In lieu of an abstract, here is a brief excerpt of the content:The Crystal Order That Is Most Concrete:The Wittgenstein HouseHui Zou (bio)IntroductionIn the instruction of architectural history, some historical references have to be mentioned in terms of the relationship between building and language. In Chapter I, Book II, of The Ten Books on Architecture, the ancient Roman theorist Vitruvius discussed the "origin of the dwelling house." According to him, the "primitive hut" originated from the gathering of men around a (...) fire through communicating in language.1 In the primitive hut, the origin of architecture was co-presented with the origin of language; the language helped establish a harmonic relationship, which developed builders' construction collectivity. Such a language-collectivity relationship was witnessed in the record of the Tower of Babel in the biblical scripture where the Lord decided to stop the human beings' construction of the tower by "confus[ing] their language there."2 During the Renaissance, the alphabetic language and the design of buildings were correlated through the application of geometry that was supposed to embody the "divine proportion." In the Franciscan professor Luca Pacioli's book On Divine Proportion, letters of the alphabet were geometricized to become objects of contemplation for tracing "God's light."3 In Chinese gardens, there has been a long tradition of naming a specific view with a poetical phrase that thematicized the scene into a meaningful unity of the view and the viewer—jing.4 In all these historical cases, language and building were integrated into a cosmological picture grounded in divine transcendence.After the modernism in architectural history of the 1960s and 1970s, a loss of meaning in architecture was widely observed,5 and the interrelationship between language and architectural design began to emerge as a prominent issue. Several trends in architectural theories during the 1960s and 1970s studied how meaning was created through architectural design. One was the post-modern development in architecture that sought to apply classic architectural elements to the facades of new buildings as gestures to [End Page 22] the past.6 Another trend was phenomenological, which attempted to discover a common language of building contexts that led to building humanized living environments.7 Yet another trend was to apply linguistic approaches to the rational methodology of architectural analysis.8 The analogy of building with language was provoked by an impelling sense of the crisis that the traditional embodied order was being lost in the prevalent instrumentalized practice of architecture.The predicament of the loss of meaning in contemporary architecture can be traced as far back in philosophy as the splitting of mind and body proposed by René Descartes in the seventeenth century. This split began to distance architecture from its traditional embodiment of transcendental meanings in the second half of the eighteenth century9 and finally led to the division of the metaphysical and physical parts in modern architecture, especially after the industrialization of the nineteenth century. Correspondingly, language became an instrumental means for architecture to impose posterior "ideas" to the material bodies of buildings rather than acting as an inherent component of architectural design for the creation of meaning in architecture. The desire for meanings in modern architecture, based on the split of the metaphysical and physical, theoretically catered to linguistic research, such as semiotics, and tended to define architecture as a symbol. The linguistic structure of signifier-signified was, however, coarsely transplanted into architectural theory and reduced architectural symbolism to a simple dualism of idea and form in which the former was usually arbitrarily applied to the latter by a designer. Such an arbitrary imposition of external "meanings" onto an architectural form through language intensified their separation, which in turn produced nihilism in architecture.The lessons learned from the transplantation of linguistic studies into architectural theories remind us that we need to pay close attention to the historical events that could open up the interaction between language and building and reveal the "fundamental linguistic character of our experience of the world" in Gadamer's sense.10 A house designed and built by Austrian philosopher Ludwig Wittgenstein (1889-1951) provides a unique case for us to contemplate this issue. My historical study of the Wittgenstein House is not to understand Wittgenstein's subjective intentions... (shrink)

As an economic pillar, major resource consumer, and polluter of cities, the chemical industry determines many cities’ transformation, prosperity, and decay. It is thus a major concern for achieving the UN Sustainable Development Goals. In China, which is at the stage of accelerated industrialization that is varied across regions, the chemical industry has gradually retreated from developed cities, such as Beijing and Shanghai, in the eastern region, and has become the inevitable choice for industrialization of less-developed cities, such as Xi’an, (...) Chengdu, and Chongqing, in the western region. This study took the perspectives of chemical industrial sectors and their spatial differences to understand the changing patterns of the chemical industry and its dominant cities. It identified chemical industrial cities, examined their spatial-temporal patterns with respect to their industry scale and structure, and accounted for factors influencing the spatial evolution from coastal areas to inland regions. The results show that large CICs were mainly located in coastal port regions with balanced industrial sectors, while small CICs were mainly distributed in inland areas with abundant oil and coal resources and a single dominant industrial sector. The location factors of ports, markets, and technology play important roles in the eastern region, while resource conditions and foreign direct investment promote the chemical industry’s development in the central, western, and northeastern cities. These findings improve the understanding of CICs’ spatial transformation and shed light on the policy-making of chemical industrial development in China and other developing countries. (shrink)

An early encounter of Western and Chinese labyrinths took place during the late eighteenth century in the Qing imperial garden Yuanming Yuan, where the Western Jesuits built a labyrinth for Emperor Qianlong.1 Beginning with Daedalus’s legendary design, the labyrinth was the basis throughout Western history of a primary meaning of the built environment.2 With a rigorously geometrical layout, the labyrinth in the Yuanming Yuan appeared exotic to the Chinese eye but was specifically named by the Chinese as a “garden” because (...) of its meandering movement similar to Chinese gardens.3 The comparability between the Western labyrinth and Chinese gardens triggers this research on the idea of labyrinth in Chinese building .. (shrink)

The Yuanming Yuan of the Qing dynasty was a magnificent imperial garden in Chinese history. The garden consisted of three Chinese gardens and a “Western-like garden” designed by the EuropeanJesuits. The garden encounter in the Yuanming Yuan provides a valuable case for studying cultural fusion in early modernity. This article redraws the traditional line of Daoist cosmology in Chinese imperial gardens by analyzing the fengshui layout of the Yuanming Yuan. Based on the Qing emperors’ writings, imperial archives, and the garden (...) representations, the research interprets the design distinction and its cross-cultural accommodation. The article concludes that the exotic depth produced by the linear-perspective views in the European portion demonstrated the typical Daoist attempt of preserving full brightness in one’s mind through seeking the remotest garden scenery, as stated in the Daoist scripture Laozi that “whoever knows his brightness veils himself in his darkness.” This Daoist paradoxical idea, best embodied by the Yuanming Yuan, opens up a comparative understanding of Heidegger’s concept “paradoxa.”. (shrink)