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Practice in State-Owned Design Institutes in Post-Mao China (1976-2000S): a Case Study of CAG (China Architecture Design and Research Group)

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Practice in State-Owned Design Institutes in Post-Mao China (1976-2000S): a Case Study of CAG (China Architecture Design and Research Group) ‘Critical’ Practice in State-owned Design Institutes in Post-Mao China (1976-2000s): A Case Study of CAG (China Architecture Design and Research Group) By Feng LI Submitted in total fulfillment of the requirements of the degree of: Master of Architecture (by Research) (by Thesis) July 2010 Faculty of Architecture, Building, and Planning The University of Melbourne Abstract During the past three decades, China has witnessed an unprecedented upsurge of construction at astonishing speed. Architectural design firms from all over the world have participated in China’s design and building practice. One of the leading forces of this progress, however, is the state-owed design institute, which is a unique type of architectural design practice originally formed in the Maoist era (1949 - 1976) in China. Different from private practices, the design institute is institutionally associated with the government and significantly influenced by governmental policies. Taking the China Architecture Design and Research Group (CAG) as an example, this thesis aims to summarize the common and consistent features of the practice in the design institute in the post-Mao era (1976 - present) and to find an underlying socio-political mechanism that is perhaps driving the design practice in specific settings. In this research, the practice in the design institute is studied with a focus on the design agenda of architects. In order to capture a picture of the evolution of design ideas, I employed the concept of ‘criticality’ into my research from the ‘critical’ and ‘post-critical’ discussion in North America and East Asia. The formal characteristics of CAG’s works are tested in this measurement for an analytical interpretation. The investigation of CAG is conducted through both data analysis and fieldwork. Information from books, journals and the internet is collected to develop a comprehensive understanding of the design institute. During my fieldwork in Beijing, I visited important buildings designed by CAG and interviewed the chief architect of this institute. The evolution of its institutional system and its common design features in architectural language are at the core of this study. Through empirical studies on the relevant issues of CAG, I try to examine a i relationship between a government-orientated operation of the institute and the design approach of the architects, and further explore the significance of this practicing mode in the socio-political context of contemporary China. Despite the criticism often raised in the existing literature, this thesis argues for a collectivist perspective for evaluations of the design institute. With the economic conditions of a developing country in mind, this thesis suggests that the design agenda of architects in the design institute reflects long-term considerations of public welfare. Consequently, the participation of the government in architectural practice, as I would propose at the end of this thesis, is an effective and necessary mode, especially for developing countries. This standpoint can help establishing a more cross-cultural and international framework in theorizing the architectural practice of different countries and cultures including nations such as China in contemporary world. ii Declaration This is to certify that the thesis comprises only my original work except where indicated in the preface; due acknowledgement has been made in the text to all other material used; the thesis is approximately 30,000 words in length, inclusive of endnotes, but exclusive of tables, charts, glossary, and bibliography. Feng LI July 2010 iii Acknowledgements During the past two years, I devoted myself to the research in this subject area and finished the thesis with general help from my advisors, colleagues and friends. I would like to express my sincere appreciation to all those who offered me assistance and support in this study. The gratefulness also goes to the Melbourne University, for offering the MIFR and the MRS scholarships, which have given me the opportunity to dedicate myself into the research without economic pressures. First and foremost, I would like to express my deepest gratitude to my supervisor Associate Prof. Jianfei Zhu for his guidance and patience through the duration of this thesis, who gave me illuminating instruction, enlightening guidance and inspiration, which helped and encouraged me during my research time in the faculty. Furthermore, I would like to thank Dr. Greg Missingham and Dr. Hao Wu as my panel members for reading my thesis, providing useful discussions and valuable advices on my research topic. Thanks must also go to Ms. Jane Trewin, research support officer of the faculty, for her kind help and assistance during my research. Special thanks to Associate Prof. Qinghua Guo, for giving me suggestions on the application of human ethics, and to the librarians of East Asian collections in the Bailieu Library, for the assistance in ordering Chinese publications. I am thankful to my fellow postgraduates (Chiu Chenyu, Gu Yan, Lin Chia-Hui, Liu Xin, Sima Yina, Wu Ming, You Jia, Zhang Lu and Zhang Yanjing) for their warm-hearted help in my study. Gratefulness to Fang Wanli for her encouragement and accompany at the last stage of this study. Finally and especially, I would like to dedicate my thesis to my father and mother, for their persistent encouragement, moral support, thoughtful considerations and great confidence in me, whose continuing love has enabled me to complete this work. iv Table of Contents LIST OF FIGURES vi LIST OF CHARTS xi CHAPTER 1: INTRODUCTION 1.1 Problem statement 1 1.2 Literature review 3 1.3 About this research 9 CHAPTER 2: HISTORICAL REVIEW AND THEORETICAL DISCUSSION 2.1 A Brief history of the Chinese architect 13 2.2 Theoretical discussion about the ‘critical’ discourse 21 CHAPTER 3: CASE STUDY ON A STATE-OWNED DESIGN INSTITUTE 3.1 Introduction 27 3.2 A history of CAG 29 3.3 CAG’s reform 35 3.4 Review and analysis of CAG’s works 41 3.5 Review and analysis of Cui Kai’s works 63 3.6 A formal and ‘critical’ agenda: Analysis 73 3.7 A pragmatic strategy: Analysis 81 CHAPTER 4: CONCLUSION 4.1 Pragmatism 95 4.2 A Working mechanism underlying practice 97 4.3 Theoretical assessment on the practice of design institutes 99 NOTES 107 BIBLIOGRAPHY 115 GLOSSARY 119 v List of Figures Figure 3.1 National Library, Beijing, 1981. The figure is from Building Design Institute of Ministry of Construction, Selected Works of Chinese Famous Architectural Design Institutes in Series: Building Design Institute of Ministry of Construction, Harbin: Heilongjiang Science and Technology Press, 1998, p. 13. 44 Figure 3.2 Beijing International Hotel, Beijing, 1980. The figure is from Beijing Shi Guihua Weiyuanhui, Beijing Chengshi Guihua Xuehui, Beijing Shida Jianzhu Sheji (Beijing Ten Prominent Buildings), Tianjin: Tianjin University Press, 2002. 44 Figure 3.3 a: The Headquarters of P.L.A , Beijing, 1987. b: The Media Center, Beijing, 1988. c: The office building of Ministry of Forestry, Beijing, 1995. d: The Ministry of Foreign Affairs , Beijing, 1993. The figures are from Building, Selected, Harbin: Heilongjiang Science and Technology Press, 1998, p. 87, p. 122, p. 79, p. 74. 46 Figure 3.4 a: The Exhibition Hall No.1 of the International Exhibition Center of China, Beijing, 1988. b: The Medical Treatment Building of P.L.A General Hospital, Beijing, 1990. The figures are from Building, Selected, Harbin: Heilongjiang Science and Technology Press, 1998, p. 37, p. 62. 47 Figure 3.5 Shenzhen People’s Congress, Shenzhen, 1986. The figure is from Building, Selected, Harbin: Heilongjiang Science and Technology Press, 1998, p. 91. 50 Figure 3.6 High-rise buildings designed by CAG, Shenzhen. The figures are from Building, Selected, Harbin: Heilongjiang Science and Technology Press, 1998, p. 191, p. 175, p.179. 51 Figure 3.7 a: National Theatre designed by Paul Andreu (winner), Beijing, 1998. b: National Theatre designed by CAG, Beijing, 1998. vi The figures are from Jianzhu Chuangzuo Zazhishe, Guojia Dajuyuan Sheji Juan (National Theatre: Design Works), Tianjin: Tianjin University Press, 2008, p. 54, p. 52. 54 Figure 3.8 a: CCTV new site designed by OMA (winner), Beijing, 2002. The figure is from the website of OMA. Available at < http://www.oma.eu/index.php?option=com_projects&view=portal&Itemid=10&id=55> (accessed 17 June 2009). b: CCTV new site designed by CAG, Beijing, 2002. The figure is from China Architecture Design & Research Group (ed.), Selected Projects of China Architecture Design & Research Group 2003, Beijing: Tsinghua University Press, 2003, p. 84. 55 Figure 3.9 a: National Museum designed by GMP (winner), Beijing, 2003. The figure is from the internet. Available at < http://www.abbs.com.cn/usd/200501/p0511.jpg> (accessed 17 June 2009). b: National Museum designed by CAG, Beijing, 2003. The figure is from China, Selected Projects 2003, Beijing: Tsinghua University Press, 2003, p. 78. 55 Figure 3.10 a: National Library designed by KSP (winner), Beijing, 2003. The figure is from the internet. Available at < http://img.hc360.com/cm/info/images/200809/200809100953125505.jpg> (accessed 17 June 2009). b: National Library designed by CAG, Beijing, 2003. The figure is from China, Selected Projects 2003, Beijing: Tsinghua University Press, 2003, p. 79. 56 Figure 3.11 a: The Innovation Center of Tsinghua Science Park, Beijing, 2000. The figure is from China Architecture Design & Research Group (ed.), Selected Works of China Architecture Design & Research Group 2004, Beijing: Tsinghua University Press, 2005, p.85. b: Anhui Press Group, Anhui, 2002. c: No.5 Research Building of CAS Software Park, Beijing, 2004. These two figures are from China Architecture Design & Research Group (ed.), Selected vii Works of China Architecture Design & Research Group 2007, Beijing: Tsinghua University Press, 2008, p. 139, p. 105. 59 Figure 3.12 Beijing Daxing Cultural Center, Beijing, 2002. The figures are from China, Selected 2007, Beijing: Tsinghua University Press, 2008, p.
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