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Chinese men of letters pursued the idea of a poetic life in feudal times, and this ideal was often embodied in traditional gardening and landscape paintings. However, it has been argued that the pursuit of this traditional notion of poetic life has been lost with the arrival of modernity. In this view, Chinese cities are seen as losing their identities and becoming Westernised. Wang Shu, the Pritzker Prize-winning Chinese architect, has taken great efforts to rebuild an understanding of Chinese cultural identity: by looking back to the idea of poetic life reflected in traditional gardens and landscape paintings, and attempting to recompose a sense of poetry for contemporary architecture. This article aims to examine Wang’s approaches to this sense of poetry in one of his projects, the design of Xiangshan campus while, at the same time, seeking to offer a Chinese reflection on the architecture of poetry.
However, Wang’s approach to using visual and metaphoric techniques in reviving the city’s poetic system can be questioned. His tactics, considered here in relation to the Xiangshan campus, arguably do not fully understand Chinese aesthetics, and do not pose fully a contemporary definition of the ‘sense of poetry’ in relation to the traditional Chinese mind. A holistic interpretation of architectural poetry should concern life, both as living and pleasure, material and spirit, rather than dealing primarily in visual composition. Nevertheless, his efforts in exploring Chinese-ness and his influence on Chinese architects remain highly significant.
Many of the thousands of travellers taking advantage of the peace of 1815 wished to escape rapidly industrialising Britain, whose polluted air caused and aggravated so many respiratory illnesses, to experience for months or years the warmth of the Mediterranean. The poet Catherine Maria Fanshawe’s description of her arrival at Genoa in January 1820 encapsulates the experience of many: delight in the first view of the Mediterranean after weeks of travel; disappointment in the quality of the hotel; and astonishment at the variety of subjects to be sketched:
We reached it by moonlight and never shall I forget my surprise in turning a sharp corner of the road after descending the Bocchetta and traversing the long Valley to find myself suddenly upon the very shore of the Mediterranean. Then another turn at the foot of that noble Pharos, rather of the rock on which it towers with such majesty again changed the scene and we swept along the Bay and entered the marble City, the City of Palaces!
On arrival they ‘were miserably lodged, or perched, on the 6th or 7th storey of a wretched Hotel’, but were delighted by ‘the incomparable prospect, which commanded the whole bay and from my windows I cd have dropt an orange into the Mediterranean’. Moreover, she was almost mesmerised by the variety of scenes: ‘Oh the Orange Trees! And Oh the beautiful grouping and endless variety of Tower and Dome and Arch and Spire and even at that late season of colouring from the grey Olive to the Pomegranate and the Orange. My green Sketch Book was full at Genoa!’
The Mediterranean climate was believed to be especially advantageous for consumptive patients and in the winter months many wealthy people suffering from this disease travelled with their families to take advantage of the relative warmth and clean air. Guidebooks throughout the nineteenth century emphasised the benefits of different places for invalids. In the second half of the century, and especially after the opening of the coastal railway in 1874, many British, French and German visitors became seasonal or permanent residents on the Riviera.