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Just like the “Vanke City†carefully built in the mountains of eastern Guangzhou recently, it follows the outline of the mountain. The building itself is a kind of rhythm. It is real and imaginary. It is closely blended with mountains, trees, and water. It is not surrendered. Natural, but in harmony with the natural environment.
Western body Chinese spirit
When the strangely shaped landmarks of Koolhaas, Hardy, Herzog and De Meuron began to rise in China, no world-class architects could truly reflect the spirit of Chinese traditional culture with Western modern technology. The “Guangdong Museumâ€, which was completed in the next year, is regarded as a landmark that truly integrates modern architectural art and Chinese thought.
“The Guangzhou Museum uses all aluminum plates and glass, but the museum’s idea is to follow the traditional Chinese treasure box. Modern high-tech materials can also represent the level of space in China and create a mystery of space.
How to create Chinese characteristics in modern architecture? Some people will like to use some old tiles, bricks or wood, but this may not last long. It is too superficial. Second, the old materials are too precious, and the maintenance is difficult and not very efficient. We live in the era of globalization, and we should use global materials and the latest technology, but we can start from the traditional Chinese concept. â€
When designing the "Guangdong Museum", Yan Xunqi knew that his design would be adjacent to the "Guangzhou Opera House" of Harti, the world's most famous female architect. A rounded side will be an inspiring dialogue between the East and West architects.
"Hatti's design is composed of two stones in black and white. It is a very fluid and sculptural work. Considering this relationship, I specially designed a very Chinese object, which is both neat and square. Through strong contrast, everyone's The features are more expressive, the two buildings maintain a certain distance, even if different forms do not feel uncomfortable. It seems that the court is a question and answer." As a result, his design is not expected to win. The Global Open Design Competition of the “Guangdong Museumâ€.
Beyond the “Guangdong Museumâ€, Yan Xunqi’s other Chinese architecture – Shenzhen Vanke 17 miles, Guangzhou Vanke City, Shanghai Jiujiantang, Hainan Boao Blue Coast, is not a poem like a modern Chinese landscape painting. The literati qualities of Chinese literati are faintly revealed, as well as the thoughts of Chinese heaven and earth. In the end, do Chinese buildings on Chinese land have to use Chinese elements?
“Chinese traditional elements cannot be deliberate, especially in the current development of China. Some traditional cultures are still very enlightening. Some public buildings can be passed as a starting point, but it is boring if the tradition is imposed on certain construction projects. Today, the lives of Chinese people are very different from those of the past. There is no need to deliberately add traditional culture. It depends on whether there is such a need.
For example, the “Shanghai Jiujiantang†I designed, some people think that it is quite traditional and some people think it is quite modern. My creative ideas come from the lifestyle and spatial relationship of the traditional Chinese family: generations living under the same roof, both to communicate with each other and to have freedom of privacy, how can the two create a sense of harmony? This traditional concept can still be applied to the modern Chinese family view. â€
Modern architecture emphasizes the harmonious relationship between people and the surrounding environment, so it is especially fond of using glass as a very open material, but how to apply it to the more restrained Chinese cultural tradition?
"Traditional Chinese dwellings are very introverted. I think part of them is psychologically safe. In the troubled times around, I want to have wall protection. Like a courtyard, there are only small windows in the street. This is also a modern man." When I designed the "community at the foot of the Great Wall," I took this into consideration. In the lobby where the guests were received, there was a large glass window that saw the Great Wall, but the Great Wall always felt a little barren and wild, so the sleeping room had to be protected by a wall. Introvert and openness is China's current state of mind, and this design is very secure.
When I was living in Canada, I lived in a house with large floor-to-ceiling windows. It was black and lacquered outside the window at night, so many residents installed anti-theft bells. In fact, living in a space that is too open is a psychological threat. Especially for the Chinese, privacy and protection are very important. â€
Architect shoulders city responsibility
In fact, most of the modern people's living space is defined by the architect's plan, so the architect seems to be the master of man and man, man and society, man and the natural environment? How does Yan Xunqi integrate the factors of city, humanity and nature in his own works? What kind of philosophy is behind it?
“I don’t think buildings can exist independently in cities or nature. Buildings coexist with the surrounding, and the urban environment is more important than any independent building. From this point of view, even if you want to build a landmark building The primary consideration is how it affects the surroundings. If in nature, it is necessary to consider how the two merge, not to be fully integrated into nature, but the building has a positive impact on the environment. In the city, Buildings allow people to communicate with their neighbors. How to divide people and traffic is a kind of URBAN RESPONSIBILITY, which is the sense of urban responsibility that architects should have.
Taking the recent “Vanke City of Guangzhou†as an example, the Chinese folk house is very humanized and it is based on the design of Vanke City. The street will be very close, very CLOSE, not very grand, but the building and the mountain The relationship between water will be very kind. Ideally, when walking in a small town, there is a garden with greenery, which truly reflects the taste of the mountain. When you step up, each step will be reflected in the mountain level. The mountain is closely related to the residents and is born from the ground. That feeling.
I have to make the buildings very close to each other, the community feels very strong, like a COMMUNITY. Some units have a sense of intimacy with water, and the mountain city should be low-density. Now the feeling of giving people is not too suburban, but some small city style. In Hong Kong, for example, the old and new districts are so close, the buildings have a sense of community responsibility and become part of the entire community's transportation. Like the Wan Guobaotong Bank I designed before, it can pass through in 24 hours; or I design At the Central International Financial Center, the city's street network will be put in, and the buildings will be connected to the pedestrian bridges. This is the characteristic of Hong Kong architecture. Now the buildings in Chinese cities do not have a complete concept and network system."
Postmodern postmodern trend
It has been said that for nearly a decade, the “Renaissance†of architecture, the seemingly unique landmarks of cities in various cities seem to have become a global trend. Should architects be influenced by fashion trends?
“Architects must have their own insistence, not necessarily to catch up with the world trend. In recent years, the trend of the trend is very focused on the sculptural landmark building. I agree that the architectural style needs to make breakthroughs, but now many buildings are very self-centered. This megatrend has made me spend more time on the shape of the building, but I insist that it is a part of the whole."
The Bilbao Guggenheim Museum is arguably the initiator of this big trend. Yan Xunqi appreciates that its imaginary style has an important connection with the technological materials produced by this industrial city, and it has a very positive impact on the whole city.
Another thing he appreciates is the library that Koolhas recently designed for Seattle. The buildings are connected to different streets. Different windows look out and have different scenery and feelings. It really has a connection with the whole community. Moreover, new attempts have been made in the function of the library, not to attract people with a landmark.
“The last time I went to the Guggenheim Museum in New York, USA, I happened to meet Hart’s solo exhibition. Her works were all on the spiral staircase. I felt that the building naturally had the fluidity of Hatty. I even think that those models have become part of the building. What we are doing now, in fact, people have done it decades ago."
Contemporary architecture itself has been a masterpiece of art for a long time. Everyone goes to Bilbao or Guggenheim, New York. Most of them are to see the architect's masterpiece. What works on display does not seem to matter? "Some people say that the walls of the Guggenheim Museum in New York are curved and it is difficult to place the exhibits. But I think that the audience walked in and knew how to go at a glance, knowing what was left before, and knowing how much had been seen. The combination of exhibits and architectural space is very comfortable. Although the museum is not big, I think it is a good idea. Recently, Tadao Ando's works in Omotesando are quite similar, but the feeling is completely different."
Chinese architectural turning point
Each landmark stands in the city and has other functions besides attracting attention. Like the Beijing Giant Theater, which was finalized in 1998 near Tiananmen Square in Beijing, Yan Xunqi regarded it as an affirmation of the country's avant-garde architecture. Because of this innovative solution, Guangzhou began to hold an international competition, inviting world-famous architects to participate in the construction of world-class works such as the Guangzhou Opera House, the Guangzhou Museum and the Guangzhou Library.
“The Beijing Grand Theatre is actually a turning point for Chinese architecture. Before the construction of the Grand Theatre, the Chinese government has not yet confirmed the classicism or avant-garde route. Therefore, the Grand Theatre is the official affirmation of the avant-garde architecture. Its influence is to make other The local government followed, so the local landmarks began to appear one after another. As a national grand theatre, it is the highest hall of art. If it can enhance the appeal of art, it is worthwhile. The key is this giant egg sculpture. Is the handwork done well, can it really increase the artistic atmosphere? Can the interior design create a theater effect? ​​The Beijing National Grand Theatre, together with other Beijing Olympics’ nests and water cubes, is like the Guangzhou Opera House and the Guangdong Museum. The city has already reserved a large stage for SHOW OFF to the world."
Coexisting different styles of design seems to be the biggest feature of post-modern cities. But is it not post-modern to represent anything that can be tolerated? “Traditional cities can't have too many landmarks. If the whole street is a landmark, it means there is no landmark. There are too many LOUD buildings to have QUIET to balance. In fact, too many high-profiles make low-key become a landmark. How to make the whole city form fit well, it depends on the skill of URBAN PLANNING."
In recent years, China's opening up has created a group of young and new forces, which have enabled New China Architecture to start looking for its own personality. In the 20s, do you have the opportunity to design your own building?
“In the country, since the Grand Theatre has lit up the green light at the top, the local government has begun to pay attention to architectural art. The mayor’s deputy mayor is very young, some even architects, who know how to respect professional opinions. The Shenzhen Architecture Biennale, Also initiated by the deputy mayor, looking for the planning director, they are professional enough to know Zhang Yong, the director of the Department of Architecture at the Massachusetts Institute of Technology, as a curator. I am also one of the consultants. The authorities really organize the architects. In the event, there will be no outsiders leading the insiders. The result is not good, not the most important. At least many opportunities can be played, and the second session will be held next year."
China's new era architectural expectations
What are the views and expectations of young architects in China?
"Most of them have received foreign education. They have done many foreign buildings like Ma Qingyun. It is a rare opportunity to put foreign experience and experience on China, plus China's current time and place. The only thing to be careful is that they sometimes Too much important pursuit of the trend, this may be a common problem in the world, it can be said that because of the influence of the media, it must be EYE CATCHING, TRENDY, to IN, rather than in-depth understanding to analyze the building to the social to the local environment The value of these. If you don’t take this seriously, their influence may not last long. They also like to use a lot of old Chinese tiles, which may be some stumbling blocks. These Chinese elements are very popular in foreign countries today. For example, if you take a movie, you must have a Chinese taste. This is a phenomenon that is understandable, and it cannot be said that it has no value at all."
When the city is moving towards modernization, how should the old buildings be chosen? We can't help but move forward, and we can't just take the old ones of the past. Demolition or retention has always been the most controversial topic of urban development. “Old things have a reserved value. In fact, many cities can balance old and new. Like more and more high-rise buildings in London, Paris is more strict with retaining old buildings. There is no real answer to whether to learn Paris or London. If all the hutongs in Beijing are to be preserved, then how can there be something new to build, but is it to retain one or a district? This is worth discussing.
The latest "Guangzhou Library New Hall" program in 2006
To be like the original Xintiandi in Shanghai, or to add new things to the preservation shape like the 8th Bridge? I think the 8th Bridge is much more interesting. The old buildings must be activated and stored flexibly. TATE GALLERY is a good example. Even the long-standing Louvre has to be innovated with the times. Hong Kong's architecture is often historical and memory value, more than architectural value. Unlike the Forbidden City in Beijing, it has a very high artistic value. â€
Pursue the ideal country
Some foreigners once asked, "Which Hong Kong construction industry is so developed, why can't even a world-class architect cultivate it?" Huen Wei, chairman of the Hong Kong Institute for Development Strategy and himself, also read the building. "Please look at Yan Xunqi. s work."
In 1983, one of the three champions of the "Paris Opera House" was not officially registered as an architect, and a little bit of legend was added to the words "Yan Xunqi". But the low-key architects have not dared to make a fuss. For 20 years, they have been building landmarks for Hong Kong: Wan Chai Convention and Exhibition Centre, Hong Kong Airport Railway Station and Central International Finance Centre. It is a pity that over the years, in the vision and space of Hong Kong's Shaanxi, he said: I still can't really do what I want to do, and still fail to promote the building to the realm of art.
“There is still no real estate project in the world architectural masterpiece. “Guangzhou Vanke City†tries to link with the whole urban planning, try to introduce urban design into the architectural design, try to upgrade to a new level, hope to reach the architectural art again. Further realm."
So today's China is not only the stage for architects all over the world, but also the place where Yan Xunqi is looking for architectural ideals. Although the current state of the country still focuses on individual architecture, the overall urban form planning is still not mature, but there is indeed room for unlimited construction and imagination, both in terms of substance and spirit. Or, China, is his box of treasures, there is another world.
Yan Xunqi professional experience
ROCCO SKYIM, world-renowned architect, executive director of Hong Kong Xu Liyan Architects Co., Ltd. China Guangdong Provincial Museum New Hall Architectural Design International Invitational Championship. Its designed Paris Bus Opera won the first prize in the international competition. He has won international architectural awards such as the Cartier Outstanding Architect Award and the President of the Hong Kong Institute of Architects. The design of Guangzhou Vanke City won the China Villa Building Treasure Award. His works include the Tokyo National Theatre in Japan, the Boao Blue Coast, the 17-mile Vanke, the “Freakish Court†of the Commune at the foot of the Great Wall, the Beijing No. 1 Beijing Road, and the Hong Kong New Airport Ring Airport Building.
Source: ABBS Building Forum
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Yan Xunqi - Hong Kong architect's Chinese treasure box
More than 20 years ago, after taking the "Paris Opera" design champion, Yan Xingqi, who became the first legend of Hong Kong's native architecture, said in an interview with Hong Kong's "Outside" magazine in 1986: "We are just building tradition. Style, But the result is.†Twenty years later, the architect who built several of the most important landmarks in Hong Kong set foot on the soil of the Chinese land, inspired by traditional culture and constructed a contemporary Chinese style. Under the sleek international architecture, there is a restrained oriental spirit.