_a protest
During the visit, the museum gave the impression that it was not just a building, but a response towards its structured modern surroundings; a building that, in our eyes, existed there as an expression of concern and as a thunderous protest for what has happened in the city of Ningbo during the last decade. In this sense, the social dimension of the intentions of the design are revealed, and also an extensive correspondence with the actual content of the museum. In essence, the visitor comes in contact with the history of Ningbo from the moment he faces the building.
_the connection with tradition According to the architect himself, the entire museum resembles a mountain as portrayed in traditional Chinese paintings of landscapes. The variety of materials, dark colors and oblique shapes are to him interpreted as a Chinese mountain that hides valleys, water, caves and gardens within. In our opinion, the above interpretation of the museum does not constitute its direct connection with tradition. The relationship between architecture and tradition can be achieved through a poetic way (museum - mountain), a spatial one (Hua Mao museum), a modern translation of a Chinese image (modern translation of the Chinese roof – Hangzhou campus), but also in a more substantial way, as is done here. The construction of the exterior of the museum is based on a technique called Wapan. More specifically, centuries ago the inhabitants of these areas suffered from frequent hurricanes, which destroyed the walls of their homes and in their haste to protect themselves, they constructed walls with whatever materials were available to them. Thus the result was walls of mixed traditional and modern materials and led to the introduction of this technique. This process of building by ordinary workers and citizens was virtually lost and it is now reborn here in this museum.
fig.103 : walkthrough in the terasse of the museum
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