Grad thesis vertical streetscape by Ran Yue

Traditional

VERTICAL STREETSCAPE

Culture

Representation

& Modern

Chinese

Metropolis

Ran Yue Graduate Thesis 2013 Primary Adviser: Robert A. Svetz Secondary Adviser: Susan R. Henderson Syracuse University School of Architecture

Traditional Culture Representation and Modern Chinese Metropolis

Contents

Thesis Abstract

Thesis Contention

Thesis Context

Site Analysis

Data Analysis 1900 - Present

Precedents & Precedent analysis

Design

Bibliography

Model

Notes

01 Thesis Abstract

Traditional Culture Representation and Modern Chinese Metropolis

The confrontation between modern architecture and traditional regional styles in China has been taking place for at least half a century. Since the beginning of 20th century, the uniformity of the form and the efficiency of the design and construction technique resulted in an International Style modernist architecture that became one of the most pervasive and influential styles in all of history. As the largest Asian market nation, China was quick to adopt the International Style as the prevailing mode of architectural production. It played an indispensible role in the national revival of major cities, serving the urgent demands of economic and industrial progress, and rapid population growth. Newly developed urban areas and entire new towns were fully occupied by modern buildings. The old town, typically the historic residential area of a metropolis, had its traditional Chinese dwellings gradually replaced by modern buildings as well. This change in the physical environment resulted in a change in the traditional social and cultural environment. The older social fabric gave way to new patterns of interaction. As a result, something valuable was lost. The project I am proposing, Traditional Cultural Representation and Modern Chinese Architecture, will analyze the relationship between modern and traditional Chinese urban fabric and its occupants. The decoding of the way social activities correspond to the historic urban environment will help to understand how traditional Chinese culture influences regional architecture and patterns of a traditional life style. An analysis of the way International Style architecture has met the demands of contemporary cities will explain the reason for the pervasive implementation of Chinese modernist architecture. I will argue that contemporary architecture located within historic districts should integrate those aspects of a traditional architecture so as to preserve a physical continuity that will support a needed social continuity. The existing historic urban spatial typology is a result of a centuries-long interaction between traditional lifestyle patterns and regional architecture. The sudden impact of International Style architecture resulted in rapid changes. The non-complementary juxtaposition of two different spatial typologies created a particular condition that was hard to adapt to for the occupants of both the older and the historic and modern buildings. On one hand, modern buildings became islands surrounded by the sea of historic fabric; on the other hand, the more local citizens tried to adjust to the changes, the more they were separated from traditional living patterns where their social and psychological needs were grounded. The goal of this investigation will be to develop the means, through a process of “architectural cross-fertilization” between a rooted culture and a universal culture that will result in an architecture that meets the demands of modernization while respecting and reflecting a traditional Chinese life style.1 In the second half of 20th century, urbanization of Chinese metropolises extended their boundaries with unprecedent speed. At the same time, population in urban areas increased dramatically. Large numbers of residential tower buildings were constructed to address the pressure brought by the population explosion and the density in each historic residential block doubled and in some cases even tripled. Real estate development pressures resulted in the construction of many mid-rise and high-rise residential buildings within historic districts dramatically changing both the physical and social structure of these environments. During 1970s through the 1980s, blocks of HuTongs in the capital of Beijing, were supplanted by high-rise flats, sometimes referred to as “bee-hives.” The bee-hives, separated by unsuitable public spaces, led to social disintegration and environmental degradation.2 The traditional alleyways within the HuTong blocks were not only pathways connecting each courtyard houses, but also civic places that supported daily social activities within and between neighborhoods. This important spatial typology was lost when the HuTongs were replaced by the flats. 4

Thesis Abstract

As the argument for a Critical Regionalism grew in the 1970s, architects from various countries began to experiment with incorporating regional styles into modern construction. China was not an exception. In those instances where the traditional fabric in old town Beijing was being torn down and replaced by modern concrete high-rise structures, architects like Wu Liangyong started some experimental projects based on the traditional Chinese residence, searching for a method to maintain the process of modernism without undermining the continuity of historic urban spatial typology.3 Such practices encouraged scholars to participate in the research process. By the time Chinese architect Wang Shuâ&#x20AC;&#x2122;s works informed by â&#x20AC;&#x153;poetic construction â&#x20AC;&#x153; drew attention from the world, Chinese architects had been promoting the practice of their regional modern architecture for more than three decades, producing projects in different scales and various cultural contexts as a significant resource for further development. The initial phase of my research has been to analyze and understand the theoretical development of Critical Regionalism. The studies of Critical Regionalism made by Lewis Mumford and Kenneth Frampton will aid in my understanding of the specific aspects of concern to regionally specific architecture, and how this architecture relates to and is, at the same time, opposed to the International Style. Case studies of projects in different time periods and within various cultural backgrounds will provide important reference points from which architects are addressing the issue. My investigations will not be limited to the Asian region, but will include case studies beyond China. Comparisons between eastern and western understanding and response to certain contexts will help to examine the appropriateness which existing projects have. For example, the appropriateness in adjusting the typology of the urban fabric; or, the use of materials relevant to a local source; or, spatial organizations according to traditional lifestyle patterns of the inhabitants. In the final phase, a site where historic blocks and contemporary buildings coexist would be chosen from within the historic district of Guangzhou, China. There are several aspects that will be of concern when doing the analysis. First, has been the mapping of the historic and regional cultural characteristics examining the relationship between traditional activities and architectural elements, especially spatial typologies. Second, has been the architectural demands of the area at both the physical and social levels. Third, has been the comparison between existing contemporary buildings and historic buildings, especially as it relates to the contradictory conditions that the building brought to its context. Fourth, are the possibilities of appropriate methods of architectural expression. Ultimately, the design project will serve as a tool testing the assumptions accumulated from a theoretical study and analysis. The urban condition of Asian metropolises has already become a chaotic conglomerate of culture and history. Preserving social and cultural continuity of architecture is a way to contextualize each individual building to the system of the city both physically and socially; a way of representing regional cultural identity and creating a sense of belonging. It also provides a way of translating and bringing regional cultures to a global stage, enabling inter-cultural communication.

Traditional Culture Representation and Modern Chinese Metropolis

02 Thesis Contention

Modern residential architecture in historic area of Metropolis should act as a mediator that synthesize traditional culture and modern culture. It should create an environment which serves the demands of high density housing and continues the traditional social living pattern that has rooted in historic urban fabric.

Thesis Context

Traditional Culture Representation and Modern Chinese Metropolis

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Thesis Context

LANES AND STREETS AS CIVIC PLACES Lanes and streets appeared since the first time people started to live in a compact community. As most fundamental elements of urban structure of city, the spatial typology of streets and lanes have been developed for thousand years. The development of most ancient Chinese cities started by laying out streets. Early in the Spring and Autumn and the Warring States Periods (770BC-221BC), the book Kao Gong Ji (The Artificers' Record) had described the ancient method of city planning (fig.1&2):

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WĂůĂĐĞ ŽĨ ŐŽǀĞƌŶŵĞŶƚ

^ƚƌĞĞƚ

ZĞƐŝĚĞŶƟĂů ďůŽĐŬ

The pattern that residential blocks divided by grid of streets was popular in most of Chinese capitals, and it can still be found today in the historic area of cities like Beijing or Xian. Public space of Chinese cities were developed without "square" until western planning ideas influenced Chinese planners. In Chinese urban life, lanes and streets are not only transitional space through which people go from one spot to another, but also public places where events happen, gathering, socializing, trading, catering, etc. A unique street culture was created as citizens relied their daily lives on these linear spaces. The painting Along the River During the Qingming Festival (fig.3) presents a scene that people were celebrating Qing-Ming festival on the main street of capital Bianliang, street was regarded as civic place for festival events.

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Traditional Traditio onal Culture Representation and Modern onal M Chinese Metropolis

Beijing | 46.54 ppl/acre

Si-He-Yuan (Courtyard House) Shanghai | 54.23 ppl/acre

HISTORIC ARCHITECTURE AND TRADITIONAL CULTURE

In historic area of Metropolis of China, where the process of the changes of city is recorded since ancient time, architecture is one of the most important elements within the living environment of the residents of their traditional enclaves. The occupants, on the one hand, modify the form of these spaces, and, in turn, modify their life style to accommodate these changes. The spatial typology of traditional architecture is a result of accumulation of this interaction between occupant and architecture over a long period of time. In this way, each space is closely relevant to the occupantâ&#x20AC;&#x2122;s daily activities, playing an important role in the patterns of their life. Unquestionably, where traditional culture is sustained by residents in the activity of their daily lives, traditional architecture is the stage for that traditional culture.

Guangzhou | 4.2 ppl/acre

Lilong House

Xiguan Arcade (Bamboo House)

Thesis Context

Passage

Urban Fabric: Hutong (Alleyway)

Chatting

Hutong (Alleyway), Nan Lou Gu Xiang Dining

Relaxation Daily Shopping

Culture Events

Urban Fabric: Lilong

Lilong, Tian Zi Fang

Daily Activities in Lane

Urban Fabric: Xiguan Residential Area

Xiguan Arcade, En Ning Road

Traditional Culture Representation and Modern Chinese Metropolis

Urban structure of lanes as a network of civic places in residential area Within the space of lanes and streets, the place where social events happen between occupants is not strictly defined social space, such as the space underneath a tree in front of a courtyard house in Hutong, or the space under the cover of Xiguan Arcade. However, such space has the capacity to make occupants stay and gather. Such space is a knot where adjacent occupants use and meet with each other frequently in their daily lives. Connecting by lanes, these knots are elements in network of civic space.

Hutong5 Fabric (Beijing)

Network of Socil spots in Hutong

Lilong6 Fabric (Shanghai)

Network of Socil spots in Lilong

Xiguan7 Residential Fabric (Guangzhou)

Network of Socil spots in Xiguan

Thesis Context

Courtyard

Interior

Lane

Courtyard

Section of Lane in Hutong

Lane

Interior

Light-well

Interior

Courtyard

Light-well

Interior

Section of Lane in Lilong

Interior

Arcade

Street

Arcade

Section of Lane in Xiguan Residential Area

Interior

Lane

Interior

Traditional Culture Representation and Modern Chinese Metropolis Events in Hutong In Beijing, the alleyways of the Hutong, connecting each courtyard of Si-He-Yuan house, are often occupied by residents. These become casual places for daily social activities within these neighborhoods. Some residents renovated their Dao Zuo Fang (front house) into shops, as commercial facilities serving the community.

Events in Lilong

Events in Xiguan

In Shanghai, residents living in Lilong houses are more likely to regard the lanes between houses as parts of their home. It is common during summer evenings for residents to place their chairs in these lanes to enjoy the cool air and chat with their neighbors. For this reason that the Lilong block has only few entrances opening to surrounding streets, each entrance of the Lilong block has a gate structure. Although the â&#x20AC;&#x153;Gateâ&#x20AC;? never shuts, it gives residents a sense of threshold between the more public domain outside the Lilong and the more private domain within. In this way, the Lilong block, to some extent, becomes a city within the city. In the old town of Guangzhou city, the Xiguan arcades along the streets are often lively spaces of commercial and social activity. These interstitial spaces are extensions of shops, creating places for public interaction between shop owners and customers. Providing protection from sun and weather, such spaces are not used only as a pathway to walk through the city, but also as civic space in which to observe and participate in rituals of social, cultural and commercial exchange.

Thesis Context

Civic place and structure and in modern building In high-rise residential building, the quantity of units is limited. The corridor that connects each unit has more sense of private rather than public. It is not suitable for occupants to stop, let alone having social activities. The connection between stories is week. Although stories are connected with elevator and stairs, occupants would seldom go to other stories. The common route for a occupant is merely the path between ground floor and his/ her home. Many high-rise residential building has commercial space in lower stories. Though the space is open to public, it is merely suitable for commercial events. Civic events cannot take place in such space because it is dominated by its owner rather than occupants. In other words, public space in high-rise residential building is restricted by stories. The spaces in each story can hardly be connected to create an efficient network.

Replace

Common Process of Replacement

Replace

Connecting Corridor

Replaced Traditional Residence Blocking

Commercial Space Context

Connection of Civic Places Civic Place

Proposed Process of Replacement Civic Network in High-rise building

Traditional Culture Representation and Modern Chinese Metropolis

7,800,000 7,050,000 6,500,000 5,200,000

1983

5,900,000

1989

1995

2001

2007 Central Urban Area

POPULATION EXPLOSION

Since 1980s Chinese government gave priority to the development of major metropolises, cities like Guangzhou had had a rapid population growth. The growth included the increasing of urban population and migration of people in rural area. The pressure housing needs had never been reduced in following decades, especially in old town area.

Thesis Context

LAND REDEVELOPMENT

SCALE TRASFORMATION

SHIFTS OF DAILY LIFE

To meet the housing needs, land in urban area had to be redeveloped. In such procedure, many historic low-rise residential blocks was replaced by high-rise apartment.

The scale of public space between buildings transformed from linear street space with 10 - 15 feet width to a square-like space with a width of 50-90 feet. The continuous elevation surface aside the street space disappeared when the scale was enlarged.

It is convenient for residences who live close to street space to engage in public activities; whereas occupants in high-rise building are visually and acoustically isolated from street life, public activities are operated more in purpose. 17

Traditional Culture Representation and Modern Chinese Metropolis

BR BR BR

LR BR Hall

BR K

Xiguan Arcade (Bamboo House)

Plans of Bamboo House

BR DR

Bath K

BR BR BR Bath

High-rise Apartment Unit

High-rise Apartment

Units in high-rise apartment has more impeccable facilities, a family has a set of living room, dining room, kitchen, and balcony. Bamboo house has more occupants in one building, while sharing a living room, a kitchen, a small hall near stairs

Thesis Context Communications between neighborhoods seldom happen due to the lack of public space. Residents in bamboo house are more often engaged in social events on street.

On Site Population Density

330 ppl/acre

1020.4 ppl/acre

High-rise apartment is efficient in rising up population density on a piece of land.

Per Capita Building Area

300.8 sqft/person

239.2 sqft/person

Though per capita building area is reduced slightly in high-rise apartment, the rest aspects of living standard are improved.

Toilet Sharing

Neighbouthoods share public toilet

A family share one toilet (at least)

High-rise apartment has at least one bathroom for a unit; versus bamboo house residents mainly sharing public bathroom.

Daylighting Condition

Each room has better daylight

High-rise apartment units have better daylighting condition, due to the size and orientation of each room.

Housing Price

37,500 ďżĽ/m2

25,600 ďżĽ/m2

(569 $/sqft)

(388 $/sqft)

Neighborhood Relations

Social activities happen on street

Less communication between neighborhoods

Efficient land using of high-rise apartment reduces housing price of each unit.

Traditional Culture Representation and Modern Chinese Metropolis

Hutong | Beijing

Beijing

Hutong (Alley) A “Hutong” is a narrow Alley. It is believed to be Mongolian in origin, though the records of Yuan Dynasty indicated that it first appeared in Beijing. There are several studies about the original meaning of the word, the most popular one explained the meaning as “water well”. The city plans of Beijing in Yuan dynasty showed 3 types of street, large streets (around 37.2m wide), small streets (18.6m wide) and Hutongs (9.3m wide). Large streets and Small streets ran North-South mostly, while Hutong ran West-East. Hutong Alleys provide shelter from the wind and create strong sense of privacy. Originally, many trees were planted in the courtyards, whereas more were planted later along the sides of Hutong alleys. Maps of Beijing in the Qing Dynasty and the Republican Era showed that large numbers of important historic buildings, such as temples and monasteries (Buddhist, Taoist, Confucianist and local Deities) were once built throughout the Hutong area. Many of them still exist today.

Thesis Context

Si-He-Yuan (Courtyard House) The traditional residential building of old Beijing is the Si-He-Yuan, or courtyard house, consisting of low buildings grouped around one or several central courtyards. In the Si-He-Yuan house, the main building (Zheng Fang) is preferably located on the northern side of the courtyard facing south, with two sub rooms to either side (Er Fang). On the Western and Eastern sides are the Xiang Fang. The south side comprises a building facing the street (Dao Zuo Fang) and a shadow wall (Ying Bi). The courtyard is accessed through a main gate at the southern end, and often there is a back door on the northern side. Generally, the main residential buildings are south-facing, designed to block the fierce northern wind but allowing sunlight to shine into the main rooms. This design is well-suited to Beijing’s climate. A major attraction of the courtyard house is its secluded and peaceful atmosphere, affording a degree of privacy and tranquility within the city’s bustle. The ambience of the courtyard house is closely tied to the traditional lifestyle of China’s families in Urban condition. The Si-He-Yuan were originally designed and built to house one family, but many were converted to house several families as tenants since the 1950s. With the limitations of space and infrastructure within a Si-He -Yuan, the standard of living is not compatible with that of modern apartment flats. Yet many residents appreciate the living environment and quality of old Beijing, even if shared with three or four other families. The central location is convenient for work, schools and shops. The Si-He-Yuan lifestyle has a long and ancient tradition, and is widely regarded as an essential element of Chinese culture.

Traditional Culture Representation and Modern Chinese Metropolis Secional Diagram of Spatial Sequence Threshold Space

Threshold Space

Interior Space

Exterior/Courtyard Space

u Wu: Same function as Dao Zuo, often sed as bedroom for maidservant, or storage.

Zheng Fang (Main Building): Perferably located on the northern side of the courtyard facing south, with two sub rooms to either side (Er Fang). The building is the living room of the entire house.

Xiang Fang: Bedrooms located on the Western and Eastern sides of the courtyard.

Sub courtyard: Small courtyards that serves as private outdoor space for rooms. To residents in Si-He-Yuan house, the communication with nature is important as part of their living pattern.

Threshould Space: The space between indoo and outdoor spaces is a significant part in the spatial sequence of Si-He-Yuan house. This space acts as a transition between interior an exterior. It is covered by the roof which blocks sunshine and rain, while open to the courtyard It is a place where residents often stay to have rest and interact with nature.

Main courtyard: The courtyard located on the center of the house, often planted with tree, some courtyard has well. Most of daily activities of family members would happen here.

Entrance courtyard: The first courtyard after the main gate, welcoming visitor with a Shadow Wall (Ying Bi). The function of the Shadow wall is to emphasize the entry space, and to prevent people from looking at the inner space directly.

Dao Zuo Fang: Building facing the street, often used as bedroom of servant, reading room, or storage.

Interior Space Diagram

Alley: The street between two facade of the house is a space where casual socializing of neighborhoods take place.

Exterior Space Diagram

Threshould Space Diagram

Thesis Context Banchang Hutong Facade

Jinzhu-men Gate

Public Toilet

Xiao Men Lou Gate

Guangliang-men Gate

Local comminity offic

Guangliang-men Gate

Traditional Culture Representation and Modern Chinese Metropolis

Lilong | Shanghai

Shanghai

Lilong (Lane) Lilongs, the small court-yard housing is named after through the principles of circulation in Chinese urban organization: “Li” means neighborhood, “Long” means small lanes. Their orgin lies in the spatial concept and construction in traditional Southeast Chinese dwellings. Their interior plans evolved as life styles became Westernized. They were the earliest type of mass commodity housing in Chinese history. Their density increased under the extreme circumstances of the growing metropolis of Shanghai from 1870 onwards. Since then, they were built in a large scale in the center of this city, and accounted for 60% of the total dwelling areas by 1949.

Thesis Context

Urban Street Main Lane Entrance Lane Sub-Lane

Balcony and Terrace Front Courtyard

A lilong settlement generally varies in size from 0.35 to 5.0 hectares. Its housing units are two or three storied high, attached side by side, having one side lane at the front and another service lane at the back. The whole settlement has a couple of main lanes, used as the major circulation passages, which are accessible from the commercial streets. The side lanes, leading to each housing units, connect to the main lanes. The clear rational structure of a lilong settlement give a high degree of security and quietness to its internal living environment, contrary to its noisy urban surrounding dominated by commercial developments. The front housing units along the perimeter of a lilong settlement are generally converted to shops which maintain the continuity of commercial activities along the streets. Some housing units inside the settlement have also integrated small-scaled, home-based business to provide the daily amenities of the entire community.

Traditional Culture Representation and Modern Chinese Metropolis

Plan and Section of Lilong House

Storage

Light-well

Bedroom

Sub-hall

Hall

Sub-hall

Living room

Bedroom

Sub-hall

Bedroom

Hall

Sub-hall

Entrance Lane

Living room

Bedroom

Front Courtyard

Thesis Context

Shi-Ku-Men New Type of Lilong House (One-Jian Unit) Bedroom

Light-well (staircase)

Bedroom

Bedroom Kitchen

Front Courtyard Living Room

Courtyard and Light-well Courtyard is considered as an indispensable element of dwelling unit of Lilong. Generally there are no trees planted along the inner lanes of Lilong block, thus each main entrance of the unit has a front courtyard. The courtyard serves as a piece of green space of the family, improving the ventilation together with the light-well inside the unit. The light-well is set beside the vertical circulation(stair case), inviting light and fresh air into the building. Some type of lilong unit has slop roof tilted towards the light well, collecting rain water especially during Summer time. Courtyard is considered as an indispensable element of dwelling unit of Lilong. Generally there are no trees planted along the inner lanes of Lilong block, thus each main entrance of the unit has a front courtyard. The courtyard serves as a piece of green space of the family, improving the ventilation together with the light-well inside the unit. The light-well is set beside the vertical circulation(stair case), inviting light and fresh air into the building. Some type of lilong unit has slop roof tilted towards the light well, collecting rain water especially during Summer time. 27

Traditional Culture Representation and Modern Chinese Metropolis

Xiguan Residence |Guangzhou

Guangzhou

Introduction Xiguan the western gate of ancient Guangzhou city, is one of the oldest area of Guangzhou. This area was influenced by foreign culture in the beginning of 20th century. The southern part of this area Shamian was once a concession. The buildings nowadays are changed into offices of embassies. Elements with western culture can still be found on the facade of Xiguan Qilou (Arcades). Some people claim that arcades in Xiguan correlate closely to the residences of ancient people living in Nanyue. They are considered as the trace of Baiyue Stilt house.

Thesis Context

On the other hand, some people insist that arcades are structures built in 1925 when streets were extended and roads were constructed on a large scale in Guangzhou. Their design is deemed to have derived from ancient Greece. Arcades connect houses and make a long path for pedestrians to keep out wind, rain and the glare of sunshine. Arcades seem to be exactly designed for the climate in Guangzhou and meanwhile makes it much more convenient for stores to display their goods and attract customers.

Traditional Culture Representation and Modern Chinese Metropolis

Bamboo House Kitchen

Kitchen

Room

Courtyard (Include Toilet)

Hall

Courtyard (Light Well) Hall

Room

Courtyard (Light Well) Room

Hall

Room

Bamboo House is a traditional residential housing type in Guangdong Province (Southern area of China). It was popular in both urban and rural area of Guangzhou city. It width of the house is usually 4 meters, the depth is determined by the amount of rooms, shorter house has depth around 7 meters, while longer one can reach to 20 meters. The straight linear arrangement of rooms made the plan of the building narrow, like a piece of bamboo join, which was the reason why people named it Bamboo House. The central area of Guangdong Province has land prices in quite high level, this made bamboo housing common because it saves footprint of the building, and can be easily set along streets. Bamboo house is usually used to house one family. Family with more members will add one more strip of house in parallel with previous one. The entrance of the building can be either set on the front facade, or on the side of the building together with courtyard. The order of Hall-Room-CourtyardKitchen varies according to the position of entrance. Bamboo houses in Xiguan area usually have entrance on the front facade, with a Tanglong Door ( Wooden fance door). Courtyard or light well is set in every 10 meters.

Hall

When Qilou (Arcade building) became popular in Guangzhou city, many upper stories of bamboo house were extended towards street; columns were added to from arcade space. Downstairs of the building came shops and upper stories were still used as residential space.

Thesis Context

In 1910s when Foreign immigrants populated Xiguan in Guangzhou, western culture started to influence life in this area. The idea of arcade was introduced to local residents and became popular. To achieve the idea of arcades, local residents extend the upper stories along the street, and added columns. Some early arcades still remain the arches constructed by bricks.

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Bamboo House- Bao Hua Road No.24 Guangzhou

Traditional Culture Representation and Modern Chinese Metropolis

Film And Hutong Culture Shower (1999) The Story happened in a traditional HuTong community in Beijing. An aged father known to everyone as Old Liu and his younger, mentally challenged son Liu Erming run and live in a traditional bathhouse for men. The bathhouse provides a variety of peripheral services, including haircut, massage, shaving,fire cupping, even old-style pedicure, to a motley group of regular customers, many of whom are retired old Beijingers. The film presented a tradition about bath in northern region of China. More importantly, it explained how a bathhouse acted as civic place within a community, and how residents relied part of their daily life on this common place. Scene 1-3: Showing a imagination of “modern shower” by a young person. In the film, the director tried to paralleled image of car wash with this imagination. Scene 4-6: Showing the idea that the bath house is a significant social place of the residents. Scene7-9: Showing the demolish of the bathhouse and the regretful feeling of the regular customers after losing the life pattern they have got used to. Captions: Poster: Wikipedia, “Shower (Film).” Accessed on 26 April 2013. <http://en.wikipedia.org/wiki/Shower_(film)> Series 1 (right): Clip from Zhang Yang’s film Shower. Accessed on 26 April 2013. <http://www.56.com/ u36/v_NTEzMTA0NjM.html>

Film Poster

Thesis Context

Scene 1

Scene 2

Scene 3

Scene 4

Scene 5

Scene 6

Scene 7

Scene 8

Scene 9

Traditional Culture Representation and Modern Chinese Metropolis

04 Site Analysis

Site Analysis

Site Introduction The site I am proposing locates in the historic district of Guangzhou, China. It is one of the oldest area in Guangzhou city. A general name of this area is Xiguan. In the past, Guangzhou, or commonly called the capital of Guangdong Province had three city gates respectively on its east, south and west. They are Dongguan, Nanguan, and Xiguan . Xiguan refers to the area outside the west gate of Guangzhou. Xiguan was influenced by foreign culture in the beginning of 20th century. The southern part of this area Shamian was once a concession. The buildings nowadays are changed into offices of embassies. Elements with western culture can still be found on the facade of Xiguan Arcades. Some people claim that arcades in Xiguan correlate closely to the residences of ancient people living in Nanyue. They are considered as the trace of Baiyue Stilt house. On the other hand, some people insist that arcades are structures built in 1925 when streets were extended and roads were constructed on a large scale in Guangzhou. Their design is deemed to have derived from ancient Greece. Arcades connect houses and make a long path for pedestrians to keep out wind, rain and the glare of sunshine. Arcades seem to be exactly designed for the climate in Guangzhou and meanwhile makes it much more convenient for stores to display their goods and attract customers. The possible spots I selected are places where traditional residential buildings coexist with contemporary buildings. The project will be a process of analyzing the contradiction between contemporary modern building with traditional residential environment, and searching a better solution in the realm of modern architecture. A design will be made as a tool testing the assumptions accumulated from a theoretical study and analysis.

Traditional Culture Representation and Modern Chinese Metropolis

Site Adjacency

Li Wan Lake Park Li Wan Lake was carved by residents in 1958. The park not only contains traditional Xiguan Architecture, but also continues the boat culture which thrived based on water.

En Ning Road Urban Renewal Region En Ning road was one of the most lively roads in Guangzhou. Fulfilled with Xiguan Houses and Arcades, the region remained traditional Xiguan culture for a long time. A urban renewal planning project was made and started in 2007.

SITE Grand Theatre

Established in 1932, the Grand Theatre is one of the oldest theatre and social place in Xiguan Area.

Shangxiajiu Pedestrian Street

This is one the most famous commercial pedestrian streets in Guangzhou. Xiguan Arcades along the street are renovated. The street acts a important role in maintaining arcade culture as well.

Shamian Island 38

Shamian Island use to be the concession of Britain and France until the end of WWII. The island is fulfilled with architecture which combined Western and Chinese culture.

Inner Ring Highway

Site Analysis

Metro Line 1

Inner Ring Highway

Traditional Culture Representation and Modern Chinese Metropolis

Boundary Between Tower Building and Traditional Houses

Space for Retail Stores

Lanes in Traditional Residential Fabric As Social Space for Occupants

Site Analysis

The lane in traditional residential fabric is connecting living room of each house. Occupants can get access to the lane easily. The 3 to 4 meters width and the enclosure of facades on both side give the space sense of private. It is comfortable for occupants to stay in the space in front of their house. As people who are using the lane are occupants in the community and familiar with each other, casual communication can easily take place. As the lower stories of tower apartment is used as commercial area, the common condition of the lane between tower apartment and traditional residential houses is that retail stores are set on one side while houses on the other. Retails store gives more commercial atmosphere to the lane, while the more significant effect is that the occupants of tower apartment cannot get to the lane easily and often. There is only one path to the lane is the elevator connecting with a single entry hall. As the occupants cannot easily get to the street level, the sidewalk of the street with retail store of tower apartment can hardly have social activities of occupants. With no enclosure or cover of roof, and the flow of people passing by frequently, it is hard to create a atmosphere for social activities. Xiguang Arcades, with the extension of the upper stories, create a semi-enclosed sidewalk of the street. The inner side of the sidewalk are retails stores managed by the occupants who live in upper stories. The semi-enclosed space keeps the burning of the sun and heavy rain away. It is common to see that both occupants and passengers stay, either buying goods from stores or chat with familiar people. Above all, social activities between occupants can hardly happen in the space around the modern tower apartment. The lanes around the tower seems become a boundary dividing living patterns of traditional and modern.

Residential Commercial

VS. Residential

Lane Residential

Residential

Lane

Commercial

VS. Commercial

Street

Residential

Site Analysis

Traditional Culture Representation and Modern Chinese Metropolis

Data Analysis

Low-rise Housing

Mid-rise

1900-Present

330 ppl/acre

Housing Population Density

Ratio 6:1

Average Building Area Per Person VS. Average Public Space Area Per Person

300 sqft/person

51.6 sqft/person

5-8 F 1-4F

Building Height

H=70ft H=30ft

Street Section Street Width and Building Height Ratio

W=45ft

W=30 ft

W:H=1.5:1

W:H=1:0.43

1900

1910

1920

1930

1940

1950

High-rise Housing

Housing

1024 ppl/acre

400 - 500 ppl/acre

800 ppl/acre 600 ppl/acre

23.6 sqft/person 14.3 sqft/person(corridor)

Ratio 6.3:1

240 sqft/person

240 sqft/person 38.2 sqft/person

Above 8 F

Below 11 F H=250 ft

W=130 ft

W:H=1:0.5

1979 Boost 1960

1970

1980

1990

2000

Space is out of human scale Street is built for automobile

2013 Present 2010

2020

2030

Program-Site Fit Analysis

Traditional Culture Representation and Modern Chinese Metropolis

Programs calculated based on: Urban Population density: 600 ppl/acre Average Apt area per person: 240 sqft/person

Commercial 49000 sqft

Circulation 14800 sqft

Communal F 4500sqft

Residential 178560 sqft

Service 33000 sqft Public Space 28300 sqft

Facility Administration 2200 sqft

Traditional Culture Representation and Modern Chinese Metropolis

06 Precedents & Precedent Analysis

Precedents & Precedent Analysis

Rokko Housing I & II Architect: Tadao Ando Location: Kobe, Hyogo, Japan Year: 1981-1983, 1989-1993 Rokko housing I and II were proposed with a slope of 60 degrees south and located at the edge of the Rokko mountains in Kobe. The project idea was not only overcome the constraints of the site, but the benefits of this deployment and its unique views. In the case of Rokko III, the configuration has not stepped up in a flat area. These joint ownership of the land is a key factor. The design allows phased provide each household with a particular sector of a time getting to the harmony between the building and its surroundings. Here, all units have their area of green land and no matter what level they are commingled with nature, creating a new type of housing that arouse feelings of ownership among its residents.

Image Captions: Figure 2.1: Aerial view of the Rokko Housing Complex I, II, &III Figure 2.2: Plans of Rokko Housing Complex I, II, & III Figure 2.3: Photograph of the terraces of Housing I showing the idea ‘Circulation as community street’ Figure 2.4: Concept sketch rendering of the idea of civic space Firgure 2.5: Axonomatric diagram showing the idea ‘Circulation as community street’ Firgure 2.6-2.7: Photograph of the neighborhood courtyards

Figure 2.1

Traditional Culture Representation and Modern Chinese Metropolis

Figure 2.3

Figure 2.2

Figure 2.4

Precedents & Precedent Analysis

Figure 2.6

Figure 2.5

Figure 2.7

Traditional Culture Representation and Modern Chinese Metropolis

Figure 1.1

Robin Hood Gardens Architects: Alison and Peter Smithson Location: London, England Year: 1972 The project can be seen in the lineage of thinking about contemporary housing which started with the Golden lane competition entry (1951-52), and was developed through Haupstadt Berlin (1957-58). In contemporary writings about the scheme the Smithsons discussed their continuing concern with the reformulation of a 'hierarchy of association' in line with the 'contemporary condition' and in particular with the reinterpretation of the traditional street into ' street in the air'.

Image Captions: Figure 1.1: West facade of Building on west side showing the deck space Figure 1.2-1.3: Perspective section diagram showing spatial relations of deck and units Figure 1.4: Axonometric diagram of the buildings Figure 1.5: Axonomatric diagram illustrating circulation of the units sharing one deck space Firgure 1.6: West facade of building on East side Firgure 1.7: Photograph of the entrance space of a unit Figure 1.8: Sattelite Photograph of the site showing the context

Precedents & Precedent Analysis

Figure 1.2 (above)

Figure 1.3 (above)

Figure 1.4 (above)

Traditional Culture Representation and Modern Chinese Metropolis

Figure 1.6 (above)

Figure 1.5 (above) Practicing the concept from the Golden Lane Competition Entry, the concern for a new dwelling/street relationship has been manifest in two principle way: as a pedestrian deck and as a pedestrian precinct. In Robin Hood Gardens project, the duplicate units occupying three stories are sharing on deck space. Such street like deck space serves not only as circulation space, but also a civic place for occupants to gether.

Figure 1.7 (above)

Figure 1.8 (above)

Precedents & Precedent Analysis

Figure 3.1

Tietgen Student Hall Architects: Lundgaard & Tranberg Location: Copenhagen, Danmark Year: 2006 The building has a conspicuous circular shape, inspired by traditional southern Chinese Hakka architecture.The round building is seven stories high. Five vertical lines divide the building both visually and functionally into sections and also serve as continuous passages that provide access from outside to the central courtyard and to the different stories. The ground floor has common facilities while apartments are set on upper stories. The common courtyard is the most public place of the building. Cyclic corridor connects all units while providing public spaces where the widths of corridors are enlarged by extruding volumes.

Image Captions: Figure 3.1: View from the river side ͛Ǥ͚ǣ ƪ ͛Ǥ͛ǣ ͛Ǥ͜ǣ ͛Ǥ͝ǣ ͛Ǥ͞ǣ

Traditional Culture Representation and Modern Chinese Metropolis

Common Public Space

Figure 3.4

Figure 3.2 Figure 3.5

Cyclic Corridor with Enlarged Pulic Space

Figure 3.3

Figure 3.6

Precedents & Precedent Analysis

Figure 4.1

8 House Architects: BIG – Bjarke Ingels Group Location: Copenhagen, Danmark Year: 2010 “The 8 House masterfully recreates the horizontal social connectivity and interaction of the streets of a village neighborhood through a series of delightful accessible ramps in a mixed use, multifamily housing project. The skillful shaping of the mass of the facility provides an invigorating sculptural form while creating the ramped “pedestrian” street system and providing full depth dwelling units which are filled with light and views. People really ‘live” in this newly created neighborhood with shopping, restaurants, an art gallery, office facilities, childcare, educational facilities and the sound of children playing. This is a complex and exemplary project of a new typology”. --2012 Institute Honor Awards for Architecture Jury.

Image Captions: Figure 4.1: Photograph, showing the view from the entrance. Figure 4.2: Sectional diagram showing the lanes within the building creating space in front of each unit for casual communication. Figure 4.3: Photograph, showing the lane on upper story connecting each units. Figure 4.4: Site plan diagram showing the continuous loop created by lanes. Figure 4.1 -4.4: "8 House / BIG" 20 Oct 2010. ArchDaily. Accessed 02 May 2013. <http://www.archdaily.com/83307> 57

Traditional Culture Representation and Modern Chinese Metropolis

Figure 4.3

Figure 4.2

Figure 4.4

Precedents & Precedent Analysis

The Lanxi Curtilage Architect: Archi Union Architects Inc Location: Chengdu, China Year: 2011 The Lanxi Curtilage is composed of three parts: restaurant, inner courtyard and private club. It is an interpretation of traditional Chinese architecture through the language of modern spatial typology and digital fabrication methods. The spatial layout of this project represents a new interpretation of a traditional South China Garden. The multiple layouts of the longitudinal residence and courtyard reflect a hierarchical and multi-dimensional spatial pattern of traditional couryards. The silhouettes of the building's roof embody rolling mountains and rivers, and also function as metaphor of the traditional Chinese sloping roof culture.

Image Captions: Figure 5.1: Photograph of Corridor, showing the modern interpretation of Chinese traditional brick wall. Figure 5.2: Roof plan, showing the network of courtyards and light-wells.Figure 5.3-5.4 : Comparison between model of roofs and a series of continuous roofs in traditional Chinese village. ͝Ǥ͝ǣ ơ Ǥ Figure 5.6: Exploded Axonometric Diagram showing the structures along the longitudinal axis. Figure 5.7: Photograph of a modern courtyard. Figure 5.8: Photograph of facade detail showing the concept of digital fabrication. Figure 5.1 -5.3: "The Lanxi Curtilage / Archi Union Architects" 29 Nov 2012. ArchDaily. Accessed 25 Apr 2013. <http://www.archdaily.com/299269> Figure 5.4: Photographer: Yaoyao Dong. Accessed 25 Apr 2013. <www.airchinanews.com> Figure 5.5-5.7: "The Lanxi Curtilage / Archi Union Architects" 29 Nov 2012. ArchDaily. Accessed 25 Apr 2013. <http://www.archdaily.com/299269> 59

Figure 5.1

Traditional Culture Representation and Modern Chinese Metropolis

Figure 5.3

Figure 5.2

Figure 5.5

Figure 5.4

Precedents & Precedent Analysis

Figure 5.7

Figure 5.6

Figure 5.8

Traditional Culture Representation and Modern Chinese Metropolis

07 Design

Design

20'

2 BD Apartment-B

20'

2 BD Apartment-A

20'

1 BD Apartment

20'

Single Studio

20'

25'

20'

15'

20' 10'

15'

20'

15'

10'

20'

3 BD Apartment-L

25'

3 BD Apartment-S

25'

2 BD Apartment-C

10'

20' 10'

10'

20'

15'

12â&#x20AC;&#x2122;

Apartment Unit Planand Axon

D C

B A

Apartment Units Distribution Single Studio: 240 sqft/unit; 10% 1 bedroom apartment: 480 sqft/unit; 20% 2 bedroom apartment: 720 sqft/unit; 40% 3 bedroom apartment: 960 sqft/unit; 20% 3 bedroom apartment: 1200 sqft/unit; 10%

All Units

367

Single Studio

X93

1BD Aprtment

Traditional Culture Representation and Modern Chinese Metropolis

2BD Apartment A

X75

X50

Design

2BD Aprtment B

2BD Apartment C

3BD Aprtment S

3BD Apartment L

X37

X35

X63

X14

Tanglong Screen Door The status of doors identifies the status of family

Tanglong Screen Door closed with front door open: Family members are at home

Tanglong Screen Door open with front door closed: Family members temporarily left and will be back soon.

Tanglong Screen Door and front door both closed Family members went out and will not be back in few days.

Liwan Lake Park Along the Canal

STACKING URBAN FRAGMENTS Xiguan, Guangzhou

Design

Baohua Road Inner Residential Block

Shamian Island

Enning Road Inner Residential Block

Main Avenue

Baohua Road Inner Residential Block

Enning Road Along the Street

Liwan Lake Park Along the Canal

SITE Enning Road-Baohua Road

Enning Road Inner Residential Block

Enning Road Along the Street

SITE

Enning Road-Baohua Road

Shamian Island Main Avenue

Traditional Culture Representation and Modern Chinese Metropolis

Fountain Plaza F6

Fountain Plaza F4

Fountain Plaza F1

Fountain Plazas F1-F6

Design Fountain Plaza F19

Fountain Plaza F6

Fountain Plaza F7

Fountain Plaza F4 Fountain Plaza F9

Fountain Plazas F4-F19

Traditional Tra Tr aditional Culture Representation and Modern Chinese Metropolis

Snack Kiosk

F15 Laundry Shop

Game Club

Pharmacy

Theatre

Restaurant F7 Laundry Shop Newspaper Kiosk

Barbershop

Pharmacy

F5 Mahjong & Chess Room

Snack Kiosk Box Office

F3 Restaurant

Daytime Commercial Programs

Book Bar

Tea House

Design

F18

Bar

F15 Pharmacy Snack Kiosk F8

Game Club

Theatre

Restaurant

Book Bar F7

Pharmacy Snack Kiosk

F7 Newspaper Kiosk

Box Office

Barbershop

F3 Restaurant F5 Mahjong & Chess Room

Tea House

Nighttime Commercial Programs

F21

F18 F14

F14

F11

Site Plan 1”=32’

Design

Section 3”=32’

Ground Floor Plan 0

6th Floor Plan 0

8th Floor Plan 0

9th Floor Plan 0

Model

08 Model

Traditional Culture Representation and Modern Chinese Metropolis

Model

Traditional Culture Representation and Modern Chinese Metropolis

08 Bibliography

Bibliography

Tzonis, Alexander, and Liane Lefaivre. Critical regionalism, Architecture and Identity in a Globalized World. Munich, Berlin, London, New York: Prestel, 2003. Tzonis and Liane describe the development of Regionalism and Critical Regionalism in the process of modern Architecture movement. The book shows projects in the idea of Critical Regionalism in global range. Liane, Lefaivre, and Alexander Tzonis. Architecture of regionalism in the age of globalization : peaks and valleys in the flat world. Abingdon, Oxon ; New York: Routledge, 2012. The examples in the book show how architecture and landscape design has reflected debates and dialogue between regionalism and globalism. Doshi, Balkrishna V. Cultural Continuum and Regional Identity in Architecture. Architectural Regionalism Collected Writings on Places, Identity, Modernity, and Tradition. pp 111-118.Edited by Vincent B. Canizaro. New York: Princeton Architectural Pr., 2007. Doshi analyzes the impact of Globalism to regional culture and the possibilities of the transformation of regional culture in future development. Frampton, Kenneth. Prospects for a Critical Regionalism. Perspecta. Vol.20. pp 147-162. New Haven: Yale School of Architecture, 1983. Frampton analyzes the interaction between regional culture and universal civilization. In case studies he explains the representation of the critical regionalism idea in the attempts made by architects in global stage. Frampton, Kenneth. Modern Architecture and the Critical Present. London: Architectural Design Profile, 1982. Frampton describes different phenomenon in the development of modern architecture, in which the ideas of identity and continuity played important roles.

Kengo, Kuma. SHIZEN NA KENCHIKU. Tokyo: Iwanami Shoten, Publis hers, 2008. Kengo explain his theoretical idea about the relationship between architecture and nature, and the significance of architectural materiality.

Traditional Culture Representation and Modern Chinese Metropolis

Tadao, Ando. ANDO TADAO KENCHIKU WO KATARU. Tokyo: University of Tokyo Press, 1999. Tadao explains that architecture should respond to the context and create sense of “place”. Yi Shi Wen Hua, . YU ZHONG GUO YOU GUAN. JIAN ZHU. SHE JI. YI SHU. Beijing: SDX Joint Publishing Company, 2012. Chapter 3 collects thoughts about the protection of traditional culture and possibilities of the regeneration of regional architecture. Frampton, Kenneth. The evolution of 20th century architecture : a synoptic account. New York : Springer, c2007. Lu, Xin. Western Architects and City Planners in China. Ostfildern : Offizin Chr.Scheufele, 2008. Koolhaas, Ram. OMA Rem Koolhaas living, vivre, Leben. Bordeaux,France: Arc en rêve centre d’architecture, 1998. Smithson, Alison Margaret. Modernism without rhetoric : essays on the work of Alison and Peter Smithson. London: Academy Editions ; Lanham, Md., 1997. Yoshida, Yoshio. JA Library 3 TADAO ANDO Rokko Housing I. II. III. Tokyo: JA SPECIAL ISSUE, 1993. Hassenpflug, Dieter. The urban code of China. Birkhäuser: Basel, 2010. Zhang, Donia. “New courtyard houses of Beijing: direction of future housing development.” URBAN DESIGN International. no. 11 (2006): 133-150. www.palgrave-journals.co.uk/udi (accessed May 1, 2013). Lo, Kai-Yin. House, home, family : living and being Chinese. New York: China Institute in America, 2005. Ishido, Takeshi, and Satoru Komaki. CONTEMPORARY JAPANESE HOUSES. Tokyo: TOTO Shuppan, 2005. Jacobs, Allan B. Great Streets . Cambridge, Mass. : MIT Press, 1993. Saitowitz, Stanley. Stanley Saitowitz/Natoma Architects, Inc. : buildings and projects. New York: Monacelli Press, 2005. Aoki, Jun, Kenjiro Hosaka, and Mohsen Mostafavi. Aoki Jun = Jun Aoki complete works. Tokyo: INAX Shuppan, 2004.

09 Notes

Traditional Culture Representation and Modern Chinese Metropolis

1. Kenneth Frampton, Prospects for a Critical Regionalism, Perspecta. Vol.20. (New Haven: Yale School of Architecture, 1983) 147-162. 2. Balkrishna V. Doshi, “Cultural Continuum and Regional Identity in Architecture,” Architectural Regionalism Collected Writings on Places, Identity, Modernity, and Tradition, ed. Vincent B. Canizaro (New York: Princeton Architectural Pr., 2007) 111-118. 3. Alexander Tzonis, Critical regionalism, Architecture and Identity in a Globalized World (Beijing: China Architecture & Building Press, 2007) 130-137. 4. Kaogong Ji: (simplified Chinese: 考工记 ; pinyin: kǎo ōn jì) The Records of Examination of Craftsman, sometimes translated as Book of Diverse Crafts, is a classic work on science and technology in Ancient China, compiled towards the end of the Spring and Autumn Period. 5. Hutong: (simplified Chinese: 胡同 ; pinyin: hútòng) are a type of narrow streets or alleys, most commonly associated with Beijing,China. In Beijing, hutongs are alleys formed by lines of siheyuan, traditional courtyard residences. Many neighborhoods were formed by joining one siheyuan to another to form a hutong, and then joining one hutong to another. The word hutong is also used to refer to such neighbourhoods. 6. Lilong: (simplified Chinese: 里弄 ; pinyin: lilòng) is a traditional urban alley-community in Shanghai. It commonly called “longtang” and is often indicated by alley addresses ending -li. The Shanghai longdang is loosely equivalent to the hutong, a Mongolian word, in Beijing. As with the term hutong, the Shanghai lòngtang can either refers to the lane that connects the houses, or a group of houses connected by the lane. 7. Xiguan: (simplified Chinese: 西关; pinyin: Xīguān) is a traditional geographical division of Guangzhou, China. It is situated in Liwan District. The north of the area reaches Xicun and it borders on Renmin Lu eastwards. And Pearl River lies on its west and south. The area outside the west gate of Guangzhou is collectively called Xiguan in Ming and Qing Dynasty. It is worth mentioning that the name is still in use nowadays.