Despite the growing body of literature on Chinese architecture, contemporary Chinese architects’ critical approaches to drawing have received little scrutiny. To address this research gap, this essay examines the 2012 Pritzker Architecture Prize laureate Wang Shu’s creative uses of modern parallel projection methods. The essay focuses on Wang’s specific drawing strategies that have allowed him to reconcile the disengaged mode of seeing that is engrained in parallel projection with the immersive spectatorship that traditional Chinese landscape painting epitomises. First, through a literature review, this paper highlights Wang’s observations regarding the a-perspectival nature of Chinese landscape painting. Rather than being a perspectival window for the disengaged gaze, the landscape painting invites viewers to inhabit the pictorial space. Second, through comparative studies of selected cases, this essay investigates how Wang’s acknowledgement of the landscape painting’s a-perspectival traits has influenced his specific strategies when using parallel projection methods. The examined cases include Wang’s drawings for the Chen Mo Art Studio (Haiyan, 1998), the Tengtou Pavilion (Shanghai, 2009-2010), and the Xiangshan Campus of the China Academy of Art Phases I and II (Hangzhou, 2002-2008). The essay concludes by highlighting significant changes in Wang’s later parallel projection drawings. Wang’s work has increasingly delineated architectural terrains as sensory topographies to foster viewers’ time-bound immersive spectatorships. Moreover, when serving his architectural ideas, Wang’s drawings have transcended the geometric representation of depth by implying spaces that exceed the limits of projection drawings. By examining his drawings, this essay sheds light on a salient yet underexamined aspect of Wang’s architectural undertakings. By investigating in-depth case studies of contemporary Chinese architectural drawings, this essay takes a crucial step towards a better understanding of this hitherto understudied domain.

Yat Shun Juliana Kei

Architectural Research Quarterly

Arq publishes cutting-edge work covering all aspects of architectural endeavour. Contents include building design, urbanism, history, theory, environmental design, construction, materials, information technology, and practice. Other features include interviews, occasional reports, lively letters pages, book reviews and an end feature, Insight. Reviews of significant buildings are published at length and in a detail matched today by few other architectural journals. Elegantly designed, inspirational and often provocative, arq is essential reading for practitioners in industry and consultancy as well as for academic researchers.

Architectural Research Quarterly publishes cutting-edge research covering all aspects of architectural endeavor. The content includes building design, urbanism, history, theory, environmental design, construction, materials, information technology, and practice. Additionally, the journal features interviews, occasional reports, lively letters pages, book reviews, and a special feature called 'Insight.' Reviews of significant buildings are published in detail, unmatched by few other architectural journals today. Elegantly designed and often provocative, Architectural Research Quarterly is essential reading for practitioners in industry and consultancy, as well as for academic researchers.

《Architectural Research Quarterly》致力于发表涵盖建筑领域各个方面的前沿研究。内容包括建筑设计、城市规划、历史、理论、环境设计、施工、材料、信息技术和实践等。此外，期刊还包括访谈、偶尔的报告、生动的读者来信、书评以及一个名为“Insight”的特刊。对重要建筑的详细评审在同行中独树一帜，极少有其他建筑期刊能够匹敌。期刊设计优雅，内容富有启发性且常常引发思考，是行业从业者、顾问以及学术研究者必读的资料。

Category	Quartile
艺术学	4
艺术学, 建筑学	4

Articulating the built environment

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