These the first exhibition of this Architect’s Studio series of Louisiana exhibitions focuses on Chinese architect Wang Shu (b. 1963), who in 2012 was awarded the Pritzker-Prize, dubbed the Nobel Prize for architecture. Wang Shu and his wife Lu Wenyu stand at the head of the Amateur Architecture Studio based in Hangzhou in China. The name of the studio underscores the vision of letting spontaneity, the available materials and local culture and building traditions form the basis for architecture which in Wang Shu’s own words should be “a house rather than a building”.
With the exhibition The Architect’s Studio. Wang Shu – Amateur Architecture Studio, Louisiana Museum of Modern Art introduces a new series of monographic architecture exhibitions offering the opportunity to get a closer look at the work process of an individual studio and gain a better understanding of how ideas become form. 

The exhibition series starts in China, more specifically Hangzhou, capital of the eastern Zhejiang province, where Wang Shu (b. 1963) and his wife Lu Wenyu established the Amateur Architecture Studio almost twenty years ago. Since 2007 he has also functioned as Dean of the Hangzhou department of the China Academy of Art, Xiangshan Campus. In 2012 Wang Shu was honoured with the world’s most prestigious architectural award, the Pritzker Prize, and since then he and Lu Wenyu have enjoyed growing international acclaim of their uncompromising persistence in combining the China of past and present in their architecture. Based on a manifesto for so-called amateur architecture, Wang Shu and Lu Wenyu work with architecture rooted in  the anonymous rural architecture and the available materials such as bamboo, local brick and rammed-earth walls. At the same time classic Chinese virtues like calligraphy, garden architecture and landscape painting  play a crucial role in the philosophy of Amateur Architecture Studio. 

Despite its culture-sustaining potential, Wang Shu’s architecture is at the same time characterized by trans-formation, development, the breaking-down of boundaries and disruptions of scale. The formal idiom can have an almost futuristic character, while the building materials may be hundreds of years old, and the construction techniques a hypermodern transformation of building traditions inherited and perfected over millennia. 

Themes of the exhibition
The exhibition, shown in the Hall Gallery and the Column Gallery on the lowest floor of the Louisiana museum, has been created in close collaboration with Amateur Architecture Studio and is built up around three main themes aiming to shape a comprehensive presentation of the ambitions, processes and inspirations of the studio. The exhibition includes models, video, photographs, material specimens, texts and filmed interviews with Wang Shu explaining and illustrating the studio’s processes and many complex building processes. 

The first theme, AMATEUR ARCHITECTURE, functions as a kind of introduction to and collage of the sources of inspiration and fundamental principles characteristic of Amateur Architecture Studio’s work. Wang Shu’s ‘own’ school, the immense Xiangshan Campus, plays a central role here, as an architectural work, but also as an example of the studio’s very literal effort to preserve and perpetuate China’s long, proud cultural traditions. 

The second theme of the exhibition, ARCHITECTURE AS RESISTANCE, presents a collection of material studies, almost all of which related to two of the studio’s most recent projects. As a condition for taking on the task of building a large cultural centre, museum and archive in Fuyang, Wang Shu insisted on being granted permis-sion to initiate a restoration project in the remote mountain village of Wencun. The village is an example of the widespread tendency of depopulating the rural areas as a consequence of China’s explosive urbanization, and Amateur Architecture Studio’s Fuyang/Wencun project illustrates their efforts to balance the relationship between the rural and the urban, while also maintaining local village culture and building traditions. The project thus becomes an architectural comment to the Chinese authorities’ relentless cycle of demolition and new construction. The material studies are accompanied by video and audio from the huge con¬struction project in Fuyang and the calm rural life of Wencun. 

Finally, the third theme, HISTORY RECONSTRUCTED, with the signature project Ningbo History Museum as a case, shows how the studio brings increasingly forgotten history back into modern architecture. The museum is of course primarily a spatial framing of the thousand-year-old history of the Ningbo area, but also an example of the material consciousness that has now become synonymous with Amateur Architecture Studio. Several villages in the area were demolished to make way for new building, but the materials from the destroyed villages have been gathered and re-used in the spectacular facade of the Ningbo History Museum. In this way, the architecture becomes a very tangible memory of the original houses and a monument to Amateur Architecture Studio’s idea of making the new building point back to history. 

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9 February - 30 April 2017
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LOUISIANAMUSEUM OF MODERN ART, Gammel Strandvej 13, 3050 Humlebæk, Dinamarca Denmark
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Wang Shu (architect and professor) was born in 1963 in Urumqi, a city in Xinjiang, the western most province of China. He received his first degree in architecture in 1985 and his Masters degree in 1988, both from the Nan Nanjing Institute of Technology.

Wang Shu and his wife, Lu Wenyu, founded Amateur Architecture Studio in 1997 in Hangzhou, China. The office name references the approach an amateur builder takes—one based on spontaneity, craft skills and cultural traditions. Wang Shu spent a number of years working on building sites to learn traditional skills. The firm utilizes his knowledge of everyday techniques to adapt and transform materials for contemporary projects. This unique combination of traditional understanding, experimental building tactics and intensive research defines the basis for the studio’s architectural projects.

The studio takes a critical view of the architecture profession’s part in the demolition and destruction of large urban areas. At the 2006 Venice Architecture Biennale, Amateur Architecture Studio expressed views of on-going demolitions in “Tiled Garden,” an installation made from 66,000 recycled tiles salvaged from demolition sites. Rather than looking toward the West for inspiration, as many of Shu’s contemporaries do, his work is rooted in the context of Chinese history and culture.

Wang Shu has often explained in lectures and interviews that “to me architecture is spontaneous for the simple reason that architecture is a matter of everyday life. When I say that I build a ‘house’ instead of a ‘building’, I am thinking of something that is closer to life, everyday life. When I named my studio ‘Amateur Architecture’, it was to emphasize the spontaneous and experimental aspects of my work, as opposed to being ‘official and monumental’."

Wang Shu is Professor and Head of the Architecture School at China Academy of Art, Hangzhou. In 2011, he became the first Chinese Kenzo Tange Visiting Professor at the Harvard Graduate School of Design in Cambridge, Massachusetts.

He has exhibited individually and participated in several major international exhibitions including: the 2010 Venice Architecture Biennale at which he received a special mention for the “Decay of a Dome” installation – a project whose light, mobile and utterly simple structure can be speedily constructed or returned to nothingness; the 2009 “Architecture as a Resistance” solo exhibition at the BOZAR Centre for Fine Arts in Brussels; the 2007 Shenzhen & Hong Kong Bi-City Biennale of Urbanism\Architecture; the 2003 “Alors, La Chine?” exhibit at the Centre Pompidou, Paris; the 2002 Shanghai Biennale at the Shanghai Art Museum; the 2001 “TU MU-Young Architecture of China” exhibit at AEDES Gallery, Berlin; and the 1999 Chinese Young Architects’ Experimental Works Exhibition, UIA Congress, Beijing.

In 2011, Wang Shu received the Gold Medal of Architecture (grande médaille d’or) from the l'Académie d'Architecture of France. In 2010, Wang Shu and Lu Wenyu were awarded the Schelling Architecture Prize, which goes to individuals who have responsibly advanced architecture's development with significant designs, realized buildings or with profound contributions to architectural history and theory. The Vertical Courtyard Apartment, in Hangzhou was nominated for the 2008, German-based International Highrise Award. In 2005, the project “Five Scattered Houses” in Ningbo received an acknowledgement from the Asia Pacific Holcim Awards for sustainable construction, and in 2003, the Wenzheng Library received the Architecture Art Award of China.

Wang Shu/Amateur Architecture Studio is known for the following built works: Library of Wenzheng College, Suzhou University, China (2000); Ningbo Contemporary Art Museum, Ningbo, China, (2005); Five Scattered Houses, Ningbo, China (2005); Xiangshan Campus, China Academy of Art (Phase I) Hangzhou, China (2004); Xiangshan Campus, China Academy of Art (Phase II) Hangzhou, China (2007); Ceramic House, Jinhua, China (2006); Vertical Courtyard Apartments, Hangzhou, China (2007); Ningbo History Museum, Ningbo, China (2008); and, Exhibition Hall of the Imperial Street of Southern Song Dynasty, Hangzhou, China (2009).

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LU Wenyu. WANG Shu and LU Wenyu founded the Amateur Architecture Studio in 1998. This Hangzhou-based practice has grown during the past eight years into a famous name in China. The Amateur Architecture Studio’s best-known projects are the Wenzheng Library in Suzhou University, the Harbor Art Museum in Ningbo and the Xiangshan Campus of the China Academy of Art in Hangzhou.

The Amateur Architecture Studio was engaged in experimental research projects, for example Sanhe House in the China International Practical Exhibition of Architecture in Nanjing, the Ceramic Tea House in Jinhua Architecture Park in Jinghua. The projects have been shown in international exhibitions from 2001 including “TU MU-Young Architecture of China” in AEDES Gallery, Berlin (Germany), Shanghai Biennale 2002 at the Shanghai Art Museum in Shanghai, (China), Alors, La Chine?, Centre Pompidou in Paris (France), Synthi-Scapes: Chinese Pavilion of the 50th Venice Biennale in the Guangdong Museum of Art, Guangzhou (China) and in the Art Museum of the Central Academy, Beijing (China). The projects have been published in China and abroad.

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Published on: February 22, 2017
Cite: "THE ARCHITECT'S STUDIO - WANG SHU, “I only design buildings, not architecture”" METALOCUS. Accessed
<http://www.metalocus.es/en/news/architects-studio-wang-shu-i-only-design-buildings-not-architecture> ISSN 1139-6415
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