P51)

Ecologically, they are the most robust choices in the local climate

conditions; for example courtyards are essential for sunlight prevention

and ventilation in the summer( Fei Chen,2009,P51).

Semiotics, they could representative a country's culture and how it

affects people in their daily lives. For example,Chinese traditional roof is

a kind of semiotic. In ancient Chinese society, there has rules for roofs

and its owner ’ s social status. Form of a roof is a semiotic express the

Chinese ancient social status culture. Besides roofs, semiotics using in

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fig21 Chinese traditional architectural materials

decoration of windows or gates also represented people ’s

understanding for aesthetics and philosophy.

Materials and construction, materials used in traditional architecture

are in most cases indigenous to that area and formed and allow people

to build their own house by using appropriate technology.

Landscape design, garden is an essential element in traditional house. In

Chinese architectural culture, house added to garden is a complete

architecture. Traditional Chinese intellectuals would yearned for a kind

of free life style in natural environment. Breaking preciseness and

constraint reality was a dream for Chinese traditional intellectuals.

Therefore, they created a liberal environment in their house. The design

of a garden is a method to express the house owner’s personality.

Development of western societies architectural style was inherited with

its own tradition that also enhanced it to be a natural phenomenon.

History and culture are completely different between western countries

and China. Using the technology and methodology in western

architectural design without any improvement would lead to

embarrassing situations for Chinese architects. Combining traditional

elements of the own history of China would help modern architecture

offer a suitable and better quality of residence for Chinese people.

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fig22 Bird’s eye view of Ju’er Hutong

Case studies

Ju’er Hutong (fig 22)

Wu Lingyong an urban planner and designer from Tsinghua University

won a World Habitat Award in 1993 for the ‘Ju’er Hutong’ regeneration

project. The project saw professor Wu addres an emergency mission in

Chinese cultural and historical cities to create a kind of social residential

community which not only satisfied the requirement of modern life but

also closely integrated with the original traditional environment.

Ju ’ er Hutong occupies 8.2 ha of land and was in extremely poor

condition: lack of spaces for crowded residence; poor ventilation and

absent of light; dangerous structural problems; leading to a step back in

terms of living standards. The government ’ s aim was to improve the

physical environment for residents through modern facilities whilst

maintaining traditional patterns in the historical city. ‘Organic renewal’

was the concept of the project conducted by Wu. It considered the city

as an organism which needed ‘metabolic change’ and an ‘organic order’

rather than total clearance and rebuilding (Wu,1999,P61). According to

urban development trends and urban tissue to explore better renewal

and develop possibilities, ‘ organic renewal ’ aims to protect original

styles and urban tissue of this historical city. Wu claimed that the

25

fig23 Types of Chinese traditional courtyard house

rehabilitation should through small scale improvements carried out with

great care (Wu,1999). Courtyard house types (fig 23) were used to great

affect being the basic type of traditional dwelling house in Beijing. A

traditional courtyard house has a large courtyard with maximal two

stories, which was usually occupied by one family of several generations

(Blaser,1995).

However, Wu designed an innovative style of courtyard house based on

the traditional one. A long alley formed between two paratactic

courtyards inspired from architectural complex in historical palace. The

project was designed for three stories which was an unprecedented

creation in traditional courtyard house, but the regeneration of the

project was in perfect proportion. Houses could not be found from the

entrance of Ju ’ er Hutong and it has an ideal scale which formed as a

visual corridor. Entering the building, living environment with pergola

and lovely seats, inhabitants experience the pretty rolling patterns on

the roof, and is reminiscent of standing in water cities found southern

area of China.

Patterns of Ju ’er Hutong expressed as a flexible block residential type

that delivered people-oriented thoughts, compact language of layout

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and multiple functions. In some degree, the projects objected the anti-

urban concept of residential area by advocated residential should share

social resources with the city as an urban organic element. The Ju ’er

Hutong project certainly fulfilled the original objectives of improving the

physical conditions of the residents and maintaining cultural continuity.

In the post- project evaluation, the original residents’ feedback revealed

that the renewed neighbourhood gave them a sense of home and

belonging (Wu,1999).

Psychologically

A courtyard house is the main dwelling architecture and a symbol of the

‘ living ’ culture of Beijing. A traditional courtyard house has a larger

courtyard with maximal two stories, which was usually occupied by one

family of several generations. Details of Chinese traditional courtyard

houses could be found in “Courtyard House in China” written by Blaser

in 1995. House on each side is independent and connect each other by a

corridor. The door of each house face to the great courtyard which

present the traditional spirit of Chinese family. The traditional spirit is

made up of two parts, one is generations gathering to enjoy the

happiness of a family union, and the other is harmonious relationship

with nature. (fig 24)

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fig24 General Plan of Traditional Courtyard House & Ju’er Hutong

fig25 Functional Concept of Traditional Courtyard House & Ju’er Hutong

Functionally

The courtyard and alley system is important in a traditional courtyard

house and reconstructed one--Ju’er Hutong. Courtyard has been playing

an indispensable role in the dwellers’ daily lives. Because it is an ideal

communal place for public dining, doing housework, and children’s play.

The courtyard located in the middle of the courtyard house is positioned

for convenience and act as a focal point for the inhabitents. However,

Ju’er Hutong had to break the original form of the main courtyard in the

traditional courtyard house. Ju ’ er Hutong consisted of two large and

two small courtyards and dwellers get into the house from entrance

essentially passing through the courtyard. In some degree, the new

pattern of courtyards encourage active interaction between neighbours.

Alley systems in courtyard houses is an ideal form of social interaction

between dwellers. It offer an social space for daily conversations and

Ju’er Hutong expand the scale of the alley system which emphasis the

traditional function of communication. (fig 25)

Ecologically

The courtyard as a medium which reinforce the relationship between

people and nature. In China accepted that more people prefer to have a

courtyard in their home over a blacony. Differing natural elements like

28

sunshine, rain falls and wind could come into the courtyard directly.

Moreover, more roof terraces in Ju’er Hutong provided a good space for

gardening and sunbathing. (fig 26)

Nan Luogu Xiang

“South Gong and Drum Lane (Nanluogu Xiang) is an old lane renowned

for its long history, Hutong culture, specialty stores, and distinctive

foods.There are eight parallel hutongs (fig 27) on each side of the old

alley. These sixteen hutongs and the main lane were put on the first list

of 25 historic and culturally protected areas in November 1990, by the

Beijing Municipal Government.Although a historic place, the culture

here is full of innovation. The lane both with an old and new appearance

combined culture of China with the West. Small, specialty stores where

you can enjoy a coffee while admiring the craft. Many people attracted

by its creative culture and artistic environment. Several art studios have

been established, and many movies and TV drama programs have been

filmed here too”. (Tour Guide of Nan Luogu Xiang)

Nan Luogu Xiang (fig 28) is also a Hutong constituted with courtyard

houses like Ju’er Hutong. But unlike Ju’er Hutong regenerated as a

29

fig26 Ecology pattern of Traditional Courtyard House & Ju’er Hutong

fig27 Plan of Hutongs Views of Hutongs

fig28 Views of Nan Luogu Xiang

30

Hutong: 'Hutong' cames from Mongolian and the word means well reprotedly. Hutongs are a type of narrow streets or alleys. In Beijing, Hutongs formed by lines of courtyard houses and beyong number. Hutongs and courtyard houses are the resident style and cultural patterns for Beijing people.

residential, Nan Luogu Xiang has been reformed as a commercial street.

The government designated it to be an economic projects for it possed

a number of advantages, ideal integration with present urban texture,

potential pedestrian mall connected with Gulou Dong street and Di ’an

Men Dong street, organized numerous stream of people from the

Forbidden City and other tourist attractions, and close to the urban axis.

The whole area occupied 84 ha of land. Nan Luogu Xiang was originally a

courtyard residential area like other historical protective areas. But the

most typical element of it is the ‘ fish bone ’ lane pattern which dates

from the Yuan Dynasty era.

South Luogu Lane was built under the architectural concept of

“residential blocks”– with the lane serving as the central line dividing 8

parallel Hutongs on each side, hence forming the outlook of a fish bone,

or a “Wugong”. Thus, the lane was also called “Wugong Lane”. South

Luogu Lane is the only remaining traditional residential area in China

that still fully preserves the chess-board style layout of Hutongs

typically found in the Yuan Dynasty, with its scale, quality and historical

value unmatched by any other lanes.

Commercial activities happened in some small shops owned by

31

residents to satisfy their comercial requirements in Nan Luogu Xiang

before it has been reformed. It accord with the objective law for its

developing diversity and flexible mixed living function. Afterwards, Nan

Luogu Xiang was developed by some investors and residents who aimed

to protected and maintain the tradition features. Nowadays, the

courtyard houses are becoming small shops, coffee houses and design

studios. The courtyard houses with traditional Chinese architectural

materials and forms but with modern interior design and selling modern

products or became western tea house.

Psychologically

Nan Luogu Xiang is a historical area consisting of hutongs which support

the daily lives of Beijing citizens. Neighbourghhood and family are

themes in Chinese traditional lives. For Beijing, the hutong is the main

strategy to express this spirit. Without hutongs, Beijing would lose its

own identity. And even though there are many modern apartments

existing in Beijing, most of its inhabitents dwellers prefer courtyard

house in the hutong. (fig 29)

Functionally

Nan Luogu Xiang has been developed over the past few decades as a

32

fig29 Pattern of Hutongs in Beijing

residential area. Local dwellers use their own house to establish small

shops to satisfied the needs of the whole area. Nowadays, governments

consider the cultural important and show respect for its history, they

decided to help maintain the commercial features of Nan Luogu Xiang

and combined this with tourism activities to help move forward its

development. (fig 30)

Ecologically

The scale of architectural environment and style of regeneration

buildings, decoration of shops in Nan Luogu Xiang maintain the shapes

of initial architecture as far as possible and only expand the scale for

practical requirement and environmental benefits. The aspect ratio of

Hutong in Beijing is approximately 1 metre and the scope of aspect ratio

in Nan Luogu Xiang is between 0.5 to 2 metres. The width of alley in

Nan Luogu Xiang area did not has substantially broaden development in

rebuild process. Nan Luogu Xiang maintain its original spacial

appearance. Width of Nan Luogu Xiang is about 12 metres and buildings

on both sides have only one or two storeys. (fig 31)

East-west sides of the shops are basically designed as entrances and the

essence of the regeneration projects are the courtyard space inside the

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fig30 Pattern of Courtyard Houses in Nan Luogu Xiang Tourism Circulation and Shops Pattern of Nan Luogu Xiang

fig31 aspect ratio in Nan Luogu Xiang

shops. The scale is suitable between Nan Luogu Xiang and surrounding

environment for visual views without any obstacles from high-rises

buildings. In the pattern of regeneration, Nan Luogu Xiang was

redesigned independently by residents already living there. With

designers according the nature and nurture of the area to protect the

overall appearance and the historical authenticity of the Beijing blocks

and help to maintain its historical heritages. The concept of the project

is ‘ micro-cycling pattern ’ which means improving and redesigning the

whole area gradually. Designers believe that in this pattern could reduce

the risk of transformation moreover it would influence residential

residents close to this area to replace their housing functions and finally

improve the environment quality and infrastructure conditions for the

residents.

Fragrant Hill Hotel (fig 32)

Fragrant Hill is a natural scenery area located in the countryside around

Beijing City. I.M Pei consider the design very carefully with natural

features of the site.

In 1978, I.M Pei visited China and gave a speech in Tsinghua University.

At that time, China did not have too many large scale mass building

34

fig32 Perspective of Fragrant Hill Hotel

rojects but some small-scale projects. Therefore, Pei suggested the

younger architects consider the urban elements especially influences

from the Fobidden City for Beijing. For an architect, the surrounding

environment of a site is extremely important. (I.M pei interview,1997).

From this point of view, Pei thought Fragrant Hill is a suitable site for

him to design a modern building with full-bodied traditional taste.

"The fragrant hill hotel is a very important project in my career, I ’ve

spend ten times efforts in it more than other projects I’ve done abroad.

I try ro explore a new design method in the process I designed the

hotel."

I.M. Pei

For some degree, the design of Fragrant Hill Hotel was not only an

answer for how to design a piece of Chinese modern architecture but to

also generate new design ideas and direction. (P Peng,1980). Different

from renewal projects like Ju’er Hutong and Nan Luogu Xiang, Fragrant

Hill Hotel can truly be considered new modern architecture.

36

Semiotics

Traditional semiotics became a kind of design strategy and became

utilised by more and more architects. Architects used semiotics to

express their personal understanding about architectural culture. In the

Fragrant Hill Hotel, Pei expressing traditional semiology by design a

series of Chinese traditional gardens (fig 33) and adopting traditional

roof form (fig 34) to dealing the elevation perspective.

Pei separated the huge building into several small pieces and added

eleven Chinese traditional gardens (fig 35) in the buildings. The design

method was learning from Chinese traditional landscaping architecture.

The backyard is the primary garden of Fragrant Hill Hotel. It was

surrounded by buildings in three sides but opened face to the southern

direction. Trees and grass; stone path; keep distance from mountain but

close with a lake, all of the features indicated traditional semiology

elements from Chinese traditional gardens. For architectural design, Pei

adopting grey small sloping instead of classical traditional huge roof.

And some building, such as those used for guest rooms, used ‘Yingshan’

and single sloping roof that were popular in the Chinese traditional

landscaping architecture. Lobby of Fragrant Hill Hotel called ‘Changchun

Coutyard House’ (fig 36) . The modern huge glass roof on the lobby also .

37

'Xuanshan' 'Yingshan'

'Juanpeng'

'Cuanjian'

fig33 Chinese traditional garden

fig34 Chinese traditional roof forms

reformed from Chinese ancient roof pattern ‘Xieshan’.

Dealing with elevation outcome, Pei using dark bricks to create window

frames. From elevation, visitors can feel traditional elements without

viewing ancient roof or ancient window frame pattern.

Psychologically

Fragrant Hill Hotel is an example that modern architecture brings a

sense of belonging to local people. Undoubtedly, Fragrant Hill Hotel is a

modern architecture, yet has meticulously landscaped courtyards;

diamond and blossom-shaped windows; and dramatic ‘ moon gates ’,

large circular openings in garden walls that serve as pedestrian

passageways, all evoked China ’ s ancient and distinctive culture, in

keeping with Pei ’ s goals for the projects. (Louis Chipley Slavicek &

I.M.Pei, 2009, P81) Because of the traditional elements, people would

identify it is a Chinese architecture immediately. In some degree, people

would find a sense of belonging in buildings which has identificated

features from their own culture.

38

fig35 Gardens in Fragrant Hill Hotel

fig36 Glass roof in ‘Changchun Courtyard House’

Younger generation architects in China

In China’s large architectural market, the younger generation architects

have been gradually obtaining respect and approval from their older

collegues. These architects are sensitive to the growing need for

traditionally inspired project but also acknowledge and draw inspiration

from many of the well-regarded architectural styles and projects from

around the world.

Each generation shaped by the social trends and concerns connected

with its own era, this is also true rules suitable in Chinese situation. The

beginning of Chinese architectural reform can be traced back to 1990s.

The development of China’s social and economic systems is a complex

process. However, there are some points in time can be seen as key

milestones. During 1976-1978, when Chairman Mao passed away and

Deng Xiaoping becomes the new leader for China, presented the

beginning of a post-Mao era. Year 1989 is a transition because of

Tiananmen Incident occurred (fig 37). So, 1989 can be regarded as a

point to separating the 1980s and 1990s. An open socialist market

economy was developed in the 1990s, which benefits for social stability

and soaring growth in the economy. On the contrary, the 1980s were

stuck in radical ideological argument and delivered a sense of

uncertainty. From this perspective, the 1990s was a resuscitated and

39

fig37 Tiananmen Incident

rising period. With objectives to improve beneficial conditions such as

creating a stable society, re-emerging on the mainland, and providing

good environmental conditions for a range of professionals such as

developers, managers, business owners, as well as market-based

professionals such as architects (Zhu,2009,P137). At this transition stage,

Chinese architects who accepted their architectural and fine arts

education in US, Europe and Japan in the earlier 1980s, came back to

their homeland with a host of ideas and new methodologies which

helped drive the Chinese architectural modernisation. Adopting

international influences with modern materials and technology, the new

generation of architects were starting to make breakthroughs after

long-term practices of blind imitation.

It has proved to be a valuable example in modern China that Chinese

modern architectures can have a new style which maintains a distinct

relationship with China’s tradition. “This is a rising self-consciousness of

their own design position in society that is more tolerant and in need of

critical or progressive voices. ” (Zhu,2009,P137). With global economic

development, differentiation between countries is getting smaller.

Modernisation is becoming as a common term as international

development progress. However, for China, as a developing country

40

increasing its modernism occurs by learning from western countries, is

starting to realize a sense of modern identity and express its own.

Some major events highlight the achievements of the younger

generation of Chinese architects. For example, ‘ 5/18 Young Architects

and Artists proseminar’ in Guangzhou,1998; ‘Chinese Houses’ exhibition

by 5 experimental architects in Shanghai, 2001; Aedes gallery held an

exhibition named ‘ The New Chinese Architecture’ and through portfolio

by architect Ai Weiwei, Zhang Yonghe, Liu Jiakun, Wang Shu, Zhang Lei,

Wang Qun, Ding Wowo, Zhu Jingxiang to describe Chinese experimental

architectures in Berlin, September 2001. In order to celebrate ‘Les

Ann é es Chine-France ’ , Alors gallery held in Pompidou center in paris

between September to October in 2003. There are 8 younger architects

and studios, including Zhang Yonghe, Wang Shu, Liu Jiakun, Zhang Lei,

Qi Xin, Ma Qingyun, Cui Kai and Dashe Studio, from China to present

their own works. Moreover, regular functions like ‘ Art biennale ’ were

held in Shanghai and Beijing since 2000s. (Xue,2006)

Some of the most influential architects of this generation should be

mentioned, like, Cui Kai; Liu Jiakun; Wang Shu; Qingyun Ma; Yung Ho

Chang; Ai Weiwei; Li Xinggang.

41

fig38 Exhibition Post of ‘Tu Mu--Young Architecture of China’ Exhibition in Berlin,2001.

fig39 Exhibition Area

Wang Shu

Wang Shu could be counted as the most socially aware architect since

he won the Prizker Architecture Prize in 2012. Architect Alejandro

Aravena, one of the jury members of Prizker Architecture Prize, claimed

that “ an important question remained in process of Chinese

urbanisation, should urban development be connected with traditional

or only concerned with the future? Like each outstanding architect,

designs by Wang Shu have potentials to surpass and create a kind of

immortal architecture. They profoundly indicate this new kind of

architecture not only belong to China but also to the entire world ”.

(ABBS, 2012)

The idea of Wang Shu ’ s design is environmental consideration and

modern construction combined with Chinese traditional technology. His

ideas and works offer influential possibilities for historical uses often

ignored in Chinese urbanization projects.

Wang Shu built up his own studio the Amateur Architecture Studio with

his wife Lu Wenyu in 1997. Their design goal was to rebuild the

harmonious relationship between nature and habitation in Chinese

42

history. From this perspective, Wang Shu aim was to convince the world

that Chinese modern architecture could be combined with Chinese

traditional elements leading to a harmonious and effective outcome.

Wang Shu has stated that, “ I would never copy any phenomenon

happened in history in its entirely, but you still could discover traditional

features in my design. Other architects may consider more on spacial

perception but I consider type and prototype. Prototype is connected

with memories. ” (ABBS, 2012) Therefore, Wang perfectly mixes

tradition and modernity by reusing bricks and tiles from demolished

buildings. “ His work ‘ is that of a virtuoso in full command of the

instruments of architecture--form, scale, material, space and light.’ said

the jury. ‘ His buildings have the unique ability to evoke the past,

without making direct references to history, ’ the jury said in its

citation.”(Blair Kamin,2012)

Case Study

Design by Wang Shu and Lu Wenyu took root in the natural or social

environment where the building was built. One of the most impressive

design from them is the Ningbo History Museum (fig 40-42) in 2008. It

has a fastigiate form like a castle and reused various kind of bricks and

43

fig40-41 perspective of Ningbo History Museum

tiles from demolished local architecture to build the walls. Although,

Ningbo History Museum used modern concrete structure, its walls with

local bricks and tiles connected the museum closely with the local area

and its local history.

Wang Shu seeks traditional arts in Chinese modern architecture.

Museums are an important medium in enshrining a country’s traditional

culture, its design should have a tight connection with that it seeks to

present. Wang Shu took the lead in putting forward ‘ Chongjian Dangdai

Zhongguo Bentu Jianzhuxue ’ , which means rebuild the Chinese

contemporary indigenous architecture. According to this new

understanding for modernity and tradition in architectural domain,

Wang Shu emphasis architecture and nature in one combined as his

design concept and started his work from natural environment; cultural

geography and landscape arts.

Materials and construction

Generally speaking, traditional inheritance has two methods. One is

consider local architectural forms then copy or symbolised the forms in

modern architecture. The other one is concerned connotation in

traditional architecture and seek reasons of traditional forms. Then

44

fig42 Interior of Ningbo History Museum

fig43 Brick and tiles wall of Ningbo History Museum

using the reasons as a new connotation occurred in modern architecture.

The latter inheritance method reflected on the design concept of

Ningbo History Museum. External walls are distinguishing features of

the museum. It employs tiles from east Zhejiang and special concrete

panels to build the external walls. Tile walls occupied half area about 1.2

thousand square meters. Each 100square meter need 100pieces ancient

tiles that is more than one million pieces of tile in one museum.

These ancient bricks and tiles were obtained from an adjacent area of

Ningbo and most of them were re-used during the urban

transformation period. Adopting ancient materials is amounts to bring

Ningbo’s history in architectural construction. New construction system

continues to ‘recycle construction’ idea of Chinese tradition. Architects

of Ningbo History Museum transformed traditional construction with

modern technology. After repeating experiments, architects created a

concrete beam system with 3 meter intervals to ensure the safety of

brickwork. Moreover, inside the tile walls architects using modern

materials for the cavity. Therefore, the entire design not only succeeds

on indigenous traditional inheritance but can also boast superior energy

conservation.

45

Fifty craftsmen took 200 days laying bricks by hand to build the tile walls.

Wang Shu explained that he employed manual technology in order to

promote traditional technology and help support local craftsmen. If

architect ignored these methods then in time he industry would suffer

and in the long term become unavailable altogether. He that if tradition

such as this lost then large elements of Chinese culture would be lost.

Another kind of wall is fair-faced concrete wall. However, panels of fair-

faced concrete using special materials--moso bamboo. Moso bamboo is

ordinary in Zhejiang province and it beard amounts of humanity feature

in Chinese history. Texture of moso bamboo concrete panel has Chinese

characteristics.

Methods dealing with architectural materials in Ningbo History Museum

bring vitality to the architecture. It is a modern architecture

undoubtedly but it also combined with Chinese history.

Qingyun Ma

Qingyun Ma is another representative figure of younger generation

architects in China. He gained his Bachelor degree from Tsinghua

University School of Architecture and did his master courses in

46

University of Pennsylvania (U Penn). After graduated from U Penn,

Qingyun Ma has got practiced at Kohn Pedersen Fox and Kling Lindquist

in the US. In 1999, he established his own studio in Shanghai which

named MADA s.p.a.m. (“The name is an acronym for Strategy, Planning,

Architecture, Media. Yun suggests that the speed of change in China

dissolves all boundaries between these four pursuits. ” ) (Raul A.

Barreneche, 2005)

“MADA s.p.a.m. sees architecture not as just a finished product, but as a

rigorous process that challenges dead-end ideas and strives for

coherence. Ideas and practice are delayed, diverted and even destroyed

in the constant questioning of each project beyond traditional building

values.” (AD 78. No5. 2008. P84)

After completing series of successful projects, Qingyun Ma obtained a

position of Dean of the school of Architecture at the University of

Southern California. Yun became the second Chinese dean of the school

of Architecture in US after Yung Ho Chang of MIT. “This significant move

back to academic while continuing to practice streched his reach

beyond China, enabling him to both import new ideas to China and

export Chinese ones globally.” (AD 78. No5. 2008. P84) Like the Prizke

47

fig44-46 perspective of Father’s House

Architecture Prize Wang Shu has won in 2012, Chinese architects

assumed essential position in architectural academic education abroad

like Qingyun Ma and Yung Ho Chang, also indicates Chinese

architectural development gets its transition. These examples help

support the idea that China is starting to play an important role in

development of architectural ideology around the world. For Chinese

architectural ideology, traditional should be regard as its necessary

source and essential foundation.

Case Study

Father’s House is one of Qingyun Ma’s representative works (fig 44-46) .

Father ’ s House has its unique name in Chinese-- ‘ Yushan Shichai ’.

‘ Yushan ’ means the location, Yushan town of Xian province, of the

house and it also is Qingyun Ma ’ s hometown. How beautiful Yushan

town is? “Painters were drawn to what still exist in the area: one of the

world ’ s most biologically diverse forest lands, with hillside covered in

native firs, ginkgos, yews, and bamboo that supports the indigenous

population of the world famous Giant Pandas. ” (Raul A. Barreneche,

2005)

49

Materials and construction

The house located on a sloping hillside could viewed as a green

mountains surrounded and a river bends from the sloping hillside.

Intuitional perception of the house is that the walls are both smooth,

water-polished stones and rough stones from the mountain. Due to

different flow rate in the river, scales and colour of the water-polished

stones were different. This situation enriches architectural material

sources for the house. Local villagers helped to build the house with

collecting the water-polished stones and sorted them by color and scale

according to where on the house Qingyun Ma planned to install them

(fig 47). (Raul A. Barreneche, 2005). However, the organization of the

house is simple and modern, traditional elements can still be found

from construction material and perspective house with natural

surroundings. Interior design with bamboo-covered panels that match

the floors and ceilings combined with a steel-framed glass entry facade

and concrete columns (fig 48). It is a new style of traditional agrestic

decoration and modern architectural structure combination. Qingyun

Ma thought architecture exists as an immortal concept in western

culture such as pyramid and Parthenon Temple. But for Chinese,

architecture exists as an object. Object in Chinese culture is temporary

but the ideology which hidden in the object is immortal. After that, Ma

realised Chinese architecture needs ‘appropriate technology’. It does

50

fig47 detail of the stone wall

fig48 interior of Father’s House

not like ‘advanced technology’ in western country which would pushed

people made mistakes or ‘ behindhand technology ’ which he feels is

vulgar. ‘Appropriate technology’ in Qingyun Ma’s concept is a kind of

indigenous technology and bring romantic views. And in Father’s House,

the bamboo panels and exterior stone walls indicate the ‘appropriate

technology ’ from Qingyun Ma and give his design a more romantic,

handcrafted feeling. Qingyun Ma insisted utilised tradition to overturn

tradition. In his mind, tradition is a limitation for architects to break and

surpass.

From this opinion, Qingyun Ma’s idea and design give another possibility

to inherit Chinese tradition while developing Chinese modern

architecture.

Liu Jiakun

Liu jiakun gain his fame for impressive ability in dealing with

architectural materials. Unlike Qingyun Ma, Liu was educated in China

and his designs are regionally grounded. He opened his own studio in

1997 in Chengdu after fifteen years of practice for government projects.

Liu explain his thoughts about architecture in his writings which were

51

extremely clear. ‘ Liu says it is important to understand to location of

one ’ s practice. Situated inside China in the south-west, subject to

various limitation, it is important to appreciate the region ’ s condition

and tradition, and to turn them into positive resources for a creative

design. ’ (Jianfei Zhu,2009, P141). Some architectural works by Liu in

remote area were helped him obtain admiration for his design strategy.

‘ Low-tech ’ was the main strategy for him adopted in his design. It

means under limitation of budgets and construction skills, select

indigenous sources to express a regional traditional taste. The Buddhist

Sculpture Museum (fig 49) is a good precedent in his rural projects.

Case study

If mentioned Liu’s urban projects, ‘Jindu Yuan Jie’ (fig 50-51) would be a

good example. ‘Jindu Yuan Jie’ was Liu’s latest design in city centre of

Chengdu. This time, Liu attempted to organized and recreated

Chengdu’s urban pattern and utilized traditional architectural language.

Jindu Yuan Jie sited in a sensitive area in Chengdu. The site was in the

border of large-scale commercial buildings zone but also close with the

famous ‘wide-narrow alleys’ (fig 52) historical cultural protection area in

Chengdu. Liu defined the concept of the project in ‘ in-between ’ . The

item express t he abstract ‘in-between’ relationship in different ways.

52

fig49 Buddhist Sculpture Museum

‘In-between’ modern architectural function and traditional architectural

types; ‘ in-between ’ new constructed modern high-rise buildings and

ancient lower houses; ‘ in-between ’ popular fashion passion and

continuously nostalgic mood; ‘ in-between’ modern technical materials

and traditional handcrafted construction, ‘ in-between ’ future

development and history inheritance. A mass of conflict between new

and old; modern and tradition concerntrated on this project. However,

these conflicts give a rich background for the designer.

Psychology

Liu jiakun use ‘space-time crake’ to desctibe reality situation about the

project. Modern and tradition standing opposite each other in styles,

functions or forms. This reality not only occurred in Chengdu but also in

Chinese architectural development in past several decades. With more

ancient houses demolished and historical blocks disappeared, more

modern buildings established, the situation of ‘ space-time crake ’

became serious in Chengdu. For Liu, designing ‘ in-between ’ under

‘space-time crake’ would lead to a dramatical consequence. It is also a

problem for architect to solve the relationship between tradition and

modern. For that, Liu claimed, ‘ I don ’ t think dealing tradition as

inheritance is appropriate any more. Instead of that, I prefer

53

fig50-51 Jindu Yuan Jie

fig52 wide-narrow alleys in Chengdu

conservation. Conserved tradition, but also develop.’

Dealing with the ‘ space-time crake ’ situation of the site, Liu gave

another word ‘ stitch ’ (fig 53) to describe the strategy. He leave the

primary point of the project on overcome the spacial relationship about

‘ in-between ’ . Expanding the pattern of ancient blocks area of ‘wide-

narrow alleys’ into Jindu Yuan Jie project. The expanding pattern would

separated the huge site into small pieces and the pieces would form as a

mixture spacial feeling. The strategy of brought the ancient blocks in the

modern project likes a needle connected two sides next to the site

which is the item ‘stitch’ means.

Semiotics

The sloping roof is one of the most important symbol of Chinese

traditional architecture. The symbolic feature would get stronger in

traditional historical protection zones, areas likes the ‘wide-narrow

alleys’ in Chengdu. Generally this is viewed as a direct connection with

architectural tradition and many modern buildings with this feature

have been designed with tradition in mind. But can are buildings with

the sloping roofs are definately traditional architecture? Without

sloping roofs are definately modern architecture? According to series of

54

fig53 Concept of 'stitch'

conflicts, Liu replied the public ’s requirements directly and avoid some

immediate crashes. From this perspective, Liu reformed the sloping roof:

1) maintain the horizonal ridge line;2)simply the traditional relationship

between sloping roof and walls by remove the eaves;3) recreate the

parrallel relationship between zhongji (central line on the roof) and

ridge;4) replacing traditional roof material tiles into concrete (fig 54).

Therefore, the new roof pattern also express the concept of ‘in-

between ’ -- ‘ in-between ’ traditional Chinese sloping roof form and

western modern strategy. Meanwhile bring a new style of traditional-

modernised pattern.

Materials and construction

Liu using concrete panels to constructed walls instead of traditional grey

bricks. However, Liu poured into grey pigment when produced the

concrete panels. It aims to solidify the traditional colour in modern

materials outcome texture. Another design detail on walls connected

with tradition is building a aluminium alloy gridding. Shape of the

gridding seems like gaps on traditional brick wall. But it magnifies the

combination consequence of bricks and formed like hollow out windows

in Chinese traditional house. From Liu ’ s project of Jindu Yuan jie, an

renew possibility about using traditional elements in modern

55

fig54 reformed sloping roof

architecture.

Actually, a mass of traditional elements could be found in different

projects by younger generation of architects in China. According to the

different understanding about culture and history, they have different

description about tradition, they adopting their personal architectural

language to express their own description on tradition, hence people

could learned Chinese culture through the traditional elements they

leave on their design.

56

Discussion and conclusion

Modernisation of development in China is a difficult and complex

process. In the domain of architecture, its development and ideas

connected with the country ’ s economic, political and cultural

development tightly. Through chaotic and radical ideological debate,

the Chinese have created a new style of architecture combined with

modern and tradition since 1980s.

The Architectural Society of China important conference was held in

Guangzhou on November 1985. The primary discussion was how China

was to develop its tradition and make it flourish. Dai Nianci, famous

architect in China in 1980s argued that development and innovation in

architectural design should insist on the principle of ‘socialistic

substance in national form ’ . He claimed development and innovation

should adopt the essence of traditional Chinese architecture as a

foundation and perfect it to built up the philosophy for Chinese modern

architectural design. (Xue,2006)

All of the projects analysed in the paper are describe how Chinese

tradition guided Chinese architects to develop a kind of indigenous and

traditional style matching the modern reality in an appropriate

consequence. Modernisation and globalisation is the essential trend at

57

present, rebuilding could not offer a better life for residents. However,

as the case studies analysis mentioned, architects are balancing the

relationship between tradition and modern in different ways. These

strategies could be concluded by following points:

I. maintaining traditional courtyard while adapting architectural shapes

correlated to western modern style;

II. Protecting traditional historical block area but changing its initial

function in commercial activities;

III. Using Chinese traditional gardens in a modern architecture;

IV. Taking inspiration from Chinese traditional semiology and utilising it

with interior or elevation design;

V. Combining local traditional materials and western modern materials

meanwhile proving traditional construction technology with the help of

advanced modern technology.

Strategy is what to solve problems, so the most important thing is

problem. The problem appeared in the relationship of modern and

tradition is understanding the ideology ancient Chinese expressing

through their architecture or other art forms like painting, poems, music

58

and so on. All of the new Chinese style projects have something in

common which is selecting the tradition ideology as their own

architectural concept. The traditional ideology help architects creating

vast and abundant strategies dealing with traditional elements in a

modern architecture.

What will happen in Chinese architectural design in the future? With

rapid growth in Chinese economy, stable society and obtaining respect

around the world, Chinese new style architecture rising and won

numerous attention. From that, it is not difficult to imagine China ’s

architectural bright future. However, it can be sure is this kind of new

Chinese architectural style not only belong to China but also a good

precedent for international architectural development.

59

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fig9 analysis for high-rise residential building. Sketch by Qiuying Huang.

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ten.jpg

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http://www.epochtimes.com/gb/7/7/17/n1775095.htm

fig12 the Forbidden City. Available in

http://bbs.fund123.cn/OldPost_295545.aspx

fig13 Evolution of Chinese capital cities (all city plans are drawn to the same

scale). Wu, L. 1999. Rehabilitating the Old City of Beijing: A project in

the Ju’er Hutong neighbourhood. P5.

fig14 A map of imperial Beijing , 1553-1911. JIANFEI ZHU. 2009. Architecture of

Modern China: a historical critique. P223.

fig15 axis wire. Sketch by Qiuying Huang.

fig16 Proposal for the master plan of Beijing by Liang Sicheng and Chen

Zhanxiang (1949). Wu, L. 1999. Rehabilitating the Old City of Beijing: A

project in the Ju’er Hutong neighbourhood. P20.

fig17 Proposal for the new administration centre in the west suburb of Beijing

by Liang Sicheng and Chen Zhanxiang (1949).Wu, L. 1999. Rehabilitating

the Old City of Beijing: A project in the Ju’er Hutong neighbourhood.

P21.

Fig18 Multi-centre Cluster development strategy for Beijing. Wu, L. 1999.

Rehabilitating the Old City of Beijing: A project in the Ju’er Hutong

neighbourhood. P26-27.

fig19 "Chuandou Shi" -- Structural system of Chinese traditional architecture.

Zhao Guangchao. 2000. Buzhi Zhongguo Mu Jianzhu. P50.

fig20 "Tailiang Shi" -- Structural system of Chinese traditional architecture.

Zhao Guangchao. 2000. Buzhi Zhongguo Mu Jianzhu. P51.

fig21 Chinese traditional architectural materials. Available in

http://www.showchina.org/zixun/200901/t253986.htm

fig22 Bird’s eye view of Ju’er Hutong. Available in

http://210.26.5.7:9090/ydtsg/data/7080198.jpg

fig23 Types of Chinese traditional courtyard house. Zhao Guangchao. 2000.

Buzhi Zhongguo Mu Jianzhu. P142.

fig24 General Plan of Traditional Courtyard House & Ju’er Hutong. Sketch by

Qiuying Huang.

fig25 Functional Concept of Traditional Courtyard House & Ju’er Hutong.

Sketch by Qiuying Huang.

fig26 Ecology pattern of Traditional Courtyard House & Ju’er Hutong. Sketch by

Qiuying Huang.

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fig27 Plan of Hutongs. Available in

http://www.bjww.gov.cn/2006/4-5/15185.html

Views of Hutongs. Available in

http://m.secretchina.com/node/512016

fig28 Views of Nan Luogu Xiang. By Qiuying Huang.

fig29 Pattern of Hutongs in Beijing. Sketch by Qiuying Huang.

fig30 Pattern of Courtyard Houses in Nan Luogu Xiang & Tourism Circulation

and Shops Pattern of Nan Luogu Xiang. Sketch by Qiuying Huang.

fig31 aspect ratio in Nan Luogu Xiang.

fig32 Perspective of Fragrant Hill Hotel. Available in

http://formny.info/category/projects-list/h/

fig33 Chinese traditional garden. Zhao Guangchao. 2000. Buzhi Zhongguo Mu

Jianzhu. P162.

fig34 Chinese traditional roof forms. Zhao Guangchao. 2000. Buzhi Zhongguo

Mu Jianzhu. P99.

fig35 Gardens in Fragrant Hill Hotel. Available in

http://www.oaktaylorsmith.com/commissions/architecture/

fig36 Glass roof in ‘Changchun Courtyard House’. Available in

http://sarahtiggelaar.blogspot.co.uk/2010_11_01_archive.html

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fig37 Tiananmen Incident. Available in

http://www.rfa.org/mandarin/yataibaodao/64-06032009120239.html

fig38 Exhibition Post of ‘Tu Mu--Young Architecture of China’ Exhibition in

Berlin,2001. Available in http://www.ikuku.cn/idea/394

fig39 Exhibition Area. Huang Jingjing. 2002. Journal of Xin Zhoukan, no.3.

fig40-41 perspective of Ningbo History Museum. Available in

http://www.abbs.com.cn/topic/read.php?cate=2&recid=32642

fig42 Interior of Ningbo History Museum. Available in

http://www.abbs.com.cn/topic/read.php?cate=2&recid=32642

fig43 Brick and tiles wall of Ningbo History Museum. Brendan Mcgetrick and

Wang Shu. 2009. Journal of Domus China. 032, no 5, 2009. P48.

fig44-46 perspective of Father’s House. Available in

http://www.ikuku.cn/project/%E7%8E%89%E5%B1%B1%E7%9F%B3%E6

%9F%B4%EF%BC%88%E7%88%B6%E4%BA%B2%E5%AE%85%EF%BC%8

9%E9%A9%AC%E6%B8%85%E8%BF%90

fig47 detail of stone wall. Available in

http://www.ikuku.cn/project/%E7%8E%89%E5%B1%B1%E7%9F%B3%E6

%9F%B4%EF%BC%88%E7%88%B6%E4%BA%B2%E5%AE%85%EF%BC%8

9%E9%A9%AC%E6%B8%85%E8%BF%90/%E7%8E%89%E5%B1%B1%E7

%9F%B3%E6%9F%B4-18

fig48 interior of Father’s House. Available in

http://www.ikuku.cn/project/%E7%8E%89%E5%B1%B1%E7%9F%B3%E6

%9F%B4%EF%BC%88%E7%88%B6%E4%BA%B2%E5%AE%85%EF%BC%8

9%E9%A9%AC%E6%B8%85%E8%BF%90/20080512_cfd5722de323e970

a1833ddqeqocc1ij

fig49 Buddhist Sculpture Museum. Available in

http://www.arthitectural.com/jiakun-architects-luyeyuan-stone-

sculpture-museum/

fig50-51 Jindu Yuan Jie. Available in

http://www.chinaacsc.com/case/ShowArticle.asp?ArticleID=1094

fig52 wide-narrow alleys in Chengdu. Available in

http://travel.people.com.cn/GB/139035/241815/17595549.html

fig53 Concept of 'stitch'. 1.Sketch by Qiuying Huang. 2. Deng Jing&Yin Hong.

2007. Time+Architecture Journal. P99.

fig54 reformed sloping roof. 1.Sketch by Qiuying Huang. 2. Deng Jing&Yin Hong.

2007. Time+Architecture Journal. P99.

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