From July through August 19, the Aedes Architecture Forum in Berlin is showcasing a significant exhibition titled "A Structure of Feeling: On a New Generation of Architects in China." Aedes, established in 1980 as a non-profit cultural institution, has been a pivotal platform for exploring the intersections of architecture, urban development, and societal dynamics. With a history of over 600 exhibitions spanning more than four decades, Aedes previously brought attention to emerging independent Chinese architects with its 2001 "TUMU" exhibition. Now, a quarter-century later, "A Structure of Feeling" revisits this theme, presenting the work of contemporary Chinese architectural practices that operate under drastically altered conditions. The exhibition features nine architectural firms, whose twelve diverse projects demonstrate innovative approaches to transforming existing urban environments, fostering rural development, and engaging with modern forms of spatial production.
The curatorial vision, shaped by Gao Changjun (Kris) and Li Xiangning, frames this current era as a transition from unrestrained growth to a more refined and differentiated architectural methodology, characterized by evolving scales and demands. The exhibition's title draws inspiration from cultural theorist Raymond Williams' concept of a 'structure of feeling,' which denotes a collective experience in the making, defying simplistic description. Through a display of models, films, photographs, and graphic art, the exhibition seeks to illuminate the traces of this shared architectural experience, offering a timely snapshot of an evolving practice. It deliberately avoids prescribing a definitive future for Chinese architecture, instead examining the multifaceted forces and inherent contradictions that influence its current trajectory, encompassing economic, institutional, cultural, and geographical dimensions.
The Evolving Landscape of Chinese Architectural Practice
The exhibition delves into the profound shifts within Chinese architectural design, moving beyond the era of unchecked expansion to embrace more subtle and responsive building paradigms. This evolution is seen through the lens of architectural firms operating independently of state-owned design institutes, carving out a distinctive niche that challenges the traditional model of property-driven mass production. Despite their autonomy, these practices remain deeply interwoven with the broader economic and institutional fabric of China, navigating a complex environment where agency is sought within a system that has opened up without fully embracing complete openness. The works on display serve as a cross-section for this critical inquiry, rather than an exhaustive overview, highlighting the nuanced development of architectural judgment in the absence of established benchmarks.
The curatorial strategy by Gao Changjun and Li Xiangning highlights how these architects are responding to the intricate challenges of contemporary China. They address crucial questions such as how autonomy can be achieved within a partially open system, the justifications for new construction amidst urban and rural economic intricacies, and the development of architectural judgment without fixed reference points. The exhibits are a diverse collection of twelve projects from various typologies and geographical contexts across China. Complementing these architectural works are pieces from artists like Drawing Architecture Studio, Ouyang Shizhong, and Yang Yongliang, whose creations—such as "Ideal City," "New Zone – Mansions," and "Artificial Wonderland II – Travellers Among Mountains and Streams"—further enrich the narrative. Notably, the exhibition design cleverly incorporates the shipping crates used to transport the displays from China to Berlin by rail, integrating them into the spatial layout to underscore the journey and the interconnectedness of these global architectural dialogues.
Featured Architects and Global Context
The exhibition highlights the contributions of nine prominent architectural practices from across China, each presenting unique and impactful projects. These firms exemplify the dynamic and diverse nature of contemporary Chinese architecture, showcasing innovative designs that respond to local contexts while engaging with global architectural discourse. Their works collectively illustrate a nuanced understanding of current challenges and a forward-thinking approach to spatial creation.
Among the featured practices, Atelier Alter Architects, led by Bu Xiaojun and Zhang Yingfan, exhibits the Dali Transformer Factory Theatrical District in Yunnan. Atelier XÜK, under Liu Kenan and Zhang Xu, showcases the Wu Guannan Art Museum in Jiangsu and the Kunshan Wutong Experimental School. Genarchitects, with Fan Beilei, Xue Zhe, and Kong Rui, presents the Dining & Swimming Complex of Shanghai Zhonghua College. Line+ studio, led by Meng Fanhao, contributes two projects: the Mansion on Lotus Mountain in Jilin and the Lishui Guyanhuaxiang Art Center in Zhejiang. DL Atelier, founded by Liu Yang and Xu Dan, features the LYCEUM School in Guangxi. People's Architecture Office, led by James Shen, He Zhe, and Zang Feng, highlights the Plugin House in Shenzhen. Yanfei Architects, headed by Shui Yanfei, presents Deckground in Shanghai and the Haiyan Ke Tang in Yunnan. Studio QI Architects, led by Qi Shanshan, showcases Annoso · Hill in Yunnan. Finally, BUZZ (Büro Ziyu Zhuang), led by Zhuang Ziyu, presents the Poodom Deqin Meri Hotel in Yunnan, collectively demonstrating the rich tapestry of modern Chinese architectural innovation.
