Chinese Architecture and the Beaux-Arts 9780824861018
In the early twentieth century, Chinese traditional architecture and the French-derived methods of the École des Beaux-A
212 24 17MB
English Pages 408 Year 2011
Table of contents :
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
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
- Author / Uploaded
- Jeffrey W. Cody
- Nancy Shatzman Steinhardt
- Tony Atkin
