Since leading the launch of the "postmodernist" movement in architecture in the 1960s, Robert Stern (hereinafter referred to as Stern) has been revered by the industry as the founder of postmodernist architectural design. Stern, who has served as Dean of the Yale School of Architecture for three consecutive terms, received the "Richard H. Driehaus Prize"—known as the "Nobel Prize of architecture"—in 2011.

　　On a morning in March 2013, sunlight streamed into Stern's office in the Rockefeller Center.

 

　　This 73-year-old Jewish architectural master, with simple and easy-to-understand language, coherent and clear logic, and vivid metaphors, told us about his own transformation from postmodernism to neoclassical architectural style, and expounded his understanding of China's architectural market. Half a century of vicissitudes in the architectural world were repeatedly reflected in his deep and wise eyes.

 

　　From Postmodernism to Neoclassicism

 

　　Stern is one of the first masters to apply the concept of postmodernism to architecture, but there is no consensus on the main characteristics of postmodernist architecture.

 

　　The first to propose postmodernist views was the American architect Robert Venturi, who in his early work "Complexity and Contradiction in Architecture" put forward the theoretical principles of postmodernism, advocating the use of historical architectural elements and American popular culture to endow modern architecture with aesthetic and entertainment value.

 

　　Stern subsequently organized postmodernist architectural thought theoretically and completed a complete ideological system. In his book "Modern Classicism," he comprehensively summarized the theoretical basis of postmodernism. He proposed that postmodernist architecture has three characteristics: it employs decoration; it is symbolic or metaphorical; and it integrates with the existing environment.

 

　　In Stern's long list of works, one can see the relationship between his architectural practice and postmodernism: Miami University Oxford FSB, Tokyo Disney Ambassador Hotel, Kazakhstan's six-star Ritz Hotel...

 

　　But as time went by, Stern and Venturi took different paths. In some of Stern's later works, he gradually began to use the "neoclassical" style for public building design, intending to recall the pleasure of American architectural history before modernism.

 

　　Stern's later works, such as 15 Central Park West in New York and the second-largest presidential library in the United States—the George W. Bush Presidential Library—all embody the "neoclassical" style.

 

　　15 Central Park West is located on the original site of the former Mayflower Hotel. The complex includes two neoclassical-style buildings with stone facades, from which one can directly overlook New York's Central Park. Stern made these two buildings, set against the ancient and solemn architectural clusters on both sides of Central Park, Fifth Avenue, and Park Avenue, display the charm exclusive to neoclassical architecture to the fullest, while adding modern conveniences. These two buildings have therefore become dream residences and office spaces for many of the world's wealthy and celebrities. Former Citibank CEO Sandy Weill recently listed his penthouse in the building for sale at a high price of $88 million, or $13,048 per square foot, setting the highest residential sale price in all of New York, equivalent to 554.4 million yuan, pushing the city's housing prices to a peak.

 

　　The George W. Bush Presidential Library is the second-largest presidential library in the United States. The library is located on the campus of Southern Methodist University, a century-old university with many red-brick buildings, which is relatively consistent with the architectural style of some of his past classic works. After the presidential library is completed, he will cover the building's facade with local Texas red brick and white limestone.

 

　　With nearly fifty years in the profession, compared with his earlier style, Stern's design style in the middle and later periods handles connections with the broader architectural environment, history and culture, and geographical location more smoothly and naturally. Regarding the change in his later architectural design style, Stern frankly admitted that this change is related to his increasingly mature architectural thinking. Rather than saying the architectural style has changed, it is more accurate to say that in his mind this is a change in architectural culture.

 

　　In his view, the style defined by the world as "postmodernism" is very important. It is actually a language of architecture, including the very important modernist style—even though it was abandoned by many for a period—which is also an architectural language. One of the designer's tasks is to use the continuously learned language of architecture to express a city's history and cultural changes.

 

　　"My works have always emphasized their own modern style, but I also very much respect the traditional culture of the city. I will learn from past architectural culture and integrate it into modern, local culture. Only in this way can we protect traditional culture while promoting urban evolution." This is what Stern said about the relationship between modern style and traditional culture.

 

　　Testing the Waters of China's Architectural Market

 

　　With the rise of China's architectural market in the past two years, Stern has been promoting his architectural concepts in the Chinese market since 2003.

 

　　Among these is "Lake Heart Island" (Huxindao), which Stern designed for Vanke Group in Xiamen in 2009. This is a residential development project of nearly 200,000 square meters, located in the most central geographical position of Xiamen Island, with the only freshwater ecological resource on Xiamen Island—the lakeside reservoir. "Their building facades, viewing terraces, and window views are almost exactly the same as 15 Central Park West." The New York Times once commented.

 

　　In 2011, 50 Connaught Road Central in Hong Kong, designed by Stern, was completed. Located on Connaught Road Central, the core of Hong Kong's Central business district, the building stands out from countless surrounding designs with its concise classical detail design and unique material selection. In May 2012, 50 Connaught Road Central was acquired in whole by Agricultural Bank of China for HK$5 billion, at a price as high as HK$248,600 per square meter, also setting a record for a single office building transaction in Hong Kong.

 

　　In 2013, another important project of Stern in China is about to be presented to the Chinese people, namely his first mixed-use project in China—Dalian AVIC International Plaza.

 

　　The project is located in the core section of Zhongshan Road in Dalian. Combining the history of Dalian's Zhongshan Road, Stern adopted the neoclassical architectural style. The extensive use of dry-hung stone facades interprets rich historical traces and cultural deposits. The classical yet simple architectural appearance combines nostalgic romantic sentiment with modern people's needs for life, and is compatible with the cultural taste of elegance and modern fashion.

 

　　In the Dalian AVIC International Plaza project, Stern brought his neoclassical style into full play.

 

　　In Stern's eyes, Dalian is a very special city architecturally, because its architectural styles are rich and varied. Since 1920, the city's architecture has been influenced by Western European, Japanese, and China's own traditional architecture. The AVIC project in Dalian is located in a very important block, and the project itself covers a large area, giving the designer enough room to work.

 

　　Throughout the project, it includes not only Zhongshan Road, a concentration of Dalian's scenic spots and prosperity, but also other streets with considerable history and culture. Therefore, when planning the project, Stern also communicated continuously with colleagues at AVIC International Plaza to confirm which original road structures needed to be preserved, and the architectural styles of these preserved roads and the buildings along them still needed to be unified and consolidated. This is also Stern's insistence that architecture, from the perspective of design itself, should achieve a kind of urban integration.

 

　　Stern positioned the entire project as a mixed-use complex, not merely residential or solely shopping or office with a single function, but an embodiment of comprehensive functions. Only comprehensive functions can reflect the vitality of the city. Thanks to the master's touch, AVIC International Plaza won the "Golden Bauhinia" award at the Hong Kong Real Estate Week at the end of 2012.

 

　　Stern said that if suitable opportunities arise in the future, he will introduce classical Chinese Eastern architectural styles into his new works. He hopes his architecture in China can likewise become a pleasing scene in the city, where urban residents can enjoy life.

 

　　Chinese Architecture Should Have Its Own Style

 

　　Although Xiamen's "Lake Heart Island," Hong Kong's 50 Connaught Road Central, and Dalian AVIC International Plaza are Stern's first steps into China's architectural market, he has long studied Eastern architecture. As exchanges between Chinese and international architecture deepen, he has his own criticism of China's architectural style.

 

　　From an Austrian town to the Eiffel Tower, and even the whole of Manhattan, there are already countless examples of contemporary Chinese architectural design blindly copying famous foreign buildings.

 

　　Stern believes that today's world has a great deal of international exchange, and architecture may be one form of it. Theoretically, there is the possibility of completely copying local architecture. The United States also went through such a stage at the end of the 18th century. At that time, the newly wealthy United States likewise learned a great deal from Europe and brought some local architectural styles to America.

 

　　In his view, these behaviors are understandable, and this is also a necessary stage in the continuous evolution and development of architectural exchange. Although the master acknowledges that this is a historical stage, he is deeply worried about this practice: from the perspective of architecture itself, if this is done for a long time, whether in China, the United States, or Europe, such an approach is rather dangerous, because from a long-term perspective it will destroy local cultural traditions. "I think we should learn from the past and then integrate it into local culture, combine the past with the present, and jointly create a more innovative future." Stern believes this is a good way to resolve the tension between local culture and borrowing.

 

　　As more and more buildings such as the National Centre for the Performing Arts, Beijing Olympic Park, and the CCTV Building appear in China, many outside observers say China has once again become a testing ground for world architecture.

 

　　In response to more and more similar industry comments, Stern believes that some buildings have indeed succeeded in China, but some buildings have made the entire city and its culture pay a high price.

 

　　"I do not agree with turning China into a testing ground for world architecture. Whether in the United States or China, in recent years everyone has consciously protected some traditional buildings, just as everyone knows Beijing has called for protecting some hutongs and residential structures. In my own works, I have always emphasized my modern style, but I will still very much respect the original urban structural style in the process of modern urbanization. This method allows both styles to be reflected in the work, and this practice has often been overlooked in recent years." Stern said.

 

　　This architectural master, who is very familiar with China, greatly appreciates Eastern architecture. The library in his office contains many books on Chinese architecture. He has used Eastern architectural materials such as cobblestones in his works, and there are also many Chinese people in his architectural design firm.

 

　　In Stern's eyes, China's thousands of years of architectural tradition must not be abandoned under any circumstances: for example, the courtyard houses of the feudal imperial era and Shanghai's Bund—these are all China's own architectural experiences. These traditional architectural styles themselves will never go out of fashion, and they are also styles that designers should adhere to.

 

　　"Looking at countries around the world, whether ancient Rome or Spain, when the empire campaigned everywhere, it repeatedly used its own architectural experience and architectural styles. The only difference is that each time there are some detailed changes, but the general structure and style are retained. Designers always absorb the essence of the past to adapt to the requirements of the time. Seeking the most suitable way to present the past and the 'present'—I think China should do the same." Stern suggested.