The Practice And Discourse Of Queli Hotel

This paper focuses on the significant architecture in contemporary Chinese architectural history—Queli Hotel which was completed in 1985 and adjacent to Confucius Family Mansion and Confucius Temple in Qufu.This architecture was designed by Dai Nianci,an outstanding representative of the second generation of Chinese architects and also a student of Yang Tingbao.Based on Dai Nianci’s lifetime,past practice and theoretical thinking,this paper summarizes and analyzes the architectural practice and academic discourse of Queli Hotel.On one hand,on the basis of site investigation,architectural drawings,architectural texts,three prominent contradictions in this practice unfolds as clues to investigate Dai Nianci’s elaborated trade-off and balance.On the other hand,critical discourse analysis is made on the comment text of the Queli Hotel in the architectural journals.It analyzes the discourse form from the perspectives of criticism’s entry and questioning,standpoint and perspective,concept and structure,and then reflects on the construction of ideas and knowledge behind discourse,thus it explores the authority and limitation of Chinese architectural discourse system at that time.At last,by comparing the most representative cases of localized Chinese modern architecture which interpret the traditions of Chinese architecture from different perspectives in the architectural design context of "Inheriting the Traditions in Modern Architecture" in the 1980s,this paper reflects the contradiction and collision between the ideographic forms which are derived from the special context and the innovative and exquisite construction on the Queli Hotel.It attempts to indicate that Queli Hotel presents complexity and contradiction under special site conditions,professional ideas of heterogeneous symbiosis and social ideological trend of reform and opening up.The final outcome of practice had overflowed the starting point of architect and the arbitrary label of critic,but still submerged in this macroscopic crltical discourse.To a certain extent,it has been the epitome of architectural practice and criticism in the 1980.