학위논문 (석사)-- 서울대학교 대학원 : 건축학과, 2014. 2. DuNam Choi (최두남). ; Nowadays, with the process of globalization and urbanization, China gradually becomes an experimental field of modern architecture. The traditional buildings carrying traditional culture are disappearing gradually. In the design of Chinese contemporary architecture, there is no room for tradition. Therefore, how to inherit tradition in Chinese modern architecture is an urgent issue. The reality of Wang Shu winning the 2012 Pritzker Architecture Prize gives us a lot of enlightenment. The award is actually a confirmation for his exploration on Chinese tradition. “The question of the proper relation of present to past is particularly timely, for the recent process of urbanization in China invites debate as to whether architecture should be anchored in tradition or should look only toward the future. As with any great architecture, Wang Shu´s work is able to transcend that debate, producing an architecture that is timeless, deeply rooted in its context and yet universal.” quoting from the jury citation that focuses on the reasons for this year’s choice. His architecture reflects a deep-going thinking on the inheritance of tradition. Wang Shu shows a great preference to Hangzhou and the 3 most important architectural works of him – Ningbo Contemporary Art Museum, Xiangshan Campus and Ningbo History Museum are all designed in the context of Hangzhou. By analyzing the application of traditional elements in these 3 works, we can understand his design concept and strategy on inheriting tradition, which is a good reference and enlightenment to Chinese modern architectural design. Firstly, in Chapter 2, the practice Barragan did on inheriting tradition is analyzed and summarized. And then, Wang Shu’s architectural thinking and the context of Hangzhou are detailedly introduced. Secondly, in Chapter 3, the application of traditional elements in his three notable projects which are designed based on the context of Hangzhou is detailedly discussed from 3 aspects: architectural concept, architectural space and architectural material. And then, in Chapter 4, his strategy on inheriting tradition in architectural design is summarized and analyzed based on the analysis in Chapter 3. In architectural design, based on the context of Hangzhou, he did a narration on tradition – traditional natural appearance and traditional lifestyle. Wang Shu is infatuated with Hangzhou’s breathtaking mountain and water and the literati-style life. By architecture, he narrates the natural “shanshui” (mountain and water) and traditional life of Hangzhou, which is detailedly analyzed from 4 aspects - space, form, material and construction respectively. Finally, in Chapter 5, based on the previous discussions, the root of Wang Shu’s tradition and its enlightenment to Chinese modern architectural design are detailedly talked about. In architectural design, he pays attention to the reconstruction of the “place” and the representation of “place sprit”, providing people a sense of belonging. The tradition in Wang Shu’s architectural works is not the simple collage of traditional elements, but to stimulate people’s identity on the place and realize the two fundamental spiritual function of place – orientation and identification. Wang Shu’s purpose on maintaining and inheriting tradition is not only for the sake of tradition, but also for the continuity of fractured time and history, making the traditional lifestyle return back to the real urban life and regional environment. Finally, “Full of merit, yet poetically, man dwells on this earth.” Furthermore, Wang Shu’s purpose on tradition is not protection and return, but “revival”. He learns to tradition – the traditional philosophical thinking, the great Chinese traditional landscape urban system and the traditional and folk structures, from which he searches for a much more wisdom way in order to face the severe environmental and ecological issue, making new buildings succeed and inherit the memory of history and traditional life in the ruins and helping people to recreate the identity to the “place” and “culture”. This is Wang Shu’s attitude and standpoint on tradition ; it is also what we need to learn from Wang Shu’s tradition. ; Contents Chapter 1 Introduction 1.1 Background and Objective 1.1.1 Background 1.1.2 Objective 1.2 Research Contents and Methodology 1.2.1 Research Contents 1.2.2 Research Methodology 1.3 Structure Chapter 2 Background of Research 2.1 Luis Barragan’s architectural practice on Inheritance of tradition 2.2 Wang shu’s architectural thinking on tradition 2.2.1 Introduction to Wang Shu 2.2.2 Wang Shu’s architectural thinking on tradition _ Traditional literati thinking 2.3 Introduction to Hangzhou 2.3.1 The urban feature of Hangzhou 2.3.2 Traditional architecture culture in Hangzhou 2.3.2.1 Classical garden 2.3.2.2 Ancient water town 2.3.3 Traditional lifestyle Chapter 3 Analysis on the Application of Traditional Elements in Wang Shu’s Architectural Works 3.1 The Application of Traditional Elements in the Architectural Concept of Wang Shu’s Works 3.1.1 Traditional Architectural Theory _ A landscape architectural system that covered the whole country 3.1.1.1 Landscape painting 3.1.1.2 Chinese Classical Garden 3.1.2 Traditional Architectural Theory in Wang Shu’s Works 3.1.2.1 Half mountain and half water _ Ningbo Museum of Art 3.1.2.2 Coexistence between mountain and architecture _ Xiangshan Campus 3.1.2.3 Architecture as a mountain _ Ningbo History Museum 3.1.3 Summary 3.2 The Application of Traditional Elements in the Architectural Space of Wang Shu’s Works 3.2.1 Traditional spatial form and its characteristics 3.2.1.1 Transplant of Traditional Architectural Details 3.2.1.2 The characteristics of the traditional spatial form 3.2.2 The application of traditional spatial form in the architectural space of Wang Shu’s works 3.2.2.1 Ningbo Museum of Art 3.2.2.2 Xiangshan Campus 3.2.2.3 Ningbo History Museum 3.2.3 Summary 3.3 The Application of Traditional Elements in the Architectural Material of Wang Shu’s Works 3.3.1 The Application of Traditional Materials 3.3.1.1 Traditional Architecture materials of Hangzhou 3.3.1.2 Application of traditional materials 3.3.2 The Application of Craftsmanship 3.3.2.1 Overall Masonry of Architecture 3.3.2.2 Details of architecture components 3.3.3 Summary Chapter 4 Analysis of Wang Shu’s Strategy on Inheritance of Tradition in Architectural Design _ Narration of Tradition 4.1 Narration of Traditional Natural Appearance 4.1.1 Space 4.1.2 Form 4.1.3 Material 4.2 Narration of Traditional Lifestyle 4.2.1 Space 4.2.1.1 Recreation of spatial experience of Traditional Dwellings 4.2.1.2 Recreation of Spatial Experience of Classical Garden 4.2.2 Form 4.2.3 Material 4.2.4 Construction 4.3 Chapter Summary Chapter 5 Root of Wang Shu’s Tradition _ The Cognition on “Place” 5.1 Concept of Nature of “tian ren he yi” 5.1.1 Coexistence of Architecture and Nature _ Fusion of Emotion and Natural “shanshui” 5.1.2 Non-being of Space 5.1.3 Summary 5.2 Coexistence of Variety of Historical Clues 5.3 Chapter Summary _ Poetic Living Chapter 6 Conclusion Bibliography Appendix ; Master