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왕슈의 십리홍장문화원(十里紅妝文化園)에 나타난 전통 원림 요소 재현에 대한 연구
장명월(Zhang, Ming-Yue),백진(Baek, Jin) 대한건축학회 2021 대한건축학회 학술발표대회 논문집 Vol.41 No.1
Since Wang Shu won the Pritzker Architecture Prize in 2012, his architecture has become a model and research hotspot for the integration of Chinese traditions and contemporary architectural design. We could also find Wang Shu"s design heavily influenced by traditional gardens through analyzing his several works. ShiLiHongZhuang Cultural Center, as Wang Shu’s new work built-in 2018, is also worthy of attention and analysis. The purpose of this study is to examine how Chinese traditional gardening elements be used in ShiLiHongZhuang Cultural Center. Especially this study is concentrated on analyzing how architecture, water, stone, and plants of traditional garden dominated ShiLiHongZhuang Cultural Center"s space function, form, and composition.
왕슈의 십리홍장문화원(十里紅妝文化園)에 나타난 전통원림(園林) 건축 요소의 재현에 대한 연구
장명월(Zhang, Ming-Yue),백진(Baek, Jin) 대한건축학회 2022 대한건축학회논문집 Vol.38 No.6
In coping with the increasingly dominant process of Westernization, an essential task an architect faces in contemporary China is to create architecture that is culturally sensical and valid. For this reason, uncovering and interpreting the tradition of spatial art such as gardening has been a major subject of study by many leading Chinese architects. This study analyzes ShiliHongzhuang Cultural Center, a masterpiece by Wang Shu, the 2012 laureate of the Pritzker Prize and explores the specific ways by which the project represented and reproduced the characteristics of the traditional Chinese garden. This study first examines the theory of the traditional garden in terms of its layout, figures and materials. Second, the study investigates Wangs philosophy of gardening by reviewing his three articles and analyzes Wangs early work entitled Five Scattered Houses, a work regarded as the originator of his garden-style architecture, in order to draw out its characteristics in reference to traditional gardening. This study identifies six prototypical elements of commonality between the garden and the architecture such as aisle, courtyard, mountain house, water house, taihu house, and wapan wall under the categories of layout, figure and material. Lastly, this study analyzes how these architectural prototypes are represented in ShiliHongzhuang Cultural Center. The results illuminate how the Center evolves further from his early work to implement the prototypical elements in a more mature and advanced fashion. Wangs approach to design thus marks a significant point of reference for contemporary architecture that seeks to reconcile the tradition of gardening, the cultural identity, and the value of architectural creation.
왕슈(王澍) 건축에 나타난 중국 전통 서예와 산수화의 특징에 대한 연구 - 전통 서예와 산수화의 공간 조성 기법을 중심으로 -
장명월(Zhang, Ming-Yue),조항만(Zo, HangMan) 대한건축학회 2020 대한건축학회논문집 Vol.36 No.4
The Chinese Architect Wangshu, who won the Pritzker Architecture Prize at 2012, is the first and only winner in China. This study focused on the expression of his unique architectural ideas. Especially with a high interest in Chinese traditional calligraphy and landscape painting, Wangshu tried to use its traditional features to form his own architectural way. First this study looked at the features of calligraphy and landscape painting. Second this research studied the expression of Wangshu’s architectural practice in calligraphy’s way. Lastly this study furthered study of Wangshu’s architecture combined with landscape paintings’ features. The results state these following. 1) For calligraphy, he used the “modular composition” of Chinese characters to architectural composition, which included architectural form and materials. The “similarities” and “space creation” of calligraphy are respectively applied to architectural spatial details and site planning. 2) For landscape painting, Wangshu borrows its elements to compose his architecture with “gardening consciousness”. The “view method” of paintings was used to his architectural pedestrian flows, and Wangshu also based on the “space creation” of landscape painting to do architectural space design with creating the similar atmosphere.
고전 산수화의 ‘산(山)’요소와 왕슈(王澍) 건축물의 형상 설계 사이에 나타난 연속성에 대한 연구
장명월(Zhang, MingYue),백진(Baek, Jin) 대한건축학회 2023 대한건축학회논문집 Vol.39 No.10
Contemporary Chinese architectural scholarship often explores the modern reinterpretation and preservation of tradition. Chinese classical landscape painting, a prominent facet of traditional culture, significantly influences today’s architectural practice. This study delves into how Wang Shu incorporates the ‘mountain’ element from Chinese classical landscape painting into his architectural designs. The focus is primarily on Wang’s two notable works: Xiangshan Campus 2nd Complex and Ningbo Museum. Wang Shu has ingeniously crafted three architectural forms inspired by the natural ‘mountain’ element: the Taihu house, the Mountain house, and the Dashan method. These designs also pay homage to the ‘three-distance’ approach seen in classical landscape paintings and the artificial mountains found in classical gardens. Notably, the Mountain houses in Xiangshan Campus Building No.14 and Building No. 19 convey a horizontal landscape, mirroring the ‘level distance’ seen in paintings. On the other hand, the Dashan method, exclusive to Ningbo Museum, aligns with the ‘high-distance’ concept of paintings. The Taihu house’s design draws inspiration from the Taihu stone rockeries found in traditional gardens. While the garden’s Taihu stone evokes the “high distance’ in the viewing experience, the Taihu house’s role as a subsidiary structure to the main building makes it somewhat challenging to analyze within the framework of the ‘three-distance’ approach. This study underscores Wang Shu’s remarkable creativity in integrating tradition into his architectural formations. His interpretation of the ‘Mountain’ concept has sparked significant interest in Chinese architecture and has influenced subsequent scholars and architects in their endeavors to upload tradition in contemporary architectural practices.