When China began a booming “demolition†movement in the 1980s to develop its economy, the Italians were carefully protecting ancient cities like Venice and Rome. It is not that Italy does not have a contemporary city, but that they separate the new city from the historic building. Undoubtedly, the Italians have made great contributions to human civilization.
After the Second World War, France built the new district of Devons in the suburbs of Paris. It will extend westward from the Louvre to the central axis of the Arc de Triomphe. The planned area covers 750 hectares and covers three townships, making it the largest morning area in Europe today. There is no shadow of traditional European architecture, most of which are skyscrapers and glass structures, but they are the focus of French economic life.
In 1950, Liang Sicheng began to plan for the capital city after the founding of the People's Republic of China. It is proposed to separate the new city from the old city. The old city maintains its original history and the new city becomes a symbol of progress in the new country. If this design was adopted at the time, today's Beijing will be the most intact ancient capital in the world, representing the past, present and inclusive future of Chinese civilization. But unfortunately, this proposal was rejected by Wu Hao, who was full of ideals in the new era.
Architecture is a bastion for people to seek shelter. The building inherits human memory and constitutes the distinction of regional culture. Just as we can see the complex structure and rigorous proportional relationship of the northern official wood, we will understand the orthodoxy, dignity, and order. When we see the traditional gray plastics in the southern Weinan architecture, the craftsmen will do their best to build the dragon and phoenix. The beasts and Python characters embody the Confucian ethics and folk beliefs in living houses. They reflect not only aesthetic differences, but also multiple immigration cultures, fisheries economy, and local products. projection. When driving a few hundred miles on the plains of Henan, only the rural gray cement box was seen, and it would not have the beauty of the wilderness and the winding bank of the wheat waves. Some people say that China is a country lacking color, which is not entirely true. Before the Ming and Qing Dynasties, the Han people's costumes were mainly dyed cotton and linen. The nobles and nobles used silk and silk embroidery as their makeup. The clouds and shoulders were shining, and the golden and purple eyes were dazzling. Which one lacked the color matching? The architecture is also the embodiment of the bright colors and materials. Rich in the north, it is painted with enamel, cut glass, and red palace pillar; the south is a colorful roof. It is the gray wall in the shackles, the powder wall of the Hui School, and the surrounding environment complement each other. The color is not warm, but it is against the true nature of the natural world.
This time, I heard that the word "demolition" has reached numbness, and I can't afford to be interested in the news of Nanjing robbing Chen Wendi's Mausoleum. Throughout China, real estate development is the direction of economic development. Under the ban of strict control of the red line of 1.8 billion mu of cultivated land in the country, the local government only replaces historical blocks and residential houses in exchange for secondary development of land. Many cities in the north are about to completely lose the shadow of traditional architecture. The courtyard where I lived from a small age was a local nostalgic manor during the Republic of China. There were several five-story gray-walled hard-top houses in the courtyard that completely preserved the remains of northern cities 100 years ago. There are also eucalyptus and poplar trees that are tall and strong, and they become the shelter of the courtyard. It is a pity that it was removed and the red brick buildings were covered. The quality was poor and the life span was only a few decades. Just when all the local memories have become reinforced concrete, and there are no colors and decorative patterns to enrich our dreams, is there such a building that has the value of inheritance?
Are we missing a lot of roads that can be filled to fullness?
Thank you, Wang Hao for setting an example for us. He is a persistent person who has insisted on doing something that is considered valuable for decades. It is to do the modern construction under the description of the oriental humanistic spirit. I have always believed that Japanese designers do more when interpreting Western technology with Oriental thinking. What Wang Hao insists on is what we generally lack in today's society - respect for the native land, respect for the humanities, and the memory of the philosophers. Love for folklore...
Many of Wang's buildings are quite "ruins". The Ningbo Museum uses waste bricks and pebbles around the building. The water plants grow in the swamps. The undulating slopes of the Xiangshan Campus of the China Academy of Art are still the outer layers of the gray bricks and bamboo rafts. The inclined channel that the child is connected to. I described him as "creating the ruins." In the culture, Jia Pingwa had the "abandoned city" in the shadow of the deviant chaos of contemporary society, and Wang Shuo's "ruins" won him the "Pritzker Prize" in the architectural world. The highest award in the world of architectural design today.
I don't think what the award can represent. I am more willing to believe that the Pritzker Awards Committee will award the award to Wang Hao. It is really a mockery of the 21st century China's overwhelming and frustrating architectural landscape art. In this country where flowers are everywhere to create value-for-money buildings, there are still a few people who are sticking to tradition and connecting tradition with the future. The Mexican writer and poet Octavio Paz said deeply and earnestly at the Nobel Prize-giving ceremony: "There is a bridge between tradition and modernity. If tradition exists in isolation, it will become rigid; if modernity exists in isolation, Will volatilize. If the two can be integrated, one will give the other another vitality, while the latter will give it weight and gravity as a reward... The search for modernity is a kind of return Returning to the original, modernity leads me to my own beginnings, leading me to ancient times. The break becomes a reconciliation. So I understand that the poet is only one of the long rivers of generations."
Pass said that we are only the "hey." in the long history. Since it is a cockroach, don't think about going to the embankment to make a flood. Please respect the duckweed and herring that are slowed down in this river, making this river more original and inclusive, stringing up generations of time and memories, disappearing invisible - this may be "don't stir freely" meaning.
I went to Ningbo. This is a very literate city. First of all, he has the "Tianyi Pavilion". This is the collective spiritual imprint of Jiangnan intellectuals and the destination of culture. Then he has a modern urbanization development, and can see the beauty of construction far beyond the general third-tier cities. However, such a space with profound traditional customs has also lost many historic blocks and small towns. Wang Hao said that when he started designing the Ningbo Museum, the 30 beautiful towns in Ningbo had been demolished for twenty-nine and a half. The remaining half was enough to make Wang Hao marvel! Wang Hao used this. The demolished bricks and ash tiles create a “ruin†building to pay tribute to the ancient history of the city!
Wang Wei used bamboo rafts as a template for concrete walls. This is the method of Le Corbusier's “roughnessâ€. This is not a “Chinese natureâ€. It is actually a kind of “pleasant†international performance; building with gray bricks The epidermis, with different brown, dark red, and dark gray bricks on the top, is an abstract and freehand pattern. This is the architectural decorationism, and the real thing is not with the tradition. Even the building has an unacceptable sense of modernism. On the one hand, Wang Hao’s anti-modernism trend in his youth has shown a strong interest in tradition; on the one hand, he is unable to pull out and can only use the geometric block to narrative. Whether it is the Xiangshan Campus of the Zhejiang Academy of Fine Arts or the Ningbo Museum, the building uses the epidermis of the historical sites, the simple bricks, but it is difficult to conceal the cold temperament and distance consciousness of the building. The common problem of modernism, such as openness, indifference, hardness, and individualism, is reflected in the design of Wang Shuo. The closeness of traditional Chinese architecture, affinity, and entry should have been explained in Jiangnan, where the "literate landscape" and "pot in the heavens and the earth" are the mainstream. Wang Hao has left regrets.
This may be my blame. After all, it can be said that Wang Hao’s architecture has the solemnity and silence of traditional aesthetic values. This is the double interpretation that Wang Hao brought to us. Perhaps Wang Hao has only done a superficial reconstruction of contemporary architecture. After all, Wang Hao is using modern techniques to do a series of architectural designs, and it is very abstract. Abstract to himself said that the Ningbo Museum was old in ten years, with moss covered and lush roof plants. Perhaps it was only then that there was a feeling of closeness, not a sculpture-like form.
When a city is made up of skyscrapers and blocks people's distant sights, we may never return to the world of poetry and painting. “Vertically represents desire, and level means order.†When Chinese architecture emphasizes ethics, longevity, harmony, and silence, it cannot be spread along the horizon and becomes the mainstream of urban space. The residents of this city will inevitably be endless. Color desire. When our nation has not yet found a philosophy, belief, and education that corresponds to vertical sexual desire, this society will be confused and colorful.
A few days ago, a few friends sat chatting and talking about the popular “Cultural and Creative Park†fever. I not only sighed with emotions! I cite, for example, the aggregation of spontaneous, unorganized, group unconscious behaviors – such as The Yuanmingyuan Painter Village in the 1990s, the Beijing 798 Art Park that began this century, the artists gathered in the peasant courtyards of Songzhuang, Tongzhou, Beijing, and the Shanghai Yangshupu Creative Park, which is not led by the government. the behavior of. The government only saw the phenomenon of art trade suddenly appearing on the ruins of an industrial era, and it was a market economy phenomenon of hundreds of millions of years. This thought of planning to be a “creative art park.†So rents began to be high, and tourists began. As the number of artists began to withdraw, commercial capital flooded in, and everything became a model of routines. At this time, the government only needs to “get it right†to get a huge return. This is also an example of dancing in the “ruinsâ€.
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