BEIJING,Dec. 13,2024 -- The concept of beauty has intrigued humanity since the dawn of civilization. Various ancient cultures have developed their own recognizable aesthetics. Among these,Chinese aesthetics has its own unique school of thought.

Today,a fresh wave of neo-Chinese aesthetics,rooted in tradition and blended with contemporary innovation,is reaching people not just in China,but all over the world. Like a spring breeze that turns into a nourishing rain,it flows softly,enriching the hearts of many.

In this installment,the Global Times culture desk invites you to step under the roof and through the gate to explore neo-Chinese architecture from various perspectives. We delve into the fundamental elements of beauty that underpin this style,highlighting how neo-Chinese architecture has established its own distinct identity within the realm of international design and continues to make being in the space of the buildings an enjoyable experience.

As the sun casts its warm glow over the village,residents gather beneath the porch of a renovated dwelling,where traditional charm and modern sophistication blend in harmony. The soft hues of the walls - a gentle blend of earthy yellow,grey,and white - serve as a serene backdrop for the vibrant paintings that adorn them,transporting all who gaze upon them to a world of idyllic rural tranquility,where time stands still and peace reigns supreme.

This is a picture of life inWencun village of Fuyang,East China's Zhejiang Province. After it was renovated by Wang Shu,the first Chinese national architect to receive the Pritzker Architecture Prize and best known for his neo-Chinese style design,the village that had been declining for years is now welcoming a growing trickle of tourists and garnering compliments about its Chinese-style buildings blending with modern livable designs.

During the renovation project,Wang put concepts of neo-Chinese style design into practice,fully considering the relationship between buildings and the surrounding landscape. Each building functions as a camera. When someone resides within a building,they are effectively living inside the "camera," with the structure itself capturing the outside landscape. This concept is a significant aesthetic consideration in traditional Chinese architecture.

As Wang remarked,time-tested buildings evolve alongside the people who inhabit them,collectively shaping cherished memories.

"In the minds of the Chinese,architecture embodies a lifestyle intertwined with nature,flourishing over time," the architect shared with the Global Times.

Through a harmonious blend of inheritance and innovation,neo-Chinese style buildings are deeply integrated into contemporary life,presenting a fresh perspective on aesthetic values and lifestyle in the accelerating process of modernization. The relationship between architecture,humanity and nature captures the true charm and spiritual core of neo-Chinese architecture,allowing it to distinguish itself from other styles worldwide.

Solid foundation

Nestled to the south of Beijing's­Chaoyang Park,several undulating structures resemble an unrolled landscape painting or a meticulously arranged penzai,known as bonsai in the Western world,standing out among the rigid and industrialized buildings,providing a unique sight in the capital's urban jungle. This is the Chaoyang Park Plaza,designed by the renowned Chinese architect Ma Yansong.

Drawing inspiration from traditional Chinese "ink wash landscape paintings," Ma's design embodies his exploration of the concept of a landscape city. The plaza's bold black facade is a modern interpretation of ink art,a nod to the cultural depth of traditional Chinese aesthetics.

"The landscape aesthetic is a cultural philosophy. It is not just about painting. You can find landscapes in music,poetry... even in city planning. It represents aesthetic and spiritual values," Ma told the Global Times,adding that neo-Chinese architecture is not only an expression of aesthetics but also a manifestation of culture and spirit.

Traditional Chinese architecture,he pointed out,did not emphasize on the volume or height of architecture,but instead harmony with nature. While modern Chinese architecture has introduced new materials,technologies,and functions influenced by Western design,it must also integrate Chinese aesthetics.

The attention WangShu pays to the combination of tradition and the future is fully reflected in his design of the Hangzhou branch of the National Archives of Publications and Culture. The city of Hangzhou,East China's Zhejiang Province,was one of the capitals of ancient China. Wang recreated the painted screens of the Song Dynasty (960-1279) in his design for the project and incorporated mountains and rivers - typical sights in ancient Chinese paintings - to successfully make the complex a "modern-day Song structure."

The traditional wisdom of Chinese architecture that has been passed down for generations is the firm foundation that these renowned architects stand upon,allowing the neo-Chinese style to tower among other styles.

"Traditional architecture and gardens,with their profound cultural depth,can resonate with people from diverse backgrounds. They reflect Chinese perspectives on nature and cultural heritage - an integral part of human civilization,"Zhou Yufang,vice dean of the School of Architecture at the Central Academy of Fine Arts,told the Global Times,adding that the cultural heritage of Chinese architecture should naturally persist in the DNA of its architects.

Dialogue with nature

For Wang,in traditional Chinese architecture,the protection of nature,land,and vegetation is placed above all other missions,meaning that city structures are subordinate to the natural geography of mountains and rivers. His other signature work,theXiangshan Campus of the China Academy of Art,is an example of living in harmony with nature.

Ma's approach to nature is one of openness and integration.

"My attitude is to have my eyes wide open to nature... Many of my works may seem out of place with their surroundings,but to me,these immediate urban surroundings are the accumulation of the wrong-doings along the decades. What I look more at is to integrate the building with the urban context and features," Ma told the Global Times.

A prime example is hisHutong Bubble 32 in the heart of Beijing,a futuristic,bubble-like structure that includes a bathroom and a staircase to the rooftop. While it appears as an alien presence among the historically rich environment,its shiny surface reflects the surroundings,making it seem as if it dissolves into the surroundings. This novel approach piques people's curiosity and offers possibilities for designing whimsical new spaces that reactivate the historical attributes of cities.

The architect emphasizes that neo-Chinese-style architecture should reflect traditional values,especially the spiritual relationship between buildings and nature and the environment,rather than merely combining modern and classical elements superficially.

As the neo-Chinese style gains momentum in the realm of Chinese architecture,an increasing number of people are drawn to the cultural ambiance it fosters,savoring the "fluffy,moist,and breathable" sensations offered by these structures. Among them is Anastasia Tang,a post-1990 resident ofHangzhou in East China's Zhejiang Province who has embraced this trend by transforming her home into a modern reinterpretation of a Jiangnan Suzhou-style villa.

Located inHangzhou,the villa spans 300 square meters,with a 90-square-meter garden that took two years to build. She named it ­Yulinglong,or "Exquisite Jade," reminiscent of the Four Great Stones of Jiangnan. In Yulinglong,a half-pavilion leans gracefully against a garden wall,while the floor-to-ceiling windows in the living room employ traditional Chinese framing and borrowed scenery techniques.

These windows transform the garden into a living canvas,seamlessly blending indoor and outdoor spaces to enhance the sense of openness and emphasize the interaction with the natural environment. "Growing up inHangzhou,I was surrounded by the breathtaking landscapes of the West Lake and the elegance of classical gardens,but I often took this beauty for granted," Tang said. "It wasn't until I studied in the UK and worked in Hong Kong that I truly realized the uniqueness of classical Chinese gardens. Their philosophy and craftsmanship are worthy of preservation and celebration."

Broadening human's feelings

"My understanding of 'neo-Chinese style' is not about transplanting Chinese elements wholesale," Tang explained. She cited WangShu's words,"The essence of modernity in the West lies in conscious thought and liberation - reassessing all values and rejecting blind conformity."

"Architecture,regardless of style,should elevate human character and foster connection. Good architecture is art - it reminds us,amidst the flood of the mundane,to strive to be better people," Tang reflected.

In her garden,Tang integratedTaihu rocks with a nearby solitary plum tree,and paired the plum with a pine tree,evoking symbolic imagery rooted in Chinese tradition. For Tang,the choice of plants reflects not just seasonal changes but also their cultural resonance. Classical Chinese gardens,she noted,were designed not just for pleasure but for cultivating personal ideals.

Since moving in,she has immersed herself in tea ceremonies and the art of incense,discovering a newfound sense of calm. "I used to lead a fast-paced life," she reflected. "Now,I've learned to slow down. It serves as a reminder to maintain tranquility amid the urban hustle."

In neo-Chinese architecture,the human experience remains an enduring theme. A significant consideration in designing these homes is how to extend individuals'­emotions into a larger spatial context,even when contained within the intimate confines of the building.

Examining China'stulou,a unique dwelling of the Hakka people that look like a large circular fortress,John Lin,associate professor of the Department of Architecture at Hong Kong University,found the connection between the buildings and human life while renovating these traditional dwellings.

Lin chose to remove the window of a room on the second floor and build a funnel-shaped wooden staircase that connected the window and the front yard of the earthen structure. The room was transformed into a small public library with the staircase becoming a reading area. The staircase can also act as theater seating when performances are held in the front courtyard of the tulou,making it a great place for locals to come and relax.

The design also earnedLin more recognition and reputation among locals and also around the world.

During the interview,Wang stressed that new buildings and facilities need to help people maintain their lifestyles,so as to preserve tradition and carry on history. He relishes the peaceful and true everyday life in old buildings,and therefore tries to keep it alive in his own way.

As China embarks on its rapid modernization,finding ways to integrate traditional architectural concepts into large-scale urban renovation has become a focal point of interest. For both architects and inhabitants alike,the neo-Chinese style presents a pathway ripe for further exploration.