THE REVIVAL OF SOCIAL MEMORIES THROUGH THE USE OF RECLAIMED MATERI ALS AND CHINESE VERNACULAR CONSTRUCTION METHODS Ningbo History Museum by Wang Shu
abstract The aim of this study addressing Architect Wang Shu’s use of reclaimed materials and chinese vernacular construction methods is to highlight the significance of the use in reviving and preserving the lost social memories of Ningbo. The Ningbo History Museum is a comprehensive museum built with traditional, reclaimed materials through the use of Chinese, vernacular construction methods as the debris from the deconstruction and demolition of Ningbo villages inspired the building in evoking memories of tradition and society. This study conducted on contextual architecture design strategies through materiality and construction emphasizes Ningbo History Museum’s use of traditional methods to convey and revive social memories in an uncommon yet competent way. Through this use of these reclaimed materials and traditional, Chinese, vernacular construction methods, demonstrated through architecture, Wang Shu successfully revives and enlivens the social memories and history of the locals of Ningbo.
introduction Ningbo is a city in the Northeast of Zhejiang China’s province. Home to over 30 villages of Chinese heritage houses, Ningbo, one of the earliest civilizations of China, holds identity and culture reflected from generation to generation.
methodology Literature Review & Online References Conducted case study of Ningbo Museum on contextual architecture design strategies through materiality and construction
Analysis & Understanding Identify roles of materials and construction leading to revival of social memories.
1
How does ‘Wa Pan’ act as an image-making element to invoke social memories?
‘U-shaped’ brick and Keel Wall Stacking
Wa Pan Stacking
(龙骨墙 Long Gu Qiang)
(瓦片墙 Wa Pian Qiang)
Long Gu Appearanc e and Arrangement
Built by stacking up various size of Wa Pan bricks & tiles ‘Straw with mud’ OR ‘mud with lime mortar’ as adhesive between each Wa Pan tile
4
Wa Pan are arched clay tiles, a primary, vernacular material used in every village house in Ningbo just before the demolishment. As Wa Pan can be recreated by debris and loose material collected after strong typhoon that frequently hit Ningbo, it allowed emergency recreation of new tiles.
U shaped bricks U shaped bricks stacked upright stacked upwards horizontally
How does the form of Ningbo museum relate to local social memories?
It became a significant visual appearance for the village as it was used in every household, instilling a sense of identity to the villagers.
Arch shaped Wa Pan
2
Theories of Asian Architecture | Tutor: Mr. Nicholas
Stacking of collected debris plays a significant role in helping the villagers to rebuild their household after typhoon hits efficiently. These stacking techniques required low construction skills and eventually became a widely used method.
Wang Shu demonstrated the reuse of materials through stacking façade of Ningbo Museum. The facade acts as anchoring points to invoke collective memories, allowing visitors to appreciate the contribution of these construction techniques in the past.
findings
Wang Shu’s Ningbo History Museum was built in 2009, a comprehensive museum built to revive memories of tradition and society, preserving culture for the next generation. This was portrayed through the form, construction and materials of Ningbo Museum.
Due to the demolishment of villages and urbanization, Ningbo faces the loss of social memories. Social memories is defined as shared memories and history of a social group that shapes the perception of one’s identity. Within the context of Ningbo, vernacular architecture plays an important role in providing sense of place through significant building’s characteristics and construction methods. Wang Shu’s intention of reviving the diminished social memories is executed through his architecture. The form incorporated into the building design and the use of local materials and construction techniques incorporated into the building design.
Compile findings into research paper on the revival of social memories through architecture in Ningbo.
Stacking stands as an icon for vernacular architecture in Ningbo. Two Stacking technique used by Ningbo villagers were Wa Pan stacking and ‘U-shaped’ brick.
U shaped end U shaped end construction
In 1980, Ningbo undergo urbanization, most city’s heritage and traditional architecture was demolished for the construction of modern buildings. This caused the loss of Ningbo’s architectural identity and culture as it contributes to social memories of Ningbo.
problem statement
3
Case Study Findings
Why is the stacking construction method significant to Ningbo village?
How does the texture of bamboo used in Ningbo’s facade help to restore collective memories?
Therefore, the Wa Pan clad walls of Ningbo History Museum serves as a reminder of the past, reflecting fragments of village houses as a monument that represents the social memories.
Pre-demolition
Post-demolition
Village in Ningbo
Ningbo History Museum
Ningbo was a key link in the ancient maritime Silk Road. It was the commercial engine and a vital trading center for east China, leading to significant economic growth of Ningbo.
Bamboo is a significant representation of Ningbo, framed as the national plant which has also played an important role towards the lives of the Ningbonese. As bamboo was once an abundant material in Ningbo that supported the lives of Ningbonese through distribution, it is deeply rooted in Ningbo’s history where bamboo was a major industry that helped boost the economy.
Water dominated main entrance depicts “river port” that once improved lives and developed Ningbo. Mimic boat form to allude importance of maritime trade in Ningbo’s history as a major port.
In use of materiality and chinese vernacular construction methods, Wang Shu demonstrated the importance of contemporary architecture in creating identity generation elements that honoured local tradition, environment and craftsmanship of Ningbo district. These elements then act as anchoring points that revive history and shared memories. Wang Shu successfully preserve social memories through the inheritance- Ningbo Historical Museum.
references 1. Ningbo Historic Museum by Amateur Architecture Studio - Icon Magazine. (n.d.). Retrieved from https://www.iconeye.com/architecture/fea-
5. Chakroff, E. (2012). Recasting History: The Ningbo Historic Museum. Log, (24), 57-62. Retrieved from http://www.jstor.org/stable/41765469
2. Yiu, Q., & Yiu, Q. (n.d.). Critical Regionalism in Contemporary China: Transcending meanings through the use of repurposed material.
6. Zhao, P., Jackson, M. D., Zhang, Y., Li, G., Monteiro, P. J. M., & Yang, L. (2015). Material characteristics of ancient Chinese lime binder and experimental reproductions with organic admixtures. Construction and Building Materials, 84, 477–488. https://doi.org/10.1016/j.conbuildmat.2015.03.065
3. Wang Mingming. (2001). Shiding Village. Chinese Studies in History, 34(4), 12. https://doi.org/10.2753/CSH0009-4633340412
7. YUAN, Y., MI, J., WANG, X., FU, Z., MENG, C., & ZHANG, H. (2018). Evaluation of the Organosilicon Materials for Ancient Grey Bricks Preservation. International Journal of Conservation Science, 9(4), 641–652. Retrieved
tures/item/4018-ningbo-historic-museum-by-amateur-architecture-studio
Retrieved from https://www.academia.edu/10316756/Critical_Regionalism_in_Contemporary_China_Transcend
Vernacular Wa Pan wall
slant edges to mimic boat form
conclusion
Wang Shu’s intention was to fuse traditional materials with new construction techniques to integrate folk craftsmanship into modern building technology. The rugged texture of imprinted bamboo walls preserve familiarity of the roughness of facades that vernacular Wa Pan walls used to have. Thus creating an intriguing facade that spark the interest of visitors to appreciate the vernacular architecture of Ningbo through visual and tactile quality.
representation of river port
Bamboo Imprinted Wall Texture
4. Pasternack, A. (2018, October 11). Chinese History Museum Literally Recycled From History. Retrieved from https://www.treehugger.com/sustainable-product-design/chinese-history-museum-literally-recycled-from-history.html
Summer Tan Xia Qin (0332854) Sau Jia Yi (0331919) Ng Hui Lin (0332114) Cheah Chenxi (0332498) Ong Cheng Ying (0332142) Sin Yun Jing (0332833) Zoe Chong Kar Min (0336952)
from https://search-ebscohost-com.ezproxy.taylors.edu.my/login.aspx?direct=true&db=vth&AN=134134356&site=eds-live&scope=site