Beruflich Dokumente
Kultur Dokumente
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact support@jstor.org.
University of California Press and Society of Architectural Historians are collaborating with JSTOR to
digitize, preserve and extend access to Journal of the Society of Architectural Historians.
http://www.jstor.org
XING RUAN
University of Technology Sydney
hina'smodern architecturaleducationand practice Chinese architects trained at Penn in the first half of the
took off in the period of the 1920s through twentieth century;he later became one of the most influ-
the1940s, and the Ecole des Beaux-Arts, which ential architectsin twentieth-centuryChina, and remained
traveledto China via the Chinese architectstrainedat the the spiritualleaderof Chinese architecturaleducationuntil
University of Pennsylvania (hereafter abbreviated as his death in 1982. In the 1920s at Penn, Yang was a star
"Penn"), has remained an unfinished legacy ever since. pupil and a protege of Paul Philippe Cret's.However, nei-
Contrary to a common belief that resistance is "an ther Yang'steaching nor his architecturalwork has been
inevitablepart of acceptance"that ideas and theories must known in the West.5 Within China, in 1983, the China
encounterwhen they travelto a new culturalenvironment, Architecture and Building Press published YangTingbao
AmericanBeaux-Artssailedsmoothlyinto the Chinese con- jianzhu shejizuopingji (YangTingbao, architecturalworks
text in the early part of the twentieth century.1This acci- andprojects),the firstmonographon an individualarchitect
dental encounter, in other words, did not arouse much in the historyof China.6Yangdid not get a chanceto see his
culturalshock;the Other could be unexoticandunalienand monograph;he died just a few days before it was printed.
was not necessarilydifferent.In the case of the Beaux-Arts This publication indicates, at least in China, a strong
in twentieth-century China, it is the nuance of "mutual acknowledgmentof Yang'ssignificantpositionin twentieth-
entanglement,"to borrow a term from Nicholas Thomas, centuryChinese architecture.
between universalvirtues and localities that deservesclose
scrutinyand theorization.2As Thomas argues,"Derivative
lingua francahave alwaysoffended those preoccupiedwith The First School
boundariesandauthenticity,but they offera resonantmodel China'sarchitecturaleducation,in the sense of the formal
for the uncontainedtranspositionsand transculturalmean- Westernuniversitytrainingsystem,beganin the firsthalf of
ings which culturalinquirymust now deal with."3 the twentieth century.It was perhapsa historicalaccident
This essay looks at the early-twentieth-centuryadop- that the Penn curriculumduring the
days of Cret in the
tion of AmericanBeaux-Artsin Chinaand examineswhatits 1920s began its profound and long-lasting influence in
"turningand twisting,"or its "sociallife," as Thomas puts China as the first model of architecturaleducation. But it
it, manifestsin the Chinese context.4It focuses on the edu- was certainlynot accidentalthat this model was a universal
cation and architectural works of Yang Tingbao one derivedfrom the Ecole des Beaux-Arts.
(1901-1982). Yangwas one of a group of fifteen or more The earliest Chinese students of architecturewent to
subtletransformation of thatparameter.It is this nuancethat "your skill with attention to the most delicate shades of
is highly regarded.24So the notion of art in this context is excellence.... But there is something beyond-a higher
perhapsclose to the artifactin an anthropologicalsense, and point, a subtle and unmistakabletouch of love and pride
thus the artistis a craftsman. beyond mere skill;almost an inspirationwhich gives to all
The emphasison craftvirtuosity,ratherthan on indi- work that finish which is almost art-which is art."25Like
vidualartisticidentity,is not at the expenseof creativityand the learning of Chinese calligraphy,Beaux-Artstraining
imagination.ParaphrasingJoseph Conrad,Paul Hirst sees demands a long apprenticeshipand it acknowledgesthe
craftas "amixtureof skilland discipline,creativityandhon- work that goes into the craft,which is a necessaryandvital
our."To achievecraftvirtuosity,Conradtells us, is to push step for going beyond the skill.
34 JSAH / 61:1, MARCH 2002
Figure 4 Yang,Pencil Study for a Crematory,Class A Project, Universityof Pennsylvania,section, from Harbeson, The Study of Architectural
Design, 295
issue. A formal affinitybetween Chinese architectureand The affinitiesalso extendedto techniques.The empha-
thatof the Ecole des Beaux-Artsexistedin the axialarrange- sis on ink rendering,the use of a Chinesebrush,the process
ment of the plan, and hence of the space. ArthurDrexler, of grindingIndiaink (it is in fact Chinese ink)were all very
although employing the ambiguous term "the Orient," familiar.In the finalrendu,good professorsalwayshadmag-
pointed out this interesting affinity:"The device of inter- ical abilitiesto turna student'smessyrenderinginto a pretty
sectinglinearmassesthat changedirectionalemphasisfrom picture,often by adding,with theirmasterfulstrokes,lovely
level to level, with varyingdegreesof architecturalincident trees and people. Yangenjoyeddoing this.
at key points of intersection,is an Ecole interpretationthat When the author startedhis architecturaltrainingin
has greater affinitieswith the temple and palace architec- 1982 at the Southeast University, shortly before Yang's
ture of the Orient than with Rome."35 death,nothing much had changed,exceptthat the studyof
One maysupposethatthe Beaux-Artsdesignmethodof Vignola's orders had been replaced by historical Chinese
axialplanningwasnaturallyacceptedby Chinesearchitectsas architecturalcompositions(Figure5). This changeoccurred
a universalarchitectural parameter,sinceit didnot invokeany- betweenthe 1940s and 1950s in the Nanjing School, when
thing spatiallyalien or overwhelming.In his earlyyears of Liang and Liu producedmeasureddrawingsof China'shis-
teaching,Yangwasrememberedby the factthathe spokevery torical buildings.37The first problem in 1982, which was
little;he preferredto traceandamendstudents'drawings,and perhapsequivalentto the Penn analytiquein the 1920s,was
couldachieveaxialclarityin plan,often in minutes.36 an ink renderingstudy of a historicalChinese architecture
Transformations
As in the field of education,transformationsof the Beaux-
Arts into Chinese architecturalpracticewere smooth and
impressive, both in quality and quantity. From 1927 to
1948,Yangdesignedeighty-sixprojectsandrealizedmost of
them. The majoritywere publicandinstitutionalbuildings.
Between 1949 and 1982, although he devoted most of his
time to teaching,Yangstill managedto design and partici-
pate in twenty-sixprojects.By the time his Penn contem-
poraryLouis Kahnestablishedhis own practicein 1935 and
begun work on his first independentproject, the Ahavath
IsraelCongregation,Yanghad alreadyrestoredsome major
historical monuments in Beijing, including the famous
Temple of Heaven, and had completed over thirty large-
scale public buildings,which included banks,universities,
Figure 5 Xing Ruan,ink rendering,First-YearProject, 1982, Southeast
hospitals,and railwaystations.
University,Nanjing
Afterhis returnto Chinain 1927,Yangjoinedthe well-
establishedJitai Shiwusuoas the principaldesign architect
(its English name was initiallyKwan,Chu & Co Architects
& Engineers, and later, when Yang joined the firm, it housed in three-story flat-roof buildings that are tied
becameKwan,Chu & Yang).Yang'sfirstprojectwas a major together by the ground-level verandas,and these in turn
railwaystation of about 7,000 squaremeters for Shenyang surroundthe concoursesymmetrically.The flat-roofcom-
City in northernChina.The first impressionof this build- ponents are dressedwith Western eave details and gables,
ing-Beaux-Arts in its symmetricalaxialplan and elevation and the modern grandconcourseis skillfullybuilt into the
composition-may seem unsurprising(Figures 6-8). Yang overall massingas if the arched space grew out of the flat
had initiallyproposeda Europeanmodernistbuilding,but podiums. This integrity is further enhanced by a vertical
the railwayofficials as well as his architect colleagues all compositionaltheme.
argued for a Western classicaldesign that recalled an old The nuances in Yang'sfirst Beaux-Artsbuilding in
neoclassical railwaystation in Beijing. As a compromise, China can be read on two levels: first, there is a physical
Yang gave them a touch of Western ornamentationwhile tension between the classical elevation and the modern
maintaininga clean-cut simplicity.The power of the pro- structuralspace;and, second, insteadof creatinga regional
portionsindicatedhis extraordinaryconfidenceas an archi- style, the station caters to China'svoracious appetite for
tect. This buildingis Yang'sfirst successful"flexibilitytest" things Western.In this sense, Yang's Beaux-Artsrevision-
of his Beaux-Artstraining.Without using classicalorders ism is one of both matter and manner. The question is
and colonnades,the concoursespace is grand,well lit, and, whetherthe processof adaptingthe Beaux-Artsmethod to
most important,open due to its steel-arch structure.The a specificlocality createsuniqueness.
ticket windows, waiting rooms, and other facilities are At the time he designedthe Shenyangstation,Yanghad
0 10 20m
I t II I 1 i ) I II
worked for about one year at Cret's office in Philadelphia, belief that the architect can direct the builder's series of
and he had little practical experience. One may well ques- operations through working drawings or precise detail
tion his capacity to manage a design of such scale and sig- designs. In so doing, the architect is no longer involved in
nificance at the age of twenty-six. The success is perhaps the making of a building with its builder.39At the Ecole des
due to another accidental affinity where the architect's Beaux-Arts, architectural design was an academic matter,
"humility before the builder's task" (in Rykwert's words) and therefore architects did not have to pretend to know
corresponded with the respect the builders held for the everything in terms of the technicalities of the actual build-
architect. It is well known that premodern Chinese archi- ing; there would be a natural collaboration between archi-
tectural "designers" (literati or officials) drew with words, tects and builders. Yang had already learned this in Cret's
intensifying the collaboration between the architect and the office; in 1925/26, he worked mainly on detail designs and
builder. According to Alberto Perez-G6mez, it is a modern construction drawings for a few major projects, notably the
ited Wright and stayed with him at his Taliesin Spring this residential trend. But, significantly,it is an intricate
Green in Wisconsin;they againtalkedaboutDaodejing.4 architecturalrepresentationof China's"occidentalism"at
Dahua Cinema'sdouble faces-"inside Chinese orna- the turn of the twentiethcentury:a move from the straight
mentation and outside Art Deco fagade"-seem to pose a consumptionof the West, enactedin Yang'srailwaystation,
literal cultural juxtaposition,if not an entanglement. In to a more complicatedsynthesis.Although studentsunder
early-twentieth-century northernChina,a typicalresidential Cretwere encouragedto freelyuse architecturalstylesfrom
buildingconsistedof a squarecourtyardenclosedby two- to differentcultures,Yang'sDahuaCinemais not merelya play
three-story timber houses connected by open corridors. of differentstyles and ornamentations.50 Westernization,in
While the streetfacadeswere mostlyWesternstyle,Chinese early-twentieth-centuryChina, was inevitable and had
ornamentationwas adoptedinside.49Yang'sdesign echoes already occurred at everylevel, from clothes to the political
40 JSAH / 61:1, MARCH 2002
0 10m L4I
I i I I I I
r X
II
I I II
I i I
I
3
* .
///,1/lT///
I ?
1 .
II
I.
* 0
a\Nllkl\\\\\l\\\X\Xa
N\I
* _oR _
3
ov
IMr-A "A.- " " " "mT* -
I
I
Ir
n
Figure 11 Yang, Dahua Cinema, ground-floorplan, from YangTingbaojianzhusheji zuoping ji, 96.
Key:1. Lobby,2. Ticketwindows, 3. Exitcorridor,4. Plant rooms
system. This process did not proceed without intellectual by the three existingtrees and an ancientwell. A portion of
debate. An important guiding voice, since the turn of the an old courtyardhouse and a new wall were used to form an
twentieth century,was the tiyongidea advocatedby Liang enclosed open space in front of the hotel that was intended
Qichao.51 Tiyong (more fully expressed in Chinese as to echo Beijing'surbanpatternof courtyardhouses. On the
Zhongxuewei ti, xixueweiyong)suggeststhat Chinese learn- other hand, one can safely assume that the plan, although
ing should be the essence, while Western learningis good asymmetrical,was workedout accordingto axiality.
only for utility.Seen in the context of intense cross-cultural The BeijingPeace Hotel reifiesYang'sfurtherelabora-
fermentation, the "double-face"of Yang'sBeaux-Artsin tion of the Beaux-Artsand its affinitieswith historicalChi-
China displays a complex hybridization. Curiously, the nese architecture.In Chinese temples and gardens, Yang
columnsin the lobby,paintedwith Chinesepatterns,arenei- points out, the spatialaxis can literallybe turned, twisted,
ther Chinese nor Westernclassicalorders.The capitalsare and even slanted.The axiscan be felt only if it is definedby
basedon those of the EgyptianTempleof Isis on the Island buildingsand by the makingof the ground,or the site. In so
of Philae (332 B.c.-first century A.D.). doing, the shi (spatialpropensity)can be createdby the use
If there is any surprisein Yang'soeuvre,it is the Beijing of axis. Yang criticized Lii's Sun Yat-sen mausoleum, and
Peace Hotel (1951-1953), which was a shock when it first some classicalexamplesin Westernarchitecture,such as the
appeared (Figures 12-15). For those who were used to Palais de Versailles,as having a "whatyou see is what you
Yang'swork, this buildingwas bare and modernist.A care- get" spatialsequence causedby using straightforwardaxes:
ful readingof its plan, however,revealsYang'ssubtle trans- the shiwasnot spatially"collected."52In contrast,the ground
formationto relate to a specific context. On the one hand, level of the BeijingPeace Hotel was a complexcombination
the asymmetricaland diagonalcompositionwas determined of axesfor each spatial"interestcenter,"articulatedby turn-
ing and twistingaxes.Yang'sdiscoveryof the axialcomplex- The modernistlook of the BeijingPeace Hotel had an
ity in Chinese architectureand his sophisticatedtransfor- interestingsociopoliticallife. In the early 1950s, the Chi-
mation of it were not incidental;Harbeson, in The Study nese classicalrevivalwas in vogue, and Yanghad great dif-
of Architectural Design,devoted an entire section to asym- ficulty in getting approvalfrom the city authorities.After
metricalplans and the significanceof the programand site its completion, the efficient constructionprocess and the
specificity.53 modest budget were praisedby the Premier Zhou Enlai.
As early as the 1930s, Yang'sPenn colleagues Tong, This building,to some extent, became a precedentfor the
Zhao, and Chen, dealing with more entrepreneurial governmentbuilding policy for the next three decadesin
clients at the time, had begun their essaysin modernarchi- China, which was to be "functional,economical, and aes-
tecture. Their experimentsstopped after the founding of theticallypleasingwheneverpossible."Yangbuilt very lit-
the People's Republic in 1949. Although Yang did a few tle during the 1960s and 1970s. Unlike many of the
reductiveArt Deco buildings, he evidently had no chance high-profile intellectuals and professionalsof his genera-
to do a complete modern building before 1949. Because tion, he was not prosecutedduringthe CulturalRevolution
his firm'sclientele were mainly government officials, cul- (1966-1976). His distancefrom the culturalupheavalwas
tural images were often requested, be they Western or strategic:he did what architecturehe could andwas able to
Chinese. The BeijingPeace Hotel was initiallydesignedas resumesome of his officialpositionsin the late 1970sbefore
a local hotel; halfway through construction, the govern- the revolutionended. Yang'scharismaensuredthe recovery
ment decided to use it to cater to the Asia-PacificRegions of China'sarchitecturaleducationafter an almost decade-
Conferenceon Peace. Yangchangedthe design in orderto long suspension,andcarriedthe Beaux-Artsmethodon into
have the building completed in fifty days, and he believed the late-twentieth-centuryChina.54
that a modernist building made the construction easier Yang'sarchitecturalworks, as well as his teaching,
and faster. show a unique interplay between "universalvirtues"and
rz
,*^~ _lf * ~
ir-X 2 * -. ^ F 412 2. Bathroom,3. Floorservice
2 T_ 113 1- 1 desk
-.
j~~~~,
*'^~~~~
.|.k~~~ U \,, ~ >~A
^\ 10. Existingteahouse,
-1
--e---/s
"--D \ 11. Hairdressing,12. Club
'="'
/<42X~ ^ ~
X^~RR~~~~
^^t9j^Sn^ D \<~ ~room, 13. Passageway,
'?-
#r^T Cmon\ 1 Compound entry,
14.
X. a . \ \ 15. Existingancient well
collaboration between architects and builders. Although tion that is still timely afterthree-quartersof a century:Do
these traditionsall seem to concern skills and techniques, others have to be different?Half-knowingly,Yangmadehis
their ultimate goal was to achieve a sociallyjustifiedarchi- choice. The boy who dislikedrice had proved,through his
tectural meaning. teaching and practice of the American Beaux-Arts in
The previouslymentioned news story, "Chinese Stu- twentieth-centuryChina,that in architecturethere areuni-
dent Gets High Honor" in Philadelphia'sEveningBulletin, versalvirtues that are worth pursuing.
had a rather amusing subtitle: "Boy Dislikes Rice." Yang The history of Chinese architecturaleducation, and
was reported to have told Americansthat rice was not his especiallyof Yang'spracticein twentieth-centuryChina,has
favoritediet: "The Americanidea that rice is the chief food indicated identifying affinities rather than differences
of the Chinese is wrong. Many eat it in the districtsmost between two cultural frames. Any intelligible critique of
visited by the American tourists, but in the province of modernand contemporaryChinese architecturemust dwell
Honan [Henan], where I lived, rice is eaten very little." on an understandingof this legacy of the Beaux-Artsthat
Yangwas certainlywilling to identify more affinitiesthan traveledvia Penn to China.Insteadof overemphasizingcul-
differences between the two cultures. Yang's complaint turaldifferencesandregionalism,a more universalmodel of
aboutan Americanimpressionof the Chinese poses a ques- architecturalknowledge should be accepted in order to