T H I N K W I T H FREEHAND CHINESE LANDSCAPE PAINTING IN ARCHITECTURAL DESIGN
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P30026 (2015-2016) COURSEWORK 1
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Q i n S h i / / 1 5 0 9 8 9 5 0 Superviser: Dr. Igea Troiani Course name: Research Philosophy for Design Submission date: 02.12.2015 Oxford Brookes University MarchD year 1
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“The Chinese landscapes have an air of living nature, of harmony and peace, which is not always to be found in the art of other civilizations. We can enjoy a Chinese landscape painting as a pure aesthetic experience, much in the way we enjoy music.� Michael Sullivan. (1979)
4 I N T R O D U C T I O N
This essay is aiming to explain painting as an essential part in design process which has influenced many architects in their design works. In this article, it will particularly draw your attention on how Chinese landscape painting stimulated Wang Shu use freehand drawing in his famous design work: Xiangshan Campus, China academy of Art, 20042007. And therefore it might focus on the interdisciplinary methodology in architectural design research process.
Fig 1. School of Architecture, Xiangshan Campus, China Academy of Art, Hangzhou, China.
5 W A N G
S H U
Wang Shu. (born 4 November 1963) is a Chinese architect based in
Additionally, he participated in combining traditional Chinese
Hangzhou, Zhejiang Province. He is the dean of the School of Architecture
painting style and modern architectural design. With the background
of the China Academy of Art. He founded the Amateur Architecture Studio
of landscape painting, he put attention on how to build a harmony
with his partner and wife Lu Wenyu. Wang explained the original idea
building which can reflect the relationship between human and
of why they chose this name is to rebuke the “Professional, soulless
environment. Also, he focused on historical protection and local
architecture� practice in China which led to the large-scale demolition
materials reusing, created his own symbols to form the unique design
of historical urban neighbourhood. In 2012, Wang became the first
language which echoes back his respect towards nature and society.
Chinese to win the Pritzker Prize, the world's top prize in architecture. Wang said he is the only one who draws with pencil only in his Amateur Wang is deeply influenced by traditional Chinese painting, especially
Architecture Studio, because he considered freehand drawing a way of
landscape painting since he was young. The social media gave him
being closer to nature. Hand directly connects the sense and feeling
an admiring name: literary architect. But, he did not accept this title.
in his inner mind and body. He believes that by freehand drawing
Because he never judged himself as an architect, opposite, in his own
again and again could help to achieve with the brain by the actions
words, he defined himself as a literary carpenter. He never stopped
of human body. By using freehand drawing and handcraftsmanship
painting, thinking and making. In order to get close to the nature and
can help to present from a small detail of construction to a large-scale
observe people who live in countryside, he decided move to a field
landscape site. In his words, everything existing in this world is like
living with farmers and carpenters. After several months of study in
calligraphy or freehand drawing: combining and varying variety of
the field, he knew that this was the profession he wanted to learn.
different simple elements, and measuring the surrounding elements of all scales with the inner ruler of the mind, so sensitive and accurate.
6 P R O J C E T
Xiangshan Campus, China Academy of Art, Hangzhou,
This is the largest project he has ever designed. This is a site with
Zhejiang province, China (second phase), 2004-2007.
an area of 533,333 square meters, including a hill, two streams, and over thirty individual buildings. He explained his first idea of layout of the campus was essentially a series of small courtyards, corners and under-eave areas. His aim is to create some interesting public spaces for tutors and students chatting and discussing.
Fig 2. Site of Xiangshan Campus, China Academy of Art, Hangzhou, Zhejiang province, China.
7 S O C I A L
F O R M
Inspired by Zhang Zeduan's famous painting "along the river
i n t h i s a rea . Pe o p l e a n d c o m m o d i t i e s a re t ra n s p o r t e d b y
during the Qingming Festival", led Wang to learn about the social
various modes: wheeled wagons, beasts of labor (in particular,
structure in Song Dynasty. Obviersly, landscape painting as a
a large number of donkeys and mules), sedan chairs, and
visual language in the past not only keep the scenery but also
chariots. Fishing boats and passenger-carrying ferries are in a
acted a role to reflect the social form and people's living style.
busy status. Men near the river bank, pulling the larger ships.
The left part is the urban area, which eventually leads into the city
Many of these details are roughly indicates many of the features
with the gates. Many economic activities, such as people loading
of life in the capital. In wang's mind, he supposed that he should
cargoes onto the boats, shops, and even a tax office, can be seen
refelcted the real daily life of students and teachers in this natural site.
Fig 3. Along the River During the Qingming Festival, Zhang Zeduan (1085–1145)
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“Chinese buildings communicate components of a dynamic tradition which reveal Chinese cosmology and folk beliefs in practical terms. This has been true especially in the choice of sites, layout, construction process, and building of palaces, imperial graves, and even the walls of cities which themselves were considered buildings.� Ronald G. Knapp. (1986)
9 C O M P O S I T I O N
Speaking of why Wang chose to arrange the buildings in different positions but seems still have some connection with each other, it can be retrospected to the composition of Chinese landscape painting. One thing should be noticed that, in Chinese painting the scope is between parallel view and perspective view. In another word, people can feel the different layers of scenery from nearby to far distance, bottom to top in the same space. The common composition type is like the English alphabet “S� which reveals a smooth float in space. Fig 4. First freehand drawing sketch of Xiangshan Campus masterplan by Wang shu.
In order to highlight the main subject, it is quite permissible to hide
Through his previous freehand drawing sketches, it could be seen that his
since the sizes and shapes of the spaces in the painting are different,
starting angle of design is bird view. Several different volumes of masses
the very absence of content can itself create rhythm and variety.
the background entirely or simply leave it blank. At the same time,
floating along the Xiangshan hill and path, in association with the former villages on the site too. His drawing shows that he also considered the
Wang's masterplan seems like arranged randomly and freely,
positions of garden and bridges. Which followed his initial idea, provide
but it clearly expressed a vivid extension from buildings to
a high quality of education and the campus environment. The buildings
nature. Also, space sometimes feels vacant or compact, public
are partitioned by courtyards with openings facing the mountain at
or private. All of these points echo back his understanding
different angles. Between the buildings and the hill, a large space is
of the inside spirit of traditional Chinese landscape painting.
left empty, in which the premier farm, river and ground are preserved.
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Fig 5. Towering Mount Lu, Shen Chou (1427-1509).
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From this fantastic brushwork, we could feel that the painter Shen Chou
Similarly, Wang put nature surroundings in the first place according to
expressed his impression about Mount Lu. From architecture point of
the exisitng landscape painting theories. Nature led him to figure out
view, explaining the meaning of “Towering� can be summarized as
the proper location and shapes, atmosphere and status. Combinning
following points. looking through his painting, there is only a flying bridge
with mountains and landscape, the buildings sometimes hide inside
in front of the waterfall. This is obviously the only way from left side to the
the scenery sometimes appear clearly. A continuing float cross the
right. It links to the tiny lanes behind the trees and stones, and the two
nature environment tends to an expanding attitude to the ifinity.
floor building hiding in the forest is the destination. And also, the isolated
Inside the building, is the place for focusing on studying and
building is near clouds, which highlight its location and the difficulty
research; outside, is for chatting and relaxing. The long bridges in
for people to reach. This is alike the comparising method in language.
entrances act as a transition from opennings to inner spaces peacefully.
Fig 6. Sketch of Xiangshan campus masterplan by Wang shu
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Fig 7. Bird view of Xiangshan campus
Fig 8. View from inside, Xiangshan campus
Fig 9. Bird view of Xiangshan campus
13 S H A P E S
Unlikely the traditional Chinese buildings, Wang’s design works
As mentioned before, composition in painting is an essential part of his
do not have abundant decoration and conspicuous structures.
architectural thinking. The architecture design followed the principle
Instead, he endued a special understanding of landscape
of connecting to nature as much as possible. According to this, Wang
painting on the modern architectural shapes. In a suitable
developed the building shapes became floating and complex. The roofs
comprehension it is more like an interdisciplinary method
sometimes lika a mountain, sometimes turn back to be nomal. And as
between painting and construction. The thinking from spaces and
well as the route shows a dynamic both inside and outside. Like the
details is drifting with the lines and shapes he drew on the paper.
landscape painting, buildings are like mystery disappeared in nature.
Fig 10. Sketches of single buildings by Wang shu
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As Tong Jun described Chinese garden is an expanding of landscape
The art of gardening follows landscape painting and endeavours
painting. Chinese gardens vary enormously with the climate, the
to attain the same ideal. One might even say that the garden,
vegetation, the site. Hence a garden in Suzhou cannot resemble
as a place for contemplation and solitude and the product of an
one in Peking, even if both are designed along the same principles.
art at once intimate, humane and sophisticated, is a landscape
In China urban gardens occupied a far greater area and were far
painting in three dimensions. Garden designers, like painters,
more developed than in the west. These walled gardens formed an
were interested first and foremost in rhythm. A garden is a
extension of the dwelling; they contained summerhouses, libraries
spot where man’s vitality and nature’s clash and harmonize; it
and small rooms for drinking tea, making music or studying.
is the triumph of man’s effort to find his place in the universe.
The mountains are the most original and most specifically Chinese element of these gardens. The Chinese have always considered mountains
Wahnan Chung (1982) demonstrated in his book “The art of
and oddly shaped rocks as the loftiest symbols of nature’s creative powers,
Chinese garden”, by studying the organic patterns of heaven and
which made them, no less than human beings, just what they are. The
earth a fool can become a sage; and so by watching the times and
Chinese speak of building a garden, not planting one. This is clear proof
seasons of natural phenomena we can became true philosophers.
of the close link between garden and architecture, the importance of
It is true that since eighth century Tang poet already summed up human
door-way and decorative windows cut in the walls, of pavilions, bridges
curiosity towards the universe. The Chinese garden is therefore a minimal
and galleries – the basic elements that frame and divide the landscape.
universe in which one observes and lives with the time and seasons, and
The open galleries are an invitation to walk or rest. Connecting,
for centuries ways and means have been devised to achieve this aim.
as they do, buildings and the different parts of the garden, they emphasize the flat sheets of water and the steep hillsides.
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Fig 11. Facade details
Fig 12. Bamboo made bridge
Fig 13. Woodern windows
16 E L E M E N T S
Fig 14. Recycled bricks and tiles on facade
Fig 15. Recycled bricks and woodern doors
Fig 16. Rusty steel and glass
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Fig 19. Frame in between
Fig 20. Stone shaped frame on the wall
18 C O N C L U S I O N
Throughout Wang’s design works, the architectural style that
exhibition purpose. Such as campus, museum and gallery design.
has been created by him and his wife Lu Wenyu is unique and valuable. Their remarkable works promoted the practices of
In addition, culture context and historical background are
new Chinese architecture style in the worldwide and influenced
also essential components in design process which should
a number of architecture students and scholars as well.
be carefully considered. Reusing old recycle bricks and tiles probably cannot reflect the local culture context, in another
Although, Wang and his design studio’s works have been widely accepted in the world, some arguments still existed. By interviewed some students and teachers, couple of them complained the inner spaces are sometimes too complicated that it took a long time to pass through in order to reach classroom; the classrooms are humid and dark, lack of water proof strategies. It might be true that the new Chinese architecture style has some sort of limitations. It grew from landscape painting; it relied on the nature surroundings. If this kind of style reveals in the modern concrete forests, it might not be suitable. One of the important reasons is that they lost the links of nature, human and neighbourhood. Another reason is that, these kind of buildings are more proper only for some educational and
word, that place may not have what we really want to discover.
19 B I B O L I O G R A P H Y
Books:
Links:
Jun, T. (1997) Glimpses of gardens in eastern China. Beijing: China achitecture
Amateur Architecture Studio. Available online: http://www.chinese-architects.
industry press. pp. 1-3
com/en/amateur (accessed: 02.12.2015)
Knapp, R, G. (1986) China’s traditional rural architecture: A cultural geography of
Chinese brush painting, Available online: http://www.asia-art.net/chinese_brush.
the common house. Honolulu: University of Hawaii press. pp.108
html (accessed: 02.12.2015)
Knapp, R, G. (1990) The Chinese House: Craft, Symbol, and the Folk Tradition.
Some features of traditional Chinese painting, Available online:
Oxford: Oxford university press. pp. 1
http://202.194.48.102/englishonline/culture/ChineseCulture/Chineseliterature/
Loeher, M. (1980) The great painters of China. Oxford: Phaidon press limited.
chinesepainting.htm (accessed: 02.12.2015)
Morse, E, S. (2001) Glimpses of China and Chinese homes. New York: Columbia
Xiangshan Campus, China academy of art. Available online: http://yishujia.
University Press.
findart.com.cn/167927-blog.html (accessed: 02.12.2015)
Pirazzoli-T’Sertevens, M. (1972) Living architecture: Chinese. pp. 175-180 Shepard, W. (2015) Ghost cities of China. London: Zed books. pp. 2-3 Sullivan, M. (1979) Symbols of Eternity: The art of landscape painting in China. Oxford: Clarendon press. Wang, S. (2012) Imagining the house. Zürich : Lars Müller. Wahnan, C. (1982) The art of Chinese gardens. Hong Kong: Hong Kong university press. Zhi, W & Xu, J. (2009) New Chinese architecture. London: Laurence King Publishing Ltd. pp. 388-415.