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Loading ...When and why did you establish the Graduate Center?
The Graduate Center of Architecture at Peking University (Beida) was established in 1999 and classes were first offered in 2000. I have always valued the importance of research in architecture and the ideal research platform has always been the one that is built upon interactions between practice and academia. That is why I have been involved in teaching all along.
What are its purposes? Is it related to your experience in Harvard?
With the architectural program at Beida, I was also trying to tackle some fundamental problems of architectural education in China, along with research. Such agenda has to do with my teaching experience in the US but the Harvard appointment came later in 2002.
Will it be a cultural platform between Western and Eastern architectural education?
Potentially, it could be a center for exchanges but we need more people with language abilities and hopefully we will push towards that direction.
What are the results after first years of this experience?
We have made substantial progress in the areas of tectonic and urban studies. Some of the outcomes were published in international journals. Meanwhile, we have demonstrated that it is possible to have an alternative architectural education different from the Beaux Arts plus Post Modern model prevailing in China up to this point. It is still a long way, nonetheless, to construct systematically an architectural curriculum that is tailored for the conditions in China.
Can you explain us the meaning of Urban Tools, the theme of illy Workshop?
Urban research is typically conducted in a rational, seemingly objective, yet likely very dry manner. Juan Du and I wanted to try a more human approach that is personal, even humorous. Besides, we think that a tool does not always have to be precise as a Swiss watch. It can be very effective while being fairly rough. Perhaps this is one interpretation of the notion “Made in China”.
What do you think about the results of the workshop?
Frankly, I was surprised by the final results after the initial difficulty the students had. In the end, the students did seem to get the idea and enjoy the exercise. I was quite pleased.
Are there any relations between the research of Graduate Center and research of atelier FCJZ?
As I said earlier, Beida, the academia, and FCJZ (www.fcjz.com), the practice, are essentially doing the same research but in very different ways. Research at FCJZ is always done through commissioned design projects thus quite specific whereas Beida researches are initiated by us and tends to be more general. And as you know, Beida and FCJZ often collaborate too.
What do you think about current Chinese architecture?
There are some promising signals for a more sensitive architecture in China but one cannot be too optimistic about its future precisely because not enough research is being pursued due to time constraint and other unfortunate reasons.
What is your understanding of the position of FCJZ in current Chinese architectural situation?
I think that FCJZ did and does challenge the status quo but our position changes from time to time. For the moment, we are trying to argue that architects in China should get out of taste, style, and other formalistic issues to look into broader concerns such as city, social agenda, strategy, and tradition.
Most part of the foreign and local office is working on high-rise and big planning in China. Most part of your work is about small building, residential building, is it your strategy?
No, it just happened that we built some small buildings first and we have some big projects on the way. However, it really doesn’t matter what size the project may have, it has to be well researched and thoughtful.
One of your most famous projects is Split House for Great Wall Commune. What is your understanding of the economic and cultural meanings of Commune?
Commune at Great Wall (www.commune.com.cn) was significant only as a project in transition since it changed the way people in China understand how design or culture may be related to economy at that time; in other words, the project showed that progressive design can have a positive relationship with economic development.
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