Concept of architecture in Chinese aesthetic context
Western aesthetics is based on a mathematical analysis of the formal structure of an object, using classical laws of beauty such as balance, symmetry, and moderation. Oriental aesthetics differ in that they emphasize intuitive experiences such as the “blank” of traditional Chinese painting and create a particular “concept” through emotional communication with the “image”. The contrast between reality and emptiness allows the viewer’s imagination and emotions to flourish and “show the breadth of heaven and earth even in a square inch place”.
of Confucius’s Analects, “The Master said about Xiao that it was completely beautiful and completely good. He said that about Wu it was completely beautiful but not completely good.” Unification of beauty and good “, that is, form. The unification of content is at the heart of Confucius’s aesthetic thinking. It can be translated into architectural aesthetics as a unification of form and function. The shape does not have to follow the function completely, and the function does not have to give way to the shape completely, but both need to be balanced in order to achieve mutual success and harmony.
Jiangsu Garden Expo Treasure Pavilion / AZL Architects
The project is located at Tangshan-Tangshan Geopark. The concept of “folding” was inspired by the pedigree of culture, with plans for visiting and wandering in a limited space. The idea of ”folding” creates a rich roof / ground shape while the building itself becomes part of a piece of land. “Folding” amplifies the exhibition visit experience in a limited space, removes the “floor” limitation, and forms a continuous spatial sequence within the building. By applying the concept of “folding”, the space is connected to the whole, and a simple appearance and rich space content are realized.
Tianjin University New Campus Gymnasium / Li Xinggang Atelier
Multiple indoor sports fields are compactly organized and straight public spaces (public halls, arch bridges, and swimming pools) according to their respective requirements regarding planned dimensions, headroom, and usage (dedicated or multipurpose). The roof and exterior walls of the sports space use a series of reinforced concrete structures with dominated curved surfaces, barrel arches, and conical surfaces that provide long span space and daylighting of high side windows. The structural texture of the wooden concrete is exposed on the inside, and the architectural contours of silence and diversity are formed on the outside, achieving a complete unification of the structure, space and shape of the building.
Confucius proposed “Golden Mean” as the highest value principle of Traditional Chinese thought. He states: “This equilibrium is a great root for the growth of all human behavior in the world, and this harmony is a universal path that all of them should pursue.” In art and aesthetics, there are various conflicts with the middle. It means that conflicting individuals should unite effectively and harmoniously, unilaterally emphasizing one part and not damaging the other.
Changjiang Art Museum / Vector Architects
The museum is located at the southern end of the newly built residential community, adjacent to the city’s grid. The main staircase on the southwest side of the gallery begins on the streets of the city and rises to the outdoor terrace on the second floor, which is connected to the community via a connecting bridge on the north side. The circulation of this external intersection is open and independent of the museum route. Both are suitable for general visitors and local residents. The treatment of light in the art gallery also creates a meditative space in the city. Through flow and space, buildings balance communities with cities, cities, and individuals.
Miniature Series II: Ruined Library / ATELIER XI
The architect divided the cultural buildings built in the countryside into a series of miniature vignettes. These cast-in-place concrete miniatures are interpreted as a series of tree-shaped spaces where the tentacles extend into the sky and are exposed to light and shadow. In one of these series, the library is in the wreckage of a sun-dried house in the village. The curvature of the cross section that jumps over the old wall connects the entrance to the ground floor, the terrace and the rooftop. The interior space functions not only as a staircase library, but also as a small projection room. It creates a natural clarity between old and new buildings.
Nature and humanity
“Nature and humanity” emphasizes the aesthetics of “the beauty of nature” and “the work of man must match the work of heaven”. It is a respect for nature and an architectural integration of heaven and earth in architectural aesthetics. It is egocentric spatial cognition that maintains an intimate relationship with nature and fuses with the spirit of heaven and earth.
Hatadai Museum / Atelier Death House
The Qintai Art Museum is located on the shores of Lake Moon in Hanyang District, Wuhan, facing Mage Hill on the south side of the lake. To reduce the weight of the buildings on the natural surface of the lake, we use the shape of the natural terrain with undulations in the direction of the lake, while submerging part of the exhibition space underground. This not only uses underground space, but also minimizes mass above ground. These rooftop passes connect indoor and outdoor spaces. In this way, they form a public space framework that is independent of the museum’s exhibition space. Citizen’s activities are part of the architectural aspect.
Sound chapel / open architecture
The sound chapel nestled in a mountain valley looks like a mysterious rock that has fallen softly. The form of the constructed structure is a direct response to the site. The inverted conical structure with a large top and a small bottom follows the shape of the valley and gently falls to the bottom of the valley with a minimal footprint, minimizing its impact on the valley. Surrounding environment. The concert hall transforms into a sanctuary, creating a strong bond between people and nature.
Beauty of joy
I Ching According to the interpretation, the “image” is in the flowering period of the “concept”, and once you have the “concept”, you cannot stick to the “image”. In Chinese aesthetics, mood is more important than shape, and the beauty of joy is more important than the beauty of shape. By creating a spatial atmosphere, people can transcend limited elephants and gain a philosophical sense and understanding of the life, history, and the entire universe of a particular scene.
Haikou Cloudscape / MAD Architects
The same goes for the Cloudscape visit experience. This architecture allows people to approach buildings away from the reality of our familiar cities and embark on a new journey that transcends time and space. Nestled between land and sea, this building is very sculptural. The free and organic form of the pavilion fuses walls, floors and ceilings in an unpredictable way, allowing the creation of unique interior spaces where the boundaries between indoors and outdoors are blurred. The complexity of the cave-shaped shape breaks down the space layer by layer, providing the reader with a weightless field in which their imagination lives.
Jingde Town Empire Kiln Museum / Studio Shuhei
The brick kiln is not only the origin of the city, but also the place of life and interaction that people depend on. “Keeps the temperature of memory, which is closely related to urban life.” There are many gray spaces between the museum building and nature, which are intertwined and represent reality and imagination inside and outside. .. The spatial experience of visitors walking through the museum reflects the unique oriental aesthetics of traditional Chinese architecture “hidden, rest, cultivation, and travel.”
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