Relevant bibliographies by topics / Chinese Architecture

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Chinese Architecture'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Chinese Architecture.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Chinese Architecture"

1

Huang, Linling. "Comparative Analysis of Chinese Religious Architectural Culture." Frontiers in Humanities and Social Sciences 4, no. 7 (July 24, 2024): 1–9. http://dx.doi.org/10.54691/mzdb8528.

Full text
Abstract:
China is a country with diverse cultures, and both material and spiritual cultures are extremely rich. Religious architectural culture is one branch of the overall culture of society. Chinese religious architecture embodies traditional Chinese culture, the superb architectural skills and the architectural aesthetic, and it is a concentrated manifestation of religious material culture and spiritual culture. While preserving its own cultural characteristics in the process of globalization, religious architectural culture is a topic worthy of exploration. It is important to explore the culture of religious architecture while maintaining its own cultural characteristics. There are many religions in China, including indigenous Taoism and foreign religions such as Buddhism, Christianity, Islam, and Catholicism. Each religion has its own cultural connotations, and each religious architecture has its own characteristics. After the introduction of foreign religions into China, they have been influenced by traditional Chinese culture, resulting in their religious architecture incorporating some Chinese characteristics. In the current cultural context of China, a comparative analysis of the characteristics of various religious architectures is conducive to a deeper understanding of religious architectural culture and is of certain significance for the inheritance and protection of religious architecture. This article conducts fundamental research on Buddhist architecture, Taoist architecture, and Islamic architecture from the perspectives of overall layout and architectural carving art. By comparing and analyzing religious architecture, it reveals the cultural connotations it carries. It is hoped that this will provide new ideas for the protection of religious architecture and the inheritance of architectural culture.
APA, Harvard, Vancouver, ISO, and other styles
2

Tian, Mengyao, and Xu Xiao. "The influence of Chinese and Western cultural traditions on ancient architecture." Pacific International Journal 5, no. 4 (December 31, 2022): 105–11. http://dx.doi.org/10.55014/pij.v5i4.231.

Full text
Abstract:
Architecture is a frozen music, a visual art, and a visual object whose existence is witnessed by history. Some classic ancient architectures including the pyramids of ancient Egypt, the Parthenon of ancient Greece, the Pantheon of ancient Rome, the Forbidden City, the Great Wall, the Hanging Temple of China and other world-famous traditional Chinese and Western architectures reflect ancient philosophical thoughts of the times. Architecture has formed a unique culture with the passage of time, and in turn culture plays an influential role to the formation of architecture. Geographical differences cause diversity to architectural cultures all round the world. In terms of Chines and western ancient architecture, the two differ each other on appearance, connotation, space and structure, which indicate not only the culture characteristics but also the aesthetic changes behind the architectures between China and the West.The West's passion for stone architecture and the East's passion for wood architecture are determined by national culture and geographical environment. It is difficult to judge which one is superior, sine such designs are developed to adapt to the environment and living habits. Ancient people built their characteristic architecture to meet the needs of the local people and living conditions.
APA, Harvard, Vancouver, ISO, and other styles
3

Xie, Xiaoying, and Qitong Wang. "Parameterization of Chinese Ancient Architecture on the Basis of Modulo Relationships." SHS Web of Conferences 171 (2023): 03031. http://dx.doi.org/10.1051/shsconf/202317103031.

Full text
Abstract:
Contemporary systems are trending toward 3D computer-aided design systems that integrate, network, and exhibit intelligence. The integration of parametric technology with ancient Chinese architecture can enhance the efficiency and quality of managing information on ancient buildings, thereby expanding the application scenarios of ancient architectural information models. By analyzing the construction characteristics of ancient Chinese carpentry work and modular systems, this research outlines the logic and methods for generating Chinese ancient architecture. The program’s parametric technology allows for adjusting variable parameters to produce carpentry work structures of varying scales and forms. Furthermore, this research establishes a library of parametric 3D components for ancient architecture, which can simplify the design process of contemporary antique architecture. Additionally, the parametrization of Chinese ancient architectures can function as an auxiliary tool for maintenance and repair techniques, serving as a storage mechanism for whole-life cycle information. This can enable the digital archiving of component information and model entities in an informative manner for managing existing ancient architectures.
APA, Harvard, Vancouver, ISO, and other styles
4

Xiaodong, Li. "Implications of Chinese architectural education in contemporary Chinese architecture." Journal of Architecture 8, no. 3 (January 2003): 303–20. http://dx.doi.org/10.1080/1360236032000134817.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Liu, Jia Sheng. "The Influence of Architectural Culture on Architectural Design." Applied Mechanics and Materials 357-360 (August 2013): 278–81. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.278.

Full text
Abstract:
The paper focuses on the relationship between the architectural culture and architectural design, puts forward the concept of architectural culture, expounds architectural cultures influence on Chinese traditional architecture and the western traditional architectures, and summarizes the importance and influence of architectural culture in the modern architectural design. This paper provides reference and experience for architects to design the modern architecture that can embody the design and spirit more vividly.
APA, Harvard, Vancouver, ISO, and other styles
6

Liu, Yuxuan. "Tradition and Modernity: Inheritance and Innovation of Ancient Chinese Architecture." Communications in Humanities Research 6, no. 1 (September 14, 2023): 493–98. http://dx.doi.org/10.54254/2753-7064/6/20230393.

Full text
Abstract:
With a history of five thousand years, China has made many outstanding achievements in architecture. Even in modern times with advanced technology, there are still many advantages that can be used for reference. This article expounds the modern development of ancient Chinese architecture through the unique structure of ancient Chinese architecture and the application and evolution of ancient Chinese architectural styles in modern times. In general, the two unique structures of ancient Chinese architecture, the mortise and tenon structure and the bucket arch structure, due to the development of science and technology, no longer need them to play a load-bearing role. Now they are more used as decorations to reflect Chinese culture in architecture. middle. The architectural style of ancient China is also combined with modern architectural style to simplify the cumbersome construction process while still retaining the unique charm of ancient Chinese architecture. The main purpose of this study is to study the application and development trend of ancient Chinese architecture in modern times.
APA, Harvard, Vancouver, ISO, and other styles
7

wang, Fang. "The Influence of Chinese Traditional Philosophical Ideas on Ancient Chinese Architecture." Философия и культура, no. 2 (February 2023): 37–48. http://dx.doi.org/10.7256/2454-0757.2023.2.39792.

Full text
Abstract:
The formation and development of any architectural form and system has its own historical and cultural background. The ancient Chinese architectural system has a long history and characteristics inseparable from the historical development of Chinese traditional philosophy. Chinese philosophy, as a theory of human self-consciousness, does not give knowledge, but mainly gives ideas and ways of thinking for the needs of human self-development; At the same time, ancient Chinese architecture became a physical object reflecting the idea of traditional Chinese philosophy. Therefore, in order to explore ancient Chinese architecture, it is necessary to analyze and study it from the point of view of traditional Chinese philosophy. Like Confucius' thoughts on etiquette, the idea of the "doctrine of the middle" and the concept of hierarchical division; These ideas had a profound influence on ancient Chinese architecture, including urban planning, traditional dwellings, the environment, Lao Tzu's desire for harmony and unity between man and nature, worship of the gods, etc., as well as the theory that emerged later "Feng Shui", etc. temple space and garden architecture in the south of the Yangtze River. This article is devoted to the analysis of the influence of Confucianism and Taoism on the general principle of designing spaces of ancient Chinese architecture. The article selects some typical examples of ancient Chinese architecture for analysis. The following principles are manifested in the design of spaces of Chinese architecture under the influence of Confucianism and Taoism: moderation of living space; the principle of symmetry, balance and coordination; architectural hierarchy formed on the basis of the needs of "rituals"; integration of architecture and the environment; design of spaces according to "Feng Shui".
APA, Harvard, Vancouver, ISO, and other styles
8

Zhang, Yong. "Analysis of Ancient Chinese Architecture Aesthetics." Advanced Materials Research 919-921 (April 2014): 1515–18. http://dx.doi.org/10.4028/www.scientific.net/amr.919-921.1515.

Full text
Abstract:
the ancient Chinese architecture after two thousand years of development, formed the unique architectural style and aesthetic implication of Chinese traditional culture, this kind of architectural style and aesthetic connotations mainly reflected in the structure of the structure, roof shape, layout and color, etc. Appreciate the ancient Chinese architecture, can give a person very special aesthetic pleasure.
APA, Harvard, Vancouver, ISO, and other styles
9

Sudarwani, M. M., E. Purwanto, and R. S. Rukhayah. "The cultural acculturation in architecture of Karawang Chinatown, West Java." IOP Conference Series: Earth and Environmental Science 878, no. 1 (October 1, 2021): 012003. http://dx.doi.org/10.1088/1755-1315/878/1/012003.

Full text
Abstract:
Abstract Chinese architecture which is part of Indonesia’s history is an interesting topic, because each of Chinese architecture in Indonesia carries its own characteristics which are quite unique with suitable materials based on existing local conditions. The character of Chinese architecture in various places in Indonesia is the result of a combination of Chinese architectural characters mixed with local architecture which is part of Indonesian architecture and also plays a very large role in Indonesian architectural styles. One of the interesting Chinatown areas used as a study location is Karawang Chinatown, Karawang Regency, West Java. The purpose of this study is: 1) To get a picture of Karawang Chinatown which has a concept of Chinatown architecture; and 2) To know the cultural acculturation in the architecture Karawang Chinatown. This study uses a qualitative approach that is based on the naturalistic paradigm with an inductive method. The cultural acculturation between Chinese culture and local/colonial culture creates a unique architecture and a symbolic meaning, the character is a blend of Chinese architecture with local architecture that needs to be preserved.
APA, Harvard, Vancouver, ISO, and other styles
10

Shen, Jiachen. "Analyse the differences in origin and layout of Chinese Buddhist and Taoist architecture." SHS Web of Conferences 180 (2023): 01011. http://dx.doi.org/10.1051/shsconf/202318001011.

Full text
Abstract:
This article mainly lists differences between Buddhist and Taoist architecture in China, and compares them in various aspects by analyzing the layout and origin of the architecture and combining religious meanings. As an important material manifestation of Chinese local religion, temple architecture not only represents the cultural core of Chinese religion, but also reflects the cultural heritage and profound connotations of Chinese religion. Chinese religious architecture combines the ideas of classical palace architecture and garden architecture design, so temple architecture can be regarded as a treasure in Chinese architectural art. As a cultural symbol and microcosm, they also greatly enhance the importance of people’s understanding and protection of religious architectural art. The article combines the viewpoints of multiple experts to supplement and explain the core points of the article, and preliminarily explores the main reasons for the formation of the layout and style of Buddhist and Taoist architecture. Through research, the author aims to deeply explore the design differences between Buddhist and Taoist architecture.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Chinese Architecture"

1

Chiu, Calvin. "On Chinese Architecture." Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/797.

Full text
Abstract:
From the four-thousand-year obsession with timber structures to the radical fascination of steel and glass in recent decades, in a Westerner's eye, Chinese architecture evolves either too slow or too fast. The current construction boom may seem parallel to Mao's Great Leap Forward in late 1950s, when the entire nation was taking radical action for socialist industrialization; this time, it is capitalist modernization. A polarized situation surfaces as some architects are willing to align with the government and drastically transform their architecture to keep up with the movement, while others are urging for an effort to connect the past and the present, so that traditions can continue to evolve along with technological advancement. Theories of modern Chinese architecture have birthed mainly from this debate.

The struggle with modernization began almost a century ago. After the fall of the Imperial Qing in 1911, foreign architects and local designers with Western academic backgrounds introduced formalism, functionalism, modernism, and traditionalism into the siheyuans (traditional courtyard houses) and imperial palaces of the capital city. The quest for a consciously "modern Chinese" architecture began. In the 1950s, China underwent a huge phase of reshaping along with the ascendancy of communism. The communist government adopted Soviet models to make Beijing a paradigm for social realism. They brought down ancient infrastructures and historical buildings to make way for monuments, worker apartments, and public squares. They advocated the idea of "national form and socialist content" to derive a new architecture.

From the 1980s on, Beijing and the entire nation began to enjoy the first-ever continuous twenty-five years of undisrupted time on urban and social development since the turning of the twentieth century. Under the open-door economic reform, the authorities began to transform Beijing into a cosmopolitan. The capital city was to perform not only as a showcase for political stability, but also to express the national image, values, and beliefs. They attempted to retain the tradition of Chinese order on one hand, and to welcome capitalist commodities and foreign technologies on the other. Citizens remain proud of their four-thousand-year heritage but are also overwhelmed by materialistic luxury from the economic boom. To the authorities, erasure of Beijing's physical past becomes legitimate under the reconstruction of selected heritage buildings and a rapid urban development.

Contemporary architecture in Beijing represents the chaotic phenomenon of today?s China. Bounded by its ghosted city wall, the rapidly changing capital epitomizes the conflict between the old and new. Pressures upon the shoulders of the local architects remain strong: political and economic constraints, legacies of the past, ambition to catch up with the world, and the urge of self-rediscovery in the globalized stage. What is the reality behind the ambition to catch up with the developed world? Is the desire to become modern and at the same time maintain their traditions only a curl-de-sac that leads to nowhere?

This thesis is a quest to revaluate the evolution of Chinese architecture from the classical Chinese curved-roof buildings to modern designs. In the making of modern Chinese architecture, a number of ideologies arise, along with political makeovers and societal developments, aiming to re-present past glories, to reflect present national achievements, and to reveal the dream of a utopian future. However, real living always comes second to political ideals on how the society should look and what they should head toward. The concern for humanity remains a nominal criterion after politics and economy in most of the construction projects.

This thesis focuses on a two-and-a-half-month journey in northern China. The journey is recorded in the form of a travelogue, which provides the narrative core of the thesis. In addition, the thesis includes academic research on Chinese architecture, embodied in four essays, to investigate its evolution, understand its relationship to the past, acknowledge its current dilemma, and search for the components that make up its identity for the twenty-first century. This thesis aims to give a sense of Chinese architectural development, both in theory and in practice, as well as including a collection of critical remarks on how the authorities manipulate architectural expressions and direct its development. The first two essays deal with urban symbolism in Beijing that the authorities have created to redefine the past and to construct an image of a bright future. Architects are only required to carry out duties, like civil servants, to realize governmental plans. The other two aim to make a contribution to the history of cultural fusion between China and the West, and the evolution of architectural theories that led to the current phenomenon, respectively. The former traces the evolutionary path of Chinese architecture and the latter compiles the concepts of Chinese architecture from the study of Chinese architecture to the realization of the buildings.

My journey begins with an exploration of ancient architecture in the provinces of Shanxi and Hebei, following the footsteps of architectural scholar Liang Sicheng. Liang and his team documented and studied 2,783 ancient buildings across the nation and wrote the first complete history on Chinese architecture. He then attempted to derive the principles of modern Chinese architecture from traditional essences. The Shanxi-Hebei experience enriched my knowledge in traditional Chinese architecture and showed me what had tempted the Chinese architects not to give up their traditions, despite a strong desire to move toward modernization.

My experience in Beijing, on the other hand, provided me the opportunity to understand the dilemma of Chinese architects of the twentieth century as they faced political pressures, economic restrictions, tense construction schedules, collective ideologies, and historical legacies. Their works play a crucial role of linking the contemporary with the traditional past, and unfolding possibilities to develop modern Chinese architecture. The quest for Chinese identity in architecture in the past few generations has imposed a complex layering of the urban structure of the city, which makes the capital a showcase for architectural ideologies of different eras.

In the current rapid "Manhattanization", Beijing has become an experimental ground for foreign futuristic ideas, as well as an open-air museum of imperial and socialist glories. The identity of the city is completely shaped by authorities and developers under a blindfold desire to pursue a global representation of modernization. Local architects receive little chance, time, and freedom to find their own path, make their own architecture, and develop their own profession. Societal criticisms remain scarce and creativity is limited by self-censorship. Yet, like their predecessors in the 1930s and 1950s, contemporary architects do not give up. Many of them still search for new design possibilities within the influences of traditions to innovations, and from local philosophies to Western ideologies. Although the pace of construction remains unbelievably fast in China, the development of local architecture struggles to find ways to evolve and express its societal significance. The maturity of the architectural profession remains an aspect that is unachievable through overnight transformations and one-time planning.
APA, Harvard, Vancouver, ISO, and other styles
2

Li, Hua. "'Chinese architecture' + 'Western architecture' : a false dichotomy." Thesis, Open University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.495576.

Full text
Abstract:
For some time, even if this is not expressed explicitly, 'Chinese architecture' and 'western architecture' are conceived and perceived as two homogeneous totalities, in opposition to one another. In consequence, the fast transformation of Chinese cities in the last three decades is often accounted for in terms of the influence of 'western architecture' upon 'Chinese architecture'. Indeed, the urban growth in this period has involved architectural expertise, products, technologies and designs from Europe and the USA. To some people, what is seen as 'new' is 'western', and hence, the transformation is a process of 'westernisation'. However, this is precisely what the thesis argues against. It argues that to use the category of the 'Chinese' and the 'Western' to explain the products of architecture and urbanism in last thirty years China is neither useful nor appropriate. This thesis concerns the issue of 'conceptual translation' of architectural discourse from Europe and the USA into the context of China, as an opposition to 'linguistic translation' which concerns literal meanings of terms. Its examination focuses on the category that the concept 'western modern' indicates in Chinese architecture, and relates its operation and construction to the importation history of European and American architecture throughout the twentieth century, as well as pedagogy of architectural training, regularisation of design principles and methods, identification of architectural profession, practice of the architects' offices, organisation of design competition, and management of the city, mode of marketing and purchase in the real estate market, state politics and cultural interpretations. The analysis reveals that while waves of importation have sustained the formation of architecture as a modem practice in China from the early twentieth century up to now, they have not arrived as symmetrical reflection of what they are in the 'original' context. A difference, in comparison to European and American architecture, can be characterised by the absence. of a coherent 'modernism' and the continuity of the modified 'Beaux-Arts' practice in Chinese architecture. Therefore, 'fne assumption of 'westernisation' is wrong in its first place, as there is no such distinction that could be made between the 'Chinese' and the 'Western'.
APA, Harvard, Vancouver, ISO, and other styles
3

Ma, Tianyi. "Criticism Towards Chinese Contemporary Architecture." Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/596958.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Haibei, Ren. "FENG SHUI AND CHINESE TRADITIONAL DOMESTIC ARCHITECTURE." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin971283951.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Hsu, M. F. "The origins of Chinese traditional architecture." Thesis, University of Edinburgh, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372973.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Luo, Wei. "Incorporation of Chinese Architecture and Garden." The University of Arizona, 1995. http://hdl.handle.net/10150/555307.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Guo, Qinghua. "The structure of Chinese timber architecture." London : Minerva, 1999. http://catalog.hathitrust.org/api/volumes/oclc/40927499.html.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Li, Bao. "Searching for a new Chinese architecture : an investigation of architecture in China since 1949 /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B24736077.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Zeng, Zhe. "Pour une application du Feng shui dans la conception de l’architecture contemporaine et son environnement : contribution à la recherche de l’origine de ses fondements." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20017.

Full text
Abstract:
Le Feng shui regroupe les connaissances des Chinois sur les notions de temps, d’espace, d’environnement et lieu de vie (ville et habitation). C’est en effet le Feng shui qui a guidé, dès son « avènement » presque toutes les constructions édifiées pour les vivants et pour les morts en Chine. Aujourd’hui l’écologie et la protection de l’environnement sont les premières questions à prendre en compte dans la conception architecturale. Face à l’idée transmise par le Feng shui , nous ne pouvons pas nous empêcher de penser qu’une telle discipline si ancienne, très centrée sur l’environnement et l’habitation, peut servir de référence et d’inspiration au design de l’architecture moderne et au traitement de l’environnement . La question fondamentale de cette recherche est de savoir quelle est, ou quelles sont, la ou les véritable(s) source(s) de la pensée Feng shui. Au travers de nos recherches, nous tenons à prendre un certain recul vis-à-vis de la multitude de méthodes du Feng shui pour pouvoir pleinement nous concentrer sur leur philosophie transversale et ainsi tenter de synthétiser les différentes approches que l’on peut avoir de l’ensemble du monde Feng shui. Nous avons trouvé deux grands « fils rouges » de la doctrine Feng shui .Premier fil : le « qi 气» est la matière fondamentale de la composition du monde. Deuxième fil : La temporalité et l’action du Ciel comprise comme une puissance impersonnelle et ordonnatrice s’exerçant sur le monde au travers des régularités naturelles. Cette recherche est dans le but de construire une structure de recherche sur le sujet de « l’application du FENG SHUI dans la conception architecturale contemporaine et son environnement »
The Feng shui brings together the knowledge of the Chinese on the notions of time, space, environment and all the building infrastructures. It is indeed Feng shui has guided, from its "coming" almost all the buildings constructed for the living and for the dead in China. Modern ecology and environmental protection are the top priorities to be considered in architectural design. Faced with the idea transmitted by the Feng shui, we can’t help thinking that such ancient discipline, very focused on the environment and housing, can serve as a reference and inspiration in the design of contemporary architecture and treatment of the environment. The basic question of this research is to know what was, or what were, the true (s) source (s) of the doctrine of Feng shui. Through our research, we want to take a step back to the multitude of methods of Feng Shui, and intended to fully concentrate on their cross philosophy, and try to synthesize the different approaches that can have globally of the Feng shui. We have found two major "red threads" of Feng shui .First thread: the "qi 气" is the basic material of the composition of the world. Second thread: Temporality and action of Heaven understood as an impersonal power and instructing exerted on the world through natural regularities. This research is in order to build a research facility on the topic of "the application of Feng Shui in contemporary architectural and environment design" and we hope that this first step will be considered important to the continued reflection
APA, Harvard, Vancouver, ISO, and other styles
10

Chan, Ping-hung Joseph. "New Chinese opera house in Temple Street." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25949421.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Chinese Architecture"

1

Mo, Xiao. Chinese architecture. Beijing: Culture and Art Publishing House, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Shatzman, Steinhardt Nancy, ed. Chinese architecture. New Haven: Yale University Press, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Xue, Charlie Qiuli, and Guanghui Ding, eds. Exporting Chinese Architecture. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-2786-7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Lou, Qingxi. Ancient Chinese architecture. Beijing: Foreign Languages Press, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

University, Qinghua, ed. Historic Chinese architecture. Beijing: Tsinghua University, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Chʻing-hsi, Lou, and Chʻing hua ta hsüeh (Beijing, China). Chien chu hsi., eds. Historic Chinese architecture. Beijing, China: Tsinghua University Press, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Architectuurinstituut, Nederlands, Museum Boijmans Van Beuningen (Rotterdam, Netherlands), and Nederlands fotomuseum, eds. China contemporary: Architectuur, kunst, beeldcultuur = architecture, art, visual culture. Rotterdam: NAi, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Li, Risong. Chinese house. Beijing: China Intercontinental Press, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Zhu, Jianfei, Chen Wei, and Li Hua. Routledge Handbook of Chinese Architecture. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315851112.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Wang, David. A Philosophy of Chinese Architecture. New York, NY : Routledge, 2017.: Routledge, 2016. http://dx.doi.org/10.4324/9781315715995.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Chinese Architecture"

1

Roth, Leland M., and Amanda C. Roth Clark. "Chinese Architecture." In Understanding Architecture, 396–405. 4th ed. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003143956-23.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Han, Jiawen. "Chinese architecture and China’s architecture." In China’s Architecture in a Globalizing World: Between Socialism and the Market, 23–41. New York : Routledge, 2018. | Series: Routledge studies on China in transition ; 55: Routledge, 2017. http://dx.doi.org/10.4324/9780203712672-3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Marri, Sohrab Ahmed. "Architecture of Eclecticism: China’s Architectural Projects in Pakistan (2001–2019)." In Exporting Chinese Architecture, 209–28. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-2786-7_10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Peng, Ho Puay. "Vernacular Architecture." In Routledge Handbook of Chinese Architecture, 214–30. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315851112-18.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Jones, M. G. "Chinese Architecture." In The Charity School Movement, 64–66. Routledge, 2019. http://dx.doi.org/10.4324/9780429058530-6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Tuthill, L. C. "Chinese Architecture." In History of Architecture, from the Earliest Times, 64–66. Routledge, 2019. http://dx.doi.org/10.4324/9780429058950-6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

"Chinese Dynasties." In Chinese Architecture, x. Princeton University Press, 2019. http://dx.doi.org/10.1515/9780691191973-002.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

"Chinese Dynasties." In Chinese Architecture, x. Princeton University Press, 2019. http://dx.doi.org/10.2307/j.ctvc77f7s.4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

"Han Architecture." In Chinese Architecture, 32–51. Princeton University Press, 2019. http://dx.doi.org/10.2307/j.ctvc77f7s.9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

"Preface." In Chinese Architecture, viii—ix. Princeton University Press, 2019. http://dx.doi.org/10.1515/9780691191973-001.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Chinese Architecture"

1

Guo, Wenbo, and George B. Johnston. "Revisionist Approaches to the Historiography of Chinese Architecture." In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.84.

Full text
Abstract:
The study of Chinese architectural history by Chinese scholars started quite late as compared to the study of Western architectural history by Western scholars. Influenced by the philosophy of Confucianism, which devalued material artifacts, architecture was not considered to be a scholarly field in pre-Modern China.1 Chinese scholars treated architecture as a technique mastered by craftsmen and excluded it from the domain of fine arts such as painting, calligraphy, sculpture and inscription. The Western idea of architecture as a respected gentleman’s career was not introduced into China until the end of the Qing Dynasty (1644-1911) with the increas¬ing presence of foreign populations. Once Chinese scholars accepted the idea that architecture was a scholarly discipline, they commenced the study of Chinese architecture through the application of historiographical approaches adapted from non-Chinese sources. Contemporary Chinese scholars are now pursuing revisionist approaches to Chinese architectural historiography that takes account of these complicated lines of influence. In light of these complex cultural genealogies, the objective of this paper is to chart some of the methodological questions to be considered in the development of a critical approach to the historiography of Chinese architecture.
APA, Harvard, Vancouver, ISO, and other styles
2

Wang, Jinguo, and Na Wang. "Research on Chinese Hospital Architecture." In 2018 7th International Conference on Energy, Environment and Sustainable Development (ICEESD 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iceesd-18.2018.92.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Li, Meng. "The Aesthetic Generality between Chinese Architecture and Chinese Opera." In Proceedings of the 2018 International Conference on Management, Economics, Education, Arts and Humanities (MEEAH 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/meeah-18.2018.26.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Jia, Ruo. "Cloud as an Alternative Architecture." In 109th ACSA Annual Meeting Proceedings. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.45.

Full text
Abstract:
In A Theory of /Cloud/ (1972), the cloud, or rather, the graph of cloud, served as the entry point of the French art historian and theorist Hubert Damisch (1928-2017) in his understanding of the limits of Western art and art history as framed since the Renaissance. Here he initiated another possibility of painting—a “theory” of painting, which he simultaneously termed “a history of painting”—by concluding the book with an examination of Chinese landscape painting. Participating in the sinophelia of French intellectuals that accompanied the Chinese Cultural Revolution launched by Mao, Damisch’s turn represented his philosophical initiative to reflect on and shift away from Western metaphysics, especially from the negative dialectics of Hegel, and towards a different architecture based on a harmonious and positive materialist dialectic inspired by Chinese Taoist and Chan Buddhist philosophy. Here, in Damisch’s “reinvention” of Chinese painting, the cloud not only literally entered paintings to negotiate the intertextuality of mountain and water, ink and brush, and even that of the painter and painting, but also to fill the role of the materialist body in a different perspective of world formation—as the breath, the one movement that sustains or constitutes all life. In Damisch’s vision, such a cloud even leads to a different kind of architecture, one that counters the philosophical metaphor of architecture as the stability of the arche, the subject, the essence, or any anchored center. The cloud and its philosophical architectural alternative also contribute to a reflection on the very physicality of architecture, leading to the formation of an architecture in absentia, to which Damisch was to return in 2003 when discussing Diller+Scofidio’s Blur Building (2002), as well as the Chinese architecture of the Ming Dynasty.
APA, Harvard, Vancouver, ISO, and other styles
5

Huang, Shu-Hui, Teng-Wen Chang, and Chung-Jen Kuo. "A DATA MODEL FOR REPRESENTING CHINESE GARDEN." In CAADRIA 2004: Culture, Technology and Architecture. CAADRIA, 2004. http://dx.doi.org/10.52842/conf.caadria.2004.347.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Huang, Shu-Hui, Teng-Wen Chang, and Chung-Jen Kuo. "A DATA MODEL FOR REPRESENTING CHINESE GARDEN." In CAADRIA 2004: Culture, Technology and Architecture. CAADRIA, 2004. http://dx.doi.org/10.52842/conf.caadria.2004.347.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Hu, Jun, and Chen Li. "Lightning protection of Chinese ancient architecture." In 2011 7th Asia-Pacific International Conference on Lightning (APL). IEEE, 2011. http://dx.doi.org/10.1109/apl.2011.6110245.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Cong, Wu, and Zhang Hongran. "CAD system for chinese traditional architecture." In CAADRIA 2001. CAADRIA, 2001. http://dx.doi.org/10.52842/conf.caadria.2001.331.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Cong, Wu, and Zhang Hongran. "CAD system for chinese traditional architecture." In CAADRIA 2001. CAADRIA, 2001. http://dx.doi.org/10.52842/conf.caadria.2001.331.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Jiyi, Wu. "An Extensible XML Mapping Architecture." In 2007 Chinese Control Conference. IEEE, 2006. http://dx.doi.org/10.1109/chicc.2006.4346830.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Chinese Architecture"

1

Antkiewicz, Agata, and John Whalley. Recent Chinese Buyout Activity and the Implications for Global Architecture. Cambridge, MA: National Bureau of Economic Research, March 2006. http://dx.doi.org/10.3386/w12072.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Chinese Architecture' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography