Shrine of Knowledge, Palace of Aesthetics, Or Theater of History Museum Design in China
SHRINE OF KNOWLEDGE, PALACE OF AESTHETICS, OR THEATER OF HISTORY MUSEUM DESIGN IN CHINA OU NING . un musée qui est peut-être celui de sa mémoire . —Chris Marker, La Jetée, !"#$ In the December $!, $%!&, issue of the Economist, an article about museums in China stated that in !"'", the country had only $( muse- ums. It went on to note that, according to the Chinese Museums Association, by $%!$ the number had increased to &,)## museums, including '(! that had opened that year. The government’s current five-year plan had projected &,(%% museums by $%!(; the goal was surpassed three years early. The United States, by comparison, saw only $% to '% museums built per year in the decade prior to the $%%) financial crisis. The article also referenced the term “museumification,” coined by Jeffrey Johnson, director of China Megacities Lab at Colum- bia University, in response to the Chinese museum boom.¹ “Museum- ification” is derived from “gentrification” and precisely sums up the motivation behind the museum-building fever. As a rising political power, China needs cultural achievements to manifest its “so, power,” and through museum building, its emerging capital can catch up to its increasing power and achieve social impact, while acquiring land for still greater commercial gain. 119 The current frenzy over museums in China is somewhat similar Drawing its inspiration from the Chinese calligraphic form of to Europe in the sixteenth century, during the Age of Discovery, when “one”—a horizontal stroke in ink—Nouvel’s winning design was consid- cabinets de curiosités or Wunderkammern showed off relics and trea- ered by NAMOC deputy director Xie Xiaofan as the most representative sures collected from colonies overseas.
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