Reweaving Shiyi: A Case Study of the Riverside Passage by Atelier Deshaus

Modernity has had an impact on the conceptualisation of architecture in China that is not entirely dissimilar to developments in architecture in the European context from the late eighteenth century onwards. According to architectural theorists Alberto Perez-Gomez [1] and Dalibor Vesely [2], there was a development toward rationalisation that can be theorised as a split from a poetic building tradition. This transformation is echoed by Chinese architects who argue that the over-artificial and functional urban environment leads to the loss of traditional culture and place identity in contemporary cities [3‐6]. In this context, a discourse centred on the integration of Chinese building traditions into contemporary architectural practices has emerged as a pivotal and enduring theme [7‐9]. Specifically, an architectural approach rooted in inspiration from classical Chinese gardens has developed rapidly since the post-reform era [7].

In these practices, the term shiyi (诗意), literally meaning ‘poetic,’ has been frequently adopted by contemporary Chinese architects to refer to their architectural creations [3, 4, 10‐14]. However, shiyi remains ambiguous in its definition, as architects tend to use this term with diverse interpretations without providing clear explanations. The ambiguity of the definition of shiyi is also closely linked to difficulties with translating the term. When the ‘poetic’ of the Western architectural discourse of the twentieth century entered China, its translation became entangled with the term shiyi [5, 15, 16]. Atelier Deshaus (AD), for example, an acclaimed contemporary private architectural office, is recognised for incorporating the Chinese shiyi tradition with modern rationality [17]. Yet, their exploration of shiyi is also considered closely entangled with Western theories of ‘the poetic,’ such as Martin Heidegger’s idea that all dwelling is poetic and Kenneth Frampton’s notion of the poetics of construction [18]. Notably, in AD’s academic discourse, Western discussions on ‘the poetic’ are commonly translated as shiyi. Consequently, the indiscriminate utilisation of shiyi has led to its gradual generalisation and attenuation.

This study aims to explore the core concept of shiyi in ancient Chinese poetics, offering insights into its intrinsic characteristics within the Chinese cultural context. Subsequently, a case study of the Riverside Passage project, completed in Shanghai in 2019 by AD, shows diverse design strategies that draw inspiration from classical Chinese gardens so as to incorporate shiyi into contemporary architectural practices. The research demonstrates that the integration of shiyi assists AD in countering the increasing homogeneity of urban environments and in reviving a poetic approach to architectural design. This approach can be considered an ecological and systemic approach to architectural design, as shiyi, characterised by subtle and inseparable qualities, emphasises dynamic relations and the coexistence of architecture, individuals, and their living surroundings.

The characters shi (诗) and yi (意) hold distinct meanings in the Chinese tradition, different from their contemporary usage as a compound word shiyi (诗意), commonly translated as ‘poetic.’ Shi, known as poetry, was a significant literary genre in ancient China [19]. Yi, another key character, includes two dimensions of meaning: one signifies intention and the other means lixiang (理想, ideal), yili (义理, the argument of a speech or essay), or zongzhi (宗旨, purpose) [20]. The emergence of shiyi as a compound word can be traced back only to Qing scholar Mei Yuan’s (1716-1789) Suiyuan's Remarks on Poetry, which first presented two instances of shiyi in its initial self-published version of 1790, with two additional cases appearing in its addendum completed in 1797. Since the May Fourth Movement (1919), shiyi has generally been acknowledged as a criterion for assessing and/or describing the attractiveness of a poem [22‐24]. Despite its significance, there is no coherent definition yet of what constitutes shiyi and no explanation yet on how it contributes to creating a good poem.

The absence of precision in shiyi’s definition does not imply that the aforementioned issues are unsolvable. Instead, given that shi is a literary genre, it is reasonable to classify it as a form of yan (言), which generally translates speech or words, but also encompasses the meanings of concept, exposition and argument, as well as written text [20]. As such, the understanding of yanyi can, to a certain degree, contribute to the comprehension of shiyi. There are three perspectives within the Chinese philosophical tradition regarding the relationship between yan and yi: yan jin yi (言尽意) can be translated as ‘language exhausts meaning,’ yan bu jin yi (言不尽意) as ‘language does not exhaust meaning,’ and de yi wang yan (得意忘言) can be translated as ‘capturing meaning and forgetting language [20].’ Poets are particularly drawn to the latter two phrases as they express how poetry conveys profound significance through extreme word economy [25]. This economy, as clarified by literary scholars Liu [25] and Sun [26], refers to the poets’ art of using very few precise words to unveil infinite meanings. Related explorations can be found in classical literary criticisms such as yinxiu (隐秀, recondite and conspicuous) by Xie Liu [27], hanxu (含蓄, concealed and implied) by Tu Sikong [28], and yan you jin er yi wu qiong (言有尽而意无穷, the words are limited, but the meanings are infinite) by Yu Yan [29]. According to the modern literary scholar Pauline Yu, one of the most representative statements, yan zaici er yi zaibi (言在此而意在彼, words are here and meaning there) by Qing scholar Xie Ye 叶燮 encapsulates all of these concepts:

Where poetry reaches the utmost, its marvelousness lies in an endless concealed implication that conveys thoughts with a subtle vastness. It lodges [meaning] between the sayable and the unsayable; what it points to rests where the explicable and the inexplicable meet. The words are here and the meaning there. It obliterates demarcations and leaves the formal image, cuts off discussion and exhausts all things, leading a person to a deep, boundless, vague realm – this is what is called the utmost [28].

The above passage distinguishes between the sayable and the unsayable. The sayable refers to what can be expressed and explained in words, while the unsayable represents implicit or hidden meanings subtly conveyed in poetry. The allure of a poem often hinges on its ability to harness the unsayable or effectively employ it to capture the inexplicable. Although expressing the inexplicable in words seems impossible, it is not entirely unknowable; it can, to some extent, find its avenue through subtlety, which arises from the interplay between what can be expressed and what remains unspoken. In doing so, poets possess the ability to transform what is obscure and unsayable within a paragraph into a sayable. This transformation is an essential aspect of poetry creation. Therefore, the unintelligibility of the subtlety within a poem can serve as the foundation of a quality in poems, as well as the genesis of shiyi.

In light of the above analysis, this study argues that shiyi can be conceptualised as something requiring a tangible medium for presentation, such as words in poetry, yet extending beyond what can be explicitly expressed. The interplay between sayable and unsayable, between explicable and inexplicable, creates a dynamic tension between the physical world and the imaginative world. However, this tension does not advocate the distinction between the two worlds; rather, the focus lies on their inseparability. This inseparability is evident in notions such as yi yu jing hun (意与境浑), signifying the merging of emotion and scene, and qing jing jiao rong (情景交融), denoting a harmonious fusion between poets’ feelings and their physical surroundings [26, 30]. It invites readers to move between these worlds, intertwined within the fabric of the poem, leading readers toward the subtle and unintelligible realm where shiyi dwells.

Indeed, the pursuit of subtlety and inseparability is also evident in contemporary architectural practices that draw inspiration from the classical Chinese garden. For example, Amateur Architecture Studio strives to establish a shiyi framework, emphasising the inseparable connection between poetry, painting, nature, and architecture [3]. In the assessment of the Instant Peach Blossom Spring project, completed in 2015 in Nanjing by Atelier Li Xinggang, architectural critic Feng Qing [31] observed that shiyi in this project can be apprehended from diverse perspectives – visual, situational, atmospheric, state, and even behavioural aspects. Notably, these varied angles do not advocate for distinction; rather, they encourage individuals to move seamlessly between these perspectives, recognising that they are intertwined within the fabric of this project. In conclusion, shiyi does not facilitate a process of differentiation; instead, it aims to express the implicit – something of a more fundamental nature, which, typically, cannot be directly articulated through tangible expression or, in other words, knowledge cannot influence it.

Drawing from philosopher Richard McKeon’s exploration of Modes of Thought, a method aimed at discerning the meanings of crucial terms in practical action and theoretical reflection [32], Richard Buchanan [33] examined four broad clusters of definitions of ‘system’ in common usage: arrangement, set, group, and condition. Particularly, the final cluster emphasises the ‘condition’ as the central property of the whole. Unlike other clusters that regard parts as the distinguishing feature of a system, this perspective is featured in the source of order and harmony, a source that transcends the individual parts. The distinguishing characteristic of this system lies in its ability to integrate parts of any kind or scale into an orderly and harmonious whole under the guidance of a transcendent reason, idea, or principle [33]. Based on this analysis, a similar systemic thought can be observed in the construction of shiyi, where shiyi acts as the transcendent reason, idea, or principle, unifying various parts such as architecture, environment, history, and art into a whole. Any attempt to compartmentalise or isolate individual parts risks simplifying the subtle shiyi. To comprehend how shiyi manifests in contemporary architecture, drawing inspiration from gardens, the subsequent section discusses the Riverside Passage project as a case study. It explores first how the classical Chinese garden can be applied in the design of contemporary architecture, and subsequently scrutinises how subtlety has been meticulously crafted in this project to convey shiyi.

The Riverside Passage project is located next to the ruins of a coal-unloading wharf connected to the old Yangpu Gas Plant in Shanghai. It primarily comprises an abandoned 90 m long and 4 m high reinforced concrete wall, originally constructed to prevent coal from falling into the river. This wall has been adopted as a platform for regeneration, incorporating a single-pitched roof that distinguishes two areas. One serves as a relatively private ‘garden’ situated between the wall and the concrete blocks, complemented by a low corridor at ground level. The other is a cantilevered corridor designed for visitors to overlook the Huangpu River. According to designer Yichun Liu [34], this project draws inspiration from the double-corridor in the Canglang Pavilion – a renowned classical garden built around 1041-48 in Suzhou, Jiangsu Province – as both the walls of both projects serve as ‘boundaries’ that divide the ‘garden’ from public areas. AD also integrates openings in the wall, akin to lattice windows in gardens, to encourage interaction between the scenery on both sides (see Fig. 1). The site also features remnants of coal debris and concrete blocks, adorned with several trees. In the early traditions of garden-making, individuals initiated the integration of natural elements, including rocks, water, flora, in conjunction with buildings, to shape garden scenes [35, 36]. According to garden historian Weiquan Zhou [37], these natural elements gradually evolved into the four fundamental components of a Chinese classical garden. In the Riverside Passage, the components of the ‘garden,’ including coal debris and concrete blocks embellished with trees and water, bear a resemblance to the scenic elements commonly found in classical Chinese gardens.

The Riverside Passage features two pathways: one at ground level and another elevated. This deliberate arrangement introduces variations in scale and views, further accentuating the disparity between the scenery on each side of the wall: for the ground-level pathway, the vertical clearance is higher, alleviating the sense of physiological pressure on the human body. Yet, the wall obstructs vision, compelling individuals to redirect their gaze towards coal debris and concrete blocks inside. Simultaneously, the inward inclination of the single-pitched roof allows light to filter solely through the crevices amid the walls and roof, as well as openings within the walls. Moreover, the black metallic roof renders this area dim. Upon ascending the staircase leading to the corridor outside the wall, the visual obstruction immediately dissipates, revealing a vast and brightly illuminated space that offers an unobstructed view of the Huangpu River. Nevertheless, the vertical space undergoes a notable reduction. This intriguing phenomenon gives rise to a paradoxical yet harmonious interplay between an expansive visual experience and contracted physical sensation.

In this manner, AD has succeeded in introducing multiple tensions into this project: between the visual and the physical, between the dark and the light, between the open and the closed, between the natural and the artificial, between garden and ruins. Yet, these tensions do not encourage differentiation between opposites. Instead, they emphasise interrelation that can be characterised as a state of blending, aligning with the central notion of Chinese thought – rong (融). The notion of rong, according to François Jullien [38], implies the processes of liquefying, mixing in, and amalgamating, expressing an interpenetration that “make indivisible and indecisive as what is solid becomes fluent.” In this context, inseparability essentially signifies an inherent indeterminacy – individuals simultaneously and contradictorily perceive the existence of the two poles, yet without being able to distinguish them clearly. As such, AD achieves a harmonious fusion in this artistic creation by skilfully merging visual and physical experiences, composing the natural and artificial elements so they appear in harmonious interrelation, as well as bridging historical and contemporary contexts. These intricate amalgamations give birth to a subtle realm from which shiyi gracefully emerges.

This study initially explored the concept of shiyi in ancient Chinese poetics, revealing its characteristics of subtlety and inseparability. Given that architects frequently adopt this term to elucidate contemporary architecture inspired by classical Chinese gardens, this research investigates a case study of the Riverside Passage project, completed in Shanghai in 2019 by Atelier Deshaus. The research found that AD strategically introduced multiple tensions within this project, encompassing the interplay between visual and physical experience, between darkness and lightness, between openness and closure, between natural and artificial elements. Significantly, these tensions are interrelated and dynamically blended within this architecture, contributing to the creation of a subtle realm rich in infinite meanings. Consequently, this project can be characterised as imbued with shiyi. Such inseparability also makes the emergence of a system, where shiyi serves as the transcendent reason, idea, or principle, integrating various parts such as architecture, nature, history, and art into a harmonious whole, thus assisting architects in reviving a poetic approach to architectural design and responding to the increasing homogeneity of urban environments.