Reuse Strategies and Existing Buildings in Beijing China

Jing Qiao
Tutor Satwinder Samra
2009-2010

1
Acknowledgements

I would like to thank my tutor Satwinder Samra for his guidance and advice and
Katherine Wong for her help with proof reading.

2
00 Contents

Acknowledgements 2

01 Introduction 4
02 Background of Regeneration in Beijing China 6
03 Values of Existing Buildings 9
04 Successful Foreign Studies 13
05 Successful Case Studies in Beijing 25
06 Conclusion 41

List of illustrations 45

Bibliography 46

3
01 Introduction

4
The world is composed of many different countries and within these countries
exist a range of cultural systems. A country can be read by its existing buildings
survived from different periods of time, telling the story of past. Thus the
existing buildings are records of a city’s and country’s development. In China,
the consciousness of preserving cultures is very clear and well spread among its
people. The consciousness can be seen in its policies and strategies of minorities,
such as organising authorities of economy, ethnical education and right to speak.1
Contradictory, buildings that are often perceived as a background have been
treated carelessly in the past. Recent large demolition has taken place since the
1960s. Building renovation and regeneration has been being a controversial and
urgent issue in China.
The definition of regeneration has a broad coverage. It is not just about physical
buildings and objects, but variable aspects, such as the ecological environment,
spatial environment, cultural individuality and visual qualities. Regeneration of a
city, region or buildings, is also a continuation of the past and present, including
community network, social construction and psychological belongings.2 The
definition for building reuse has changed, from conservation, preservation,
and restoration, to recycling, adaptive use and re-architecture.3 They have
changed from passive descriptions to active definitions, which clearly show the
development of the understanding of historic buildings in people’s minds.
Introduction to Beijing
Beijing, the capital in China, attracts political, social and economic attention in
the world. Foreigners outside China can see the situation inside easily by several
means of media technology. Meanwhile the second viewpoint to a city belongs
more to its architecture and geography.4 In the last ten years, as the political
status of China has developed considerably in the world, the economy of the
country has increased dramatically at the same time. Beijing is no doubt one of
the most important, fastest-developing cities in China and throughout world. As
a result, within Beijing there has been an increase in population and migration
which caused a lot of old buildings to be demolished and replaced with new
commercial and residential towers. Beijing is used to be famous for its imperial
and communist past, its Forbidden City, enormous avenues and monumental
1 Chang, Shuguang and Zhang Hui, ‘Minorities’ Rights Protection,’ in Forward Position, 2005, No.12, pp 139-140.
2 Li, Hongli, The Government Research of Urban Historic Environment in Urabn Renewal Period, 2006, p.18.
3 Wang, Yi, ‘Reuse of Old Buildings,’ in World Architecture, No 1, 1998, p.24.
4 Rossi, Aldo, The architecture of the City, Cambridge, Massachusetts and London, The MIT Press, 1984, p.23.
5 Hou, Hanru, ‘Beijing Preservation,’ in Content. Taschen, 2004, pp.456-457.
6 ibid,. pp.456-457.
Soviet-nationalist architecture. And now, Beijing is undergoing a state of urban
transformation, from being the traditional Chinese capital of trademarks to a
global city of skyscrapers.5
Traditionally, Beijing was an enclosed city characterized by gridded streets and
square courtyards (Si He Yuan). The cemetery of street and courtyard was the
character of imperial Chinese politics.6 Another effect of population growth
and migration is the mixes of urban culture with rural culture and the alteration
of the structure of urban grain and social quality, which can be seen in many
metropolitan cities, such as Beijing, Shanghai and Guangdong. (Urban grain
map showing difference) Conservation of heritages and historic units has been
a topic for a long time; however the country continues to grow with disregard to
heritage and historic unit.
In the wide topic of regeneration, there are many roles involved, such as politicians,
developers, economists, lawyers, historians, and engineers. However, I will focus
on the role of architects, whom I believe have the responsibility and abilities
to promote solutions respecting historic buildings with new developments. ‘The
architect’s main work is the organization of a unique whole through conventional
parts and the judicious introduction of new parts when the old won’t do’.7
For architects, it is important to look back while looking forward and take the
responsibility, fulfilled by the study of history, construction and technology.8
This paper will discuss the regeneration background of China, in comparison to
European cities and some their successful regeneration buildings. Two successful
regeneration projects in Beijing will be looked at. Prediction of methods for
China will be proposed and discussed.
7 Venturi, Robert, Complexity and Contradiction in Architecture. New York; Chicago: Museum of Modern Art: Graham Foundation
for Advances Studies in Fine Arts, 1966, p.49.
8 Wang, op.cit., p.24.
5
Soviet-nationalist

02 Background of Regeneration in Beijing, China

6
China has a five thousand year history, however, conservation of historical
buildings has only been realized recently (twentieth century), especially after the
founding of new China in 1949. The process can be categorized into three phases,
demolition, conservation and regeneration. 9

In ancient China, sculptures, golden stones, painting and calligraphy, jade

articles and signets were objects to be preserved. Buildings were not listed as
cultural relics. Besides Qing Dynasty, palaces and non-religious buildings
were burned and demolished after changes of each empire. When imperialism
and capitalism invaded China in the late 19th Century, Chinese experts started
to raise the attention of conservation when foreigners carried out studies and
released publications about Chinese historical buildings.10 Liang Sicheng and
Chen Zhanxiang (Charlie Chen) were two of the most influential architects that
contributed to the debate against the government for the conservation of historical
buildings in Beijing.

Since 1949, the Chinese government started to publish legal statutes to protect
buildings of national heritage. This included three administrations, the State
Administration of Cultural Heritage, the Ministry of Construction and the Ministry
of Culture.11 In 1951, the Ministry of Culture and government announced three
steps to manage historical sites12:
• Setting up rights and duties
Preserved Areas
• Regulating conservation methods
• Organising responsibilities
Fig. 1 Map of Beijing with preserved areas highlighted.
In addition, further regulations were published in 1950 to prevent export of
historical objects, books and tombs excavations.13 Afterwards, a list of sites
for conservation and heritage was issued in 1961 named Key Cultural Relics
Protection Units (Zhongdian Wenwu Baohu Danwei). However, during the ten
year Cultural Revolution (1966-1976), developments of the country stepped back
and GDP was at a constant low. Between 1949 and 1978 in China, the main focus
of nation development was carried out in industrial cities.14 Many traditional
buildings and city walls were demolished. City planning was rejected in some
regions. After China’s suffering through the ten year Cultural Revolution, Deng
Xiaoping was reinstated as Vice-Chairman in 1977. His significant contribution
was the Open Door Policy which started in 1978. After one year, four cities were

9 Luo, Zhewen, ‘ Three Phases of Chinese Historical Buildings and Towns (translated by Jing Qiao),’ in Beijing City Planning &
Construction Review, No 4, 2000, p.7.
10 ibid., p.7.
11 Merle, Aurore, and Peng Youjun, Peking Between Mdernisation and Preservation, http://chinaperspectives.revues.org/
document233.html
12 ibid., http://chinaperspectives.revues.org/document233.html
13 ibid., http://chinaperspectives.revues.org/document233.html
14 Li, op.cit., p.18. 7
established as Special Economic Zones (SEZ). In February 1982, twenty-four
cities were classified as ‘Famous Historical and Cultural Cities’ (Lishi Wenhua
Mingcheng). These cities were listed and announced by the Chinese government,
which was the start of the second phase of the conservation period.15 By 2009,
there were a hundred and eleven cities in China in total. When China appeared
on the world stage, Europeans expressed their interest in China because of its
unique and different historical buildings that displayed China’s long history
of civilisation. The outcome of Famous Historical and Cultural cities was the
combination of heritage conservation and city development. Conservation was
not only about one building or monument, but the relationship between the
heritage and its surroundings, in the larger scale of the whole city.
In 1986, a conference about economic and social developments in listed cities
was held. The economic and social developments of a city must be continuous
and progressive for it to grow, even if it is a well-conserved city. History and
conservation should step forward in a dynamic progress, including politics,
military affairs, transportation and entertainment.16 At the same time, economics
are vital for development. In consequence, heritages were not only to be
conserved, but also started to relate to their economic and social value. Since
1977, GDP started to grow gradually and significantly after 1982, when foreign
direct investment came to China in the same year. Birth rate, a reflection of
economic and political capacities, was fluctuating randomly between 1955 and
1976, and then became steady.
In this present day, after decades of conservation testament and policy
announcements, historic buildings still do not have a complete and refined legal
system to protect them. The existing regulations do not cover invisible and complex
heritages. The clarification of site property, value evaluation and organisation are
not clear.17 As a result of these uncertainties, conservation processes have been
more controlled by conservation authorities and the government. Regarding to
several serious mistakes in early new China, it is important to raise the awareness
of development today, when historical buildings are still being demolished by
developers.

$1,210 Billion Fig. 2 Overview of Chinese development after 1949.

$52.7 Billion

$41.1 Billion 1,280,000,000

43.37
37.5
Birth Rate
per 1,000 Peoplp 35.4
$31.8 Billion

22.5
20.86
Life Expectancy
$368 Billion
667,000,000 14.8
Population 540,000,000 Cultural Revolution
Special Economic Zones (SEZ) Established
People’s Republic of China Founded
Deng Xiaoping Reinstated as Vice-Chairman
$62.9 Billion
GDP $2.61 Billion

2000

2003
1949

1976

1990
1960

1966

1970

1980

Foreign Direct Investment

15 Luo, op.cit., p.8. 17 Chen, Wei, The Study on the Conservation Theory and Method of Heritage, 2006, p.8.
16 ibid., p.7.

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03 Values of Existing Buildings

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Value is one of the important factors of the ignorance of historical buildings.
Values of buildings are rich in varieties, such as the aesthetic value, architectural
diversity, environmental diversity, functional diversity, resource value, heritage
value, education and economic value etc. that new buildings cannot replace. In
China, aesthetic value and economic value are comparatively more overweighed.
The understanding of better value from comparison of cultural, social and
economical values will significantly influence a building’s lifetime, whether to
demolish or retain.18 It is important for Chinese people to understand a broader
range of value and prevent development driven by one.

Culturally, old buildings contain memories revealing stories of the city and
its nation’s development. When city planning is so influenced by modern
urbanization all over the world, a city can easily loose its character and memory,
which is unique and valuable. For example in the UK, Sheffield is a well-known
steel city, for its long history of steel production and cutlery manufacture. During
the Second World War, bombing destroyed half of the city. Steel factories were
particularly targeted.19 Between 1950s and 1960s, attention was focused on
providing new houses.20 In the reconstruction of the city, the local council built a
Fig. 3 Park Hill suffered from many problems associated with mass concrete housing.
large number of thirteen-storey residential blocks in response to lost homes and
These hopefully will be resolved by recent ongoing work by Urban Splash.
increasing population growth. Projects such as Park Hill were cited as ground
breaking at the time.21 Their subsequent demise and regeneration have been well
documented. Sheffield is still known for its steel history but its buildings no
longer reflect this. Tokyo in Japan is another example. Here, its character does not
come from its culture, but its urban fabric. This fabric is made of multiple layers
holding a great variety of simultaneous activities, which is very different from
European cities.22 Within the history of Tokyo there were several earthquakes,
as a result urban regeneration never stopped. Although some historic buildings
are preserved for tourist attractions, the city is still immediately known for its
economy and technology rather than its cultural history.

Socially, buildings can be part of daily life, which may hold activities and festivals,
especially for historic buildings that have existed for many years. The importance
of preservation in a city is to preserve its memory and for its history to be traced
easily. The memory exists between citizens and the social communities around
them, therefore people cannot be removed from participating in life, and likewise,

18 Geng, Huizhi, ‘The Economic Philosophy and Strategy of Historic Quarters,’ in City Planning Review, No.3, 1998, p.40.
19 Hey, David, ‘The Modern City: The Second World War,’ in A History of Sheffield, Lancaster: Carnegie, 1998.
20 Hey, David, ‘The Modern City: Housing’ in A History of Sheffield, Lancaster: Carnegie, 1998.
21 ibid., p.232.
22 Kaijima, Momoyo, and others, Made in Tokyo, Tokyo: Kajima Institute Publishing Co., Ltd., 2006, pp.22-23.

10
a city’s memory cannot last without composition of buildings, monuments, streets
and squares. Social values have a close relationship with people’s daily life in
the communities; which should be conserved or kept in modern use at the same
time. Hutong is a particular traditional community. Nowadays, tall apartment
buildings that are provided for working class people are dominant in developed
cities in China. From my experience growing up in Dalian, China, life is fast and
physical communication is always ignored. Socialization hardly exists between
neighbours. In Beijing, there are still significant numbers of courtyard houses that
are either well protected by the government or left without care. These houses tell
the story from their courtyards, doors, pavements, corridors and hutongs in an
integrated memory of traditional Chinese lives.
Economically, demolishing the buildings, selling the land and making new
modern buildings to accommodate new uses will certainly make more profit.
The comparison of economic value to cultural and social value is difficult yet
important. The difficulty is to evaluate advantages between the value of history
and the profits in the future. As a result, when profits in the future overweigh the
value of history, people argue that it was a cultural embarrassment to preserve old
and prevent new, against the development of city or country.
When we discuss the economics of regeneration, the situation is more
complex. When renovation or regeneration is carried out, the project covers
more investigations of the original building structure, social background, local
environment and geographical factors. The whole process is time-consuming
and requires large amounts of investment. The capital needs to include the
cost of building preservation, historic site rehabilitation, site improvement and
infrastructure. The experience from Europe tells us that the cost of regeneration
was more expensive than new build in the 1970s and 1980s. Until end of the
1980s, building regeneration became competitive.23 Currently in China, capital
for regeneration is limited and constrained and largely relies on the government.
Contributions from the citizen or communities have not been formalised.24 Small
local government would rather sell its land to developers to realise the value of
the site. As a result, economic value has clearer and more direct effect to the
government and citizens than cultural and social values. This is not to say that
the economic value of historic buildings plays a vital role in demolishing; on the
23 Wang, op.cit., p.23.
contrary, Jane Jacob considered the economic value of the old buildings had a
positive role in conservation. Here the economic, cultural and social values were
concerned at the same time.
‘The economic value of new buildings is replaceable in cities. It s
replaceable by the spending of more construction money. But the
economic value of old buildings is irreplaceable at will. It is created by
time. This economic requisite for diversity is a requisite that vital city
neighbourhoods can only inherit, and then sustain over the years’.25
To retain the form of a historic building is a common way to renovate. However it
is controversial in the development of city life and adjustment of functions. ‘The
only harm of aged buildings to a city district or street is the harm that eventually
comes of nothing but old age’.26 As a third country, China still has more working
class people that live a lower standard of life than average. The infrastructure
is poor and not upgraded in some places. In China, there are areas famous for
natural landscape and mountains, rural villages famous for local history and
lives, and metropolitan areas famous for modern facilities and infrastructures.
When tourism is one of the significant local incomes, it is important to realize and
define the focus of the tourist attraction. In villages, if old buildings are preserved
only for tourist attractions as a show to visitors and in a way preserve poor living
conditions, building conservation will play a negative role, and constrain life and
infrastructure improvement. As a result, people living in poor areas will fight
against renovation for a better housing quality.
Looking back into history, we can tell that the best way to preserve a building
is to give it a use and function, which can be different from its original use.
The importance is to keep the building alive and active.27 Churches and temples
are two of the examples. The aspects of form, function, time, construction and
economy might result in buildings being demolished and regenerated. At this time
of necessity, it is important that the existing aspiration of the building or historic
quarter is kept in the larger context and embellished by new buildings. For an
unplanned city layout without a previous concept, perhaps new development
should take the responsibility to create a future history.
24 Guo, Xinli, The Research on a Suitable Method to the Historic Districts’ Conservation and Renewal, 2007, p.25.
25 Jacobs, Jane, The Death and Life of Great American Cities. New York: Random House, 1961, p.212.
26 ibid., p.201
27 Wang, op.cit., p.24.
11
Fig. 4 Social activities in
a traditional Hutong in
Beijing.

Fig. 5 Imagined activities looking into a

traditional courtyard in Beijing.

12
04 Successful Foreign Studies

13
With a better understanding of values in the European countries, conservation
is as important as modern development. The governments make strategies and
encourage renovation and regenerations. When high-tech architecture continues
to grow in popularity and attract attention in the world, projects also gain
reputation and are appreciated by the profession and the public, for example, the
Neues Museum by David Chipperfield in Berlin and Emscher Park by Peter Latz
in Duisburg-Nord. Historically architects such as Carlo Scarpa and more recently
Julian Harrap practice their skills and capabilities and as a result are recognized
in the world.
Government Strategies
The US and European governments’ strategies and attitudes towards the building
regeneration situation differ to the Chinese government. Governments in the
US and Europe encourage regeneration by increasing funding and reducing
revenue.28 Take the development in the US as an example. In 1966, The Historic
Building Regulations provided funding for nationally registered old houses,
encouraging the reuse of the buildings in multiple ways. In 1976, the tax system
reform reduced revenue for reconstruction. In 1981, the situation of regeneration
was enormously influenced by tax policy; as a result, the regeneration of The
St. Louis Union Station was successfully achieved. In the UK, the proportion of
new buildings and reconstruction by national finances was changed from 75:25
(1970s) to 50:50 (1990s).29
commercial and residential houses, advantage leading gives them another choice.
In the high density cities, such as Beijing, it might be difficult for the government
to find an alternative land to take over the protected site.
Italy, proud of its long history and diverse culture, also had a long experience
of building conservation. Italy is successful in building conservation because of
their strong relationship with the rest of the world. It is supported by different
organizations and uses the newest technology.32 When Venice had urgent problems
of floods, the government asked help from the world. As a consequence, a lot of
strategies were proposed in different countries.33 China is also one of the Four
Ancient Great Civilizations along with Italy. Around the world, attention is always
on Beijing, about its economics and politics. At the same time, there have been
an increasing number of discussions about city conservation and regeneration
among foreign professions. Chinese governments could open the discussion and
take useful suggestions from the rest of the world.

As Private Property is so deeply embedded in American culture, there used to be

confliction between Private Property and Public Property. In order to preserve
some important sites, the government developed a solution by advantage leading,
which is a very good example for the Chinese government to learn from. Transfer
of development right (TDR) is a protection of land by transferring “right to
develop” of the property to another area which is a compensation when the Private
Property is constrained by the heritage protection and open space.30 It is also used
to protect agricultural land and natural resources. Adaptive Reuse was developed
along many testaments in the urban planning history in many countries.31 It is
more accepted and applied when internal spaces and partial elements are changed
for new function. Both of the methods could be investigated carefully in China.
When developers focus all the attention on the profit gained by building up modern

28 Wang, op.cit., p.24. 32 ibid., p.102.

29 ibid., p.24. 33 http://news.sina.com.cn/o/2006-06-24/06049284175s.shtml
30 Li, op.cit., p.99.
31 ibid., p.101.

14
Education is another considerable effect of building conservation. It is a long-term
attitude. Heritage courses are founded and recognized in Italy.34 Spain also created
a college for building conservation, teaching in depth and as a profession.35 In the
UK, reflecting on my own experience as an example, architecture is so closely
related with historical buildings, in the studio design projects and lectures. Case
studies on the fieldtrips to Liverpool Tate and London, The Young Vic Theatre
by Haworth Tompkins in 2006, highly appreciated some successful examples of
old building regeneration designs. The knowledge of conservation and adaptive
reuse is interestingly introduced and taught by practical engagement and visual
contact.

Living in the UK with a Chinese background, I am surprised when some people

can talk clearly about the surrounding buildings or buildings in their home areas,
without any architectural or historical background. There is a clear difference
in values compared with the Chinese culture with regards to the importance of
historical architecture. In Chinese schools, history lectures are all about human
civilization. There is no information about buildings at all. Art taught in Chinese
primary school only focus on painting. Buildings which provide shelter and have
historical meanings are ignored by children as they grow up.

Fig. 6 Inside Young Vic Theatre.

The left brick façade of the butcher’s shop was unfinished and exposed. The new steel frame
structure makes the old façade visible and enhances its rough joints. The new design concept
was driven from the old appearance, eccentricity and gawkiness.36 The brick wall acts as a
threshold from the low height enclosed entrance in the butcher’s shop to the open double
height bar. When architect Haworth Tompkins interviewed local people about the old Young
Vic Theatre, people described it ugly but still love it.

34 Li, op.cit., p.106. 36 Young, Eleanor ‘ High Drama: Young Vic, Waterloo,’ in RIBA Journal, V.113, No.12, 2006 December, p. 32.
35 ibid., p.106.

15
Fig. 7 Sketch of the remaining wall and new Fig. 8 Sketch of the Foyer and the Bar. Roof light from the Foyer
metal-framed window and metal mesh. enhances the appearance of the brick wall and light up the inner interior
space.

16
As a consequence of the positive and encouraging architectural environment
in Europe, building renovation has significant merits in aesthetical and
comprehensive improvements. Examples are the Neues Museum in Berlin,
Emscher Park in Duisburg-Nord and Sir John Soane’s Museum in London. Each
of them has a different strategy of building reuse.

The Neues Museum, David Chipperfield

Museum Island in Berlin is as famous as national museums, exhibiting
contemporary German art. Its ambition is to compete with the Louvre in Paris and
the British Museum in London. Museum Island includes five historic museums:
the Altes, the Neues, the Pergamon, the Bode and the Alte Nationalgalerie, eighty
percent of the buildings of which were destroyed badly in World War Two. The
Altes was damaged completely.37 Renovation of Museum Island was held after the
reunification of Germany. Restoration of the fabric of the buildings and cultural
significance were the two main issues proposed by the government.38 Within
this theory of renovation among five museums, the Neues Museum is the most
interesting piece of architecture designed by David Chipperfield. The old Neues
Museum was left without any modifications in its authentic state as a historic
reference. Materials and components damaged during wartime were connected
with specific new undecorated elements. Continuity and interpenetration was the
fundamental philosophy of David Chipperfield.39

The strategy of renovation in the Neues Museum was to keep the existing structure
and façade, at the same time installing new components for reinforcement. As
a consequence, the renovation process was mainly about the reassembly of
lost segments, restoration of the surviving spaces with related decorations and
reconnection of skeleton-frames left without a connecting fabric.40 The principal
design idea was to respect the original design; therefore every decision was made
based on the original drawings and details.
Fig. 9 Birds view of The Museum Island

37 Capezzuto, Rita, ‘Berlin Rebuilds the Museum Island,’ in Domus, 831, November, 2000, p.38.
38 ibid., p.38.
39 ibid., p.40.
40 ibid., p.47.

17
Fig. 10 Exterior of The Neues
Museum

Fig. 11 Model of the new main

stairwell by David Chipperfield.

18
Emscher Park, Peter Latz
In a different approach to David Chipperfield, Peter Latz’s Emscher Park in
Duisburg-Nord creatively invented a new landscape and architecture by reusing
the remaining industrial pieces and wreckages on the site and applying intervention
of new elements. The dumped industrial site was transformed into an open public
landscape. Within the natural context of the newly designed gardens, crushed
minerals, mining spoil and ore dumps allow mosses and fine grasses to grow
and sustain in wild soils.41 Crushed bricks from cocking factory give a reddish
colour on the ground, slightlty hidden by grasses and connected with the rusted
metal. The colours were given meanings by Peter Latz. Red represents the earthy
and usable, blue interprets as touchable, and grey means rusty.42 The artificial
landscape and the existing damaged infrastructures were blended together into
one piece of work.

In David Chipperfield’s Neues Museum, every existing work was kept in the state
as left on the sites. The Museum was treated with fewer decorations on purpose to Fig. 12 A new walkway created by Peter Latz using recycled materials on the site
avoid it becoming a monument. In contrast, Peter Latz demolished buildings that and new elements.
could not accommodate new functions. Coal bunkers, a railway viaduct and new
marks are the significant monuments of the park. Crushed materials from the old
plant, such as pipes and brickworks were reused on the ground or poured to create
new concrete structures.43 For example, redundant metal plates from the surface
of casting mould were recycled as pavement.44 In addition to material demolition,
Peter Latz modified the sites. A lake was created to clean polluted water used by
the park before it flowed to the river.45

“Deconstruction has to be protected so that it isn’t destroyed again by

re-cultivation. New places have to be invented, new places at the fault
lines between what was destroyed and what remained, between structures
still recognizable as cultural landscape and those that are historically
devastated.” Peter Latz46

Fig. 13 Crushed materials were reused to create new walls.

41 Beard, Peter, ‘Peter Latz Is Making Some Former Enormous Steelworks Into A Park For The Post-industrial Age,’ in Blueprint,
No 130, July/ August 1996, p.32.
42 Academy Editions, Landscape Transformed, London: Academy Editions, 1996, p.57.
43 Beard, op.cit., p.33.
44 ibid., p.33.
45 Holden, Robert, ‘Making Parks For The Future From The Industrial Past,’ in The Architects’ Journal, V.204, No.19, 21 November
1996, p.32.
46 ibid., p.35. 19
Sir John Soane’s Museum, Julian Harrap
Sir John Soane’s museum was used both as a house and a museum designed by
Soane (1753-1837). It was built within two houses, number twelve and thirteen,
from 1812 to 1813. Julian Harrap Architects started the renovation project in 11th
March 1991 and completed in 1994, with a similar attitude to David Chipperfield.
Unlike the Neues Museum and the Emscher Park, Soane’s Museum did not
experience damages from wars. The architects mainly repaired old elements and
worked traditionally and inventively.

Materials in old houses were similarly difficult to reuse, causing the most serious
problems to architects. Replacing the glass was especially one of the examples. In
the museum, crown glass and sheet glass were considered and applied thoughtfully
and carefully by Soane. Consideration covered transparency, lightness, colour and
etch.47 Therefore the repair of glasses in the renovation process was significant.
New glass was aimed to match the original glass. However, developed technology Fig. 14 Elevation of Sir John Soane’s Museum.
was not able to match the early nineteenth-century glass. Moreover, the restriction
of the quantities made it impossible to justify special runs. During investigation
and testaments, Julian Harrap invented horticultural glass. The poor quality of
horicutural glass and the flaw gave a similar appearance as the original crown
glass; on the other hand the colour did not match the previous yellow. Harrap
found a successful solution using non-traditional technology, the flash method, to
produce yellow stained glass.48 Another problem was the glass on front façade, as
new glass should look the same and help reduce overheating and UV degradation
of the artwork. This time Julian Harrap’s invention was another genius solution.
He created a combination of a cylinder glass and float glass with a kilnflashed
UV filter and filter in between.49 The exterior look had no difference from the old
glass. Moreover, it reduced heat gain inside the house, providing environmental
comfort.

Fig. 15 Construction work of roof glass repair.

47 Harrap, Julian and others, ‘Using Technology to Save Soane,’ in Architects’ Journal, V.197, No. 9, 1993 Mar.3, p 41.
48 ibid., p.41.
49 ibid., p.41.

20
The Canova Museum, Possagno
Carlo Scarpa (1906-1978) is well regarded for reconfiguring existing buildings
in a relevant and thoughtful way. He has an honest and respectable approach
to existing elements working with new elements, producing a harmonious
combination where sometimes it is hard to tell the difference. Among his work, he
is best known for museum and gallery design in a historical context. Carlo Scarpa
respects history and gives it new birth in each historical stage in architecture.
The difficulty of renovation is always about how to deal with old and new. ‘His
dialogue is never with the past, but with the presence of the past in the present,
with the fabric around him, with ‘continuity’’.50 Scarpa’s strategy was to remove
some elements, restore others and intersperse new ones. His great achievements
are exemplified by construction, materials and design in most of details of his
work, producing work with new forms, surfaces, textures, and motifs. Carlo
Scarpa’s technique is to keep buildings alive, rather than standing silently with a
sign of ‘historic’.

“Constant fidelity to tradition, to Venetian tradition in particular, was

expressly proclaimed. His first thought when faced with a problem was
how it would have been dealt with in the past. It was the discipline and
method he sought to emulate, not the idiom, for which he attempted to
work out an equivalent more attuned to modern sensibility, while pursuing
traditional procedures and materials.” 51

The Canova Museum in Possagno is one of the best examples to illustrate the
techniques Carlo Scarpa used in museum renovations. The project was to design
an extension to the old Museum, which was a gallery of plaster casts of an Italian
sculptor, Antonio Canova. Renovation was started in 1955 and completed in Fig. 16 Corner Window on the façade of
the Canova Museum.
1957.

50 Olsberg, Nicholas and others, Carlo Scarpa, Architect : Intervening with History. Canadian Centre For Architecture The Monacelli
Press, 1999, p.15.
51 Albertini, Bianca and Bagnoli, Sandro, Carlo Scarpa: Architecture in Details. The MIT Press, third edition, 1996, p.30.

21
Fig. 17 Scarpa’s sketch shows his consideration of context and roofline.

22
Before renovation of the Canova Museum, Carlo Scarpa was already an
experienced architects. Like previous work, the Canova Museum highly
respected exsiting buildings and the context of the site. In the beginning, Carlo
Scarpa investigated the whole site and available spaces. He clarified each artefact
to specialize the individual quality. Carlo Scarpa designed an irregular ‘L’ shaped
gallery to exhibit plaster casts and some collection of small wok. Within it, there
are three volumes. The design solution of exhibiting and displaying made the
whole gallery as a complete one piece of architecture, blended into the street and
village. Space, mass, light, structure and volume co-exist and contribute to the
beauty of the space.

Windows, as an example, demonstrate the details that Carlo Scarpa was so

sensitively concerned about. In dealing with aged buildings, windows were given
different meanings and functions from before. Scarpa applied new materials and
technologies to old structure to accommodate new functions of use. In The Canova
Museum, window glass has multifunction, providing light, views, structure and Fig. 18 Windows were designed not only for natural
light but also for enhancing the character of each plaster
most importantly the international style for individual intervention with historic cast of Antonio Canova.
context. For example, there is one glass wall used opposite to a stuccoed fabric
of the eighteenth century buildings. At this intervention, a narrative at different
time and space could be imagined.52 Glass was also used as a media to depict the
contrast and continuity between solid and void, fixed and fluid and present and
past.53 Stuccoed Wall

In addition to the gallery extension, Carlo Scarpa added an intervention of an

exterior corridor and a boundary wall. As a consequence, new galleries were
intertwined with the existing context, and the Museum was integrated with
the environmental context. Besides, materials, steps and exposed columns all
illustrate Scarpa’s successful strategies of intervention with history.

Fig. 19 Glass wall was located

opposite to a stuccoed fabric of
the eighteenth century buildings.

52 Buzas, Stefan and others Four Museums, Edition Axel Menges; illustrated edition edition, 2004, p.14.
53 ibid., p.15.

23
The Relevance of Western Strategies within the Chinese Context
From four successful examples discussed above, it is clear that Carlo Scarpa’s
technique was different from David Chipperfield’s and Julian Harrap’s in
accordance to different emphasis of values of the existing buildings and their
interpretation. The later two architects’ attitude was more about preserving the
existing and showing a truthful past when museums were required for national
significance. New design of materials and structures were continuation of the
past. The Neues Museum showed the history of the nation suffering from the war
by displaying the exposed damaged junctions. Architecture as a piece of art of
the Neues Museum and Sir John Soane’s Museum are equivalently important as
exhibitions inside. In contrast, Carlo Scarpa and Peter Latz modified the sites and
components of the buildings for new uses. The events inside are more important.
The spatial quality of the Museum Canova for exhibition and the open landscape
in Emscher Park overweighed the original appearance of the existing buildings.
Therefore, Peter Latz and Carlo Scarpa both reused elements left on sites to
create new elements, which would be able to trace the memory of the area and
tell narratives.

Each of the projects above was driven by cultural value significantly and others
relatively. Social value was also influential in the renovation, when the museums
and park had been involved within their communities and the street activities in
the past. The economic value of the Neues Museum played a less important role
in renovation but it still had more significance than the economic value in other
projects. These different techniques by different architects are very valuable
for Chinese architects and the government to learn. They suggest a variety of
renovation references. Reuse strategy of existing buildings could start with
defining the emphasis of renovations, the fabric of buildings or the events inside
the buildings. The government should realize the values of damaged historic
buildings. Instead of demolishing it and building a new monument, the examples
show the irreplaceable values of the deformity and the importance of retraceable
memories.

24
05 Successful Case Studies in Beijing

25
 1

Fig. 20 Map of Beijing and two successful projects.

1. 798 Art District

2. Ju’er Hutong
3. Tiananmen Square

26
Looking back to Chinese architecture, there are some architects like Professor
Liangyong Wu who have been participating in building conservation actively.
Ju’er Hutong is one of his achievements exploring a modern interpretation of
Chinese traditional architecture. 798 Art District is another success in Beijing.
There is a similarity between 798 Art District and the Emscher Park.

798 Art District, Beijing

Beijing 798 Art Dashanzi District is one of the most significant and leading art
communities in China, successfully developed in the last ten years, producing
a respective impact on contemporary art development in China. It has various
collections including paintings, sculptures of ‘cynical realism’, photography and
installations. It was announced as one of the main attractions by the government
for Beijing 2008 Olympic games, that brought a large number of visitors to 798
Art District, representing Chinese and international modern art world wide. It
is highly appreciated and is closely compared to Soho in New York by foreign
visitors.54

798 Dashanzi Art District is located in the northeast Beijing, enclosed by Jiuxi-
anqiao Road on the west, Jingbao Railway on the east, Jiuxianqiao North Road 2 1
on the North and Wanhong Road on the south. It occupies 138 hectares, while
69 hectares are held by institution and organization. The total building area is
230,000 m2, more than half of the area is used for art purposes. 798 Art District is
4
located closely to the Airport Expressway and mainroad Jingshun Road. It is not
far from embassies, the Central Business District and large residential communi-
ties. It is isolated from the surroundings, becoming a special and unique zone.

3 Fig.21 Map of 798 Art District.

Keys:
1. Beijing 798 Art District
5 2. ChinaCentral Academy of Fine Art
3. Embassies
4. Airport expressway
5. Inner City

54 Kong, Jianhua, ‘Beijing 798 Art District Development Research,’ in Expanding Horizons, No 1, 2009, p.27.

27
In the 1950s, after receiving the funding from the Germany Democratic Republic,
Russia built the Dashanzi factory complex to manufacture components in Beijing,
as an extension of the Socialist Unification Plan. Factories were named as 718,
798, 706, 707, 797, 751 and Institute 11, which were important factories for the
first atom bomb and first satellite. Number seven in Chinese names represents
military. Factory 718 was the former name of 798 Art District. The decline of
factories started from the late 1980s and early 1990s. Factory 798 was shut down
because of the decreasing economy; as a result renting the factory was a solution
to reduce the burden in 1995. A sculpture professor went to the defunct factory and
rented an obsolete garage of more than 3000 m2 for 0.3 Yuan per day.55 From then
on many artists went there to rent studios due to its cheap rent, and the popularity
of the site peaked by 2004. Artists inside 798 prefer the industrial background
noise coming from those working factories next to it. It suggests a combination
of imagination of art and the reality of society. China Central Academy of Fine
Art facilitated the district’s growth, after they became neighbour in 2001. From Fig.22 Factory 718 used to be an important industrial factory in Beijing.
then on, 798 Art District was used as an experimental stage and exhibition space
by incoming artists. In 2004, it was debated whether the government should
demolish 798 Art District or not. After three years of controversy, in 2007, the
government and nationalized businesses finally took control of 798 Art District,
and highly supported the development and arrangement in it, to prepare for the
Beijing 2008 Olympic Games.

Remaining Elements

Fig.23 Pipes left from former factory give the walkway a rhythm.

55 Kong, Jianhua, ‘Beijing 798 Art District Development Research,’ in Expanding Horizons, No 1, 2009, p.29.
56 Yu, Xuemei, ‘Kulturwirtschaf tl iche Quartiere in der Verschmelzung von Tradition und Mode am Beispiel des
Unterstützungsprojektes der ehemal igen DDR: ïBeijing 798 Fabrik“’ in Deutschland-Studien, Vol.21, No. 1, 2006. P.57.

28
Architecture and art are always closely related. Architecture is an important
element displayed as a piece of art in 798. As most of the former factory buildings
were kept and reused by the artists, remaining pipes and structure elements were
used as decoration corresponding to the concept of their studios. When Russian
built Factory 798, East German architects designed the architecture. With the
background of Bauhaus architecture in Germany, Factory 798 was designed in
the same style.56 The four Bauhaus buildings of concrete placement construction
were produced for the Peoples Liberation Army, which served the requirements
of preparation for the war. Some Bauhaus style buildings can be notified clearly
today, such as the 798 Space Gallery. The building height inside 798 Space
Gallery is more than ten metres. Windows facing north produce fewer shadows.
Natural light passing through the arched ceiling brightens the space generously.
These strong characterised Bauhaus buildings represent the history to its local
people and inhabitants. The Mao-era slogans kept on the wall depict Chinese
history to visitors. These Bauhaus buildings are listed buildings and prevented
the 798 Art District significantly from demolition. Fig.24 Bauhaus style buildings in 718 Factory.

Structural Architecture in 798 Art District

One of the successes of 798 Art District renovations was the conservation of
cultural value in the industrial heritage. The building components were reused
carefully inside and outside the factories. Some of them had certain functions
while some were just installations that reminded visitors the history of the former
industry.
Mao-era slogans

When renovation was carried out in 798 Factory, there were certain careful and
inventive strategies. For example, it was important to decide whether to keep the
structure and the façade of the industrial buildings or to keep partial components,
and how new technology would be added to the existing structure. Take Space
Gallery as an example, the structure and envelope was in a good condition.
Therefore they were retained and cleaned in order to exhibit Bauhaus architecture
in the most honest way.57 Envelopes in some other buildings were demolished
and replaced with new materials, such as metal and glass. This depended largely
on the requirements of the space. Metal as a new material in the old buildings
has certain advantages. It gives the building a continuous dialogue from the
existing structure. The smaller section of new beams and columns makes more Fig.25 798 Space Gallery

57 Yang, Lin, ‘ The Reuse of the Building Components in the Renewal Design of the Industrial Heritage,’ in Construction & Design
for Project, No 2, 2009, p.35.
58 ibid., p.35.
59 ibid., p.36.

29
space available and components easier to manipulate.58 The transparency of
glass similarly respects old buildings showing the exposed structure. In contrast
glass is the new material and technology in modern architecture. When an old
structure can no longer be sufficient and required, trusses were added to support
the structure, shown in the example. Walls were demolished and replaced with
modern materials.59

Windows on the façade in industrial buildings have some characters. They were Fig.26 The original façade was demolished and replaced with glass and metal. Trusses were used to sup-
largely built in wood, steel and reinforced concrete.60 Windows were designed port old structure.
for both ventilation and daylight. Some of the windows were replaced in new
materials and new dimensions when they were damaged and left in bad condition.
Replacement of windows, which had new designs and function, incorporated
with the theme of the exhibition space inside. Windows were one of the important
factors for displaying drawings and sculptures as the narrative is in depth by light
enhancement. Roof glass in the 798 Space Gallery tilts fifteen degrees to reduce
load on the shear wall.

Most of the heating systems in the old industry are no longer in use. They were
cleaned and rearranged on site for decoration. Infrastructure such as lifts, air
conditioning, fire protection and electricity are essentially installed. In the process
of renovation, large amount of research including plans and service drawings was
another factor of the success of 798 Art District.

Fig.27 The crane used in the former factory tells visitors the story of the Art District. In
front of the façade made of glass and metal, the crane suggests a retrospective emotion.

60 ibid., p.36.

30
Remaining
Elements

Fig.28 The creative reuse of components.

31
Solutions learnt from 798 Art District
There are many significant historical buildings in Beijing, and within them 798
Art District is special. It proposes a new solution. Compared with Emscher Park
by Peter Latz, we can see some similarities, for example the reuse of existing
materials left on sites. As more and more tourists and professionals come to visit,
I believe that the positive influence will keep increasing. Here are some strategies:

• The historical value of Bauhaus buildings saved the life of former

Factory 798. Therefore, it is helpful to investigate the invisible historical and
cultural values of the existing buildings.

• Building typology can give a building a new life. 798 Art District and
the Emscher Park were transformed from industrial buildings, which had good
affordance and adaptability. Architects should test the different possibilities of
buildings for reuse, regarding to function and form.

• Tourism can contribute to the protection of historical buildings, increase

the income of local economy and reduce local unemployment. For example local
people open restaurants and shops around 798 Art District. Meanwhile 798 Art
District attracts investments from outside of Beijing and China.

• Artists has a vital role in preserving 798 Art District. In other situations,
excluding the government, developers and architects, a third community that has
a close relationship with buildings can enhance the voice and power.

32
 Residential Blocks

Ju’er Hutong, Beijing

The spread of economic buildings within the cities displays modern development.
The development of residential buildings, which are additional examples of this
modern development, is also increasing. Immigration continues rapidly and
at the same time living standards are increasing. Community houses in China
are based on neighbourhood units. The courtyard is the traditional style of
community housing, but not built as modern organisations. In 1950, when urban
planning was introduced as subjects in universities in China, housing community
examples were also introduced and manipulated on the city plans. There were
great amount of residential development, which was similar to most European
cities after the Second World Wars. The quickest and easiest solution was to build
houses vertically in a tall block, repeating dwellings on each floor. Buildings
looked similar. Cities had less difference. Nowadays, housing design is treated
more diversely in the facade trying to create character, but the same problem
happens when living pattern and life complexities are ignored. Fig.29 Modern residential blocks caused disturbance in traditional
hutongs.
In Beijing, traditional housing is the main difficulty when renovation or
regeneration is proposed and enforced by the government. Hutong is especially
one of the concerns. Even though most of the citizens are excited about new
developments of national attractions, such as National Centre for the Performing
Arts and Olympic village, there are still some planners and architects who are
seriously concerned about the conservation and regeneration of traditional Chinese
housing. The Ju’er Hutong Courtyard project was one of the most successful
housing regeneration projects in China, as it highly respected its existing local
tradition and invented in its future. It was the winner of World Habitat Awards in
1993. It has great meaning in the Chinese modern urban development, conserving
the historical urban system and creating a local community. When isolated high-
rise apartments are spread out and squeezed within urban density above eye
levels, Ju’er Hutong suggested a street level urban life with communication and
interaction in the self-organizing community.

33
Fig.30 Pattern of Beijing Fig.31 Modern residential blocks in a horizontal layout Fig.32 Ju’er Hutong courtyard combined new build-
hutongs in Qing Dynasty. were introduced to China in 1950s. ing layouts with traditional characters.

34
The Chinese traditional low-rise courtyard is well known to the world. It is
widely used in a broad area but it is very typically in Beijing in high density. In
traditional Beijing, the city was divided by rigid grid squares, which were linked
by narrow lanes. Courtyard houses grew rapidly and largely in the lanes. After
many years, timber and brick construction was not able to provide good living
condition for residents today. Drainage and basic sanitation are one of the most
serious problems. With the very high-speed economic growth and globalization,
many courtyards in Beijing have been demolished in order to build high-density
apartments. City pattern was altered and street characters were erased. ‘The
reduplication of identical elements destroys all sense of direction and acts as an
obstacle to the inhabitant’s ability to identify with his environment.’61 Improving
life quality and building infrastructure for existing residents, developing the
capital and the whole country, in terms of conservation of historical buildings
and modern development is a tough issue in Beijing.

Ju’er Hutong is located within Nanluogu Xiang, in the central zone of Beijing,
surrounded by traditional residential courtyards. It is close to several tourist
attractions, including Hou Sea and Gulou, which were retained mainly for tourism.
The increasing number of tourists coming for experiencing courtyard life bring
along the local economy. In order to keep the tradition and local people, Ju’er
Ju’er Hutong Fig.33 Map of Ju’er Hutong
Hutong was carried out. Ju’er Hutong project started in 1987 leaded by Professor
Gu Lou
Liangyong Wu and Tsinghua University. Among these houses, he chose Number Nanluogu Xiang
Forty-one courtyard to be the first project, which was a temple and later became Tourist Attractions
a shelter for mix uses. Two thirds of families living there did not have daylight
inside and approximately eighty people shared only one tap and sewer.

61 Krier, Rob, Urban Space, London: Academy Editions, 1979, p.76.

35
Professor Liangyong Wu worked closely with traditional designs. The Forbidden
City and many historical palaces inspired him, as he designed a long narrow lane
between two parallel courtyards.62 At the same time, small corridors linked all
the courtyards. The Nanluogu Xiang area is in the conservation list of traditional
courtyards, and as a result the building height was limited to a maximum of nine
metres, preventing the distortion of the central axis of Gulou.63 New courtyard
houses were controlled at two and three storeys to keep the regulation, and at
the same time to relate to the surrounding traditional courtyards. The façade of
buildings were covered with vines, producing a very natural environment for in Ju’er Hutong
centre city. In side the courtyard, Professor Liangyong Wu kept the tradition of
trees in the right location with right species, which had strong meanings rooting
back over many generations.64 Trees, veins and furniture gave the illusion of
Chinese southern watery town.

Professor Liangyong Wu was the principle of the success. He was the first
architect who worked so closely with Chinese traditional architecture in a
modern technique under the pressure of the controversial regeneration topic from
the government and the local people. He understood the deep cultural and social
value behind Ju’er Hutong when most architects simply followed economic Traditional Courtyard
value.

The Ju’er Hutong Project successfully completed in Beijing suggested a new

sustainable regeneration, which needs to be developed continuously. When
sustainability is the central issue in the world, it is necessary to realize that
building regeneration and renovation are part of sustainable process. Regeneration Fig.34 The aerial view of Ju’er Hutong and its surroundings shows
not only preserves the history and keeps the identity, but also serves the need that Professor Wu carefully considered building height of Ju’er
for the next generation. In this aspect, Ju’er Hutong is remarkably successful. Hutong and produced a rhythm within the context.
Considering cost and income not just from the building, but the whole society As I walked from the Nanluogu Xiang to Ju’er Hutong
and the world, reusing a building also saves natural resources. on purpose finding the buildings, I couldn’t realise the
difference of height until I turned around corner. The
perspective of the street, produced by different height
and setback, and the tall trees reduce the height of new
buildings visually.

62 http://epaper.thebeijingnews.com/html/2009-08/06/content_392743.htm
63 ibid., http://epaper.thebeijingnews.com/html/2009-08/06/content_392743.htm
64 Wu, Liangyong, ‘Some Theoretical Problems of Ju’er Hutong Housing Project (translated by Jing Qiao),’ in Architectural Journal,
No 12, 1991, p.7.

36
 C1 N C1 Fig.35 Courtyard Design Strategies
1. A quarter is divided into 9 units.
C1, C2 = Corner Unit
W Y E W, N, S, E = Side Unit
2. Studies of one entrance in the courtyard
C2 S C2 3. Studies of two entrances in the courtyard
1. 4. Courtyard studies of changing the quantity and volume of units
5. Courtyard studies of changing the volume and form of units
6. Studies of different combinations of courtyards
a. Horizontal direct combination
b. Horizontal indirect combination
c. Vertical direct combination
7. Ju’er Hutong Courtyard Solutions
2.

3.

4.

5.

6. a. b.
c.

7.

37
 19

17

21

Residential Blocks Fig.36 Map of Ju’er Hutong

Number 17, 19, 21 Courtyard
Trees & Plants

Residential Committee

Facilities Room

38
Fig.37 Model of Ju’er Hutong

Ju’er Hutong

Single storey 2-3 storey 4 storey 5-6 storey

Fig.38 Height Distribution of Ju’er Hutong

Fig.39 Ju’er Hutong section

39
Solutions learnt from Ju’er Hutong Project
The success of Ju’er Hutong suggested:

• The small independent unit renovation is suitable for Beijing and other
Chinese cities. The small independent unit has the character, which is small
and flexible.65 This will not give the government or developers much burden or
pressure.
• When renovation is carried out at a large scale, it is impossible to
consider every single situation for different housing units. Small independent
unit renovation is flexible and affordable. Residents can renovate their buildings
in specific ways related to what they can afford.
• In China, there are many conflicts between government and citizens
about building demolition and regeneration. Small independent unit renovation
helps to ease the conflict and give inhabitants more respect and freedom.
• Through this renovation method, local materials and appropriate
technology are used by inhabitants. The low but effective technique saves a great
amount of capital and provides job opportunities for local people.
• The small dimension renovation causes much less environmental
pollution. As a consequence, small independent unit renovation is sustainable.

65 Fang, Ke, Contemporary Redevelopment in the Inner City of Beijing. China Architecture & Building Press, 2000, p.234.

40
06 Conclusion

41
The intention of this dissertation is to investigate the controversial situation of
building renovation and regeneration in current China (particularly in Beijing)
when large numbers of old buildings were demolished due to modern development
and globalization. At the same time this dissertation discussed the significance of
the value of existing buildings that people have been unaware of. The dissertation
also looked beyond China and investigated the positive government strategies
in Europe and the US and some successful European renovation projects.
Meanwhile, how these building solutions could be developed and applied to
China. In comparison with two successful building projects in China, strategies
for renovation and regeneration focusing on Beijing were investigated and
suggested for future solutions.
During the research and the study of building projects, I found out that building
renovation or regeneration is significantly influenced by the government, the
public, the architects and their inherent values of the buildings. Each of them
plays a significant role and is correlated closely with others. The approach
and decision of conservation and regeneration from people come from the
formalization of their values. Cultural, social and economic value should be
explored in depth. Chinese people sometimes do not value the cultural and social
aspects of their buildings Therefore it is important to provide knowledge about
Chinese traditional buildings in the early years of education so that the building
environment is considered earlier.
their invisible perception of conservation through daily communication, such as
TV programmes, advertisements and newspapers.
Architects, who are more professional and supposed to have a deeper and
maturer understanding of values, did not take full responsibility in China.
Unlike in European countries, conservation training has a short history in China.
Architecture in China is very different from Europe. In general, modern Chinese
design is close to building construction rather than architectural quality. Plans
and sections of developments in China can be designed and produced within
one week or even two nights when they are required by developers with a lack
of architectural quality. The quicker the building is designed and finished,
the greater the profit. Most of the native architects are constrained. Designers
don’t have time to fully investigate the site and produce site-specific buildings
that have architectural merit. Chinese architects, who build most in the world
statistically, are unaware of their effect of the world- ‘changing the world without
a blueprint.’66

In China, the government is the most powerful unit. Although it has made some
efforts in the last three decades, there were still some mistakes due to incomplete
regulations and disjointed strategic thinking. The government only cares and
protects heritages that could bring economic value in Beijing. Development
mainly emphasized on skyscrapers and national modern developments that were
designed by world famous architects. Looking to the US and Europe, the Chinese
government should first have an appropriate attitude to historic buildings and
realise that their cultural and social values are irreplaceable. The government
should also make complete statutes. Like the advantage leading policy in the US,
Chinese government could satisfy developers by exchange the focus of profits
and meanwhile keep the historic buildings protected. As the government has a
key role in the nation, it should have a good influence to the citizen and increase

66 Koolhaas, Rem, Content. Taschen, 2004, p.453.

42
 Existing old building New ( envelope/ structure/ volume)

1.

2. 3.

Fig. 40 Strategies of existing buildings

1. Old structure and new envelope
2. (Partially old /) new structure and old envelope
3. (Partially old /) new structure and partially new
envelope
4. 4. Extension
5. Reuse of existing elements in another building

5.

43
In this tough architectural atmosphere, I think, the only thing architects can do
is to focus on their existing activities in the planning and design of buildings.
Moreover, architects should take another role, participating in building
conservation, and practice their skills. I believe when a number of Chinese
architects have the awareness, certain skills and proposals, the government and
public will recognize conservation easily and widely. The process of practicing
their skills is the most effective factor. Architects should broad their horizon and
learn from the European architects, in the aspect of renovation and regeneration.

During renovation, techniques from Julian Harrap, such as the application of

materials, are especially valuable and investigable for architects to practice in
China. The success of Harrap’s invention of glass was his honest and consistent
attitude. Regarding materials, they have many possibilities that architects have
not discovered. Take brick as an example, it was used widely in the construction
and building envelope in China, but hidden by coatings. Architects could explore
colour, bonding patterns and give brick more opportunities in architecture. The
798 Art District and Ju’er Hutong Project have different reasons for their success
and both are very valuable examples. Renovation of 798 Art District worked
closely with techniques outside China. 798 Art District has some similarity with
The Emscher Park by Peter Latz. The original design by German architects gave
Chinese architects a close relationship to the world. Also the participation of
artists and designers in 798 provided an open and creative atmosphere. Ju’er
Hutong Project in contrast, investigated Chinese architectural history and
interpreted tradition, suggested another strategy. Architects could build up a close
relationship with the local community and residents, investigating tradition in
terms of its philosophy, materials, form, durability, constraints and advancement.
Ju’er Hutong suggests that traditional architecture can be developed with time
and engaged with modern designs.

To improve the situation of existing buildings is a long-term issue. Many

problems cover a wide range of roles and responsibilities. Meanwhile, we are
glad that historic buildings are getting more and more attention within China and
from the world. I do believe that architects have a significant role in protecting
historic buildings effectively. Within this role, it is important and necessary to
upgrade the skills of architects.

44
List of Illustrations

1. Koolhaas, 2004, p.462 (amended) 23. Author’s own photography

2. Koolhass, 2004, pp.450-451 (amended) 24. Huang, 2008, no page number
3. Hey, 1998, p.232 25. Author’s own photography
4. Author’s own photography 26. Yang, 2009, p.36
5. Author’s own drawing 27. Author’s own photography
6. Author’s own photography 28. Author’s own photography
7. Author’s own sketch 29. Wu, 1994, p.103
8. Author’s own sketch 30. Wu, 1991, p.5
9. Photography by Stefan Muller, Capezzuto, 2000, p. 31. Wu, 1994, p. 102
10. Capezzuto, 2000, p.46 32. Wu, 1994, p.102
11. Capezzuto, 2000, p.47 33. Author’s own map
12. Beard, 1996, p.34 34. Wu, 1994, p.105
13. Holden, 1996, p.33 35. Wu, 1994, pp.186-188 (amended)
14. Harrap, 1993, p.36 36. Author’s own map
15. Harrap, 1993, p.39 37. Wu, 1991, p. 13
16. Olsberg, 1999, p.64 38. Wu, 1991, p.12
17. Olsberg, 1999, p.62 39. Wu, 1994, p.162
18. Olsberg, 1999, p.25 40. Author’s own drawing
19.http://fototeca.cisapalladio.org/web/foto_scheda.php?valo=e_6_153#
(amended)
20. Author’s own map
21. Author’s own map
22. Huang, 2008, p.3

45
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http://www.798.net.cn/yishuqujieshao3.htm#jieshao3
http://rst.gsfc.nasa.gov/Sect4/China-624.jpg
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