Re-thinking the architecture in

ChinaRe-thinking Domestic
Architecture in China
New residence and public space in Chinese cityHousing and Public Space in Shaoxin,
Zhejiang Province
Abstract
In more than four decades since the opening-up reforms China's has seen a major
influx of foreign cultures, including models and methods of architectural design. As
a result, many buildings with styles from all over the world have appeared in China,
mostly in residential developments. These new types of buildings have replaced
the traditional ones and introduced new design principles and patterns that led to
the demise of many traditional Chinese urban environments. In recent years, the
rapid socioeconomic development of China has been accompanied by a general
improvement of people's awareness of local culture and traditions. More and more
architects have realized the importance of traditional culture and successfully
integrated it into modern design.

A stream of Chinese designers aiming to , with this integrateion of traditional and

modern architecture, has developed a distinctive form of critical regionalism. This
approach has been put to practical use in many new housing developments
defining what has been named 'new Chinese residential style'. This new style
meets people's identity needs by recognising their traditional culture alongside the
practices of their daily life, and has gradually become a mainstream trend in
architectural design.

This thesis will firstly explores culturally sensitive design inheritance issues by
drawing upon lessons from the current domestic and international experiences.
Secondly, it analyses the characteristics of both traditional and modern Chinese
architecture and people's housing needs, summarising the historical background of
the emergence of the new Chinese residential style. Thirdly, based on the new
design of both theory and practice, it develops an architectural proposal for a
residential development Shaoxin, Zhejiang Province. This project articulates and
contextualises the generic approach of the new design trend that results from an
elaboration of the specific conceptions, practices and patterns of this historical
place and contributes to the development of architecture with Chinese
characteristics.

Key words: Traditional Chinese Architecture; Modern Architecture; New Chinese

Architecture; Domestic Architecture.
1. Introduction

1.1 background
China is undergoing a rapid development. In the past decades, economic and cultural
exchanges between China and other countries have importantly increased. This has
also triggered a fierce collision between foreign and traditional cultures that has
manifested also in architectural design, producing striking contradictions both in
theoretical positions and realized works. To meet the rapid increase in demand,
architectural practitioners have often acritically adopted and implemented western
design methods and models. This also regarded architectural styles, with direct replica
of examples from British, French, American, and Southern California cases produced
in various regions of China. Although this approach has rapidly made many districts of
prime Chinese cities appearing similar to those of western metropolises, it has
inevitably led to the loss of local culture. Uniform westernised series of high-rise
buildings have gradually replaced building with regional character. In the residential
sector, imported urban patterns, building types and architectural styles have pervaded
the contemporary design methods.

Since the beginning of this century, this internationally-oriented approach to

modernization of architecture has followed a comprehensive reconsideration of the
domestic culture and values. However, as in Aall walks of life Chinese people have
increasingly began to realisedze the importance of inborn traditions and heritage, and
conduct in-depth research on it, . Aarchitecture theorists, critics and practitioners have
responded to this increasinged their interest in Chinese local regional architecture. Many
architects have incorporated traditional culture into their design philosophy and a new
breed of buildings with modern Chinese characteristics has emerged. Architects began
to think This breed deeply about integratesing traditional architectural culture into
modern design to create buildings with Chinese characteristics. With the continuing
research a and relies on theoretical foundation has been constructed and its practical
application in that has identified it as a "New Chinese Style" has been put forward.

Through the analysis of the history and characteristics of traditional residential

buildings this thesis addresses the emerging problems of housing design in the
context of a newly developed district in the city of Shaoxin, Zhejiang Province.
Combining this with an investigation of relevant precedent cases, the thesis draws
upon the research of the New Chinese Style developings a design method that integrates
traditional and modern design cultures, and elaborates the specific conceptions,
practices and patterns of this historical place to contributes to the development of
architecture with Chinese characteristics.
1.2 Purpose and significance of the study

1.21 Purpose
This thesis reflects on With how accepting the development of globalization, the regional
cultures of many countries, including China, tend to could be reaffirmed to counter their
progressive dissipation and preserve e. Many traditional architectural cultures in China have
gradually disappeared with the development of society, which also makes many cities lose
their unique local character of their citiesm. As China's residential architecture design is an
essential part of these cities, tis trend in architecture. This thesis aims at countering such
cultural loss by reconsidering Chinese distinctive regional characteristics and develop
a site specific design method for modern residential housingareas design. Based on this
method, e analysis of traditional Chinese residential architecture, this thesis developss a
design proposal for an integrated residential urban block that intends to contributes the
discourse on the preservation of national and regional spatial culture and everyday
practices.

1.2 Significance
Drawing upon indications on how Chinese architecture could find its way countering the
homogenising forces of under globalization find in literature, this thesis proposes a
reflection on a famous text on the dual agenda of architects written by Mao Zedong in
the Letters to Lu Dingyi (CPC Party Literature Research Office, 2003). On the one hand,
it postulates that architects should inherit and innovate the essence of Chinese
traditional culture. Since culture is one of the fundamental elements of architecture, a
successful design should be is based on knowledge of values, places and traditions of
its users, and engage with place-specific the appropriate technique and materiality. On the
other hand, learning from advanced science, it advocates for the they should adoption of
new technologies, materials, structures, construction methods, functional
organization, and expressive techniques (Yang J. , 2020). In other words, it is through a
deep understanding and combination of both traditional and modern, local and
international design methods and processes that the future development of Chinese
architecture can find its adequate "native" dimension. It is the responsibility of
designers to interpret moderate such integration while , responding to the emerging
needs and demands of contemporary society, and, concurrently, define the appropriate
path for of modern architecture.

1.3 Research methods

…
1.3.1 Literary research
Literary research is one of the primary research methods applied in this thesis. Data
have been collected by from making reference to the relevant literature, searching online
resources, and reading books, periodicals, and or the relevant grey literaturepapers to
architectural design. The collected data were processed and analyszed to inform the
further parts of the research. Theis method enabled an understanding of the history
and current state of the research problem. It also informed the design process by these
collected data.

1.3.2 Comparative Research

Through an analysis of the representative cases of new Chinese architecture,
especially in the residential domain, the characteristics and techniques of these
designs are explored, based on which people can gain a better understanding of the
concept in relation to new Chinese architecture and reflect on the existing problems.
Then, the collected materials are summarized and integrated with a number of
successful design cases. Finally, these materials are relied on to find a solution to
integrate traditional culture and modern technology, thus providing reference for the
future development of new Chinese architecture.

1.3.3 Design process

…

1.4 Introducing Domestic domestic and iInternational architecture

research
…

1.4.1 International studies

…

Under the impact of foreign culture, pProtecting the cultural heritage of one's own country
to prevent pervading influences of foreign cultures has always been a common focus
topicinternationally. Japan and India, two major of China's neighbors, have produced
successful instances demonstrating that it is possible many successful cases in dealing with
theto integrateion of traditional and modern cultural backgrounds, which can provide
ideas for China's development in this regard (Li, 2011). Under the impact of foreign culture,
protecting the cultural heritage of one's own country has always been a focus topic. Japan
and India, two of China's neighbors, have many successful cases in dealing with the
integration of traditional and modern cultural backgrounds, which can provide ideas for
China's development in this regard.

As a neighbor of China, Japan attaches much significance to the development of a

modern architecture with the unique local cultural characteristics to Japan. They mobilise
stick to traditional national culture in the elaboration of modern design methods that
dialogue with in the context of international, mainly European and American, modern
culturesapproaches and methodologies which are endowed with absolute superiority. This
has enabled erefore, Japanese culture has been capable ofto steadysteadily actualise its
heritageinheritance and update, which contributes to inheriting and developing a distinctive
Japanese national avenue to engage with characteristics in the proprogressively increasing
cultural cess of constantex changes.

There are plenty of outstanding Japanese architects that have embraced advanced
western technology while demonstrating the unique Japanese culture in their designs.
They continue the acculturation of design exercise of new culture to develop and by
expanding their old national traditional sculture towards the , thus creation of ing new
cultural formsexpressions. PThose prominent Japanese architects, such as Kenzo Tange
and Tadao Ando, stick to this approach expressing the same idea throughout their works."
“Creative work is expressed in our time as a union of technology and humanity. The
role of tradition is that of a catalyst, which furthers a chemical reaction, but is no
longer detectable in the end result. Tradition can, to be sure, participate in a creation,
but it can no longer be creative itself. (Wu Y. , 1997)"

Another architect, Tadao Ando, is skillful in usingthe exercise of various natural elements
(such as light, water, plants, and air) to mediate tradition and modernity. Sand simple
architectural forms to endow his works with a distinctive charm (Wu Y. , 1997). For
example, in the Row House of Sumiyoshi, delicate concrete walls were poured with
finely crafted wood formwork to separate the house from the surrounding environment
while building a traditional living atmosphere where human and nature are integrated
(Figure1). This practice represents an innovative combination of traditional Japanese
craftsmanship and modern technology (Meng, 2011).

Figure 1 Row House in Sumiyoshi model Row House in Sumiyoshi interior

In modern Japanese architecture, its nationality and traditional culture is are not reliant
on the architectural form for expression (Li, 2011). Even the construction of traditional
architectural is sporadic for most of the buildings. The expression of tradition by
Japanese architects is not limited to college collage and quotation anymore. Instead, it
has been extended to the traditional culture, Japanese spirit, philosophy, and other
fields for deeper exploration. Japanese contemporary architecture is in pursuit of the
"integration of nationality and times," as clearly reflected in the incorporation of
Japanese traditional culture, the integration of local natural conditions, modern
technology and materials, etc. When foreign culture is introduced, it pays more
attention to its cultural tradition, which contributes to its unique style (Wu Y. , 1997).

India, as another neighbor of China, is also a country with a long-standing history and
ancient civilization. There have been numerous times characterized by the excellent
integration of its nation and foreign cultures in its history (Li, 2011). Modern India
embarked on the rapid development of urban construction, which makes
internationalism and modernist architecture as the mainstream form of Indian
architecture. However, Indian architects continue with the exploration of national
characteristics and the essence of Indian traditional architecture (Zhou & Dai, 2003).

The exploration into traditional architecture of in contemporary Indian design can be

classified into three main categoriesareas. The first one is the design adapted to the
local climatic conditions. Due to the often extreme hot weather conditions in India, the
buildings a great effort in design and technology is deployed to is required to improve the
living environment through its form while createing the favorable adequate environment for
living. To achieve this purpose, the design of shading and communication is commonly
adopted for Indian architecture. The second one focuses on makinges use of various
local materials, such as brick, stone, earth, and sandstone, all of which are common in
traditional the local construction technologiesbuildings. The third one is focused on
reflecting Indian culture through the design through . Designers makethe use of
traditional cultural elements of spatial configurations, form and decoration on a frequent
basis. Moreover, the spiritual experience similar to Buddhist architectural space is also
widely adopted in the design (Zhou & Dai, 2003).

Charles Correa, a famous contemporary Indian architect, he believes that tradition and
culture should not be two elements that can be integrated with each other, and he likes
to develop one to fit the other. The premise of a design involves not only the natural
climate but also cultural conditions. Besides, Correa inherited the "rambling
architectural" hand of traditional Indian architecture for further development. His
Jawahar Kala Kendra Arts Centre demonstrates those ideas, for example, the
traditional nine-grid layout, the central open courtyard, the circulation of indoor and
outdoor space, and the shading of semi-outdoor space (Figure2) (Zhou & Dai, 2003).
Figure 2.1 Jawahar Kala Kendra Arts Centre’s courtyard Figure 3.2 Jawahar Kala Kendra Arts Centre’s plan

Another architect, Raj. Rival, he … In the Asian Games Village in New Delhi (Figure 3) he
adopted the typical compound assemblage of northern India to construct a rich
building hierarchy when he designed the Asian Games Village in New Delhi (Figure 3).
Moreover, he utilized a large amount of local red sandstone to/for… obtained from India in
this that project. Architect Balkrishna Doshi also integrated the traditional culture into the
concept of his design. For the design of the Indian Institute of Management Ahmedabad
(IIMA), he started with the extraction and improvement of characteristics exhibited by
traditional Indian corridors. Then, aA series of corridors were used to set up
connections between the surrounding a large series of independent buildings. This for
createsing a semi-open space made up of various courtyards (Figure 4) (Zhou & Dai,
2003).
There have been multiple times in Indian history when foreign cultures gained
dominance. However, India has managed to preserve its national character. While
being impacted by foreign culture, the native culture of India is also constantly
merging and progressing with it, which has contributed to the modern evolution of its
national tradition.

Figure 4. Balkrishna Doshi, Asian Games Village, in New Delhi Figure 5. Balkrishna Doshi, Ccorridors of IIMA

1.4.2 Research Status in Chinese studiesa

In China, Cultural Revolution (1966-1976) resulted in the loss of various traditional
cultures and the destruction of some traditional relics, especially some of the
traditional buildings of historical significance (History.com Editors, 2009). During this
period, China saw its overall economic level decline sharply. In spite of this, people
still maintained a high rate of population growth1. In order to meet the ever-increasing
demand for housing, the government constructed a large number of Khrushchev-style

1
buildings based on the experience learned from the Soviet Union (Yang C. , 2002).
These apartment buildings clearly distinct from Chinese culture started to emerge in
large numbers across China, thus undermining the traditional neighborhood urban
fabric (Zeng Y. , 2018). Up until the reform and opening up policy took effect (1978), the
government realized the significance attached to traditional culture as the Chinese
economy made a slow-paced recovery. Chinese architects began to consider how to
preserve those traditional cultures and put it into practice. For example, Ieoh Ming
Pei's Fragrant Hill Hoteland Dai Nianci's Queli Hotel were the representative projects of
that era (Figure5) (Zhu S. , 2016). Drawing on experience from traditional official
architecture, residential architecture, and garden concepts, these two architects
integrated them with regional styles for the design of two masterpieces that had a
significant influence on Chinese architecture (Li, 2011) They demonstrated the essence
of traditional Chinese architecture in different ways, thus laying a solid foundation for
the subsequent development of new Chinese architecture (Zhu J. , 1998).

Figure 6.1 Xiang shan restaurant Figure 7.2 Queli Hotel

During the 1990s, the Beijing municipal government published a policy of "restoring
the ancient capital appearance." It marks the earlier exploration of Chinese architecture
from the perspective of urban planning (Li, 2011). Throughout this period, architects
introduced traditional Chinese symbols into the buildings, for example, the addition of
a Chinese pitched roof. Nevertheless, it was found out that the effect of Chinese
symbols and retro design is not as satisfactory as expected (Jia N. , 2019). In modern
society, building materials, technology, and living needs have changed more
significantly than in the past. Therefore, to inherit traditional culture, it is necessary for
the construction industry to achieve innovation rather than being obsessed with blind
imitation. At that time, the reconstruction project of Beijing Ju 'er Hutong achieved a
remarkable success. The authority of urban planning dealt with the old city by directly
replacing it with new residential areas (Wu L. , 1994). However, to maintain the urban
texture of Beijing, the architects responsible for Ju 'er Hutong in Beijing have replaced
the old Siheyuan with new ones of similar patterns (Zhan, 2016). This method proved
effective in maintaining the original hutong-courtyard system and adapting to the
environment and texture of the old city (Wu L. , 1994).

On October 22, 2004, China held a summit attended by architects in the Great Hall of
the People, which defined "New Chinese Style" (Li, 2011). Subsequently, the
development of new Chinese architecture has also shown changes, for example, the
architectural form of reference shifted from the official architecture to the traditional
residential architecture, as illustrated by the later famous Suzhou Museum and the
Shenzhen Vanke Fifth Garden Project (Gong & Hu, 2013). The reference made to the
traditional residential style has been accepted as the mainstream of new Chinese
architecture over time.
2. Traditional Chinese architecture

China has a vast territory and various ethnic groups. The environment, climate, and
living customs of different regions are quite different. This led to a wide variety of
traditional Chinese dwellings. The most famous dwelling types are Beijing’s Siheyuan,
Jiangnan residential houses, Huizhou dwellings, Fujian Tulou and northern Shaanxi
cave dwellings (Figure6). People of various ethnic groups built these traditional
dwellings based on local conditions and materials. These houses are an essential part
of traditional architectural heritage culture, which embodies the rich architectural
creation experience and design techniques of laboring people and skilled craftsmen
(Wang Q. , 2004). This section will focus firstly on the general characteristics of
traditional residence, and secondly on the Siheyuan type because of its long history
and wide range of application.

Siheyuan Jiangnan residential houses Huizhou dwellings

Fujian tulou Northern Shaanxi cave dwellings

Figure 8 residential building types

2.1 General characteristics of residential building elementstypes

The common elements used for Chinese architecture include brick, black tiles,
whitewashed walls, flower carving doors, sloped roof, eaves, corner eaves, cornice,
and so on. Although traditional Chinese domestic architecture has multiple
architectural forms, its principal building components can be classified into three
parts: roof, body, and platform (Yang J. , 2020).

2.2.1 Roof
The giant roof is the most striking component of traditional Chinese architecture. Due
to the traditional wooden structure system put in place, these roofs comprise beautiful-
looking eave angles and roof curves, which endows the buildings with distinctive
characteristics (Liang, 2005). Besides, the roof was regarded as the symbol of status in
ancient times. They can be roughly categorized into the hip roof, xieshan roof,
suspension roof, gabbled roof, saddle roof(Figure7) (Pang, 2021). Some of the types
are the privilege for the Chinese royal family. However, due to social class restrictions,
the roof forms of traditional residential buildings are dominated by gabbled roofs and
suspension roofs (Song, 2007). The roofs of northern and southern houses are also
different due to the difference in climatic conditions. Since there is plenty of
precipitation in the south, the southern roofs are characterized by a large slope to
facilitate drainage. It is often scorching hot in the south, as a result of which the roofs
are built high to facilitate ventilation and heat dissipation. While in the north, where
there are far less precipitation and coldness in winter, the roofs are predominantly flat
and thick, which is conducive to keeping the room warm during winter (Run, 2005).

Figure 9 Chinese ancient roof type

2.22 Body
2.221 Screen wall and gable
Applied as a crucial decorative wall in traditional architecture, the screen wall
functions to divide the space between inside and outside while ensuring the privacy of
the interior space and shielding the chaotic scene from outside the gate (Cheng H. ,
2010). Besides, the distinctive pattern and exquisite carving on the screen wall can
beautify the entrance and exit of the gate to set off each other (Figure8).

The gable is the peak-shaped wall placed on both sides of the house. On the side of
the traditional Chinese residence, the undulating gables constitute a beautiful-looking
skyline. Its primary function is to separate the neighbor's house and prevent the
occurrence of fire (Liao, 2017). There are a variety of different gables. Among them, the
more famous "Ma tau wall" characterized by the side gables is higher than the roof and
forms a stepped shape by following the slope of the roof (Dai S. , 2014). The other is
similar to a hood with both sides cocked up, which is known as "Guanyin Dou"
(Figure9) (Liao, 2017).
 Figure 10 Screen wall Figure 11.1 Huizhou Ma tau wall Figure 12.2 Guanyin Dou

2.221 Window and door

With regard to traditional Chinese residences, doors and windows are regarded as
essential components. In addition to meeting the needs of lighting, ventilation, and
transportation for the building, it also plays a role in decoration and beautification (Ma,
2003). The pattern of door panels and flower windows is diversified, among which the
diamond pattern and swastika pattern are commonly used (Figure10). Moreover,
ancient people often endowed windows and doors with some special functions, such
as leaking windows and viewing windows(Ma, 2003). These doors and windows make
the indoor and outdoor spaces separate and connected, which have virtual and real
infiltration and many changes.

Figure 13.1 Diamond pattern Figure 14.2 Swastika pattern

In addition to the ordinary door, there is another popular type of door used for
traditional architecture and it is called "Mendong"(doorway). This term means to open
doors on the wall without installing a door leaf (Peng, 1990). Moreover, the shape of the
door is diversified, such as square, round, bottle, and others, which carries different
traditional implications (Figure11). These doors are frequently located in the corridor of
the residence. Not only do they have the prompt and transitional effect of space
conversion, they also provide a suitable frame for viewing (Li, 2011).

Figure 11 Doorways of various styles

2.3 The predominant residential type: Siheyuan
Siheyuan”(courtyard house) has a long-standing history of more than 3,000 years
since its first appearance in the Western Zhou Dynasty (about eleventh centuries BCE).
There are plenty of excellent designs in Chinese history taking the form of siheyuan,
including the most magnificent building complex - the Forbidden City. Although the
design of these siheyuan buildings may be adjusted accordingly due to their
geographical location and subsequent differences, they maintain the same core
elements, the courtyard design and the axisymmetric layout (Cai, 2008).

Siheyuan probably began to prevail in the Yuan Dynasty (1271-1368), during which the
concept of hutong (Hutong is a small alley between the main streets in the city, leading
to the interior of a residential area. It is an indispensable part of the communication of
local transportation) appeared in the urban planning of Beijing (Cai, 2008). Between the
two hutongs is the Siheyuan residence. These Siheyuan dwellings developed over time
and eventually became known as the most famous Beijing residence. Most of the
existing Siheyuan was built in the Qing Dynasty between 1644 and 1911….. In simple
terms, the definition of Beijing Siheyuan is by the east, west, south, north all around
the house close up to form the inner courtyard type residence (Cai, 2008).

2.32 Layout of siheyuan

As for the layout of traditional Siheyuan, first of all, the gate is placed in the southeast
corner of the whole courtyard. The southeast position in Feng Shui embodies fortune.
After entering the gate, visitors can catch sight of the screen wall, which beautifies the
gate and protects privacy. After turning left, visitors will enter a small courtyard as a
transition architecture. Walking along the central axis of the main house, visitors can
turn right and then enter the central courtyard through the second door. To the north of
the central courtyard is the main residential house for the owner of the house. There
are ear rooms on both sides of the main room that can be used for study or other
auxiliary purposes. To the east and west of the main courtyard are the wing rooms
intended for other family members. They are slightly shorter than the main house. As
an inverted room in the south of the second door, the last room is purposed as a
kitchen or for servants (Figure13). These rooms are independent of each other with
connection via a veranda (Jia J. , 2009). However, this standard definition of Siheyuan
in Beijing is limited. There are only a small number of nobles and rich people's
Siheyuan meeting this standard. Moreover, due to the influx of more and more people
into Beijing, the shortage of land and the economic reasons of residential owners, the
layout of many rudimentary Siheyuan will deviate from the standard Siheyuan. (Cai,
2008)
 Figure 13 Aerial view of siheyuan

2.33 Orientation of Siheyuan

In general, Siheyuan is distributed on both sides of the hutong, so that the orientation
of Siheyuan is determined by the direction of the hutong. Hutongs in Beijing are mainly
in the direction from the east to the west (Cai, 2008). For this reason, the Siheyuan on
the north and both sides of hutong is complete with the residential gate that opens
southward and northward, respectively. In addition to these east-west hutongs, there
are also other hutongs stretching from the north and to the south for connection
between these main hutongs. The gates of Siheyuan on both sides of the hutong face
east and west. While the direction of the gate and its position with the hutong can
divide the Siheyuan into four basic directions: the north of the street, the south of the
street, the west of the street, and the east of the street (Alexander, Yutaka, Azevedo, &
Dorje, 2004).

Under the influence of typical climatic and geographical conditions in Beijing, the
houses located in the north of the street have the most favorable orientation because
the main house can be naturally placed in the north facing south. For those residence
facing other directions, however, residents will sacrifice some area for adjustment in
order for the main room to face south. For example, in the south house of the street
illustrated, people need to walk along a long and narrow passage on the west of the
courtyard after going through the gate, through which they can reach the southwest
corner of the courtyard (Figure14) (Cai, 2008).
 Figure 14 Orientation of Siheyuan

2.34 Courtyard space

As an essential architectural element of traditional folk dwellings, the courtyard is a
closed and transitional space enclosed by buildings and walls (Lu X. , 2004). For
example, in Beijing Siheyuan, the walls around the courtyard have no windows, thus
ensuring privacy. Besides, the courtyard space provides the essential ventilation and
lighting for residents. Moreover, it is the most important venue of interaction for the
whole house (Zhang D. , 2013).
2.51 The function of courtyard space
Located in the center of each room, the courtyard of the traditional Chinese residence
has an organizational effect for each functional space. Besides, it serves as the traffic
space connecting the hall, lobby, wing room, and other rooms. The courtyard is also
complete with such crucial functions as lighting, ventilation, and drainage and
communication for residents (Lu X. , 2004). They can have chat while doing
housework, and children can play together, thus filling the place with pleasant
atmosphere. Additionally, the courtyard can be used to grow flowers and plants, raise
fish and watch birds, thus integrating nature, skylight, rain, flowers, and trees into this
tiny space of several feet square. In the meantime, it plays the role of cultivating
sentiment, enriching life and improving micro-climate(Lu X. , 2004).
3.52 The Closure of courtyard space
Comprised of buildings and walls, the courtyard in traditional Chinese residences
creates an introverted and closed living space, which prevents interference from the
external environment, while ensuring the safety and quietness of the living
environment. Besides, the feudal patriarchal system exerts influence on the closeness
of the courtyard, which contributes to creating an orderly, isolated living space (Li,
2011).
2.35 Southern and Northern style
In China, there are various styles of siheyuan. In general, these styles can be
categorized into northern style and southern style. In the former, due to the low
population density in northern China, the courtyard usually covers a large area, while
the surrounding buildings are single-story ones. In comparison, the latter features
small courtyards and two - or three-story buildings due to the high density in the south
of China (Wang X. , 2013). Moreover, northerners like to locate the main gate of
siheyuan in the southeast corner of the house and the southern siheyuan in the
middle. This is because northerners firmly believe in feng shui that facing southeast
brings good luck while many southerners do not (Zhang D. , 2013).

Moreover, the materials used for buildings are also different between the south and
north in China. In the northern style, stone is commonly used to build houses. While in
the south, wood is the primary construction material. This is because the north is a
major source of stone and the south has the abundance of forests (Wang X. , 2013).

Climatic conditions are also influential on the style of siheyuan in terms of planning.
The main courtyard of Siheyuan resembles a square because of the bitter coldness in
the north during winter. This shape can improve lighting. In the south, the central
courtyard of siheyuan is rectangular because sunlight is too strong in summer, which
requires the reduction to sunshine for the courtyard (Wang X. , 2013).

2.4 Challenges to the contemporary development Disadvantages of

traditional architecture

2.41 Defects in traditional materials and techniques

The first one is the difference in the materials used. In traditional buildings, there are
large amounts of wood used. Due to the large-scale development of modern
architecture, the large-scale use of wood is easy to affect ecological balance, which
also contravenes the core idea of "harmonious coexistence with nature" in traditional
Chinese architecture culture (Wang X. , 2008).Besides, there are differences from a
technical perspective. In China, traditional wood structure requires tedious manual
craftsmanship and is not adaptive to the needs of modern large-scale machinery
production (Yang J. , 2020). The last one is the functional degradation of traditional
building components. There are various architectural components representing
traditional culture in traditional architecture, for example, horse-head walls, bracket
arches, cornices, and so on. These architectural components play a vital role in
traditional architecture. However, these architectural components have been stripped
of their original functions in modern architectural technology and structural system,
which become traditional symbols that are limited to playing a decorative role (Li,
2011).
2.42 The defects of traditional space
Traditional Chinese rituals have a considerable influence on the layout of traditional
Chinese architecture. For example, the rooms of the elders are arranged along the axis
of the space, while the rooms of the younger generation are located on both sides of
the axis. It is difficult to align this sober layout and strict hierarchical order with the
living characteristics of modern people (Wang Z. , 2010). Additionally, the spatial
function performed by traditional residences is divided relatively vague, such as
kitchens and dining halls, which are not as clear and refined as modern houses.
Besides, the facilities in the traditional residence facilities are relatively simple, which
brings much inconvenience to people's daily lives (Yang J. , 2020). In addition to
functional layout, traditional architecture is made more closed than modern
architecture. Its impenetrable exterior walls with defensive functions cease to be
applicable in the contemporary society. It is easy for the closed residential space to
lead to dark interior space, which is opposite to the requirements of contemporary
people for an open and bright living environment. The density of use is another serious
problem with traditional architectural space. In China, the level of population density is
overly high, with its land resources being incredibly precious (Zhou & Yang, 2006).
However, the traditional Chinese residence is a kind of low-density building type, and
its large construction area demand makes it unable to become a conventional type of
urban housing.

2.43 Changes in family structure

As the times progress, household structure and lifestyle have undergone significant
changes for people, which makes the traditional living space unable to meet the needs
of modern life (Wang Z. , 2010).

Family structure refers to the relationship between the family members with the family
pattern and type. The change in family structure will have impact on people for their
lifestyle and requirements. It mainly includes single family, couple family, nuclear
family, and compound family (Zeng, Li, & Liang, 1992). A single family is a family where
one person lives alone. A couple family is a family made up of both husband and wife.
A nuclear family consists of a couple and their unmarried children. In contrast, a
compound family is an extended family consisting of a couple and several married
children with their spouse and descendants (Zeng, Li, & Liang, 1992).

In China, the traditional family structure is classified into the compound family in most
cases (Wang Z. , 2010). Chinese children tend to be much more dependent on their
parents than those in western countries, and there are many sons and daughters living
with their parents for a long time after marriage (Amato, 2008). However, this has
changed over time. As can be seen from the chart (Table1), the average size of Chinese
families is shrinking, and the main family structure is shifting from compound to
core(figure15) (Yan, 2005). This is particularly evident in those large cities. Besides,
when the nuclear family gets predominant in family composition, other types of family
composition are gradually on the increase. In China, modern family structure shows a
trend of diversification, which also stimulates the demand for diversified housing (Li,
2011) (Table2).

TABLE 1 CHANGES IN FAMILY SIZE IN THREE NATIONAL CENSUSES

CENSUS TIME National average household size Average family size in Beijing Average family size in Shanghai

1990 3.96 people 3.2 people 3.1 people

2000 3.44 people 2.91 people 2.79 people
2010 3.10 people 2.45 people 2.49 people

Figure 15 Changes in family structure Table 2 National household composition in 2000

2.5 Opportunities for the contemporary development The advantages of

traditional Chinese residence
Despite the incompatibility of traditional residence with modern life in many places, it
still shows unique advantages. It is impossible to promote the development of Chinese
construction industry without inheriting the advantages of traditional architecture and
integrating them into modern architecture.

2.51 The sense of belonging

The emergence and development of traditional architecture are closely associated with
the diverse traditional culture, while its unique architectural image is entrenched in the
mind of every Chinese national (Wang Z. , 2010). Appearing in modern architecture,
traditional symbols allow people to derive a sense of intimacy and belonging (Zhang
D. , 2013). Besides, the color of traditional Chinese architecture is highly distinctive.
Traditional architecture reflect the changes by using a unified and elegant color and
partially adopting bright colors. This method of color use endows the traditional
architecture with a harmonious appearance color and shows the change (Wang Z. ,
2010). Moreover, the contrast of black, white, and grey in traditional dwellings creates a
straightforward but elegant atmosphere, which is suited to the increasingly noisy and
flashy design of urban residential building (Zheng, 2011).
2.52 Abundance of spatial forms
Traditional dwellings demonstrate a variety of different spatial patterns. There are
spaces like the principal room for public life and the wing room for people to live with
good privacy (Wang Z. , 2010). There are semi-open spaces, for example, the corridors
that can provide shelter from wind and rain with traffic function (Zhang D. , 2013). Open
spaces, courtyards are open to people for outdoor activities. These spaces enhance
the flexibility of daily activities and social interactions for people.

2.53 Harmony between human beings and nature with a people-oriented aim
As the core part of traditional architectural culture, the concept of "Harmony between
human beings and nature with the people-oriented aim" is also the premise for the
ancients to build the architectural environment (Yang J. , 2020). The courtyard space of
traditional architecture can guide natural rainwater and sunlight into people's lives
while improving microclimate inside the house. Besides, this space reduces the
distance between people and nature, thus allowing them to derive the peace of mind in
the hectic city life.

In addition, the culture of traditional Chinese architecture is also closely associated

with feng shui. In the ancient book " Huangdi Emperor's House Classic," it is recorded
that houses cannot exist in isolation and they must depend on nature (Zhang & Zhang,
2009). Furthermore, the science of feng shui guided ancient people on how to find
more suitable places of living when building their houses. Fengshui is not only an
ancient Chinese architectural environment science, but also the evaluation system and
planning layout theory applied to ancient buildings, which is significant to the
selection of house site (Yang L. , 2008). Fengshui pays close attention to such
elements as nature, geography, ecology, and landscape. There are a number of main
principles applied to the choice of a site: the backing of mountain, the easy access to
water and the orientation to the south. The house with the back of the mountain can
resist the cold wind from the north. The proximity to water makes water more
accessible. Moreover, the south orientation allows the house to receive sufficient
daylight (Yang L. , 2008)
3. From tradition to new era

3.1 The birth of a new Chinese architecture

After China enforced the reform and opening up policy (1978), people have absorbed
foreign cultures (History.com Editors, 2009). At that time, people held the view that the
foreign architectural style represented advanced fashion and avant-garde. In this
circumstance, developers built European-style houses in large quantities(Guo, 2017).
Then, there were lots of building with different national styles rising up in the Chinese
cities (Liu & Wang, 2013). Moreover, Western architectural systems are highly
developed, which prompts Chinese architects to learn from Western concepts and
replicate these styles for their own designs (Yang C. , 2002). The architectural style of
Chinese cities has now changed dramatically.

As time goes forward, Chinese people have gained a better understanding of foreign
culture. After realizing a certain gap between the buildings with foreign style, they
started the building of genuine foreign architectures. It was found out that some
different styles of architecture will be more charming in the specific environment. For
example, the architectural style in southern California is wonderful when it was built at
the seaside (Jia N. , 2019). However, it would be made abrupt if designers built it on the
plain in the north of China. Besides, it was discovered that foreign architectural
concepts have also experienced changes. Those architects in developed countries
embarked on the pursuit of innovation and the development of people-oriented
projects (Hao, 2006). In this context, Chinese architects began to consider the future
direction of Chinese architecture. In the meantime, there are various problems with the
imitation buildings, such as the exterior colors of some buildings becoming mottled.
This is because European classical architecture is constructed using stone in most
cases. However, Chinese designers use GRC, EPC, and other materials rather than the
stone for imitation (Jia N. , 2019).

With new problems arising and new concepts receiving popularity, there has been
progress made in Chinese architecture. Then, the new Chinese architectural type
emerged, thus meeting people's growing needs and catering to the pursuit of
traditional culture among residents.
3.2 The inevitability of the birth of a new Chinese architecturestyle

3.22. Changes in social space

Currently, the pace of life is made increasingly for people. There are many modern
settlements having indifferent neighborhood relations and a lack of places for
communication. Additionally, people live a busy life, which brings home a lack of
vitality and human feelings. (Zhang D. , 2013) However, within the traditional living
space, the neighbors are friendly, harmonious, and conducive to communication.
These advantages play an essential role in adjusting the pace of human life in a society
with high intensity and fast pace.

For example, Beijing hutong is not only a vibrant neighborhood social place in
traditional residential houses, but also part of traditional cultures for Beijing.
Additionally, there are also various traditional cultural activities in the hutongs, for
example, hawkers pushing trolleys for shadow puppets or sugar figurines, elderly
people watching others playing chess, and children playing in the hutongs under the
shade of big trees (Bai, 2007). These vanishing scenes represent an unforgettable
memory of Beijing residents and a crucial part of traditional Chinese culture(figure16).
Therefore, it is necessary for the Chinese people to have a sensible inheritance of the
traditional Chinese residence for the creation of a space that meets modern life. This is
the primary reason for the emergence of new Chinese-style residence (Li, 2011).

Sugar Figure Blowing Art Erhu fiddle Food stall

Ice-sugar gourd Chinese chess Shadow Puppets

Figure 16 Disappearing street art and culture

3.33 Scientific and technological development and technological progress

Science and technology have routinely been the condition for realizing architecture
and promoting the renewal and development of architecture on a continued basis. Due
to the relentless advancement of science and technology, there have been plenty of
new structures, new materials, and new construction techniques emerging in recent
years. The improvement of technical conditions contributes to promotes Chinese
residence to perform better. Thus, the development of Chinese residential buildings is
inseparable from the support of technology, while technology can be manifested in a
variety of different ways in the design of new Chinese residential buildings (Guo,
2017).For example, exploring the essence of traditional architecture, applying modern
materials or technology for expression, or introducing foreign advanced technology
for the purpose of local transformation.
4.0 Precedent Case studiesy

In the current residential projects, some designers have well-integrated the traditional
culture into the design, a better interpretation of the new Chinese residential concept.
These projects are worth studying and helping to develop the new Chinese style
concept.

4.1 Taihe Beijing Yyard, Beijing, 2013, Wenquan Wang, 2013

Located in the Central Villa district in Beijing, the "Beijing Courtyard" residential
project is a high-end residential area. It is the second new Chinese style residential
project undertaken in central Villa District.

4.11Layout and planning

The overall layout of the Taihe Beijing courtyard renews the symmetrical form of the
Chinese traditional imperial city. The planning framework of Beijing courtyard is
developed through the Chinese style of street system, that is, "street, alley, and lane. "
The ring road inside the community is called "street," which is connected to the main
entrance and exit. It serves as the vehicular roadway inside the community (Jia N. ,
2019). The "street" sets up connection with each house and that from the "street" to
the two sides extends a number of "alleys". The "alley" functions as the secondary
road of the community, which is faced with all buildings and the main entrance of the
courtyard. The "lane" is formed by the "alley" and the courtyard house situated on
both sides of the alley (Figure17). Overall, the traffic system of the courtyard in Beijing
is comprised of "streets" and "lanes", while the architectural layout consists of several
"lanes" (Jia N. , 2019). With a reasonable layout and clearly-defined hierarchy, this
project exhibits the essential characteristics of Chinese urban pattern and is regarded
as a veritable new Chinese style of residential community.

Figure 17.1 Master plan Figure 17.2 Aerial view

4.12 Architectural form
As for the architectural form shown by the Taihe Beijing courtyard, it adopts a simple
new Chinese style. The roof of the building is a traditional Chinese four-slope roof with
a simplified cornice around it, which makes it resemble an official hat in ancient China
(Jia N. , 2019).

Figure 18 The exterior of the residence

The cornice is made out of the metal and aluminum panels commonly used in modern
architecture. The bottom of the eaves also plays a crucial role in the depiction. A
simplified rectangular metal purlin is constructed by refining the purlin at the bottom of
eaves in ancient Chinese buildings (Figure18). Metope is what reflects the integral
effect most explicitly (Jia N. , 2019). The main wall of the building mainly exhibits the
classic two-section type, with the upper part being dark and the lower part being light.
Not only does such color collocation reduce the building height, it also alleviates the
sense of oppression. The upper part of the building is made out of dark material, while
the architect applies the bamboo panels with Chinese regional characteristics. This
sort of material possesses excellent durability and a beautiful, unusual texture. Apart
from that, its dark coffee color makes the building show a strong sense of culture. As
for the material used for the lower part of the building, the architects applied
Portuguese beige stone with excellent color and texture. This light-colored stone
infuses lightness into the building, which is consistent with the characteristic of
modern architecture. The architect paid close attention to designing the size of the
stone and the form of the gap, thus making the exterior stone feel more vivid.
Moreover, the collocation of light yellow stone walls and deep coffee bamboo board
manifests the importance of the two materials of "stone" and "bamboo" in traditional
culture.

4.13 Artistic conception

The gate of Taihe Beijing courtyard is a distinctive characteristic of the whole
community. Drawing on the essence of the Chinese imperial palace gate, it was
transformed into a new Chinese style architectural form by applying modern design
techniques, which has been used for reference by many architects from the community
(Jia N. , 2019). The architects responsible for this project exercised a variety of
traditional gate elements for the entrance, for example, the metal cantilever, the copper
beam with flower carving, white marble edge, and a Chinese style wall lamp and drum
stone deployed on both sides of the door. All Chinese elements are simplified and
summarized to be presented as the architectural symbol of the new Chinese style
through the application of modern design techniques.

The gate of the community demonstrates distinctive Chinese characteristics, while

uniqueness is shown by the design of the walkways and green plants inside the
community. The architect applied the tiles as the ground paving to make the ground
texture of the community diverse. A large proportion of the green plants were planted
at the root of the wall, thus making the wall invisible, especially the bamboo and gray
courtyard wall with striking Chinese elements (Jia N. , 2019). The use of grey bricks
outside the residential area has created the atmosphere of hutong life that old Beijing
has never reverted to, redefining the relationship between neighbors, both intimate and
private (Figure19).

Figure 19.1 Street view Figure 19.2 Alley view

4.2 Beijing Guantang
Beijing Guantang is known as a luxury Chinese villa project targeted at embassy staff,
foreign executives, and business people. The overall design is purposed to promote
the inheritance and revival of traditional Chinese style.

4.21 Layout and planning

Featuring the symmetrical arrangement of the north and south longitudinal axes, the
Guantang master plan replicates the interconnected characteristics of the cross-axis
layout of Beijing City (Figure20). As the basic features, the enclosed independent
courtyards comprise a social network system cantered around family courtyards, with
the neighbors as mainline and community region as the plane (Dong, Ruan, & Shi,
2008). This cross axis with an inner and outer loop formed the street layout
characterized by a wide main street, narrow alley, and suddenly open courtyard (Li,
2011), thus creating many changing spaces to improve the privacy of the whole
residential transition gradually. Streets and alleys play the role in connecting houses
with houses, houses with nature, thus providing a place for people to communicate
and a living environment to meet the psychological needs of people, which is
conducive to maintaining a harmonious relationship between traditional culture and
neighbors (Dong, Ruan, & Shi, 2008).

Figure 20 master plan Figure 21.1 Street view Figure 21.2 Alley view

The architects practiced the overall design in line with the principles of Fengshui-"back
mountain, face water, and face south. (Yang L. , 2008)" Through the design of a moat
with a width of 5-10 meters outside the residential area, he presents the concept of
imperial city planning and serves as a barrier between the community and the outside.
Moreover, the designed river in the green belt on the north and west side planted trees
on outside mountains and the southern lake, which leads to a flat and open
community, echoing the concept put forward by Fengshui (Li, 2011).

4.22 Architectural form

The architectural form is premised on the official residence typical of the Qing
Dynasty. Extracted from the Siheyuan in Beijing, the added elements make the
appearance distinct in demonstrating Chinese characters (Figure22). The curling roof,
which is commonly used in traditional dwellings, is adopted as the roof of the building,
and the floral-pendant gate is decorated with drum stones set on both sides (Li, 2011).
Besides, those small tiles have been placed on the top of the surrounding walls. In
comparison, the traditional flower windows in the shape of a square, palace lantern,
and hexagon have been placed on the walls, which is reflective of a strong Chinese
style.

4.23 Material and color

The material used for exterior wall of the house is mainly grey high-grade stone or
brick, with partial white paint and slight texture attached to the wooden frame(Dong,
Ruan, & Shi, 2008). What is also used is Chinese traditional building materials, echoing
the grey brick of Chinese folk houses (Li, 2011). Roof tiles are mainly made of tube tile
in gray-black high-grade aluminum alloy with Chinese traditional window material. In
design, wood louvers are purposed to enhance spatial hierarchy while minimizing
visual interference (figure22).

Figure 22 Residential appearance

4.24 Architecture artistic conception

The design of vertical strip windows reflects the pursuit of artistic conception in
Chinese courtyard architecture, with the emphasis placed on the relationship with
traditional Chinese poetry and painting. This leads to the charm that multiple
landscapes can be viewed in a confined space (Figure23). The long window means
painting scroll, and the repeated use reinforces the artistic appeal and visual impact
(Li, 2011). Looking at the interior space in the inner courtyard through these long
windows, seasons and natural changes are made similar to a landscape painting
scroll(Dong, Ruan, & Shi, 2008). Looking at the interior space through the long window
from the outside, the interior decoration with human activities is presented like a poem
of life. The visual transparency enhances the connection between indoor and outdoor
spaces, which invisibly expands the indoor and outdoor spaces (Figure 24) (Li, 2011).
 Figure 23 building detail Figure24 Courtyard view

4.3 Shenzhen Wanke Fifth Garden

Shenzhen is one of the earliest cities in China to carry out the reform and opening-up
policy. People living in this city can find a variety of different exotic customs and
fascinating cultures. However, this city lacks the buildings that embody the traditional
culture. For this reason, Shenzhen Fifth Garden is purposed to explore and reinterpret
Chinese traditions. The project is dedicated to recreating a vibrant and lively village
with a natural layout that integrates modern life with traditional Chinese characteristics
(Wang S. , 2004).

4.31 layout and planning

The project is located on a gentle slope of hills surrounded by mountains. Due to the
significant height difference between the southeast and the northwest, the architect
made attempt to carry out reconstruction along the terrain in line with the original
landform. Designed as a central spillway valley, the center of the site is a low-lying area
serving as a boundary between the left and right residential areas (Figure25) (Wang S. ,
2004). Apart from that, the architects also based the arrangement of the residential
areas on the model of traditional village development to make the layout more flexible
and user-friendly (Guo, 2017). A semi-circular main road links the different residential
areas in the project from villages. Then, the houses in each village are connected by a
series of secluded streets and alleys. This layout lays emphasis on privacy and the
sense of territory while providing a place for neighbors to make communication
(Figure26).

Figure 25 master plan Figure 26 Function distribution

4.32 Architectural form
The architect made improvement to the architectural symbols of traditional residences,
such as the horse-head wall and the moon gate, in addition to using modern building
materials to construct courtyards, courtyards, and doors with the merits of Chinese
folk dwellings (Guo, 2017). The architect integrated modern materials with traditional
culture, thus providing the material of steel, glass, and concrete walls with an intense
cultural atmosphere. Based on the elements of Hui-style architecture and Jiangnan
garden architecture, The design is aimed to carry out selective inheritance and
innovation, thus creating a space of modern traditional living suitable for Chinese
people and a new living environment that conform to everyday living habits (Wang S. ,
2004). For example, the community buildings cannot see the traditional form like
horse-head walls, overhanging eaves, leaky windows, and other architectural design
languages isolated from modern life. However, new interpretation and deduction can
be made through the simple white wall and black tiles, small flexible window, fine lines
in the corner, green brick walkways, dense green bamboo forests, courtyard greening,
semi-transparent screen, round and square-shaped walls, bluestone paved alleys,
semi-open courtyard, culture memorial arch, transparent leak windows, carving with
rich culture（stone carvings, brick carvings, wood carvings）and other traditional
architectural languages, thus allowing the traditional architectural language to have a
new look of modern society (Guo, 2017).

The fifth garden incorporated the characteristics of bamboo-tube houses and cold
lanes in Guangdong as the project site is located in a hot and humid area (Wang S. ,
2004). The architects made attempt to improve the living environment through such
elements as small courtyard, corridor, overhangs, cornices, high walls, flower
windows, holes, and cracks (Figure27), all of which can bring the green to habitants,
thus improving the residential comfort (Jia N. , 2019).

Figure 27.1 Cold lanes Figure 27.2 Flower windows

4.33 Architecture materials and colors

With regard to color, the Fifth Garden adopts elegant but straightforward colors based
on the lessons learned from Huizhou folk dwellings. The overall color is dominated by
white and gray, which are interspersed with a few bright colors. Creating a simple and
concise appearance, this color scheme reflects the classic and traditional elegant
charm (Wang S. , 2004). This project displays the highly folkloric Chinese atmosphere
while demonstrating the simplicity and lightness of modern architecture.

4.34 Artistic conception

The overall artistic conception of the Fifth Garden is tranquility, just like the high wall
of the residence isolates the interference from the outside world and creates a quiet
residential environment. Besides, the Fifth Garden triggers a direct and straightforward
aesthetic feeling (Wang S. , 2004). The bare white walls set off the forest and bamboo
trees, while the winding path with dense shade isolates the Fifth Garden from the noisy
city, so as to meet the spiritual needs of people to escape from the fast-paced urban
life. Thus, people can have the peace of mind from the noisy outside world (Figure28)
(Jia N. , 2019).

Figure 28 Landscape artistic conception

4.5 Discussion of the case studies

4.5.1 cClassification
With the relentless efforts made by many Chinese architects, there have been more
and more architectural works with Chinese characteristics entering the market. These
distinctive designs can be roughly classified into three categories. The first one is
inheritance and revival of traditional Chinese residential architectural style. The
second one is combination of tradition and modern architecture. The last one is
reinterpretation of traditional Chinese style (Jia N. , 2019).

The Guantang project in Beijing falls into the first category. Referring to the overall
layout of traditional architecture, this type of project makes rational use of space in
Chinese architecture, thus laying the foundation for architects to design residential
buildings conforming to the lifestyle of Chinese people. Also, most of these projects
will learn from the facade shape and color matching of traditional buildings. The new
Chinese residential buildings of this kind are mainly intended to renew the traditional
Chinese living mode, which resonates with many people who are nostalgic and
obsessed with Chinese culture.

Taihe courtyard project is classified into the second type. Based on modern
architecture, it adopts modern technology and craftsmanship for the expression of
traditional elements. Premised on the traditional Chinese space with bold and abstract
Chinese characteristics, the layout design takes modern architecture as the base
drawing, adding generalized abstract Chinese elements and removing unnecessary
decorations in terms of architectural appearance. At present, this type of new Chinese
residential building is the most dominant residential form on the market.

The third category, as practiced by a smaller number of projects currently, is based,

like the second category, on modern architecture, but with a more abstract approach
taken. This kind of project will also exercise the texture of the Chinese architectural
complex in the overall layout, but with more flexibility allowed. When re-designing the
architectural image, architects pay close attention to creating the Chinese artistic
conception and designing the architectural appearance which is similar to the
traditional architectural spirit but different in shape. At present, the design concept
reflected by this kind of architecture is highly avant-garde, which may lead the future
direction of development for new Chinese architecture design

4.5.2 The issues of existing new Chinese style design

With the research conducted by more and more architects on the new Chinese style,
the corresponding works and theoretical system begin to improve gradually, despite
various problems.

Firstly, the innovation of new Chinese-style architecture is of much importance.

Though cultural inheritance is a crucial part of new Chinese architecture, it is
necessary for architects to properly retain and boldly innovate this part of the culture
to design for meeting the needs of modern people. Architects should abandon some
meaningless traditional symbols while maintaining and transforming those essential
but obsolete conventional elements (Jia N. , 2019). In summary, architects should
break away from blind imitation and forcible use of the conventional characteristics of
the new Chinese style. Only through selective cultural inheritance and bold innovation
can the future direction of Chinese traditional architectural culture be found (Yang J. ,
2020).

Secondly，the limitation of design ideas continues to plays a negative role. For the
new buildings in China, there have been mature design schemes developed so far,
which makes current architects more inclined to adopt the successful design concepts
of the past. However, this leads to the lack of innovation in new Chinese residential
buildings (Jia N. , 2019). Also, the design cycle of most buildings in China is concise
nowadays, which allows architects little time to explore deep cultural heritage. This is
one of the reasons why architects are more likely to alter a previously successful
project rather than reinventing it.

Besides，it is necessary to consider the application scope of the new Chinese concept
in residential buildings. Most recently-constructed Chinese residential buildings are
low-rise buildings, with a lack of reasonable plan for high-rise buildings (Wen, 2018).
The main reason for this problem is the absence of multi-story and high-rise buildings
in traditional Chinese residential types, which provides architects with no objects for
reference (Zheng, 2011). The original traditional house provides a blueprint for the
exploration of low-rise architecture by architects.

Moreover，another problem is the popularity of new Chinese housing. The existing

new Chinese housing is dominated by high-grade villas and luxury houses, which
makes it difficult for ordinary people to take enjoyment and gain access (Liu L. , 2010).
Developers regard new Chinese houses as a money-making commodity rather than a
means to revitalize traditional culture. As a result, these homes are constructed with
large courtyards and even a plurality of private outdoor spaces, with luxurious features
beyond the reach of an average person. It is a problem worth considering for architects
and developers is how to popularize the concept of the new Chinese style in mass
housing.

Last but not least, it is the issue of the compatibility in Chinese traditional community
gardens. Chinese traditional gardens are considered an inseparable part of traditional
architecture. Though these gardens are relatively easy to layout in the current low-level
new Chinese residential complex, they have little compatibility with the high-rise
residential buildings. Since most traditional buildings are low-rise ones, architects are
provided with many reference targets for the design of gardens. Moreover, architects
tend to fall back to the more manageable western open-plan layout when it comes to
gardens and high-rise buildings. In this way, a Chinese house with a western garden
landscape will be constructed, significantly reducing the original basic design concept.

5. The new “Chinese Sstyle” concept

"The most urgent task for Chinese architects is to explore an architectural form that is
accessible to our limited physical capacity and at the same time respecting our own
culture."
- Ieoh Ming Pei

The development of things can only be promoted when it is practiced. Otherwise, it is

merely a matter on the paper. Therefore, based on the case analysis of the new
Chinese architecture mentioned before, this chapter is dedicated to conducting in-
depth analysis from five perspectives including design ideas, planning and layout,
architectural form, material and color, as well as artistic conception creation. By
making summary and analysis to find a solution to integrating traditional culture and
modern background, architects will reference future exploration for the design of new
Chinese style. Besides, given the unique status of roof as an architectural component
in traditional architecture, separate analysis will be conducted in this chapter to
understand the evolution of the traditional roof under the context of modern society.

5.1 Design ideas

The design idea represents a crucial part of the architectural design, as it can make
difference to the whole design process. Only by clarifying the design idea and
ensuring its correctness and feasibility can architects provide a satisfactory answer for
the subsequent design. The design of New Chinese Style is supposed to start from the
overall planning and layout (Jia N. , 2019). The first thought of architect is to work out a
reasonable and feasible layout as preparation to apply the New Chinese Style like the
symmetries of residential areas, the separated landscape of residential areas, and the
layout of individual buildings. Architects can exercise the layout to make the whole
residential area reflective of the characteristics of new Chinese style. Architects are
also expected to identify the living habits, color preferences, space usage habits, and
cultural needs of the residents, which forms the basis of an excellent design. Besides,
the architect ought to consider the style and image of the whole area inside a house to
avoid excessive immitation of the appearance of other styles (Yang J. , 2020).

Due to the vast territory of China, the traditional Chinese residences in its history show
difference in their form. The development of Chinese architectural forms in each region
has their unique social background and environmental factors. For the reason, it is
important to avoid combining the characteristics of Chinese buildings in different
regions when the architect decides the overall style of residential area (Yang J. , 2020).
Otherwise, it is often inevitable to cause a waste of resources and difficult to carry out
maintenance later on. For example, it is not advisable to build gardens with Jiangnan
characters in the arid northwest of China or courtyards with high walls were in the hot
south (Zhu S. , 2016). Therefore, when designing the new Chinese style, architects
should pay attention to regional characteristics and incorporate regional culture
elements to make it an inspiring design. For example, the hutong culture in Beijing can
provide the ideas about layout planning, while Suzhou's garden concept can provide
ideas about how to combine residential buildings and courtyards (Jia N. , 2019).

Overall, there are a variety of different design ideas based on three same principles.
The first one is cultural inheritance, which reflects and applies traditional Chinese
culture in architecture. Besides, the study of new materials and technologies is based
on the historical background for application in architecture. Last but not least, it is to
create human-oriented architecture and build a comfortable living environment. Only
the residential area that meets these three primary conditions can receive popularity as
new Chinese residential complex.

5.2 Planning and Layout

The planning of traditional Chinese residences is closely related to the Fengshui
theory. Fengshui culture is regarded as the most essentials by ancient people to carry
out layout and construction. However, it also leads to resource waste and a low land
utilization rate in the planning of many ancient traditional buildings. In recent years,
with rapid social development, China has shifted its focus to using resources with the
government and developers required to "save energy and land resources" when
arranging urban construction (Yang J. , 2020). Therefore, the planning and layout of
new Chinese style architecture are required to show respect for Chinese traditional
culture and regional culture based on Chinese traditional architectural thought
"advancing with the times" innovation (Yang J. , 2020). Also, architects should pay
more attention to the practical environmental factors in the planning and layout of new
Chinese architecture, for example, giving consideration to more functions, traffic,
landscape, sunlight, and ventilation.

5.21 Overall planning ideas

Planning is the first step in working out the design. During the planning process, the
architect should determine the overall orientation of the residence. In the meantime,
the architect ought to fully explore the regional culture and natural environment of the
residential area, which is significant for them to think about the design concept and
planning (Yang J. , 2020). The most commonly planning ideas fall into two types. One
is the layout imitating the traditional urban planning and the other is the layout drawing
on the traditional settlement pattern (Jia N. , 2019).

5.22 ReiInterpreting mitate the layout of traditional layouts urban planning

As a famous ancient Chinese normative book, the Rite of Zhou -The Artificers' Record
describes the structure of traditional Chinese town. “When the architect built the
capital, the city plane was square with 4.5 kilometers on each side, with each side
having three gates of different sizes (two side gates were set up). There are nine north-
south roads and nine east-west roads in the city. Each avenue was wide enough to
carry nine carriages (72 feet) at the same time. To the left (east) of the palace is
Jongmyo, and to the right (west) is Sheji. In front of the palace is the place where the
courtiers worship, and in the back is the market. The market and worship place is a
hundred steps from each side (a square with a side length of 100 steps.) (Dai W. ,
2003)”

In general, traditional Chinese cities make use of courtyard-alleyway-street-wall

structures from small to large, and every single unit shows a precise relationship with
its superior (Li, 2011). The outermost walls of the city determine the overall scale of the
city. Streets are regarded as the backbone of the city, crisscrossing the streets into
neighborhoods. Alley is the footpath of neighborhood, connecting the residents inside
the neighborhood, thus creating a small space of interaction between the
neighborhood. The street is a public space in the city, while the courtyard provides the
private space of the family. The transformation from street to courtyard reflects a
transformation from public to private. This set of urban structure is endowed with
unique cultural significance. Therefore, in a flat and open terrain without any
landscape or height difference, the architect can draw lessons from the traditional
pattern of other cities like capital of Zhou dynasty, Chang 'an in Tang dynasty , and
Beijing in the Ming and Qing dynasties，all of which adopt checkerboard road network,
square Lifang, and street layout (Figure 37). At the same time, the architect can create
a well-ordered hierarchical space with this layout (Li, 2011).

For example, the overall planning of Beijing Guantang project refers to the layout of
the square streets and alleys in the Beijing imperial city (Figure 38) (Li, 2011). The
layout of the entire building is premised on the central axis symmetry in the north-
south direction and independent courtyards, thus comprising a social network system
centered on the family yard, the neighborhood as the mainline, and the community
area as the plane (Li, 2011). Meanwhile, it creates a living environment capable to
maintain harmony between the traditional culture and the neighborhood.
 Figure 37 Capital of Zhou dynasty Figure 38 Guangtang master plan

5.23 Draw lessons from the layout of traditional settlements patterns

In China, traditional settlement is a natural pattern of growth, mainly in the rural and
urban suburbs. (Wang Z. , 2010) The disorderly layout of this form can meet people's
needs. After screening over time, the remaining settlements are all reasonable and
show the texture of harmonious coexistence with the environment. (Figure39)
Architects can exercise this layout to work out the design of a modern residential area
that is free and comfortable (Li, 2011).

Figure 39 Traditional settlement Figure 40 The fifth garden master plan

For example, the planning and layout concept adopted by Shenzhen Wanke Fifth Park
is a large "village" comprised of residential areas in different types (Figure40) (Guo,
2017). The spatial transition at different levels is achieved through a combination of
neighborhoods, laneways, courtyards, and inner courtyards, which places emphasis
on privacy and a sense of domain while providing a place for neighborhood
communication (Wang S. , 2004).

5.3 Spatial configurationdisposal and distribution

The spatial composition of traditional Chinese architecture is extremely distinctive.
The consideration given to how to learn from and improve these traditional spaces is a
critical part of design process for the new Chinese style. The definition of space is
wide-ranging. It can be the direct spatial relationship between buildings that set up
connection between the inside and outside parts of the building2. In summary, the
purpose of architectural design is to create a reasonable spatial layout and build a

2
comfortable living environment.

5.31 The cohesion of the space and transition

People moving from one space to another space require smooth cohesion and
transition, which means thinking about the changes to these spaces is also the task to
be performed by architects. In new Chinese communities, architects often refer to the
shadow walls in traditional buildings for distinguishing between the inner and outer
spaces of the community (Jia N. , 2019). This shadow wall plays a role in protecting the
privacy of the inner space and blocking the views. As for the interior, the architects
also create a landscape to buffer the intersection between streets and alleys. In
residence, the foyer (the space from the entrance to the hall in the house) and the
waiting hall of elevator are both transitional spaces. The transitional space between the
two houses is of equal significance (Li, 2011). They can be either laneways or small
courtyards. In the Vanke Fifth Garden project, the architect designed the cold alley and
the inner court intended to perform the traffic function in the inner community and
build the main space and connection (Wang S. , 2004).

5.32 Substitution and variation

The substitution and variation of space manifest the inheritance and innovation of new
Chinese architecture on the basis of traditional culture (Hao, 2006). With the constant
development of society, there are significant changes occurring to modern people in
terms of family composition, lifestyle, and daily needs. However, the functional layout
of traditional Chinese architecture is often less convenient and compact than
expected, partly because it is influenced by the complicated ritual system of traditional
culture and the concept of hierarchy (Jia N. , 2019). Therefore, when considering the
layout of new Chinese architecture, architects should pay attention to the partition of
function and adapt to the needs of modern people in different domains (Figure41).

Figure 41 The substitution of space

Substitution is purposed to change the space according to the functional requirements

of modern architecture while preserving the elements of a traditional residence(Hao,
2006). The Changshui City project in Beijing maintains such traditional architectural
elements as east and west wing rooms, master bedroom and corridor. Furthermore, the
architects made change to the functions for ensuring that most of the bedrooms face
south and the overall space is easier to use. They replaced the main hall with the living
room and bedroom, the wing room with dining room and kitchen, and the inverted seat
with the reception room and guest room, thus meeting the functional needs of modern
life and maintaining the elements of traditional layout (Jia N. , 2019). Variation is
purposed to extract space and form from traditional architecture and make adjustment
to them according to the living needs of modern people. In the Changshui City project,
there is another type of courtyard. Architects relied on L-shaped houses instead of the
traditional enclosed courtyard to enclose the middle courtyard (Figure42). This pattern
is considered more suitable for the lifestyle of modern people and can create a more
transparent atmosphere for people (Jia N. , 2019). In summary, regardless of space
replacement or space variation, the purpose of these methods is always to create a
more comfortable and convenient living environment for people.

Figure 42 The variation of space

5.4 Actualising traditional aArchitectural forms

Architectural forms need to experience constant changes with the development of
architectural technology for adaptation to the new surrounding environment, social
concepts, and functional requirements. With regard to traditional culture, Chinese
architects are supposed not to just imitate and apply traditional forms. Instead, they
should refine and abstract them using modern methods for building the modern
architecture that inherits traditional architectural culture 3.

5.41 ReinterpretationImitation
Imitation is defined as extracting characteristic elements of traditional architecture for
the purpose of simulating similar architectural forms. The objects of imitation can be
the layout concept of "street, alley, fang," the pitched roof and horse-head wall of
architectural components, or the traditional Chinese structural features (Wang X. ,
2008). For example, the gate in the Taihe Nanjing Yard project is an imitation of the
traditional Chinese archway. For some overly complicated forms, they can be
simplified. A typical example is the Vanke Fifth Garden, where the architect simplified

3
the Moon Gate in traditional architecture and improved it using modern methods
(Figure43). To sum up, imitation is one of the most effective solution to traditional
culture inheritance.

Figure 43 The simplified of moon gate

5.42 Refinement and Generalization

Refinement and generalization provide a relatively standard technique for the design of
new Chinese architecture. When encountering some traditional element symbols
incapable to be integrated with the modern environment, architects refine the main
characteristics of these elements and make summary of the new styles similar to them.
(Guo, 2017) In the process of refinement, architects should look for the prototype that
can be most representative of the part of traditional culture while creating a new
architectural style that resembles the traditional architecture and triggers resonance
with people. In Vanke Fifth Garden, the architects have adopted a variety of different
methods of refinement and summary, to produce satisfactory effect (Figure44).

Figure 44.1 the refinement of Ma tau wall Figure 44.1 the refinement of moon gate

5.43 Transplant
Transplantation is defined as applying classic and imitable elements from traditional
architecture to the building of modern architecture, which is similar to a literary
reference that makes people associate with traditional architectural archetypes in a
modern environment. Besides, reasonable transplantation involves both modern and
traditional styles, thus presenting a strong contrast. Moreover, the transplanted
traditional elements are only part of the traditional building components, which means
the integrity of modern buildings will be unaffected. This form of combination is
commonly adopted for new Chinese-style houses.

5.5 Engaging with traditional mMaterials

Traditional Chinese buildings are mostly constructed using such traditional building
materials as brick tiles, sand, soil, ash, wood, and bamboo. Derived from nature, these
materials endow the building with the profound connotations of traditional Chinese
culture. However, as time goes by, it is difficult for the performance of these traditional
materials to adapt to the current modern buildings with large size and complex
functions. Therefore, architects are supposed to integrate traditional materials with
modern technologies in reflecting the characteristics of modern architecture and
expressing the cultural characters of different materials. Besides, this combination can
further enhance the cultural connotation of new Chinese architecture and demonstrate
regional characteristics. At present, there are two mainstream types of materials used
in new Chinese architecture: isomerism and isomorphic.

5.51 Isomerism
Isomerism means that new techniques are applied to process traditional materials for
creating new forms of architecture (Guo, 2017)4. This approach integrates traditional
culture with modern technology. In the Landscape Project located in Yunnan, the
architects made use of traditional pebbles and bricks to stack the walls (Figure 45) (Jia
N. , 2019). In the meantime, some changes were made to the material color and
masonry ratio for the design of a beautiful five-color wall with modern techniques. In
Nanjing's Yiyuan Mansion, the architect masonry the tiles on the roof into a scenery
wall, thus creating an architectural form filled with classical temperament (Zhou J. ,
2013)（Figure46）.

Figure 45 The isomerism of wall Figure 46 The isomerism of tiles

5.52 Isomorphism
Isomorphism refers to the construction of traditional buildings with the use of modern
materials. This technique is widely adopted for the design of new Chinese residential
buildings, thus giving people a different experience to achieve the defamiliarization of
architectural forms (Guo, 2017)5. For example, the roof of Jiujiantang in Shanghai
constructed using metal steel tubes is presented as a metaphor for the roof texture of
traditional folk dwellings (Figure47) (Gong & Hu, 2013). Chengdu red sandalwood
4
5
adopts the style of western Sichuan dwellings. The wall is replaced with mirrored
glass, while the wood frame is made of I-beam steel, which reflects the transparency
and lightness of modern architecture (Figure48) (Li, 2011). In Jiangnan Runyuan, the
exterior wall is made out of concrete. The eaves are comprised of modern and
straightforward black metal plates, while the canopies consist of metal grids,
representing the traditional dwellings implicitly (Figure49) (Gong & Sun, 2010). This
technique is not only to replace the material but also to refine and summarize the
architectural features based on the familiarity with the character of materials used.

Figure 47 the Isomorphic of roof Figure 48 the Isomorphic of wall Figure 49 the Isomorphic of roof

5.6 Developing traditional chromatismColor

The color used for the building can make significant sensory impact for people, so that
the color plays a vital role (Yang J. , 2020). The exercise of colors in new Chinese
architecture is reliant mainly on traditional folk dwellings, which can be classified into
three categories: north, south, and ethnic group.

The northern traditional folk houses are represented by the Siheyuan and Guanzhong
folk dwellings in Beijing, among which gray is the primary color of Siheyuan. In
Beijing, the Yosemite project makes use of grey-blue bricks as building facades to pay
tribute to the traditional residential buildings (Figure50). The Guanzhong folk houses
are characterized by gray tiles, yellow walls, wooden doors, and windows. The design
of Xi 'an Branch of Beijing Guanghua University is worked out on the basis of
characteristics exhibited by the gray-topped earth wall of traditional Guanzhong
dwellings.(Figure51) Besides, the architect of this project also applied modern
materials to interpret these traditional dwellings. The dark gray aluminum plate roof
was utilized to display the traditional gray tile roof. In respect of the design of exterior
wall, he considered a sure way to arrange the ochre granite, which is purposed to
simulate the texture of the wheat straw adobe wall built for Guanzhong dwellings (Chu,
2002).
 Figure 50 Beijing's Yosemite Figure 51 Beijing Guanghua University

Southern folk dwellings consist mainly of Hui-style architecture and Jiangsu folk
dwellings, which are characterized by the architectural figure of white walls and black
tiles, simple and elegant colors, as well as the artistic conception of black, white, and
gray ink. In respect of color treatment, the project of Baoan Jiangnan Village located in
Wuhan draws on experience from the black, white, and gray tones of traditional folk
houses constructed in southern China (Zhu S. , 2016). The architects adopted grey
tubular tiles for building the roof. The upper part of the wall is covered with antique
blue bricks and the lower part is decorated with white paint (Figure52). In another
project, Huangshan Xuanyuan Hotel, the architects used white walls and black tiles
from Hui-style as the basis for the overall color. Moreover, the metal rimming at the top
of the white walls is also an imitation of the traditional horse-head wall features (Cheng
T. , Environment·Function·Architectural View—Hangzhou Huanglong Hotel Creation Notes,
1985)(Figure53).

Figure 52 Baoan Jiangnan Village Figure 53 Huangshan Xuanyuan Hotel

Tibetan residences are representative of ethnic residences, with the collocation of

saffron and white as their primary colors. The famous Lhasa Railway Station located in
Tibet adopts the traditional color scheme of Tibetan dwellings (Figure54). The
architects designed the large red walls and white colonnades to present a sharp
contrast in color (Wu & Shen, 2008,06). In another project undertaken by the China
Tibetology Research Center, the classic combination of saffron and white was also
practiced (Figure55). The parapet wall made of red concrete and the white stone wall
showed a sharp upper and lower contrast (Wang, He, Chen, & Te, 2011).
 Figure 54 Lhasa Railway Station Figure 55 new China Tibetology Research Center

5.7 Reinterpreting the traditional rRoof space

A large roof has routinely been a major characteristic of traditional Chinese
architecture and an essential part of traditional culture. However, a large roof is
frequently too bulky for modern architecture. For this reason, architects need to show
more flexibility in shaping the roof space for the design of new Chinese architecture
and innovation of traditional elements. The development of roof in new Chinese
architecture is reflected in the following aspects:

Firstly，architects shall pay more attention to the abstraction of the roof form.
Traditional Chinese roofs feature beautiful and varied contours. Therefore, architects
can show more creativity in the design of the new Chinese architecture roof according
to these lines. For example, the roof curve in Fan Zeng Art Museum is an abstract form
of the traditional roof(Figure56). The architects apply the diagonal hyperboloid as the
vehicle to express the "Fanyu" form of the traditional large roof, which is simple and
freehand (Zhang, Li, Sun, Zhang, & Su, 2014). In another project, Zhejiang Art Museum,
the form of roof is presented as an abstraction of the Chinese gable and hip roof.
Replacing the traditional roof curves with clean lines, the architect decomposed the
curved surface of the traditional roof into a modern folding surface(Figure57).
Moreover, he also made use of the turning and undulating glass surface to represent
the pediment on the side of hip roof (Cheng & Wang, 2010,06).

Figure 56 Fan Zeng Art Museum Figure 57 Zhejiang Art Museum

Besides, architects can steer away from the pattern of traditional roof. In traditional
buildings, the roof is regarded as an important façade shaping point and it exists as a
single and complete individual (Zhu S. , 2016). In the new Chinese architectural style,
the architect chooses to intersperse the roof like inserting the wall into the roof. The
Zhejiang Art Museum architects have built a bold interplay between the roof space and
the wall body, thus filling the whole building with the sense of sculpture. He breaks
down the independent relationship of foundation, wall, and roof in traditional
architecture for reshaping (Cheng & Wang, 2010,06).

Moreover, architects can make adjustment to the closedness of traditional roofs, which
are often too thick in traditional buildings. This is adverse to lighting for interior space.
Besides, the lack of diversity in traditional forms of roof often leads to aesthetic
fatigue. Therefore, architects can build a new Chinese roof with different shapes and
facilitate lighting by opening the roof and replacing the roof materials.

Designed by the architect He Jingtang, the Sanya Haitang Bay No. 9 Hotel (Figure58)
features the traditional Chinese Xieshan roof, with different materials used to sketch
the traditional outline in a flexible way. The upper part of the roof is made out of steel
structure, low-E glass and sunshade louvers, while the lower part is made out of light
grey terracotta pitched roof. This contrast between virtual and reality enabled by
different materials redefines the traditional Xieshan roof, giving it a sense of modernity
(Qiu, He, Guo, Wu, & Bao, 2014). In the design of Jiangnan Runyuan (Figure59), the
architect removed the tile roof and maintained only the steel frame structure of the roof
in the four corners (Gong & Sun, 2010). This kind of empty steel frame and thick tile
roof presents a contrast between materiality and volume (Zhu S. , 2016).

Figure 58 The Sanya Haitang Bay No. 9 Hotel Figure 59 Jiangnan Runyuan

5.8 Mobilising traditional lLandscape design

There are various landscape designs in China for residential buildings, despite most of
them lacking characteristics and cultural connotations. Besides, there are many
residential areas imitating European and American styles blindly, thus leading to the
slow-paced and challenging development of the Chinese residential landscape.
Therefore, it is worthwhile for the new generation of architects to consider how to
address these dilemmas and create the landscapes with cultural characteristics. There
are a long-standing history of garden design and mature design concepts in Chinese
culture. When designing the landscape of new Chinese residential area, architects can
base the development of new Chinese landscape design concept on the traditional
garden design techniques.
5.81 Guidance and hints
There is a clear difference between the design concept of traditional Chinese gardens
and that of western ones. Western gardens attach significance to the formal beauty of
openness and orderliness. However, what Chinese gardens pursue is natural and
implicit artistic conception (Peng, 1990). Therefore, architects should avoid coming
straight to the point for the landscape design of the new Chinese style. Instead, it is
essential to make reasonable use of guidance and suggestion to lead people to visit
every place. The architect can guide people with the use of verandas, winding bridges,
and roads. Besides, ground paving, plants, colors, and topography can be used to give
hints (Figure60) (Li, 2011).

Figure 60.2 The guidance from corridor

5.82 Contrast and variation

In the creation of landscape artistic conception, architects commonly exercise various
contrasts, such as the contrast in virtual and real contrast, dynamic and static, high
and low contrast, and between different shapes. In this way, the landscape is made
colorful and lively, with emphasis placed on the subject of landscape and the creation
of atmosphere (Peng, 1990).

The most common contrast is between what is virtual and what is real, which can make
the scene reliable and powerful, ethereal, and vivid (Wang & Liu, 2013). As described in
"Six Records of Floating Life", "The beauty of the garden lies in the handling of the
emptiness and the reality (Shen & Wang, 2005)." There are several simplest ways to
present virtual and real contrast in the landscape. For example, the contrast between
the building and the courtyard, the building is real, while the courtyard is virtual. In
comparison with mountains and waters, mountains are real, while water is virtual. The
scenery on the shore is real, while the reflection in the water is imaginary (Peng, 1990).
In the Suzhou Jiangnan Runyuan project, the architect attempted different wall
combinations of length, height, void, and real in the design of courtyard landscape,
thus creating an effect of concise and straightforward architectural form (Figure61). In
the Jiujiantang project located in Shanghai, the architect opened the window on the
scenery wall to make the leaky window and the wall achieve virtual and real (Figure62)
(Gong & Hu, 2013).
Figure 61 Figure 62

In an ancient Chinese poem, the contrast between dynamic and static is described as
follows: "The cicadas are singing, but the forest seems very quiet; with the sound of
birds singing, the mountains are quieter than usual (Gong & Hu, 2013). "Architects can
make use of the waterscapes to create dynamic and static changes, thus elevating the
courtyard space to a poetic level. For example, Yongquan Pool (Figure63) in Qinghua
Square of Guangzhou is full of interesting contrast with the surging spring water
beside the quiet atmosphere of the wood. In the atrium of Shanghai Jiujiantang, still
water is dotted with lotus blossoms, representing the skylight and cloud shadows
(Figure64) (Isozaki , 2004). A few red carp swim in the pool creates a quiet and peaceful
atmosphere.

Figure 63 Figure 64

5.83 Framed view and Opposite view

In framed landscape, architects deliberately set up framed hole structures like doors,
windows, and holes，which is purposed to guide people through the framed holes for
viewing the landscape, with a natural picture created (Qin, 2015). For example, Zhuhai
Yunshan Poetical House incorporates the scenery of small courtyard using simple
window holes(Figure65). Through the window holes, people can watch the children
play in the small courtyard, full of vibrant atmosphere. A framed view is similar to a
viewfinder.

In the design of new Chinese residential buildings, the application of contrasting

scenery is a common place, which can realize the different viewpoints are each others'
landscape (Peng, 1990). For example, the scenery wall of Poetic House in Yunshan,
Guangzhou (Figure66) is a point for appreciation, where visitors can stop to appreciate
other scenic spots.
 Figure 65 Figure 66

5.84 Borrowed view and Barriered view

Borrowed scenery means that the architect introduces the scenery of external space
into the landscape area designed by himself. This method relies on the outside
distinctive natural scenery or artificial scenic spots to create the scenery of the internal
scenic area (Peng, 1990). The architect needs to consider bringing people reasonable
lines of sight and angles, which can integrate the inside and outside scenery perfectly.
For example, the community is located in a mountainous area with ridged mountains
as the background. The architect will give consideration to how to introduce the
mountain view into the community. In the Qujiang Huafu project located in Xi 'an, the
architects introduced the view of the TV tower into the community, thus building a
profound atmosphere within the community (Figure67) (XWHO · China, 2007). In the
Suzhou Museum, the architecture borrowed wood scenery from the garden in the
neighborhood to complement the views of the courtyard(Figure68) (Chen, 2004).

Figure 67 Figure 68

The barrier scene is a technique where barriers are used to block people's sight and
divert their attention. The setting of the barrier view produces the effect of praising
after criticizing, which will make the main scene more attractive (Peng, 1990). Also,
unsightly objects are intentionally blocked and areas play an essential role in selecting
and purifying the scenery (Zhou Y. , 2010). For example, Chongqing Yuyuan adopts the
method of barrier view. The dragon-pattern screen wall situated at the entrance
blocked the sight of visitors(Figure69). Only after bypassing the wall can visitors have
the beautiful view of the central courtyard, which increases the attractiveness of the
residential area (Zhou Y. , 2010). A similar approach was taken for the Suzhou Museum
project, where plants were placed at the courtyard entrance to make the beautiful view
obscure(Figure 70) (Chen, 2004).

Figure 69 Screen wall in the Yuyuan Figure 70 “Barrier screen” in Suzhou museum

6. The future of Chinese architecture

6.1 Diversificationed
With the increasing popularity of the concept related to new Chinese style and the
emergence of new Chinese style buildings in large quantities, there are more architects
paying attention to this topic and conduct more in-depth research on it. Over time, the
designers for the concept of new Chinese style research direction will be more
comprehensive. For example, the city planning department took regulatory measures
to promote traditional Chinese architectural culture through the new Chinese style
architecture. Their treatment of the old urban areas with a long history has shifted from
simple demolition and reconstruction to the reconstruction based on preserving the
urban texture as much as possible. The reconstruction involves not only the
demolition of empty buildings but also the renovation and beautification of cultural
heritage. For those dilapidated houses, they can be demolished and rebuilt in line with
the new Chinese architectural style for coexistence with the original old buildings.
Moreover, a square layout shall be used to facilitate Chinese streets and alleys when
the government plans new residential areas. Besides, the existing housing model is
incapable to meet the growing living needs of people. In this circumstance, the new
housing area is required to show diversity. Therefore, regardless of the low-density
independent house, the medium-density multi-story stacked building or the high-
density high-rise building, they are all the target architects needing to be studied. For
example, as for low-density detached houses, the architect should focus attention on
the new Chinese courtyard form. With regard to medium-density overlapping and unit
houses, the architect is supposed to study the characteristics of new Chinese house
type. As for the high-rise residences with high density, architects need to consider
integrating the public green space into a shared space with a new Chinese style due to
the relatively large building spacing. New Chinese architectural design should not be
limited to the field of architecture. It is also necessary for people to consider its
application in planning, decoration, and landscape.

6.2 Sustainabilityle
Sustainable development has long been a hot topic. However, architecture is among
the industries that cause the most severe damage to the ecological environment.
Therefore, for future architecture development, it is significant to achieve the concept
of sustainable development in architecture. Across the construction industry, material
and energy consumption represent two critical elements in the achievement of
sustainability. In the past, wood is the primary material used for traditional Chinese
buildings. However, the scale of building construction was quite small at that time, so
that the amount of wood consumption reached no significant level. However,
contemporary building construction is much larger than in the past, which makes it
necessary for people to rely on new materials and technologies for the building of new
Chinese architecture. Also, useless shapes and decorations should be reduced in
architectural details to minimize the waste of materials. For architectural design, it is
also necessary to carefully consider the physical properties of buildings. Architects
should not blindly pursue peculiar shapes while increasing energy consumption for
buildings. In the meantime, the use of solar energy and other clean energy shall be
increased for the building to achieve environmental preservation. Sustainable
development is regarded as the direction of future development for architecture and it
should be the characteristics of new Chinese architecture.

6.3 EmplacementLocalization
With the improvement of living standards, people started to place higher requirements
on housing, with local architecture accepted as one of the new standards. For the
whole world, the new Chinese architecture is the local architecture of China. For China,
however, the local architecture refers to the architecture showing different regional
styles in China. The significant differences in climate and culture between the north
and the south of China presents a challenge for architects in the new era in the
construction of residential buildings with regional characteristics and traditional
cultural connotations. There have already been some buildings in China that are
designed according to the local climatic conditions. For example, the Fifth Garden
architects located in Shenzhen accommodated the hot weather in Guangzhou by
adopting the cold harbor and bamboo house with regional characteristics. Besides, the
architect also produces adequate ventilation and shading effect for the house through
high walls, narrow channels, trepanning, and other ways, thus creating a comfortable
living environment for people.

6.4 People-centered oriented conceptdesign

"The so-called European style, North American style, Chinese style, which is paying
more attention to the external form of residence. Though the form is regarded as an
essential element in architecture, it is not considered the most important in living
space. In my view, architecture and living space, which are futuristic-oriented and
suitable for Chinese people, need to be consistent with not only the national
conditions but also the economic standards of dwellers in the first place. Architecture
should also be convenient to use. If architects are unable to satisfy both of them, they
should prioritize the ease of use ".

"Architecture design should be people-oriented, as any architecture is to serve human

beings" —— Zhang Kaiji.

Both of these two prominent architects expressed the viewpoint that the creation of
new Chinese architecture should stay in the imitation and innovation of architectural
forms and study people's needs in depth.

People have various requirements placed on housing, such as high cost-effectiveness,

excellent management, comfortable surroundings and adequate spiritual sustenance.
The design of some existing housing focuses too much on form while ignoring the
needs of residents, resulting in flashy finished products. Even though some designs
can meet the material requirements of people, they pay little attention to the spiritual
needs, thus making people feel the charm of intact Chinese traditional culture. Also,
living space and environment are significant to people's life. The design of new
Chinese-style residence should make full use of nature without affecting nature and
even improve the surrounding environment through the appearance of the residence
(Yang J. , 2020). Only in this way can the living environment be improved for people.
The future development of architectural culture in China should be based on people's
needs. The development of Chinese architecture will be made healthy and sustainable
road if architects can reach balance between spiritual needs and social environment.
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