Chinese Architecture and the Beaux-Arts / / Jeffrey W. Cody, Tony Atkin, Nancy Shatzman Steinhardt.

• Superior document: Title is part of eBook package: De Gruyter Asian Studies Backlist (2000-2014) eBook Package
• VerfasserIn: Cody, Jeffrey W.,; Atkin, Tony,; Steinhardt, Nancy Shatzman,
• MitwirkendeR: Atkin, Tony,; Carroll, Peter J.,; Chang, Yung Ho,; Chao-Ching, Fu,; Chen, Zhao,; Cody, Jeffrey W.,; Fan, K. Sizheng,; Jie, Zhang,; Kuan, Seng,; Lai, Delin,; Ruan, Xing,; Rykwert, Joseph,; Steinhardt, Nancy S.,; Van Zanten, David,; Wagner, Rudolf G.,
• Place / Publishing House: Honolulu : : University of Hawaii Press, , [2011]; ©2011
• Year of Publication: 2011
• Language: English
• Series: Spatial Habitus: Making and Meaning in Asia's Architecture
• Physical Description: 1 online resource (408 p.) :; 208 illus., 60 in color

In the early twentieth century, Chinese traditional architecture and the French-derived methods of the École des Beaux-Arts converged in the United States when Chinese students were given scholarships to train as architects at American universities whose design curricula were dominated by Beaux-Arts methods. Upon their return home in the 1920s and 1930s, these graduates began to practice architecture and create China’s first architectural schools, often transferring a version of what they had learned in the U.S. to Chinese situations. The resulting complex series of design-related transplantations had major implications for China between 1911 and 1949, as it simultaneously underwent cataclysmic social, economic, and political changes. After 1949 and the founding of the People’s Republic, China experienced a radically different wave of influence from the Beaux-Arts through advisors from the Soviet Union who, first under Stalin and later Khrushchev, brought Beaux-Arts ideals in the guise of socialist progress. In the early twenty-first century, China is still feeling the effects of these events.Chinese Architecture and the Beaux-Arts examines the coalescing of the two major architectural systems, placing significant shifts in architectural theory and practice in China within relevant, contemporary, cultural, and educational contexts. Fifteen major scholars from around the world analyze and synthesize these crucial events to shed light on the dramatic architectural and urban changes occurring in China today—many of which have global ramifications. This stimulating and generously illustrated work is divided into three sections, framed by an introduction and a postscript. The first focuses on the convergence of Chinese architecture and the École des Beaux-Arts, outlining the salient aspects of each and suggesting how and why the two "met" in the U.S. The second section centers on the question of how Chinese architects were influenced by the Beaux-Arts and how Chinese architecture was changed as a result. The third takes an even closer look at the Beaux-Arts influence, addressing how innovative practices, new schools of architecture, and buildings whose designs were linked to Beaux-Arts assumptions led to distinctive new paradigms that were rooted in a changing China. By virtue of its scope, scale, and scholarship, this volume promises to become a classic in the fields of Chinese and Western architectural history.Contributors: Tony Atkin, Peter J. Carroll, Yung Ho Chang,Jeffrey W. Cody, Kerry Sizheng Fan, Fu Chao-Ching, Gu Daqing, Seng Kuan,Delin Lai, Xing Ruan, Joseph Rykwert, Nancy S. Steinhardt, David VanZanten, Rudolf Wagner, Zhang Jie, Zhao Chen.

Table of Contents

Frontmatter -- Contents -- Acknowledgments -- A Note on Chinese Names and Other Clarifications -- Introduction -- Part I. Divergence to Convergence -- 1. Chinese Architecture on the Eve of the Beaux-Arts -- 2. Just What Was Beaux-Arts Architectural Composition? -- Part II. Convergence to Influence -- 3. Convergence to Influence: Introductory Perspectives -- 4. Chinese Architecture Students at the University of Pennsylvania in the 1920s: Tradition, Exchange, and the Search for Modernity -- 4. An Outline of Beaux-Arts Education in China: Transplantation, Localization, and Entrenchment -- 5. A Classicist Architecture for Utopia: The Soviet Contacts -- 6. Beaux-Arts Practice and Education by Chinese Architects in Taiwan -- Part III. Influence to Paradigm -- Influence to Paradigm: Introductory Perspectives -- Yang Tingbao, Dong Dayou, and Liang Sicheng. Modern and Ancient -- 7. Yang Tingbao, China’s Modern Architect in the Twentieth Century -- 8. Between Beaux-Arts and Modernism. Dong Dayou and the Architecture of 1930s Shanghai -- 9. Elevation or Façade: A Re-evaluation of Liang Sicheng’s Interpretation of Chinese Timber Architecture in the Light of Beaux-Arts Classicism -- Lü Yanzhi, Zhang Kaiji, and Zhang Bo. Republican and Early Socialist Politics -- 10. From Studio to Practice. Chinese and Non-Chinese Architects Working Together -- 11. Ritual, Architecture, Politics, and Publicity during the Republic: Enshrining Sun Yat-sen -- 12. The Sun Yat-sen Memorial Auditorium: A Preaching Space for Modern China -- 13. Zhang vs. Zhang: Symmetry and Split: A Development in Chinese Architecture of the 1950s and 1960s -- Chinese Cities. Beaux-Arts Plans and Post-Beaux-Arts Urbanism -- 14. The Beaux-Arts in Another Register. Governmental Administrative and Civic Centers in City Plans of the Republican Era -- 15. Chinese Urbanism beyond the Beaux-Arts -- Afterword. The Four and the Five -- Contributors -- Index