Resume:
1985 graduated from Nanjing Institute of Technology with a bachelor's degree in architecture.
1988 graduated from the School of Architecture of Southeast University with a master's degree.
1988 turn 1995 worked in Zhejiang Academy of Fine Arts (now China Academy of Fine Arts).
Graduated from college of architecture and urban planning in 2000.
Doctor of urban design, majoring in architectural design and theory
Currently teaching in China Academy of Fine Arts.
Performance summary:
Starting from 1985, Nanjing Overseas Chinese Building has been designed successively (1985- 1987, completed);
Outside the air ticket office of Hangzhou International Travel Service (1989, the demolition has been completed);
Haining Youth Palace (1988- 1989, completed);
International Gallery of Hangzhou China Academy of Fine Arts (199 1, completed and to be demolished);
Hangzhou Gushan Indoor Small Theater (199 1, built and demolished);
Hangzhou Douleqiao civil air defense tunnel (199 1, the demolition has been completed);
China Academy of Fine Arts Hangzhou Lakeside Campus Reconstruction Scheme (1993, Scheme);
Sculpture Department of China Academy of Fine Arts (1993, scheme);
Hu Run Chan Xin Tea Ceremony Garden in Hangzhou, China (1994, Scheme);
The residence of a retired architectural teacher (1996- 1999, scheme);
Self-occupied interior (1997, completed);
Chen Mo Art Studio in Haining, Zhejiang (1998, completed);
Library of Zheng College of Literature, Soochow University (1998-2000, completed);
Shanghai Nanjing East Road Top Gallery (1999-2000, completed).
Ningbo Art Museum;
Xiangshan Campus of China Academy of Fine Arts;
Sanheju (China Nanjing International Architectural Art Practice Exhibition).
The above works and many professional papers have been published in domestic books and periodicals such as Selected Works of Contemporary Young Architects in China, Selected Works of Young Architects in Theory and Creation Series of Southeast University, Essentials of Interior Design in China, Architects, Pioneer Today, Architecture of the Times, Interior Landscape, Interior and Fashion.
1June, 1999 Participated in the Experimental Architecture Exhibition of Young Architects in China.
Dialogue with Wang Shu: Query on Contemporary Art Education (Author: Yu Ke from: Contemporary Artists)
On the one hand, the development of urban construction makes people have new understanding and requirements for the living environment. On the other hand, architectural art, as a new discipline, has been put on the educational construction agenda of major art colleges. Here, we invite Wang Shu, an artist invited to participate in the Venice Biennale this year, who is also an architect standing in the front line of education, to talk about his views on his trip to Venice and some problems faced by architectural art in contemporary education.
Keke (hereinafter referred to as): This Venice Biennale has the China Pavilion for the first time, but unfortunately it was stillborn. Is this entirely because of the SARS epidemic in China, or are we still in a cultural passive state?
Wang Shu (hereinafter referred to as Wang): "SARS" is certainly a reason, and the cultural passivity is also obvious.
Y: You were invited to participate in the exhibition in China, but you actually went to Venice and didn't really participate. What's your mood?
Wang: It's a pity that the exhibition didn't go. But I am more sad about my batch of blue bricks. They were made in a brick factory in Suzhou after two months of fine polishing. They arrived in Venice Port on May 25th, and were kept in the dock warehouse for more than a month. Finally, they could only be handed over to the shipping company.
Y: As an audience, what are your thoughts and feelings about this Venice Biennale? Does it have some directional influence on the process of art as before?
Wang: Although I went to Paris for the opening ceremony of Venice, I didn't go to see it.
Yu:
As an artistic creator, what kind of cultural attitude and identity do you think China artists should make a strategic appearance in the face of such an international exhibition, so as not to be embarrassed? How should China adjust its cultural strategy? Should artists also think about our related cultural outlet in a broader knowledge structure? Or, in what context do you show your cultural identity?
Wang: I never thought too much about this kind of problem before attending this kind of exhibition. "Attitude", "identity" and "strategy" make people think of putting on a show and being wily. I do art only for my own entertainment.
Yu: The Department of Architecture was established in the Art College. Several years' practice has proved that in the teaching process, teachers are at a loss about the subject direction of architectural art, and students are at a loss. Can the knowledge structure of art college teachers be competent for the education of architectural art today?
Wang: It is a new thing to set up architecture department in art colleges in China. It must have some uncertainty in the direction of the discipline, just like the uncertainty of the world itself. I have always believed that cultivating the ability to grasp this uncertainty is to cultivate people how to grasp the meaning of "existence". At least as far as the domestic architecture department is concerned, I am not at a loss about its subject direction, and even willing to enjoy this possible sense of loss. It's important to know where to start.
Yu: The problem faced by the department of architectural art is that urban construction waste keeps appearing, but the knowledge gained by students in higher education is powerless. Because they can't build academic authority and certainly can't influence the market. So it is inevitable to learn instead of using it. Does "architectural art" become a dummy for the expansion of disciplines in colleges and universities? What is the root cause of this disconnect?
Wang: I think architectural art education is for the possibility of our living in the world. This attitude hates any quick success. Now the market is more and more diversified, and opportunities are everywhere. The question is whether you are ready when the opportunity presents itself.
Y: What do you think should be done to effectively improve this situation and promote the sustainable development of China's architectural art in a benign direction? As far as I know, you also criticized and questioned the architectural education model in China during your study. So, what's your attitude and view on this?
Wang: If the architecture department of the Art College is turned into a simplified version of the engineering architecture department and an amateur art version, it will be difficult to apply what you have learned. There is no way out for running this school. As far as architectural education in China is concerned, it has two chronic diseases: one is that it can't think; Second, it neglected thoughtful technical training and trained piles of "painters", and now it has occupied the market.
Y: You once said that there are no real modern architects in China, and your tutor is only half. What do you think is the definition of "modern architect"? And what does "China Modern Architect" mean? If these are two different directions, what is their fundamental difference?
Wang: When I said this, I was young and frivolous. But the meaning of the word itself is correct. The basic feature of modern architects is that they always think from the fundamental problems of architecture, and an architect in China has his own life background, so the difference of problems makes the difference.
Yu:
With the increasingly frequent global economic and cultural exchanges, foreign architects frequently enter the China market, especially the important national construction bidding, which obviously presents an embarrassing situation, and the cake is cut smaller and smaller. Do China architects adapt to today's society? Is it because we ourselves or our decision makers are still worshipping foreign things, how should our architects adjust this?
Wang: I have never worried about this problem.
Y: It is said that your long-term research topic is the application of China traditional architectural concepts and languages in today's urban architecture. What do you think is the possibility of this application? What is its value and significance in the current urban construction? How do you understand the relationship between architectural art and our daily life?
Wang: Basically, in the past 20 years, we destroyed our original city, not only the tradition, but also the city itself. I study from the close relationship between traditional architectural concepts and language and life itself. Of course, the process of destruction itself may highlight many possibilities that we ignore every day. This is a sad time for our city, but it may be exciting for an artist.
Yu: In recent decades, great changes have taken place in the urban construction of China. What do you think the change of the city means to you? From your first architectural design to the latest one, what specific changes have you made in your design concept or concept? How do you use these to influence your students? So that they won't live in a rather lost state?
Wang: I like a simple and quiet life. If the first work just wants to convey some radical "ideas" to people, then what we are doing now is to gradually calm down. They are the construction of a series of peaceful "small worlds".
Y: What's your next plan?
Wang: A basic feature of architectural art is that it takes a long time to create, and it is not easy to persist. Now, in addition to how to do a good job in the architecture department, I also want to do a good job in the completed building, not letting go of any details, or even not doing new projects for the time being. In addition, how not to repeat yourself is always a problem.