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Evan Chakroff


Kenneth Frampton On The Work of Wang Shu and Lu Wenyu

09:30 - 23 March, 2017
Kenneth Frampton On The Work of Wang Shu and Lu Wenyu, Amateur Architecture Studio, Wa Shan Guesthouse / China Academy of Art Xiangshan Campus, Hangzhou, 2013. Image © Iwan Baan. Image Courtesy of Louisiana
Amateur Architecture Studio, Wa Shan Guesthouse / China Academy of Art Xiangshan Campus, Hangzhou, 2013. Image © Iwan Baan. Image Courtesy of Louisiana

Until April 30th, the Louisiana Museum of Modern Art in Denmark is exhibiting the work of Wang Shu. The first in a new series of monographic exhibitions collectively titled "The Architect's Studio," this show of the work of the 2012 Pritzker Prize winner features an exhibition catalog that includes essays from Kenneth Frampton, Ole Bouman, Yiping Dong and Aric Chen. The following excerpt from the exhibition catalog, written by Kenneth Frampton, is republished here with the permission of the author and publisher.

The work of the Amateur Architecture Studio has come into being in categorical opposition to the recent, rapacious development that has engulfed large tracts of the Chinese continent, and which was first set in motion by Deng Xiaoping’s 1983 decision to open up the People’s Republic of China to foreign trade, first with special economic zones and later with regard to the entire country. Based in Hangzhou, Wang Shu and Lu Wenyu have witnessed firsthand the juggernaut of maximizing Chinese modernization from its impact on their own city. Three decades ago, Hangzhou had been expressly chosen by them as a desirable place in which to live and work, largely because of its venerable artistic traditions and its harmonious report with nature, symbolized for them by the virtually sacred West Lake, set in the very heart of the city and traversed, then as now, by the flat-bottomed boats plying across its surface. Wang Shu’s unique sensibility takes as its point of departure the equally panoramic tranquility of traditional Chinese painting. As Wang Shu has written:

“I am always amazed by these paintings when I see that the trees, the buildings and mountains are not just placed haphazardly... every building is laid out in a certain way in relation to the landscape and the trees, the direction it faces depending on the light and the features of the location, which make it suitable for human habitation.”

Spotlight: Wang Shu

05:00 - 4 November, 2016
Spotlight: Wang Shu, Ningbo History Museum. Image © Iwan Baan
Ningbo History Museum. Image © Iwan Baan

Wang Shu (born November 4, 1963) is a Hangzhou-based architect and dean at the China Academy of Art, known for his thoughtful resistance to what he considers “professionalized, soulless architecture.” His honoring of local tradition, environment, and craftsmanship saw him become the first Chinese citizen, and the fourth youngest person overall, to receive the Pritzker Prize in 2012 for "an architecture that is timeless, deeply rooted in its context and yet universal.”

Investigating the 'Scalelessness' of Contemporary Chinese Architecture and Urbanism

04:00 - 10 March, 2016
A traditional siheyuan in Pingyao (p. 389), now operating as a hostel. Image © Evan Chakroff
A traditional siheyuan in Pingyao (p. 389), now operating as a hostel. Image © Evan Chakroff

The Architectural Guide China is a travel book which covers cities primarily located on China’s eastern coast. These cities—such as Beijing, Shanghai, and Hong Kong—have become centers for forward-thinking urban design and architecture. The guide offers maps, drawings, photographs, historical background, and essays describing Chinese architecture at all scales – ranging from small temples to the organization of major metropoli.

Based on the authors' experiences of directing study abroad trips throughout the country, Evan Chakroff, Addison Godel, and Jacqueline Gargus, have carefully curated a selection of contemporary architectural sites while also discussing significant historical structures. Each author has written an introductory essay, each of which contextualizes the historical and global socioeconomic influences, as well as the stylistic longevity of the chosen sites in this book. One such essay, by Chakroff, has been made available exclusively on ArchDaily.

CCTV New Headquarters (p.088) as iconic urban landmark. Image © Evan Chakroff Framed and layered spaces in a dense zone of Suzhou’s Lingering Garden (p. 244). Note rockery in the far distance.. Image © Evan Chakroff Ai Wei Wei’s Archaeological Archive (p. 283), from different vantage points. Image © Evan Chakroff Taihu stone on display in the Garden of the Humble Administrator (p. 218). Image © Evan Chakroff + 17

Material Masters: The Traditional Tiles of Wang Shu & Lu Wenyu

10:30 - 3 June, 2015
Material Masters: The Traditional Tiles of Wang Shu & Lu Wenyu, via (image of Wang Shu and Lu Wenyu) and © Iwan Baan (image of Ningbo Historic Museum)
via (image of Wang Shu and Lu Wenyu) and © Iwan Baan (image of Ningbo Historic Museum)

Wang Shu and Lu Wenyu of Amateur Architecture Studio are known for their distinctly contextual attitudes towards design which prize tradition and timelessness above anything else. In many cases, their use of materials is governed by local availability of salvaged building elements. Tiles, in particular, represent a material used repeatedly by Amateur Architecture studio and for Wang Shu, who won the 2012 Pritzker Prize, they offer a political as well as an architectural message.

An Interview with Lu Wenyu, Amateur Architecture Studio

09:30 - 13 May, 2015
Hangzhou Xiangshan Campus Phase 2. Image © Evan Chakroff
Hangzhou Xiangshan Campus Phase 2. Image © Evan Chakroff

“Every couple of years a new manifesto appears, but how long can it last? We need more people doing instead of talking. [At Amateur Architecture Studio] we spend an enormous amount of time experimenting, trying to resurrect the craftsmanship that is almost lost. We use a method that is passed on, hand-to-hand, to re-establish tradition instead of talking about abstract but empty concepts.”
- Lu Wenyu, Hangzhou, 2013

Pier Alessio Rizzardi: “A house instead of a building” is a really famous phrase of Amateur Architecture Studio. What is the meaning behind this concept?

Lu Wenyu: Once, Wang Shu said: “we only make houses, we don’t make architecture.” The house and architecture here have their own meanings. Making a house means making it for the people, making it more tranquil, or closer to nature, more humanized. Instead, architecture is an abstract concept, so many designs nowadays are actually architecture. So this sentence, from almost 20 years ago, “making houses, not architecture”, is about not making that abstract concept, but to make something really concrete and tangible, something that you can touch or that is made with your own hands… so when you see this house, you feel differently.

Ningbo Historic Museum. Image © Evan Chakroff Zhongshan Road. Image © Evan Chakroff CIPEA Villa, Nanjing. Image © Evan Chakroff Hangzhou Xiangshan Campus. Image © Evan Chakroff + 24

Urban Fragment: Jose Oubrerie’s Miller House

01:00 - 19 August, 2013
Urban Fragment: Jose Oubrerie’s Miller House, © Samuel Ludwig
© Samuel Ludwig

This article was written by Seattle-based designer and critic Evan Chakroff

Lexington Kentucky’s Miller House is a built manifesto: an ambitious proposal for the future of suburbia in an age of unprecedented urbanization. Despite its pedigree – designed and built by Le Corbusier protégé José Oubrerie – and despite its (appropriate) selection as a “masterwork” by Kenneth Frampton, the project remains somewhat unknown and the architect underappreciated.

The house should absolutely occupy a place in the canon of great residential architecture. The complex composition alone should inspire myriad formal readings, but more importantly the house represents a model for communal life amid continuously-shifting family structures. It’s a radical rejection of a suburban lifestyle that has become socially, economically, and culturally unsustainable. 

Ruins of an Alternate Future (Jinhua Architecture Park)

01:00 - 3 February, 2013
Courtesy of Chakroff
Courtesy of Chakroff

Originally published on the author’s website and blog on Archinect, 'Ruins of an Alternate Future (Jinhua Architecture Park)' was written by Shanghai-based architectural designer and theorist Evan Chakroff

One of the great, if seldom realized, promises of architecture is its capacity to affect change. The best architects seem to have this potential in mind constantly as they structure career-length narratives around the social impact that good design can achieve. While this is often hyperbole, and most projects are driven by functional or economic considerations, there is the occasional opportunity for artists and architects to create purely speculative work, where radical departures from established typologies suggest alternatives to the status quo. In these rare cases, novelty is embraced not for its own sake, but for its potential to generate new archetypes, to provide a glimpse into a parallel world where architecture truly has agency: where design can change society for the better. 

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