Qiuying huang (2) by Jade

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

Introduction

Chapter 1--Background of Beijing

Chapter 2--Thoughts of traditional elements

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

25 25 29 34

Chapter 4--Younger generation architects in China Wang Shu Qingyun Ma Liu Jiakun

39 42 46 51

Discussion and conclusion

Reference

List of images

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 fig1 Qingwa Fengjing (Views of Tiles)

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 â&#x20AC;&#x2DC; global â&#x20AC;&#x2122; 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 fig2 Wa Yuan introduction

examples of architects who have adapted methods to combine different

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.

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 buildingâ&#x20AC;&#x2122;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 fig3 â&#x20AC;&#x2DC;Qianqing Gongâ&#x20AC;&#x2122; in the Forbidden City

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

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

fig4 Oil painting â&#x20AC;&#x2DC;Kaiguo Dadianâ&#x20AC;&#x2122; by Dong Xiwen in 1953

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

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 fig5 Guangzhou Opera House

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

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

fig6 Feng Huang

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

fig7 Time Square in New York City

Chinese architectural design development or not. 6

fig8 High-rise residential in Guangzhou fig9 analysis for high-rise residential 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

fig10 Beijing's CCTV Building

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 8

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 9

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

fig11 National Grand Theatre

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 todayâ&#x20AC;&#x2122;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 10

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.

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

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

fig15 axis wire 14

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 â&#x20AC;&#x2122; 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 â&#x20AC;&#x201C; 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 15

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.

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

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

that Chinese tradition is a balanced, composite, correlative process which help correct and guide the abstract crystallise meaningful

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 â&#x20AC;&#x2DC;Chinese huge roofâ&#x20AC;&#x2122; was not to be seen as the only way to utilise traditional features. In reality, traditional fig20 "Tailiang Shi" -- Structural system of Chinese traditional architecture

architectures is the source that has inspired architects (Xue,2006). â&#x20AC;&#x153;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, 21

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

To summarise Traditional urban forms are worth preserving and reemploying 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 22

decoration of windows or gates also represented people â&#x20AC;&#x2122;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 ownerâ&#x20AC;&#x2122;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 fig21 Chinese traditional architectural materials 23

elements of the own history of China would help modern architecture offer a suitable and better quality of residence for Chinese people.

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

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 â&#x20AC;&#x2122; 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 â&#x20AC;&#x2122; er Hutong expressed as a flexible block residential type that delivered people-oriented thoughts, compact language of layout

fig23 Types of Chinese traditional courtyard house 26

and multiple functions. In some degree, the projects objected the antiurban 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 fig24 General Plan of Traditional Courtyard House & Ju’er Hutong

‘ 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) 27

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

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

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

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

fig28 Views of Nan Luogu Xiang

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. fig27 Plan of Hutongs Views of Hutongs

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

fig29 Pattern of Hutongs in Beijing

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

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

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

fig31 aspect ratio in Nan Luogu Xiang

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 33

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 â&#x20AC;&#x2DC; micro-cycling pattern â&#x20AC;&#x2122; 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 â&#x20AC;&#x2122;ve spend ten times efforts in it more than other projects Iâ&#x20AC;&#x2122;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 Juâ&#x20AC;&#x2122;er Hutong and Nan Luogu Xiang, Fragrant Hill Hotel can truly be considered new modern architecture.

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

fig33 Chinese traditional garden

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 'Xuanshan'

'Yingshan'

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

'Juanpeng'

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’

'Cuanjian'

and single sloping roof that were popular in the Chinese traditional landscaping architecture. Lobby of Fragrant Hill Hotel called ‘Changchun

fig34 Chinese traditional roof forms

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

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 ’,

fig35 Gardens in Fragrant Hill Hotel

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.

fig36 Glass roof in ‘Changchun Courtyard House’ 38

Younger generation architects in China

In Chinaâ&#x20AC;&#x2122;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 fig37 Tiananmen Incident

beginning of Chinese architectural reform can be traced back to 1990s. The development of Chinaâ&#x20AC;&#x2122;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

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 Chinaâ&#x20AC;&#x2122;s tradition. â&#x20AC;&#x153;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. â&#x20AC;? (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, fig38 Exhibition Post of ‘Tu Mu--Young Architecture of China’ Exhibition in Berlin,2001.

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)

fig39 Exhibition Area

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.

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 fig40-41 perspective of Ningbo History Museum 43

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

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 countryâ&#x20AC;&#x2122;s traditional culture, its design should have a tight connection with that it seeks to

fig42 Interior of Ningbo History Museum

present. Wang Shu took the lead in putting forward â&#x20AC;&#x2DC; Chongjian Dangdai Zhongguo Bentu Jianzhuxue â&#x20AC;&#x2122; , which means rebuild the Chinese contemporary

indigenous

architecture.

According

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

fig43 Brick and tiles wall of Ningbo History Museum 44

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

them

were

re-used

during

the urban

transformation period. Adopting ancient materials is amounts to bring Ningboâ&#x20AC;&#x2122;s history in architectural construction. New construction system continues to â&#x20AC;&#x2DC;recycle constructionâ&#x20AC;&#x2122; 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.

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 fairfaced 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 Fatherâ&#x20AC;&#x2122;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)

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

fig47 detail of the stone wall

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

fig48 interior of Fatherâ&#x20AC;&#x2122;s House

realised Chinese architecture needs â&#x20AC;&#x2DC;appropriate technologyâ&#x20AC;&#x2122;. It does 50

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

fig49 Buddhist Sculpture Museum

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

‘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, fig50-51 Jindu Yuan Jie

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

fig52 wide-narrow alleys in Chengdu 53

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

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 ‘widenarrow 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

fig53 Concept of 'stitch'

the sloping roofs are definately traditional architecture? Without sloping roofs are definately modern architecture? According to series of 54

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 ‘inbetween ’ -- ‘ in-between ’ traditional Chinese sloping roof form and western modern strategy. Meanwhile bring a new style of traditionalmodernised 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 fig54 reformed sloping roof

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

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.

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 â&#x20AC;&#x2122; 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 â&#x20AC;&#x2DC;socialistic substance in national form â&#x20AC;&#x2122; . 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:

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;

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

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 â&#x20AC;&#x2122;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.

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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

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 64

fig48 interior of Fatherâ&#x20AC;&#x2122;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-stonesculpture-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.