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New Palace-Design a Multi-Functional Sports Complex For New Palace Design a Multi-Functional Sports Complex for Yanbian Korean Prefecture in Northeastern China A Dissertation Submitted to: Graduate School of the University of Cincinnati In partial fulfillment of the requirements for the degree of: Master of Architecture In The School of Architecture and Interior Design of The College of Design, Architecture, Art and Planning By Chengguo Michael Zhao M. Arch., University of Cincinnati. 2011 Committee Chairs: Tom Bible Michael McInturf | ABSTRACT With nearly 5,000 years of civilization history, Chinese architecture has a unique history and identity that has great influence to other far-east Asian countries. After WWII, during its redevelopment in buildings and infrastructures Chinese architecture, flushed by western architectural typology and methodology, began losing its unique technique and identity. The purpose of this thesis, by analyzing traditional Chinese dwelling construction and I.M.Pei’s attempts to inventing modern language of Chinese architecture, is to re-interpret and develop a new architectural language with current technology for the Chinese-Korean community in China. Within the stadium design for Yanbian Korean Autonomous - Abstract - || Prefecture of China, highly influenced by diverse history and culture, I will program and design a contemporary mixed use facility that will attempt to unite a sports facility, a cultural hub and a education center, while paying respect to historic and contemporary design theories. - Abstract - || | TABLE OF CONTENTS Abstract Introduction Chapter 1: Traditional Chinese Architecture 1.01 Axis 1.02 Modular 1.03 Courtyard 1.04 Passageway 1.05 Entrance 1.06 Frame 1.07 Platform 1.08 Wall 1.09 Roof Chapter 2: Northeastern Chinese Buildings 2.01 Axis 2.02 Modular 2.03 Courtyard 2.04 Passageway 2.05 Entrance 2.06 Frame 2.07 Platform 2.08 Wall 2.09 Roof Chapter 3: Korean Architecture 3.01 Axis 3.02 Modular 3.03 Courtyard 3.04 Passageway 3.05 Entrance 3.06 Frame 3.07 Platform 3.08 Wall 3.09 Roof Chapter 4: Yanbian Korean Prefecture, China 5.01 Korean Minority in China 5.02 Site Context 5.03 Site Analysis | INTRODUCTION With 5,000 years of unbroken tradition, Chinese has developed a richly diverse vernacular architecture that greatly influenced Eastern Asian architecture, and many western architects’ design. China is a nation with fifty-six distinct nationalities living in disparate natural landscapes with widely varying climatic conditions. The largest nationality is Han, who constitutes about 91.9% of the total population.1 Ethnic minorities constitute 8.1% of the population.2 Some of large ethnic groups include Zhuang, Man, Ughur, Hui, Miao, Yi, Tujia, Mongols, Tibetan, Buyi, and Korean. These ethnic minorities have carefully preserved their culture, identity, and architecture through the history. China’s traditional architectural form clearly reveals the broad range of solutions that humans - Introduction - || 11 are capable of in providing basic shelter and creating homes for their families while portray common elements and preserving unique identity from each community. The hierarchically ordered quadrangular residence in Beijing, the imposing silhouettes of a circular Hakka fortress in Fujian, the subdued grandeur of a cube like Huizhou merchant’s manse in Anhui, the graceful “swallow’s tail” ridgeline of a Taiwan farmer’s house, the compact and utility shape of a Mongol yurt, and the stark functionality of an underground dwelling in the loessial uplands of northern China are all examples of traditional Chinese, or Asian, architecture. These unique buildings express specific environmental and social conditions characteristic of China at different times in the past and in the different regions, and enriched Chinese architectural pattern. But very few of them still can be seen today. 1) CIA world factbook, 29 March 2006 2) CIA world factbook, 29 March 2006 - Introduction - || 13 - Traditional Chinese Building - || 14 BIBLIOGRAPHY: • Cody, Jeffrey W. Building in China: Henry K. Murphy’s “adaptive Architecture,” 1914- 1935. Sha Tin, N.T., Hong Kong: Chinese UP, 2001. Print. • Jodidio, Philip, and Janet Adams. Strong. I. M. Pei: Complete Works. New York: Riz- zoli, 2008. Print. • Knapp, Ronald G., and Kai-Yin Lo. House, Home, Family: Living and Being Chinese. Honolulu: University of Hawaii, 2005. Print. • Knapp, Ronald G. China’s Old Dwellings. Honolulu: University of Hawaii, 2000. Print. • Knapp, Ronald G. Chinese Houses: the Architectural Heritage of a Nation. Singapore: Tuttle, 2005. Print. • Liang, Sicheng, and Wilma Fairbank. A Pictorial History of Chinese Architecture: a Study of the Development of Its Structural System and the Evolution of Its Types. Cambridge, MA: MIT, 1984. Print. • Steinhardt, Nancy Shatzman. Chinese Imperial City Planning. Honolulu: University of Hawaii, 1990. Print. • 周立军，陈博超，张成龙，孙清军，金虹， 中国民居建筑丛书，东北民居， 中国建筑工业出版社，2009 CHAPTER 1: TRADITIONAL CHINESE ARCHITECTURE - Traditional Chinese Building - || 15 One Jian One Jian ［Jian,间：is the span between two lateral columns］ Two Jia One Jia ［Jia,架：depth of the building, refers to one of the stepped roof pulins- the horizontal longitudinal timbers needed to support the common rafters of a rising roof.］ - Traditional Chinese Building - || 16 TRADITIONAL CHINESE ARCHITECTURE | MODULAR Traditional Chinese buildings have some fundamental measurement units for its layout. Jian, is the distance between two lateral columns. Sometimes it also refers as the space between four columns, comprising both the two- dimensional floor space and the volumetric measure of the void defined by walls and floor. Today, we commonly view a Jian as a room, although most of time a room is made up of several structural Jian. Jia, is a term for depth of the structure. Each Jia refers to one of the horizontal longitudinal timbers that support the roof. The slop of the roof is depend upon the relative vertical placement of purlins. Jian and Jia linked together form the geometric grid of a plan or - Traditional Chinese Building - || 17 One Jian One Jian One Jian Northern China Dwelling 北方民居 Southern China Dwelling 南方民居 - Traditional Chinese Building - || 18 layout for most of traditional Chinese dwellings. These modular systems give a high flexibility to majority Chinese family dwelling, in order to modify and grow over generations. Most of Chinese dwellings are horizontal I-shaped structures. The width of each Jian in northern China usually between 3.3 and 3.6 meters, and range up to 6.6 meters in southern China. Simply say, southern Chinese dwelling usually add at least a Jian in depth, which double the depth and tripled the number of Jia (roof beams). Normally, Chinese dwellings have an odd number of Jian and Jia, such as three, five, seven, and nine. According to Huitu Lu Ban Jing, Chinese believe odd numbers provide balance and symmetry to a building while even numbers are inauspicious. Sumptuary regulations are also important factors of standard- ization, modularization, and stylization of Chinese houses. For example, - Traditional Chinese Building - || 19 Three Jian Three Jian Five Jian Eleven Jian Common People 6 - 9 Rank 1 - 2 Rank Hall of Supreme Harmony 庶民 六品－九品 一品－二品 太和殿 End Bay Intermediate Jian Secondary Jian Main Room Secondary Jian Intermediate Jian End Bay 尽间 梢间 次间 主间 次间 梢间 尽间 Private Private Private Semi - Public Private Private Private - Traditional Chinese Building - || 20 common people were not allowed to build a house larger than three Jian in width and five Jia in depth. During Ming dynasty, officials from sixth through ninth ranks were limited to three Jian in width and seven Jia in depth, while the first and second ranks were allowed to build longer and deeper dwellings with five Jian in width and up to nine Jia in depth. In Qing dynasty, the sumptuary rules were changed. Dimensions of timber and proportional height of the building determined the status of structure. For example, the Hall of Supreme Harmony in the Forbidden City is eleven Jian wide and was the tallest and the largest structure until the late imperial period. The center Jian of a building usually is considered as the most important room in the building. It is typically wider than flanking Jian. The center Jian has symbolic meaning in Chinese building – standing for unity and continuity. Traditionally, there is a long table facing the door along with - Traditional Chinese Building - || 21 Hall of Supreme Harmony in Forbidden City, which shows eleven Jian, Sourse: http://onejourneyatatime.com/Site/post/China-Day-2.aspx 1 2 3 4 5 6 7 8 9 10 11 - Traditional Chinese Building - || 22 an important image, such as gods and goddesses, hanging on the wall. It is a place where family gathers together or meets guests. Simply stated, it is the “living room” in western terms. Next to the center Jian is a pair of Ci-Jian (secondary bays), which usually serve as bedrooms. Adjacent to Ci-Jian are a pair of Shao-Jian (outer bays) for storage. The end bays are called Jin-Jian, which also serve as sleeping or storage. As a structural unit, Jian also became a measurement unit for builders and design module for expanding buildings in two-dimensional and three-dimensionally. It created a kind of standardization in construction that can be used all types of Chinese structures. - Traditional Chinese Building - || 23 ［Jing,井：a well or an open vertical passage sunk into the confining eath］ Northeastern China Beijing Central China Southern China - Traditional Chinese Building - || 24 TRADITIONAL CHINESE ARCHITECTURE | COURTYARD Cosmological thinking is a big part of Chinese philosophy. The use of Yin- Yang and expression of a balanced relationship are frequently used in Chi- nese culture. As in a Chinese painting, the areas without black brushstroke are as much a part of the composition as the pigment lines and dots. The same is true in Chinese architecture; exterior open space is as important as structures enclosing it. It is a location for people to gather, work, stor- age, and rest.
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