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<p>This paper examines the bank designs of Tsin Chuang—produced between 1925 and 1936 during his professional maturity—as a lens for understanding the practice of the first generation of Chinese architects. Using architectural drawings alongside archival contracts, technical specifications, institutional bulletins, and historical commentary, the study reconstructs his client networks, working procedures, and spatial design strategies. Methodologically, the argument proceeds through a tripartite analytical structure—patronage, space, and style—revealing how patronage networks shaped spatial planning practices, how spatial prototypes mediated operational needs and site conditions, and how stylistic decisions operated within a logic of structural rationality and economic restraint. This demonstrates that what has been interpreted as classical formalism was, in fact, a pragmatic classicism—arising from institutional demands and practical reasoning rather than aesthetic traditionalism.</p>

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A pragmatic classicism: Tsin Chuang and his Chinese bank designs

  • 期刊论文

  • 出版模式：

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  • 发表日期：

    2026年2月14日

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  • Yixin Zhu,
  • Xiahong Hua

摘要

This paper examines the bank designs of Tsin Chuang—produced between 1925 and 1936 during his professional maturity—as a lens for understanding the practice of the first generation of Chinese architects. Using architectural drawings alongside archival contracts, technical specifications, institutional bulletins, and historical commentary, the study reconstructs his client networks, working procedures, and spatial design strategies. Methodologically, the argument proceeds through a tripartite analytical structure—patronage, space, and style—revealing how patronage networks shaped spatial planning practices, how spatial prototypes mediated operational needs and site conditions, and how stylistic decisions operated within a logic of structural rationality and economic restraint. This demonstrates that what has been interpreted as classical formalism was, in fact, a pragmatic classicism—arising from institutional demands and practical reasoning rather than aesthetic traditionalism.