Fang Zhenning's articles have frequently appeared on the forums of two of the most popular architecture-related web sites in China. His articles all have high click-through rates. Currently living in Japan, Fang is known for his professionalism and hard work. He is often invited as an independent Chinese journalist to important architectural exhibitions and contests held on the mainland as well as overseas, such as the Hanover Expo 2000, the Chinese Contemporary Art Exhibition in Berlin, and the last La Biennale di Venezia. The online reports on this subject are, without exception, all his writing. So that's why we are holding this interview with him.
New Weekly: What kind of style do you think Asian architecture represents? How do you perceive the relationship between this style and contemporary Asian culture?
Fang Zhenning: It's difficult to characterize a single style represented by Asian architectures. Asia covers a vast geographical area and comprises a variety of cultures and peoples, which make it very hard to summarize a uniform architectural style. In addition, economic development varies by country, and so Asian countries differ in terms of modernization. What we consider to be Asia maybe more specifically refers to countries in Southeast Asia or Northeast Asia, excluding Japan. Japan has been westernized for quite a long time. Japan is one of the seven member states of the G7 group, and considers itself 'Western'. While it is hard to specify a style of Asian architecture, we can't say there is no modern architecture in Asia. If we pick some representative examples from each area or from a country, then we find all these constructions manifest a desire to communicate with their surroundings at various levels. If you are talking about the modern architectural domain within the field of 'Asian Architecture', then we should be more specific. I think so-called 'Asian Architecture' is a consequence of Asian architects' awareness of and inspiration from modern architecture.
New Weekly: Zhang Xin has mentioned, "the stage for architecture is moving east." Is this movement due to the fact that Western architects have exhausted every single architectural style and school, and then developed a curiosity for emerging Asian Architecture?
Fang Zhenning: I agree with Zhang Xin. That the Commune may be considered avant-garde and alternative--that is actually a reflection of Zhang Xin's original explorative efforts. Similarly, contemporary architectural movements are closely related to the extent of a society's opening-up and economic development. Only when we have capital flow and an accumulation of experience will we be able to create symbolic new structures in our rapidly developing metropolises. Architecture is actually an ongoing experiment, one without end. We have seen many extraordinary Western architects continuing to explore new architectural languages. Our increasing interest in modern architecture has something to do with the changes in our lifestyles as well as the growth of our cities.
New Weekly: The organizers of this year's La Biennale di Venezia exhibition said that during their search for the next decade's architectural milestones they found that in various ways The Commune By The Great Wall had achieved a level of perfection. What do you think the next decade's architectural milestones should be like? Will Asian Architecture be able to bear the weight of this important task?
Fang Zhenning: By saying that "in various ways The Commune By The Great Wall had achieved a level of perfection", the organizers of the La Biennale di Venezia may have actually meant that the Commune will have a profound impact on architecture in the decade to come. The architectural milestones for the next ten years should be constructions that show respect for our historical heritage and the cultural environment. They should be daring, creative, and experimental structures that reflect metropolitan expansion and growth. Even if some architectural concepts are not realized, they should still be marked as milestones. Of course, history has favored Asia with this precious opportunity, and China will be the largest experimental lab.
New Weekly: From your perspective, does the Commune represent the highest level of Asian Architecture and the Asian style overall? Why?
Fang Zhenning: Modern architecture has just taken its first steps in China. In any book about modern 20th century architectural history, you can't find any Chinese architecture that is comparable to constructions from other countries, which is very sad. The Commune gets media attention as an architectural complex. I can't say it represents the highest architectural expertise, but it is the avant-garde of the Asian architecture movement. The value of the Commune is that it represents a waking-up for Asia, a land that has been asleep for a century. Another interesting fact is that the Commune has actually come together as an international project, though in its entry at La Biennale di Venezia it is considered a modern architectural project from China. The architects involved are from China's neighboring countries and regions, such as Japan, South Korea, Thailand, Singapore, Hong Kong, and Taiwan.
New Weekly: What is your view on architecture's collectibility and its practical value?
Fang Zhenning: I think it is a great idea to establish the concept of "architecture's collectibility." This is a very courageous move, reflecting the pride and prowess of the Chinese. This concept really has the power to drive me. No one in the West has come up with this idea of collecting architecture. It is a really exciting slogan. As to the value of architectural collectables, that's in the eye of the collectors. There is no fixed value for any collectable article. Market prices depend entirely on the public psyche. The collectable must have been something of significant influence in history. The public's acceptance of the object and its sphere of influence are elements to consider when collecting. Collection and utility are not contradictory in and of themselves. The pursuit of the two reflects human beings' desire for both beauty and functionality. Our primary need is for functionality, and then comes the desire for beauty. Whatever we collect has to be individualistic and unique. That is why each villa in the Commune is one of a kind, setting up the prerequisite for becoming a collection.
New Weekly: What kind of style do you think Asian architecture represents? How do you perceive the relationship between this style and contemporary Asian culture?
Fang Zhenning: It's difficult to characterize a single style represented by Asian architectures. Asia covers a vast geographical area and comprises a variety of cultures and peoples, which make it very hard to summarize a uniform architectural style. In addition, economic development varies by country, and so Asian countries differ in terms of modernization. What we consider to be Asia maybe more specifically refers to countries in Southeast Asia or Northeast Asia, excluding Japan. Japan has been westernized for quite a long time. Japan is one of the seven member states of the G7 group, and considers itself 'Western'. While it is hard to specify a style of Asian architecture, we can't say there is no modern architecture in Asia. If we pick some representative examples from each area or from a country, then we find all these constructions manifest a desire to communicate with their surroundings at various levels. If you are talking about the modern architectural domain within the field of 'Asian Architecture', then we should be more specific. I think so-called 'Asian Architecture' is a consequence of Asian architects' awareness of and inspiration from modern architecture.
New Weekly: Zhang Xin has mentioned, "the stage for architecture is moving east." Is this movement due to the fact that Western architects have exhausted every single architectural style and school, and then developed a curiosity for emerging Asian Architecture?
Fang Zhenning: I agree with Zhang Xin. That the Commune may be considered avant-garde and alternative--that is actually a reflection of Zhang Xin's original explorative efforts. Similarly, contemporary architectural movements are closely related to the extent of a society's opening-up and economic development. Only when we have capital flow and an accumulation of experience will we be able to create symbolic new structures in our rapidly developing metropolises. Architecture is actually an ongoing experiment, one without end. We have seen many extraordinary Western architects continuing to explore new architectural languages. Our increasing interest in modern architecture has something to do with the changes in our lifestyles as well as the growth of our cities.
New Weekly: The organizers of this year's La Biennale di Venezia exhibition said that during their search for the next decade's architectural milestones they found that in various ways The Commune By The Great Wall had achieved a level of perfection. What do you think the next decade's architectural milestones should be like? Will Asian Architecture be able to bear the weight of this important task?
Fang Zhenning: By saying that "in various ways The Commune By The Great Wall had achieved a level of perfection", the organizers of the La Biennale di Venezia may have actually meant that the Commune will have a profound impact on architecture in the decade to come. The architectural milestones for the next ten years should be constructions that show respect for our historical heritage and the cultural environment. They should be daring, creative, and experimental structures that reflect metropolitan expansion and growth. Even if some architectural concepts are not realized, they should still be marked as milestones. Of course, history has favored Asia with this precious opportunity, and China will be the largest experimental lab.
New Weekly: From your perspective, does the Commune represent the highest level of Asian Architecture and the Asian style overall? Why?
Fang Zhenning: Modern architecture has just taken its first steps in China. In any book about modern 20th century architectural history, you can't find any Chinese architecture that is comparable to constructions from other countries, which is very sad. The Commune gets media attention as an architectural complex. I can't say it represents the highest architectural expertise, but it is the avant-garde of the Asian architecture movement. The value of the Commune is that it represents a waking-up for Asia, a land that has been asleep for a century. Another interesting fact is that the Commune has actually come together as an international project, though in its entry at La Biennale di Venezia it is considered a modern architectural project from China. The architects involved are from China's neighboring countries and regions, such as Japan, South Korea, Thailand, Singapore, Hong Kong, and Taiwan.
New Weekly: What is your view on architecture's collectibility and its practical value?
Fang Zhenning: I think it is a great idea to establish the concept of "architecture's collectibility." This is a very courageous move, reflecting the pride and prowess of the Chinese. This concept really has the power to drive me. No one in the West has come up with this idea of collecting architecture. It is a really exciting slogan. As to the value of architectural collectables, that's in the eye of the collectors. There is no fixed value for any collectable article. Market prices depend entirely on the public psyche. The collectable must have been something of significant influence in history. The public's acceptance of the object and its sphere of influence are elements to consider when collecting. Collection and utility are not contradictory in and of themselves. The pursuit of the two reflects human beings' desire for both beauty and functionality. Our primary need is for functionality, and then comes the desire for beauty. Whatever we collect has to be individualistic and unique. That is why each villa in the Commune is one of a kind, setting up the prerequisite for becoming a collection.
