From the thirteenth century on, Chinese painters adopted a perspective representation that, instead of using a single vanishing point, used several to produce a series of ‘parallel perspectives’ that made the observer feel part of the representation. The changes in point of view, the superposition of layers of space and the mysterious masses of water and fog characterized the Chinese composition alternative. The new art and architecture museum, that shall open the International Architecture Exhibition, is designed as a field formed by the aforementioned parallel perspectives and by dark walls oversailed by a white luminous volume.
From the lower galleries to the upper ones the visitor moves clockwise in a winding sequence which ascends from ground level, continues suspended in the air and ends with a framed viewing of the city of Nanjing in the distance. As if it were an old drawing in ink, the colors of the building are reduced to white and black. White corresponds to the double translucent membrane of the upper volume, which reveals the triangulated structure; and black to the concrete walls of the lower volume, walls whose texture reflects the special templates of bamboo trunks... [+]
Li Hu, Clark Manning, Jongseo Lee, Richard Liu; Architectural Design Institute (arquitectos asociados associated architects)
Guy Nordenson & Associates, M. Beckh, B. Schneider (estructura structure); L’ Observatoire International (iluminación lighting)