In recent decades, a new type of cultural upsurge surrounding kunqu1 has arisen in Chinese language sphere, though respectively due to different reasons in China's Mainland, Hong Kong, Taiwan and other Chinese dia...In recent decades, a new type of cultural upsurge surrounding kunqu1 has arisen in Chinese language sphere, though respectively due to different reasons in China's Mainland, Hong Kong, Taiwan and other Chinese diaspora. Against the global trend of culture heritage nationalization context, via the new media platform, the performative staging of individual emotions and reverie in the market society2, the longings to redeem various alienation in a vertical modernity3, as well as the yearnings for emotional balance in a burgeoning feministic modernity, all integrate with each other and together generate a restless transforming memory for kunqu. Just like a misty veil, this complex, contentious, contradictory and long-lasting collective memory-making process blurs kunqu＇s appearance, expands its layers, and ultimately generates a cultural myth. With detailed case studies this paper aims to reflect upon the deep reasons for the kunqu myth and to probe the transformative powers of a performative space in enabling remembrance and/or forgetting.展开更多
This article investigates the responsibility of architectural drawing in developing the professional identity of modern architects in the late 1920s when Chinese architects started to emerge and assume the title of“a...This article investigates the responsibility of architectural drawing in developing the professional identity of modern architects in the late 1920s when Chinese architects started to emerge and assume the title of“architect.”Using architectural drawing as both its subject and its method,this research interrogates how a representative figure-Liu Jipiao employed the power of drawing to establish the identity of the modern Chinese architect.This paper argues that architectural drawing,in establishing the identity of the Chinese architect,faced the requirement to build an affinity between the architect and the artist.The entangled history of these two professions offers up Liu as the representative figure of the artistic architect.Liu’s artistic drawing fulfilled the previously mentioned requirement and earned the architects the artistic power that distinguished them from their counterparts-the engineers.Under the perspective of multiple modernities,the paper challenges the contemporary misreading of Liu Jipiao as an irrelevant individual intellectual and of his practice as a minor failure.Furthermore,this article invites further reflection on the modernity of Chinese architectural drawing,and shows how such drawing made more attempts to convey subjectivity rather than to transmit modern technique per se.展开更多
The 2020^(th) century was modernism’s century;a comparatively fleeting moment in which the human race’s transition to an urbanised species created an entirely new geological epoch:the Anthropocene.The existent...The 2020^(th) century was modernism’s century;a comparatively fleeting moment in which the human race’s transition to an urbanised species created an entirely new geological epoch:the Anthropocene.The existential challenge for our species in the 21st century will be to transform the modern city into a site of truly sustainable human habitation.This challenge requires us to engage critically with the past in a way that serves the needs of the future,globally and permanently.The Historic Urban Landscapes(HUL)approach,together with the UN’s Sustainable Development Goals and UN Habitat’s New Urban Agenda,offers a framework for meeting this challenge and,critically,to change our relationship with both the past and the future.展开更多
文摘In recent decades, a new type of cultural upsurge surrounding kunqu1 has arisen in Chinese language sphere, though respectively due to different reasons in China's Mainland, Hong Kong, Taiwan and other Chinese diaspora. Against the global trend of culture heritage nationalization context, via the new media platform, the performative staging of individual emotions and reverie in the market society2, the longings to redeem various alienation in a vertical modernity3, as well as the yearnings for emotional balance in a burgeoning feministic modernity, all integrate with each other and together generate a restless transforming memory for kunqu. Just like a misty veil, this complex, contentious, contradictory and long-lasting collective memory-making process blurs kunqu＇s appearance, expands its layers, and ultimately generates a cultural myth. With detailed case studies this paper aims to reflect upon the deep reasons for the kunqu myth and to probe the transformative powers of a performative space in enabling remembrance and/or forgetting.
基金This article is part of the PhD research,sponsored by Chinese Scholarship Council,The Bartlett Architecture Research Fund,and The Society of Architectural Historians of Great Britain(SAHGB)Research Grant.
文摘This article investigates the responsibility of architectural drawing in developing the professional identity of modern architects in the late 1920s when Chinese architects started to emerge and assume the title of“architect.”Using architectural drawing as both its subject and its method,this research interrogates how a representative figure-Liu Jipiao employed the power of drawing to establish the identity of the modern Chinese architect.This paper argues that architectural drawing,in establishing the identity of the Chinese architect,faced the requirement to build an affinity between the architect and the artist.The entangled history of these two professions offers up Liu as the representative figure of the artistic architect.Liu’s artistic drawing fulfilled the previously mentioned requirement and earned the architects the artistic power that distinguished them from their counterparts-the engineers.Under the perspective of multiple modernities,the paper challenges the contemporary misreading of Liu Jipiao as an irrelevant individual intellectual and of his practice as a minor failure.Furthermore,this article invites further reflection on the modernity of Chinese architectural drawing,and shows how such drawing made more attempts to convey subjectivity rather than to transmit modern technique per se.
文摘The 2020^(th) century was modernism’s century;a comparatively fleeting moment in which the human race’s transition to an urbanised species created an entirely new geological epoch:the Anthropocene.The existential challenge for our species in the 21st century will be to transform the modern city into a site of truly sustainable human habitation.This challenge requires us to engage critically with the past in a way that serves the needs of the future,globally and permanently.The Historic Urban Landscapes(HUL)approach,together with the UN’s Sustainable Development Goals and UN Habitat’s New Urban Agenda,offers a framework for meeting this challenge and,critically,to change our relationship with both the past and the future.
