Beijing has come to be known as an "architects?playground? providing a place for architects to make all their wildest design fantasies a reality.

With several gigantic projects already underway, and many more being planned in the build up to the 2008 Beijing Olympics Games, this is certainly proving to be the case as everyone from Rem Koolhaas to Norman Foster are helping to reshape the Beijing skyline.

All these exorbitant projects, such as the National Theatre, National Gymnasium, and new CCTV tower, have aroused an incredible amount of controversy on their security, fantastical aesthetic, and their lack of harmony with their surroundings.

During ABB 2004, Beijing Weekend writer Xiao Changyan interviewed Paul Andreu, Pierre de Meuron, and Bernard Tschumi, some of the world-class architects involved in designing Beijing's new landmarks, to find out their opinions on the controversy.

Bernard Tschumi and his new plan for Factory 798

Bernard Tschumi (designer for the new plan for Factory 798, the art zone of Beijing)

Beijing Weekend: In the forum, you mentioned that Beijing was a 21st century city, but locals know that Beijing is an old city, with hundreds of years of history. Why do you think otherwise?

Tshumi: Because it changes in a way that it doesn't look any more like the old Beijing.

I can say Paris and London are 19th century cities which are filled with small and old buildings, and New York a 20th century city with all the skyscrapers. But Beijing is unique with modern high buildings and large mansions side by side with the ancient small towers and bungalows.

I have never seen any city like this. I don't know whether such changes are good or bad. We need a new way to perceive such a city.

Beijing Weekend: What do you think is the fate of such a 21st century city?

Tshumi: I don't know. That is what all the architects in the world must study. We need to find where we are going and what it will be.

Beijing Weekend: There is a lot of controversy about the new landmarks, such as the CCTV towers and the National Gymnasium. What do you think?

Tshumi: In all cities, any large-scale project makes people uneasy. For instance, when Rome built the colosseum 2,000 years ago, and when Beijing built the Forbidden City, there were also a lot of controversy.

Beijing Weekend: What is your impression of Chinese architects? Do you have any suggestions for them?

Tshumi: Some of them are really good, for instance, Yung-ho Chang and Wang Hui. All they need is international recognition. What is happening here is similiar to France dozens of years ago. By holding competitions for international architects, French designers have learned fast and gradually earned world fame.

I have no doubt that Chinese architects will be increasingly well-known and will be invited to many different parts of the world.

Paul Andreu and the National Theatre

Paul Andreu (designer of the National Theatre, known as the thousand-year-old eggshell)

Beijing Weekend: Your design of the National Theatre has met a lot of opposition in China.

Andreu: Yes, that is true. People have a right to oppose my design. But such things often happened in cities with a long history and rich cultural heritage. I have also met this problem in France.

Beijing Weekend: The blueprint of the National Theatre has experienced a lot of changes. Do such changes affect the theme?

Andreu: On the contrary, the design integrity of the National Theatre is continuous, and there are no great changes. The government wants a theatre built with a new concept, in contrast to the old ones. I think my design achieves this.

I have changed my design from a square building to a fluid round eggshell, and moved the construction site 70 metres back from Chang'an Avenue.

Beijing Weekend: Many criticize that the design lacks a comprehension of Chinese culture and the eggshell breaks the harmony of the surrounding old Chinese architecture.

Andreu: What is Chinese culture? Can you explain Chinese culture in one sentence? Culture is everything. What we can do is to accept, swallow, and adapt.

To tell you the truth, I don't understand Chinese culture. I have never pretended to know it. But I observe the Chinese carefully, for example, see how they smile and how they walk. Though I didn't study Chinese culture systematically, it has affected my design. Yes, the National Theatre uses a different material, framework, and shape from all the surroundings, but I am confident that I will done it well. I will considered the street and other settings, and I will find a way to its harmony.

Beijing Weekend: It is said that Beijing has become an experimental field for foreign architects.

Andreu: I don't think so. Among all the world's top architectural firms, only some of them have got projects in Beijing. In any case, I have never thought them weird or strange.

Pierre de Meuron and the National Stadium

Pierre de Meuron (designer of the National Stadium, called the bird's nest, with grey steel branches covered by a transparent membrane)

Beijing Weekend: In order to cut down the high building cost, the original cover of the structure has been taken away from the scheme. Will such a change destroy the original design concept?

De Meuron: No. I don't think so. Its style and theme have not changed. I am happy that after our devoted work, the revised scheme is as good as the original one, but the revision was a huge challenge to us.

Beijing Weekend: Were you surprised when you received news that the scheme had to be revised?

De Meuron: No. It is usual that designers have to make some changes for these enormous projects. I have become used to it. As an architect, I have to accept it and devote myself to the new task when such things happens.

Beijing Weekend: What did Chinese and foreign architects do respectively in the revision?

De Meuron: Well, it is team work. Both Chinese and Swiss architects contributed equally to the revision.