Everyone knows that the urban development that invested China brought an acceleration that, in only twenty years, saw the construction of what Europe achieved over the course of a century, all to the detriment of the quality of buildings and urban spaces, and with widespread environmental consequences. On the other hand, this situation offered an occasion for almost total freedom of expression and important experiments with architectural language and innovative construction. To date, this climate of great euphoria appears to be changing and making way for new cultural ideas and architectural trends. The essays and projects presented in this issue were selected to document this new approach to architecture in China. They offer a comparison of the work of international offices, foreign and well-known, such as Zaha Hadid and MVRDV, and Chinese, for example, Vector Architects and MAD Architects, with that of Chinese offices working primarily in China, who bring a new sensitivity and approach to the design and transformation of the territory. A growing number of architects, by joining the lesson of the Modern Movement, learned above all in the West, with an ecological conscience, are rediscovering local elements, forms, materials and building practices, distilled into a measured and essential language, based on tectonics and relations with contexts. Through design, this group explores the most authentic meanings of architectural practice, intended as the bearer of cultural and symbolic values bound up with the relationship between man and his environment. Most of these architects, like Amateur Architecture Studio, TAO, Cui Kai and Rural Urban Framework do not work in large cities but in more external and still rural areas and villages. They do not adopt the principle of the tabula rasa but instead look for ways to operate in continuity with the existing.
CONTEMPORARY ARCHITECTURE IN CHINA BETWEEN ECONOMIC GROWTH AND CULTURAL DYNAMISM - Pg. 6
INTERVIEW WITH SUN YI DONG – Pg. 13
CONTEMPORARY CULTURE AND ARCHITECTURE RESEARCH. THE ROLE OF CHINA ACADEMY OF ART IN HANGZHOU - Pg. 18
A NEW GENERATION OF ARCHITECTS FOR A GROWING RURAL MODERNITY IN CHINA - Pg. 24
THE ROLE OF CONSERVATION IN THE DIALECTIC BETWEEN EAST AND WEST. The Museum of Lost Stones in Wenzhou - Pag. 32
Haibing Centre at Nankai University was designed to provide this university campus in the heart of the metropolis of Tianjin with a multipurpose space for hosting courses, lectures, exhibitions and cultural events. The building is the result of the adaptive reuse of a pavilion that once hosted a cafeteria, built in 1952 and characterised by perimeter walls in brick and a low vaulted roof. The pre-existing building was wrapped by three new volumes. To the north, a pavilion for alumni, with meeting rooms on the ground floor and a double height recreational space on the first floor. A new wing was constructed to the west, adjacent to the old cafeteria. A series of pilotis support a system of walkways connecting the various functions on the upper levels. A spiral stair connecting the first and second floors pragmatically becomes an architectural and sculptural device that models an otherwise anonymous space. It directs visitors upward, into a new suspended volume, perpendicular to the west wing, hosting an exhibition gallery.
Inaugurated in September 2019, Beijing Daxing International Airport (BDIA) is currently the largest air terminal in the world with its 47 square kilometres. The first terminal, Beijing Capital, reached full capacity in 2012. BDIA was constructed to relieve this pressure and transform the southern part of Beijing into a leading integrated international transport hub. One of Zaha Hadid’s last projects, the airport establishes a new standard for airline transport services and represents a catalyst for the economic development of Tianjin and Hebei province. The terminal is supported by a multimodal ground transport hub providing direct connections to the centre of Beijing via local and national rail lines, including high speed rail. The architecture of BDIA is based on a radial structure, articulated in 6 wings, or piers, extending out from a central multi-level nucleus that intuitively guides passengers toward departure, arrival or transfer areas. This concept makes circulation an ordering element of architecture that transforms the logistic spaces of the airport into an urban organism in which the city, or better yet, the movement of passengers and goods, flow inward, while the project flows outward to expose latent itineraries in the surrounding context.
- Valerio Olgiati. Baumeister. Architettura come costruzione di un pensiero – Pg. 106
- Costruire sul costruito: il nuovo Meeting Center della sede di Ghella Spa – Pg. 114
- African Fabbers House – Pg. 118
LIBRI - Pg. 121
NOTIZIE - Pg. 122
INDICE 2019 - Pg. 125
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