Material Authenticity_Searching for the meaning of authenticity through wood in Dong Villages by Beryl Wong

MATERIAL AUTHENTICITY : SEARCHING FOR THE MEANING OF AUTHENTICITY THROUGH WOOD IN DONG MINORITY VILLAGES, CHINA

Beryl Wong | Thesis Project Tutor : Peter Winston Ferretto SUBMITTED AS PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE THE CHINESE UNIVERSITY OF HONG KONG SCHOOL OF ARCHITECTURE MArch _ 2018-2019

I would like to express my sincerest gratitude to my supervisor, Prof. Peter W. Ferretto, who has supported me throughout my thesis with his patience and profound erudition. This thesis would not have been possible without his kindly help and excellent guidance. He gave me the precious opportunity to study as his student. He taught me to return to the thing itself and think it in terms of its own. The knowledge and idea I have learnt from him definitely will be a significant treasure of my life.

And I must offer my thanks to Prof. Cai Ling from Guangzhou University, my dad, my friends Paula, Milly and Freddie. Their support and love have always been the power to me during my study and life.

Beryl 08 May, 2019 CUHK

'' AND I FORGOT THE ELEMENT OF CHANCE INTRODUCED BY CIRCUMSTANCES, CALM OR HASTE, SUN OR COLD, DAWN OR DUSK, THE TASTE OF STRAWBERRIES OR ABANDONMENT, THE HALF-UNDERSTOOD MESSAGE, THE FRONT PAGE OF NEWSPAPERS, THE VOICE ON THE TELEPHONE, THE MOST ANODYNE CONVERSATION, THE MOST ANONYMOUS MAN OR WOMAN, EVERYTHING THAT SPEAKS, MAKES NOISE, PASSES BY, TOUCHES US LIGHTLY, MEETS US HEADON. ''

ABSTRACT Under the era of image, architectural designs are aggravating toward a scenographic inclination with blind worship of foreign architectural style, rampant and largely unreflective importation of Western ideas are ubiquitous to new construction in many China's rural territories. In such circumstance, can the returning to foundations and giving prominence to materials

become a possible way to against this phenomenon ?

In order to have a posititve approach, this thesis is to search for multiple understanding of material authenticity through the study of wood, not only conducted from the perspective of technology and structure, but would also look at the interactive relationship between surface properties and the spatial characters of wood. Transparency, color and texture of wood are taking account to the spatial effect, contributing two different expression of materiality, visible and invisible. Through the interpretation with the dual implication of wood, This project is trying to balance the relationship between

material,

space, and spiritual culture . Taking the autonomous region of Dong minority group with woodbased culture in Hunan, China as an attempt, searching for a positive attitude of the connection between architecture and age, exploring for composition of autonomous space with the elaboration of the intrinsical quality of wood. From the intimate and personal experience with wood to the comprehensive network of local timber industry, it is looking forward that this project could become an useful model of inspiration for the present, promoting an integration of vernacular values and a new approach of specialists and communities.

CONTENTS PREFERENCE : [17] IN SEARCH OF THE LOST AUTHENTICITY

WE ARE IN THE WORLD OF INAUTHENTICITY CHINESE ARCHITECT'S RESPONSE

: WHY WOOD ? [36] WAYS OF LOOKING

: WHAT IS WOOD ? [55] Definition [56] Natural conditions

III

: WOOD AS A RAW MATERIAL [77] The intrinsic property | Transparency [81] Time | Sensibility [82] Metaphor of wood

: WOOD AS A WAY OF LIFE [91] Relationship with human being [92] From tree to timber [101] Timber use in Dong house [126] Carpenter | Craftmanship

: WOOD AS A BUILDING MATERIAL [144] Forestry and Substainability [151] Products and Manufacturing [158] Craft and Construction [160] Intervention Strategies

TECHNICAL CONSIDERATION Settlements pattern The record of experience

: WOOD AS A BELIEVE [182] Cultural renewal [184] Self-sufficiency dream [212] Authenity | Atemporality + Anonymity

Timber: School of craftsman : Process Typology: Timber bridge : Architecture

ANGLES OF LOOKING AT AUTHENTICITY MAKING OF MATERIAL MORE THAN JUST SYMBOLS

AUTHENTICITY : NATURE AND TRUTH Nature Experiment / 1st : Celebration + Suppression Nature Experiment / 2nd : Visible + Invisible Time Experiment : Texture, Colour, Weathering Space Experiment : Tectonic + Juxtaposition Morphology Study : Monolithic <-> Incrusted

Dong Dong Dong Dong

Minorities Carpentry Carpentry Minorities

| | | |

An architecture-based culture Worship of Dong Carpenters Materials and Tools Architectures and social construction

PREFERENCE

IN SEARCH OF THE LOST AUTHENTICITY

According to Oxford’s Dictionary, the word authenticity is

the state of something being authentic, or legitimate and true. Authenticity is important when the value of something is dependent on where it came from or how it was made.

This is an enigmatic word. In the context of globalization,

the quality of being genuine or not corrupted from the original had in fact became a challenging issue. Architectural with blind worship of foreign architectural style. Rampant and largely unreflective importation of Western ideas are in China.

ubiquitous to new construction in many countries, especially

PREFERENCE

designs are aggravating toward a ‘‘scenographic’’ inclination

page 17

negotiate between contemporary culture and traditional values

but live with “fashionable” architectural style, whether in urban or rural contexts. Without integrated consideration and control the dynamic enlargement of politics and economics

at the same time, everything have merge into everything

else, while mass communication creates an artificial world of signs. By returning to a discussion of nature and material

through the use of wood in architectural construction, this project searches for the missing authenticity in our living

environments, which gives us an opportunity to think back

over the truthfulness of origins, attributions, commitments, sincerity, and intentions.

INTRODUCTION

In today’s world of inauthenticity, we have forgotten how to

WE ARE IN THE WORLD OF INAUTHENTICITY

Driving on the way to the village, all along the roadside, there are clusters of two to three stories bungalows with

western-pitchroof and western-porch. Plastic rectangle tiles are tightly cladded on the wall, sometime you will also see

reinforced concrete structure covered with painted wooden boards. Why has contemporary Chinese rural house displayed these inauthentic characters ?

There are three prevalent features can be identified: imitation in overall design strategy, false image-making in the the general appearance of designs. These characters demonstrate

page 19

shared values that shared by the whole society in China today, such as life goals, standards by which we judge success and failure, lifestyle ideals, and aesthetic taste.1

The external cause is the social, political, and economic instability. Culture as refined human endeavor beyond "the

pursuit of practical aims" is always formulated by the social

class. In addition, the emergence, growth, and sustainment of shared beliefs depends upon society's ability to absorb the

nutrients of the national historic heritage bestowed upon it.

The turbulent history of modern China saw the destruction of

the rural gentry and their culture but did not allow a period

of stability long enough for an industrial middle class and its culture to establish themselves.2 Without having enough

time to develop their culture, the socioeconomic status is fragile in the certain climate of Chinese politics and economic policy.

WHY WOOD ?

INTRODUCTION

the primary cause is the lack of strong collective beliefs or

understand the roots of inauthenticity. It is believed that

of the meaning of authenticity in nowadays China, we should

an inauthentic approach to place-making. In order to searching

ONE

PREFERENCE page 18

particular treatment of a building, and an affected manner in

On the other, the lack of metaphysical thinking is the

The destructive effects of this weakness in Chinese culture

metaphysical and

beliefs, an all too frequent situation in the history of

internal

but also the crucial cause. The neglect of transcendental thinking, had resulted in the

conformance to current practical needs rather than revealing

logics and truths of broad validity. Contemporary philosopher

Li Ze Hou, for example, called "practical rationality" is one of the most important characteristics of Chinese people's thinking and cultural behavior:

“ This rationality emphasizes practical applicability. Metaphysical thinking and metaphysical issues are thus deemed unnecessary pursuits… What is important is how to deal

skillfully with the various consequences of these issues in everyday life. ”3

modern China. In these times of chaos, the Chinese tend to act on survival instincts, putting off the pursuit of justice,

integrity, or beauty. In such circumstances people grasp at anything immediately useful, act only in self-interest,

or adopt an ideology that affords instant hope and comfort, without examining the nature or long-term social and moral consequences of their actions. By the same token, Chinese society tends to shy away from serious analysis of a failed

ideology when such an assessment can implicate current practice or disturb the current social "harmony", thus insuring the repetition of failures.5

page 21

everyday existence" instead of "a transcendental and

INTRODUCTION

He cautions about the results:

objectified ideal outside the individual's everyday existence."

Neo-Confucianist philosopher, Tang Jun Yi, believed that the

Chinese have only "an ideal internal to each individual's

PREFERENCE

PREFERENCE page 20

become evident whenever a new development throws out familiar

“ We should understand that, without an objectified,

transcendental ideal, we Chinese are prone to the appeal of

natural inertia and survival instincts, easily shirking our responsibility in practice. The socalled Chinese flexibility then becomes evasiveness and irresponsibility. Unable to

improve itself by adhering to an objectified ideal, the human spirit tends to degenerate following man's natural tendencies. When this happens, all our brilliant wisdom, profound

knowledge, and graceful etiquette become merely excuses for hypocrisy.”4

------------------------------------------------------------------------------------------------1 Pu Miao, An interpretation of contemporary Chinese architecture , 1995, p.17 2 Julian Benda, The betrayal of the intellectuals, 1995, p.30 3 Li Ze Hou, On the history of Chinese ancient thoughts,1985, p.29 4 Tang Jun Yi, The complete works of Tang Jun Yi, 1991, p.508 5 Tang Jun Yi, The complete works of Tang Jun Yi, 1991, p.510 6 Photo: Housing in so-called “European style” in a Chinese village Source: 现在隆隆重介绍让我佩服得五体投地的⼀一尊神仙 | 徐腾⼀一席第505位讲者

PREFERENCE

page 23 |

page 22

grain that sells on the Chinese online shopping website Taobao. Using

this

kind

method

to produce tile rather than a thick timber board is for sure

limited and

with

natural

resources

artificial

claddings

mass

These

correspond

production

world.

are something that vanishing the

authentic

and

brought

material

and

construction used in tradition people

emotionless, fradulent mass factory system.

INTRODUCTION

This is a mold of fake wood

INTRODUCTION

PREFERENCE

page 25

PREFERENCE

page 24

CHINESE ARCHITECT'S RESPONSE Wuyishan Bamboo Raft Factory /Trace Architecture Office

As a natural and cultural heritage of the world, Wuyi Mountain

receives a large number of tourists every year, and tourism has become a major local industry. Jiuquxi bamboo rafting is an important project in Wuyishan tourism in which visitors can take the bamboo raft to travel along the Jiuqu River.

Bamboo raft is a common water transport in the south and has

a long history. It is made of local bamboo and generally, one raft is made of eight bamboos. It is about 8.9 meters long

bamboo rafts bump with the rocks on the riverside all the time,

and the bamboo itself is perishable, the life expectancy of it new bamboo rafts are need to be produced every year.

is generally around half a year. Therefore, a large number of

PREFERENCE

page 27 |

page 26

and about one meter wide. However, due to the rush of rivers,

example, the bamboo structure were commonly been used by local brick factories with large span in a light and simple way, reflecting the superb traditional construction wisdom. However, most of the construction nowaday has been industrialized, including the

construction of cast-in-place concrete systems in rural areas.

Traditional bamboo, wood, bauxite and other natural resourcebased constructions cannot become the mainstream construction material because they can’t meet current norms.

The regional characteristics of the construction became obscured by

the

period

transition

industrialization.

Regional

construction is actually the result of changes in local resource conditions that lead to the evolution of tradition.

INTRODUCTION

There are many regional construction in the Wuyishan area, for

INTRODUCTION

PREFERENCE

page 29

PREFERENCE

page 28

Bamboo raft making is a traditional craft. Every year, bamboo is collected and peeled and dried for about a month. The

production process is divided into three processes. The first two are burnt, which the head and end part of the bamboo are

softly bent and bent by fire to form the steamed bread and the iris.

In the past, the local bamboo raft production was a hand

workshop model, mostly scattered along the Jiuqu River. Bamboo

rafts are the personal property of the workers. They are ordered to go to the market to buy bamboo and then hand it over to the production workshop for production.

In recent years, Wuyishan Tourism Management Co., Ltd. wishs

for environmental protection and production, as traditional workshops are scattered along the coast of Jiuqu River, which

Town which is an abandoned brick factory and is about three

kilometers away from the drifting pier. After the bamboo raft is made here, it is transported by truck to the dock. The

bamboo rafting farm is mainly composed by three buildings: a bamboo warehouse, a production workshop, an office dormitory building, and sufficient bamboo drying space.

The layout in the production workshop is based on the process

of the bamboo raft making process while each production unit

consists of three workers and three processes: burning, burning, and tying. In order to facilitate the transfer

of bamboo, the three processes need to be juxtaposed perpendicular to the direction of the bamboo, so that the

transmission distance is the shortest. Bamboo needs to move

back and forth during firing, so there must be a working space that is deep enough.

INTRODUCTION

The project is located in a terrace in the village of Xingcun

page 31 |

to manage and burn.

will cause some garbage dumping in the river, which is difficult

PREFERENCE

PREFERENCE page 30

to build a relatively concentrated production of bamboo rafts

ONE

WHY WOOD ?

This is a typical wooden room with nothing special. But

perhaps this room is so cozy that it has imprinted its memory on my mind indelibly. The atmosphere of this room brings me an intimate knowledge of wood.

“As people move about the environment, they acquire knowledge about patterns of their own movement and about spatial relations among places in the world. This knowledge is encoded and stored in memory, allowing people to find the

places again…”.7 These patterns are the ways of life. They

are languages. When we are looking at ancient architectures, the tracks of people daily life, knowledge, experience when indicated from the magnificent timber roof structure, the layout and spatial arrangement of a house, the tightly fitted grey tiles or the precise tenon and mortise,

spatial

layering, settlement allocation, or even creating a inner

page 37

timestructured process, and all experience of time is a

WHY WOOD ?

“The dual relation of space and time is not simply semantic. It reflects the fact that all experience of space is a

spacestructured process.”8 Even though time is something that

When I think about Chinese architecture, images come into my

ever7 passing, the overlapped relation between present and

through series of beautiful window frames. Throughout the time

especially revealed from the variation of material. And I

mind. Bright beams of sunlight was infiltrated into the room passed, the shapes of the frame pattern distort, which tell me the changes in hours. The light also emphasis the knots and bumpiness surface on the wooden wall. From these vestige,

I can imagine how carpenters work with their hands, with the

sweat on his forehead or maybe the flying sawdust in the sky,

the history were being exposed with the movement of space,

believe that the veracious ways of making and the spatial

properties of material, in which the presence of material is

sincerity and were truly reflected on the construction, is what I so called the AUTHENTICITY.

which enrich the expression of wood. If you come closer, you can smell the scent of wood with a little bit odour of ducts,

maybe, sometimes, with the moist in it. This is a complex savor that gives you pictures of how these wood had been

witness the winter and summer. The sound of the waxed fir tree floor keeps playing in my head, reminding me how hard I try to walk with my tiptoe in a bid to lower down the noises.

------------------------------------------------------------------------------------------------7 Gary L.Allen, Human spatial memory: Remembering where, 2004, p.251 8 Günter Nitschke, MA: Place, Space, Void, 2018

ANGLES OF LOOKING AT AUTHENTICITY

page 36

ONE

universe within a small house etc.

MAKING OF MATERIAL There are some villages,

in-between mountains and rivers, amidst the fog and cloud,

I see layers and layers of roof with grey tiles, they are villages of wood, of cunninghamia,

people there, are living with wood for centuries, they born with it,

they understand it, they learn it, they use it,

they make a living with it, they believe it, and die with it.

space is anchored in this ancient scenario,

the elements, the knowledge about man’s use of materials, impresses me as I had knew it for a long time. Trees bring me to my childhood, it takes place in hippocampus, neural connections are formed,

the senses make the neurons express signals that go right back to the same part of the brain as before, where memory is stored.

Its called rational memory……

WHY WOOD ?

but you knew that smoke is still blowing from the chimney,

page 39 |

you don’t see much people,

it’s seems like, time is freezing,

ONE

ONE page 38

Walking through the alley in Dong village,

I believe that material consist an essential character of poetic quality in the context of an architectural object, but it depends on if the architect is able to bring a meaningful situation for them. Such sense and meanings of certain

materials, should be perceived in certain way of making in the building.

Vernacular architecture has commonly been considered among the richest and the most meaningful of architectural forms.

Ironically, however, vernacular architecture is not made or designed by individuals or groups intentionally to produce

meaning, it is an “architecture without architects.”9 “While it

may be culturally meaningful, it is not seen to be meaningful

as a result of conscious design. The architect-designed

habitat, by contrast, often takes full credit for abundant meaning.”10

and collective sprite etc. They accumulate

knowledge through the way the live. The history and ethnicity

of the Dong begins with the dominant Han majority and some other group. The constitution of Dong culture are objectified via their architecture, such as housing, drum tower, wind and

rain bridge, and even the settlement allocation. They achieved

these patterns through ritualistic engagement and create an intimate sense of home.

WHY WOOD ?

worship of nature,

page 41 |

have plentiful culture of wood, food, planting, craft, the

mainly living in between Guizhou, Hunan and Guangxi. They

ONE

ONE page 40

The Dong people are the minority group in southwest China,

Thanks to the abundant china fir (Cunninghamia lanceolata), Dong people develop a unique identity and culture with it.

This tree has a straight trunk with slightly change of

diameter from bottom to top, which has a tough, symmetrical texture. It can be used for building material without any oil

to decorate or to maintain its colour, With high resistance to decay, the china fir provides material basis for the wooden structure of “ganlan” building and is widely used.

As Sennett says, work rituals glue people together. 11 A

master crafts man is perforce a sociable expert, and the rituals among the craftsmen build a social bond within a small community.12 Without any written language, the heritage of workmanship relies on the excellent personal perception

and long-term practice and experience with the carpenter and

page 43 |

in it.

craftwork to social activities in Dong villages, wood involved

ONE

ONE page 42

the ink-master. From households to architecture, from the

WHY WOOD ?

WHY WOOD ? ------------------------------------------------------------------------------------------------9 Bernard Rudosky, Architecture without architects, 1964 10 Ruan Xing, Allegorical Architecture : Living Myth and Architectonics in Southern China, 2006, p.2 11 Richard Sennett, The craftsman, 2008, p.73 12 Ibid., p.246

MORE THAN JUST SYMBOLS

In the 19 century, Europe on the one hand were being proud with

of dressing(Bekleidung) and the two layers of relationship

hand, were being castigated with the fall of art, in which can

the clothes on wooden frame, while architecture is also

their accomplishments of culture and science, on the other be seen from the history of architectural contradictory and

the hesitancy brought by modern industrial society in Vienna

at the last twenty five year of Austro-Hungarian Empire. That was the battlefield of elegant art and vulgar products.

Imitating marble and granite with concrete was the biggest

the

book

<<Style

the

Technical

and

Tectonic

Arts>> 14 , Gottfried Semper had brought out the principal

between clothes and architecture: Sculpture is like putting consist of “the inner frame” and “the outer dressing” ; it could also be understand with the extensive history and

cultural meaning, which means that in every single historical

period, architecture is like clothes, being as the reflection of different society and living.

issue at Ringstrasse project in 1857, doubting about the

cultural preference and its value. On the contrast, these European centuries were being crazy about the America culture with the skyscrapers in Broadway and pictures of Wall street ONE

page 45

solution to resist the phony of Germanic culture. He focused

WHY WOOD ?

dwellings and daily use articles, in which was treated as the

solemnity and abstinence personality revealing from their

and plainness of Anglo-Saxon culture, particularly with their

page 44

what Adolf Loos had found from the America was the simplicity

ONE

bustling with noise and excitement at the same time. However,

on the aspects of the everyday life, from people’ clothing

to daily utensil, from the furniture to the transportation, returning to tradition and being identical with it’s own value.

To Loos, “Modernism” is not something accompany with fashion and

has to separate with history, however, it should

connect with history consciously and observe the importance of one self through the comparison with it. In term of the

classical architecture spirit, the precision and economy are

of meaningful and valuable.13 Of course this kind of economic consideration had certain degree of marketing value, but it is more like a moral justice that could not bare for any unnecessary decoration and unconsidered waste.

------------------------------------------------------------------------------------------------13 John Summerson, The architecture of Adolf Loos: An arts council exhibition, 1985 14 Gottfried Semper, Style in the Technical and Tectonic Arts; or, Practical Aesthetics, 1860

ONE |

page 47 WHY WOOD ?

隨山伐木圖

Sometimes, we forget to be free and to live for ourselves. We are in German philosopher Martin Heidegger’s unusual formulation “thrown into the world” at the start of our lives:

thrown into a particular and narrow social milieu, surrounded by rigid attitudes, archaic prejudices and practical necessities not of our own making.

ONE page 49

nature in each moment of their existence. In other words,

culture, or a system. To him, such entities define their an authentic architecture should express the utilitarian

conditions and cultural functions, obtainable construction and technology, and the economy of the particular society.

From looking back and learning from the history, what is our position today ?

into the essence of entities, such as a human being, a living

WHY WOOD ?

He raised up his concept of authenticity with an exploration

TWO

WHAT IS WOOD ?

WOOD

/wʊd/

Definition from Oxford Dictionaries NOUN.

The hard fibrous material that forms the main

‘best quality woods were used for joinery’

[2] An area of land, smaller than a forest, that is covered with growing trees.

WHAT IS WOOD ?

count noun:

page 55 |

used for fuel or timber.

substance of the trunk or branches of a tree or shrub,

TWO

TWO page 54

[1] mass noun:

TWO

page 57 |

page 56

WHAT IS WOOD ?

< 50 50-200 201-1000 >1000 no data

NUMBER OF NATIVE FOREST TREE SPECIES

TWO

page 59 |

page 58

WHAT IS WOOD ?

TREE SPECIES IN NATIVE FOREST

TWO

page 61 |

page 60

WHAT IS WOOD ?

LOOSE

TREE COVER IN CHINA

DENSE

Cunninghamia is a evergreen

coniferous trees in the cypress family Cupressaceae and also

sometimes called "China-fir" (though it is not a fir).

mainly

grows

Gansu,

China,

WHAT IS WOOD ?

Anhui,

Hainan,

page 63

Sichuan,

Guangdong,

Guizhou,

Henan, Hubei, Hunan, Jiangsu, Jiangxi,

Shaanxi,

Yunnan, Zhejiang; Vietnam, and perhaps

Cambodia

and

Laos.

Cunninghamia produces soft,

highly durable scented wood and is ubiquitous in many native housings and temples in China where the scent is valued.

Guangxi,

Fujian,

native

WHAT IS WOOD ?

TWO page 62

are

TWO

They

TWO

page 65 |

page 64

WHAT IS WOOD ?

Cunninghamia can reach to 50 m tall and 300 cm dbh, with

From dark gray to dark brown, or reddish brown, the bark is

Branches are whorled, spreading, pendulous at the ends.

exposing a aromatic, yellowish or reddish inner bark.

conical or pyramidal, dark green crowns.

longitudinally fissured, cracking into irregular flakes and

New growth in trees occurs Habitat includes forests, rocky

best on well drained sandy and loamy soils (FIPI 1996).

predictable

pattern throughout the year in response to seasonal climate

changes, resulting in visible

growth rings. Each ring marks a complete cycle of seasons, or one year, in the tree's life.

page 67 WHAT IS WOOD ?

WHAT IS WOOD ?

forest dominant, and competes

1999). It often grows as a

changes

2800m elevation (Wu and Raven

bark. A tree's growth rate

TWO

TWO page 66

hillsides and roadsides at 200-

in a layer of cells near the

HEARTWOOD

SAPWOOD

PITH woody stem

RAY

growth rings

VASULAR CAMBLUM

GROWTH RING

TWO

growth rings

INNER BARK: SECONDARY PHLOEM Horizontal

Vertical

section

NEEDLE OUTER BARK

[branches, stems and roots get thicken each year]

HORIZONTAL SECTION OF Cunninghamia

HOW GROWTH RINGS CHANGE

SOFTWOOD The

greater

the

proportion

softwood, the lighter the weight. LATEWOOD

The latewood will be denser than that formed early in the season. The

greater

the

proportion

latewood, the greater the density and strength.

WHAT IS WOOD ?

woody root

page 69

INNER BARK: CORK CAMBLUM

page 68

Leaves are stiff, densely and spirally arranged, glossy deep green adaxially, narrowly linear-lanceolate, straight or

Flat with median longitudinal keel throughout, stomatal

Pollen cone fascicles terminal, broadly obovoid, and occasionally a few also around base of seed cone.

LEAVES AND NUTS

WHAT IS WOOD ?

trees apex usually symmetric and spinescent.

page 71 |

denticulate, sometimes indistinctly so, especially on old

bands present on both surfaces, while base decurrent, margin

page 70

TWO

slightly falcate.

THREE

WOOD AS A RAW MATERIAL

AUTHENTICITY : NATURE AND TRUTH

About “Nature” : 1] The phenomena of the physical world collectively, including plants, animals, the landscape, and other features and products of the earth, as opposed to humans or human creations, which

is the physical force regarded as causing and regulating the Raw trunks

phenomena of the world.

2] The basic or inherent features, character, or qualities of something, that is the innate or essential qualities or the inborn or hereditary characteristics of something. British

academic Raymond Williams suggested that nature includes the force to dominate the world and human being; and the physical

primary property and the secondary property.16 The former one depicted

Processing_secondary property: the way of debarking has changed the nature of wood in the first step.

relatively

constant

fact,

such

the

density,

stiffness, weight, heat resistant and load bearing property, while the latter one is the variable or occasional factor that will change with the time and treatments such as the lumbering

period, processing, climate and lighting etc. Therefore, the knowledge of material’s nature has a conclusive meaning to the

craftwork and the way of making, with the physical perception and comprehensibility.

Revealing the secondary nature of wood through different treatment, firing and weathering.

------------------------------------------------------------------------------------------------15 Raymond Williams, “Idea of Nature” in problems in materialism and culture, 1980 16 Marcus Vitruvius, the Ten Books on Architecture, 15BC

WOOD AS A RAW MATERIAL

Vitruvius believed that a material can be differentiate by the

page 77 |

page 76

world itself.15

THREE

meaning of the fundamental features of something; the power and

THREE

page 79

page 78

WOOD AS A RAW MATERIAL

Testing on colouring Testing on weathering

Changes in color and texture bring complicated sensation to people’s preliminary cognition.

Through testing again and again, carpenters gain the knowledge of wood, and that is the craftsmanship.

What is learned from these experiments was that we are not to learn a specific status or a certain way of material making, but to found and respect the innate character of different materials.

And this is the sprite of carpenter, that never stop chasing for a higher level of craftsmanship and a widen thinking.

Once when we recognize the multiple aspect of “the Nature”, and and opportunity become deeper and richer.

THREE

the affects of varied production processes, the creativeness

material within certain life span, in which for example, we to happened due to natural climate. Architecture is no longer a static image in a split second, it becomes a dynamic organism.

can create and control the weathering effect that was supposed

WOOD AS A RAW MATERIAL

page 81

In additional, the time factor can be applied on to the

WOOD AS A RAW MATERIAL

page 80

About “Truth” : The quality or state of being true or in accordance with fact or reality; a fact or belief that is accepted as true. This

is a discussion about whether the properties between different materials can be mutually imitate or the material should focus on self-expression through certain construction.

The Greek temple was not initially built with stone but wood, however we can’t see the wooden part anymore because of

the age and corrosion. The triglyph was supposed to be the structural part of beam in the original wooden Greek temple.

In terms of structure consideration, the triglyph may carved from a single block with a metope, or the triglyph block may have slots cut into it to allow a separately cut metope in

wood to be slid into place. It is an unnecessary gesture after of elevation design, the Greeks used stone to simulate the

that is the way that craftsman use to repeat the successful

experience. At the same time, the craftsman would develop sensitivity and skill and enjoy it, as the craft offers

important clues to what we actually want from work. We want to

know we have done something good with the day that our efforts have counted towards tangible outcomes that we actually see and feel worthwhile.18

There is a inner interaction betweencraftsman(carpenter),

material and his way of construction. To summarize, nature

and truth are the two essential ideas of authenticity, what history and experience told us is that the importance of true knowledge and the pursuing sprite of craftsman, while we

have to stay true with the function and construction in an architecture. Architecture should be an art combination of the

WOOD AS A RAW MATERIAL

More example like the marble-like concrete in Louis Kahn’s Phillips Exeter Library, the marble cladding covered on the

wood frame in the original Triumphal arch. Although Gottfried

Semper thought that such imitation and classing had concealed the true property snd structure of the original which is an

inauthentic expression, French architect Eugène Viollet-le-Duc disagreed with such saying. In his opinion, the Greek temple

revealed the whole process of stone making, from exploitation

to processing, from transportation to lifting, every single step has manifested the character and the load-bearing ability of stone.17`

------------------------------------------------------------------------------------------------17 Eugène Viollet-le-Duc, Entretiens sur l’architecture, 1863

page 83 |

function, structure, and social conditions.

feature in wood structure.

different materials is the hidden consistency between them, and

THREE

THREE page 82

the Greek temple had been built in stone. In the consideration

And to Vitruvius, the similarity of craftsmanship between

------------------------------------------------------------------------------------------------18 William Morris, A factory as it might be, 1884

FOUR

WOOD AS A WAY OF LIFE

A CHARTER FOR EVERYDAY PRACTISE IN DONG VILLAGE

'' Every human activity from the intellectual to the mundane, considered properly as he perceived it, derived authority from, and

offered

opportunities

explore

philosophically, the ever central question of being. ''

FOUR

MARTIN HEIDEGGER

WOOD AS A WAY OF LIFE

page 91

WOOD AS A WAY OF LIFE

page 90

WOOD AS A WAY OF LIFE

FOUR

page 93

FOUR

page 92

MULTIPLE READING - PHILOSOPHY

WAY OF LIFE

ROLE OF ARCHITECTURE IN DONG SOCIETY

[MARTIN HEIDEGGER - BUILDING DWELLING THINKING]

The black forest: To the philosopher, a walker follows when walking, or thinking, it often remains difficults

familiar or allow a view out over the wider landscape, has potential to prove orientation for sure. In this model of architecture, buildings are memorials to the engagements of mind with place involved in their construction and alteration over time. Every structure bears the imprint of successive layers of dwelling.

WOOD AS A WAY OF LIFE

Only occasional arrival at a clearing, which may be

page 95 |

might lead to dead end, or lead round in a circle.

to be sure one is on the right track. And the path

page 94

FOUR

a path in faith that it must lead somewhere. But

Bedroom

Fireplace

Storeoom

Storeroom

Wide varendah

FIRST FLOOR PLAN

LOFT FOUR

FOUR

page 97 |

page 96

WOOD AS A WAY OF LIFE

Pigsty

Fertilizer

Fire wood

GROUND FLOOR PLAN

TIPICAL DONG HOUSE

Entrance

SETION

WOOD AS A WAY OF LIFE

FOUR

page 99

FOUR

page 98

MULTIPLE READING - PHILOSOPHY

SYMBOLIC METAPHOR

NATURE IS PLACE IDENTITY

[MARTIN HEIDEGGER - ...POETICALLY, MAN DWELLS...] [ALLEGORICAL ARCHITECTURE LIVING MYTH AND ARCHITECTONICS IN SOUTHERN CHINA]

FOUR

‘‘The [place] is not already there before the bridge

something. One of them proves to be a [place], and does so because of the bridge. Thus the bridge does not come first to a [place] to stand in it; rather a [place] comes into existence only by virtue of the bridge.’’ And this is how a place happens.

WOOD AS A WAY OF LIFE

many spots along the stream that can be occupied by

page 101 |

is. Before the bridge stands, there are of course

page 100

An architectonic analogy that of an umbrella has been derived from the fir tree. A village needs an “umbrella” to cast shade for the comfort of its people. The drum tower, a dominant multistoried structure, certainly has the capacity to protect villagers and cast shade for them. The form of the drum tower appears to serve as the analogy of the fir tree, giving it architectonic significance.

FOUR

page 103 |

page 102

WOOD AS A WAY OF LIFE

SECTION

DRUM TOWER

PLAN

WOOD AS A WAY OF LIFE

FOUR

page 105

FOUR

page 104

FOUR

page 107

Dong architecture. Closely tied to their built world, it is also thought to be a holy tree that protects Dong

the

daily

Dong

life

settlement. dwells

variety of animistic religious beliefs and practices. Benevolent and malevolent spirits are seen to exist everywhere in nature. Valleys, rocks, fir

rivers, and,

trees,

all

most have

mountains, important, spiritual

significance. It is necessary to acknowledge and attend to these VARIATION IN STRUCTURE

spirits in a proper way so as not to destroy an existing balance.

WOOD AS A WAY OF LIFE

China fir is the basic element of

page 106

WOOD AS A WAY OF LIFE

FOUR

page 109

FOUR

page 108

MULTIPLE READING - SOCIOLOGY

FINDING NATURE

INDIVIDUALITY VS. UNIVERSALITY

[MARTIN HEIDEGGER - BUILDING DWELLING THINKING]

The black forest: To the philosopher, a walker follows when walking, or thinking, it often remains difficults

WOOD AS A WAY OF LIFE

Only occasional arrival at a clearing, which may be

page 111 |

might lead to dead end, or lead round in a circle.

to be sure one is on the right track. And the path

page 110

FOUR

a path in faith that it must lead somewhere. But

WOOD AS A WAY OF LIFE

FOUR

page 113

FOUR

page 112

MULTIPLE READING - SOCIOLOGY

GLORIES OF NATURE

[HENRY DAVID THOREAU - WALDEN] “I went to the woods because I wished to live deliberately, to front only the essential facts of

life, living is so dear; nor did I wish to practise

page 114

to live deep and suck out all the marrow of life, to live so sturdily and Spartan-like as to put to rout all that was not life, to cut a broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms...” “Only that day dawns to which we are awake. There is more day to dawn. The sun is but a morning star.”

WOOD AS A WAY OF LIFE

resignation, unless it was quite necessary. I wanted

page 115 |

had not lived. I did not wish to live what was not

teach, and not, when I came to die, discover that I

FOUR

life, and see if I could not learn what it had to

WOOD AS A WAY OF LIFE

FOUR

page 117

FOUR

page 116

MULTIPLE READING - SOCIOLOGY

STEPPING FORWARD BY LOOKING BACK

[MARK WRATHALL,JEFF MALPAS - HEIDEGGER, AUTHENTICITY, AND MODERNITY]

‘‘ Salvation is not a matter of waiting for a future of becoming a Christian in order to be prepared for

is yet to be in one “twinkling of the eye”. ‘‘ The studies of religion portray the “moment of vision” as the ideal standpoint from which one can grasp the temporality of life in its tripartite, “ecstatic” structure.

WOOD AS A WAY OF LIFE

lucidly grasps all that has come before and all that

page 119 |

contains in itself a moment of vision, in which one

the Event which is already happening. Such a moment

page 118

FOUR

event, but rather of decisively assuming one’s context

FOUR

page 121 |

page 120

WOOD AS A WAY OF LIFE

School had long been a place to teach and learn knowledge from the past, but in a carpentry school,

also

provided

platform for learner to practise what they have learned and evoke their creativeness.

WOOD AS A WAY OF LIFE

FOUR

page 123

FOUR

page 122

MULTIPLE READING - ECONOMY

GOODNESS OF MAN

[WILLIAM MORRIS - A FACTORY AS IT MIGHT BE] [RICHARD SENNETT - THE CRAFTSMAN]

The craft offers important clues to what we actually

humiliating. ‘‘

page 125 |

page 124 WOOD AS A WAY OF LIFE

and enjoy the labor it wasn’t to be mechanical or

FOUR

‘‘ The worker would develop sensitivity and skill

good with day that our efforts have counted towards tangible outcomes that we actually see and feel a worthwhile.

WOOD AS A WAY OF LIFE

want from work. We want to know we’ve done something

If the hand-ink master thinks the character and qualifications of a young man are good enough, he will accept the young man as an apprentice.

Stage 1. As an apprentice, the first task is to learn how to use the tools, and understands the uses of them. He must develop skills with various tools. Stage 2. Then there are three levels of apprentice before he becomes a qualified carpenter. - The first level apprentice studies how to make wooden component. First, he has to make the rough wooden component. Second, he learns to process the rough wooden component into an exact wooden component. The hand-ink master will recheck the wooden component and modify it as necessary till it becomes a qualified wooden component.

mainly and

oral

craftwork

explanation

demonstration.

decorations. After this, the apprentice can be a qualified carpenter. This is also the main process to make wooden components.

However, it is quite hard to

Stage 3. The examination takes place within the working process. The master

the master thinks that the apprentice is qualified. He then teaches him

needs to see the progress of each step learned by the apprentice, until

perception and long-term practice

toward the next step in the woodwork through real projects. In a project,

explain

and

demands

word

excellent

experience

text,

personal

understand

and master it, especially some key technologies. The education

of Dong carpentry was learned from the Han (They worship the

same founder of carpentry, Lu Ban

master

‘魯班’)

and

their

carpentry ‘course’ involved real projects.

CARPENTER / INK-MASTER AS ARCHITECT / ENGINEER

the apprentice usually stands beside the master, helps him, and observes what the master has done while the master is obliged to give an answer to the question. They are taught and learn in this interactional process. At each step, the apprentice is familiar with materials and components, and he begins to gain a general idea of structure and clear understanding of the uses of tie-beam, column, short column, hanging column, etc, including components’ names, functions, forms, and their positions in the structure, and also the structural relationship between components.

------------------------------------------------------------------------------------------------19 Derong Kong, The Dong Oral Architecture: Carpenter, architecture and phenomena among the Dong people in southwest of China, 2016

page 127 WOOD AS A WAY OF LIFE

WOOD AS A WAY OF LIFE

heritage of workmanship relies

- The third level apprentice learns to carve the detailed components and

their own written language, the

mortises.

As the Dong people do not have

FOUR

FOUR page 126

- The second level apprentice learns to use tools for making tenons and

Planing tool: A plane is used to process the surface of timber, making it smooth and flat to draw ink-lines on.

FOUR

page 129 |

page 128

WOOD AS A WAY OF LIFE

Cutting tool: The carpenter uses an axe to cut timber, and also uses it to make wooden components, such as to remove the bark from timber, cut tenons, and sometimes he uses its back as a hammer to knock the tenon into the mortise and to adjust the position of wooden components. The axe is used throughout the whole process of the construction.

Carpentry tools Migration and communication of the

Dong

people

architectural tools, Chisel tool: The drilling cone and chisels are to cut away part of the timber, and make mortises in a column and tenons on a tie-beam or drill a hole in a tie-beam or a door.

and

techniques

prompting

development. most

brought their

Columns, the

new and local beams

structural

members of Dong buildings were standardized.

WOOD AS A WAY OF LIFE

FOUR

page 131

FOUR

page 130

FOUR

page 133 |

page 132

LANGYANG Drum Tower

Within the Dong settlement the drum tower is visually the most

Drum tower serves functional and social purposes. The Dong are

outstanding and physically the most dominant formal structure.10

well known for their hospitality, and these drum tower rituals

In most cases, the drum tower occupies the central area of the

are an essential aspect of their daily social activities, and

settlement—often defining and forming a drum tower square or open

sometimes serves as a ritualistic performance place for greeting

space. Commonly, housing and an opera stage also help enclose

and bidding farewell to visitors.

this drum tower square.

Architectures and social construction

WOOD AS A WAY OF LIFE

GAOSHANG Drum Tower

FOUR

page 135 |

page 134

While the Dong settlements are vertically dominated by their drum towers, the wind-and-rain bridges oVer a powerful, horizontal balance. An ethnic identity and a sense of their own place aside, the juxtaposition of mountain river valleys and towering structures as well as roofed bridges does give a striking picturesqueness to a Dong settlement: mountains and valleys are claimed mainly by drum towers, either as the highest formal structures or as the topographic focal points of the valleys, while the rivers are claimed by wind-and-rain bridges.

WOOD AS A WAY OF LIFE

WIND AND RAIN Bridge

FOUR

page 137 |

page 136

WOOD AS A WAY OF LIFE

Wind-and-rain bridges not only connect two sides of a river but also, in most cases, connect the outside world to the village. Compositionally and structurally, a wind-and-rain bridge is constructed with four parts: roof, inhabitable body (usually an open corridor plus some semi-enclosed shrines or temples underneath

pavilion

roofs),

log-constructed

cantilever,

and

stone piers. Sometimes, Dong people separate the pathway of humans and animals in two leavels.

FOUR

page 139 |

page 138

WOOD AS A WAY OF LIFE

Compromising architecture with nature landscape, Dong people develope a mutual structure that connect to the topography. Additionally, by elevating the first floor, the furnitures and utilities are protected from moisture. The fireplace had kept them in a comfort temperature while the roof frame on the loft level maintain good ventilation.

FIVE

WOOD AS A

BUILDING MATERIAL

TECHNICAL CONSIDERATION : In order to stand and maintain its existence on earth, humankind has to ever-construct and be completely proficient

or skilled in different construction techniques in pursuit. We had found that we are not only taking pleasure in greater convenience and efficiency, but also facing prominent complexities and controversies. With the purpose of becoming member of society and acquiring the capability to live

together, individuals try their effort to prove and surpass

themselves, in which this participation has turned humanity became a part of a cycle of change and transformation. So do

the definition of authenticity that Martin Heidegger had been raised up about, an authentic expression is not merely about the true functionality and way of making, but also has to be

in line with actual cultural, economic and social conditions

development made by forests and wood. (Source: Timber construction manual )

in the moment.

such

subtopics

“sustainability,

WOOD AS A BUILDING MATERIAL

globalization, technology” in architecture, the practice of architecture taking part between theory-practice dialectics

gained a transdisciplinary quality given the constant change

it underwent, due to the fact that both the architect and the practice of architecture are expected to establish

multidisciplinary links.18 Vitruvius hold an idea that avoiding

the loss of traditions rather than to search for the new, so

he considered formation of the theory of architecture is more

important than the construction of a building. Nowadays, the

globalization and sustainability, as well as the technology and developments in communication, have made architecture become a profoundly interdisciplinary activity. Architecture, an upper-identity and an upper-language, gives us hope for the

future by bringing out the spirit of the profession within the dialectics of man and society.19

------------------------------------------------------------------------------------------------18 Güven, S.,understanding Roman architecture, 2009, p.177 19 Serap Durmus, Change and Transformation in architecture: On the concept of Zeitgeist, 2012, p.24

page 145

criteria and social aspects, including the preservation of

WOOD AS A BUILDING MATERIAL

within

new. In term of bring it to the modern construction in the

future, we need to integrate the economic action, ecological the natural resources on this planet, the raising of living standards in the sense of quality of life, and the development of intelligent technologies that fulfill ecological criteria.

Building has a major and longterm impact on the cultural,

social and economic aspect of our society, as well as the appearance of our urban and rural environments. Building has

always reflected the cultural and spiritual values of society.

But now besides the architecture, the building forms, the engineering criteria of materials and structure, building

must also consider the ecological characteristics with a growing environment awareness and so question and validate a structure’s viability for the future.

prominence

Wood, being as the possible media that connect the old and

Change as a common worldwide expression has come into

FIVE

FIVE page 144

The contribution to sustainable

In term of turning wood into a modern systematic product with the skills of craftsmanship, new criteria must therefore be developed and implied in Dong villages:

- Places and methods for extractions and provisions - Transportation method and itinerary

- Manufacture of products and sort of technologies - Product properties

- Multiple application In the light of this, building and the future role of wood

in our buildings must be re-examined. A craftsman factory could be to modernize the process of timber making, including

the prefabrication of wood frame and joint, households and furnitures, and also the side-product like tree oil and wood FIVE

made Dong house, drum tower, and wind and rain bridge will

FIVE

charcoal. It is assumed that the new construction of wood-

heritage policy and the tourism development, with the idea of

page 147

buildings and also the modern bungalow, a three-axis component

WOOD AS A BUILDING MATERIAL

an individual structural system that fit for the traditional

page 146

remain its demand in a certain number because of the new

is designed.

There are nine Dong villages located along the Pintang river with a

downtown of the north side. As shown on the diagram, raw woods can be delivered through shipping among different villages.

WOOD AS A BUILDING MATERIAL

FIVE

page 149

FIVE

page 148

In nowadays China, wood’s decline was furthered by the emergence of modern architectural styles

that promoted the use of massproduced components

made of steel, glass, and concrete etc., often to

achieve a universal aesthetic. Wood was therefore increasingly marginalized as a low-cost, lowquality building material only utilized by the

rural population. As a result, the board range of responsibility that the carpenter had previously

held as the master builder on the job-site also diminished. In order to increase the superiority

of timber industry in these Dong villages among

the southern China wood market, it is important to take advantage of the local vernacular architecture

knowledge and in traditions of high-quality

wood as a material that could successfully meet

FIVE

today. Thus, offering an alternative to different

page 151

On the other hand, carpenter, in particular, will

WOOD AS A BUILDING MATERIAL

types of wood construction is a crucial strategy.

be benefited from this change, when they regained the responsibility for the construction of entire buildings after decades oh having been relegated to

the mere installation of roof structures. Within

the transition to modern, computer-assisted design and production processes will be involved in term of the use of modular building systems, high

levels of prefabrication, and efficient equipment

for transportation and lifting, that streamline off-site manufacturing and facilitates rapid and precise installation on site. This comprehensive development will open up significant market for

wood, ranging from building constructions to small scale components , while remaining deeply rooted in its craft tradition.

page 150

the stringent requirements imposed on buildings

FIVE

craftsmanship, which could be able to reestablish

These nine Dong villages will be set up in a radiated

iv]

exploitation site of natural forest resource and the remaining

construction with less unskilled manual labor and a minimal

production system, while the Pingri village will be the main villages will be divide into different sectors in different degree of industrialized technologies. i]

Gaobu village : Log construction Log construction is

a building technique in which timber members are stacked

horizontally, interlocking in the corners with notched joints.

Rigidity is achieved by these corner connections and by the frictional resistance developed between the members in which it requires professional carpentry. Gaobu village located in

between the peak area and Gaotuan village, in which it enjoys the rich forest resource, will be able to become a transfer hub for the other villages.

construction is a traditional method using heavy structural

collaborate, such as frame prefabrications, assembly, and erection. Yutou village has the a long-established history

speed of erection, and low cost of this technology, it is predicted that it will become welcomely for the Dong villages and the downtown area. With the least population among these

nine villages, Shangdutian village will be suitable for this process.

During the wood production process, a large

amount of sawdust will be generated. These sawdust can become charcoal after burning, it can be used for sawdust brick or

become a fibre-glued material by using adhesive. The process below involve the use of sawdust or recycling of wood waste with glue. v]

Pingtan village : Panel construction Panel construction is

business can easily perform the necessary tasks without highly

page 153

commonly been used due to the fact that any qualified carpentry specialized equipment. This technology is suitable for the

construction of housing, which can bring an alternative to the construction of Dong housing with a affordable price.

in wood with the master elaborate joinery techniques, it is

vi]

charge of this section.

drum tower had laid the foundation for the frame construction,

competent for the senior carpenters in Yutou village to be in

iii]

Hengling village : Hybrid construction&composite

components The combination of different materials for technical, functional or aesthetic purpose, allows the

strengths of a strengths of a particular construction material to be exploited while its weakness are compensated for by

another, leading to optimization of the structure as a whole. Taking the experiment on page 20 as an example, this craft-

product without the use of nails, screws, bolts and plate, has a high quality compare to the contemporary wood construction.

Yanglan village : Frame construction Yanglan village is

famous with its splendid carpentry of “Dougong”. The Yanglan as it requires mature knowledge with the postand-beam

construction. The vertical loading relationship between the columns and beams relies on a separate lateral bracing system, which can consist of shear walls, diagonal bracing, or a solid core.

WOOD AS A BUILDING MATERIAL

the timber frame construction needs a team of carpenter to

is balloon frame construction, because of the flexibility,

much technical skills as the log construction. In Dong culture,

use of tools. One of the example of light frame construction

members that are square-off in cross section, which require as

page 152

Yutou village : Timber frame construction Timber frame

the emergence of versatile building systems that allowed rapid

FIVE

ii]

Shangdutian village : Light frame construction This led to

vii]

Gaotuan village : Solid Timber construction

In term

of the large-scale building, the solid timber construction has emerged as an entirely new building system that has its

origins in traditional log construction methods. According to the suggested plan above, the location of Gaotuan village is in between Gaobu village and Hengling village, which means

that these two villages are able to provide products for this

solid timber construction. This process combine the individual

wood members into load-bearing, large-format elements that exceed the traditional structural limits. The two-dimensional, planar units have the ability to resist both vertical and

lateral force, simultaneously providing the functions of loadbearing structure and spatial enclosure. viii]

village : Wood-based composite products with

a relatively less natural resource in Huangtu village, this

process have the potential to increase the value of forests

products after binding together individual boards, veneers,

WOOD AS A BUILDING MATERIAL

mediocre harvest will become homogeneous large-formate stands, or fibers with adhesive, products are including the

glued-laminated timber, parallel-stand lumber, laminated-stand lumber, cross-laminated timber etc.

Under this strategy, the knowledge and skills of working with wood

page 155 |

as it only require fast-growth, small-diameter trees. These

Site model in 1:15000 (Pine wood, Made by CNC machine)

by turning low-value raw materials into high-vale commodities

FIVE

FIVE page 154

Huangtu

were evolved and are hopefully be passed down from one

generation to the next. Carpenters are not only competent craftsmen that master in traditional skills but also competent

as modern master builders, continuing with the role comparable to the architect and engineer in one.

Site model in 1:15000 (Pine wood, Made by CNC machine)

FIVE

page 157

Huangtu village was located

in the middle part of Pingtan

river, taking adventage of the great location to connect the

downtown district, TongDao and other eight Dong villages.

However, the village is now turned into a theme park that

charge for ticket. The whole village

has

became

fake

version of Dong community. On the other word, this is an inauthenticity phenomenon that

challenging the authentic value of this precious area.

WOOD AS A BUILDING MATERIAL

SETTLEMENTS PATTERN

page 156

INTERVENTION STRATEGIES A good interaction between the rural and urban area should be

constructed, while the natural resource, craftsmanship can

be brought from the remote area to the relatively developed downtown area while the developed area can provided modern technology, knowledge or even the industrial products and

recyclable wastes to the villages. This kind of integrated mutual trading will expand the economic market in both

areas while the traditional craftsmanship will be able to be inherited and modernized.

The picture on the right shows how a tree were cut into

different parts. The baulk, which is the core of the tree,

raise up the price of baulk and lower down the batten’s, while

BARK - WOOD CHARCOAL AFTER BURNING

with professional knowledge, with the effect that the quality

BARK CHIPS AND SAWDUCT - WOOD BRICK

baulk or even better. On the one hand, the carpenters’ profit

BALK - CORE OF THE WOOD [main export product] [use for frame work]

and performance of this new hybrid-batten is as good as the

and income will increase, while one the other hand, their

knowledge and skills can become technologically advanced an, ,the Dong sprite and wood tradition can be continued.

BATTEN - FURNITURE DESIGN [wall, table, chair, bookshelf, bed, wardrobe, barrow, floor cladding] BATTEN - CRAFTS DESIGN [wine barrel, sewing machine,] BATTEN - CONSTRUCTION MATERIAL [knowledge of wood structure + use of concrete + hybraid material skill] [to modernize the skill of carpenter and to expand the wood craft market]

page 159 WOOD AS A BUILDING MATERIAL

WOOD AS A BUILDING MATERIAL

the craftsmen can use batten to create an innovated product

NUTS - FACIAL OIL

page 158

used as the dressing material or furniture. One strategy is to

while the batten, which is the side of the wood, is usually

FIVE

is a common construction material used for column and beam,

EXPERIMENT Concrete as a new modern material, adding it into the

remodeling of batten could be one of the solution. It is

well-known for its stiffness but weak tensile strength if earthquake is happened. On the contrary, the tensile and

ductile quality of wood is greater than concrete. Both of them

has their own strength and weaknesses, these two materials will play an reciprocal role on such renewal. Looking from

the cultural aspect, the invention of a hybrid concrete-wood innovation provoke carpenter and

craftsman to learn an up-

to-date material and bring craftsmanship into such industrial

material. The diagram on the left is an adjustable component

that integrate column and beam with the batten as frame. Once the positions are settle down, concrete can be filled

component is able to apply on the common domino system and the

roof and “Duo-gong” are still applicable.

lower part of traditional building, the skills of making Dong

page 161 |

page 160

FIVE

in the middle part to increase the weight and rigidity. Such

WOOD AS A BUILDING MATERIAL

WOOD AS A BUILDING MATERIAL column - beams

column - beams - roof frame

primary & secondary column - beams

Three timber components using batten as material

THE RECORD OF EXPERIENCE

FIVE

page 163

page 162

WOOD AS A BUILDING MATERIAL

4 3 2 1

FIVE

page 165 |

page 164

WOOD AS A BUILDING MATERIAL

Traditional Dong house construction

Modern house construction

‘‘ Erecting frame by rope ’’

‘‘ Assembling component level by level’’

FIVE

page 167

page 166

WOOD AS A BUILDING MATERIAL

Construction of four components

TESTING IN MODELS: TIMBER COMPONENTS

FIVE

page 169 |

page 168

WOOD AS A BUILDING MATERIAL

Timber components using batten

Timber components with concrete filler

FIVE

page 171 |

page 170

WOOD AS A BUILDING MATERIAL

Timber components with concrete filler : To increase its intensity

FIVE

page 173 |

page 172

WOOD AS A BUILDING MATERIAL

Component testing : How force transfer from top to a optimized column

FIVE

page 175 |

page 174

WOOD AS A BUILDING MATERIAL

Component testing : Interlocking of beams from two directions

FIVE

page 177 |

page 176

WOOD AS A BUILDING MATERIAL

Component testing : Pitch roof frame interlocking with column

SIX

WOOD AS A BELIEVE

CULTURAL RENEWAL Timber: School of craftsman : Process

When we could still assume that what we learn in school will

work is made within the time of slow.

Today, the world no longer rewards us just for what we know,

School connects the past and future, quality

last for a lifetime, teaching content knowledge and routine cognitive skills was rightly at the centre of education.

but for what we can do with what we know. The more knowledge These Dong villages are facing to two major issues: manpower

loss and invasion of inauthentic culture, therefore, it is important that integrated and systematic strategies in terms of economy and culture should be implied in these fragile villages as soon as possible.

in order to bring back the

manpower and sustain the wood craft industry, through a

contemporary language which does not compete with the old, but

Understanding involves knowledge and information, concepts and

New building types and forms are occasionally seen in Dong

WOOD AS A BELIEVE

inherently social system. It teaches students knowledge from

the past, but bring prospect to different think progressively. Catalyzing a sense of history, the project is more than just a school, but also a social centre of the entire village while

focusing on the interpretation of traditional timber system and spatial fluidity.

In nowadays, the biggest risk to schooling isn’t its inefficiency, but that the way of schooling is losing its

purpose and relevance. And when fast gets really fast, being slower to adapt makes education systems quickly disoriented.

We live in a world in which the kinds of things that are easy to teach when the greater part of wood-working process become

digitise and automate. Taking adventages of technology, we can

re-introduce the craftsmanship of carpenter in a more effective

of reconciling diverse perspectives and interests requires people to become adept in handling tensions and dilemmas; striking a balance between competing demands – equity and freedom, autonomy and community, or innovation and continuity.

Whatever tasks machines may be taking over from humans

page 183

meaningfully to social and civic life will always keep

at work, the demands on our capabilities to contribute rising. It’s our knowledge, skills, attitudes and values that determine where we come out on these issues. It’s all about human capabilities.

in changing the settlement patterns. Usually, school is

them. And in a structurally imbalanced world, the imperative

settlements, but they have not yet had any sweeping effect

it involves bringing them together, integrating and applying

WOOD AS A BELIEVE

respectfully presents and communicates with the tradition.

and accurate modern way.

sense out of content.

SIX

SIX page 182

important becomes deep understanding and the capacity to make

ideas, practical skills and intuitions. But fundamentally,

In the manner of respecting the precious tradition, I am proposing a school of craftsman

that technology allows us to search and access, the more

SELF-SUFFICIENCY DREAM Typology: Timber bridge : Architecture Respecting tradition with an old shell, but optimized form and new use.

The Dong settlements are vertically dominated by their drum

towers, while the wind-and-rain bridges oVer a powerful,

horizontal balance. An ethnic identity and a sense of their own place aside, the juxtaposition of mountain river valleys

and towering structures as well as roofed bridges does give a striking picturesqueness to a Dong settlement.20 Bridge,

is a familiar building type for Dong people and consist of a collective meaning. Designing

school

timber

bridge,

not

only

SIX

page 185

of architecture—that is, a transformation from a society structured on honor to one based on capital. It is expected

that the Dong realize that their architecture has capital value in addition to making their ethnicity visible.

------------------------------------------------------------------------------------------------20 Ruan, Xing. Allegorical Architecture : Living Myth and Architectonics in Southern China, University of Hawaii Press, 2006, p.55

WOOD AS A BELIEVE

of “cultural authenticity” through the making and inhabiting

physical level in building. Rather, it is a reconstruction

This cultural reconstruction does not stop primarily at a

page 184

new value that drive for a new typology: School Bridge.

SIX

revitalize the abandoned Pingtan river, but also to add a

SIX

page 187 |

page 186

WOOD AS A BELIEVE

Concept spatial model - Bridge is more than just a path

SIX

page 189 |

page 188

WOOD AS A BELIEVE

Concept spatial model - Roof opening

SIX

page 191 |

page 190

WOOD AS A BELIEVE

Concept structural model - Test how force transfer from roof

SIX

page 193 |

page 192

WOOD AS A BELIEVE

Concept structural model - Bridge foundation with different levels of platform

Spatial thinking on 'SELF-SUFFICIENCY DREAM'

SIX

page 195 |

page 194

WOOD AS A BELIEVE

SMELL THE ATMOSPHERE

ON WEATHERING

SIX

page 197 |

page 196

WOOD AS A BELIEVE

EMBRACE THE SUNRISE

FOCUS AND DISTORTION

SIX

page 199 |

page 198

WOOD AS A BELIEVE

TIME, SPACE, EXISTANCE

LAYERING OF SPACE

SIX

page 201 |

page 200

WOOD AS A BELIEVE

TRANSPARENCY IN STRUCTURE

LIGHT - SPACE

SIX

Concept spatial model - Authenticity in space

page 203 |

page 202

craftsmanship, ‘The rhythm of TACIT-EXPLICIT in performance’, ‘The relation of problem finding and problem solving’, and ‘The time of slow’. With the background of increasing capitalism in nowadays, there is no interest in craftsmanship. It produces fixed products that do not invite the user to become ever more skilled in their use. If wood-working requires a space that mainly machine-oriented, then what is the different between a dull factory and a shool of craftsman ? This model is to explore the relationship between working space and walkway while the spatial perception is different. A craft-work-centered space is introduced. Additionally, the essence of Dong architecture is structure as space. Therefore, authentic space is merging within the structure system.

WOOD AS A BELIEVE

According to Richard Sennett, there are three ideas about

WOOD AS A BELIEVE

SIX

page 205

SIX

page 204

SIX

page 207 |

page 206

WOOD AS A BELIEVE

Study model - A common truss system

SIX

page 209 |

page 208

WOOD AS A BELIEVE

Study model - Stratified truss system with 45 degree of rotation in bridge foundation

SIX

page 210

WOOD AS A BELIEVE

AUTHENITY | ATEMPORALITY + ANONYMITY

SIX

page 213 |

page 212

WOOD AS A BELIEVE

SCHOOL BRIDGE SECTION 1/200

SIX

page 215 |

page 214

WOOD AS A BELIEVE

Bridge foundation

Stratified truss system

SCHOOL BRIDGE 1/200

WOOD AS A BELIEVE

Forest side

page 217 |

Pingtan river

Village side

SIX

SIX page 216

WOOD AS A BELIEVE

SIX

page 219

SIX

page 218

BIBLIOGRAPHY 1

Pu Miao, An interpretation of contemporary Chinese architecture , 1995, p.17

MULTIPLE READING : Mark Wrathall, Jeff Malpas, Heidegger,

Julian Benda, The betrayal of the intellectuals, 1995, p.30

Li Ze Hou, On the history of Chinese ancient thoughts,1985, p.29

MULTIPLE READING : William Morris, A factory as it might be

Tang Jun Yi, The complete works of Tang Jun Yi, 1991, p.508

MULTIPLE READING : Richard sennett, The craftsman

Tang Jun Yi, The complete works of Tang Jun Yi, 1991, p.510

Derong Kong, The Dong Oral Architecture:

Gary L.Allen, Human spatial memory: Remembering where, 2004, p.251

architecture and phenomena among the

Günter Nitschke, MA: Place, Space, Void, 2018

Dong people in southwest of China, 2016

John Summerson, The architecture of Adolf Loos: An arts council

Güven, S.,understanding Roman architecture, 2009, p.177

exhibition, 1985

Serap Durmus, Change and Transformation in architecture: On the

Authenticity, and Modernity

Gottfried Semper, Style in the Technical and Tectonic Arts; or,

Carpenter,

concept of Zeitgeist, 2012, p.24

Practical Aesthetics,1860

Güven, S.,understanding Roman architecture, 2009, p.177

Raymond Williams, “Idea of Nature” in problems in materialism

Serap Durmus, Change and Transformation in architecture: On the

and culture, 1980

concept of Zeitgeist, 2012, p.24

Marcus Vitruvius, the Ten Books on Architecture, 15BC

Güven, S.,understanding Roman architecture, 2009, p.177

Eugène Viollet-le-Duc, Entretiens sur l’architecture, 1863

Serap Durmus, Change and Transformation in architecture: On the

William Morris, A factory as it might be, 1884

MULTIPLE READING : Martin heidegger, Building dwelling thinking

蔡凌, 侗族建筑遗产保护与发展研究, 2018

MULTIPLE READING : Martin heidegger, ...poetically, man dwells...

蔡凌, 侗族聚居区的传统村落与建筑, 2007

MULTIPLE READING : Allegorical architecture living myth and architectonics in southern China

MULTIPLE READING : Henry David Thoreau, Walden

concept of Zeitgeist, 2012, p.24