WANG SHU IMAGINING THE HOUSE PDF

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Buildings by Chinese architect Wang Shu—this year’s winner of the Pritzker Prize— feature clear and simple contemporary designs that make use of traditional methods and materials. Shu’s design process always begins with an intense study of the location. Buildings by Chinese architect Wang Shu--this year's winner of the Pritzker Prize- - feature clear Imagining the House follows this process in various buildings. FNUHDSFHVAGI \ PDF # Wang Shu: Imagining the House. WANG SHU: IMAGINING THE HOUSE. Lars Muller Publishers. Condition: New. Paperback.


Wang Shu Imagining The House Pdf

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Buildings by Chinese architect Wang Shu, the Pritzker Prize Laureate, feature clear and simple contemporary designs that make use of. There are a lot of books, literatures, user manuals, and guidebooks that are related to wang shu imagining the house such as: mathematical methods for. Read the ebook Wang Shu Imagining The House by resgoderfita.tk Studio online at right here. Next to, you could also get Wang Shu Imagining The.

Logical Investigations. London: Routledge and K. Cambridge, Mass.

wang shu: 'imagining the house' book report

In terms of material, he says, it is through design that material comes out and returns to earth and its original quality. This is the polar opposite to the new and flashy material, in which the sole purpose of whose existence is to seek attention from people like an advertisement. In an interview, Wang Shu described the individuality and connotation of each piece of brick in detail: "This one was produced over years ago — that's the Ming Dynasty. That is a very standard size. This one is from the Qing Dynasty.

Some people have found older ones. The 7 oldest one is from the Tang Dynasty — that's 1, years ago. The use of material in Ningbo Museum has the capacity to refer itself back to the origin of things. This idea of collecting and curating fragments of history strikes remarkable resemblance to that of a museum collecting historical artifacts and curating it into an exhibition to showcase history. Wang Shu calls this the intrinsic strength of the material8.

These ideas resonate the idea of Peter Zumthor, that material is the touchable aspect of phenomenology, which facilitates the flows of memory9.

Reinterpretation of place With his written work Building Dwelling Thinking, Heidegger greatly influences the Norwegian architectural theorist Christian Norberg-Schulz, who manifests the meaning of place shaped by material with the term genius loci According to Norberg-Schulz, architecture is responsible for shaping the genius loci through its materiality.

Kenneth Frampton confirms and further develops the idea and clearly states that the use of material on the outer membrane of the building should evoke the character of the region, hence creating a sense of place for the building. He considers craftwork as an important element that should be exposed to allow people to appreciate the localness of how material is treated and put together. Ningbo History Museum. Imagining the House.

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Thinking Architecture. Genius Loci: Towards a Phenomenology of Architecture. New York: Rizzoli, Shortly after the museum was completed, it was honored with the prestigious Lu Ban Prize in , and in led Wang Shu to winning the Pritzker Prize. The Ningbo Museum was built in an area at the edge of the city where there were demolitions of rural areas. The old city fabric has disappeared and the farmlands threaten soon to disappear.

The site of the museum underwent Tabula Rasa as the surroundings are completely wiped out for future development of the city. There is no tradition here. I designed this to try to bring their memory back. Wang Shu has dealt with the peculiar site context not only expanding the building footprint horizontally and raising the building to only 24m to meet the historical height limit of the disappeared old city, but also by repurposing material from one place to another.

Hence, the role of material in Ningbo Museum is also conserving and reinterpreting history. Here, we see the rupture between theory and practice on material, whereby practice always appears slower and less imaginative than theory, yet when the thought is properly materialized, the strength of the statement is much more grounded and solid. To illustrate the strength of this literal repurposing or material, Wang Shu explained it with his encounter of an elderly woman at Ningbo Museum: "She visited four times in half a year.

She found many things similar to her original house, which had been demolished. She came to find her memory. Modern Chinese cities don't have memories, but in their deep heart they need memories. It really moved me. Munich: Prestel, Modern Architecture: A Critical History. London: Thames and Hudson, The repurposed material is also used in combination with other architectural tools to achieve a sense of place. Firstly, the use of repurposed bricks on the top of the building reminds people of the buildings of an old Ningbo street, since the material and the bricklaying method created this tactile experience that is similar to the restored houses in the village.

Moreover, in the interior, the bridge that one used to board ships in the past was rematerialized through material. This is important since the history of the port is forgotten because the site and its surroundings are completely reclaimed. Rejection of the fast development in contemporary China In his essay, Kenneth Frampton offered an interesting perspective of how material can create opposition to modern culture.

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He described that the modernization and standardization of material would ultimately lead to destruction of local building tradition If we obtain a complete view of the situation, it shows the conflict of modernism and local tradition.

The situation of fast paced development that was described by Frampton cannot be more evident than in China. This is where the commodification of architecture and the destruction of its own culture are at its most extreme in the contemporary world.

Indeed, the technological advancement of China in recent years has meant that large-scale destruction of traditional culture and creativity begins to occur. Destruction and rebuilding is part of the constant process of changing and reshaping Chinese culture. This brings us to the working method of Wang Shu. Not only is he closely engaged with the utilization of material, but he also works with the craftsmen closely on site. Through this, Wang Shu touched on a more pressing issue: the issue of passing on knowledge.

This could be said to be the most phenomenological way of passing down knowledge. As one of the seven ancient capitals of China, Hangzhou was built up as a seat of imperial government, and its geographic importance made it a powerful centre for trade and culture.

For almost a millennium it was arguably the locus of southern Chinese civilisation, and vast numbers of important politicians, scholars, philosophers, poets and scientists all lived and died there. To the south of the city, wedged between the mass housing blocks of Zhuangtang Residential District and the forested mountain of Xiangshan, is an outpost campus of the prestigious China Academy of Art CAA.

Itself bisected by a tributary to the Qiantang Estuary, the campus was built less than a decade ago as a sprawling network of squat buildings flanking the river and set among groves of ancient camphor laurels. To accommodate the steep grade, the plan is thus rhomboid, unfolding and cascading down the site in a series of sloping ramps, jagged rooflines and partially enclosed courtyards, in a way that both conceals and confuses the scale of the building which at almost sqm is substantially bigger than it looks from below.

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This double offset grid has the black tiles screwed below the steel cable junctions, making them clay parasols. As part of a double facade, the tiles unexpectedly have no waterproofing role, at best a highly ornamental brise soleil.

Unlike bricks, a tile cannot float, nor can it gracefully hover in an arch or lintel. So what does a tile want to be? Kuma breaks the interrelationship of the tiles, which would normally form an overlapping surface, to suggest the immateriality of the building itself.

Fragmented, the tiles are vaulted into patterns that flash like the scales of a fish with movement, sometimes dense and dark, at other times invisible or impossibly thin.

The overlapping lozenge rooms, which appear from some angles as parallel, only to splinter apart at the next turn, make depth perception confusing. It rejects the easily understandable, freestanding object in favour of the fluid experience of an ever-changing interior, framed moments unfolding like the path in a Chinese formal garden. When I learnt to speak Japanese as a boy I remember being quite confused by the ambiguous significance of silence in a conversation.

To my Anglo-Saxon mind, meaning was conveyed through sound, gesticulation, animation and facial expressions. For the most part, I would have argued, silence is just a gap, or a heightening of suspense between sentences.

By contrast, for the Japanese silence has a positive power to say what cannot be spoken.This means the nuclear two-for-one deal began to slow down, but it would still take some time to stop generating heat.

Baguettes remain tasty, and the accordion sounds as good as it ever did.

The dust contained strontium and cesium, which are particularly nasty substances. He described that the modernization and standardization of material would ultimately lead to destruction of local building tradition That is a very standard size.