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In China lijkt het bou- i-j:-::.,:rr
.. In China constructron
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ni{ril tuii,r,nit
onopgemerkt plaats te vinden. Hoewel appears to take place almost imperceptibly.
Despite
rbru,raiirgn-ekkende cijfers getuigen van een onge- mind-boggling statistics attesting
to an unparalleled
sieren maar weinig construction outplrt, relatir.ely few cranes adorn the
'u'r'tuinerde bou$'productie,
[minqqftranende skylines van Beijing, Shanghai, skylines of Beijing, Shanghai,Guangzhou,
Shenzhen
ffirsmrafosrr. Shenzhen en andere miljoenensteand other megacities. The speed u,ith nfiich a tower
4m De :snelheid waarmee een toren uit het niets can appear out
of noq,here causesmany inhabitants
mr'*ursrlhiintdoet menig bewoner oprecht twijfelen to doubt the evidence of their o\\'n eyes.Colourfui
rurum
"r.at hij ziet. Kleurige billboards schermen billboards neatly screenbuilding sitesfrom view and
umflupurten neties af en geven gebouwen pas prijs only reveal the builclings alter they
have reached a
uttlls
rc een onontkoombare hoogte bereikt heb- certain height. In short, in no other country
do new
hrcm'triortom' in geen enkel land verrijzen nieuwe buildings and districts springJup s'ith
such frightenen stadsdelen met zo'n onheilspellende ing speed and apparent ease.Construction
lflE{finli{rren
and town
*r[i.h'eid en schijnbaar gemak. De architectoni- planning have reallv taken off in
the last ten years.
*uhr en stedenbouwkundige ontwikkelingen
zijn One of the main drir.ing forces bel.rinclthis boom is
lr ,r-frelopen tien jaar in een stroomversnelling the realization of the nes'Chinese
clream:a successful
gyclranht-Een van de belangrijkste oorzaken hier- life with an apartment ancla car in a rnodern
metropr';lrmir* de r-errvezenlijking van de nieuwe Chinese olis. The cities are
being rigorouslr- aclaptedto this
iidnmnm:een succesvol leven met eigen apparte- all-powerf-ul vision of the lirture..\
highly cleveloped
r*!trrt en auto in een moderne metropool. De ste- inf'rastructure, upmarket shopping centres,
fbrests of
lnm rrorden rigoureus aan dit allesoverheersende towers and higlr-tech architectureare
the would-be
mmhomstbeeld aangepast. Een hoogontwikkelde guarantors of the nes'lifbst-r.le.
-\ society so intent
llndrastructuur' luxe winkelcentra, reeksen woon- on pursuing a nes lision of the firtpre
has little interrlir'rrenien 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'hereasthe future
is clear,
oijflemet een dergelijke intensiteit en overtuiging
comprehensible and unproblematic. Small wonder
eru nieu$ toekomstbeeld nastreeft, heeft maar then that in sketchingits r-ision
of the {uture, the
r'einiE oog voor het heden. Het heden is immers Chinesegovernment should
proceedon the basisof
tmimrpler'chaotisch en verwarrend, de toekomst tabula rasa.In one fbil slvoop
the troublesomepresent
&&^r.rregenhelder, begrijpelijk en probleemloos. is erased.
D'e Cbinese overheid neemt bij 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 architectsthat they shouid be part
of this scene,but
oruterminderd groot en wordt vooralsnog beheerst say nothing about the current
architectural climate
0mgering.
ofthis. Nonetheless,behind the roughnessoftheir
Wtru glmrieus het beeld r-an de toekomst ook concepts
and designs are ref'reshing solutions which,
fllfrrurnde huidige Chinese maatschappij ver_ with a little more
time for research and reflectiorr, are
lunq:rs[e onzekerheid, ook de avant_garde_
capableoffurther refinement. In that sense,the
hieh
L,,r.urich hier onmogelijk aan onttrekken. point
ofChinese architectureis still to come.
nmry.g,crem
op deze onzekerheid, maar ook op
The exhibition and this essayconsequently rep_
ran een ongekend urbanisatieproces
resent no more than a snapshot.The essayattempts
nuiltrir,*ieh onderdeel uit van het ontwerp. first
ofall to describe the current Chinese architec_
Gril#'rf,ntmde turbulente omstandigheden dan
tural sceneand to place the selectedarchitects
within
nm . Ierronderlijk
dat de geselecteerde ont_ it. To what extent do they
differ from the mainstream,
m,i:nschienniet altijd het meest adequate
what are their specificqualities andjust how criti_
in zich hebben. De architect en zijn zich cal are
they? Do they fulfil a pioneering role or is
fcrdege bervust. Desalniettemin liggen this a
purely Western notion based on the attention
u'u,nfueidr an hun concepten en ontwerpen their
work has receivedin books and magazines?
oplossingen besloten die met iets More so than
the mainstream,the selectedarchitects
ro,or onderzoek en reflectie kunnen door_
appearto take reality as their starting point, but
how
llet hoogtepunt van de Chinese architec_ decisive
are current circumstances ior a new architec_
i-ndie zin nog komen.
ture? In other words, do they perceivethe chaos,
the
IDr ruuroonstelling en dit artikel getuigen dan uncertarnty
and the speedas fruitfut conditions and
tdtth'tl r'an een momentopname. Het essay
do such practical obstaclesactually result in a
new
in eerste instantie het huidige Chinese idiomP
A major concern in the \\-est is how Chinese
limaat te karakteriseren en de gese_ identity
will fare in the face of all these developments.
errhitecten hierbinnen te positioneren. And,
finally, can we learn somerhing from this desrgn
onderscheiden ze zich van de hoofd- approach
P
rat zijn hun specifieke kwaliteiten en hoe
rijn ze daadwerkelijk? Vervullen ze een
hersrol ofis dit een positie die louter in
Wu:*ren leeft.door alle aandacht voor het werk
'*lrr architecten in boeken en tijdschriften?
'{rn de hoofdstroom lijken de geselecteerde
tnunrtende realiteit als uitgangspunt te nemen,
ftrnebepalend zijn de huidige omstandighe_
nuilDreen nieuwe architectuur? Met
andere
er\-aren zij de chaos, de onzekerheid en
*{heid
als vruchtbare omstandigheden en
juist deze praktische belemmeringen
tot
mrcuw 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?
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,dtlgrote stappen voorwaarts en in
zijn archi_ the land ofgreat leaps forward and architecture
is
is er evenmin sprake van een geleidelijke no
exception: there is no question ofa gradual evolu_
heling. In de twintigste eeuw is meerdere tton.
In the course ofthe twentieth century, there
naar een moderne, eigentijdse Chinese
were several attempts to arrive at a modern, contem_
tuur gezocht.' Niet verwonderlijk viel dit porary
Chinese architecture.' Unsurprisingly, these
0g
:
turmi Ffut rlieu$ e architectuurklimaat
kreeg over_
gestalte met de toenmalige hoofdstad
rtttllndlrpr.lijli,n
{ulrrrrilnq naasr sreden als Shanghai, Guangzhou en
nnl rry aeilere hoogte ook Beijing) als belangrijkste
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L- l- Fei- de al jarenlang
:= One exception
in de :**!- ==i:.:.==..i:i+:=
to this was the
Ch inese architect. Chinese-born, US trained
architect I.M. pei, a long_
irtmi-buirenlander een uitzon_ trme resident
of the United States and as such a semt_
[frmqr hii de opdracht een van de foreigner. In 1977
he was commissioned to design one
ta hnriten Beijing \-orm te geven. ofthe new hotels
springing upjust outside A"rJing.
d.frl otrrerp
voor het Fragrant
Pei wanted to revitalize national architecture
with his
lrchitectuur
nieuw leven F ragrant Hill Hotel and hoped
that his return to tra_
rner zijn reruggrijpen op de ditional building
styles would set an example.5With
e e u vs6 1 [ ' g ld te ste lle n ." its series of internal
courtyards, *hite_rer-,deredwalls
op de tuinen van Suzhou. and grey rooftiles,
the hotel, inspired by the gardens
ctl reehs binnenhoven, witge_ of Suzhou, was
not at all the Western architecture
a criire dakpannen allerminst
hoped for by the Chinese architecture world.
Instead,
mrn dr Chinese architectuurwereld
Pei's example stimulated interest in the by then
for_
rrulitecruur.
Pei stimuleerde gotten regional architectural
styles. The result was
,lsmdacfr't r,oor inmiddels vergeten a 'new
vernacular' that spread throughout China
in
rstijlen. Het leidde tot een t98Os. Ultimately,
however, this architectural move_
'dm rich in dejaren tachtig over ment, based on
nostalgia and an aversion to Western
,*anpre,iden. Desalniettemin
bleek influences, came to be seen as inappropriate
for a
ing, grotendeels geba- country eager to embark
on the process ofqlobaliza_
ger-oelens en een afkeer tion. Besides,scanty
knowledge of regionuibuildir,*
niet te passen bij een land styles led to a formalistic
approach by architects,
juist dolgraag wilde while their small-scale
experimentsdid not constitute
O;rcndien regeerde bij architecten an adequate
response to complex new urban plan_
bemedering door onvoldoende ning challenges.
In the secondhalfofthe tgsos the
mgimrte
bou*'stijlen en vormden focus switched to the
swelling stream of informatron
crperimenten geen adequaat from the West
and the .new vernacular, architecture
m'*r *tedenbous-kundige opgaven. movement
faded into the background. However, a
l\silttfr 11.r1de jaren tachtig verschoof
small group of architects (mainly academics)
never
'ry de groeiende
informatiestroom
abandonedregionalism; sincethe late t99os
critics
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