Chapter 475 It’s my turn to slap Sister Xing in the face
The host was stunned for a moment and turned to look at the chairman of the organizing committee.
The chairman was a gray-haired old man who had served as a director of the International Architecture Association. He looked at Shen Hanxing, a hint of approval flashed in his eyes, and nodded gently.
"Of course, we welcome different voices and even more so, well-reasoned and well-founded discussions."
Chen Hanxing walked onto the stage and did not speak immediately. Instead, he walked to the model of "Listening to the Waves Under the Eaves" and gently placed his fingertips on the end of the eaves.
"Mr. Massimo just mentioned 'similarities', but the core of architectural design is never 'what it looks like' but 'why it is done this way'."
"Let me tell you a story first. Twelve hundred years ago, when the Tang Dynasty architect Yuwen Kai designed the city of Chang'an, he already used the 'lifting and folding method' to design roofs."
"Simply put, it is to adjust the slope of the roof to allow rainwater to flow down quickly while reducing wind resistance."
"This method, recorded in the Kaogongji (Records of the Craftsmen), predates similar Western research on structural mechanics by over 600 years."
She paused, picked up the laser pointer on the table, and displayed two comparison pictures on the big screen.
On the left is the cross-section of the eaves designed by Han Lingcui, and on the right is the cross-section of the work of the French designer.
"As you can see, Han Lingcui's eaves have five 'folds' from the eaves corner to the roof ridge. This is designed according to the ancient method of 'five raises and five folds'."
"The angle of each corner is 15 degrees, just enough to allow the southeast monsoon from Country L to flow around the building along the eaves."
"The work on the right has only one folded corner, which is more like a decoration for aesthetics. When encountering strong winds, it is easy for vortices to form at the corner of the eaves."
"This is the difference between 'similar in form' and 'similar in spirit,' and the essence of Eastern architecture's 'unity of practicality and beauty.'"
Massimo in the audience frowned and was about to speak when Shen Hanxing turned to the ice crack screen again.
"As for ice cracks, I have a document from the Palace Museum."
"As early as the Song Dynasty, Eastern craftsmen began to use ice cracks to decorate doors and windows. The craftsmen at that time would cut the wood into irregular small pieces and then splice them together with mortise and tenon joints. Without using a single nail, the entire screen could be as solid as a mountain."
"This craft is called 'chuangcha' and requires the craftsmen to memorize hundreds of splicing methods."
As she spoke, she played a video.
That was a clip of Han Lingcui making a model in the studio.
In the video, Han Lingcui is using a knife to cut tiny pieces of wood. Each piece has a different shape, but they can be put together precisely.
"In order to create the most authentic ice crackle pattern, Han Lingcui went to Suzhou and spent three months learning the inlay technique from a veteran craftsman."
"The carved patterns on each piece of glass on her screen are replicas of real wooden interlocking structures, while the work of the designer from China uses randomly generated geometric patterns using a computer. The two craftsmanship logics are completely different."
At this time, a female audience member wearing glasses raised her hand to ask a question.
"Ms. Shen, where is that patio? How do you prove this isn't cultural appropriation?"
Shen Hanxing smiled, his tone still gentle.
"Madam, I would like to first distinguish between two concepts: 'cultural exchange' and 'cultural appropriation'."
"Cultural exchange is about mutual respect and embracing the essence of culture; cultural appropriation, on the other hand, is about ignoring cultural roots and using other people's cultural symbols as one's own 'decoration.'"
"The eastern courtyard was originally designed to adapt to the arid climate of the north, allowing for ventilation and light inside buildings. Later, it spread to the south, where it incorporated the symbolism of 'the four waters returning to the hall.'"
"Rainwater flowing down the roof into the patio symbolizes 'gathering wealth,' which is closely connected to the Eastern philosophy of life."
She pointed to the patio in the model.
"You can see that in Han Lingcui's courtyard, the bluestone slabs are tilted, and rainwater flows into the small pool in the center. There is a filtration system under the pool, and the collected rainwater can be used to water the surrounding plants."
"The courtyards in Country F are mostly flat, and their main function is to collect rainwater for drinking. The functional design and cultural connotations of the two are completely different."
"If we say it's appropriation because 'all have an open-air courtyard,' then does that mean all buildings with windows are copying ancient Roman window styles?"
As soon as these words were spoken, there was a burst of laughter from the audience, and the solemn atmosphere just now eased a lot.
Shen Hanxing did not stop and continued.
"I know that in the international design community, there's always a voice that feels Eastern architecture is 'not modern enough' or 'not international enough'."
"Some even think that Eastern designers are 'backward' when they use their own cultural elements."
"But I want to say that true internationalization is not about making all designs look the same, but about allowing different cultures to showcase their unique charm on the same stage."
She turned to look at the judges' table, her eyes falling on the chairman.
"When I participated in the competition, I also used elements of Eastern Suzhou embroidery in my work, and some people questioned whether I was 'not modern enough'."
“But you told us at the time that the value of design lies in ‘telling your own story well.’”
"Han Lingcui's design tells the story of 'an Oriental man building a homeland on the seaside.'"
"In her eaves, there is the wind from the south of the Yangtze River; in her ice cracks, there are the hands of an old craftsman."
"Her courtyard embodies the Chinese understanding of 'home.' These are not 'stolen' but cultural memories etched in her bones."
The chairman nodded slightly, and the approval in his eyes became even stronger.
At this moment, Su Man suddenly stood up with a document in her hand.
"As a special guest of this competition, I have some data here."
"The designer from Country F I just mentioned had his work exhibited last year, and several scholars of Oriental architecture pointed out his 'misinterpretation of Oriental elements.'"
"Han Lingcui's design, in the materials she submitted to the organizing committee, detailed the cultural origins and design logic of each element, even including proof that she had learned from veteran craftsmen. These were all verified by the organizing committee during the initial review."
Massimo's face looked a little ugly, but he couldn't find any reason to refute.
The discussions in the audience gradually turned into applause. Xunxun stood on tiptoe in the audience, clapping her hands until they turned red.
"Mom is amazing! Aunt Han is amazing!"
Chengcheng also nodded, holding the picture album with the painting "Listening to the Waves Under the Eaves" tightly in his hand, and whispered to Qi Moxun.
"Dad, I want to study architecture and be as good as mom."
Qi Moxun touched his son’s head, his eyes fell on Shen Hanxing on the stage, his eyes full of tenderness.
He knew that Shen Hanxing had never been a person who liked to be in the spotlight, but for the sake of her friends and her own culture, she was willing to stand up and defend those things that deserved respect with her professionalism and confidence.
Shen Hanxing looked at the applause from the audience and gently patted Han Lingcui's shoulder.
"Don't be nervous, your design deserves to be seen by everyone."
Han Lingcui nodded vigorously, and the tears in her eyes finally fell, but not because of grievance, but because of being moved.
She knew that she was not fighting alone, and behind her were Shen Hanxing, Qi Moxun, the children, and the cultural foundation that flowed in her blood.
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