A Quote by Ma Yansong

The shan-shui city idea is trying to bring traditional values and ways of living to modern high-rise architecture. — © Ma Yansong
The shan-shui city idea is trying to bring traditional values and ways of living to modern high-rise architecture.
A shan-shui city is a modern city, a high-density urban situation, but we pay more attention to the environment. We bring waterfalls; we bring in a lot of trees and gardens. We treat architecture as a landscape.
'Shan shui' you can literally translate as 'mountain and water.' In traditional Chinese culture, there are a lot of paintings about shan shui, but now we're talking about a shan-shui city.
After World War II great strides were made in modern Japanese architecture, not only in advanced technology, allowing earthquake resistant tall buildings, but expressing and infusing characteristics of traditional Japanese architecture in modern buildings.
Japanese traditional architecture is created based on these conditions. This is the reason you have a very high degree of connection between the outside and inside in architecture.
Chaoyang Park Plaza is about how to carry the traditional culture into a new format in modern architecture. Instead of building a boundary between the city and the park, I tried to design this building to emerge from the natural landscape.
The Aga Khan Award for Architecture seeks to make a better place in physical terms. This means trying to bring values into environments, buildings, and contexts that improve the quality of life for future generations.
Architecture has to be greater than just architecture. It has to address social values, as well as technical and aesthetic values.
It takes a strong effort on the part of each American Indian not to become Europeanized. The strength for this effort can only come from the traditional ways, the traditional values that our elders retain.
In fact, the public will accept any city plan and skyline provided that its architecture is traditional.
I don't really get into architecture in the hotel room. But maybe a little Feng Shui here and there.
Modern Indian woman is not one who speaks in English or one who wears modern clothes but she is the one who has her own values, follows tradition and education to bring about a change in the society.
Living in cities is an art, and we need the vocabulary of art, of style, to describe the peculiar relationship between man and material that exists in the continual creative play of urban living. The city as we imagine it, then, soft city of illusion, myth, aspiration, and nightmare, is as real, maybe more real, than the hard city one can locate on maps in statistics, in monographs on urban sociology and demography and architecture.
In the '60s when I was a student, there was this campaign to destroy 75 percent of the old buildings in Paris, replacing them with modern architecture. I realized this as a dangerous utopia. This modern vision did not understand the richness of the city. Thankfully, such destruction did not happen.
New York is the cubist, the futurist city. It expresses in its architecture, its life, its spirit, the modern thought.
Architecture has to be greater than just architecture. It has to address social values, as well as technical and aesthetic values. On top of that, the one true gift that an architect has is his or her imagination. We take something ordinary and elevate it to something extraordinary.
Living through the intersections of cultural diversity has given me an intimate understanding of the dynamics of living between the dimensions of East and West, traditional and modern, and political and spiritual.
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