AUTHOR WANG Hui
JOURNAL Time+Architecture 2019(06):106-113
ABSTRACT
Based on the case study of the Tianjin Grand Canal Creative Exhibition Center design, this article explores an inevitable issue in the renovation of the industrial heritage: the design is also a way of a scenery-making in the age of the “society of spectacle” termed by Guy Debord, and its format of alienation is likely to be utilized as a means of control by this society of consumerism. By analyzing the methodology applied in the design for the Grand Canal Creative Exhibition Center, this writing articulates the ineffable connotation in the design: that is, architects should have a critical stance towards this society of spectacle.
KEYWORDS
Industrial Heritage Renovation; the Beijing-Hangzhou Grand Canal; Society of Spectacle
