Building the Invisible Bridging the Gap Between Past and Future in Chinese Architecture

A thesis submitted to: The Division of Research and Advanced Studies of the University of Cincinnati

,QSDUWLDOIXO¿OOPHQWRIWKHUHTXLUHPHQWVIRUWKHGHJUHHRI Masters of Architecture In the School of Architecture and Interior Design of the College of Design, Architecture, Art and Planning

2012

By: Diane Guo Bachelor of Science in Architecture, June 2010 University of Cincinnati

Committee Chairs: Aarati Kanekar, Michael McInturf, Ming Tang, Jeff Tilman Building the Invisible

Bridging the Gap Between Past and Future in Chinese Architecture Abstract

China is a country with a booming economy that has paved a path to tremendous development and growth. The urgency to build at an accelerated pace due to the country’s political and economic transformation, along with its XQSUHFHGHQWHGSRSXODWLRQJURZWKKDVEHHQUHÀHFWHGLQLWVDUFKLWHFWXUH)ROORZLQJ Mao’s Cultural Revolution in the 1970s, the motto became “revolution, not evolution”. Traditions, culture, and anything considered old were viewed as taboo and were suppressed and disregarded. Only the new could represent China’s new face. Under new leadership, China aims to rebuild its cities, there has been a strong pull to attract international star architects to develop cutting-edge work.

This thesis seeks to question if there is an “in between” that merges the past and future. It aims to discover new architecture potential in old Chinese architecture principles with contemporary architecture strategies to create a new architectural identity in China. The focus is in Houhai, a historic hutong neighborhood in Beijing that sits within the Second Ring Road. The site consists of restaurants, bars, and lounges with waterfront views that promote vibrant night life; with adjacent residential neighborhoods consisting of old traditional Chinese courtyard houses. The site has gone through transformation to adapt to the changes of the city. Thus, the methodology of introducing new construction with emphasis on traditional Chinese architecture principles is the appropriate approach to preserve the culture of the site. Traditional principles will be revisited and applied to a new setting, which in turn will aim towards culturally sustainable architecture.

ii iii Table of Contents

Abstract ii Table of Contents iv List of Illustrations vi Introduction 2

Thesis Argument 4

Part 1. History of Architectural Development in China 1729-Present 4

First Encounter 5 The “Big Roof” 6 China Cultural Revolution (1966) and the Plan for a New Capital City 7 Plan for Tiananmen Square and Mao’s Philosophy on Reconstructing Beijing 8 The Ten Great Buildings Project 12 What’s left of the Imperial City and Traditional Courtyards: ‘Old Beijing’ vs. ‘New Beijing’ 16 Ju’er Hutong Project: attempt of preservation 18

Part 2. Traditional Chinese Architecture Principles 20

The Concept of yin, yang, and feng shui 20 Architecture Characteristics of Ancient Chinese Structures 22 Forbidden City, Imperial City of Old Beijing and its Neighborhoods 24 The Courtyard House: si heyuan 26 Traditionally “Chinese” and Traditionally “Western” 32

Part 3. Chinese Tea Culture and Its Role in Contemporary Society 36

Culture of Tea 37 The Art of Tea: Tea Ceremony 39 Teahouse: A Place for Social Gathering 41

Part 4. Precedents: Traditional + Contemporary 46

Fragrance Hill Hotel 46 The Bridge School 48 Nezu Museum 50 Grand Louvre 50

Design Application 52

Part 5. Design Application: Exploration of contemporary design language with sense of 52 “Chinese-ness” in dense cultural setting of Houhai.

Methodology 52 Cultural Context 54 Site Analysis 60 Programming 78 Design Outcome 92

Bibliography 104

iv List of Illustrations

Fig. i - iii. Photograph by author. Fig. 12 http://en.wikipedia.org/wiki/File:Mausoleo_ de_Mao_Zedong-Tianang_Mei-Pekin-China8438. Fig. 1 Zhu, Jianfei. Architecture of Modern China: JPG a Historical Critique. London: Routledge, 2009. 29. Print. Fig. 13 Photograph by author.

Fig. 2 Photograph by author. Fig. 13a Photograph by author.

Fig. 3 “Friendship Hotel Beijing.” China Travel Fig. 13b Photograph by author. Expert. Web. 20 Mar. 2012. . the New City. Milano: Skira, 2008 Print.

Fig. 4 : Zhu, Jianfei. Architecture of Modern China: Fig. 15 Wu, Liang-yung. Rehabilitating the Old a Historical Critique. London: Routledge, 2009. 114. City of Beijing: a Project in the Ju’er Hutong Print. Neighbourhood. Vancouver: UBC, 1999. Print.

Fig. 5 Wu, Liang-yung. Rehabilitating the Old Fig. 16 Diagram by author. City of Beijing: a Project in the Ju’er Hutong Neighbourhood. Vancouver: UBC, 1999. 22. Print. Fig. 17 Wu, Liang-yung. 81.Print. Diagram by author. Fig. 6 Wu, Liang-yung. 27. Print.

Fig. 18 Lip, Evelyn. “Architectural Development.” Fig. 7 “Yin-Yang Symbol.” About.com Taoism. Feng Shui Environments of Power : a Study of Web. 27 Mar. 2012. .

Fig. 19 Wu, Liang-yung. Print. Diagram by author. Fig. 8 Wu, Hung. 92. Print.

Fig. 19a Wu, Liang-yung. Print. Diagram by author. Fig. 9 Wu, Hung. 39. Print.

Fig. 20 Wu, Liang-yung. 75. Print. Fig. 10 “Museum of Chinese History.” , Beijing Attractions. Web. 20 Mar. 2012. . Tuttle, 2005. 268. Print.

Fig. 11 “Beijing Airport Transport.” Beijing Fig. 22 Diagram by author. Transportation,Beijing Railways, Beijing Railway Station, Beijing Travel Tips, Beijing Transport Expert. Fig. 23 Greco, Claudio, and Carlo Santoro. Beijing: Web. 20 Mar. 2012. . v vi Fig. 24 Blaser, Werner, and Johannes Malms. Fig. 39a Diagram by author. Fig. 54 Photograph by author and Google Maps. West Meets East - Mies Van Der Rohe. Basel: Birkhäuser, 1996. Print. Fig. 40 Jodidio, Philip, and Janet Adams Strong. Fig. 55 Photograph by author. “The Louvre.” I.M. Pei: Complete Works. New York: Fig. 25 Diagram by author. Rizzoli, 2008. Print. Fig. 56 Diagram by author.

Fig. 26 Wang, Ling. Tea and Chinese Culture. San Fig. 41 “Kengo Kuma and Associates” Nezu Fig. 57 Google Maps. Francisco: Long River, 2005. 60. Print. Museum. Web. 20 Mar. 2012. . Fig. 27 Wang, Ling. 43. Print Fig. 58 Diagram by author. Fig. 42 Jodidio, Philip, and Janet Adams Strong. Fig. 28 Wang, Ling. 58. Print “The Louvre.” I.M. Pei: Complete Works. New York: Fig. 59 Photograph by author. Rizzoli, 2008. 223. Print. Fig. 29 Diagram by author. Fig. 60 Photograph by author. Fig. 43 Diagram by author. Fig. 30 Wang, Ling. 53. Print Fig. 61 Tang, Ming, and Dihua Yang. Urban Fig. 44 Knapp, Ronald G. Chinese Houses: the Paleontology: Evolution of Urban Forms. Boca Fig. 31 Wang, Ling. Tea and Chinese Culture. San Architectural Heritage of a Nation. Singapore: Raton, FL: Universal, 2008. 43. Print. Francisco: Long River, 2005. Print. Tuttle, 2005. 27. Print. Fig. 62 Tang, Ming. 83. Print. Fig. 45 Wang, Ling. Tea and Chinese Culture. San Fig. 32 Diagram by author. Francisco: Long River, 2005. 51. Print. Fig. 63 Wu, Liang-yung. Rehabilitating the Old City of Beijing: a Project in the Ju’er Hutong Fig. 33 Wang, Ling.Tea and Chinese Culture. San Fig. 46 Diagram by author. Neighbourhood. Vancouver: UBC, 1999. Print. Francisco: Long River, 2005. 73. Print.

Fig. 47 Google Maps Fig. 64 Photograph by author. Fig. 34 Wang, Ling. 83. Print.

Fig. 48 Diagram by author. Fig. 65 Google Map and Diagram by author. Fig. 35 Wang, Ling. 85. Print.

Fig. 49 Diagram by author. Fig. 66 Diagram by author. Fig. 36 Diagram by author.

Fig. 50 Diagram by author. Fig. 67 Wu, Liang-yung. Rehabilitating the Old Fig. 37 Jodidio, Philip, and Janet Adams Strong. City of Beijing: a Project in the Ju’er Hutong “Fragrant Hill Hotel.” I.M. Pei: Complete Works. Neighbourhood. Vancouver: UBC, 1999. 81. Print. New York: Rizzoli, 2008. Print. Fig. 51 Wu, Hung. Remaking Beijing. Chicago: University of Chicago, 2005. 137. Print. Fig. 68 Diagram by author. Fig. 38 Saieh , Nico . “School Bridge / Xiaodong Li” 05 Jan 2010. ArchDaily. Accessed 13 Dec 2011. Fig. 52 Wu, Liang-yung. Rehabilitating the Old City of Beijing: a Project in the Ju’er Hutong * All illustrations in Design Outcome are Neighbourhood. Vancouver: UBC, 1999. Print. And produced by author. diagram by author. Fig. 39 “Kengo Kuma and Associates” Nezu Museum. Web. 20 Mar. 2012. . Fig. 53 Photograph by author and Google Maps. vii viii Introduction

In recent years, China has been gaining tremendous international recognition for development opportunities in many professions. The entire country has been on display, especially in architecture. However, one of the issues with most buildings erected in China today is their heavy focus on imagery rather than on meaning. This could be caused by China’s dependency to look toward the West for innovative DQGHI¿FLHQWDUFKLWHFWXUDOLGHDVDQGGHVLJQVZKLOHFRQWLQXRXVO\RYHUORRNLQJLWVRZQ culture and traditions. After the Cultural Revolution, in the 1970s, heavy architectural LQÀXHQFHVIURPWKH6RYLHW8QLRQSXWDQHPSKDVLVRQUHYROXWLRQRYHUHYROXWLRQ$V a result, almost everything that was considered old and traditional was destroyed. The notion that the only approach to represent the new face of China is to build new is still strong today. With the ongoing modernization of the country, there appears WREHDODFNRI&KLQHVHLGHQWLW\LQLWVDUFKLWHFWXUH6HYHUDODWWHPSWVRIGH¿QLQJD Fig. i. Business District, Beijing contemporary architecture language with “Chinese-ness” have been executed with the focus on imagery that mimics the traditional form but lacks in the essence of Chinese principles of spatial organization and experience.

³/LNHDOOIRUPVRIFXOWXUDOSURGXFWLRQDUFKLWHFWXUHUHÀHFWVZKDW¶VLQWKHDLU,WLVSDUWRI what is going around at the time.” -Architectural Encounters with Essence and Form in Modern China.

If architecture is a cultural phenomenon, then one has to ask, what is ³FXOWXUH´UHSUHVHQWLQJWRGD\LQ&KLQD"'RHVSUHVHQWGD\&KLQHVHDUFKLWHFWXUHUHÀHFW nothing more than a political statement driven by economy and the futuristic vision of its government? This mind set of disregarding the old and only focusing on the Fig. ii. Bird’s Nest, Beijing QHZPDNHVQHZEXLOGLQJVDSSHDUVXSHU¿FLDO5HÀHFWLRQVRIWUDGLWLRQDO&KLQHVH architectural are mostly seen through decorative details and ornamental elements applied onto the contemporary skin. By revisiting the traditional principles in planning and design, a new translation can be implemented in the design of new buildings and new settings.

“The Lack of critical discussion in China about architecture led to buildings that often UHÀHFWHGOLWWOHPRUHWKDQWKHSXUVXLWRIDSSHDUDQFHVRUWKHPRVWIDVKLRQDEOHLPDJHDW hand.”

Fig. iii. National Grand Theater, – Architectural Encounters with Essence and Form in Modern China. Beijing 1 2 Thesis Argument Part 1. History of Architectural Development in China 1729-Present

This thesis aim to discover potential in traditional Chinese design principles “The problem for China is how to express her rich cultural history in the face of the that will allow dialogue and bridge the gaps among the dense traditional cultural natural forces of change.”1 environment, contemporary programs, and living needs of today. It does not suggest that new buildings take on the façade and imagery of traditional Chinese architecture.  &KLQDKDVEHHQVWUXJJOLQJWR¿QGPXWXDOJURXQGLQLWVDUFKLWHFWXUDO However, it aims to synthesize the design principles behind traditional building and SHUVSHFWLYHEHWZHHQWKHFRXQWU\¶VGHQVHFXOWXUDOEDFNJURXQGDQGIRUHLJQLQÀXHQFHV develop a design to adapt for today’s living conditions. Traditional concepts will One can hypothesize that the desire in contemporary architecture in China has be applied with contemporary methods to accentuate the cultural and traditional been Chinese in essence, Western in form.2 However, the contemporary Chinese characters of Beijing that have long been dormant in the area of local hutongs architecture appears to be lacking and overlooking the need to have “Chinese-ness” (historic Chinese neighborhoods) such as Houhai (Site). The goal is to discover new in its Western skin. The acceleration of architecture and construction in China can be ways Chinese architecture can express “Chinese-ess” through traditional design marked by the country’s political upheavals during the Cultural Revolution, from 1966 principles, instead of it as a mere applique. to 1970s, along with the Era of Reconstruction and the Rising Power led by Deng Xiaoping, who succeeded Mao ZeDong. During the Cultural Revolution, Mao and Some areas of focus include issues of: imagery, spatiality, materiality, and his administration aimed to eliminate four olds: old ideas, old culture, old customs, craft. These aspects are analyzed in precedent studies with both successful and and old habits. China, at the time, saw the only course of action to modernize the unsuccessful cases. Such approaches will help identify examples where certain country was to transform rural cities to urban industrial societies. Another factor principles worked while others were less successful. Some of the works that are that contributed to the acute changes that occurred in China’s city planning and studied are from the “Big Roof” Era, Mao’s ‘Ten Great Buildings’ Project, along architecture developments within the past century was the rapid expansion of with I.M. Pei’s and Li Xiaodong’s work. To counteract the iconoclasm of Cultural population, which lead to the growth and density of cities. The country had to take Revolution and its impact by destroying cultural characteristics and traditions in extreme efforts to stabilize their agriculture and increase infrastructure to sustain the Beijing, the new plan for the city, with focus on Tiananmen Square, are also studied JURZWKRILWVSRSXODWLRQ7KLVHIIRUWZDVUHDOL]HG¿UVWWKURXJKWKHQHZFRQVWUXFWLRQ to better understand current conditions, in particular, the lack of identity in new and design of rebuilding the new capital city of Beijing, particularly in designing a constructions in the capital city. new Tiananmen Square to create unity within the people of China. Because of this effort, the Imperial City was dissected into different sections. A once private city that The site for this project is Houhai, a hutong neighborhood near the Forbidden complied with the ancient cosmological principles of balance, axis, and order was City, which used to be part of the Imperial City in traditional Beijing. This site, once destroyed. This morphing of China’s cities has masked its rich history, traditions, and a tightly knit community with a rich culture, has been converted into a high-density culture. tourist zone. To clarify, the focus of this thesis is not to preserve the current conditions in Houhai, for traditional Beijing no longer exists due to poor construction and the demolition phase executed by Mao’s administration; they have been replaced by new materials and construction that wears the skin of the old. The goal is to revisit and understand the old principles, such as yin and yang, and marry these concepts with Western approaches, to develop a new architectural design that is suitable for the 21st century and to today’s life-style in China.

1 Rapson, Ralph. Housing China’s Future: a Metropolitan Study. Minneapolis: School of Architecture and Landscape Architecture, University of Minnesota, 1982. Print. 2 Greco, Claudio, and Carlo Santoro. Beijing: Th e New City. Milano: Skira, 2008. 69. Print. 3 4 First Encounter The “Big Roof”

 7KH¿UVWH[SRVXUHWRZHVWHUQLQÀXHQFHLQ&KLQDFDQEHWUDFHGEDFNWRWKH The end of the Opium Wars in 1860s had completely opened China and 1720s through Jesuit from Milan.3 The introduction of Renaissance knowledge such LWVPDUNHWWRWKHZRUOG:LWKLQWHUQDOSROLWLFDOFRQÀLFWVLQVWDELOLW\WXUPRLODQG as the use of perspective in design can be seen through the elevation drawings of reservation about the traditional mode of life (Confucian philosophies), China Imperial gardens and pavilions constructed at the time in forms that mimicked the looked to the West for new ideas, answers, and models to solve its problems, baroque and Rocco style (Fig. 1). At this particular time in history, the sharing of VXFKDVKRXVLQJ7KHODUJHH[SRVXUHWRIRUHLJQLQÀXHQFHVKDGUHYHDOHG&KLQD¶V information and knowledge between West and China can be seen as mutual. Each shortcomings in comparison to the West, which awakened the country’s desire to side learned from the other in not just the area of architecture, but also in religion, urbanize and disregard/overlook its old ways. This led to the elimination of Chinese astronomy, cartography, and science. traditions in an effort to restructure the country for a new and brighter future based on the western methods.5  7KHLQÀXHQFHRIZHVWHUQDUFKLWHFWXUHFDQEHVHHQPRVWO\LQDUHDVZLWKKLJK trade such as Shanghai. Like the Bund, with neoclassical, revivalist, and art deco As the Communist Party took control of the country and started planning style buildings erected in favor of the foreign traders during the 1900s, the character to reconstruct the country with new models and perspectives, Modern architecture of Chinese major city ports mimic the familiarity of Europe (Fig. 2). However, ZDVHVWDEOLVKHGWKHVDPHWLPHZLWKWKH%DXKDXV7KH¿HOGRIDUFKLWHFWXUHLQ&KLQD DV&KLQDZHQWWKURXJKSROLWLFDOXSKHDYDOWKHFRXQWU\DLPHGWR¿QGDXQLTXH especially in terms of profession and education, was not advanced when compared architectural language that would be viewed as innovative while maintaining the with the West. While modern architecture in the West was sprouting under the essence of “Chinese-ness”. The question is: what is “Chinese-ness”? Throughout LQÀXHQFHRIDUFKLWHFWVVXFKDV/H&RUEXVLHUDQG0LHVYDQGHU5RKH&KLQDZDV the past century, “Chinese-ness” has been explored in the form of:q the “Big experimenting with its own architecture language, such as the “Big Roof” in 1950s. Roof” (western building form with big Chinese tile roof form), the façade (Chinese During this time and well into the 1980s, Chinese architecture was also largely decorative elements on modern building form), abstraction of traditional Chinese LQÀXHQFHGE\WKH%DXKDXVFRQFHSWVRIWHFKQRORJ\DQGHFRQRP\7KHVHFRQFHSWV architecture element such as roofs used creatively on abstract volumes in new were especially helpful in creating new housing to accommodate the severe shortage composition,4 and today, can be seen through works that focus on the tectonic due to the overwhelming growth in population and exhausted economy caused by the of architecture (architecture in “itself”). Further exploration of what differentiate internal political turmoil in the country. Chinese architects, who were mostly educated “Chinese-ness” and “Western” will be in the later Part 3 of this document. overseas, explored the approaches for architecture to convey some aspect of Chinese character in the design. However, this strive to develop a new national style was mainly established and focused on the visual character of buildings and was foreshadowed and driven by the government’s desire to build monumental buildings LQÀXHQFHGE\WKH6RYLHW8QLRQDQGLWVPRGHOV6

The “Big Roof” buildings were characterized by their Western-style base with Chinese-style roofs. They were monumental and grand in presence, which was the result of Mao’s vision for the new country to produce buildings with meaning and Fig. 1 Pavilions for the Imperial Family in 1700s substance to represent the new face of China. For example, the Friendship Hotel in Beijing by Zhang Bo, a hotel that would greet the diplomatic guests from the world, had to wear the monumental coat (Fig. 3). Constructed in 1954, the hotel carried the VXSHU¿FLDOLPDJHU\DQGVKDSHVRIWKHWUDGLWLRQDODUFKLWHFWXUHZLWKVOLJKWDOWHUDWLRQV and lastly, a big traditional Chinese roof. Other civic buildings, such as the Beijing Train Station, express monumentality that was aimed to make a major impact to all who traveled to the great capital of China (Fig. 4). The series of “Big Roof” architecture appears Chinese in appearance, but lacks the essence of “Chinese- ness”. The principles behind traditional Chinese architecture can be seen throughout Fig. 2 The Bund, Shanghai, 2011 all scale and building types; from city, to neighborhood, to the house. The “Big 5 Rowe, Peter G., and Seng Kuan. Architectural Encounters with Essence and Form in Modern China. Cambridge, MA: MIT, 2002. Print. 3 Zhu, Jianfei. Architecture of Modern China: a Historical Critique. London: Routledge, 2009. Print. 6 Rowe, Peter G., and Seng Kuan. Architectural Encounters with Essence and Form in Modern China. Cambridge, MA: MIT, 2002. 4 Zhu, Jianfei. Architecture of Modern China: a Historical Critique. London: Routledge, 2009. 57. Print. Print. 5 6 adopted the three courses of action that were instituted by the government: increase density of cities, move some of the industries and their supporting population into satellite towns, and create entirely new urban centers. With this plan, the traditional approaches to planning public spaces, neighborhoods, communities, and family/ social structures were destroyed as function outweighed the cultural principles. For China to feed and house the majority of its population, the “old cosmological principles that once determined the structure of the city” were shunned and the country looked towards the new.8

Fig. 3 The Frendship Hotel, Fig. 4 Western Railway Station Beijing, 1954 (Beijing Train Station), Beijing, 1996

Plan for Tiananmen Square and Mao’s Philosophy on Reconstructing Beijing

Mao believed that only buildings that are grand and monumental in Roof” approach can be considered as successful in expressing vernacular Chinese appearance could personify meaning and purpose into architecture and present the architecture in form while utilizing western technology. However, this approach was true face of China. This is somewhat still the case today. Through upheavals in the limited in the building type (government, public/civic, and hotel buildings) and was not previous decades, China’s economy was unstable and little attention was paid to the easily adapted into other building types, such as commercial and residential, which ¿HOGRIDUFKLWHFWXUHDSDUWIURPVWUXFWXUHVWKDWZHUHEXLOWIRUSROLWLFDOSXUSRVHV:KHQ FRQÀLFWVZLWKWKHWUDGLWLRQDO&KLQHVHSULQFLSOHV the money and resources were available, they were invested into monumental civic EXLOGLQJV7KHFRXQWU\¶VPRWWRRIWKDWWLPHZDV³SURGXFWLRQ¿UVWOLYHOLKRRGVHFRQG´9 Architecture constructed during the 1900s strived to represent a modern While architectural movements and styles such as: Modernism, International style, face of China, which was mostly accomplished through imagery. Overall, during this and Post-Modernism, were present in Western countries, during the same time SHULRGRIWLPH&KLQDZDVFDSWXUHGDQGFRQVXPHGZLWK¿QGLQJZD\VWRUHSUHVHQW period; China struggled to understand the philosophy and theories behind them, and its political agenda and ideology through architecture. Architecture during this thus struggled to translate the theories behind western architecture into their own period was responding to the socialist desire to have buildings developed to serve architecture language.10 monumental purposes. The only sign of traditional Chinese architecture was through decorative elements, not in the spatial experience of the architecture. China went through internal turmoil and the government led by Mao aimed to create a mega-metropolis capital worthy of becoming the face of new China. One of the plans proposed for the location of the new capital of China was developed E\/LDQJ6LFKHQJ DSURPLQHQW¿JXUHLQDUFKLWHFWXUHSURIHVVLRQDWWKHWLPHDQGD SURIHVVRUDW7VLQJKXD8QLYHUVLW\ DQG&KHQ=KDQ[LDQJ ZHOOQRWHG¿JXUHLQWKH China Cultural Revolution (1966) and the Plan for a New Capital City planning and architecture profession) (Fig. 5). Their focus was to conserve the old city by placing the new capital outside the Imperial City on the western suburb. They During the Cultural Revolution, Chinese architectural style was dictated advocated for a decentralized center with clear zoning and balance between new by one person and one person alone, Mao Zedong. The motto at the time was developments and preservation of the old Imperial City including its prominent and “revolution not evolution” and this was the method to modernize China’s cities VLJQL¿FDQW1RUWK6RXWK$[LVZKLFKEHKDYHGDVWKHRUGHUIRUWKHFLW\11 Rejecting to sustain the enormous growth in population. During the Cultural Revolution, Liang Sicheng and Chen Zhanxiang’s proposal, Mao decided to stay within the DQ\WKLQJWKDWUHÀHFWHGWKHROGWUDGLWLRQVZDVFRQVLGHUHGWDERRDQGGHVWUR\HG ancient city. Mao’s decision of constructing the new face of China was focused This period of violence and chaos left the country in detriment and paved the path on the concept of “China’s rebirth” and not on preserving the traditions. Liang and for the Communist way of rebuilding the country under Deng Xiaoping’s “Four Chen’s concern was irrelevant to Mao, for him “revolution meant destruction and Modernizations” (social order, urban environment, science/technology, and culture)7 8 Rapson, Ralph. Housing China’s Future: a Metropolitan Study. Minneapolis: School of Architecture and Landscape Architecture, during what is commonly refered to as the Era of Reconstruction and the Rising University of Minnesota, 1982. Print. 9 Wu, Hung. “Introduction.” Introduction. Remaking Beijing. Chicago: University of Chicago, 2005. 8. Print. Power. Apart from focusing on building a new capital in Beijing, cities everywhere 10 Rowe, Peter G., and Seng Kuan. Architectural Encounters with Essence and Form in Modern China. Cambridge, MA: MIT, 2002. Print. 7 Greco, Claudio, and Carlo Santoro. Beijing: the New City. Milano: Skira, 2008. Print. 11 Zhu, Jianfei. Architecture of Modern China: a Historical Critique. London: Routledge, 2009. Print. 7 8 Fig. 5 Liang - Chen Plan Fig. 6 Beijing Master Plan

transformation; it was only natural that Beijing should be remade when China was reborn.”12

Tiananmen Square, once a mutual space for the people and government, was converted into a political space that became a stage for national and SROLWLFDOEDWWOH¿HOGVDVZHOODVDV\PEROIRUWKHQHZSXEOLF7KHFRQFHSWVEHKLQG reconstructing Tiananmen Square was to “architecturally transform it into a dominant RI¿FLDOVSDFH±PRQXPHQWDOFRPSOH[WKDWHPERGLHGWKHFRXQWU\¶VSROLWLFDOLGHRORJ\ and consolidated its communist leadership” and that “only the biggest public, thus the largest square, could match the supreme power of the Chairman and Tiananmen.”13 Tiananmen Square during Imperial times was a space that belonged neither to the Imperial City nor to the pubic beyond the gates; it functioned as transitional space. After the destruction of the Imperial gates along with new construction of WKHJRYHUQPHQWEXLOGLQJVGH¿QLQJWKHSHULPHWHURIWKHVTXDUHLWVWDQGVWRGD\DV a political space that is an “architectonic embodiment of political ideology and as Fig. 7 Tiananmen Square, Plan an architectural site activating political action and expression.”14 By rebuilding Tiananmen Square in this manner, China took on an apparent position in regards to culture and tradition; China has abandoned its history and chose to become a top contender on the race to the future. With most of the ancient city planning principles erased, only recently has China begun to realize the urgency of the problem behind this radical approach and taken on the role of preserving what is left of old Beijing. However, this effort is in vain due to the extent of demolition and damage already accrued, and the lack of maintenance of these traditional structures, such as buildings in hutong (archetype for traditional Chinese neighborhoods).

12 Wu, Hung. “Introduction.” Introduction. Remaking Beijing. Chicago: University of Chicago, 2005. 8. Print. Fig.8 Traditional Beijing Fig.9 Tiananmen Square, Birds-eye 13 Wu, Hung. “Tiananmen Square: A Political History of Monuments.” Remaking Beijing. Chicago: University of Chicago, 2005. Print. 14 Wu, Hung. “Tiananmen Square: A Political History of Monuments.” Remaking Beijing. Chicago: University of Chicago, 2005. 23. Print. 9 10 The Ten Great Buildings Project

The Ten Great Buildings Project, part of the new plan for Tiananmen Square, was the product of the Great Leap Forward. The outlook, at the time, was a rejection of “economic theory and long-term planning” for they represented backward conservation and not for forward revolution. With an inadequate economic system due to the revolutionary catastrophe, the government relied on the “revolutionary enthusiasm of the masses, where spiritually transformed people could create an economic miracle with little help from modern science and technology.”15 All ten buildings were scheduled to complete construction within less than a year following Fig.10 National Museum of China the design process. This project was intended to show the world the capability of the country under the new government and the resources it possessed while aiming to unite the people of China. The planed locations of the buildings was also very VLJQL¿FDQWEHFDXVHWKH\DOWHUHGWKHWUDGLWLRQDOFLW\OD\RXWRI,PSHULDO%HLMLQJ:KLOH the old city was a symmetrical plan with a distinct North to South axis as the spine for the city, the new city, framed by these buildings opened the streets and circulation to the East and West sides. By doing so, Beijing was set for congested circulation in SHGHVWULDQDQGYHKLFOHWUDI¿F16 The new architecture constructed during this project in Tiananmen Square had its own political monumental identity. These Ten Great %XLOGLQJVZHUHPRVWO\PXVHXPVWKDWZHUHGHVLJQHGQRWWRPD[LPL]HHI¿FLHQF\LQWKH use of interior spaces, but rather emphasize the quality of their exterior spaces and façades in relation to Tiananmen Square. The priority for these buildings was not function, but a display of political power.17

In recent years, a new addition, the National Grand Theater has been added WRWKHVHJUHDWEXLOGLQJVWKDWGH¿QHVWKHERXQGDU\RI7LDQDQPHQ6TXDUH2GGO\WKH building that stands out like a sore-thumb, glistens in the sunlight and glows with pride under the moonlight. Its appearance does not integrate well with the original Fig.11 Beijing Railway Station 7HQ*UHDW%XLOGLQJV+RZHYHULWSUHVHQWVWKHFRQFHSWVEHKLQGDQHZGH¿QLWLRQRI PRQXPHQWDOLW\WKDWLVGH¿QHGE\WRGD\¶VVRFLHW\DQGVWDQGDUGV7RGD\RQO\WKHPRVW innovative and futurist designs can make a presence and create a statement. Paul Adreu, the designer for the National Grand Theater, presented an elliptical shape for the theater that conveyed a sense of delicacy with its glazing curtain wall system. +LVLGHDZDVWRSURGXFHDVWUXFWXUHWKDWUHSUHVHQWHGDSHDUOÀRDWLQJRQZDWHUWKDW could house thousands of years of tradition and one of China’s most proud heritages: Chinese Opera.18 Just as delicate and royal like the metaphor to the pearl, China’s art, talent, and history were well represented.

After the structure was built, local critics did not have a positive outlook on this jewel. They criticized Adreu for designing an egg on a very historical street. With the Forbidden City and the Ten Great Buildings as its surrounding contrast, the Opera House did depict a whole new era. Adreu responded to these criticisms by stating that he did not claim himself to be an expert in Chinese culture, thus it was not his 15 Wu, Hung. “Th e ‘Ten Great Buildings’ Project.” Remaking Beijing. Chicago: University of Chicago, 2005. 108. Print. 16 Wu, Hung. 109. Print. 17 Wu, Hung. 118. Print. Fig.12 Great Hall of the People 18 Downey, Claire. “Paul Andreu’s Futuristic Eggshell Points Beijing in a New Direction.” Architectural Record (2004): 80-84. 11 12 goal to represent it in his architectural work. During my interview with Professor Deyin Luo, an architectural historian at Tsinghua University in Beijing, he expressed his opinion on the theater, “I believe the National Theater needs to be special to Beijing. Sure, it might be placed elsewhere in any other country, but the fact is that it is here near the government buildings and historic landmarks, and there are no other buildings like it in the rest of the world. Therefore, it IS special.”

One aspect of this building that makes it more successful as compared to the Ten Great Building project is its focus on interior experience and space. The function of the space and the experience of the space have been skillfully exercised Fig.13 National Grand Theater as the paths under the water, leading the ways to the theaters, opening up to the PDJQL¿FHQWHOOLSWLFDOGRPHWKDWKRYHUVGHOLFDWHO\RYHUWKHWKUHHWKHDWHUV

With the rise of the communist party and Mao’s philosophy to rebuild a new face for China, the old Imperial City suffered. Sadly, the integrity of traditional Beijing was destroyed. The surviving landmarks, such as the Forbidden City along with some traditional courtyard houses escaped the years of revolution. Some courtyard houses, once a part of the inner city, were adapted to the modernization of Beijing where others were perished. The endeavor China took on was not to “restore ancient ways”19 but to create new ways to symbolize the country and to unify its people for “The future of China lies in her people.”(Mao Zedong)20

Fig.13a National Grand Theater Interior Fig.13b National Grand Theater Interior

19 Wu, Hung. “Th e Monument to the People’s Heroes.” Remaking Beijing. Chicago: University of Chicago, 2005. 28. Print. 20 Rapson, Ralph. Housing China’s Future: a Metropolitan Study. Minneapolis: School of Architecture and Landscape Architecture, University of Minnesota, 1982. Print. 13 14 What’s left of the Imperial City and Its Neighborhoods: ‘Old Beijing’ vs. ‘New Beijing’

The issue of preservation has become a looming issue in China. The plan for Beijing’s historic center can be summarized as follows: 1. Historic zones were to be completely demolished, except the monumental structures. 2. Tall residential buildings were to be constructed with capacity of one million inhabitants. 3. Two large avenues were to be created parallel to the central axis with a new East-West axis that was to be lined with administrative and   ¿QDQFLDOEXLOGLQJV 4. The perimeter of demolished old city wall was to be replaced by surrounding canal and green belts. 5. South of the Imperial palace, Tiananmen Square would be built, with four monumental buildings celebrating the new Communist Republic. 6. Number of symbolic buildings would be erected on the main strip of street network.21

The current condition of the capital city is in need of redevelopment, especially in the areas of what used to be the Imperial City. The plan that was executed for the historic district has left the conditions of the historic buildings exacerbated. Now, Fig.14 Beijing China it is exigent to conserve what little is left of the traditional old town. Although the imperial palace structures are in pristine condition, the hutong neighborhoods are in desperate need of attention. The people who inhabit these structures have taken upon themselves, known as “self-help”, to modify the courtyard house structure to accommodate their modern lifestyles.22 Completed without consulting with professionals or receiving building permits, these additions are usually poorly constructed, which has created problems congesting the once ordered access streets of the neighborhood blocks. With the lack of policy, funds, and reinforcements from the government, conservation and redevelopment for preserving these neighborhoods takes a painfully slow route in accomplishing anything substantial. The Ju’er Hutong project is one case study that attempted to sustain the traditional courtyard house neighborhood building type in today’s society without compromising the traditional design and space planning principles of the courtyard building type.

21 Greco, Claudio, and Carlo Santoro. Beijing: the New City. Milano: Skira, 2008. 68. Print. 22 Wu, Liang-yung. Rehabilitating the Old City of Beijing: a Project in the Ju’er Hutong Neighbourhood. Vancouver: UBC, 1999. Print. 15 16 Ju’er Hutong Project: attempt of preservation

The Ju’er Hutong Project was directed by the designers of Qinghua University with Wu Liangyong as one of the leaders in implementing the idea of conservation into the traditional courtyard neighborhoods of Old Beijing. Only 2% of this 8.2 hectare site is considered “Grade 1 (worth preserving)”, while the 16% is considered “Grade 2 (adaptable)” and 82% is considered “Grade 3 (derelict and to be demolished).23 with such a high percentage of derelict buildings that are to be demolished, this precedent is important to study for the potential solutions to preserve the culture as well as adaptability to contemporary living. The approach was to study the successes in traditional design principles and create contemporary architecture language that promotes the betterment of people’s living conditions and environment. Fig.15 Ju’er Hutong Project

Due to massive growth in population, Beijing, during 1974 to 1986, saw 7 million square meters of housing development. This greatly impacted Old Beijing’s overall city structure including land-use pattern and zoning. People living in the courtyard house neighborhoods of Old Beijing had implemented a “self-help” system where they constructed additions to these old buildings to accommodate for the immediate demands of daily life. This hazardous rebuilding deteriorate the living conditions of the inhabitants. With these unlivable conditions, the Ju’er Hutong Project was to introduce a new housing system that was considered as a FRQWHPSRUDU\LWHUDWLRQRIWKHWUDGLWLRQDOFRXUW\DUGKRXVHPHUJLQJWKHEHQH¿WVRIWKH old(one story courtyard house) and the new(multistory apartment units).

Fig.16 Ju’er Hutong Project Diagram. Combining western apartment concept The approach undertaken by Wu Liangyong in this project was “organic with traditional courtyard layout. renewal”, which recgonized certain lasting values in the old city’s urban structure and sought to preserve them by adapting them to modern life styles.24 He pushed this sustainable development strategy in opposition to the demolition of and complete disregard of the traditional building structures. The critiques to the simplicity of the modern apartment blocks were the lack of “neighborliness” and a sense of identity to the spaces, as well as the lack of outdoor spaces that were only available to ground ÀRRUUHVLGHQFHVZKLOHXSSHUÀRRUVRQO\KDGDFFHVVWRPXFKVPDOOHULQFRPSDUDEOH EDOFRQ\VSDFHV7KHPRQRWRQRXVOLYLQJHQYLURQPHQWZLWKRXWDGH¿QLQJORFDO character of the typical high-rise apartments had stripped the neighborhood of the LQWLPDWHDWPRVSKHUHWKDWGH¿QHGWKHPKRPH

The Ju’er Hutong Project was a prototype for a “new courtyard system” that provided solutions to the problems presented in modern apartment blocks. The FKDOOHQJHIRUWKLVSURMHFWZDVWRREWDLQWKHÀRRUDUHDUDWLRQHHGHGIRUWKHGHQVLW\RI the site comparable to an 8-10 stories high-rise apartment. Utilizing pitched roofs DOORZHGLQKDELWDEOHDWWLFDQGEDVHPHQWVSDFHVZKLFKSURYLGHGWKHVDPHÀRRUDUHD ratio as standard apartment blocks. By having these low-rise courtyard forms with various sizes in terrace and garden spaces in addition to a major central courtyard 23 Wu, Liang-yung. Rehabilitating the Old City of Beijing: a Project in the Ju’er Hutong Neighbourhood. Vancouver: UBC, 1999. 51. Print. 24 Wu, Liang-yung. Rehabilitating the Old City of Beijing: a Project in the Ju’er Hutong Neighbourhood. Vancouver: UBC, 1999. 56. Print. 17 18 VSDFHLWKHOSHGFUHDWHDPRUHHQHUJ\HI¿FLHQWPLFURFOLPDWHDQGDOORZHGWKH preservation of existing trees on site.25 Part 2. Traditional Chinese Architecture Principles Overall, the project can be considered successful. The living environment has been immensely improved through better quality of courtyard spaces, along To better understand the concepts behind traditional Chinese architecture, with better penetration of sunlight into individual units. There is a good balance of this section aims to break down the principles into categories; from larger concept to privacy and anonymity compared to prior overcrowded conditions where residents felt a sense of intrusion and lack of privacy.26 In terms of developing an architecture PRUHVSHFL¿FFRQGLWLRQV)LUVWWKHXQLYHUVDOFRQFHSWRI\LQDQG\DQJWKDWLVGRPLQDQW in Chinese principles of design are discussed. Then, this concept is further introduced solution that is combined the old (traditional courtyard house building type) with through the analysis of Chinese city structure, the neighborhood structure, the the new (modern apartment building blocks), the project displays potential in the courtyard house. Lastly, the traditional Chinese principles are compared with Western possibility of preserving the traditions within the world today. By taking the principles concepts to distinguish the differences between the two. behind the layout, the order, the composition, and the traditional plan, the Ju’er Hutong Project represents the values of tradition and culture. There is no question that the Ju’er Hutong Project exhibits a sense of contemporary architecture that also has “Chinese-ness”. However, its real success is its ability to integrate ideals into the user’s lives and improving the environment of the users as well as the urban “There is nothing which heaven does not cover, and nothing which earth does not landscape. sustain.”1 - Chuang Tzu 369-256 B.C.

“P’an Ku hatched from the chaos –depicted as a hen’s egg – through the power of the dual forces of nature. The parts of the egg separated, the heavy elements forming the earth (Yin) and the light, pure elements forming the heaven (Yang). For the next 18,000 years P’an Ku, regarded as the legendary ‘Great Architect of the Universe,’ chiseled and molded the material universe. He grew in height 10 feet a day, becoming a Herculean giant, pushing the sky and earth further apart. His great body became a pillar, an axis mundi, joining (or separating) these two parts of the universe. From his efforts the sky became domed in shape and the earth square. His death created the remaining details of the material universe. His breath became the wind and clouds, his voice – thunder and lightning, his left eye – the sun, his right H\H±WKHPRRQ+LVEORRGZDVWUDQVIRUPHGLQWRULYHUVKLVÀHVK±WKHVRLOKLVVZHDW – the rain, his marrow – pearls and precious stones. The parasites on his body were the origins of the human race. His limbs determined the four cardinal directions – his stomach at the center.”2

The Concept of yin, yang, and Feng Shui

The folk tale of P’an Ku represents the foundation of Chinese doctrine which LVFORVHO\UHÀHFWHGLQWKHFRQVWUXFWLRQRI&KLQD¶VDQFLHQWFLWLHVQHLJKERUKRRGV and houses. The story embodies the concept of the ordering principles prevalent

25 Wu, Liang-yung. Rehabilitating the Old City of Beijing: a Project in the Ju’er Hutong Neighbourhood. Vancouver: UBC, 1999. 129. 1 Rapson, Ralph. Housing China’s Future: a Metropolitan Study. Minneapolis: School of Architecture and Landscape Architecture, Print. University of Minnesota, 1982. Print. 26 Wu, Liang-yung. 169. Print. 2 Rapson. 1982. Print. 19 20 in “Chinese cosmology of centrality, axiality, and symmetrical order.”3 The Architecture Characteristics of Ancient Chinese Structures concept of yin (earth) and yang (heaven), the principle of opposites, is from the Daoist philosophies, and is the fundamental driving element behind traditional 6LJQL¿FDQWGHYHORSPHQWVLQ&KLQHVHDUFKLWHFWXUHRFFXUUHGGXULQJWKHSHULRGV Chinese architecture. Yin and yangg represents the understanding of natural forces of Qin to Han dynasty (221BC-220 AD), Sui to Song dynasty (AD 581-1279), and as opposing forces; yin as the invisible and yangg as the visible. The Chinese Ming to Qing dynasty (AD 1368-1911).9 Palaces were built to a scale surpassing all XQGHUVWDQGWRRSSRVHGRHVQRWQHFHVVDULO\PHDQWRFRQÀLFW,QVWHDG yin and yang precedents, and the developments of bracketing systems and the column ratio, along is about completing the natural order of things, about complementing each other, and with decorative elements on roofs and doors, evolved. The fundamental organization ultimately, the unity of the two opposites.4 To further understand how the concept of in Chinese architecture was the courtyard layout with the dominant structures being yin and yangg is applied to ancient Chinese cities and architecture, the two symbols Fig.17 Yin Yangg Sign the beam-frame system. The columns were proportioned in different ratios in the can be seen as follow. Yin is associated with North and represents the Right and different dynasties. Every element of architecture, from organization to detail, was earth’s energy. Programs, such as temple and drum towers, are designed to stand placed, scaled, and sized in accordance with yin and yang, as well as satisfying feng to the right of the site.5 Yin also symbolizes winter and is associated with the color shui philosophies. black. Yang is associated with South and heavenly forces. It represents the Left; thus, the ancestor shrines and bell towers are usually placed on the left side of 7KHGRPLQDQWFRQVWUXFWLRQPDWHULDOZDVWLPEHUZLWKÀH[LEOHMRLQWVWRSUHYHQW the complex. Yang also symbolizes the sun’s zenith and summer and is usually excess damage during earthquakes. The structural system used was a beam-frame associated with the color red. In using these meanings and associations with the system. The walls were not load bearing and could be opened, presenting emphasis cardinal directions, Chinese architecture and planning comply with the North-South on the space as void and the building was seen as secondary. The wall materials axis, displaying the balance between yin and yang. and designs varied depended on climatic conditions rather than structural conditions. In the North, with harsh winter conditions, the walls are thicker than in the South. To further understand yin and yang, feng shui (风水) needs to be explored. It Some walls were made of masonry while others were wood screens.10 is a concept parallel to the philosophy of yin and yang0DQ\VFKRODUVWU\WRGH¿QH the fundamental principles behind feng shui. Joseph Needham, author of Science $QRWKHUVLJQL¿FDQWVWUXFWXUDOHOHPHQWLVWKHHODERUDWHURRIV\VWHPLQFOXGLQJ and Civilization in China, suggests that: “…feng shuii is the result of molding the its bracing systems that allow variations in the cantilever eave overhangs. In the LQÀXHQFHVRIZLQGDQGZDWHU´6 Dr. Evelyn Lip, author of Feng Shui Environments North, roof ridges tend to be straight with a slight curve of the eaves; while in the of PowerrGH¿QHVLWDV³«QDWXUDOIRUFHV ZLQGDQGZDWHU WKDWH[HUWLQÀXHQFHRQWKH 6RXWKURRIULGJHVDUHFXUYHGDQGWKHHDYHVSUHVHQWDGH¿QLQJXSZDUGFXUYH11 The physical environment of the living and working areas. It is the understanding of how YDULDWLRQVLQURRIVKDSHVDQGSUR¿OHVZHUHUHOHYDQWWRWKHFOLPDWLFDQGHFRQRPLF the geographical features of a site and its topography affect buildings internally and factors of the province. The physical variables such as material and degree of slope externally.”7 The philosophy of feng shuii can be seen from the selection of the site, ZHUHGHVLJQHGWRSHUIRUPHI¿FLHQWO\7KHPRVWFRPPRQURRIW\SHLVWKHSLWFKHG to the color of the roof tiles, to the smallest detail of the ornamental carvings on a and hipped roof. The roof systems are characterized by their symmetry, elaborate door. Today there are many interpretations of what feng shuiiGH¿QHV+RZHYHUWKH design and their functionality. Also, their elaborate decorative elements identify time HVVHQWLDOFRQFHSWVLJQL¿FDQWLQGHVLJQLVWKDWRIEDODQFHDQGWKHUHFRJQLWLRQRIWKH periods of construction and aesthetic tastes; showing the provinces’ individuality and natural existence of opposing forces within our environment. Lastly, in the words subcultures.12 of the prominent scholar of Chinese doctrine, Laotse,“The visible and the invisible belong together, the visible part is effective only through the power of the invisible.”8

3 Rapson. 1982. Print. 9 Lip, Evelyn. “Architectural Development.” Feng Shui Environments of Power : a Study of Chinese Architecture. London: Academy 4 Blaser, Werner, and Johannes Malms. West Meets East - Mies Van Der Rohe. Basel: Birkhäuser, 1996. 17. Print. Editions, 1996. 19. Print. 5 Lip, Evelyn. “Characteristics of Traditional Chinese Architecture.” Feng Shui Environments of Power : a Study of Chinese Archi- 10 Knapp, Ronald G. “The Architecture of the Chinese House.” Chinese Houses: the Architectural Heritage of a Nation. Singapore: tecture . London: Academy Editions, 1996. 23. Print. Tuttle, 2005. Print. 6 Lip, Evelyn. “The Kanyu of the Gugongn.” Fe g Shui Environments of Power : a Study of Chinese Architecture. London: Academy 11 Lip, Evelyn. “Characteristics of Traditional Chinese Architecture.” Feng Shui Environments of Power : a Study of Chinese Archi- Editions, 1996. 61. Print. tecture. London: Academy Editions, 1996. Print. 7 Lip, Evelyn. 61. Print. 12 Knapp, Ronald G. “The Architecture of the Chinese House.” Chinese Houses: the Architectural Heritage of a Nation. Singapore: 8 Blaser, Werner, and Johannes Malms. West Meets East - Mies Van Der Rohe. Basel: Birkhäuser, 1996. 18. Print. Tuttle, 2005. Print. 21 22 Forbidden City, Imperial City of Old Beijing and Its Neighborhoods

The structure of the Imperial City of Old Beijing followed the cosmic order of balance, which has long been masked by modern developments. “The time- honored history of the city penetrates the present – the ancient palace acquiesces gracefully to the juvenile triviality of the modern.”13 The topographic features of Old %HLMLQJDUHPDLQO\ÀDWPHDVXULQJDERXWE\PHWHUV7KLVHQFRPSDVVHV everything within the Second Ring Road. The city site, perfectly chosen for its qi ( 气), the energy life of the earth, complies with the concept of feng shui, described by the Chinese phrase ‘tian ling di li ren he’ ( 天灵地利人和). This six character phrase FDQEHWUDQVODWHGDV³LIWKHKHDYHQO\LQÀXHQFHVDUHDXVSLFLRXVWKHJHRJUDSKLFDO

Fig.19a Forbidden City IHDWXUHVDUHEHQH¿FLDODQGWKHDFWLRQVRIPDQDUHLQKDUPRQ\ZLWKWKHVRFLDOFXOWXUDO and political situations, then the feng shui is auspicious.”14 By selecting a site with mountains as the backdrop to block the bitter winter winds and the South facing structures, with elements of water, it was believed that the qi was positive, thus bringing harmony and fortune to the country.

The imperial city followed yin and yang order, with its rectangular plan, the four corners of the city symbolized the four corners of heaven as well as the four seasons. The Forbidden City, the center core of the imperial city, also known as the inner city, was roughly 1,005 by 758 meters.15 Based on the courtyard concept (will be explained in detail in following sections), the Forbidden Palace consisted of many hierarchies and layered spaces. There were many doors and entrances designated to distinguish the dweller’s status and class. The emperor’s path was never meant IRUDQ\RQHHOVH$OORWKHURI¿FLDOVUHFHLYHGWKHLURZQSDWKVDQGHQWUDQFHV7RJHWKHU there were 8,700 enclosed spaces with a total of 9,999 rooms in the Forbidden &LW\1XPHURORJ\LVDOVRDQRWKHUVLJQL¿FDQWIDFWRULQ&KLQHVHDUFKLWHFWXUH(YHQ numbers, 2, 4, 6, 8, are considered yin numbers while odd numbers, 1, 3, 5, 7, 9 are considered yang numbers. The number nine was considered to be the highest of power; thus, the emperor’s domain and everything associated with the royal family carried connotations of that motif throughout their space planning, including detailed elements such as the metal stub decorative elements on the doors.16

Overall, the imperial city existed as spaces of balance and order. The twelve gates of the city, with its main gates aligned with the North-South axis, echoed the twelve months of the year. Every detail and every plan were meaningful and were symbolic of the concepts of yin and yang, and feng shui. There seemed to be an effortless presence in the balance of construction materials and design elements. This concept can be compared to the Classical orders and architecture in Greek culture and Western theories. Different cultures uniquely express an inherent

13 Rapson, Ralph. Housing China’s Future: a Metropolitan Study. Minneapolis: School of Architecture and Landscape Architecture, University of Minnesota, 1982. Print. 14 Lip, Evelyn. “The Kanyu of the Gugong.” Feng Shui Environments of Power : a Study of Chinese Architecture. London: Academy Editions, 1996. 61. Print. 15 Lip, Evelyn. “The Gugong of Beijing.” Feng Shui Environments of Power : a Study of Chinese Architecture. London: Academy Editions, 1996. 47. Print. Fig.19 Central Axis of Imperial 16 Lip, Evelyn. “The Qi, Numerology and Yin and Yang of Kanyu.” Feng Shui Environments of Power : a Study of Chinese Architec- City of Old Beijing ture. London: Academy Editions, 1996. 62. Print. 23 24 FRQFHSWRIEHDXW\7KH5RPDQVGH¿QHGEHDXW\LQFDUHIXOFDOFXODWLRQRISURSRUWLRQV DQGUDWLRVZKLOHWKH&KLQHVHGH¿QHGLWLQWKHLUFDQWLOHYHUHGHDYHVDQGWKHFRQFHSWRI architecture as one with nature. Overall, what made Old Beijing so successful was LWVH[TXLVLWHGLVSOD\RIV\PPHWU\RUGHUDQGFRPSRVLWLRQZKLFKUHÀHFWHGWKH&KLQHVH cosmological values.17

Outside the Forbidden City, hierarchical layout was seen in the rest of the city through its order of streets, alleyways, lanes, including the width and length of these systems. The dominant North-South axis extended from the emperor’s immediate domain and was the backbone of the city. The small alleyways ran East-West, joining WKHQHLJKERUKRRGVDQGLQWHUVHFWLQJWKHODUJHUVWUHHWVDWHDFKHQG7KLV¿VKERQH QHWZRUNSURYLGHGDFOHDUGH¿QLQJRUGHUPDNLQJLWSHGHVWULDQDQGYHKLFOHIULHQGO\18

“The beauty of traditional Chinese architecture lies in its groupings and connections.”19

The neighborhood structure of Old Beijing could be seen as a labyrinth created by multiplicity of groups, characterized by unfolding spaces, providing a layering of experiences. This order system provided the necessary amenities for those inhabitants of the hutong neighborhoods. The hutong neighborhoods were communities formed by a framework of social networks that allowed an intimate connection within families and between neighbors. While these neighborhoods looked similar in appearances to a fortress of gray brick walls, their differences lay within the mundane detail; such as the doors, which were the only hint of the families’ wealth and status. These small elements might be considered decorative, but they were all personalized to reveal the character of the family. One might be lost in this ¿VKERQHQHWZRUNEXWDVVRRQDVWKHGRRUZDVIRXQGKHNQHZKHZDVKRPH

The Courtyard House: Si he yuan

“7KH&RQIXVLRQHPSKDVLVRQKLHUDUFK\SOD\HGDQHTXDOO\VLJQL¿FDQWUROHLQ the design of the courtyard complex. Since ultimate responsibilities for the household laid on the shoulders of the eldest male, thus allotting him a dominant position in the Fig.20 Hierarchy of urban spaces 20 in Old City of Beijing family hierarchy, he was given a place of prominence within the courtyard home.”

There are similarities in ideology that shape the city, the neighborhood, and the courtyard houses. The Chinese courtyard house, known as si heyuan, with

17 Rapson, Ralph. Housing China’s Future: a Metropolitan Study. Minneapolis: School of Architecture and Landscape Architecture, University of Minnesota, 1982. Print. 18 Wu, Liang-yung. Rehabilitating the Old City of Beijing: a Project in the Ju’er Hutong Neighbourhood. Vancouver: UBC, 1999. 78. Print. 19 Rapson, Ralph. Housing China’s Future: a Metropolitan Study. Minneapolis: School of Architecture and Landscape Architecture, University of Minnesota, 1982. Print. 20 Rapson, Ralph. Housing China’s Future: a Metropolitan Study. Minneapolis: School of Architecture and Landscape Architecture, University of Minnesota, 1982. Print. 25 26 2,000 years of history, followed the cosmological values of symmetry and order that are present in city and neighborhood planning. This ideology is fundamental to spatial organization, in the ordering and planning concepts, of Chinese architecture, which can be seen not only in large projects; such as, palaces, temples, and gardens, but also in small domains; such as, houses of the common villagers. Its square shape is typically HQFORVHGE\IRXUVROLGEULFNZDOOVZLWKQRDSHUWXUHH[FHSWIRUWKHHQWUDQFH5HÀHFWLQJWKH “cosmological scheme on a microcosmic scale”, the courtyard house reinforces the need to “live in harmony with the form and forces of nature.”21 With the main alignment to the North-South axis, the courtyard stands in the center as the focal point. The architecture SULQFLSOHVRIWKHFRXUW\DUGKRXVHUHÀHFWSULQFLSOHVRIEDODQFHDQGKDUPRQ\RIWKH environment. Where there is an element symbolic of yin, there must be another element representing yang. There exists a constant balance between the opposing elements. If the sunlit courtyard is yang, the shaded corridors are yin.22 The courtyard layout also DOORZVIRUDGGLWLRQDOFRQVWUXFWLRQZKHQQHHGHGIRUPRUHVSDFHWKLVÀH[LEOHSODQDOORZV the house to grow along side with the growth of the family (Fig 22).

“We put thirty spokes together and call it a wheel; But it is on the space where there is nothing that the usefulness of the wheel depends. We turn clay to make a vessel; But it is on the space where there is nothing that the usefulness of the vessel depends. We pierce doors and windows to make a house; And it is on these spaces where there is nothing that the usefulness of the house depends. Therefore just as we take advantage of what is, we should recognize the usefulness of what is not.” 23 – Dao De Jing

This excerpt taken from the Dao De Jing, a work by Laotse, discusses the VLJQL¿FDQFHRIWKHYRLGDQGWKHDSSDUHQWHPSWLQHVVLQWKLVFDVHLVUHIHUULQJWRWKH FRXUW\DUG7KHRXWGRRURSHQVSDFHVDUHVLJQL¿FDQWLQDQ\&KLQHVHKRXVHKHQFHWKH important physical and social role the courtyard played in the home. The courtyard was utilized as a place for social gathering where, traditionally, the sons did not move from their parents’ house, and many families lived under the same roof. The dynamic of the family also followed a hierarchal arrangement. The father assumed the head of the Fig.21 Typical Courtyard House household, and stayed in the dominant space in the courtyard house, which was the Layout and Characteristics largest space at the North end of the compound. His sons, in order of the eldest to the youngest, stayed in the other wings with their families. The layering system provided by the courtyard plan provides privacy through the separation passage ways and doors. Typically, guests were not brought in to the back of the house where bedrooms are located, but are kept toward the front of the house in public spaces such as the living room.24

21 Rapson, Ralph. Housing China’s Future: a Metropolitan Study. Minneapolis: School of Architecture and Landscape Architecture, University of Minnesota, 1982. Print. 22 Lip, Evelyn. “The Kanyu of the Gugong.” Feng Shui Environments of Power : a Study of Chinese Architecture. London: Academy Edi- tions, 1996. 69. Print. 23 Knapp, Ronald G. “The Architecture of the Chinese House.”Chinese Houses: the Architectural Heritage of a Nation. Singapore: Tuttle, 2005. 20. Print. Fig.22 Courtyard House 24 Knapp, Ronald G. “The Architecture of the Chinese House.”Chinese Houses: the Architectural Heritage of a Nation. Singapore: Layout Additions. Tuttle, 2005. Print. 27 28 FRQFHSWRIEHDXW\7KH5RPDQVGH¿QHGEHDXW\LQFDUHIXOFDOFXODWLRQRISURSRUWLRQV DQGUDWLRVZKLOHWKH&KLQHVHGH¿QHGLWLQWKHLUFDQWLOHYHUHGHDYHVDQGWKHFRQFHSWRI architecture as one with nature. Overall, what made Old Beijing so successful was LWVH[TXLVLWHGLVSOD\RIV\PPHWU\RUGHUDQGFRPSRVLWLRQZKLFKUHÀHFWHGWKH&KLQHVH cosmological values.17

Outside the Forbidden City, hierarchical layout was seen in the rest of the city through its order of streets, alleyways, lanes, including the width and length of these systems. The dominant North-South axis extended from the emperor’s immediate domain and was the backbone of the city. The small alleyways ran East-West, joining WKHQHLJKERUKRRGVDQGLQWHUVHFWLQJWKHODUJHUVWUHHWVDWHDFKHQG7KLV¿VKERQH QHWZRUNSURYLGHGDFOHDUGH¿QLQJRUGHUPDNLQJLWSHGHVWULDQDQGYHKLFOHIULHQGO\18

“The beauty of traditional Chinese architecture lies in its groupings and connections.”19

The neighborhood structure of Old Beijing could be seen as a labyrinth created by multiplicity of groups, characterized by unfolding spaces, providing a layering of experiences. This order system provided the necessary amenities for those inhabitants of the hutong neighborhoods. The hutong neighborhoods were communities formed by a framework of social networks that allowed an intimate connection within families and between neighbors. While these neighborhoods looked similar in appearances to a fortress of gray brick walls, their differences lay within the mundane detail; such as the doors, which were the only hint of the families’ wealth and status. These small elements might be considered decorative, but they were all personalized to reveal the character of the family. One might be lost in this ¿VKERQHQHWZRUNEXWDVVRRQDVWKHGRRUZDVIRXQGKHNQHZKHZDVKRPH

The Courtyard House: Si he yuan

“7KH&RQIXVLRQHPSKDVLVRQKLHUDUFK\SOD\HGDQHTXDOO\VLJQL¿FDQWUROHLQ the design of the courtyard complex. Since ultimate responsibilities for the household laid on the shoulders of the eldest male, thus allotting him a dominant position in the Fig.20 Hierarchy of urban spaces 20 in Old City of Beijing family hierarchy, he was given a place of prominence within the courtyard home.”

There are similarities in ideology that shape the city, the neighborhood, and the courtyard houses. The Chinese courtyard house, known as si heyuan, with

17 Rapson, Ralph. Housing China’s Future: a Metropolitan Study. Minneapolis: School of Architecture and Landscape Architecture, University of Minnesota, 1982. Print. 18 Wu, Liang-yung. Rehabilitating the Old City of Beijing: a Project in the Ju’er Hutong Neighbourhood. Vancouver: UBC, 1999. 78. Print. 19 Rapson, Ralph. Housing China’s Future: a Metropolitan Study. Minneapolis: School of Architecture and Landscape Architecture, University of Minnesota, 1982. Print. 20 Rapson, Ralph. Housing China’s Future: a Metropolitan Study. Minneapolis: School of Architecture and Landscape Architecture, University of Minnesota, 1982. Print. 29 30 2,000 years of history, followed the cosmological values of symmetry and order that are present in city and neighborhood planning. This ideology is fundamental to spatial organization, in the ordering and planning concepts, of Chinese architecture, which can be seen not only in large projects; such as, palaces, temples, and gardens, but also in small domains; such as, houses of the common villagers. Its square shape is typically HQFORVHGE\IRXUVROLGEULFNZDOOVZLWKQRDSHUWXUHH[FHSWIRUWKHHQWUDQFH5HÀHFWLQJWKH “cosmological scheme on a microcosmic scale”, the courtyard house reinforces the need to “live in harmony with the form and forces of nature.”21 With the main alignment to the North-South axis, the courtyard stands in the center as the focal point. The architecture SULQFLSOHVRIWKHFRXUW\DUGKRXVHUHÀHFWSULQFLSOHVRIEDODQFHDQGKDUPRQ\RIWKH environment. Where there is an element symbolic of yin, there must be another element representing yang. There exists a constant balance between the opposing elements. If the sunlit courtyard is yang, the shaded corridors are yin.22 The courtyard layout also DOORZVIRUDGGLWLRQDOFRQVWUXFWLRQZKHQQHHGHGIRUPRUHVSDFHWKLVÀH[LEOHSODQDOORZV the house to grow along side with the growth of the family (Fig 22).

“We put thirty spokes together and call it a wheel; But it is on the space where there is nothing that the usefulness of the wheel depends. We turn clay to make a vessel; But it is on the space where there is nothing that the usefulness of the vessel depends. We pierce doors and windows to make a house; And it is on these spaces where there is nothing that the usefulness of the house depends. Therefore just as we take advantage of what is, we should recognize the usefulness of what is not.” 23 – Dao De Jing

This excerpt taken from the Dao De Jing, a work by Laotse, discusses the VLJQL¿FDQFHRIWKHYRLGDQGWKHDSSDUHQWHPSWLQHVVLQWKLVFDVHLVUHIHUULQJWRWKH FRXUW\DUG7KHRXWGRRURSHQVSDFHVDUHVLJQL¿FDQWLQDQ\&KLQHVHKRXVHKHQFHWKH important physical and social role the courtyard played in the home. The courtyard was utilized as a place for social gathering where, traditionally, the sons did not move from their parents’ house, and many families lived under the same roof. The dynamic of the family also followed a hierarchal arrangement. The father assumed the head of the Fig.21 Typical Courtyard House household, and stayed in the dominant space in the courtyard house, which was the Layout and Characteristics largest space at the North end of the compound. His sons, in order of the eldest to the youngest, stayed in the other wings with their families. The layering system provided by the courtyard plan provides privacy through the separation passage ways and doors. Typically, guests were not brought in to the back of the house where bedrooms are located, but are kept toward the front of the house in public spaces such as the living room.24

21 Rapson, Ralph. Housing China’s Future: a Metropolitan Study. Minneapolis: School of Architecture and Landscape Architecture, University of Minnesota, 1982. Print. 22 Lip, Evelyn. “The Kanyu of the Gugong.” Feng Shui Environments of Power : a Study of Chinese Architecture. London: Academy Edi- tions, 1996. 69. Print. 23 Knapp, Ronald G. “The Architecture of the Chinese House.”Chinese Houses: the Architectural Heritage of a Nation. Singapore: Tuttle, 2005. 20. Print. Fig.22 Courtyard House 24 Knapp, Ronald G. “The Architecture of the Chinese House.”Chinese Houses: the Architectural Heritage of a Nation. Singapore: Layout Additions. Tuttle, 2005. Print. 31 32 Chinese courtyard layout from a traditional Western courtyard is the treatment of its interior and exterior. In China, the courtyard, the void, is the dominant space, not the enclosed building. The focus is on the subtlety and the private experience between man and nature. The architectural façade faces inward relative to the courtyard space, not outward toward the public. The approach to the garden from public to private is met with partition walls with openings and voids to create subtle obstruction of views to the garden; creating delays, leaving the full view of the garden for last. In the West, the emphasis is placed on the building. Its facade faces outward to the public. The emphasis on elevation had historically produced buildings that were grand in stature with a sense of monumentality. The focus had been on the grand approach to the building. Nature is the backdrop; whereas, in Chinese culture, nature and architecture are seen as one, as a unity. However, it can be argued that in the works of Mies Van Der Rohe, the exploration of the relationship between architecture and nature, the desire for lightness in architecture, is very similar to traditional Chinese doctrine and architecture principles. Through the advancement in innovative technology of introducing steel and glass, contemporary architecture was able to represent these concepts in a new form.28

Whether it is balance, axis, symmetry, or other traditional Chinese principle, WKHLUFRQFHSWVFDQEHVHHQLQPDQ\RWKHUFXOWXUHV:KDWGH¿QHVDUFKLWHFWXUHWKDW Chinese Western contains essence of “Chinese-ness” is the close relation between architecture and Chinese philosophical teachings derived from Confucianism and Daoism. The WHDFKLQJRIWKHVHLGHDOVJUHDWO\LQÀXHQFHGWKH&KLQHVHYLHZRIDUFKLWHFWXUHDVRQH with nature and saw building as void within the greater void of nature. It is important to understand that Confucianism and Daoism teachings focus on the man and not God. Thus, the focus of traditional Chinese architecture is about man’s place in Inward focus Outward focus relation to the world, to nature, and how to live in harmony with the surrounding. Space as solid Building as solid

Building “How could we know death when life is not yet understood?” “How could we serve spiritual beings while we do not know how to serve men?”29 Facade - Confucius

These principles can be seen from large scale planning to the detail of the door. Every aspect of traditional Chinese architecture strives for balance, unity, and harmony. Although similar principles can be seen in other cultures, what sets Chinese Western Chinese architecture apart are the culture’s unique perspective and explicit execution of these principles.

Fig.25 Diagram of Comparison Space Layout Between Chinese and Western.

28 Blaser, Werner, and Johannes Malms. West Meets East - Mies Van Der Rohe. Basel [u.a.: Birkhäuser, 2001. Print 29 Suzuki, Daisetz Teitaro. A Brief History of Early Chinese Philosophy,. London: Probsthain &, 1914. Print. 33 34 Part 3. Chinese Tea Culture and Its Role in Contemporary Society

“Tea and tea culture is itself visible, while its spirit is invisible. Together they form a truly unique aesthetic combination.” – Ling Wang, author of Tea and Chinese Culture.

The origin of tea has its roots deep in ancient Chinese culture and civilization. Tea was said to be discovered by the legendary Yan Di, known as the “God of Agriculture and Medicine”, who invented the plough and discovered medicinal virtues within plants.1,WZDVVDLGWKDWZKHQZhou Dynasty (11th Century B.C. – 771 B.C.). The art of tea has evolved throughout WLPH7HDFXOWXUHZDV¿UVWFXOWLYDWHGSULPDULO\E\WKHIROORZLQJJURXSVVFKRODUVDQG Daoist, Buddhist, and Confucius followers. Scholars found tea very helpful in calming the mind and as a source of inspiration. The religious philosophies then contributed in developing the tea culture, as the nature of tea resonated well with the teachings of Daoism, Confucianism, and Buddhism. Once it became favorable within the Imperial domain, its popularity grew exponentially. Although the ancient practice of the tea ceremony is not present today, tea in contemporary Chinese culture still holds the same symbolism as in the past and has taken on many evolved forms. The art of tea has evolved throughout the centuries where it cycled between prosperity and obscurity; but its fundamental role remains: tea, in the eyes of China, is an essential part of Chinese culture, society, and community life. Tea represents respect, unity, love, enlightenment, and purity. It holds the ability to heal the body, clear the mind, and purify the soul.2

1 Wang, Ling. “Chapter 1. The Origins of Tea.” Tea and Chinese Culture. San Francisco: Long River, 2005. 10. Print. 2 Wang, Ling. Tea and Chinese Culture. San Francisco: Long River, 2005. Print. 35 36 Culture of Tea culture. The tea ceremony was believed to be a process that integrated the ³7KH¿UVWFXSUHIUHVKHV\RXUOLSVDQGWKURDW interaction between the material world and the spiritual world. Buddhist temples The second cup elates you from your lonely mood. were usually located on mountain tops which were excellent conditions for growing With the third cup you rack your brains, realizing you have only committed 5,000 tea. Buddhist monks enjoyed the entire process of planting, growing, harvesting, volumes of literature to memory. preparing, and drinking tea, which embodied all phases of the traditional tea art. The The fourth cup makes you perspire lightly, and through your skin the pent-up essence of tea culture, how one experienced tea through its aroma, fragrance, and grievances in your life evaporate. taste, was intertwined with the religious philosophies. To fully experience tea in its 7KH¿IWKFXSFDXVHV\RXWRIHHO\RXUPXVFOHUHOD[DQG\RXUERQHVORVHZHLJKW perfect form was to understand the essence of life, change, and nature.6 The sixth cup leads you down the path of divine enlightenment. 1RZ7KHVHYHQWKFXS7KHRQO\IHHOLQJOHIWLVWKHDLUÀRZLQJEHQHDWK\RX´3

- Lu Tong, Tang Dynasty

The best tea is grown in mountains where a crucial fresh water source is plentiful. Thus, tea is associated with nature. To experience tea culture and enjoy LWVSXUL¿FDWLRQSURFHVVLWLVVXJJHVWHGWKDWWHDGULQNLQJEHGRQHLQVHUHQHSODFHV VXUURXQGHGE\QDWXUH'DRLVWVEHOLHYHGWHDFRXOGDFWDVD¿OWHUDEVRUELQJLPSXULWLHV Fig.27 Spring Water Fig.29 Process of Harvesting, present a positive source of energy, and improve concentration. Tea was also an aid from Jinan, Shandong Drying, Brewing, and Drinking Province Tea. to meditation with its soothing fragrance that could heal the spirit and body. Today, tea can be presented in formal and informal manners during all types of occasions. Tea can presented as a sign of respect and be presented as  $VWKHHFRQRP\ÀRXULVKHGGXULQJWKH7DQJ'\QDVW\ $' ZLWKWKH an apology. In contemporary Chinese society, tea is often served among families, establishment of the Silk Road bringing trade with foreigners, tea culture blossomed. guests, and in business situations.7 There are different ways of presenting tea for The emperor’s favor for tea also made it more popular in the lives of the common different engagements; such as, weddings, funerals, and other social events. Tea in people. Historically, it was recorded that tea had ten main functions: to strengthen WKHVHFLUFXPVWDQFHVPD\V\PEROL]HZHDOWKUHVSHFWDQGJRRGIRUWXQH6SHFL¿FDOO\ the health of the body, to help reduce the after-effect of alcohol to the body, to be during marriage and engagement events, tea is seen as the purest of aesthetic used in porridge to alleviate hunger, to cool the body in the summer heat, to help essence, symbolizing the love between man and woman. This tradition can be traced with drowsiness, to purify the spirit and eliminate anxiety, to help with indigestion, to back to the Song Dynasty (A.D. 960- 1279). During engagements, tea is offered as cleanse toxins from the body, to promote longevity, and to invigorate the body while DVLJQRIGHGLFDWLRQ,IWKHUHFLSLHQWDFFHSWVWKHJLIWRIWHDWKHHQJDJHPHQWLV¿QDO8 rejuvenating the mind.4 7HDLVDOVRXVHGWRZDVKDEDE\¶VVKDYHGKHDGDIWHUWKH¿UVWPRQWKRIOLIHWRZLVK him/her intelligence and bring a long life of abundance and respect.9 Although the The Book of Tea by Lu Yu, a Buddhist monk who was passionate about tea, ritual of making tea and serving tea in the traditional manner is not as common today, ZDVWKH¿UVWERRNZULWWHQDERXWDOODVSHFWVRIWHDFXOWXUH,QKLVERRNKHUHFRUGHG there are still customs and rituals of the drinking present in contemporary society. the origin of Chinese tea culture and described it as a form of art.5 During the Yuan Dynasty (1271-1368), different forms of tea, from tea dust to nut tea, were developed. Tea had spread from a hobby and lifestyle of the higher class to that of the ordinary people. During the Qing Dynasty (1644-1912), the popularity of teahouses grew. This helped change the social interactions of Chinese communities. Activities such as tea festivals, tea making contests, and places for social gathering for the common people had brought a unique dynamic to society of the time. Tea, during this time, also became a status symbol. The wealthy were highly attracted to collecting tea pots of distinctive craft and high quality. Fig.28 “Dao” Character. Fig.30 Tasting Tea, Qing Dynasty

6 Wang, Ling. Tea and Chinese Culture. San Francisco: Long River, 2005. Print. Daoism and Buddhism played important roles in the development of tea 7 Chinese Tea Ceremony. Web. 03 Nov. 2011. . 8 “An Offering of Tea during a Chinese Wedding.” Chinese Knot Weddings | Chinese Wedding Traditions - Bridal Customs - Invi- 3 Wang, Ling. “Chapter 2. Tea Culture and Dynastic China.” Tea and Chinese Culture. San Francisco: Long River, 2005. Print. tations and Favors. Web. 03 Nov. 2011. . 4 Wang, Ling. 23. Print. 9 Wang, Ling. “Chapter 7. Folk Traditions and Marriage Customs.” Tea and Chinese Culture. San Francisco: Long River, 2005. 5 Wang, Ling. 2005. Print. Print. 37 38 The Art of Tea: Tea Ceremony dragon or phoenix, favored by the Emperor Song and usually received as a reward from the Emperor) was to be grounded into tea dust. “Tea is like free spirit.” – Ling Wang, author of Tea and Chinese Culture.  3RXUHGZDWHULQWRWKHWHDSRWDQGERLOHGLWRQWKH¿UHKHDWHGE\WKHFRDO 3. Added the tea dust into the teapot when the water started rolling. 4. Blended tea and water. Foam (Bomo: cream of tea; snow/cloud like) started One may ask: “What is the difference between a Japanese tea ceremony and appear when the water boiled the second time. Chinese tea art?”10 The difference lays in the fundamental belief system behind each 5. Separated the foam (Bomo) and kept it in a jar. culture. Both cultures embody the philosophy of Dao in tea, a Daoist philosophy that 6. Continued to blend tea and water. holds dual meanings and interpretations in the two cultures. To the Chinese, Dao 7. Bubbles appeared when boiling the third time. means “the Way”; thus, it is more focused on the spirituality of tea, the essence of 8. Bomo was then returned to the teapot. When it was evenly blended, tea was nature, and the origin of things. The reason the Chinese does not considered the art ready to serve.13 RIWHDDVDIRUPDO³FHUHPRQ\´OLNHZLVHGH¿QHGE\-DSDQHVHFXOWXUHLVEHFDXVHWKH focus is on the spiritual experience through the process of tea making, not focused Fig.31 Chinese Tea Pots Made on the physical, bodily act of making tea. In Japanese culture, Dao means “the from Different Materials (from Tea making was an extremely delicate process that required a well-trained, Skill”, which is more focused on the activities of preparing, brewing, and drinking top to bottom: porceline, zicha, skillful master to execute. Different types of tea used different water temperatures metal, Monk’s cap teapot) tea. It is not that the physical activity of making tea is not important in Chinese art with different tools and utensils. For instance, scented tea would require teapots of tea, however, it is believed that, by physically planting, growing, picking, cleaning, made of porcelain or glass for the integrity of the strong fragrance of the tea, while brewing, and drinking tea, one is enlightened.11 red or black tea would be made in clay pots. Tea making took patience, a tranquil environment, preferably in nature, and a calm state-of-mind.14 Chinese tea culture refers to every aspect of tea, from tea literature to tea drinking, where Chinese tea art is referring to tea making. Following tradition, tea In Huzhou, known for being the location of the origin of tea, the ancient culture embodies activities from growing the tea, to making and drinking it. In The customs have been kept alive and well preserved. Although the procedure was Book of Tea, this ritual has been depicted with distinct details from the best time not identical to that described in The Book of Tea, the tea ceremony performed to harvest tea to using certain tools for brewing. During ancient times, it was said there is very formal. Typically, the formal tea serving procedure in Huzhou begins that emperors kept an inventory of the locations of the best water to be used for the with the preparation of the tea before the guests arrive. This preparation includes tea. Water was not only for drinking tea, but also for watering the tea plant, which VHOHFWLQJWKH¿QHWHDSUHSDULQJWKHWHDVHWVDQGVHOHFWLQJFRQGLPHQWV7KHWHDLV was considered essential to produce the best grade of tea. In his book, Lu Yu listed made directly in individual teacups, not in the teapots like those in the North. After twenty-four tools needed for a traditional tea ceremony. These tools were made with pouring the boiling water into the tea cups, stirring is required. One knows that exquisite detail and care and were, themselves, considered art.12 Although these WKHWHDLVUHDG\IRUGULQNLQJZKHQWKHDURPDRIWHD¿UVWKLWVWKHQRVH:LWKPDQ\ tools are no longer all necessary in contemporary tea ceremonies, the fundamental different ways to prepare tea in other regions; such as the Kong Fu tea ceremony in principles behind the process of making tea have been kept consistent. The Guangdong province, the common practice of serving tea as an art form takes on the WUDGLWLRQDOZD\RIPDNLQJWHDUHTXLUHVWKHWHDWREH¿UVWEUHZHGVHSDUDWHO\IURPWKH “9-procedures”. First, the tea is appraised for its quality, and then the tea sets are teapot. This step was eliminated during the Ming Dynasty (1368-1644), and tea prepared. Tea leaves are then placed into the teapot, which usually take up about was directly brewed in teapots. The teapot made of a new material such as zesha 70% of the teapot volume, the water is boiled and poured into the teapot, and the tea (special dirt from Jiangshu province that is like a clay material) was introduced to is stirred. Then, the tea is poured into the tea cups and served to guests, the last better maintain the tea fragrance and prevent it from spoiling. The tea making tools step being to drink the tea. In some cases, the tea set is prepared by washing it with were made of different materials. For instance, teapots could be made of iron, WKH¿UVWURXQGRIEUHZHGWHDWRHQKDQFHWKHDURPD7KHVL]HRIWKHWHDSRWLVXVXDOO\ bronze, clay, china, and porcelain. no bigger than a persimmon, and the tea cups are small, like walnuts. Tea is to be enjoyed slowly. First, allow the fragrance of the tea to reach the senses. Then, allow According to Lu Yu’s book, the traditional way of tea making took an art form the tea to sit in the mouth for awhile before swallowing.15 of the following steps.

1. Tea cake (tea that was dried and compressed into an artful shape, such as

10 Wang, Ling. Tea and Chinese Culture. San Francisco: Long River, 2005. Print. 13 Wang, Ling. “Chapter 3. Brewing and Tasting.” Tea and Chinese Culture. San Francisco: Long River, 2005. 51. Print. 11 Wang, Ling. “Chapter 4. Tea in Philosophy and Religion.” Tea and Chinese Culture. San Francisco: Long River, 2005. Print. 14 Wang, Ling. Tea and Chinese Culture. San Francisco: Long River, 2005. Print. 12 Wang, Ling. “Chapter 3. Brewing and Tasting.” Tea and Chinese Culture. San Francisco: Long River, 2005. Print. 15 Wang, Ling. “Chapter 8. The Art of Serving Tea.” Tea and Chinese Culture. San Francisco: Long River, 2005. Print. 39 40 can be transformed into a stage for the opera, or puppet shows, as well as into a place where political and business deals are discussed.18 The teahouse architecture FDQEHGH¿QHGDVDVSDFHRIPXOWLSOHIXQFWLRQVDQGSURJUDPVWRSUHVHQWDYDULHW\RI PRRGVDQGDWPRVSKHUHV,WUHÀHFWVWKHYHUQDFXODUDUFKLWHFWXUHRILWVSURYLQFLDOORFDO culture of its time.

Fig.32 The Art of Tea: Abbreviated A teahouse has long been established and remains a place for interaction Diagram of Contemporary Tea In more casual situations; such as making tea at home or at the teahouses Making. for all social groups. In places such as Sichuan, tea culture is strong, and teahouse in contemporary society, the method of gaiwan is used. Mentioned earlier, tea can culture is very prominent. A teahouse can be an elegant and tranquil place, or it be brewed in different ways depending on the type of tea. Gaiwan is usually used can be a grand space that houses other Chinese art forms; such as, opera and for the delicate tea types such as green and white tea. This strategy involves rinsing puppet shows. A teahouse can also function as a space of common ground for (chong) the tea rather than soaking (pao) it. It requires heating boiling water as VHWWOLQJFRQÀLFWV,WLVYLHZHGDVDOHJLWLPDWHSODFHWRVHWWOHLVVXHVWRKHDUWKHODWHVW well as the tea ware. The tea is to be rinsed in boiling water before pouring it into JRVVLSWR¿QGDTXLHWSODFHWRZULWHDQGWRUHOD[ZLWKWKHODWHVWHQWHUWDLQPHQWV7KH the chaou, one of the traditional tea cups that consist of a cup, a lid, and a saucer.16 teahouse is, no doubt, a place for cultural activity.19 This tea cup is bigger than the other types mentioned earlier. This is a more casual WHDZDUHWKDWFDQEHIRXQGLQPRVW&KLQHVHKRPHV(DFKWHFKQLTXHUHÀHFWVLWV Teahouses in Hangzhou are known for their outstanding environmental reputation in tea culture and is a display of an art form passed down from generation atmosphere and water resource, added advantages for tea art. These tea rooms to generation. are elegant, simple, and unsophisticated. Furnished with the essentials, people are able to enjoy the aesthetic atmosphere and completely dive into the aroma of the tea. Some teahouses also offer light entertainment and small shops where one can purchase cultural goods unique to Hangzhou; such as, bamboo carvings and fans. “One gets to experience the cultural essence of tea in Hangzhou not only because of Teahouse methods of brewing and making tea, but also because of the historic atmosphere.”20 Environmental factors are extremely important in creating the atmosphere for Chinese tea culture (tea art, tea planting, tea drinking) can be traced to the tea. Different types of teahouses in different provinces of China present different 7DQJ'\QDVW\LQ$',WKDVSOD\HGDVLJQL¿FDQWVRFLDODQGFXOWXUDOUROHLQ experiences of tea culture; for example, a quiet serene teahouse near the lake may Chinese cities and neighborhoods.17 The tea culture is a social activity shared by promote a tranquil experience of tea culture while a teahouse in the crowded city, many people in their daily lives. Yet, the teahouse has not encompassed a distinctive with busy entertainment, may provide a more festive atmosphere to experience tea, identity in its architectural planning and character. The teahouses can be mostly revealing some of the tea culture’s many facets. found in gardens within the imperial domain at one end of the spectrum and adjacent to shops selling other amenities used by the common man at the other end of the There are a large variety of teahouses in Beijing that provide a rich sense spectrum. They echo the different stylistic characteristic and forms from the different of culture. They can be categorized into six types: dachaguan (great teahouses), periods when they were constructed. Their structures range from a three-story qingchaguan (serves tea only), shushaguan (provides storytelling performances building above a lake to a small shelter adjacent to a store. and entertainment), erhunpu (teahouse that sells tea, wine, and food), hongluguan (teahouse that has red stoves), and yechaguan (teahouses in the countryside).21 The concepts of yin and yang, and feng shui, which embody the concepts Qingchaguan is a more casual place for tea. In good weather, a shelter is set-up of symmetry, balance, order, and hierarchy, are fully displayed in the architecture outside. The closer interaction with nature is promoted through bird watching and traditional teahouse. Literature on teahouses mostly focuses on the ritual of tea and pet keeping. People from all social status come and engage in small talk and in the atmosphere of the teahouse created by the culture of tea and social activities social games such as Chinese chess and Majiang. In this teahouse, community and but with less emphasis on the physical detail of its architecture. It takes the multiple social life prosper. Yechaguan are built for people to escape the city conditions to forms based on the needs of its users. In the Sichuan province, a place where tea a more natural environment. Poor water quality in the city can mask the essence of culture is very popular, various activities take form in these spaces. These spaces tea, thus, yechaguan are usually built next to natural springs or temples and are very can be converted from a loud and crowded space to a quiet, serene, space. They involved with nature. This experience separates the users and transforms them into 18 Wang, Ling. “Teahouse Culture.” Tea and Chinese Culture. San Francisco: Long River, 2005. Print. 16 “Brewing Green Tea.” Chinese-Tea-Culture Tea Shop. Web. 01 Nov. 2011. . 20 Wang, Ling. 79. Print. 17 Wang, Ling. “Teahouse Culture.” Tea and Chinese Culture. San Francisco: Long River, 2005. Print. 21 Wang, Ling. 83. Print. 41 42 a quiet setting to understand and experience the essence of tea. Dachaguan are the largest in size and provide the most services of all the teahouses. The most famous one in Beijing is the Tianhuixuan teahouse at Di’anmenwai. In this teahouse, both tea and food are served. There is a strong sense of etiquette along with the display and use of beautifully made tea sets showing the highest of class. Dachaguan can KDYHPDQ\VWRULHVZKHUHWKHORZHUOHYHOVDUHIRUFDVXDOFRQGXFWZKLOHXSSHUÀRRUV are more private and for more expensive guests. There are often entertainments available in the forms of Chinese opera, storytelling, puppet shows, and folk music. In these teahouses, many aspects of Chinese culture mingle and create a unique atmosphere of social interaction and tea culture.22

In conclusion, Chinese tea culture is one of the oldest traditions and is preserved in its essence and practice in today’s society. It is tied to the Daoist philosophies of tranquility, harmony, and peace, connecting the physical to the spiritual, the human world to the natural world. The space, essentially the teahouse, UHÀHFWVWKHVHLGHDOVDQGFUHDWHDQHQYLURQPHQWWKDWSURPRWHVWKHH[SHULHQFHRI drinking tea. Traditionally, it is said that tea stimulates thoughts and inspirations for scholars. It is the event of drinking tea that creates a conducive atmosphere for those who can share their ideas and discuss issues. Not only is it a symbolic representation of the social dynamic of Chinese culture, but its process and its Fig. 33 Sichuan Teahouse (yechaguan) WUDGLWLRQPDNHV&KLQHVHWHDFXOWXUHVLJQL¿FDQW,QWRGD\¶V&KLQHVHVRFLHW\WHD remains a dominant element and carries on the fundamental philosophy of the ideals behind the Chinese way of life.

Fig. 34 Lao She Teahouse, Beijing (shushaguan)

Fig. 35 Traditional Teahouse Scene (Dachaguan) 22 Wang, Ling. “Chapter 5.Teahouse Culture.” Tea and Chinese Culture. San Francisco: Long River, 2005. Print. 43 44 Part 4. Precedents: Traditional + Contemporary

This section will look at various architectural examples of successful and unsuccessful cases to identify where certain design principles (traditionally Chinese and Western) worked while others were less successful. Some precedents study architectural components such as detail and materiality, while others look at spatial organization and planning principles.

Fragrant Hill Hotel by I.M. Pei

The Fragrant Hill Hotel by I.M. Pie was constructed in 1982 in Beijing, China. At the time, it was a model for China’s new face; its “modern” face. This project creates a successful spatial layout by focusing on the spatial circulation and the experience of the courtyard taken from the traditional Chinese design concepts. Conceptually focusing on the voids created by the buildings and the courtyards as Fig. 36 Spatial Diagram (Circulation) the central focus. I.M. Pei carefully created picturesque viewpoints of the courtyard. The portals created by geometric shapes, which can be seen in traditional Chinese architecture, frame the views. The less successful aspect of this project is the Fig. 37 Fragrant Hill Hotel reliance on the imagery of the hotel façade. The roof, window and door treatments, and detail treatment mimic those seen in traditional Chinese architecture. The juxtaposition of these elements with contemporary material and technology, such as FRQFUHWHLGHQWL¿HGWKLVEXLOGLQJDV³PRGHUQ´:KDWLVVLJQL¿FDQWIURPWKLVSUHFHGHQW is the success of the spatial quality, the treatment of the void, not the decorative elements. The focus is on developing a contemporary architecture language to express China’s attitude of an advanced future, and a language that express the culture and traditions.

45 46 a quiet setting to understand and experience the essence of tea. Dachaguan are the largest in size and provide the most services of all the teahouses. The most famous one in Beijing is the Tianhuixuan teahouse at Di’anmenwai. In this teahouse, both tea and food are served. There is a strong sense of etiquette along with the display and use of beautifully made tea sets showing the highest of class. Dachaguan can KDYHPDQ\VWRULHVZKHUHWKHORZHUOHYHOVDUHIRUFDVXDOFRQGXFWZKLOHXSSHUÀRRUV are more private and for more expensive guests. There are often entertainments available in the forms of Chinese opera, storytelling, puppet shows, and folk music. In these teahouses, many aspects of Chinese culture mingle and create a unique atmosphere of social interaction and tea culture.22

In conclusion, Chinese tea culture is one of the oldest traditions and is preserved in its essence and practice in today’s society. It is tied to the Daoist philosophies of tranquility, harmony, and peace, connecting the physical to the spiritual, the human world to the natural world. The space, essentially the teahouse, UHÀHFWVWKHVHLGHDOVDQGFUHDWHDQHQYLURQPHQWWKDWSURPRWHVWKHH[SHULHQFHRI drinking tea. Traditionally, it is said that tea stimulates thoughts and inspirations for scholars. It is the event of drinking tea that creates a conducive atmosphere for those who can share their ideas and discuss issues. Not only is it a symbolic representation of the social dynamic of Chinese culture, but its process and its Fig. 33 Sichuan Teahouse (yechaguan) WUDGLWLRQPDNHV&KLQHVHWHDFXOWXUHVLJQL¿FDQW,QWRGD\¶V&KLQHVHVRFLHW\WHD remains a dominant element and carries on the fundamental philosophy of the ideals behind the Chinese way of life.

Fig. 34 Lao She Teahouse, Beijing (shushaguan)

Fig. 35 Traditional Teahouse Scene (Dachaguan) 22 Wang, Ling. “Chapter 5.Teahouse Culture.” Tea and Chinese Culture. San Francisco: Long River, 2005. Print. 47 48 Fig. 39 The Nezu Museum

Nezu Museum by Kengo Kuma

The Nezu Museum by Kengo Kuma is a reconstruction project completed in 2009, located in Tokyo, Japan. This project was successful in providing a

Fig. 39a The Nezu Museum contemporary language of the traditional Japanese roof form. Other key concepts are a close connection with nature and the focus on the relationship/interaction between interior, transitional, and interstitial space; such as outdoor corridors and paths, and exterior space. There is a traditional Japanese teahouse on the site behind the contemporary museum. This project is a good example of how traditional architectural elements can be translated into a contemporary language through the use of contemporary materials such as steel and glass. This thesis project is interested in how a close connection with nature can be made through the layering RIVSDFHDVZHOODVGH¿QLQJWUDQVLWLRQDOVSDFHV7KLVSURMHFWFDQSURYLGHVROXWLRQV

Exterior Exterior Transitional Interior to connect to nature and to reinterpret traditions in a new way through form and Interior Space Transitional Space Fig. 41 The Nezu Museum Space Space Space Space materials.

Grand Louvre by I.M. Pei Fig.42 Axial Diagram The Louvre by I.M. Pei, in Paris, is a successful example that deals with the issue of new construction within a historic site, similar to the issues in Houhai. This structure marks the entrance, and it connects all the bays of the museum into RQHFRKHVLYHDQGHI¿FLHQWFLUFXODWLRQV\VWHP7KHIRFXVLVRQWKHMX[WDSRVLWLRQ between the glass pyramid and the surrounding traditional architecture. This project was controversial due to its location. Criticism included its contemporary design being seen as inappropriate for the historic site. However, with I.M. Pei’s addition, the project was successful in creating a visual axis for the plaza and argued as an extension of the constant rehabilitation and adaptive-reuse effort that has been a continuous effort on site.3 In this case, new architecture was constructed to enhance the old architecture, and it has become a landmark. The glass pyramid completed the

Fig. 40 The Louvre space, and it has brought a unique experience to the site.

3 Jodidio, Philip, and Janet Adams Strong. “The Louvre.”I .M. Pei: Complete Works. New York: Rizzoli, 2008. 222. Print. 49 50 Design Application Chinese Western New Exploration of contemporary design language with essence of “Chinese-ness” in the Traditional Architecture Principles Traditional Architecture Principles Spatiality Spatiality Design Principles dense cultural setting of Houhai, Beijing China. Materiality Materiality Craft Craft Methodology

Imagery Imagery Imagery “There is no opposition between architecture and nature. Landscape and architecture permeate each other. Architecture is not an ‘object’ in and adjacent to landscape and certainly not ‘violence against nature’. Nature is the great space (the great

Technology Technology Technology void) where various types of demarcation and character of space are possible; the only contrast is between interior and exterior. The relationship between interior and exterior is attainable by opening up spaces to create the greatest possible dissolution of solidity and a type of skeleton construction. If, in this way, the landscape became a part of living space, then the difference between nature and architectonic spaces will lie solely in their scale and lack of a cover.”1 Fig. 43 Methodology Diagram

The methodology for designing a teahouse with additional space for retail and cultural display is to combine concepts from both west and east. Due to similar attitudes toward nature, spatial organization and experience, and the relationship between architecture and landscape, seen in both traditional Chinese architecture philosophy and philosophies studied during the Modern period mainly through the works of Mies Van Der Rohe, the task of bridging the gap between traditional (past) with the future (contemporary) involves merging these similar concepts. Seen in Fig. 43, traditional Chinese philosophy, mainly regarding spatial qualities, will be reinterpreted in a new contemporary way by utilizing both contemporary and traditional materials (wood and steel, glass and brick), as well as traditional Chinese principle of structural integrity with contemporary technology. The process of design involves the study of the relationship between interior and exterior space, creating balance between void and mass as well as visual balance of materiality. The key is to create different atmosphere depending on the function of the spaces but create serene and harmonic experience for all the different spaces within the teahouse. Tea drinking needs to be emerged in nature where the mind is calm and clear to think and fully absorb the essence of tea. Therefore, the quality of the tea drinking space is quiet and connected with nature. The retail and areas of cultural display need to carry the same feeling as the rest of the teahouse to provide a cohesive unity to the entire design. The feeling within the main spaces, as well as the circulation/transitional space, of peace, as well as satisfying the need to promote engagement with the surrounding environment.

Fig. 44 Chinese Traditional Screen and Entry Looking into Courtyard

1 Blaser, Werner, and Johannes Malms. West Meets East - Mies Van Der Rohe. Basel [u.a.: Birkhäuser, 2001. Print. 51 52 Cultural Context

“/LNHDOOIRUPVRIFXOWXUDOSURGXFWLRQDUFKLWHFWXUHUHÀHFWVZKDW¶VLQWKHDLU,WLV part of what is going around at the time.” – Architectural Encounters with Essence and Form in Modern China

 $UFKLWHFWXUHLVRQHZD\WRUHFRUGKLVWRU\LWUHÀHFWVFXOWXUDOLGHQWLW\ZLWKLQ WLPH7KHRYHUH[SRVXUHWR:HVWHUQLQÀXHQFHVKDVPDVNHGWKHFXOWXUDOLGHQWLW\LQ Chinese cities. The unique conditions in its urban environments are the result of the country’s unprecedented population growth and its rapid economic development. Looking for quick solutions to mitigate the overcrowded cities, China turns its head towards the West to look for salvation instead of discovering the potential solutions in its traditional planning and building principles, which have withstood the long- passing time of centuries. A new architecture language needs to be developed that is the joining of past and future. The old should not be dismissed as an impediment to innovation but should be translated into a new language that can promote cultural and social sustainability.

The program for my proposed building project is a tea house that is an educational display (gallery), retail, and a place to experience the culture of drinking tea. Tea itself has a long history in Asia, especially in China. It is a representation RIVRFLDOLQWHUDFWLRQDQGUHÀHFWVFXOWXUDOSHUVSHFWLYHV$OWKRXJKWHDFHUHPRQLHV have not been adequately preserved in China, they carry on in many forms in other cultures, such as Japan and Korea. This activity, almost extinct in its professional form, is a great program to explore and reintroduce into the urban lifestyles of &KLQHVHFLWLHV,QDPHWURSROLVHQYLURQPHQWWKDWLVRYHUZKHOPHGE\FRQJHVWHGWUDI¿F and people, the time to stop and absorb the casualty of daily life has been missing. A tea house not only serves tea and allows the experience of the culture of drinking tea, but also is a place that can be used to educate the visitors to the history of tea culture in China. This can be accomplished through an exhibit space with an extension of a retail space to extend the aroma of the culture into the intimate spaces of people’s homes.

The institution to accomplish this can be a private developer that is interested in rehabilitating the vanishing culture through the topic of tea or a cultural organization that is looking to revive traditions. The building is located in a hutong 53 54 behind the Forbidden City in Beijing. This historic site is currently a tourist area and will be its commercialized appeal to the mall industries in today’s society. It doesn’t consists of residential neighborhoods. Both possible institutions aim to educate as UHÀHFWWKHFXOWXUHRIWHDDVLGHIURPWKHRUQDPHQWDOWHDNHWWOHVHWVRQGLVSOD\(YHU\ well as provide an amenity that resonates with the surrounding culture of the hutong. store is universalized as a brand; they look the same, feel the same, and smell the 2YHU¿OOHGZLWKEDUVLQWKHFXUUHQWDUHDDSODFHRIVHUHQLW\ZLOOFUHDWHDGLIIHUHQW VDPH,WZLOOEHLQWHUHVWLQJWRH[SORUHRSWLRQVIRUUHÀHFWLQJFXOWXUHLQDUHWDLOVSDFH atmosphere. It will create an interesting juxtaposition between a social hobby of the Another similar program to look at is gift shops in museums. The retail program SDVWDQGIXWXUH7KLVSURJUDP¿WVZHOODWWKHVLWHEHFDXVHRIWKHDEXQGDQFHRIKLJK will not be the main attraction of the project; however, it is a good addition for the SHGHVWULDQWUDI¿F,WLVORFDWHGLQDUHQRZQHGORFDWLRQWKDWDWWUDFWVPDQ\WRXULVWV7KH customers who want to purchase accessories and tea instead of spending time to sit location has a positive economic outlook as well as a rich cultural context. down and drink tea at the location.

The area has already been in the eyes of many conservationists in China, Gallery spaces are also very distinctive in comparison to the other programs as they are trying to meet the urgent need for redevelopment and preservation - retail and tea houses. Lighting is the key determinant in the quality of the exhibition of the dominant building type in the area: traditional courtyard house. One issue spaces. By the selection of different characteristics of lighting techniques, such that is preventing the preservation process in some locations is due to the lack of DVDUWL¿FLDOOLJKWLQJDQGQDWXUDOOLJKWLQJWKHPRRGRIWKHVSDFHWUDQVIRUPV)RUP\ government funding. To solve this problem, the building project can be commissioned building project, I will strive to create an intimate gallery space that displays the through a private developer or donations, and by the cost control. The most costly history and culture of architecture. The aim is to create a narrative structure instead part of construction in China is building materials. By executing an adaptive reuse of individual exhibitions to tell the story of tea. Precedent studies, such as the Jewish strategy, the cost can be reduced to a minimum. Museum by Daniel Libeskind, are great examples of narration in museums. Although my space will not be as grand in scale and size, understanding the concepts behind The tea house program is to house multiple uses. This is ideal for the narration will be key to create a cohesive display of the history and story behind the building type that is to be converted to house the activities: courtyard houses. It will art of tea. be interesting to discover ways to combine the three different programs under one building type. The act of drinking tea, the dominant driver for the building type, is Lastly, the tea house as a place to drink tea also carries a distinctive character usually a private activity and not a shared experience compared to a coffee shop or a within the space. By looking at other examples of similar programs, such as coffee restaurant. Finding a medium for traditional ways of drinking tea with modern lifestyle VKRSVEDUVDQGUHVWDXUDQWV¿QGLQJWKHGLIIHUHQFHVDQGVLPLODULWLHVEHWZHHQWKH will be interesting to explore. The atmosphere within the spaces of a tea house programs can help distinguish the parameters of the tea house. Also, looking at tea is essential; thus, the transitional spaces, such as the outdoor area in which one houses in other cultures, such as Japan, will also provide a different perspective of enters, the entrance space, the circulation space, and, lastly, the spaces leading to how the program can translate across cultures. A challenge with this program is the the destinations of retail, museum, and tea drinking areas can be very important and VL]HOLPLWDWLRQRIWKHVLWH:LWKRXWWKHOX[XU\RIVL]HLWLVGLI¿FXOWWRVXEPHUJHWKH interesting. Strategies to separate spaces of different functions that contain different tea house in nature, which is considered, traditionally, the site character. It will be moods without layering transitional spaces will be studied to discover alternative interesting to see a tea house, with strategic programming, to communicate nature solutions to merge the three very different programs under one building type. This and serenity surrounding a busy and crowded urban setting. program will challenge the norm of space planning and push to look for solutions within Chinese traditional space planning.

Retail spaces normally have heavy capacity loads, and are usually busy Purpose/Goal and loud. This tea house will require an understanding of how the traditional role of WKHUHWDLOSURJUDPÀRZVZLWKWKHDGMDFHQWPXVHXPVSDFHDQGWHDVHUYLQJDUHD,W The goal of the project aims to educate the public on Chinese tea and its ZLOOGH¿QHWKHQHHGVRIHDFKSURJUDPLQWHUPVRIWKHTXDOLW\RIVSDFHOLJKWLQJDQG culture, and to provide the amenities for visitors to experience and enjoy this ancient sound. One interesting example is the Teavana stores. The strong aroma from the tea ceremony in a formal, and can be as well, informal, setting. The goal is also to creates a soothing and calming atmosphere in the stores. The critique on this store continue the cultural activity of tea drinking and preserve its essence and form

55 56 through the practice of the process of preparing and serving tea. Some of the goals gathering spaces. It can promote a sense of unity in a common cause. for establishing a tea house/museum/retail are: Overall, the surrounding communities and neighborhoods will be affected,  ‡ 7HDFKWKHKHULWDJHRIWKH&KLQHVH:D\RI7HD ideally, in positive ways. Through this amenity, people learn and enjoy communicating  ‡ &UHDWHDQDUUDWLYHRIWKHKLVWRU\DQGFXOWXUHEHKLQGWHD with nature, culture, and themselves. It can function in multiple ways and provide  ‡ &UHDWHDQHQYLURQPHQWWKDWDOORZVQRGLVUXSWLRQWRWKHH[SHULHQFHRI multiple characters within spaces to allow users to have the luxury to choose their drinking Chinese tea. own experiences. It also holds the potential to become a central gathering space for  ‡ 3ULYDWHVSDFHVIRUJURXSVWRHQMR\WHDFXVWRPL]HGWRWKHLURZQ  the community to share a common interest and point-of-view. preferences.  ‡ 6HOOWHDDQGWHDVHWVWRH[WHQGWKHH[SHULHQFHVRI&KLQHVHWHDFXOWXUH to the customers’ homes.

The aim is to use the site to communicate and preserve the ancient tradition for the local community. It is to set an example and, hopefully, inspire and promote cultural sustainability by utilizing today’s innovative architectural strategies along with traditional Chinese building principles.

Political Context

The constituency involved will be the communities of the immediate neighborhoods and other districts within urban Beijing as well as visitors/tourists, VLQFHWKHVLWHZLOOEHORFDWHGLQDWRXULVWDUHD7KHSURMHFWEHQH¿WVWKHVRFLHW\ because it provides culturally rich experiences within its architecture and the program of drinking tea. It can teach those who are unfamiliar with the culture of drinking tea Fig. 45 Anonymous. Serving Tea DQGDOVRUHPLQGWKRVHIDPLOLDURIEHQH¿WVLQGULQNLQJWHD7KHH[SHULHQFHZLOOEH HGXFDWLRQDOWRWKHFXVWRPHUVDVZHOODVSUR¿WDEOHIRUWKHWKHRUHWLFDOLQVWLWXWLRQ7KH SROLWLFDOEHQH¿WVRIWKHSURMHFWFDQEHWRVHWDQH[DPSOHRIFRQVHUYDWLRQSURMHFWLQWKH history district of hutong. Due to lack of government funds and support in the effort to preserve the ancient city of Beijing, this private effort will create a positive outlook on WKHLVVXHDWKDQG7KHSUR¿WHDUQHGFDQDOVREHUHLQYHVWHGLQWRRWKHUVLPLODUFXOWXUDO projects elsewhere. If this project is successful, it can become a precedent for future developments that also aim to respond to culture and tradition in architecture. It can emphasize the importance of appreciating traditions, heritage and place.

Another benefactor for this project can be the local cultural and art communities that support the pursuit of traditions. This project will provide a perspective on tradition in architecture and tradition in everyday life. By providing this amenity to the community, local cultural organizations can choose to utilize it for

57 58 Site Analysis

The location of the project is in Beijing, China. It is located in the neighborhoods of hutong. Once part of the imperial palace, it sits within the Second Ring Road. This site holds a rich setting consisting of a labyrinth of traditional Chinese courtyard houses. Sections of hutong neighborhoods are now occupied as a famous tourist attraction north of the Forbidden City and Tiananmen Square. As of current developments, the main streets of the hutong area, Ho Hai has been converted to retail and restaurants for entertainments.

The topographic features of Ho Hai LVÀDW,IWKHUHDUHDQ\VORSHLWLV negligible. The site is next to a popular lake near a busy tourist area and is very cramped. The project will be an adaptive reuse project. The existing buildings on site are one story tall. Additional stories may be an option to extend footprint since there is no room for the foot print to grow on the site. In essence, the building is the site

Fig. 46 China and the site sits within a macro climate of courtyard houses that are consist of retail and other multi-functional uses such as restaurants and residential homes.

The map on the bottom shows the greater Beijing area. The city sits on UHODWLYHO\ÀDWODQGVXUURXQGHGE\PRXQWDLQVRQWKHQRUWKZHVWDQGQRUWKHDVW7KLV site choice complies with feng shui principles, which implies minimal damage from QDWXUDORFFXUUHQFHVVXFKDVÀRRGVDQGHDUWKTXDNHV'XHWR&KLQHVHJRYHUQPHQW regulation that prevents access to geographic characteristics of sites, these maps taken from google, are the best specimen of the site characteristics as of date.

Fig. 47 Greater Beijing

59 60 Site The site sits within an urban environment that has the issue of overcrowding DQGLQVXI¿FLHQWLQIUDVWUXFWXUH7KHVLWHLVORFDWHGDWDKLVWRULFGLVWULFWWKDWHQFRXQWHUV QXPHURXVWUDI¿FE\SHGHVWULDQVYHKLFOHVDQGWRXULVWV7KHUHLVDPL[WXUHRISURJUDP in the area that consist of commercial and residential. Along the lake are bars and restaurants, creating a zone of commercial buildings as well as a buffer to the traditional hutong neighborhood near by.

The yellow arrows in the diagram below show the main access roads to the site. These roads are wide enough for one car and are accessible by bikes and pedestrians. The orange dash lines represent some of the smaller alley ways that Xicheng (West city) lead to the courtyard houses which multiple families occupy under one compound. Dongcheng (East city) The purple arrow indicates the entrance to the site of the project. Chaoyang District (Business District)

Chongwen District The spatiality of the site and its surrounding environment is mostly enclosed

Xuanwu District and private. Seen in the diagram on the left, the buildings represented by the color orange, which sit on parallel street are commercial. Bars, restaurants, and nightly Fengtai District entertainment that occupies these buildings provide an adjacent environment that Haidian District is lively and is a major tourist location. The change of character is drastic once the Fig. 48 Beijing. Within Fifth Ring Road. corner is turned and the residential neighborhood is present; shown by the color green on the map.

Main Access Road

50ft Smaller Alley Ways 20m Commercial Access Into Site Residential

Fig. 49 Houhai

61 62 Site Seen Through Section Fig. 51 Site Seen in the image below taken from Remaking Beijing by Wu Huang, within the imperial city (Second Ring Road), the sectional characters of the buildings are that the monumental building types such as gates, drum towers, bell towers, and the Forbidden City are of grander heights than the other municipal buildings. This created clear zones and distinctions between common buildings and buildings of greater importance (palace). This clear hierarchy, again echoing the design principle of feng shui, brings order, balance, and distinguishable characters to the city-scape.

Forbidden City From these sections, it can be seen that there are several important structures near the site. It is important to note their scale differences to understand Tiananmen Square and recognize the existing hierarchy within the traditional architecture. The goal is not to take away from what existed before, but to enhance and translate the traditional design principles of Chinese architecture into a new setting.

Temple of Sectional Characters Heaven

Traditional

Today

Site Forbidden Tiananmen Temple of South Gate Fig. 52 Building Heights Senarios City Square Heaven

63 64 Important physical features and experiential conditions of the site. 1 2

1 2

3 4 3

5 6 4

Fig. 53 Houhai

Fig. 54 Houhai

65 66 Site Characteristics The site is a traditional courtyard house that is to be developed into a tea house. The site/building footprint is about 150 feet x 80 feet. The building type of the courtyard house consists of building bays that enclose to form the courtyard. The entrance for the complex is asymmetrical while the rest of the buildings complies with the north south axis. The Chinese architectural principles aim to enhance the spatiality experience by offsetting entrances, passageways and provide glimpse of the focal point of the architecture, which is the courtyards.

The courtyard has been the prominent feature of traditional Chinese architecture; not only as a positive outdoor feature but also as the spatial organization of Chinese architecture principles.

Fig. 55 Site

Fig. 56 Figure Ground Diagram

Fig. 57 Site Fig. 58 Courtyard House Plan Diagram

67 68 Primary ecosystem, vegetation and geological conditions of the site.

The site is near a beautiful lake and is surrounded by vegetation. Near the lake where the busy commercial and nightly entertainments are located, the vegetation is kept at a pristine state due to the popularity of the location for tourists. In the neighborhoods, residents plant their own gardens and allow vegetation to grow IUHHO\RQEXLOGLQJVDQGLQSODQWHUV7KHUHDUHQDWXUDOHFRV\VWHPVDVZHOODVDUWL¿FLDO The site is kept in a more natural state than other places within the high density metropolis.

The ecosystem on and near the site is perfect for the teahouse program. Fig. 59 Site Conditions Drinking tea requires emergence into nature as well as serenity and harmony. Although the nearby streets are loud and crowded at night, the neighborhoods remain quiet and undisturbed.

Fig. 60 Site Conditions

69 70 History of Settlement (previous users, uses, programs. etc.) Traditional courtyard house neighborhoods in the imperial city of Beijing consist of a lattice work of alleys, creating a grid-like circulation. Most courtyard neighborhoods in the city complies with the linear north south axis of the city. The site in Ho Hai does not comply with these guidelines. Due to its geographic location, being near a large natural lake, the grid of the neighborhood has taken on a Today northwest southeast orientation. Still symmetrical, the site moves off the north south Before axis. This unique case still holds the traditional planning principle of the city, and of courtyard houses of balance and spatial qualities of the spaces.

Site

Now

Fig. 62 “Self-Construction” Policy

Outcome

Fig. 61 Development of Beijing

Fig 63 Imperial Beijing

71 72 The surrounding buildings, especially those off the lake, are of traditional There is a gradual decline of roof heights from the public zone (commercial) Chinese architecture facade, providing a mixture of new (program) and old to the semi-public zone (residential). With dominant north winds, the public buildings (architecture). The atmosphere and environment provide an interesting background act as a buffer for the lower level residential buildings. Solar exposure is undisturbed to the site chosen for a teahouse. With water and nature nearby, the night views and due to similar roof heights of buildings south of the site. The plan to build up with night life will add to the site experiences. There is an abrupt change of atmosphere DGGLWLRQDOÀRRUOHYHOVZLOOKHOSZLWKYLHZVDVZHOODVVRODUH[SRVXUHWKURXJKWKHXVHRI between the commercial buildings and residential neighborhoods. Although it is skywells and courtyards. DKLJKWUDI¿FWRXULVW]RQHWKHUHVLGHQWLDOQHLJKERUKRRGVPDLQWDLQLWVDUFKLWHFWXUDO character. By building a teahouse, it will contribute to the existing character of the neighborhood and provide a service to the residents as well as the tourists.

Fig 64 Houhai

Commericial Residential

Bars, Restuarants Semi-Public (Public)

north south

Site Fig 65 Houhai Site Section

73 74 This project aims to maintain the exterior wall condition that faces the Site Design Approach neighborhood to provide a reposed attitude of the building in how it sits within its surrounding neighborhood conidtion. The demolished materials will be salvaged and The overall footprint of the site is 7,500 sqft. The site is to encompass reused. Some existing structure on site are unstable due to the “self-help” movement a gallery space, retail, and tea drinking spaces. The courtyard spaces are where residents built shelters on top of the existing courtyard house complex to adapt important, thus the site will have 3 courtyard of various sizes. In traditional to modern living (Tang). In these situations, there will be new construction mixed in Chinese architecture, the courtyard is considered as interior space and holds with existing structures. JUHDWVLJQL¿FDQFHLQWKHRYHUDOOFRPSRVLWLRQRIWKHEXLOGLQJFRPSOH[ZKHWKHULILW is a palace, a temple, or any other form of built structure. It is safe to indicate the Mentioned before, adjacent buildings are residential and commercial. There courtyard space as building footprint and include it in this calculation. The overall will only be one main entry for the project complex to comply with traditional courtyard footprint is a reasonable size and leaves no extra room to spare. The constraints of house design principles. The entrance, is then offset from the main street, creating an buildable space will push for innovative design solutions to merge the three programs intimate and more private experience into the complex. under one project.

Looking at traditional Chinese architecture, the fundamental planning principles of spaces is the courtyard. Regardless of the building type, architecture followed the symmetrical axis and balance between buildings and spaces. My project aims to apply this basic principle along with other traditional Chinese architecture philosophies to an adaptive reuse of the deteriorating courtyard house; transforming

15% it from a residential to commercial. By looking at precedents of past Chinese building Tea Drinking types, it is clear that the program is irrelevant to the design and the planning of

Museum spaces; the goal is to create balance and harmony.

150 feet x 80 feet = 7,500 sqft 60%

Retail

25%

Fig 66 Program Analysis

Fig 67 Courtyard Archytype

75 76 Programming

Activities and Functions: Narrative Approach

The possible users of the teahouse include the residence of the neighborhood in which the facility sits, the tourists (foreigner from inside and outside the country), the staff, which includes: tea servers, the hosts, the cashier for the retail component, and the workers in the back whose responsibilities encompass washing dishes and preparing the tools for tea, and clean up. A ¿FWLRQDOFKDUDFWHUZLOOEHPDGHXSIRUHDFKRIWKHFDWHJRULHVDQGWKHLU GD\LQ WKHOLIHRIDWHDKRXVH ZLOOEHSRUWUD\HGWKURXJKWKHQDUUDWLYHDSSURDFK

Resident: Mr. Wang

Tourist: Mr. Johnson

Tea Server: Ms. Ming

Host: Ms. Zhang

Manager: Mrs. Gao

Cashier: Mr. Fang

Worker: Mrs. Li

77 78 Mr. Wang Mr. Johnson

Mr. Wang lives within walking distances of the teahouse since it is located in Mr. Johnson is in Beijing China on a business trip. It is the weekend and he his neighborhood. He is in his 60s and is retired. He enjoys staying home to listen to is out in HouHai with some coworkers who are showing him around the city. He has radio, taking care of his birds, playing Chinese checkers in the afternoon, talking to never been to a Chinese teahouse and has not experienced Chinese tea culture his neighbors, and taking walks in his neighborhood. When the teahouse opened, he EHIRUHWRGD\LVKLV¿UVWWLPH+HLVZLWKWZRRWKHUFRZRUNHUVZKRKDYHEHHQWRWKLV was happy that there is a place for him to go and enjoy tea. teahouse before. They enter the teahouse and are greeted by the host. She asks them their preference of seating. One coworker mentions that Mr. Johnson has Mr. Wang would sometimes go with friends, with his wife, or by himself to the never been to a teahouse. The host suggest a package where a tea specialist is to teahouse to enjoy tea. He wakes up at 6am everyday, does his taichi in his courtyard perform the Chinese Way of Tea with the guests choice of tea type (green, white, house, and has breakfast with his family. He then strolls his way to the tea house EODFNHWF 7KH\VHOHFWWKLVSDFNDJHDQGFKRRVHWRVLWRQWKHVHFRQGÀRRUEDOFRQ\ in the afternoon around 2pm after his noon nap. He reaches the teahouse by foot looking inward to the garden. The host asks them to enjoy the museum component and is greeted by the host. He is then asked to choose a section in the teahouse he of the teahouse as they wait for the preparations to be completed. Mr. Johnson and would like to be seated: outdoors in a garden, indoors with a view of garden, balcony his coworkers are then led to another space that has displays of tea art and other VSDFHRQWKHVHFRQGÀRRURULQDSULYDWHURRPVHFOXGHGIURPWKHSXEOLF+HXVXDOO\ artifacts of Chinese tea; teaching the origin of tea as well as the Chinese Way of Tea. chooses the outdoor seating if the weather permits; today, the weather is nice. Mr. Johnson enjoys the unique teapots and tools that he has never seen before.

Mr. Wang sits and drinks tea in the teahouse for couple hours. He likes 15 minutes later, the host returns and takes them to their table. They are led to drink tea and enjoy the sound of birds singing and the garden experience. He through the space looking toward the courtyard garden and through layers of serene can hear water from the distant water feature and smell the aroma of tea merge WUDQVLWLRQDOVSDFHV7KH\WKHQDUHOHGXSDÀLJKWRIVWDLUVZKLFKJLYHVDIHHOLQJRI with the smell of trees. He sometimes runs into his old friends who also live in submerging them in nature. They realize the moment the entered the teahouse, that his neighborhood. They engage in conversation over tea; talk bout their children, they have left the grey brick courtyard house environment in which they came from grandchildren, and the news. As Mr. Wang drinks his tea, he also enjoys a plate of and have entered a serene space that places them harmoniously with nature. small snacks including an assortment of nuts. He sometimes visits the shop in the teahouse to purchase tea for his home or as gifts. For the next hour, they enjoy the Chinese Way of Tea along with their FRQYHUVDWLRQDERXW0U-RKQVRQ VH[SHULHQFHRI&KLQD7KHWHDVSHFLDOLVWVSHQGVWKH Today Mr. Wang has company coming for dinner. He decides to buy two ¿UVWPLQXWHVSUHSDULQJWKHLUWHDDQGHGXFDWLQJWKHPDERXWWKHSURFHVV7KH\DUH boxes of tea instead of his usual, one. He leaves feeling relaxed, calm, and serene then left alone to enjoy the tea and engage in conversation. Their server returns to from his afternoon tea experience. DVNLIWKH\ZRXOGOLNHDQRWKHUSRWRIWHD7KH\SROLWHO\GHFOLQHDQG¿QLVKWKHLUODVWFXS $VWKH\SD\IRUWKHLUH[SHULHQFHWKH\DUHQRWL¿HGWKDWLIWKH\ZRXOGOLNHWRSXUFKDVH tea or anything relevant to tea-making, there is a retail department to the teahouse on WKH¿UVWÀRRU0U-RKQVRQGHFLGHVWRWDNHDORRNDQG¿QGVDEHDXWLIXO&KLQHVHWHDSRW for his wife at home. They leave the teahouse rested, ready for the activities to come later that night.

79 80 Ms. Ming Ms. Zhang

Ms. Ming is a tea server at the teahouse. She is a specialist at the Chinese Ms. Zhang is one of the hosts at the teahouse. She has become a Way of Tea but she is also the normal waitress that brings tea to the guests. She close friend of Ms. Ming and meets her at the subway line to ride to work goes to work 30 minutes before the teahouse opens, which is 8am. She lives outside together on some days. Today, Ms. Zhang has to get to work extra early to the Second Ring Road and within the Third Ring Road. The teahouse is within prepare for the busy weekend. She lives close to Ms. Ming outside of the the Second Ring Road so she rides the subway to work everyday. She leaves her Second Ring Road and within the Third Ring Road. Ms. Zhang leaves the DSDUWPHQWDWDPSUHSDULQJIRUWKHWUDI¿FDQGKRSHVVKHFDQVTXHH]HRQWRWKH KRXVHDWDPDQGJHWVWRZRUNDWDP6KHLVRQHRIWKH¿UVWWRDUULYH VXEZD\RQKHU¿UVWWU\ Ms. Zhang walks a block to reach the teahouse and enters the back Ms. Ming arrives at work around 7:30am. She has about a block to walk door on the east side. She goes to her locker and changes. Her work clothes on foot between the subway line and the teahouse. She enters through the back are a little more formal than Ms. Mings. Since she has to greet the guest, entrance opposite of the main entrance on the west side. She walks passed the Ms. Zhang is in a formal Chinese style dress in a neutral color highlighted by storage and the backbone of the teahouse reaches the changing room to store her gold thread. After she is all dressed and ready for the day, she goes into the things in her locker and changes into her work clothes. She wears a Chinese style RI¿FHDQGSULQWVRXWWKHUHVHUYHGJXHVWOLVWIRUWKHGD\6KHWKHQJRHVXSWR dress that is subtle in white. She then goes to the kitchen to prepare the tea sets. the different sections of tea drinking spaces and maneuvers the tables to get ready for the larger parties coming in the morning. She sets the speciality Ms. Ming works throughout the day with one lunch break. She leaves at 6pm tables and prepares the rooms for the guests. as she waits for her friend to take over the next shift. Today, her friend is sick so she is working the night shift as well. Today is the weekend and the teahouse closes Throughout the day, Ms. Zhang greets the guests and guide them to at 2am. Exhausted, Ms. Ming changes out of her work clothes and cleans up to go their tables. Her day shifts end at 5pm and she updates the next host on the KRPH,WLVQRZDP6KHDUULYHVKRPHDURXQGDPWKHUHZDVQRWUDI¿FWKDWODWH evening reservations and the status of the teahouse. She goes to the locker at night. She collapses onto her bed and falls asleep. Thank god there is no work room and changes out of her work clothes. She exits the building through tomorrow, she has Sundays off. the back doors in which she entered. She meets her boyfriend for dinner at a nearby restaurant in HouHai. They stroll in the area and enjoy the night scene, after all, it is the weekend and Ms. Zhang had a long day.

81 82 Mrs. Gao Mr. Fang

Mrs. Gao is one of the managers at the teahouse. She lives within the Second Mr. Fang is one of the cashiers at the retail section of the teahouse. He Ring Road and she usually carpools with her husband to work. She and her husband is retired and works at the teahouse as a hobby. He lives in the neighborhood OHDYHWKHKRXVHDWDPWRWU\DQGDYRLGWKHWUDI¿F6RPHGD\VWKDWLVLPSRVVLEOH where the teahouse sits and walks to work everyday. The retail component of the DQGVKHGRHVQ WDUULYHDWZRUNXQWLODIWHUDP7RGD\LVWKHZHHNHQGWUDI¿FLQ WHDKRXVHGRHVQ WRSHQXQWLODPDQGFORVHVDWSP0U)DQJZDNHVXSDURXQGDP WKHPRUQLQJLVQ WEDGVKHOHDYHVWKHKRXVHDOLWWOHODWHDQGDUULYHVDWWKHWHDKRXVH every morning to do some exercise in his courtyard and feed his dog. He then has before 8am. breakfast with his family and gets ready to leave for work. He gets to work around 8:45am. Mrs. Gao gets dropped off at the last car access in HouHai, which is about half a block away. She walks to the teahouse and enters the back door. She is Mr. Fang gets dressed at home and walks to the teahouse. He enters DOUHDG\GUHVVHGLQKHUEXVLQHVVDWWLUHDQGZDONVVWUDLJKWWRKHURI¿FH6KHFKHFNV through the back entrance and walks directly to the shop. He unlocks the door to the emails and prepares for the day. She then walks through the whole teahouse to shop and turns on the lights. Mr. Fang is knowledgeable about tea and engages in FKHFNRQWKHVWDWXV6KHXSGDWHVWKHZRUNHUVRQWRGD\ VLWLQHUDU\LQWKHTXLFN conversations with guests. He suggests tea and tea ware to those with questions. He morning meeting, which last about 15 minutes. She then takes a break and has also picked up a little English to speak to the foreigners. Everyone in the teahouse EUHDNIDVWLQKHURI¿FH likes Mr. Fang very much. On his breaks, Mr. Fang enjoys a cup of tea in the garden. He sometimes walk home for lunch and a nap while leaving the store to other Throughout the day, she monitors the status of the teahouse diligently. She cashiers and shop keepers. walks around the whole teahouse and provides her service wherever she is needed. Sometimes she even picks up after the guests if the servers are short and clean up As he closes the shop at the end of the day, he checks the inventory and is backed up. Before she leaves for the day, she updates the manager taking over restocks the shelves. He then turns in his work paper to one of the managers and for her and cleans up her desk for the day. After her shift is over around 8pm, her checks himself out. He walks home and has dinner with family and enjoys the rest of husband picks her up and they go out for dinner nearby. They meet up with their the night watching TV with the family. friends later that night and go to a bar. They go home at 1am and sleep in the next day.

83 84 Mrs. Li Initial Program Summary

Lobby/entrance Mrs. Li is a worker at the teahouse. She just moved to Beijing from the greeting area countryside. She and her husband are working very hard to raise their son and put transitional spaces between different programs/ circulation him through school. Her role at the teahouse is to clean up after the guests, keep the tea drinking areas facility clean, help maintain the garden when the professionals are absent, and help garden/courtyard (outdoor) wherever she is needed. Mrs. Li lives a tough life. She lives far from the teahouse view of garden (indoor) due to the high rent. She wakes up at 5am most days to make breakfast for her son view of garden upstairs and husband. She then leaves to ride the bus and subway to get to work around private 7am. balcony retail Mrs. Li, like the other staff, walks about a block to reach the teahouse. She gallery/educational area enters the back entrance and changes into her work clothes. Her clothes are very employee entrance/back entrance mundane but kept with the style of the other uniforms. She then goes to the kitchen kitchen to boil water and other preparations for the day. She gets her mop and bucket ready locker room with clean water and soap. She walks through the teahouse and sweeps wherever lounge she sees needed. Around 7:30am, breakfast is delivered and she sets it in the RI¿FH common lounge area for the staff. She is happy that the meal is provided and she is storage able to sit and eat her breakfast before the teahouse opened. restrooms

 7KURXJKRXWWKHGD\VKHZRUNVKDUGWRFOHDQXSWKHWDEOHVDQGWKHÀRRUV6KH brings the dirty dishes to the kitchen and hands them to another worker doing the dishes. Her most enjoyable task is keep up the garden. She likes to listen to the birds and the water while she swept the leaves and water the plants.

 0RQH\LVWLJKWVRWRGD\0UV/LLVZRUNLQJWZRVKLIWVDQGGRHVQ WJRKRPH until 2am. After most have left, and her tasks are done, she changes and goes home. Tomorrow she will sleep in a little since it is Sunday and her son and husband will be sleeping in as well.

85 86 Space Standards and Criteria. Square Footage Summary

Space standards and criteria will be hard to size in this situation because the Lobby/entrance 300 sqf project is not in the U.S. and Chinese standards are unclear. Chinese code in regards greeting area 200 sqf to access, square footage, as well as dimensions are different from the U.S. In terms transitional spaces between different programs/ circulation 500 sqf RIHPHUJHQF\YHKLFOHV¿UHWUXFNVDQGDPEXODQFHYHKLFOHGLPHQVLRQVLQ&KLQD tea drinking areas 4,500 sqf are also different from those in the U.S. The areas, such as egress, will be sized garden/courtyard (outdoor) according to U.S. standards and altered accordingly to the Chinese site. view of garden (indoor) view of garden upstairs Approximate desire square footage of spaces: private balcony Tea Drinking: 4,500 sq feet (include courtyard spaces) shop 1,500 sqf Retail: 1,500 sq feet museum/educational area 750 sqf Museum: 750 sq feet employee entrance/back entrance 100 sqf kitchen 500 sqf locker room 150 sqf  $FFRUGLQJWR7KH$UFKLWHFW V6WXGLR&RPSDQLRQWKLVSURMHFWFDQEHLGHQWL¿HG lounge 100 sqf as A-2 under the occupancy group in accordance with the International Building RI¿FH 200 sqf Code. How well Chinese structures, especially of this scale, comply with the storage 100 sqf International Building Code is unknown. Due to the lack of regulation in this area, the restrooms 300 sqf adjacent street layout and dimension may not comply with code today. This brings a challenge in terms of urban planning, which is hard to change on the building scale. *Total: 9,200 sqf

Parking and loading dock are irrelevant to the site. Based on its location, only small vehicles can have direct access to the site, thus, large trucks typical for delivery will not be accessing the site. Those accessing for delivery will be on motorbikes or small tricycles. In terms of parking, there are parking structures near the site serving the commercial buildings adjacent to the site. Those visiting the teahouse will be approaching by foot and not by vehicles. A bike rack will be ideal in this situation.

7KLVQXPEHULVMXVWDQHVWLPDWLRQ'HSHQGLQJRQWKHGHVLJQRIWKHIDFLOLW\WKHQXPEHUVZLOOÀXFWXDWH 87 88 Diagram Organizational Relationships

Upper Floors Tea Drinking Tea Drinking

Retail Museum

Lower Floors Lower Floors

Fig 68 Program Analysis

89 90 Design Outcome

Plans (Site), Elevations, Section Perspectives

Floor Plans

Section Perspectives

Site Plan

91 92 Design Outcome

Plans (Site), Elevations, Section Perspectives

West Elevation South Elevation

93 94 Design Outcome

Structural Diagrams

95 96 Design Outcome

Wall Conditions: Screens

1 2 3 1 1 2

2 courtyard 3 2 1 3

3 3 1 2 2 2 1 2 1 3 2 2 3 3 2 1 2 1 2 3 1 1 2

1

1

2

3

4

5 97 98 Design Outcome

Wall Conditions: Screens

9’

9’

2X 4X

4’-6” 99 100 Design Outcome

Perspectives

101 102 Bibliography

Articles, Books, and Online sources

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