critical regionalism and works of Wang Shu

 critical regionalism and works of Wang Shu

Modernists and postmodernists arose an ideological rivalry on the best architectural designs to adopt going forward. Critical regionalism 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. Critical regionalism carefully combines ornamentation and local traditions with current materials and technology in the construction of buildings. This 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. 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. The concept was popularised by Kenneth Frampton in his 1983 work “Towards a Critical Regionalism: Six Points for an Architecture of Resistance.” Critical regionalism remains a prevalent architectural approach in Asia. 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. 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. 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.

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. 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. 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. 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 craftsmen for the building and construction work. These craftsmen were instrumental in the processes of refining the building’s design as well as the actual construction work. Through the direct involvement of local craftsmen in design refining and construction, Wang was able to infuse local traditional talent and techniques into the process and final product, the building. This is an appreciation of people as the ultimate embodiment of culture and traditions. 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 manpower, a practice that has significantly contributed to the erosion of China’s traditional architectural works. 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 basic handicraft skills like carpentry and bricklaying. Additionally, all members of the teaching staff must learn basic 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. 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. This compartmentalization closely aligns with Chinese traditions. 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. During the rebuilding, Shu insisted on 250 square metres per house instead of the initial 120 proposed by the government. This 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. 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. 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. Place-form fit is the concept of designing architectural structures that perfectly and seamlessly match the prevailing terrain and climate. 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. 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