Jiakun Liu’s architecture practice of critical regionalism

Jiakun Liu’s architecture practice of critical regionalism

When talking about critical regionalism in China, it is easy to tell Su Wang’s work is the representative of critical regionalism. But few people know that Jiakun Liu has a lot of practice on critical regionalism.

Liu as a designer prior to practice, more often based on the practice of this time, and then sublimation of theory. His practice may not be based on the theory of critical regionalism, but from his practice is very fit with the concept of critical regionalism.

Liu loves literature. He found a new direction of Chinese modern architecture through the realism in literary creation.

This mainly evolved from his early rural construction to the later urban construction. This reflects his low-tech building strategy for China's current situation.

Liu has produced some climate-responsive designs. Liu provides double storey openings and lattice block works in the Sculpture Department of the Sichuan Fine Arts Institute, Chongqing (2004), to facilitate natural ventilation, which is needed to alleviate the hot weather in Chongqing.

In response to rural contexts, visitors reach the Liu’s Luyeyuan Stone Sculpture Museum, Chengdu (2002) by walking through a meandering path in the natural surroundings.

Besides responding to physical conditions, he is interested in the use of local materials and workmanship. Early examples include Liu’s use of pebbles from adjacent rivers in the Xiyuan Leisure Camp, Chengdu (1996). Liu’s ‘low-tech strategy’ emphasizes the balance between the availability of regional resources and architectural quality

Liu's architectural theory depends on its reflection of reality and based on the level of China's actual construction. He persists in exploring the "low-tech means" of construction and through the analysis of the environment, using inexpensive materials to creatively solve problems.