Ningbo history museum pdf

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This outdoor public space, with breakout spaces for visitors, takes on a dramatic character due to the light slope with the respect to the vertical line of the facades which, measuring up to 24 meters in height, offer visitors surprising views. The center of the complex, on the contrary, is occupied by a serene rectangular courtyard covered with glass profiles in greenish hues, whose reflecting and satiny skin contrasts with the impregnable exterior enclosures.

The surface of these facades is, in fact, one of the most characteristic elements of the project. All that remained of the villages were acres of broken tiles and bricks. As Wang acknowledges, building a museum in China can be problematic due to lack of clarity with regards to function. Today, architecture in China is facing a dilemma. Works by internationally renowned superstars may have put Chinese cities on the architectural map, but the bulk of domestic architecture remains business-oriented, wrapping conventional buildings in Western and Japanese facades to make them acceptable to the Chinese nouveau riche.

In terms of establishing a distinct let alone intellectual Chinese approach to architecture, outdated institutional practices cannot cope with such a rapid pace of change.

But this is hardly surprising. The fragmented facades have an archaeological, ruined quality. Lately, however, a new generation of architects has emerged whose principals either studied overseas or under foreign teachers in China. Partially immersed in a man-made lake lined with reeds, visitors enter this mountain of structural concrete through a 30m-wide rectangular hole in its east side.

The upper part defines a big terrace, which gives views of the city as well as crop fields and mountains. Terraces and stairs thread through the building so it becomes a kind of inhabitable topography. An emphasis on surface and facade are deeply culturally rooted in China. Wang responds to this with a complex, layered facade that derives from small-scale experiments in his earlier projects, Five Scattered Houses and the campus of the Chinese Arts Academy AR July Wang guided craftsmen on how to apply these traditional construction techniques, but was not allowed to control the whole process.