Critical Regionalism: a Case study of Wang Shu

Critical Regionalism: a Case study of Wang Shu

Architecture has been used as an essential tool for the preservation and expression of culture in various parts of the world. Architectural designs of buildings and other structures across the globe define the unique aesthetic peculiarities as well as the socio-cultural values and traditions of the people living in those regions (Benesch, 2016). The values portrayed through architecture include religion, cultural festivals and rites, and other social values of a people. Many ancient structures in many historic towns like Athens exemplify this essence of architecture as an art. Architecture, like all the other domains of human existence, is greatly influenced by socio-political theories and philosophies. The early 20th century witnessed a growing clamour for logic, rationality, and efficiency (Hui 2016). Thiushered the intellectual movement called modernism, which strived for the advancement of human civilization beyond the limits of regions and cultural traditions. Modernist architecture emphasised on placelessness, functionality, and rationality of designs and buildings rather than the heavy ornamentation that had been predominant in preceding architectural designs and buildings (Benesch, 2016). Over time, a new era of postmodernism emerged, giving rise to a crop of architects who revered ornamentation as an essential aspect of construction.

Wang Shu’s Work vis-à-vis Critical Regionalism

Modernists and postmodernists arose an ideological rivalry on the best architectural designs to adopt going forward. Critical regionalism[1] emerged as an approach to mediate the two extremes of modernism and postmodernism. Critical regionalism seeks to integrate the cultural and physical attributes of a place, and current technology in architecture to create buildings that reflect the topography and traditions of a region while furthering the concepts of modern civilization and modernization (Benesch, 2016). Critical regionalism carefully combines ornamentation and local traditions with modern materials and technology in the construction of buildings, which gives the buildings a current outlook with a touch of regional contexts in this context. This text presents an in-depth analysis of the concept of critical regionalism with a focus on the works of Wang Shu (Hui 2016). The paper also addresses key critiques of critical regionalism as well as the need to reformulate the framework for critical regionalism in the context of today’s era of hyper-globalisation.

The concept of critical regionalism was first used by architectural theorists Liane Lefaivre and Alexander Tzonis in 1981. Kenneth Frampton popularised the concept in his 1983 work “Towards a Critical Regionalism: Six Points for an Architecture of Resistance.” Critical regionalism remains a common architectural approach in Asia (Benesch, 2016). This approach is actively used by the Chinese architect Wang Shu in his works and writings. Wang Shu is a Hangzhou-based architect who doubles up as the dean of the School of Architecture at the China Academy of Art[2]. He is the founder of Amateur Architecture Studio and the 2012 winner of the Pritzker Prize. In his unique approach to critical regionalism in architecture, Wang Shu creates modern and ultra-modern buildings using traditional materials and techniques infused with modern technologies. Many architects in present-day China specialize in fancy skyscraper projects and architectural facades with a keen interest in political and economic benefits (Benesch, 2016). Most of such buildings use foreign material and technology mainly imported from Japan, Europe, and America. On the contrary, Wang focuses on creating architectural works that adhere to everyday life, traditions, and the physical attributes of a place such as light and landscape. His focus is on socio-cultural restoration amid an increasingly civilised environment for personal fulfilment rather than the amassment of material benefits (Ma, Yoon and Zhang 2018).

The Ningbo Museum is Shu’s most notable work incorporating local traditional material and current technology. He constructed the building using old bricks salvaged from several buildings that had been demolished in the area (Hui 2016). These recycled terracotta and clay bricks partially line the surface of the thick reinforced concrete walls of the museum building. The twenty different types of grey and red bricks and tiles depict the local wapan tiling technique (ArchDaily 2019). The most striking feature of the museum is its shape that is designed to resemble the nearby mountains. This shape gives the building a look that seamlessly blends with the terrain and topography of the region where it is built (Benesch, 2016). The design strives to relate to the natural setting of the location by using valley-shaped entrances.

During the construction process, Wang relied heavily on local artisans for the building and construction work. These craftsmen[3] were instrumental in the processes of refining the building’s design as well as the actual construction work (Ma, Yoon and Zhang 2018). Through the direct involvement of local artisans in design refining and construction, Wang was able to infuse local traditional talent and techniques into the process and final product, the building. Such is an appreciation of people as the ultimate embodiment of culture and traditions (ArchDaily 2019). When people are allowed to recreate their cultural perceptions through art and science(as is the case of architecture), regional cultures and traditions endure through buildings and other architectural works. Wang’s reliance on local craftwork and skill is a deviation from the common practice of many local Chinese architects to import skills, techniques, and even workforce, a practice that has significantly contributed to the erosion of China’s traditional architectural works (Hui 2016). During the design and construction work at Ningbo, Wang greatly relied on the principle of ‘free design’ that he actively advocates rooting the building to the location and culture firmly. Free-design is a design approach where the architect reforms and adapts the building plan and design as it best suits the site and topography of the region. Notably, during the construction of the museum, some edges that had been articulately designed to be straight came out as curved lines. Instead of demolishing such sections to ‘force’ a straight line fit as per the design and plan, Wang left these portions curved as they were as a means of ‘letting nature take its course.’ In furtherance of his postulation of people as the most effective tool for the progression of culture and tradition through art and science, Wang Shu’s architecture students take their first year in college to learn necessary handicraft skills like carpentry and bricklaying (Ma, Yoon and Zhang 2018). Additionally, all members of the teaching staff must learn necessary building skills. To this end, Shu views an architect in three dimensions. First, an architect is a scholar, secondly a craftsman, and thirdly a builder (Hui 2016). Therefore, one can only make art and reproduce history using materials if they the traditions, history, nature of the materials, as well as how to use the materials in architecture.

The museum building was also constructed as a response to contemporary political and economic needs. To achieve this, Wang divided the building into lower and upper parts along a perpendicular axis[4]. This compartmentalization closely aligns with Chinese traditions (Hui 2016). The lower parts of the building are utilised for economic and commercial exhibitions and shows while the upper compartment is used for the exhibition of artwork. This caters to the economic need to maximise on space by accommodating multiple events within the same building. The Ningbo Museum is thus a classic example of critical regionalism as envisaged by Wang Shu.

Another instance of Wang Shu’s application of critical regionalism is the rebuilding of Wencun Village in Fuyang Municipality. The initial village(defunct at the time of rebuilding) had residential spaces of 120 square metres per house (Hui 2016). During the rebuilding, Shu insisted on 250 square metres per house instead of the initial 120 proposed by the government. Shu’s proposal was the first deviation from the traditional village to a modern dwelling with ample residential spaces. The design maintained the inclusion and positioning of the entrance halls used by the people for traditional celebrations (Hui 2016). The reconstruction used traditional building materials like rammed earth, bamboo, and stone integrated using reinforced concrete frames. He used double-walling technology to conserve energy. The interior courtyards were lined with wooden material, as is the local tradition in Wencun (Ma, Yoon and Zhang 2018). The exteriors were lined with black ceramic tiles imported from Southern China. The designing and rebuilding of this village signify the flawless blending of tradition and modernity to create buildings that are entrenched in both modern civilisation and ancient tradition.

The Wenzheng Library at Suzhou University and the Xianshan Campus of the Chinese Academy of Art also express Wang’s clamour for place-form fit[5]. Place-form fit is the concept of designing architectural structures that perfectly and seamlessly match the prevailing terrain and climate (Hui 2016). Traditional Suzhou gardening practices maintain that any buildings constructed between water bodies and mountains should not be high as to ascend the hilly terrains and that any additional building construct next to a big building should be much smaller (ArchDaily 2019). These local traditions inspired Wang’s decision to construct nearly half of the main library building in the basement. The four buildings attached to the main library building are smaller than the library itself (Ma, Yoon and Zhang 2018). The image below depicts the Wenzheng Library (photo credits: Amateur Studio):

The Xianshan Campus[6] was built in a manner consistent with the prevailing undulating and mountainous terrain of the site, as shown below:

Xiangshan Campus

Photo: Amateur Studio

Wang’s regional scope of architectural work also embodies critical regionalism. Wang Shu’s projects are mainly based in and around Hangzhou. Such a limited geographical range enables the architect to work in a region whose history, culture, tradition, and landscape they deeply understand (Hui 2016). Such an in-depth understanding of the area or site of architectural works enables a critical regionalist to come up with architectural practices that are synchronous with the buildings’ locations (Benesch, 2016). This ultimately leads to a perfect place-form blending, which is the essential component of critical regionalism.

Critical Regionalism Criteria vis-à-vis Wang Shu’s Work

The concept of critical regionalism strives to contextualise architectural works and buildings to the local environment and traditions[7] while at the same time adhering to current standards of civilisation and technology. In a nutshell, critical regionalism creates world-class structures with a local taste (Benesch, 2016). This approach uses light and reasonable ornamentation, and current technology infused with local talent and material. To elaborate on the criteria, Frampton outlined six desirable qualities of critical regionalism in his most outstanding work “Towards a Critical Regionalism: Six Points for an Architecture of Resistance.” The first criterion entails the interplay of culture and civilisation in architecture. To this end, Frampton and other proponents of critical regionalism argue that the advent of civilisation has contributed to the erosion of local cultures as previously embroidered in architecture. Thus to implement critical regionalism, it is paramount for architects to revive and incorporate aspects of lost cultures in their architectural works (Hui 2016).

Wang Shu makes efforts to restore local customs and traditions in his projects by incorporating salvaged traditional building materials from ancient buildings razed down to create space for modern civilization. This practice features prominently in the Ningbo Museum project (Benesch, 2016). The museum is constructed in a location where the ancient buildings had been demolished by the government to build modern development facilities. Shu incorporates the recycled bricks and tiles from these demolished houses into his museum project.

The second criterion is christened ‘the rise and fall of the Avant-Garde’ and analyses the architectural revolutions of the 19th Century leading up modernism in the early 20th Century. In this era, architecture took a negative attitude toward art, craft, and ornamentation (Benesch, 2016). This perception led to modernist architecture devoid of decoration to achieve an ‘international style[8].’ As defiance to this trend, critical regionalism incorporates aspects of art and craft in architecture. Wang Shu incorporates Chinese art and craft in designing the interior and exterior finishes to his buildings, as espoused in the wooden lining of the interior courtyards of the Wencum Village project (Benesch, 2016)t.

Thirdly, critical regionalism borrows aspects of peculiar to the location of a building. Such include light, topography, and climate. Critical regionalist buildings should adhere to these local conditions while aligning to internationally acceptable standards. In the Ningbo Museum construction, Shu makes the roofs shaped like the surrounding mountains(local conditions) while he uses reinforced concrete walls(international standards) (Hui 2016). His approach to architectural designs is an excellent embodiment of critical regionalism principles. The fourth criterion is the concept of place-form, which seeks to view buildings as an extension of the prevailing landscape rather than free-standing objects.

The place-form approach opposes the tabula rasa concept that aims to level construction sites to create buildings detached from the landscape shape (Hui 2016). The designing and construction of buildings should freely adapt to the physical features of the location, thus creating structures that seamlessly blend with the physical environment. The entrances, exits, walkways, and roofs should produce a visually pleasant impact that reflects the landscape (Benesch, 2016). Wang Shu actively pursues this concept in the construction of the Xiangshan Campus by creating structures and spaces that neatly blend with the topography. Related to the fourth principle is the fifth principle of nature and culture. This principle maintains that architecture must have a direct relationship[9] with nature and culture to create a perfect place-form balance.

The sixth criterion of critical regionalism entails the visual versus tactile perceptions of architecture. Critical regionalists recognise that many modern architects strive to create structures that appeal to sight, which is mostly a Western perception of architecture. However, critical regionalism maintains that a building should be felt by all the senses (Benesch, 2016), making the architectural work deeper and with stronger human connections to the region. This approach calls for the use of a range of building materials targeting different senses to create an array of emotional reactions to the building (ArchDaily 2019). As Wang Shu believes, buildings should be seen and felt. The clamour to elicit a complete range of emotional perception and reaction to architecture is envisaged in Shu’s use of a wide range of local and imported building materials in his architectural works.

Deductions from the Two-way Observation

This two-way analysis enables us to gain an in-depth understanding of critical regionalism as well as the motivations of Wang Shu as a critical regionalist and as an independent thinker and architectural scholar. The dictates of critical regionalism have significantly impacted Wang Shu’s approach to architecture in modern China (ArchDaily 2019). Wang strives to create stylish and ultramodern structures through the utilisation of traditional materials, and design approaches[10]. Albeit less lucrative compared to other prevailing methods, Wang pursues critical regionalism as a means to embed and encourage the progression of Chinese traditions (Hui 2016). Through the works of Wang Shu, critical regionalism transcends the limits of architecture as an art of building and construction; it portrays architecture as an expression of everyday life and living conditions of man.

Wang Shu has contributed significantly to the popularization of critical regionalism through his famous works. Wang Shu is actively involved in widening the scope of critical regionalism. As originally envisaged, critical regionalism focuses on the architects and their architectural works and writings. The initial concept and architectural theorists rely on theoretical exploration of architectural works to popularise the idea of critical regionalism (Hui 2016). Wang Shu deviates from this general trend by adopting a more practical approach to the popularisation of critical regionalism as an architectural concept. Wang imparts functional architecture and handcraft skills to his students and faculty members for the progression of critical regionalism (Benesch, 2016). By engaging local artisans in his projects, Wang promotes the fusion of local traditional craftsmanship with modern architecture techniques for the progression of critical regionalism.

Critique and the Need for Reformulation of Critical Regionalism Criteria

Wang Shu’s architectural works have majorly focused on the use of traditional local materials and techniques to achieve critical regionalism. This approach has worked successfully thus far. However, critical regionalism encompasses both the sociocultural and physical attributes of a place. Wang’s works capture the traditional and partial aspects of the physical environment[11], that is, the terrain. Shu does not adequately capture the role of climate, light, and tectonics in mediating the peculiarity of a region. Such an in-depth coverage of architectonics and scenography(The quality of an architectural to depict the natural ambience of a location through the mimicry of landscape and light quality) in design and construction are displayed more elaborately through the works of Tadao Ando (Ma, Yoon and Zhang 2018). Therefore, Wang Shu’s works are not products of comprehensive and absolute critical regionalism as envisaged by Tzonis and Lefaivre. His works, as argued by many architectural theorists, represent attempts towards cultural restoration through architecture (ArchDaily 2019). Wang Shu has a very critical view of the current crop of Chinese architecture and architects. He believes the massive buildings, mainly built from technology and design imported from Japan, Hong Kong, Singapore, and America, will not last. To him, critical regionalism is the surest solution to this problem. Whether this stance is correct, only time will tell!

Traditionally, cities and the buildings therein symbolised an elegant display of the cultures and traditions of their inhabitants. The advent of globalisation and modern civilisation has led to cultural exchange, as people from various parts of the world interact freely through commerce and politics (Zahiri Dezhdar and Foroutan 2017). Such cultural exchanges have facilitated global diversity and multiculturalism. Such cultural exchanges do not mean the extinction of local cultures, as portrayed by critical regionalists, but rather an integration of various cultures to produce a diverse global culture that signifies and appreciates the natural changes in human interactions (Benesch, 2016). In advocating for strictly locally inspired architecture, critical regionalism attempts to resist(or possibly reverse) the dynamic change towards a more socioculturally egalitarian society.

Also, the global civilisation has been occasioned by a simultaneous and spontaneous population explosion[12] world over. This population has put immense pressure on the available space for architectural developments. Demand on the limited land space has necessitated the construction of high-rise buildings to maximize the vast vertical space open (Zahiri Dezhdar and Foroutan 2017). These high-rise buildings and skyscrapers often appear as solitary towers detached from the general landscape of their locations. These structures rely on hypermodern steel, concrete, and glass architecture rather than the traditional wood, brick, and tile architecture. Critical regionalism thrives in the building of low-rise and medium-rise buildings concordant with the landscape. These structures require much more space to accommodate as much activity and population as would be accommodated by a high-rise building built on an equal amount of space (Zahiri Dezhdar and Foroutan 2017). The increase in population pressure, diversity, and multiculturalism due to hyper-globalization and civilisation make pure critical regionalism unsustainable in the long run. Despite this, there is still hope for the progression of critical regionalism, albeit partially, in the face of hyper-globalization.

Critical regionalism frameworks can be reformed in tandem with hyper-globalisation by incorporating elements of culture and tradition in modern architecture[13]. This is achievable through the incorporation of traditional decorations, light ornamentation, furnishing, and finishing into ultramodern architectural works (Newman and Goetz 2016). Such efforts maintain critical aspects of scenography and social history[14] into present-day architecture, thus preserving aspects of regional traditions.

From the preceding discussion, critical regionalism attempts to use architecture as a tool for the restoration and maintenance of local traditions amid a rapidly changing world. However, only a handful of present-day architects like Wang Shu and Tadao Ando still hold to the ideals of critical regionalism (Newman and Goetz 2016). Critical regionalism also passes as a basically idealist rather than a realist approach to architecture. The primary concern about critical regionalism is its sustainability concerning the ever-changing dynamics of the global society. However, if applied partially through decorations, ornamentations, and furnishing, critical regionalism can endure the test of time to aid the restoration and preservation of traditional architecture in an increasingly hyper-global world.

References

ArchDaily. (2019). Kenneth Frampton On The Work of Wang Shu and Lu Wenyu. [online] Available at: https://www.archdaily.com/867419/kenneth-frampton-on-the-work-of-wang-shu-and-lu-wenyu [Accessed 16 Dec. 2019].

Benesch, K., 2016. Space, Place, Narrative: Critical Regionalism and the Idea of Home in a Global Age. Zeitschrift für Anglistik und Amerikanistik, 64(1), pp.93-108.

Hui, G., 2016. A Gesture Of Facing With The Building——Read The Architect Wang Shu. Architecture & Culture, (12), p.48.

Ma, D.Q., Yoon, J.Y. and Zhang, J.Y., 2018. Case Study on the Regionality and Characteristics in the Expression of Modern Chinese Architecture. The Journal of the Korea Contents Association, 18(3), pp.636-647.

Newman, K. and Goetz, E., 2016. Reclaiming neighbourhood from the inside out: regionalism, globalization, and critical community development. Urban Geography, 37(5), pp.685-699.

Zahiri, N., Dezhdar, O. and Foroutan, M., 2017. Rethinking of critical regionalism in high-rise buildings. Buildings, 7(1), p.4.

[1] ArchDaily. (2019). Kenneth Frampton On The Work of Wang Shu and Lu Wenyu. [online] Available at: https://www.archdaily.com/867419/kenneth-frampton-on-the-work-of-wang-shu-and-lu-wenyu [Accessed 16 Dec. 2019].

[2] ArchDaily. (2019). Kenneth Frampton On The Work of Wang Shu and Lu Wenyu. [online] Available at: https://www.archdaily.com/867419/kenneth-frampton-on-the-work-of-wang-shu-and-lu-wenyu [Accessed 16 Dec. 2019].

[3] Newman, K. and Goetz, E., 2016. Reclaiming neighbourhood from the inside out: regionalism, globalization, and critical community development. Urban Geography, 37(5), pp.685-699.

[4] ArchDaily. (2019). Kenneth Frampton On The Work of Wang Shu and Lu Wenyu. [online] Available at: https://www.archdaily.com/867419/kenneth-frampton-on-the-work-of-wang-shu-and-lu-wenyu [Accessed 16 Dec. 2019].

[5] Hui, G., 2016. A Gesture Of Facing With The Building——Read The Architect Wang Shu. Architecture & Culture, (12), p.48.

[6] Hui, G., 2016. A Gesture Of Facing With The Building——Read The Architect Wang Shu. Architecture & Culture, (12), p.48.

[7] Hui, G., 2016. A Gesture Of Facing With The Building——Read The Architect Wang Shu. Architecture & Culture, (12), p.48.

[8] Newman, K. and Goetz, E., 2016. Reclaiming neighbourhood from the inside out: regionalism, globalization, and critical community development. Urban Geography, 37(5), pp.685-699.

[9] ArchDaily. (2019). Kenneth Frampton On The Work of Wang Shu and Lu Wenyu. [online] Available at: https://www.archdaily.com/867419/kenneth-frampton-on-the-work-of-wang-shu-and-lu-wenyu [Accessed 16 Dec. 2019].

[10] Ma, D.Q., Yoon, J.Y. and Zhang, J.Y., 2018. Case Study on the Regionality and Characteristics in the Expression of Modern Chinese Architecture. The Journal of the Korea Contents Association, 18(3), pp.636-647.

[11] ArchDaily. (2019). Kenneth Frampton On The Work of Wang Shu and Lu Wenyu. [online] Available at: https://www.archdaily.com/867419/kenneth-frampton-on-the-work-of-wang-shu-and-lu-wenyu [Accessed 16 Dec. 2019].

[12] Zahiri, N., Dezhdar, O. and Foroutan, M., 2017. Rethinking of critical regionalism in high-rise buildings. Buildings, 7(1), p.4.

[13] Zahiri, N., Dezhdar, O. and Foroutan, M., 2017. Rethinking of critical regionalism in high-rise buildings. Buildings, 7(1), p.4.

[14] Newman, K. and Goetz, E., 2016. Reclaiming neighbourhood from the inside out: regionalism, globalization, and critical community development. Urban Geography, 37(5), pp.685-699.