10. From Studio to Practice. Chinese and Non-Chinese Architects Working Together

Chapters in this book

1. Frontmatter i
2. Contents v
3. Acknowledgments vii
4. A Note on Chinese Names and Other Clarifications ix
5. Introduction xi
6. Part I. Divergence to Convergence
7. 1. Chinese Architecture on the Eve of the Beaux-Arts 3
8. 2. Just What Was Beaux-Arts Architectural Composition? 23
9. Part II. Convergence to Influence
10. 3. Convergence to Influence: Introductory Perspectives 41
11. 4. Chinese Architecture Students at the University of Pennsylvania in the 1920s: Tradition, Exchange, and the Search for Modernity 45
12. 4. An Outline of Beaux-Arts Education in China: Transplantation, Localization, and Entrenchment 73
13. 5. A Classicist Architecture for Utopia: The Soviet Contacts 91
14. 6. Beaux-Arts Practice and Education by Chinese Architects in Taiwan 127
15. Part III. Influence to Paradigm
16. Influence to Paradigm: Introductory Perspectives 147
17. Yang Tingbao, Dong Dayou, and Liang Sicheng. Modern and Ancient
18. 7. Yang Tingbao, China’s Modern Architect in the Twentieth Century 153
19. 8. Between Beaux-Arts and Modernism. Dong Dayou and the Architecture of 1930s Shanghai 169
20. 9. Elevation or Façade: A Re-evaluation of Liang Sicheng’s Interpretation of Chinese Timber Architecture in the Light of Beaux-Arts Classicism 193
21. Lü Yanzhi, Zhang Kaiji, and Zhang Bo. Republican and Early Socialist Politics
22. 10. From Studio to Practice. Chinese and Non-Chinese Architects Working Together 207
23. 11. Ritual, Architecture, Politics, and Publicity during the Republic: Enshrining Sun Yat-sen 223
24. 12. The Sun Yat-sen Memorial Auditorium: A Preaching Space for Modern China 279
25. 13. Zhang vs. Zhang: Symmetry and Split: A Development in Chinese Architecture of the 1950s and 1960s 301
26. Chinese Cities. Beaux-Arts Plans and Post-Beaux-Arts Urbanism
27. 14. The Beaux-Arts in Another Register. Governmental Administrative and Civic Centers in City Plans of the Republican Era 315
28. 15. Chinese Urbanism beyond the Beaux-Arts 333
29. Afterword. The Four and the Five 361
30. Contributors 369
31. Index 373