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M+, Hong Kong, © Family of Wang Dahong, The Society for Research and Preservation of Wang Da-hong's Architecture
On View
East Galleries, 217
Wang Dahong 王大閎
Dahong Wang & Associates 大洪建築師事務所
Model, Competition submission for the Palace Museum (1960–1961), Taipei, Taiwan 台灣台北故宮博物院設計比賽參賽作品（1960–1961）模型
2006
The Chinese architect Wang Dahong designed this competition entry for the National Palace Museum in Taiwan in the early 1960s. Although Wang’s proposal was selected unanimously, the committee asked the architect to alter the scheme in line with classical Chinese aesthetics, reinforcing the mandate of the museum. The government ultimately built another design, by Boyle Huang, instead.
Wang’s proposal is a long, two-level rectangle with an overhanging roof made of three inverted tent-like forms. Visitors would enter via a subtly complex walkway rising over a square pool centred in front of the building. The lower level is transparent glass, while the taller and wider floor above is opaque, protecting the artefacts of the museum’s collection while shaping terraces around the building’s perimeter. Inside, the reinforced-concrete roof and supporting columns allowed for an open plan.
There are no three-dimensional archival records of Wang’s work; this model was produced for a retrospective exhibition in 2006. His proposal for the museum—and the story surrounding it—is representative of the tensions underlying Taiwanese-Chinese relations and identity in the postcolonial period. At the same time, the project illustrates Wang’s formative role in disseminating a Chinese-inflected vision of modern architecture.
Wang’s proposal is a long, two-level rectangle with an overhanging roof made of three inverted tent-like forms. Visitors would enter via a subtly complex walkway rising over a square pool centred in front of the building. The lower level is transparent glass, while the taller and wider floor above is opaque, protecting the artefacts of the museum’s collection while shaping terraces around the building’s perimeter. Inside, the reinforced-concrete roof and supporting columns allowed for an open plan.
There are no three-dimensional archival records of Wang’s work; this model was produced for a retrospective exhibition in 2006. His proposal for the museum—and the story surrounding it—is representative of the tensions underlying Taiwanese-Chinese relations and identity in the postcolonial period. At the same time, the project illustrates Wang’s formative role in disseminating a Chinese-inflected vision of modern architecture.
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