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,
In China lijkt het bou- i-j:-::.,:rr
.. In China constructron
l:.,:j-rri:::..i:;::::;':::..
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

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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?
,::.:=::-:.::
: t-::.i
i:::a.j
i: L * China is het land i$r:-:::-r:f
,i iiui:i .':i.:i=iJ:::iii*:-iir-j:
:iii j::i-i.:5i
I .-_China rs
,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

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pooruasselA
Eput-l

:
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
:
fll||tildfr{5-irorrir.1"

(1899-195s),who not infrequently managedto secure


malor commissions; in Shanghai alone, orrerfifty
ibreign firms u'ere active in the early 193os.In this
period it is possible to identify four main architectural
approachesthat display many similarities with cur_

tLmu:l klimaat waren westerse architectuur_ rent architectural practice.


F irstly, an architecture
mmd[rr'&ler
alomtegenvloordig. In de opleiding van modelled entirely on Western
architecture, r,r,.hich
gelreratie architecten zelf,maat ook in according to many
liillllx,*
4fiffr,1iire
offered the best meansofexpress_
luqumnryeriEheid
t-an buitenlandse architecten ing typologies that were nerv
'itttru,*
to China, such as public
rillr{ft
m*?arrr}Iurph-v (t877-tgS4), Curt Rothkegel buildings and commercial
enterprises.A secondand
llrltr{iilrfi-i
s$s en Laszlo Hudec (rass_rs58), die niet very different approach
aimed to rnodernizetradr_
rrlr;#llliilufi
ueiamgrijke opdrachten in de wacht sleep_ tional architectureas
much as possiblefrom withrn
pmrrruirljreen
al r anuil Shanghai opereerden begin and to keep the introduction
ofoutside influences,
illmrulll
ouf;rig ruim vijftig buitenlandse bureaus. In such as new buiiding
technologies,to a minimum.
rilfr*pro'--r'r.de
z ij n,r-ier b elangrij ke architectu urop _ Under this approachthe spatial
composition,use of
rtttltfitlitlriluqrrn
aan te rvijzen die veel overeenkomsten colour and'proper' proportions
of traclitionalpalace
(ie h.uidige architectuurpraktijk
]ilrilrnil..i'
vertonen. architecture u,'ereresolutelt. irnitated; cun.ed roofs
rtttl1l]llhrl'{ller.i
r een a rc hitectuur geheel naar we sters were de rigueur. A lreer
reinterpretationresultedtn
ur*wr,rr**e,i,'idie volgens velen het beste uitdruk_ structures displaying a
more nuanceclcornbination
liilnirrlH
$qn!m
Eel'en aan voor china nieuwe typolo- of Western and traditional building sil,les
that did
l$rwdn rln'atrspublieke gebouwen en commerci.le
not imrnediatelystrike the lies.er as Chir.rese.
The
rnrrmdu:rnreun
in gen. D aartegenover stond de poging curved roofwas consciouslr.
abancloned,
but other tra_
lrnnrd* ::lditionele architectuur zo veel mogelijk ditional elements,
like the clecoratedbase,the portal
rfriu[hLm,ulrrnuitte moderniseren en invloeden van and
south-fhcingfacade,s'ere corlbined * ith more
tttttuurrmiemafbijr oorbeeld nieuwe bouwtechnolo_ modern building techniqr.res,
ntaterialsar.rdWestern_
ryundrne-treenbeperkt toe te laten. De ruimtelijke
inspired composition.A fourth irlportatrt rno\.ement
{mm{ur(t.bet kleurgebruik en de
\'\rasconcerned with the preser\ ation of tr.aditional
Juiste'proporties
qrumde :r'aditionele paleisarchitectuur
werden architecture lvhich it hoped to guarantee b_ypromot_
lllrlldr-lLnhelijknagevolgd; bovendien kregen de ing public knowledge
through rigor-ousstLrdyand
een gebogen dak aangemeten. Een vrij_ documentation.s
Silrillho*lnmem
ilrttililff,
hrrnf,rerpretatie leidde tot trouwwerken die
is1e1*r,genuanceerde
flnif{r
combinatie van de wester_
,m ::r,oCiirionelebouwstijl tentoonspreidden
wmr,
en
Milruunntronnr
op het eerste gezicht niet Chinees leken.
lffixr gororrgen dak kreeg bewust geen navolging,
nnrlrlurrun
rurrdrretraditionele elementen zoals de gede_
rLlrrmlr'nrf,loe
rokkel, het portaal en een op het zuiden
faqade u'erden gecombineerd met onder
rynr,r-uhre
mrniltcy
muralernebourvtechnieken, materialen en een
nrrirrerse principes gestoelde compositie. Een
ilrfl1il
ililurnldei*langrijke

beweging bekommerd e zich


ilm tilpr b,ehoud van de traditionele architectuur;
fillltorrr
tt*[ hevorderen van de algemene kennis door
srudie en documentatie hoopten onder_
lplrrumamuge
iliriilrrr.r{i{dr*r
lnet r oortbestaan van deze architectuur te
j
!]1!rurmume,ren.

.:

't;

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ur
-:11I

lplr{s bereEen d. \-at i ona Ie 1969) betokened little good for


architecture. Most
arulitectuuropleidingen
nationai design institutes and architecture
schools
ryprffcn en hun *-erknemers
u'ere closed down and their employeesdispersed
to
dfudana
gestuurd. Het beroep the countryside. There
was no name for the oro_
en in diejaren beli_ fessionofarchitect ancl
#[6 lrlr
in theseyears anonymous
Sgr{lour:en het non-ont *,erp. buitdings epitomizedthe absenceof design.
Although
E itrr lJrts fiormeel s'as r-oltooid. the revolution officially
endeclin 1969,no fundanren_
ruerdcringen
pas op na de tal changes occurred until after
the death ofMao
mr rur?fi- Ecn periode van ruwweg in 1976.After
a ten-year intellectual vacuum, the
ir*rr
neette dat de arch itec- architectural debate
had to be ignited all over again.
me;r sorden aangezwen- So, with a new culture
in the making. the searchfor
cdrurin
sording begon dan a contemporary, modern
Chinese architecture began
&rur cen aoehtocht naar een fbr the third time.
Initially this took place away from
Clirse
architectuur. Aan- l h e l i m e l i g h t , f r e e f r o m
a n y b o m b a r d m e n to f i m a g e s
mrri.hteling
nog in de luwte and ideas from the West.
hmhlrdemenr
aan beelden en
a

'*

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
uaomrhtige

I
!

I
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i'
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t
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prrp{E}ualuIJadxa'1ucr1uo.1o,{1snouu,r.

rlllllllll{lllllllllllll['
dl! nurg:n'aliseren

de architecten
lllllllllilrlilln,n
nilw.1lltrtrrg
-rr(11 atie'e
architectuur
,\mnfiillttltnryrry:il
fi*i ct onrsikkelaars
heerst

met name
\-an ze te
daarnaast

his work, at worst the developer u,ill


engage someone
else to rearize the design more cheaply.
F.r young
architectural firr

ilil,,**,r
uilft$Jr'
&nr:r:'rhrirrertengeenmarktbesefhebben enorrnousry
r.rJ:il::ilrt::*:'*ffiH::::

fE F

t.,
:"r{ rjl

:.t h,

't u.[i{" I

lli

Lg'n
!lT{I

r{fillltdMlllull5rilanp!'t'
l
''e'radequaat kunnen ontwerpen. Een
,*r*,m'10**rrm&**
mrrktconsulent past de fagade om
rulllllirrrrr
r rr'rfi niilg e\ en aan. Bo'endien
umrrr*rn
hanteren
l1{llllnilrrrlllNllln,,lll?ll'lmnr:w-:r
helaars prijs'ragen als h6t middel
nlllllllfl,,
L{tt/fiir"t1?1[],o:'d
met flitsende ontwerpen te bewe*mnunilE
&l. xe te r erkoPen' Na een succesvolle
]$mlill,,lil
'illl&,illllll,nft,'rr'lr*
w'rrdt de *innende architect meestal
ututtttttttttttrrrrdt".
ge*tho'en' hij rvordt niet ofnauwelijks
duumn:

are consequently refusing to take part


in what they
seeu...o..upt,iompetitions.
In the early l99os, developersembraced
a wide
range of western national architectural
styres as
symbols of a rnodern tifbstyle. As part
of a ne,,.mar_
keting strategy, entire districts were
sometirnesgi'en
an Italian, German, spanish, Swedish,
Ame'can.r

Dutch appearance.As well as square rnetres,


develiillil,,ldll,,u'"*eirur,,'d
*n in het slechtste geval laat de projectopers now thre'r, a western lifestyle
into
the
sales
ut''*,*nm'ilu.lthier,'ar
het ont*'erp door een andere partij
package,brithely notlng that they rvere ,authentic
]'irr oslgn' Bij vooral startende archilffllfl*rrrrlril,ilhilm*ff
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,himsof
liittNttttttttntmmruxnru:*'
F{errmaakt dat steeds meer architecten
the market an<lproduce architecture
tliat satisfies
rrllllllllllilllll
LllrEqner
r'au in hun *'oorden'corrupte'prijsvrathe commercial dernandsof.the client.
In t'e words
r' --ren doen'
flmililll,lrrmm'
of Li Xiaodong: Architects had a choice
to be either in
lh: m -nren negentig omarmden projectthe lbshion or out of the competition.,"
rrrlnrrnrnwn
foiiuli,i*riu"rrs
a I I erlei westerse nationale archi_
l[lrnllltntilltr,r.+n
:.'-en aIs st mtrool voor een moderne
rrttrrmrurlltlnrri*rl*ri.liiL,
,{i s onderdeel van een nieuwe verkoop_
illiolllllut$tsr-E
f,:egen soms hele stadsdelen een wel
heel
Illlnrrd4lrurormr'
Dri.r
i ts. Spaans, Zweecls, Amerikaans of
1l*irrrrrrlilnumlrlumrrrr,c*
uiiterlijk aangemeten. Naast vierkante
iillllnurutrrlilr
hilen pr oj e c tontwi kkel a a rs nu o ok e en
J,.[il],
lltffiflililmlufrrllr"hr
]*."eattailt in de aanbieding en meldden
tlilluililrilbir
r--zag dat het om authentieke kopien ging.
il0urrunn
dlnr.mule bleek financieel bijzonder s,rc"e"rrol.
liif,rrirtiirr
n**r:urleel r-an de architecten speelt om
die
dlitiltilllrllln
im ro de r-raag van de markt en produceert
llllml,ltiilM;mur:r.ui;an
die r-oldoet aan de commercile eisen
rrttiiiillirrl
dh nm,nnachtgever hem stelt. In de woorden
van
'.\rchitects
llJllli,,,
[,,reu'r,nr:"ng:
had a choice to be either
fllrut:insitnon or out of the competition.'"
illllllil
Een preoccupatie met het beeld leidt
Irrrrrrrurtrn
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 op
urtttl6iim'-.rL*cme
N ijze illustreren: vanuit allerlei
onmo_
p'osities zien we gebouwen
lgr,rrtrt.ltilli*
en stadsdelen
,rrrrtirm
mur4,,tr651selen
uit de grond schieten, nieuwe
{i{tllrilili,itirrle.*
in het donker oplichten en bossen
die
irrrrlunri
glrrl,,euetapijten eenvoudig over het
landschap

. A preoccupation
.r:;i:::.i:i:.-::
with image may not
ah.vaysresult in the rnost original and
efficient archi_
tecture,but it certainly gives rise to
stunning anima_
tions and renderings,euphoricillustrations
ol-th.
realization of the new Chinesedream:
from nrultiple
unlikely viewpoints, we seebuildings
and districts
shoot out ofthe ground, new skylines
iight up in the
dark and forests roll out over the landscape
lik. g.""r_,
carpets;light showsand balloons regularly
pro_
claim the arrival of the ner,vurban landscape
n hose

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!.drvtassenrood
:i'r,rnflsr4 maquettes per jaar, heeft inmiddels
i :r! eel lokale als internationale klanten en ziet
.,: : * 1aatste klantenkring gestaag groeien. Binnen
:'. I L.inesearchitectuurzijn animaties en maquet_
de twee belangrijkste exportpro_
, ; l::r""."eI
.' ' : ::,

Los van de eerder beschre- ,. : ,. , : :


Lear.ing asidc the aforemen_
is
het
interessant om na te gaan tioned stylistic debates,it
'rlildiscussies
is interesting to follou,.the
' t lrt proces van internationalisering
binnen internationalizationofarchitectural information
in
I " ::rrrmatievoorziening heeft plaatsgevonden.
china. In the seconclhalf r>fthe t98os, go\.ernment
I I t tq eede helft van de jaren tachtig namen
de restrictions on the irnport of fbreign ide;rsrvere
eased
I -r-'eidsrestrictiesop de import van buitenland- r'vith
the result that altcr clecades
of totai absence,
" l 'en af w-aardoor, na decennia van complete translationsof'\\'ester.narchitecture
books and artii ru: i irhsid' westerse architectuurboeken
en clescoulclnon' be publishecl.It is relevant to ask
hor.v
i '* !len in vertaling mochten verschijnen. Een
this infbrrnation \\ as subsequentlyinterpreted. In a
' ' ;r'srijke vra ag hier bij is hoe dez e
inf or m at ie r e c e n t i n t e ^ , i e *, a r c h i r e c t . r - e t f r e o r i s t s t a n l . u n g h a d
" - ' lgens rverd geinterpreteerd' In een recent
this to say:"rhe nrost colr)'olr responseon the part
' 1-i le\\ zegt architectuurtheoreticus
Stan Fung of Chinesearchitectsarcl scholarsto Western
ideasis
" t' - "i trr het volgende: 'The most common
respon- radical nominalisnr. fhis is a cor)sequence
of *,orking
' ^ r ::h ep arto fch ine s ear c hit ec t s ands c holar s
i n a n i n f b r m a t i o '- p o o r c o . l r t 1 . . \ , . *, h i c h d o e s n o t m e a n
''&*'terlt
ideas is radical nominalism. This is a that peoplearc
e'trrel-r-Lllra\\are of the terms ol westI "i quence of working in an information-poor
ern discussions.Rather.it mears the encounterlvitlr
ri:rr' * 'h ich do es not m ean t hat people ar e
w e s t e r n i d e a s t a k e s p l a c e i . a g . e 'e r a l c o n t e x t t h a t i s
' t : :i-r una\l'are ofthe terms ofwestern discussi- characterizedby
thc desiccationof infbrrnation,the
r ' Pi'arher,it means the encounter with Western
dissociationof imagesfl.om rerts, the anrbig.ity of
: s i * ls kes place in a general context that is chaall conceptualtemirolog-r-. anclpoor.-qualitytransla'r -::rzed bv the desiccation of information,
the tions. People'sinteresr rn specific,arnes and boohs
l' *r' :ia tion ofima ge s f r om t ex t s , t heam biguit y
areoltenrelatedtotheacciclcntsof\rhatistranslated
' ri - ionceptual terminology,
and poor-quality into Chineseand also *hich fbreigp
architectshave
-i Tlletio ns' Peo pl e' s int er es t in s pec if ic nam es
b e e ng i v e n c o m n r i s s i o l si ' C l i i 'a . , , ,
' ' t : 'oks are often related to the accidents of
It is necessary,ho*-e'er, to clistinguishbetr.veen
rr! i: 1: tra nslate d int o Chines e and
als o whic h t h e i n f b r m a t i o n f l o *- so f t h c t 9 8 o s a n d
the t99os. ln
gn architects have been given commissions
' -'
in the t98os, an architect like Tadao Ando u,asable
to
becornefairly fhrnoLrs
in spite of or thanks to a dearth
Er ilsechtereenonderscheidtemakentussende of infbrmation.
After rs,lgggovernnlent contr.l rvas
''' -r:atiestroom uit dejaren tachtig
en dejaren easedstill further ancluntranslatedfbreign
publica" " 1:::ig Ee na rch itec t als TadaoAndok oninde
t i o n s w , e r e a l l o n 'e d i n t o t h e c o u n t r y . o n t t
;r''1: rachtig in China behoorlijk beroemdworden
"faceof'
it, this shoulclhar..e
led to a better and more critical
' I t I I k s of dankzi.i een minimale berichtgeving. er.aluationof infbrrnatron,
but many chinese archi' i i 1J neemt de overheidscontrole verder af en tects chosethis
mornent to distancethemselr,eslrom
: ' rrn bu iten lan dse public at ies ook onv er t aald
thewesternizedarchitecturaltheoryofthe 198os
u - : rIr geimporteerd' Een betere en
meer kriti- becauseit had resulted in the image being
placed
ili nP ' ' Lrordeling van de informatie lijkt hierdoor
abovethe text in china. The samefate arvaitedtrendy
rr' i= ' iik'ma arvee lch ines ear c hit ec t ennam enin
t h e o r i e s n 'h e n a r c h i t e c t s r e a l i z e d t h a t t h e y c o u l d n o t
rrr' : iiinde.iuist afstand van de westerse architecreadily apply them rn practice.chinese archrtects
r" t " : he orie I'an de jare nt ac ht ig, aangez iendez ein' s im p l y s r v i t c h e d o f f , a s i f t h e i r n e w s t a t e - o f r t h e - a r t
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desired,sojust how effectiveare


the architecture
bij het bestrijden van schools
in combatting a lack ofcriticai
analysis, a fas_
cination with image and the subordinate
poritio., of
{E narcr:erchiLre positie r
an the architectp After the cultural
revolution,
the sur_
lh & Cnftnurrle Rer-olutie lag
de viving architecture faculties
concentrated on training
en architectuurfa- students in
historical architecture, drawing
skills ancr
q,an hd*rorische
architectuur.
performing under enorn
ht mder grote druk kunnen
ilrq r,rnnel opleidingen inmid_
syllabuseshave been modernized,
opinion. as to the
er de lesprogramma's zijn quality
ofcurrent training are not positive.
There rs
frl & ncoingen over de kwali_ no theoretical
stimulus ofstudents,critical
and
con_
,cndernijs niet positief;
stu_ ceptual faculties. Little
<
i*ch gebied een stimulans
denkvermogen. Er its attendant
social and community problems,
is not a
#rcn o,nderzoek plaats, zodat subjectof discussion.
What ts more, studentsare nor
rncdelijle omgeving met alle
b_eingprepared for everyday
architectural practice.
ppelijke dilemma,s With some
exaggeration it can be said
that archi_
ciln dii*russie u-ordt. Bovendien
tectural training does not go
beyond good design
mil?r r0or de dagelijkse archi_
techniques and pretty presentations.
de

,,.Tf
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sothattherapidry
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maar

blijft

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het

Although architectural education


is still in
the process ofbeing reformed,
the desired rise in
standards may well come from
two new post_gradu_
hr,mni,ngen
binnen het onder_ ate rnstitutions: peking
University,s GraduatJCenter
lm in hun laatste fase beland
ofArchitecture (toso) and the
ResearchInstitute
kreliteitssprong
wel van of Architecture & planning
at Nanjing University
ir air e opleidingen wor _ (zooo).
The three_yeararchitecture
in Beying
iLril |Crrr-tduateCenter of Architec_
was established by architect yung
-r.r"
Ho Chang, the
I r 1999) en het Research course in Nanjing by
architects Ding Wowol Zhang
& Planning r.an Nanjing Lei
and Zhao Chen, who met one
another while study_
Ew drie.iarig architectuurpro_
rng at the ETH Zurich. Both
schools aim to offer a
Filltor o|pEezet door architect yung fuli-fledged,
multi-year course with particular
fbcus
qt{tldiirg in \anjing door
archi_ on researchand practice.'*
The
RIAp
describes
its
Zharg Lei en Zhao Chen.
die pursutt of'excellencein no
uncertarn terms: .RIAp
Zirirrh hebben ontmoet. Beide
encouragesits architects to meet
the reasonable
mtuniu crlrlar om een r.ohvaardige
design requirements of the owners
with creative
r.rtr te bieden met daarin
and original design vvorks.Exaggerations
and cop_
r,om onderzoek en de praktijk.,,
ie sa r e s r r i c t l y p r o h i b i t e <1I t. i s
e r n p h a s i z e dr h a t t h e
lnft b*. nattreven r.an krvaliteit design works
are not clar
!t["i,P Gn(our:rges
its architects to
tdii ;oede onts-erptechnieken

the
design
quarity
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dlrr& f"asserrood
I
i - - r ttt->l\ \'ears, holr.ever, avant_garde archi_
. -: rr d> alt ulldercurrent in Chinese architec_
i : -: - ri.e .':;
' . r!9 kreeg deze onderstroom
langzaam_
" - ".rdh eid d oo r een t ent oons t elling
t ijdens
,' - : \ .Dn gre s in Beijing, I n qO O r v olgde
een
' - - : r,roonstelling in het buitenland: .TU
MU
,.- . .\rchitecture of China' in galerie Aedes
:L - Het zijn overigens Chinese en daarna
, ir , :.:rrse a rch itec t uur c r it ic i die dez e gr oep
':, rrn a ls a va nt - gar de
bes t em pelen. Zhou:
this
term
to
describe a small circle of
- --d
" r:L_hirects who prefer pure modern
styles,
' . r er,r' different from the popular
{,
eclectic
r
I
ru

rr

''

t1""-

tri

tecture \,vasan undercurrent in Chinesearclrite<:tural


practice."tt
This r.rndercurrent
gradually gained u.ider
recognition as a rcsult oi'an cxhibition held during

the UIA congrcss in Beijing in t 99s. It w.asfbjlor,r,ecr


in 2oO1by the first fbreign exhibition, ,TU MU
- Young Architecturc of China,,in the Aedes
gallery
in Berlin.'; As it happens,it rvasChineserather than
Western architecturecritics u,ho first labelledthis
group of'arcl'ritects'avant_garde'.
Zhou: ,Thcy usecl
this terrn to describea srnall circle oi'voung archi_
tects r.vhoprefi:r pr-rrernoclern sfi.lcs, n hiclt is l.ery
dillbrent from the popular eclecticapproachto style.,
-fhe airn of this alant-garclc(bor.nafter
19.19ano
"
- ..1ro style.'Het doel van de avant_garde thus the fburth generationof'architccts)s,ascrystal
- r 't n a 194,9en daarmee de vierde generatie
clear ten years ago: to ofJbran alternatir e b-vrealizing
-- ,:e n: $-a see njaar of t ienjaar
geleden glas _ b u i l d i n g s t h a t r , v e r cb o t h s l r ; i 1 j 2 l l 1
t.. hnicaJly
"n,l
- r,-r!bieden van een alternatief door zowel
superior.In so doing the.r'liept their clistanccil.orn
, als technisch kwalitatief hoogstaande cornmercialarchitecture;
their-clients \\ efe s,\,lrpa_
| , : n r realiseren. Daarbij hielden ze zo veel thetic gallery
owlrers,artists ar)(la snrall group of
|"
.llstand van de commercidle architectuur progressir,edcvelopers.
'
ZhoLr:.-f he erperintental
i r I :r. a?nvallkelijk bevriende galeriehouders, architects
lookcd lbr evet.-\r,lr|, ,r-tultirJ.nu nlatter
- - : trrs en een kleine groep vooruitstrevende h o r v s m a l l t h e p r o j e c t ,
t o b u i l c lt h e i r . i c l e abl u i l c l i n g s .
- n:\\ ikkelaars als opdrachtgever.
Zhou: In their pr<rjects,one c-ancliscer-n
the characteristrcs
-,-:rrirn en tal ar c hit ec t s look ed f or ev er y of'the basic
principles ofnroclernalchitecture, sucfr
'- - : itr'. no matter how small the project,
to a s f u n c t i o n a l i s m ,r a t i o n a l i s u r .r n i n i n r a l i s r n a
, n c lt l r e
, ' - .i i ideal buildings. In their projects, one ordered logic
of architcctural s.\,nta\.
, - .::n rh e cha rac t er is t ic s of t he bas ic pr in_
The first realizeclpr-o.jecrs
s rr.r galleries,r.illas
' : lodern architecture, such as functiona_ and ofEcc interiors. Althoueh
not c\ ef,\.oneiblt the
".:.n na lism, minim alis m , and t he or der ed
need to rcfi:r to a so-caljeclChineseiclentit-r.,
the ques_
: r :-chitectural syntax.'
tion ofthe extent to n'hich traclition shoulclbe part
: rar5 t ge rea lis eer de pr ojec t en war en ofcontemporary
Chinesearchitecturc.concernedthe
i i11a'sen kantoorinterieurs. Hoewel niet ar,-ant-garde
as u'ell. \\hs a conrbinatioltof the new
"
' . " dc behoefte had om aan een zogenaamde lifestyles
and their corresponclingprog-rarnrnes
and
" .. . lentiteit te refereren, speelde ook bij de an architccture
basedon traditior.rrealll, f-easiblc?
-:rrrle de vraag in hoeverre traditie onder_ Could rnaterialslike earth
anclloocl be incr>rporated
- rtoeten zijn van de hedendaagse Chinese into nodern building techr.riqr-res?
It u.asclear to
': . itrur. Pasten nieuwe
levensstijlen met bii_ everyone, liolver,er,that the csseltce
oftraclitional
r e programma's en een op traditie gestoel_ architecture
had to be sor_rgl.rt
in its construction ancl
rrctu ur iibe r haupt bij elk aar p Konden spatialproportions
and not in its outr,vardappear_
:,trn zoals aarde en hout in moderne bouw_ ance.A number
ofrealized projects illustrate the dif_
s'orden opgenomen? IIet was echter fering vier.vson
this sullect: first ofall a very prcctse
-..en
: r trr-eenrneteen duidelijk dat de essentie van translation
oftradition into a modern architecture
r r: i Lrll ele architectuur in haar constructie en rvith special
attention to feng shui, yin yang and to
. rjke verhoudingen gezocht moest worden traditional
forms. Alongside this a ntore conceptual
- rn haar uiterlijke verschijningsvorm.
Een relnterpretationthat integratestraditional architec_
: ere al iseerde proj ecten illustreert daarbin_ ture lessob','iously,and
finally a critical regior.ralisrn

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: - i tir n la n d

:r - ,ltr :n g
Ir :.tr e
r'r

''

h e ch t.
r u \\h e id

iilu :tr a tie fis

g e tu ig e n

cLrlture.F-orexaniple,five to cight years


ago, the nrost
popular building style in the real cstatc
fie1dli,asrhe
d e so-called Europcan Style, but norv
fetver anclfi:u,er

d ie o ye r d u id e vo o r d e h u i_

:rr. z , , al! \ \ ' angShu enLiuJ iak un


- : t:r. i r . eit in het buit enland
ges t u_

r.rI r r pelt . juis t dez e r uwheid als


- !::

rn

ilt.,,i
il

rlt.

- :: ,.ijf jaar heef t het m inim alis m e


: - j: rl Dopiilariteit gewonnen en is het
: rr.ie le m ar k t z elf s als beeldm er k
,
- It bec am e a k ind of c om m er c ial
' . p,-ri y 11.
bec aus e people s t ar t ed t o
,,, ' : - : -:rlred rnodern culture. For
example,
_ - r rrr-: ago, the most popular building
' - -::- r:ttr f ield was t he
s o_c alledEur o_
r.i rlo\\' ferver and fewer developers
I ". jrst m inim alis t - s t y le apar t m ent
- - :..rred i n Beijing in qoo4 ( des igned

der.elopersadopt it. The flrst nrinimalist_style


apart_
rrrentcomplex appearedin l3eijingin 2oO.1,
(designed
9Oo2).Since then, nrore and nrore cler,.elopers
have
adoptedminitnalism. property der,.elopers
colnnus_
sion dcsignsfiom ar.ant_garcle
architects,but on the
other I'rand,a large group of conrmercial
architects
are lean'ringto changetheir taste fiorn
Western clas_
sic to avant-garde.Br,rtalthough they n,on
the battle
oftaste, avant-gardearchitectsdidn,t fbel
happy
becauseit lvas not their victory. They fblt
ernbar_
rassedabout tl-reirsituatior.ranclarlbir.aient
about
their future.' Ir-rshort, tlte architectureofthe
ar.ant_
garde rvasregafdeclas everything but anti_fbrmalist.

. :.iren.more and more developers have


r-." :nalism. Property developers com_
'.,::ts trom av ant - gar de ar c hit ec t s ,
but
-:: i,ar1 d,a lar ge gr oup
of c om m er c ial
.:. learning to change their taste from
:irlc ro ar.ant-garde. But although they
.rrle o f ta s t e, av ant - gar de ar c hit ec t s
: .pp.r' because it was not their victorv.

rL i

a arra lse d about t heir s it uat ion and


: rbout their future.'Kortom, de archi_
L Je ar-ant-garde werd als allesbehalve
.

tu

,:iisch b eo or deeld.

ll

Het is duidelijk dat


de twee eer der e pogingen om
.r: eigentijds te bouwen heeft geprolon_
:t ltaat is gebleken een eigen idioom
te
:.rn. De me es t e ar c hit ec t en denk en ec h_
: rLrg nlinstens tien jaar nodig zullen zijn
--:rrde

,iltl

:' enste niveau te bereiken. Hierbij wordt


.rt ru Llr va n bu ur land. I apan v aak als
pr o_
:ir eelt succesvolle transformatie aange_
.iern, eigentijds 6n Japans. Hoe belang_

il

tii

..:

.
It is clear that th_
ar..ant-gardehas extended the trvo earlier
attempts
at rnodern and conternporaryarchitecture
and hers
pror.ed capableof der-cloping its or,r,nidiont.
llolr,e.,,er,
ntost architectsthink that it n,ill take another
terr
years at least to reach thc desiredstar_rdard.
fhey

often cite the architectureofneighbou.i,.rg


Japan,s
the prototypc of'a successfultransformation:
rnodern,
contentporarJ/and Japanese.IIorl,el.erimportant
the
ar.ant-garcle'sdesign solutions may be lbr
the der.el_
:ri\\ erpoplossingen van de avant_garde
oprnentof architectural practice,the errrti_fbrrnali
st
rr:ri ikkeling van de architectuurprakti.lk
architectureo1'thear..ant_garde
doesnot yet pror.icie
rn essentie biedt de antiformalistische
a critical responseto the rapidly changing
city and

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