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18 lf.Jt'<:Jtm Tim e +Arch itectu re 2004/2

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 Bt1fltm Time+Architecture 2004/2 19

CONTENTS

Twenty years of Time+ Architecture

i Internationalization and Localization: China International Practice Exhibition of Architecture

( ··

Editorial 17

TWENTY YEARS OF TIME. + ARCHITECTURE.

Architectural Magazines in China I JIANG Miao-fei 20

Local Characteristics in Internationalized Thinking and International Qualities in Local Characteristics I LUO Xiao-wei, ZHI Wen-jun 28

A Statistical Analysis of Time +Architecture from 2000 to 2003 I TANG Min-jie, SONG Zheng-zhong, XIN Lian-yi 34
P53
An Analysis of the Topics ofT +A I LIU Yi-chun 38

Time +Architecture in 3 Stories I WANG Fang-ji, Yu Zhi-yuon 40

The Cultural Functioning of Architectural Journals I Stanislaus Fung, Toms/oted by YU Gong, FAN Lin, Ll Min 43
\ Alienation of "Core Periodical" in China: Periodicals of Architectural Discipline as an example I YU Xuon, ZHI jun 48
jl

r
Why We Read Time+Architecture I Gu Menchoo, Verena M Schindler etc. 50

INTERNATIONALIZATION AND LOCALIZATION:CHINA INTERNATIONAL PRACTICE EXHIBITION OF ARCHITECTURE

P62 On the CIPEA I Narrated by Arata /soza0, Translated from japanese to Chinese by Hu Qion 52

Questions about the CIPEA I L/U Jio-kun 52

An Introduction to the CIPEA I ME/ Rui-rui 55

I WANG Koi, DONG Xuon

Ten Sounds In One Word 58

Rooted in the Locality: CIPEA Housing Projects by Chinese Architects I Dong Xuon 70
Nanjing Art and Architecture Museum, CIPEA I STEVEN Hoi/ 80

Guest House and Restaurant, CIPEA I L/U Jia-kun 84

Conference Center, CIPEA I Arata /sozof<j 88

P93
....---- Recreational Center, CIPEA I Ettore Sottsass, Marco Palmieri 90

PROJECTS

Building as a Miniature City: Hebei Education Publishing House I Yung Ho Chong/Atelier Feichongjionzhu 94
PI02
"Standard architecture": Reflections on the Wuyi Elementary School I Zhong Ke I 00

Urban Exhibition: N ingbo Urban Museum I MA Qing-yun I 08

In-Between of Architecture: Record of Renovation for the Library ofTongj i University I Wu Jie 114

PROJECTS IN SHANGHAI

Aspects of Architectural Observation on CIROS PLAZA I ZHANG Ming, ZHANG Zi 120

Pill
ARCHITECTURAL FIRMS

Train Station as a Focus for Urban Life: Arep and Their Works I L/U Jiang, ZHUO )ion 124

Operation of Small Buildings I Ma Too 132

INFORMATION

Architecture Today Yuan Feng 138

News in Brief He Ru, Shen Li 140

Events Lin Yun 144

World Wide Web Sites of Architecture Tong Zhong 145

Guide to Architectural Magazines Abroad Li Xiongning 146

Young Architects Zhong Bing, Liu Yichun 148

Book Review Li Xiongning 150

Pl 21 Hot Topics on Web Liu Shixing 151

 lltf\:lti'A: Time+Archit ecture 2004/2 43

i~i±i! • Jlli.JIJ,rnii,*lll~ Stanislaus Fung,Tarnslated by YU Gang, FAN Lin, Ll Min

l' ii$A#}Jfljeq)(iti'FJJ.I
The Cultural Functioning of Architectural Journals: A Short Account

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ABSTRACT This essay presents a series of •=~•~. ~~•rt- ~~B1*•~· •€m&- ~~~;;f:~1:X:.sl~7 ~ifu~~~~f~.IIMB1$~~. ~

general reflections on the development of ~rt§!li*.iam~$••-r~~fiA~~*B1~M . rt g~•7•~~~tl**mw•~B1&&~M~ .

architectural period icals in the last 200 years.

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Drawing on examples from China, Japan, ~*tE8~~-~~~-«~~$±~B1*~· ~* Dml ~&~-~X:*. 5MB1*~maXF~B1·
America, France and Australia, it explores the •~fl!!.\!'.*~~~MtlJX:it11=mB1•itm~-fl!!:t~Jt: . ~~- . M~~~~·* · ~-M~B1ffi~m~M~
i*.J@B1~~~~WRitB1~~~~~~B1 .
cultural functioning of architectural period icals.
~~-M~-~&#~~6{]~-~~ M-~~
Specific topics include: the self-identification of amMt1Jfi:-'f.&IJ11.~2oog;$'WJB1~&i:lii . 1l~H. IJII. •. *~~*B100·~*~~-B{]~·· ·~gtt~
architects, architects' attitudes towards their ftaxB1am~~~~~fi&~ . ~~B1••~~~ oo•~•~~oo• . ~&~~~~- ~~m•~~~

foreign counterparts, journal publishing as a way

to further one's own architectural practice, how
a journal might development its readership, and
the changes to the meaning of architectural
terms in the processes of communication.
KEYWORDS Architectural Periodicals, The
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44 il'lf'tl!!~ Time +Arch itect ure 2004/2

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iil:<t~m~~l!lJt®. sli!l;:W . !'!.\~ . AA5~~:3:.~~ii~ ~~-tE~* . -fiA~~~~M ~ U~--~~&~ Spaces: Discourses of Architecture, Urbanism, and the Built Environment,

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1960-2000. New York & London: Routledge, 2003 I . 3. Hogben, Paul &
Stanislaus Fung. "The Conceptual Architecture ofThe Salon." In The Salon
( 1912-1917): Studies and Indexes. Edited by Desley Luscombe and
Stanislaus Fung, 1- 18. Sydney Royal Australian Institute of Architects, New

re.z.~~~m• . - :tJw. ~iil:<~*•:W~:X:•~~ :i!fF~flfm.~Jt~3t?t Xii-Tfsl 1-t. South Wales Chapter, 19961 4. Hogben, Paul & Stanislaus Fung. "Reading
Australian Architectural Journals as Historical Sources." Architectural Theory
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Review 2.1 (April 1997): 15-29 I 5. Leach. Neil. The Anaesthetics of
~~*~~w~~:W~•*fi~$~~-~?t~. w ~:X:re~~~·~tl.~:X:m&~~~~iil:<•~7~ Architecture. Camb., MA.: MIT Press, 1999 I 6. Lipstadt, H e I e ne.
~ ~$~"F*W*:W . tt:wM~iil:<~~~~. ··~ M•~~:X:i.titm ~•mijflit~i~~fti..\~Wf~, xi "Early Architectural Periodicals." In The Beaux-Arts and Nineteenth-Century
Architecture. Edited by Robin Middleton, S0-57. London: Thames and
*~•5-!V&$~®1~~:3:.~ (iJ"IJ:Pa "ifl'ia;Jil~ · 1. ~ ****P1-oo*·~-*~-~~~m. ~-=r•~A
Hudson, 1982 I 7. Koolhaas, Rem. Projects for Prada, Part I. (Milan]:
~-U~*~M~~~A±~-n~~ . ~!'1.\M~m ~~~m~•*m=~~~. •®res~A•tt:~~ Fondazione Prada Edizioni, 200 I I 8. Pai, Hyungmin. The Portfolio and

•A*$•~~*•· ~~-=r~~~:W. m•••m -~~R~Gfi, rett~~~$··~~~~. ifcl~ the Diagram: Architecture, Discourse, and Modernity in America. Camb.,
46 BHU!1$t Time+Architecture 2004/2
MA.: MIT Press, 2002/ 9. Rattenbury, Kester. This is Not Architecture:
Media Constructions. London: Routledge, 2002.
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®:~ 81!11: 2004-02-20
The Cultural Functioning of Architectural Journals:
A Short Account
In the 20 years of its existence, T ime and Architecture has
made a substantial contribution to the field of architecture
in China. Under the direction of Professor Luo Xiaowei and
Professor Zhi Wenjun, it has gained a significant reputation
and achieved many conspicuous improvement s. On the
occasion of the 20th anniversary ofTime and Architecture,
as a foreign member of fts edft:orial board, I am honoured to
be invited to present some reflections on the cultural
functioning of architectural journals, and to suggest possible
lines of thinking that relate Chinese architectural journals to
their counterparts overseas.
In preparing this text, I have pursued two aims. First, it
seems to me important that architectural journals be
considered in the context of a changing professional domain
and in the context of media developments. In order t o call
attention to the cultural function of journals and journal
publishing in these contexts, I have tried to present an
overview of t he functioning of architectural journals. By
situating Chinese journals in this overview, I hope to evoke
a sense of the new possibi lities for read ing these journals.
Second, the cultural functioning of architectural journals is
made conspicuous not by a"sum" of themes but by observing
significant keywonds. In the second part of this essay, I shall
consider a series of keywords and suggest questions that
might be explored in the context of Chinese arch itectural
journals. I shall present examples from American, Australian
French and Japanese archftecture journals. My hope is that
the keywonds will help us reflect on the relationship of readers
and journals in everyday reading experience. They therefore
offer a complementary perspective to the following overview
of cuft:ural functioning of journals.
Overview
Architectural journals emerged about 200 years ago in
Europe, well before the modern profession of architecture
was formalized by educational and professional institutions
in the second half of the 19th century. During the course of
the last two centuries, architectural journals have played a
major role in the circulation of architectural images and the
definition of architectural trends. The functioning of
architectural journals can be considered in the following ways:
I. Architectural journals maintain distinctions between
(archftect-designed) archftecture and "buildings,'' and between
architects and other people. These distinctions may be
considered not just in terms of specific qualities of buildings
and specific professional roles, but also in terms of different
kinds of questions and issues that are posed before them.
"Archftecture" and "building" are not simple binary opposites.
The values attributed to them varied over time and space as
these terms are juxtaposed or grouped with other labels
such as "artwork" and "masterpiece". Some contemporary
Chinese architects have referred to their own works as
"buildings" (fangzi) rather than as "architecture." This would
demarking a field of professional interest (on the part of
journals) is not to be confused with a rhetorical.gesture that
indicates an attftude or approach wft:hin a field (on the part
of an individual).
2. Architectural journals play a large role in generating and
sustaining an economy of architectural images. These images
form a large part of the materials used by the journals to
generate an increasing dichotomy between the symbolic and
cultural value of buildings and their use-value. Often this
involves reducing the role of architectural drawings in the
journals and, sometimes, t he thoroughness of the
documentation of individual projects. In the last twenty years,
Ch inese arc hitectural journals have incorporated the
technologies that had increased the mobility of images in
Western culture since the 19th century These technologies
participated in the increasing commod ification of archrtecture
in China and, at the same time, increased the flow ofWestern
arch itectural images to stimulate Chinese architects. They
prompted shifts in local understandings of professional merft
even while they enhanced the process of commodification
that undermined professionalism.
3.The production process of architectural journals turns "raw"
texts and images into spec ific typograph ic formats. The
selection of images (and the cropping of photographs) and
the juxtaposition of images with texts and captions, play a
significant role in the generation of mean ing. In th is sense,
the history of arch itectural journals can be understood as
the intersection of the history of thei r changing contents
and the history of the typographic transformation of these
contents.
4. Architectural journals activate different modes of reading:
attentive or distracted, literate or visualist, linear and mono-
directional or shuttling, and research-oriented, consumer-
oriented or design-oriented. These modes of reading are
variously directed at different kinds of content, including
articles, projects, crit iques, advertisements, announcements,
and interviews. For example, it is well known to Chinese
readers that the dominant mode of reading for architectural
publications has shifted significantly from a literate mode to
a visualist mode in the last twenty years. This is part of the
broader Chinese epochal understanding known as "The Age
of Image Reading" [ dutu shidai] when, in the final years of
the 20th century, Chinese publishers realized that the circle
of readers had shrunk markedly and image-oriented books
sold much better.
5. Architectural journals operate in a wider economy of
publications. Most important among these are books and
the World Wide Web, but trade catalogues and exhibition
catalogues can be significant as well. There are some signs
of media convergence here, with Koolhaas 's books taking
on the open-ended structure of magazines, while the Spanish
Verb is presented as a "boogazine," a periodical that takes
on some features of monographs. In contemporary Chinese
architectural journals, themed issues and the use of colour
photography are clearly ai m ed at countering market
pressures generated by local publishers and importers of
foreign books. Chinese architectural journals are probably
at the forefront of international efforts to link printed journals
with websites. Many of them are beginning to interact with
readers and contributors through the ABBS Free
Architectural Forum, and some of the ir contents are
accessible online and discussed in bulletin boards.
6. Architectural journals address specific lingu istic
communities. In the last 20 years, increasing numbers of
journals have been involved in translation. With t he creation
of the European Union and the strengthening of English as
the international language of our times, more journals have
become bilingual. Chinese architectural journals are also
making increased efforts to include English translations of
articles. This is an endeavour fraught with difficulty, as
translation may elide cultural differences. Even the basic
vocabulary describ ing the structure of the Chinese
architectural profession creates misunderstandings when
translated into Western equivalents. Basic theoretical terms
such as "function,'' and ''theory" have also different semantic
connotations in Chinese and English. Substantial efforts have
not yet been devoted to problems ofthis kind.
These six aspects of the cultural functioning of architectural
journals are each linked to specific domains of research and
theory: studies of profess ional ism, picture theory and
architectural representation, history of typography, history
of modes of reading, media theory, and translation theory.
There is no reason to suppose that all aspects of the cuft:ural
functioning of architectural journals have been treated here,
but I hope that enough has been said to give a sense of the
complexfty and scope of this topic. I shall now turn to some
specific examples. For considerations of space, I shall focus
on aspects of cultural functioning without entering into
detailed analysis. Readers are referred to other articles in
the present journal and to t he bibliography for furth er
references.
"We"
The Journal des batiments civils, edited by Fran?ois Camille,
appeared in I 800. Napoleon had just closed down sixty of
seventy-three Parisian newspapers and Cami lle had to
promise the police that his journal would limit itself to
reporting the prices of building materials. It would not engage
in political debates. But Camille presented the journal to
readers as a "free forum" and, by giving space to a diversity
of opinions, he maximized the circulation of his journal. When
aspiring archftects discussed the definition of their profession,
twent y-seven categories of architects emerged. Thus, before
the modern profession of architects has been institutionalized
and stabi lized, aspiring architects created a print culture in
which they waged a war of definitions. They opposed "true
architects " to "false arch itects,' architects to building
contractors and architects to engineers, and in this process,
they jointly built up a social horizon in which they were bound
to each other by mutual support and competition .

Chinese architectural journals do not limit themselves to
reporting the prices of materials, but contemporary
architectural culture in China clearly shares some common
elements with this French example: the desire for a "free
forum," careful consideration of political responsibility, and
the re-structuring of the architectural profession. Howevec
the current debates on the structure of the Chinese
archrtectural profession, notably in recent special issues of
Time and Architecture, are clearly of a different kind. The
focus is not on disti ngu ishin g architects against other
professional groups but on the internal organization of the
profession and on the privatization of architectural practice.
In t hese examples, we can see that "We" is not a rigid social
definition but rather a rhetorical gesture of architectural
journals stimulating a dynamic and continuing process of
identification. In this sense, architectural journals are cultural
objects that play an active part in the social formation of
professional architects. Journals are part of the on-going
process in which architects sought self-identification as
members of a profession.
"Foreigners"
In 1914, the official journal of the Institute of Architect of
l New South Wales,T he Salon, emphasized to rts readers that
it aimed to be an "Australian" magazine. In fact, it was closely
I modeled on British journals in terms of content and design.
Thus, what is imported may not always be recogn ized as
I "foreign." We can see this phenomenon in contemporary
China as well. Architectural journals have two cultural
functions in this respect: (I) They present understandings of
t
I
a wider world to its readers by presenting th ings from
elsewheres as "foreign." Intentionally or not, this may generate
f disgust, or elicit admiration and imitation. (2) They present
r things from elsewheres and urge readers to recognize them,
!
' not as "foreign" thi ngs, but as their own . A continuous
presentation of foreign things may function as an elaboration
of oneself.
In archrtectural journals, people who are labeled "foreigners"
may be advantaged or disadvantaged. During World War I,
The Salon attacked Germans as "evil Huns" and said they
were not a creative people. It aligned Australians with the
artistic talents of the French and the British. Here, we can
l
see a journal following a nationalistic discourse and using a
vague racial label as a device to dismiss the professional
knowledge and merits of Germans. In contemporary China,
something like this is occasionally found on the bulletin boards,
but architectural journals are clearly more moderate. They
I
f·
!
have abandoned the vi lification of foreign things common
during the 1970s, and may also be exercising a moderating
effect in Chinese society, which sometimes places Caucasians
at the top of a professional hierarchy.
t
!I "Job-hunting"
t At the International Symposium on Journal Publishing in
Architecture at the Museum of Sydney in 2002, Baba
1 Masataka, the Editor of the Japanese architectural journal, A,
explained that his editorial work has led to commissions for
! building projects. A special issue on fashion and architecture
(vol. 4 [ 1999]) enabled the edrtorial staff to meet members
of the fashion industry, and they were asked to design several
cloth ing shops . Because they had their own journal, they
can publish the development of their design. In special issues
on urban planning in Tokyo (vol. 8[2000], vol. 9[2000]), the
edrtorial staff of A made some proposals for the efficient use
of vacant land. Normally, young architects would not have
the opportunity to present these proposals to the Tokyo
Municipal Government and the Japanese Ministry of
International Trade and Industry. H owever, present ing
themselves as reporters offering "media coverage", the young
architects of A were allowed to share their ideas with the
government The architects gained several commissions after
a meeting with the deputy governor ofTokyo.
We can see here that a sh ift in the temporality of the
architectural journal. It is not just reporting on work that
has been done, but is used also as a means for making
proposals to different kinds of "public." By blurring the roles
of editor and architect, A is a "launcher" of real projects and
collaborations. In Baba's view, A is similar to Koolhaas's
recent book on Prada, in which the book is the moment for
projecting the work. While Chinese young architects may
not have access to editorial roles because of the difficulty of
obtaining permission to publish printed journals in China,
they may experience the cultural function of magazine edrting
as job-hunting by exploring electronic publishing.
"Making a scene"
At the Sydney symposium mentioned above, N ancy Levinson,
Co-Editor of Harvard Design Magazine during 1997-2002,
presented a contrast of two groups of American archrtectural
journals. The first group deals with advanced theory (such
as Grey Room) and attracts complaints of obscure
discussions. The second group included journals for designers
(such as Architectural Record) and also magazines aimed at
consumers (such as Wallpaper). They attract readers with
seductive images and earn the scorn of scholars for their
shallow treatment of issues. These two groups represent
the separation and tension between the academ ic world
and the professional world.
Levinson explained that Harvard Design Magazine tried to
bridge these two sub-cultures of design. It asked academic
writers to aim for clarity and accessibil ity in their writing, so
that their work can address a larger readership than it might
attract normally. It asked journalistic writers to be more
searching and analytical, so that they may address a learned
readership. In selecting a theme for each issue, the editors
preferred themes that involved more than one discipline
(such as "Conflicting Values"), rather than topical themes that
appeal to a specific kind of professionals. Although
contributors are mostly experienced and reputable wrrters,
the editors edit the manuscripts very actively in order to
bring specialized expertise accessible to diverse readers.
In this example, we can see that editing is not just aim ing for
literary quality and the choice of a theme for an issue is not
just a matter of judging the importance of topics. They are
part of the work involved in the cultural function to which
the journal has committed itself: the mediation oftwo sub-
cultures of design. Chinese journals have not polarized as
much as Wallpaper and Grey Room, but their cultural functon
is now to moderate the tendency towards polarization of
commerial design culture and scholarly specialization.
Concluding Remarks
111ftlt1A: Time+Architecture 2004/ 2 47
In the foregoing di scussio n, "We" and "Fore igners" are
complementary aspects of professional identity, The former
deals with professional formation and the latter with inter-
community relationships. They show how architectu ral
journals create images of the relationship between self and
other. "Job-hunting" and "Making a scene" are aspects of the
social relationships that archrtectural journals may foster. The
former deals with architects and their relationship w ith
business and government and the latter is concerned with
the social med iation of two design cultures within the field
of architecture. These examples are clearly heterogeneous
and, as a set, reveal the diversity of the cultural functioning
of journals in an apposite way,
In sum, I have rejected two common attitudes towards
archrtectural journals and explored the implications of thinking
in an opposite way. Where one might consider journals to
be passive m irrors of the field of architecture , I have
considered journals as different kinds of actions that carry
important cultural functions for the profession of architects.
Where one might consider journals to supply "information"
to "professionals," I have insisted that this is an inadequate
and reductive understanding.
By way of conclusion, I wou ld like to explain why I have
repeatedly emphasized the importance of the cultural
functioning of journals. The provision of a platform for the
self-identification of aspiring archrtects in 19th-century France,
the labeling of foreign things as "foreign" or "local", the denial
of the German expertise and merit, t he moderation of a
tendency t o place Caucasians at the top of a professional
hi erarchy, journal editing as a seamless operation with job-
hunting, the mediation of two design cultures: these aspects
of the cultural functioning of journals are important because
they reveal to us their uniqueness in various situations. T his
uniqueness is not given by simply summarizing their content
In the era of globalization, our responsibility towards Chinese
culture rightly directs our attention to issues of cultural
difference and, for this reason, careful attention to the cultural
functioning of architectural media is crucial.
It is a mistake to look for the cultural difference of Chinese
architectural journals in terms of distinctive characteristics
or distinctive content, for journals are not static objects. They
are distinguished not by the possession of certain
characteristics but by their tendency to accentuate various
characteristics in different ways. Did Chinese journals present
foreign works in a different way to local work.s? How did
they unleash the forces of visual allure and call attention to
cultural differences? What moderating forces did they bring
to the tendencies of a local market? When we consider
journals in terms of dynamic development, we come to
understand them in terms of the ir cultural functioning, i.e.
the accents and differences that they introduce into different
situations.
Stanislaus Fung: Head of H istory & Theory, Architecture
Program, Faculty of the Built Environment, UNSW Sydney
NSW 2052,Austral ia