WANG Shu: “The sustainable architecture ‘system’ has developed into a movement”

Interview by Chen Xiaorong                               
UNESCO

In 2012, you were the first Chinese architect to be honored with the prestigious Pritzker Architecture Prize. What does this achievement mean to you, and how would you describe the defining features of your architectural style? 

The Pritzker Architecture Prize underscores the profound impact architects make on the global architectural landscape. I see this honour as a form of recognition for Chinese architecture – a proof that Chinese architects have moved beyond mere imitation and developed a contemporary, distinct architectural language. It was a turning point not only for Chinese architects but also for architects worldwide, since prior to this, the prize had mostly been awarded to Western architects.  

In the speech at the prize ceremony, it was stated that I had developed a unique approach to architectural creation, or an “architectural language of my own”. The goal of this language, in the face of rapid modernization, is to not forsake history and tradition but to create a bridge between them and modern style and ensure that traditional architecture remains relevant in today’s world. Nature, memories, and the nuances of language ( "词句" or Ci Ju) are some of the core elements of my architectural language. 

Together with Lu Wenyu, your wife and co-founding partner of Amateur Architecture, you have designed world-renowned works such as the Ningbo Museum and the Xiangshan Academy of Art, both constructed of recycled materials. How would you define "sustainable architecture"? 

When sustainable architecture is brought up, we often place ourselves within a Western context. However, traditional Chinese architecture inherently possesses a recycling system that prioritizes elements such as ventilation, rain control, temperature regulation, and lighting optimization. It places a strong emphasis on the harmonious coexistence of the household or family.  

The sustainable architecture ‘system’ has developed into a movement that has gained international recognition in recent years. In 2007, I received the Global Award for Sustainable Architecture in Paris, which exemplifies this tendency. 

Since 2000, an increasing number of architectural projects in China have adopted this approach. The Xiangshan Campus of the China Academy of Art, which I designed, is the earliest and the most typical example. It is not just a singular architectural piece but a cluster of structures that extends its scope to an urban scale, addressing the challenges faced by cities and offering solutions. It was included in the New York Times list of ‘The 25 Most Significant Works of Postwar Architecture’ in 2021. 

What are the challenges of sustainable architecture in China? 

China, with a truly immense scale of construction activity, can play an important role in this area. I believe that China's most substantial contribution to global sustainable development in the 21^st century lies within the realm of construction. 

Architectural sustainability in China should draw upon its rich, traditional culture as the foundation for crafting our unique approach. For instance, over 50 per cent of China's traditional dwellings are constructed using rammed earth.  

Can you tell us about your collaboration with the International Centre on Earthen Architecture (CRAterre), a UNESCO partner? 

I was impressed in the early 2000s by the groundbreaking rammed earth structure of the Kapelle der Versöhnung constructed by the Centre in Berlin. When I had the opportunity to meet them in the mountains of Grenoble, France, it dawned on me that CRATerre had been diligently researching new rammed earth techniques in collaboration with UNESCO for over three decades. I found this very inspiring.

In 2011, the Centre assisted us in establishing our own laboratory and extended unwavering technical support. By 2013, I had designed and overseen the construction of a massive 9,000-square-metre rammed earth building at the Xiangshan Campus in Hangzhou. This structure marked a significant milestone as it was the largest rammed-earth building in all of Asia at that time. 

Last year, I completed the National Archives of Publications and Culture, also in Hangzhou, where rammed earth is prominently featured.  

You promote an architectural approach known as "critical regionalism." Could you explain this concept? 

The concept of ‘regionalism’ was introduced in Europe at the end of the 1970s as a response to the prevailing trajectory of modern architecture which had been heavily focused on science and technology. With modernization, this approach had inadvertently caused substantial harm to local and indigenous cultures worldwide. In the contemporary context of sustainable development, the challenge is to rejuvenate the ‘regionalism’ approach, restoring its capacity for critique and vitality. My work has sought to make a meaningful contribution to this endeavour on a global scale. 

Critical regionalism extends beyond mere replication of traditional symbols, aiming to discover a harmonious coexistence between traditional and modern culture. This includes using traditional artisanal techniques, even for large-scale architecture projects, but also cutting-edge technology. 

Could you share the journey that led you to become the globally renowned architect you are today? 

My early exposure to calligraphy as a child laid the groundwork for my lifelong passion to understand the Chinese aesthetic tradition. Once I entered the realm of architecture, I sensed boundless opportunities for exploration. 

During my second year of undergraduate studies, two pivotal pamphlets, Toward a New Architecture by Swiss architect Le Corbusier and The Bauhaus Manifesto, left an indelible mark on me with their critical architectural discourse. 

In addition to these influences, I conducted extensive research into vernacular architecture. Back in the 1990s, my unconventional architectural ideas often met with hurdles when it came to securing major projects. However, these limitations led me to smaller-scale projects, where I had the opportunity of working closely with skilled artisans and traditional craftsmanship — an experience rarely accessible to designers within standard design institutes. I firmly believe that to have global impact I must be grounded in Chinese culture, making it the cornerstone of my architectural endeavours.