TRADITIONAL PATTERNS and WALK-UP APARTMENTS
in THE TAIWAN AREA
by
Jone-Hui Hu
B.ARCH., Chung Yuan University
Chung-Li, Taiwan
June, 1978
SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE
REQUIREMENTS OF THE DEGREE OF MASTER OF SCIENCE IN ARCHITECTURE STUDIES
AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY
June, 1984
Jone-Hui Hu
1984
The Author hereby grants to M.I.T. permission to reproduce and to distribute
copies of this thesis document in whole or in part.
Signature of author
Jone-Hui Hu, Dep ?tment of Architecture, May 11, 1984
Certified by
N. John Habraken, P of. of Architecture, Thesis Supervisor
Accepted by
N. John Habraken, Chairman, Departmental Committee for
Graduate Students
;iASACHUSE TTS iN~STiTUTE __
OF fEC HNJOLOGY
b
JUN 19 1984
LIBRARIES
tcr
TRADITIONAL PATTERNS and WALK-UP APARTMENTS in THE TAIWAN AREA
by
Jone-Hui Hu
Submitted to the Department of Architecture on May 11, 1984 in partial
fulfillment of the requirements for the Degree of Master of Science in
Architecture Studies.
ABSTRACT
This thesis presents an explicit model
for
the study of the Chinese house,
In the past,
most research on the traditional Chinese
architecture did not deal with the morphology
of buildings, so that we often had to rely on
the creative leap , once we applied those
spatial
characteristics
of
Chinese
architecture to the contemporary context. .
Thus, this study attempts to make use of the
morphological
approach
to
analyze
the
traditional courtyard houses
in
Taiwan,
derive a thematic system for such buildings
and
its rules to
generate
contemporary
Chinese dwellings.
The study begins with an analysis of physical
forms starting from the dwelling level to the
furniture level, through which a series of
rules will be abstracted. On the dwelling
level, the issues of spatial organization,
spatial
sequence and relationship will be
the
On the room level
and
addressed.
furniture level,
this study will
further
explore the individual spatial properties and
the arrangements of furniture.
--
1I*-
the
In addition, two dwelling types of
apartments will be
walk-up
contemporary
proposed for further reference, based on the
A design method is also
selected rules.
which
adopted to illustrate the way in
patterns can be applied to the
traditional
physical design.
Finally, five immediate issues are raised for
further research:
of Traditional Patterns
Adaptation
Model
The Support
Surrounding Context
Evaluation of Design Process and
Environmental Quality
5. Research model
1.
2.
3.
4.
Thesis Supervisor: N. John Habraken
Title: Professor of Architecture
ACKNOWLEDGEMENTS
My deepest gratitude to professor N. John
Habraken, my thesis advisor, for his patient
throughout the
guidance and encouragement
Particularly in my last
past two years.
his
he ever spared
semester at M.I.T.,
valuable vacations to guide my work. . During
the process of analysis and design of this
study, he has enlightened me a great deal
with his sharp insight. My thanks to him for
the best guidance I have ever had.
Chester
I owe a particular debt to professor
Sprague who introduced to me the flexibility
in housing and gave me so much help and
I
useful
suggestions on my research work.
also want to express my appreciation to
Hamdi
for his guiding
professor
Nabeel
advices in the course of developing this
study.
There are many peoplte to whom I would like to
thank for their help I thank Dr. Christopher
Sawyer-Laucanno,
Ms.
Ellon
Lou,
Ms.
Kwang-Ming Lee and Ms. Wen-Yin Chu, without
their helps in my English writing, this study
would not have been through on time. To prof.
Ye-Ho Yin, Mr. Ming-Choung Hwang and Mr.
Shaw-Hui Lin, I thank them for their generous
helps with significant materials. Others I
sincerely thank are: Mr. Yuan-An Lee, Mr.
Wei-Jyh Hsu, Mr. David Fang, Mr. Cheng-Shiou
Chang and Mr. Jen-Yuan
Her
for
their
spiritual support and technical assistant.
Finally, I have to express my heart-felt
gratitude to my parents for their constant
encouragement and support
throughout
my
education career.
I am grateful to Mr. Ming-Hung Wang, ph. 0.
in the Department of Architecture
candidate
in M.I.T., for his help in 4sign methodology.
-2 -
PREFACE
study,
my
of
During the later years
undergraduate
I was always bothered by the question
traditional
Chinese
of how we can
continue
architecture.
Several new books and research
days
papers published during those
provided
with background information and elaborate
us
and
types.
classification
Such
political
research,
influences,
impacts,
or
of
building
whether
analyzing
social
and
and
custom
cultural
traditional
influences,
helped
context
the traditional architecture but
of
us
to
understand
the
historical accounts, but they did not address
did not enlighten us to understand and design
a
today's physical form. We often relied on the
the issue of my concern. At the same time,
vernacular
the
to
return
practicing
as
well
as
architectural
creative
leap
academics
brushes"
(literal
among
expression was also popular
professionals.
Traditional architecture became the topic
of
how
to
those
days.
architecture,
question
the
But
continue the spirit
rather
of
traditional
of
than
Chinese
merely copy some
idiom:
or
"the
strokes
translation
of
God's
of a Chinese
A)
We need a different approach or method.
a
method
should
enable
us
to
traditional achitecture explicitly
Such
discuss
and
make
vernacular images, was inadequately addressed
the continuation of the spirit of traditional
and discussed. What has caused this tendency?
architecture
Most
of
concerned
-
analysis
3
--
the
with
books
the
and
publications
were
historical development,
morphological
approach.
possible.
study
I
is
believe
an
that
a
appropriate
-w
-I
THE TABLE OF CONTENTS
ABSTRACT
-------------------------------
----
ACKNOWLEDGEMENTS----PREFACE -----------CHAPTER 1:
1
- 1:
-
and OBJECTIVES--
HYPOTHESES
---
1
3: TASKS
4:
1 -
5: TRADITIONAL
2 -
-
5-.
-
CONCEPTUAL STUDY
and VARIANTS
2:
ANALYSIS
-
--
---
--
-
16
CHINESE COURYARD HOUSES
in
THE TAIWAN AREA
and DESCRIPTION
---------
-
---
--
-
---------
3: GENERAL DESCRIPTIONS
on THE ROOM LEVEL
2 -
4:
ON THE FURNITURE
DESCRIPTIONS
on THE DWELLING
CHAPTER 3: RULES and PHYSICAL
PATTERNS
3 -
- -
---
-
20
-
2 -
GENERAL DESCRIPTIONS
17
--
2:
INTRODUCTION
13
- --
--
2 -
1:
-----8
--
1
-------
FRAME
1: INTRODUCTION----
GENERAL
7
--
and SCOPES
1 -
3
------------
-------
MOIVATIONS
2:
CHAPTER
--
--
INTRODUCTION
1 -
2
-----------
--
-
-
LEVEL
-
21
- --
---
--
-
22
--49
---------
LEVEL
-
-
-----
-
-
64
-
.
--
72
-
7-
3
2: ON THE DWELLING LEVEL-----------------------74
3: ON THE ROOM LEVEL
3
87
------------------------
4: ON THE FURNITURE LEVEL--- -
---------92
CHAPTER 4: THE SELECTED RULES and PHYSICAL PATTERNS -- 94
4 -
1: INTRODUCTION-------------
4 -
2: ON THE DWELLING LEVEL
4
-
3: ON THE ROOM LEVEL
----------------
99
----------------------
4 - 4: ON THE FURNITURE LEVEL --------------------- 101
CHAPTER 5: THE PROPOSED DWELLING MODEL for
THE CONTEMPORARY
WALK-UP APARTMENT
------
102
5 -
1:
INTRODUCTION-----
5 -
2:
THE GIVEN REQUIREMENTS
5 -
3: THE PROPOSED DWELL I NG MODEL ------------------ 106
5 - 4: DISCUSSIONS
---------------------103
------
------------------------
128
CHAPTER 6: CONCLUSION------------------------13 0
6 -1:
6
-
CONCLUSION---------------------------131
2: THE IMPLICATIONS
for FUTURE RESEARCH ---------- 133
BIBLIOGRAPHY-------.-
-- 6-
CHAPTER 1:
INTRODUCTION
---------
1 -
1: MOTIVATIONS and OBJECTIVES - ----- --- 8
1 -
2:
1 -
3: TASKS and SCOPES --------------------13
1 -
4: CONCEPTUAL STUDY FRAME----------------16
1 -
5:
HYPOTHESES
-------------------
10
TRADITIONAL CHINESE COURTYARD HOUSES
and VARIANTS in THE TAIWAN AREA ----- 17
1-5-1:
Historical Context-------------17
1-5-2: Spatial Context------------------18
---- 7-
CHAPTER 1: INTRODUCTION
1 -
1: MOTIVATIONS and OBJECTIVES
In the latter part of the eighteenth century,
been
Chinese architecture has
Traditional
China.
struggling
then.Today,
with
national
the
and
the
culture,
the
question
certain
characteristics
and
survival
for
movement
architecture
to
transplanted
was
architecture
Western
revival
of
since
awareness
research
most
the
types,
abstract
or
conceptual
principles, etc., but do not
to- inherit
Chinese buildings. Such information
traditional
be
becomes
one
of
publications
and
design
the
with
deal
how
chacteristics
building
of
classification
spatial
how to continue its spirit
of
development and
the
context,
political
and
economical
social,
the
understand
to
us
traditional
the key issues of discussion.
At present,
help
of
of
in the contemporary context
can
morphology- of
not
can
used directly for the purpose of physical
design to reflect the spirit
architecture.
There
is
a
of
traditional
gap
between the
analysis and the reality of physical world.
and
on traditional Chinese architecture
The conventional approach
the
designer 's creative
relies
mainly
on
leap to bridge the
--
8-
gap. The results are often an
random
intuitive
and
choice of images. We need an explicit
approach and method to continue the spirit of
traditional Chinese architecture.
the
analysis
built
will not be discussed in this study.
of
environment
abstract
I
believe
The conventional approach is
must
futher
the physical aspect of the
concepts
the
physical
could
influences
reflect
in
the
all
making
of
traditional architecture.
rational
and
design
spatial
form
by
we
We
abstract
principles
descriptive model, we
framework
these
to
means
morphological descriptive model.
what
We need a clear and
concretize
inadequate.
the
of
a
With such a
can explicitly
define
really want and how we can apply it
for
to physical design.
analysis in order to make explicit the spirit
of
traditional buildings, and for addressing
this
illustrate
1) What do we want to preserve?
morphological
-traditional
The emphasis of this study is on
the
issue.
behind
The
value
judgement
selection of the answers for the first
9--
how
second
the
issue
I
however,
study,
the following issues:
2) How to reflect them in the design?
-
In
we
could
approach
Courtyar.d
and
use
its
Chinese houses.
of the
use
make
analyze
to
Houses
derive a thematic system for
only
will
such
in
..the
Taiwan,
buildings
rules to generate contemporary
OBJECTIVES:
1 - 2: HYPOTHESES
1) This study intends to develop an
model
for
explicit
study of traditional Chinese
the
architecture, which could be used to evaluate
A) The man-made environment is not
chance,
in the
purpose
analysis
and
design
process.
of this study is not to come up with
a perfect answer to the question of
and
how
the
of
traditional
space
and
Chinese architecture
could be continued, but rather to
propose
by
rules must always have
existed, such rules might be related to time,
people,
construction
spirit
certain
The
built
and
also
govern
behavior of human beings.
the
(* 1)
a
*****~* *)**** ****c*
**f***
***** *****
*****
possible approach. This thesis consists of an
explicit process.
The man-made environment always reveals to us
2) The second objective of this study
is
to
certain
consistent
rules,
principles
or
show an analysis of building morphology based
expressions
on
empirical
explicit
rules
observations,
or
through
patterns
which
could
be
shared
among a group of people.
Individual actors who intervene in the
environment
built
always created similar images in
abstracted.
the physical form; they adopt
3) The third objective of this
develop
context.
study
is
to
a dwelling type for the contemporary
and
make
certain
rules
their products conform to a hidden
structure. In other words, as long as it is a
man-made
structure,
rules
exist
and
we
-10--
as
expressions
common
such
recongize
for
These rules act as a guideline
"theme".
building.
of
representation
to
reveals
thematic
a
environment. Those
who
share
It
system.
the
in
theme
a
us
rule system the
a
such
call
We
a
an
built
image
of
1) It is assumed that
the
process
form
be
conceived
making
the
interpretation
Sometimes,
these
own interpretation. Our living environment is
are implicit
The theme might vary
from culture to culture.
think
culture
One
might
as
of
the
rule
the
system.
rules can be made explicit
and can be exposed through the histroical
cultural
built this way.
built
interaction of two parts: The rule system and
physical form share a theme and give it their
always
can
of
investigation,
and
can
or
and sometimes they
only
be
guested
by
testing them. They might be discussed through
extensive surveys and studies.
a house should be lifted away from the
ground by a few pillars, some might adopt the
idea of rooting
Different
cultures
might explicitly or
on
house
the
with
the
ground.
different contexts
implicitly
develop
and
basic
follows:
11-
assumptions
the
product
of
but
is
an
are
drawn
and
as
individual
endeavor,
consequence of a large
efforts
adopt different rules.
Some
2) The built environment is not
through
transformations
system
is
a
and
number
long
of
period
adaptations.
the
anonymous
of time of
The
rule
not necessarily a set of explicit
regulations or
implicit
symbols
laws.
rules
which
collective
It
could
consist
of
or habits,or commonly shared
are
deeply
memories.
If
rooted
there
in
are
the
Human beings always subconsciously
transform
their
as
latent
cultural
values,
such
their
consistencies in our physical environment, it
requirements,
values,
desires,
dreams
and
is assumed that they are not built by chance,
emotions,
but
because
a
rule
system
is
etc.,
in
the
physical
form.
generally
Therefore,
these
man-made
environments
applied within a certain cultural context.
somehow
can
representation of
also
express
be
considered
users'
the
world
as
the
view.
They
relationships
people, groups of people and
their
between
man-made
environment. At the same time the environment
B)
The
users'
physical
form
always
the
words,
users'
values, including social, political
and religious conventions, can be
through
the
also articulates the users' life-style.
cultural values either consciously or
subconsciously. In other
cultural
reveals
our
environment.
observations
(* 2)
of
the
understood
physical
Through the understanding of culturally based
physical form, we assume
able
to
build
an
that
we
appropriate
environment for people on the
basis
might
be
physical
of
the
commonly agreed rules.
-- 12-
1 - 3: TASKS and SCOPES
a) Spatial properties
SCOPES
I am not going to pay attention to the issue
of
I limit the scope of this study to assure its
focus:
I must say that
not
is
this
a
historical study,but a morphological study of
those
essential elements of form and space and
that
principles
govern
Courtyard Houses. I am
reasons,
nor
the
the
traditional
in
organization
not
ways
certain that historical
trying
in
which
Chinese
to
seek
in
reflecting
architectural style ,unless they are
rules
however,
of
physical
and cultural studies
essentially
morphology as follows:
form.
study.
This
focuses
I
notice
the decorative elements have their
that
expressing
importance in
own
the
architectural
The
interrelation
style.
b) Space
transition
---
between spaces.
Chinese
have their merits in helping us to understand
13-
elements
spatial
Courtyard Houses have evolved, although it is
the
Chinese
decorative
indispensable and common, although
1) Firstly,
the
the
on
the
c)
Spatial
sequence
---
Visually
and
physically experiencing the whole dwelling.
Regarding the physical
generally
environment,
divide it into six levels
we
can
in terms
of the order of enclosure on the basis of the
thematic system theory.
(see figure a)
set
to build a
urban structure
- town / city
a
towards
or
criteria
of
so-called
guidelines
I
"good" environment.
have no intention of evaluating the qualities
t issue
-
neighborhood / block
of the rule system
-
dwelling
specific
that
infill
--
room
I
circumstances.
would
this
to
certain
know,
however,
be inevitable, if we would
design
tool
in
3) Thirdly, I am also not trying to
seek
an
system
use the rule
furniture
regard
specific people under
or
people
of
groups
support
with
as
a
practice.
place
-
body $ utensil
Figure
-
appropriate model resulting from the study of
.:
traditional
the
connecting
rules
In this study, I am planning to deal with the
contemporary ones in order to fit
levels from the
the
"
furniture level"
to
the
"
support level " circled by a dotted line.
2) Secondly, I must make it clear
is
also
that
this
not a normative study which intends
contemporary
actually
my
future) .
Such
them
into
context, (although this is
ultimate
a
with the
model
objective
requires
studies and resources which
are
in
the
extensive
simply
too
broad to expect for this study.
-14-
4)
TASKS
this study as a
in
system
rule
formulated
the
consider
to
try
will
I
Finally,
In short, this
study
will
be
composed
of
base to relate it to a selected program under
three tasks:
following
design
simply
I
requirements.
given
the
to
try
the rule system within the
1) The first task: The analysis
given requirements. The purpose of this
form
arrive
to
is
concerning
of this
the said issues.
whether
rule
the
study
will
Houses
which are typical
on
the
Chinese
and
the
Merchant Houses,
in the Taiwan area from the
As
middle of
I
focus
system is
(in terms of context) or not?
appropriate
The range
can
Courtyard
questioned
physical
at a tentative dwelling model
for further reference. I noticed that it
be
of
part
the
seventeenth
century
to
the
said previously, such a model definitively
present
requires
entensive
and
studies
and
from
earlier to the
Here,
resources.
I
about
five hundred years
enormous
present
on
the
Penghu
and
like to make an
would
Jinmen islands.
assumption that this model
long
is
as its inference process
acceptable
is logical.
as
I
2) The second task:
To
formulate
the
rule
want to demonstrate a design process that can
system.
lead to new method. It will
following
a
step-by-step
be
demonstrated
operation so that
3) The third task:
To
develop
a
tentative
anybody can follow and criticize the work.
dwelling model for the contemporary context.
-15-
1
-
4:
CONCEPTUAL STUDY FRAME
THEMATIC SYSTEM
THEORY
4----
CHINESE COURTYARD
CONTEXT
HOUSES
The Major Tasks of This Study ---
-16--
1
-
5: TRADITIONAL CHINESE COURTYARD HOUSES
and VARIANTS in THE TAIWAN AREA
Historical Context
1-5-1:
plain. As
The
Chinese
influence
approximately
during
the
dynasty).
three
Dutch
People
in
Taiwan
hundred
years
occupation
in
fertile
and
better
Towards the end of the
upheaval
and
made
permanently
in
seventeenth
settlements
them
Taiwan.
-17-
architecture.
century,
were
Ming
search
these
decide
of
ground.
Dynasty,
in
civil
people's
to
stay
Togbither with these
migrants came the whole of
including
the
farming
Ming
hardship
home-towns
(
ago
from the montainous Fukien
and Canton provinces came here in
more
started
Chinese
By
the
many
culture,
end of the
migrants'
built on the Eastern Coast
more
population
complex
and
trade
social
increased,
relationships,
administration or government etc.
developed.
The implications of such development was that
the
physical
familiar
forms
Chinese
included
fabric
took
patterns.
the
the
Some
street
migrants
of
layout
development of the gentry house, the
house,
the
merchant
house
these
and
officer
and so on.
The
styles of the architecture were basically
Fukein
came
of
and Canton where most of the migrants
from.
influenced
But
it
was
also
somewhat
by the native Taiwanese style and
by the Spanish,
Dutch
and
Japanese
which
came with the respective occupation periods.
1-5-2: Spatial Context
In this study, two types of courtyard
houses
are discussed.
with
1) " The Syh-Ho Yuan and San-Ho Yuan
IIZ
4
1
1
the Fukein and Canton styles:
F IGURE
of
San-Ho Yuan: This type
house
is
mostly
used
for the farm house. Most of the farmers
need
larger
houses
structures.
family
to
large
accommodate
They
1
also need an open
ground to dry their crops (Figure 1).
Syh-Ho Yuan: This type
used
for
the
of
house
It symbolizes the social
wealth
of
family.
the
demanded
mostly
gentry house and other larger
houses.
often
is
higher
status
and
Also, such families
degrees
of
privacy
between the private territory and the outside
world (Figure 2).
__n
FIGURE 2
-18-
2) Row House
( Merchant House )
This type of house is mostly for the merchant
in the urban areas. They are more compact due
to high land
areas.
prices
They
]
M--
often
tightly
in
crowding
have
generally
frontage than the
.
and
courtyard
arranged
a
such
narrower
house
and
are
along
commercial
streets. If we examine -the layout
carefully,
we
can
recongize
that
it
is
actually
compressed form of courtyard house.
it tended to grow upwards
to
two
a
However,
or
three
stories (Figure 3).
El
F IGURE 3
01
5m
s2
(1) ( " The transformations
wri ten by N. J. Habraken )
of
the
site
II
(2) ( referrence for " House Form and Culture
" written by Amos Rapoport )
.19-
CHAPTER 2: ANALYSIS and DESCRIPTION--------20
21
-----------------------2 - 1: INTRODUCTION
2 - 2: GENERAL DESCRIPTIONS on THE DWELLING LEVEL -- 22
2-2-1: Introduction --Observation 1 -----------22
2-2-2: The Selection of Elements ---- - --- ---26
2-2-3: Spatial Organization --------------------- 28
2-2-3-1: Centralized Spatial Organization------ --- 28
2-2-3-2: The Flexibility in Spatial Organization-----31
2-2-3-3: Territory
----- 32
2-2-4: Spatial Sequence-------------------------33
2-2-5: Space Trans i t i on between Rooms --------------42
2 - 3: GENERAL DESCRIPTIONS on THE ROOM LEVEL-------49
2-3-1: Introduct ion --- Observat ion 1----2-3-2: The Categories of Rooms---- --------52
2-3-3: The Selection of
Elements ---
-------
53
2-3-4: The Descr ipt ions of Rooms - -----------55
2-3-4-1: Dimensions ----- 5----55
2-3-4-2: Shapes- -----------.-----56
2-3-4-3: Configurations - - ---~-~ - -~
5
2-3-4-4: Surf aces and Edges
- ----2-3-4-5: Openi ngs
- -----62
2 - 4: GENERAL DESCRIPTIONS on THE FURNITURE LEVEL-64
2-4-1: Introduction --- Observation 1 --- ------ 65
2-4-2: The Arrangements of Furni ture --.
-. 66
2-4-2-1: In The Ancestor Hal1 - - - - -66
2-4-2-2: In The General Room----.67
2-4-2-3: In The Kitchen Room
-- 68
-20-
2 -
1:
INTRODUCTION
an
object
elements
There is
without
no
can
properities
be
spatial
it
describe
a
an
of
or material, cannot
image.
we
cannot describe the sense of
identifying
architectural space without
relationship
the
among
relative
and
elements.
in
the
These
be
fact,
to
identify
the
among
the
relationship
Two issues need to be addressed in
order to describe
architectual
understood separately from its formal
Similarily,
form
form in mind in the first
a
having
place. The
object,
we
way
is,
issues
are
an
object.
the selection of elements
and the distribution of
start
architectural
to
elements.
these,
we
set
overall
image about the built form.
Based
on
the preliminarily
the
elements
in the following sections,
I
will
describe
which formed that space.
the physical form according to the following:
For those who have never seen the form called
1) Observation 1:
"
circle " before, -i; it is impossibile
they
can
such
as
possibly
"a
configuration
understand a description
circle"
in
that
which
is
a
general
introduction
concerning
the
physical form itself and its variants.
geometrical
we can find a point
that has an equal distance from any point
on
this configuration to that point. To describe
-21-
The
2) Observation 2:
To make a detailed observation
the relevant physical elements.
and
identify
In no way can a model be inclusively built to
2 -
2: GENERAL DESCRIPTIONS on
THE DWELLING LEVEL
model
descriptive
which only
covers
selection
can
phenomena
Environmental
of
issues.
be
studied
various
for
ways
different
many
through
a
model
incomplete
an
is
man-made
of
describe a built form. Any kind
2-2-1:
Introduction ---
Observation 1
purposes in our minds. We might observe it by
focusing
specifically
on
its
sociological
a) The Growth of the House:
etc..
But,
we
(* 1)
theme,
cultural
behavior, human behavior or
don't have to, nor could we,
The basic unit:
study everything about it at
one
the
time.
In general, the basic unit of
Chinese
investigated
The
aspects
the
morphological
characteristics
physical
environment,
properties
of
trans it ion.
in this study are
space,
House
in
of
the
main
particularly
the
middle of the main house
spatial
and
space
was
traditional
Taiwan was the three-room
structure with a two-way
entrance
a
sloping
always
roof.
located
which
was
The
at
the
usually
composed of one hall-room in the middle and a
bedroom
on each side. This type of house was
called " three-bay " house (Figure 4).
--
22-
The second phase of growth:
The other type of approach to
A additional room was attached to each end of
to
the main
It
house.
became
the
so-called
five-bay house. Sometimes the three-bay house
or
five-bay house was independent of or used
as
the
main
of
house
a
"[]"-shaped courtyard house
"U"-shaped
or
was
two houses, one on each end in front
add
the
of the main house, and created
form
of
"San-Ho Yuan".The two wings of the main house
were
named
Hu-Long
"
the
distinguished
from
"Hu-Long"
(Figure 5)-.
expansion
main
the
(* 2),
"
which
from
house
the
outside, and formed
inner front-yard with the main house
an
(Figure
7)-
The third phase of growth:
When the number of
gradually
Growth beyond the third phase.
households
increased
and
in
a
necessitated
expansion of the house, the typical
was
main
to
which
composition.
This
house
could
generated
type
be
incompleteed "San-Ho Yuan"
- 23-
the
approach
add one house perpendicularly to the
house,
Chinese
family
of
a
"L"-shaped
growth
considered
(Figure 6).
Further expansion of the house
be
horizontal
of the type
form
of
the
of
or vertical.
expansion,
Chinese
house
could
either
But, regardless
the
symmetrical
should be kept
(Figure 8).
in the
as
an
The opening in the front of San-Ho Yuan could
be blocked by territorial elements,
such
as
fences
or
walls.
This
kind of San-Ho Yuan
with a closed courtyard was called a " Syh-Ho
Yuan ",
and the enclosed yard in front of the
C3
FIGURE 4
main house was called "courtyard".
Generally
usually
speaking,
adopted
front yard
was
the
in
San-Ho
Yuan
agricultural area.
used
to
dry
harvest.
was
The
The
FIGURE 6
richer families or officers usually preferred
Syh-Ho
Yuan,
because
they
prefered
more
privacy. The San-Ho Yuan and Syh-Ho Yuan were
considered as the basic form of dwellings
the
Taiwan
*area.
area.
FIGURE 7
Certainly,there still was
another type of house
house"
in
called
the
"merchant
which usually took place in the urban
FIGURE 8
-
24-
b)The Distribution of Space function:
KYNi
The i nnermost house in
main
house
which
a
was
compound
the
was
usually divided into
three or five rooms (Figure 9). The main h all
was in the
ances tor
( or
center
hall
or
FIGURE 9
reception
room
),
where
the
family al tar
table was kept. It was flanked on either s ide
with a smaller room
grandparents
where
occupied.
the
and
parents
The chi ldren usua lly
lived in the wings on each side; the.boys
in
the
in
rooms
on the left side and the girls
the rooms on the
south).
were
right side (if we faced the
Other elements in the
Chinese
house
treated casually, and sometimes did not
appear on plans at all. One of them
was
the
kitchen, which was sometimes in the open air,
FIGURE
10
or on a veranda or in a far endff room of the
main house or in the wings. The other was the
-25-
privy,
in
often built as a separate little shed
a
convenient
element
was
corner.
Another
familiar
the bathroom which also did not
usually appear
2-2-2: The Selection of Elements
in the plan.
The term " building elements
generally
to
"
could be
anything
encompass
that goes
into the making of a building. What
to
Concerning the merchant
the
house
(Figure
10),
indicate
here
determine the general
In
There were always
courtyard
house
in
arcades
order
usually
attached
to
the
to protect the shopper from
rains and hot sun.
The
merchant
house
was
developed along the transverse axis,
general,
composed
while
house
of
all
rooms.
the
want
elements that
image.
Any
single
more than two, story building.
as roof, floor
be several
layers to a house, which was
the typical way of expanding a dwelling.
hall
might
and
actually
was usually located in the middle
although
layer of the merchant house.
both
the
layers
of
buildings,
are made up of several
building
could
be
as a composition of elements: such
facade.
The
house,
and the merchant house, are
buildings
described
There
Chinese
several
sometimes expanding vertically into a two, or
main
those
we
first layer of the merchant house facing
the street was used for commercial functions.
also
are
used
(or platform ),
These
concepts,
they
are
elements
rather
exterior
wall
themselves are
than
indisputably
products,
made
of
material. Within the envelop of that building
-26--
made up of "building elements",several
could
be created by adding partitions. If we
consider
p
b)
e
rooms
compound,
a
Chinese
house
Courtyard
as
a
could also be described in the
it
same way, but the elements are here different
from those of a
Courtyard
single
are
houses
Typically
building.
enclosed by a
always
11
huge
FIGURE 11
continuously
openings,
within
buildings could
be
solid
with
wall
several
which
located
orderly
small
single
in
an
orderly way.
7-v.
-
%~---.
-
-'.
-\
/
-
,
To come up with only one category of building
elements which could cover
quite
most
issues
is
difficult, and as a matter of fact, it
seems unnecessary, unless we only deal with a
s~pecific purpose of study.
when
FIGURE
--27--
12
In
this
study,
I describe the built form for the whole
dwelling, I mean the dwelling
elements
such
as (Figure 11):
the
a) platform and floor
houses. However, when I try to illustrate the
b) exterior wall and facade
characteristics
c) roof
relationship,
Then the
built
form
can
be
expressed
by
spatial
characteristicas of the Chinese
of
relevant
other
lower level
(such
emtrance,
etc.)
as
spatial
these
family
elements on a
table,
altar
unavoidably
must
analyzing the relationship of these elements.
mentioned, they should, though, only be
When
to support those key issues.
studying
identify the
the
spatial
dwelling
organization, I
elements
as
be
used
follows
(Figure 12):
a) single buildings and the rooms within it.
b) spaces other
than
the
buildings,
which
2-2-3: Spatial Organization
includes circulation spaces, open yards, etc.
2-2-3-1: Centralized Spatial
Organization
Through the description of relationship among
those
spatial
elements,
the
spatial
organization,
sequence and space transition can be
identified. In the following
(Figure 13)
sections,
such
categories will be used as a base to describe
As described previously ( in
1),
the
changes
Chinese
over
time,
house
but
the
always
a
observation
grows
strong
and
spatial
-28-
observed in order to adhere
is
organization
to the same philosophical principles. "Yuan",
the means of
role.
courtyard,
In
spaces:
different
spaces,
and
classical
Chinese
the houses are composed of two
architecture,
13
prominent
a
is the basis by which to organize
It
all single buildings.
FIGURE
plays
the
the
interior
enclosed
exterior
spaces
similarly enclosed character as
the
with
a
former,
but without a roof. According to Yuan-Su Lee,
to
achieve
the
integration of a cluster of
single buildings, the centered "Yuan" is used
to
organize
Therefore,
crucially
scattered
all
the
as
Conceptually,
-29-
14
CIARCOLArIG
CORcULAnow
SBCONwOW(
"Yuan"
the
single
integrated
FIGURE
the
into
single
has to be treated as
building,
otherwise
buildings
an
buildings.
organic
will
not
the
be
wholeness.
we could consider these single
buildings as the suborinates of
the
"Yuan".
The
linkage
between
rooms
or buildings is
usually achieved through the open
not
a
narrow
corridor
shape and dimension
Usually,
it
of
or
the
of
gentry house, there are two
"Yuan"
axes,
varies.
is
located
in
the primary buildings, such as the
(Figure
Such
also are
formed.
used
Yuans.
to
The
dimensional
distinguished
primary
variation is
spaces
and
same
the
an
secondary
which flank the central
left-axis
lateral
interwoven
and
right-axis.
circulation
system.
circulations
circulation
through
system is
Alleys between buildings within
dwelling
always
secondary spaces.
other
axes a4s6 the axes for circulation, but
room, it is usually larger than that
the
14),
axis, called the
which
of
central
the
transversal axis. In a more formal mansion or
main building with ancestor hall or reception
other
along
organized
passageway. The
is rectangular in shape, rarely
is it in another form. If it
front
courtyard,
are
spaces
usually
or
serve
service
separated
Servants
the
for secondary
routes.
They
are
from the major circulation
or
household
stuff
can
A "Yuan" integrates its surrounding buildings
service
to form a basic dwelling
through the alley without passing through the
layers
orderly
of
component.
Several
dwelling components could then be
interconnected
transversal
or
lateral
in
either
the
direction along the
axis of the primary buildings.
Ideally,
the
other
overall
the
spaces.
master
Therefore,
spatial
systematically
and
formed
master's
in
general,
organization
as
a
guests
the
is
centralized
geometrical grid system.
-30-
principles
3).
(0
The
actual
of
process
is
building
ri 8
incremental
directly
responsive
specific
needs
conditions
of
the
to
of
the
growth
order
in
to
be
and
immediate
individual family's
and
expansion
which
still need to be integrated into the original
bTRUCTUR-
PLAN
FIGURE
spatial
15
A
organization.
standardized
various
(modular) system is used to indicate
7~1~
predetermined
-1k
2-2-3-2: The Flexibility in Spatial
Organization
overall
Chinese
house
spatial
organization
of
the
is predetermined by its rigid
and formal adherence to moral & philosophical
-31-
roof
structure
and the principles of distributing
elements.
In
what
beams,
other
elements
words,
should
it
be used,
where those elements should
be
placed,
and
how
the others.
The
to
connect
Chinese
The
columns,
building
such
illustrates
16
as
of
elements,
those
FIGURE
dimensions
dwelling
representation
which
one
no
expressed
of
therefore,
layout,
the
functional
(Figure
with
structural
meaning
15).
A
of
is
a
plan
in
space
is
room is usual ly
designed to be adaptable and neutral.
the
al l
except
ancestor hall
for
the
(Figure 16),
main
accommodate
hall
and
which'are flexible
different
of the
functions
household. For example, a room could b e
as
a
specificit y
delineated by
takes
the
used
room at one time and then be
sleeping
converted to be a kitchen
The
2-2-3-3: Territory
rooms are of similar dimensions and
finishes
to
Almost
another
time.
each room in its use i s-
of
the
at
assigned
space
by
function
filling
furnishings and equipment. There is
which
it
with
a
clear-
Here, I would like to address another
the
sense
whole
of
idea
Basically,
all
spatial
outside
organization.
rooms of a Chinese courtyard
house face inward on-to
the
to illustrate the
territory,
of
issue,
world
was
the
courtyard,
considered
to
strange. Walls usually enclose the house
are
used
as
a
for
be
and
means of protection for the
family from the world
outside
(Figure
17).
separation of the building structure from the
particular
overal l
activities
builing
generalize d
activities
of
each
The
becomes
a
structur e
room.
framework within whi ch different
can
relationsh ips
take
place
depending
demands of that moment.
on
ir
different
th e
pragmatic
FIGURE 17
-32-
I)
Within
the
wall,
the
huge
continuous
occupants
self-contained
solid exterior
can
enjoy
their
and self-sufficient life, and
appreciate the private spaces and
2-2-4: Spatial Sequence
landscape.
In
courtyard
Chinese
the
previously),
mentioned
(as
houses,
there usually are two
The
demarcation between the inside world and
circulation systems; the exterior circulation
the
outside
(as
elevations
world
of
is
very
clear.
single buildings are designed
to be the background for
the
scene
4Q) .
The
main
courtyard
Most
(Figure
serves as the primary medium
to
in
the
entrance
communicate
with the world outside.
the
interior
system) .
/
circulation
Along
ancestor
open
the
(as the secondary
central
hall,
formal
reception room,etc. are linked
and
they
form
dwelling
entrances
axis
of
the
and
living
in
room,
parallel,
the center of gravity of the
(Figurre
18).
Almost
FIGURE 18
or
to
the axial sense. They are achieved
either by increasing
depth,
all
major visual focuses to these
primary spaces are orderly arranged so as
reinforce
-33-
the
within
primary circulation, the primary spaces, such
whole
sit
system
courtyard and between rows of buildings) , and
as
'171
i,L12
primary
the
by
the
height,
width
or
centering the entrance, or by
arranging the furniture
symmetrically
7
along
0
F
the axis.
In the house of a wealthier family,
covered colonnades in the primary circulation
system
are
usually
built.
Typically,
the
interior circulation is usually not built
in
~11~
"B.
the
form
of
a
corridor.
Instead,
doors
connect adjacer t rooms laterally alnog a
of
building
so that to reach an inner room,
one has to pass through other
19).
row
Although
these
rooms
(Figure
spaces
are
orderly arrange d along the central axis.
the
axial
but
path
circuitous
typical
is
along
actually
(Fig ure 20).
"Syh-H o
ritual space
is
primary
not
straight
For instance,
Yuan",
in
the
the entrance to the
( such as the ancestor
hall
),9
the central axis starting from the
main entrance to the dwelling. But, to
the
FIGURE 19
courtyard
behind
axis is shifted through
enter
the ritual space, the
a
transition
space
FIGURE 20
-34-
behind
a
solid
facing
wall
the
central
created spatial variety, and
in
entrance and then back to the central axis.
various
spaces.
Une cannot look through
the whole dwe Iling from
But,
in
through the
the
Syh-Ho
central
space,
line
and
courtyard
off-centered
kind
of
Yuan
to
is
one
shifted
side
of
then
connects
the
behind
that
space
passageway
(Figure
from
the
the primary
space
or
through
21).
a
This
linkage between spaces or buildings
review
we
if
In a typical merchant house, the axis such as
master
presentation,
organization.
does
dimensional
main
entrance.
the Chinese houses only
f loor
a 1ways
plan
or
reveals
graphic
to
geometrical
us an
spatial
In fa ct , the design concept or
not
who fly
expressio n
the three-dim ensional
its"visual
the
simpl ified
orderly and
spirit
it
privacy
ensure
e ffect".
rely
on
the
two
of the layout,but on
"spatial
It
sequence"and
tightly
whole spatial essence, and
is
grasp
difficult
the
to
articulate simply by the floor plan.
The uniqueness of each
space,
such
as
courtyard, main hall, ancestor hall, etc.,
created
FIGURE 21
-35-
by
different
the
is
ways of arranging the
furniture or through a miniature garden or by
design
The
differentiation.
dimensional
attention is mostly drawn to the creations of
the
the
and
varieties
scenery
space
transition .
is
Typically, there
characters. When
enters
one
first
the
courtyard
itself behind
For
a
larger
house,
usually serves as
the
different
the
the
courtyard
the
is
scene
houses,
transitional
with
spaces
between
space
a
always
the
usually
main
entrance.
first
courtyard
for
receiving
space
guests or family activities, sometimes as the
extension
space
for
holding
an
outdoor
banquet, if necessary. This courtyard is more
formal, and its dimensions
than
that
are
of the side-yards
the same time, the
spaces
also
larger
(Figure 22).
surrounding
At
this
courtyard are also larger in height and width
-
36-
of
those
than
building. Therefore, the sense
is
much
than
stronger
of
first
is located.
separating
abuts
part
one.
The
H~ONOH~ D~Oi-? o r
SicCO;ID DOOE.
on
courtyard, in which the main hall
is
There
first
the
a
wall
I,
from the second
r
partitioning
yard
one. The partitioning wall distinguishes
outer
MAI Ji30
enclosure
side-yard. The
the
second layer of buildings directly
the
the
of
layer
first
the
second
accommodation
for
the
-,oMA[.N
HOUS E
dwelling from the inner
the
of
THEl ACI VITY [CiPE
intended
is
layer
as
the female members of the
MAIN HOUS E.1
family and the servants (Figure 23).
the centered main hall
the
in
Usually,
second
layer
FIGURE 23
building are used to receive guests. The side
rooms
flanking this hall are the living area
important the building.
of the master of the house.
are
The latter building
higher
-37-
the
roof
has
a
high
roof.
The
the building has, the more
Decoration
elements
also employed to indicate the importance
of building. The third yard is
more
formal,
usually serving as the ritual space where the
is located. Buildings located
hall
ancestor
whole
and
layers of buildings,
living
The
together.
are
there
if
dwelling,
three
the
in
highest
the
in the third layer are
hall thus becoming independent of the
living
room.
three
only
generations
usually
grandparents
live in the last layer of building.
Through
these
distribution,
descriptions
we
might
sequence as follows
draw
of
spatial
the
spatial
(Figure 24):
Outside -- ) Main entrance --) Courtyard
Living spaces
spaces --
-- )
Courtyard
Backdoor --
)
--
)
--
)
(
Ritual
Outside
Quite often, the living room and the ancestor
hall occur in the same main hall. Only if the
occupants become wealthier, will
their
house
to
accommodate
they
each
expand
specific
requirements, such as separating the ancestor
FIGURE 24
--
38-
courtyard
somehow different from the
the
is
sequence in the merchant house
The spatial
mainly
difference
resulted
house;
the
from
c) Adjacent buildings
share
Detached and
self-enclosed
were
merchant
houses
built (Figure 25).
a) The symmetrical spatial arrangement is not
While bearing in mind their
either
along
several
layers
into
the
is
usually
transversal
buildings
of
or
developed
axis
into
vertically
or three-story buildings. But,
two-
if
bearing
walls just like the row houses.
scarcity of land in urban area, as follows:
strictly followed. It
common
mentioned
before,
seldom
differences,
the spatial sequence in a
merchant's house is quite similar to that
courtyard
three
house.
layers.
they manage to acquire enough land, the ideal
commercial
symmetrical arrangement remains.
as the
The
as
In general,
first
of
it consists of
layer
serves
a
function. The second layer serves
spaces
for
the
ancestor
hall
and
master bedroom. But if there are two, or more
b) The
symbolic
decorations
of
the
roof,
indicating the owner' s social status, are not
strictly
observed.
But
of
weather
requirements
emphasised.
the pure functional
protection
are
than
two,
stories
high,
the ancestor hall
will always be located on the
while
the
bedroom
might
ground
be located on the
upper floors. The third layer is usually
the
grandparents
for
and the Buddhist hall. The
courtyard between layers of buildings
-39-
floor,
always
serves
as
the
space for women's housework,
a
but also serves as
transition
space
for
dividing various functional spaces.
The spatial sequence might be represented
in
the fo.llowing way (Figure 26):
Outside --
Transitional space
Commercial
space
space --
--
Courtyard
--
(Arcade)
Courtyard
--
)
space
Living
)
--
the typical courtyard house. Such spaces thus
characterized the merchant house.
Backyard -- ) Outside
Sometimes, under
merchant
ritual
requirementrs,
the
the
house might be purposely built with
a two or three-story-high interior
to
create
sense
decorations
a
courtyard
monumental mood, and reinforce
of
the
FIGURE 25
Ritual
center.
More
elegant
are also added. Such an approach
for an interior courtyard is rarely
used
in
Another character of the spatial sequence for
entrance.
owner's
It
always
attention
.
centered
the
is
both types of houses
receives
The
main
a lot of the
main
entrance,
usually located along the central axis, has a
direct
visual
impact
and
creates
continuity with the family altar table
spatial
which
-40-
always
serves as a focal
point. In addition,
the main entrance is also set back
front
line
of
the
from
the
building thus making it
more visible. A lot of symbolic leanings
are
attached on the architrave and the door-frame
to
symbolize the owner's social status, such
as an
inscription
(Figure 27).
Ar2
de
FIGRE26F
-41--
R
IGUR E 27
with
text-couplet,
etc.
2-2-5: Space Transition between Rooms
The
transition
described
betweem
between
through
them.
transitional
the
This
spaces
or
The
spaces
articulated
be
characters of
example,
an
the
open
SPAC E
1
?-SPACE
CON NECTON
could
be
SMERATION
a
only a partitioning
element, or both.
can
be
analysis of a medium
medium
space,
can
relationship
by
interfacial
between
mf
ie~ium 4
different
medium.
For
FIGURE 28
medium would allow a good
deal of visual access and
physical
movement
between spaces.
In the Chinese House, this medium may consist
of exterior walls, partitioning
4),
openings
(such
as
elements
(e
doors
or
windows,
divided
voidsetc.), roofs or platforms (or
floors).
two ways
The
actually
medium:
analysis
illustrate the
of
those
elements
relationship
between
spaces
by
to
such media. Generally, there are
study
the
character
of
this
As the connection between spaces and
as the separation between spaces.
(Figure 28)
-42-
1) The space transition between the house and
the boundary of
the outside world.
fact,
the
the
enclosure.
major
formally with the
to
medium
outside
world.
It
is,
communicate
Indirect
a) In a typical courtyard house (Figure 29):
visual
Connection ---
created by means of two windows flanking
Usually.
the
well-decorated
south
main
architrave,
entrance
with
a
or
spatial
accesses
are
in
sometimes
the
main entrance.
was centered and
aligned with the front exterior wall,
i.e. at
Separation --The Chinese
against
courtyard
the
world
solid wall with a
territorial
outside
few
boundary
Outusnp.
house
small
was
protected
by a continuous
openings.
The
between the inside and
the outside was very clearly demarcated.
A raised platform and a threshold with one or
two
steps
at
the
entrance
separated
the
spaces.
The foyer or the covered main
well-decorated
FIGURE 29
-43-
entrance
with
architrave also indicated the
transitional space.
b) In a typical Merchant house
(Figure 30):
2) The space transition between ritual
Connection ---
and courtyard
space
(Figure 31):
The centered, or sometimes off-centered, main
gate on the front exterior
formal
connection
outside
world.
connections,
more
wall
formed
the
between the house and the
Informal
or
functional
built for the purpose providing
business
frontage,
was
made
by
two
Connection --The ritual space usually had a direct
visual
and spatial continuity with the courtyard.
The
courtyard
space
usually
served
as
exterior
for ceremonial requirements.
Usually,
moveable windows flanking the main gate.
Separation --A raised
between
platform
with
one
inside
acted
two
steps
the street and the arcade formed the
elements to indicate the
the
or
as
and
a
separation
outside
between
spaces. The arcade
transitional
space
and
also
-I
provided
the
functions
for
shelter
to
and
an
[
OWMA
__. - -
opdAia(
protecting clients from
extension
floor.
space
for
weather
as
the shop on the ground
~V1AMA
CohMaUif/
ef~Arjionr
_FIGURE' 30_
-
44.-
the south side of the
ritual
space,
facing
Separation ---
the central courtyard, was composed of either
The
a
achieved
if
row
doors which could be entirely opened,
necessary,
well-decorated
or
a
formal
exterior
this south side was
softer
sides of the ritual spaces.
gate
wall.
than
with
a
partitioning
of
was
usually
by using moveable partitions with a
formal gate always accompanied by a threshold
Basically,
and a well-decorated
the
usually
other
space
a
raised
architrave.
platform
There
was
with one or two
steps between the courtyard and ritual space.
The porch in front of the ritual space
acted
as a transitional space between courtyard and
ritual
the
space.
whole
(But, if we view it
dwelling,
the porch was
,
in terms of
the front courtyard and
in fact, a transitiona) space
between inside and outside).
3) Space transition between ritual
living spaces
FIGURE
-45--
31
(Figure 32):
space
and
A
visual
direct
between
the
general space
partitions
by
changing
(Figure 33):
taking
away
the
the
Connection ---
moveable partitions.
The
Separation ---
indirect
The spaces were usually divided
partitions
and
courtyard
spaces were possible. They also
reserved the possibilities for
spatial
contilnui ty
spatial
and
between
transition
4) Space
Connection ---
or
symbloic
by
mov eable
partitions,
without a threshold between them.
but
general
space
visual
usually
and
had
direct
or
spatial linkage to the
courtyard through the
doors,
through
it was adjacent to the
windows,
if
and
at
times
courtyard.
s%--Sur
FIGURE 32
FIGURE 33
-46-
Separation
5) Space transition between kitchen room
The spatial partition was usually achieved by
courtyard
a
employing a soild partition with
threshold
and
a
two
raised platform with one or
porch
wasin
front
the courtyard and
There
architrave.
door,
a
was
a
steps.
The
of a general room facing
as
acted
a
transitional
(Figure 34):
Connection --There was
usually
spatial
linkage
courtyard,
served
space.
door
"
an
indirect
between
although
the
the
visual
and
kitchen
and
courtyard
always
as as extension of the cooking space.
The access to the
fivns+;
and
with
courtyard
was
through
a
threshold and architrave. Windows
5paeo
were
also
used
to
provide
visual
communication to the courtyard.
0
Separation --A solid partition was used
kitchen
with
the
-47-
separate
room. from the courtyard.
raised
transition space.
FIGURE 34
to
platform
acted
the
The porch
as
a
6) Space transi tion between living space ( or
ritual space ) and general space, or
between
general spaces themselves (Figure 35):
OR
Connection
There was
spatial
them.
T7
usually
an
continuity
But,
separated
indirect
and
through the door between
sometimes,
without
visual
they
any
visual
were
and
rI~1w
co 'fytirj
totally
spatial
FIGURE 35
linkage.
Separation --A soild parition
threshold
and
and
a
architrave
door
opening
with
were usually used
between these spaces.
- 48-
2 -
3:
GENERAL DESCRIPTIONS on THE ROOM LEVEL
In this section, the qualities of
room
space
are
discussed.
individual
To
describe
effectively
the
quality
of
a
space,
framework is set up as follows:
PROPERTIES OF ENCLOSURE
QUALITY OF SPACE
1) Dimensions
-
Proportion
- Scale
2) Shape
- Form
3) Configuration
- Definition of space -
The means to define spaces vertically
and horizontally, such as exterior
walls, roof and floor, etc..
4)
Surfaces and edges
- Color
- Texture
- Pattern
- Surface articulation
5)
Openings
-
Degree of enclosure
- View
-
49-
the
2-3-1:
Introduction ---
Observation 1
of
three,
called,
To
understand
constructed,
the
way
that
a
room
is
the properties of space have to
be identified first.
five-bay
five
respectively,
the houses in the
made
up
of
a
three-bay
area
Taiwan
three bays
are
wooden-frame
construction
which
is
system
system
the
basic
of Taiwanese buildings,
actually
traditional
is
an
extension
Chinese
Sothern
of
and is
style,
also the representation of a typical
wooden
structure.
The
the
and
usually
engaged
in
walls and
become part of the partitions or the exterior
wall. They are visible but ra-rely independent
of the partitioning system.
layout of the floor
the
the depth of the building and the
in
number of rooms which are contained
building.
are
structural
Chinese
plan is usually arranged on the basis of
width
columns
usually
(Figure 36) or five
bays, rarely with seven bays. The
A
house,
seven-bay house. Most of
or
house
rooms, which are
seven
or
that
A room, more often, is lined up in
FIGURE 36
a
linear
perpendicular
way
or
to
form
parallel
a
house
to
the
either
main
transversal axis. Sometimes, a house consists
-50-
The wooden frame roof (truss) is aligned with
combined
the
larger number of houses.
partitions
vertical
thus
making
subdivision
a
within
the
Basically, the floor plan and the
plan
are
adapted
complete
the
with
type
Ch'uan-Tou
structural
reviewed
be
will
first
two
issue
the interval between wooden structural frames
separately
for
the
are usually the same
as
purely geometrical issues and their
rooms.
are
The
dimension
(which
rooms
expect
is
larger
for
).
three different types
the
width
usually
of
the
same
effects
ancestor's
hall
issues.
of
construction
to make the wooden frame . But, the Tai-Liang
type
The
the
In general, there are
(* 5)
(* 6) and Ch'uan-Tou type (* 7) are the
most popular methods of construction
in
the
Taiwan area.
are
formal
- 51-
or
used
in
the
larger mansions. It is also often
room.
surface
They
integral
issues,
the
and
and
edge,
opening), will be disscussed on the basis
the
two
to
similar
aspects
furniture level ---
those
step
further
of
of
of the
the selection of elements
and the distribution of elements.
one
are
than the other
of
rest
The
characteristics
usually
whole
important
more
(configuration,
go
The Tai-Liang type is
a
house.
to each other. Therefore,
the
for
to
I will also
describe
the
each element in defining
space, color, texture,
surface
and the location of openings
articulation
2-3-2: The Categories of Rooms
- Transition space ---
Foyer
Arcade
Passageway
There is no way to describe the properties of
spaces
without
rooms.
In
knowing
general,
we
the
catagories
can divide rooms in
traditional Chinese houses in the Taiwan area
into two groups:
- Commercial space ---
of
2)
The
exterior
Shop
(the
spaces
transition
space):
- Courtyard
the interior spaces, and the
- Sideyard
exterior spaces
(see list 1 & 2).
- Alley
List 1:
- Porches
1) The interior spaces:
- Ritual spaces
- Living spaces
ancestor hall
---
Living room
Family room
Main hall
- General rooms ---
- Service room
---
Bedroom
these
interior
Study room
If we categorize
Guest room
terms
Kitchen room
whole dwelling, they might be
Storage room
follows
of
their
relative
spaces
in
importance in the
classified
as
(see list 2).
-52-
platform,etc.. The relationship between those
List 2
1) Primary space ---
2) Secondary space ---
Ancestor hall
elements
Main hall
But, if we go one step further to
Family room
character
Living room
space, which will
Bedroom
a space, such as the location of
an
Kitchen room
in
elements in
Service room
relation
a
defines the orientation of a space.
wall,
to
different
space.
2-3-3: The Selection of Elements
of
study
the
one of the elements defining a
still affect the quality of
the
selection
that
from
point
of
would
opening
also
be
that of the orientation to a
Therefore,
we
could
say
that
the
selection of elements actually depends on the
theme we choose.
The selection of
varies
elements
defining
depending on the theme.
a
room
For example,
The
if we intend to describe the
orientation
se lection
of
elements
concerning
the
of
fol lowi ng issues that we are going to discuss
the
room,
the
elements in relation to that
will be as follows:
point could be: The vertical planes, such
exterior
wall,
partitions,etc.
and
as
the
1) On the
horizontal
planes,
such
as
issues
floor,
configuration:
-53-
of
dimension,
shape
and
As mentioned previousely,
directly
with the integral
Any three-dimensional
volume
a
these
issues
deal
sense of a space.
form
articulates
the
of space surrounding it and generates
field
of
orientation
influence,
of
or,
the
territory
those elements of form define
specific
types
identify
these elements for the whole space,
of
space.
Therefore,
that is elements defining a space,
parts
37);
(Figure
planes, such
other
is
exterior wall
as
one
the
is
roof,
vertical
the
into
we
partitions,
MU ep(4V
two
baseplane;
planes,
such
the
r
as
FIGURE 37
(* 8) and partitions.
roof
Vertical forms are generally more
our
and platform.
second
b) Vertim
the horizontal
The first part is the horizontal plane:
The
a) HorizoflJ4 p3 a
part
is
the
load-bearing
non-load-bearing walls.
vertical
walls
plane:
or
visual field than horizontal
are, therefore,
volume
instrumental
in
in
planes, and
defining
a
of space and providing a strong sense
of enclosure. Vertical elements of
also
active
the
form
serve as support for a building's floor
-54-
and roof planes. They create the
spatial
visual
and
3)
On the issue of openings:
continuity between the interior, the
I
concretrate
exterior environment and the
circulation
between
rooms.
orientation
They
filter the flow of air, light, etc.,
help
on
the
element
individual
of
itself. The sub-elements I identify would be:
to
doors,
through
and to the interior spaces.
windows,
voids
and
the
wall-body
itself. The relationship among those elements
or subelements will address the issues that I
will deal with.
In this study, I will
naturally
pay
closer
attention to the study of vertical elements.
2-3-4: The Descriptions of Rooms
2) On the issue of surface and edge
I am going to pay attention to the individual
element that defines a space.
2-3-4-1: Dimensions
Therefore, the
In general,
sub-elements that I identify
material
itself,
would
be:
the
varies
from
the width of
4.2m
to
the
5.5m;
ancestor
the
depth
hall
is
the column, the wall-body,
between 5.5m to 9.0m; the height of the ridge
openings,
decorations
and
some
symbolic
is between 4.2m to 5.2m.
The
width
of
the
signs.
other
-55-
rooms
are
usually
smaller
than the
ancestor hall. They vary from 3.6m
The
depth
and
the dimensions
5.5m.
the height usually depend on
of
dimensions
typical
to
the
ancestor
hall.
The
of each room are usually
as Table 1 shown (@,9)-
2-3-4-2: Shapes
With the exception of
found
in
dwellings
Hakka
some
in Mainland China where the shapes are
form
the
of
considered as a
composition
be
could
dwellings
Chinese
traditional
most
circles,
concentric
rectangular
of
shaped spaces, both those of the interior and
The spatial structure of a Chinese
exrerior.
TABLE
is
dwelling
1
a
geometrical
grid system, as
Unit: Lu-bain-foot
discussed previously. Accordingly to the book
Main Hall
14
16
18
Width
Bedroom
Depth
The Height of
Beam
12
14
16
18
24
30
entitled
"
Cathay's
Chinese
Classical
Idea-Design
15
Prof. Yuan-Shu Lee, the typical
17
Footnote: 1 Lu-bain-foot = 29.7 cm
of
Architecture " written by
a Chinese single dwelling
14
Theory
can
floor plan of
generally
be
expressed by the arangement of the structural
framework
words,
the
or
the
roof
structure.
floor
plan
is
In other
actually
the
Therefore, the general proportion is as follows:
reflection of the structural plan without any
width : depth : height = 1 : 1.5 : 1
functional expression
(Figure 15).
-56-
2-3-4-3: Configurations
Relevant elements:
The horizontal element
roof
( overhead plane )
platform ( base plane elevated)
The vertical elements: side partitioning walls
FIGURE 38
front and back exterior walls
There are
which
six
types
of
elements
define a space according to Francis D.
K. Chong's analysis ir
Space
vertical
and
"Architecture:
Form,
( * 10) A linear vertical
Order."
element can define the
vertical
edge
of
a
volume of space, such as column, etc.. But if
a
series
of
linear
elements are
vertical
tightly integrated into a vertical plane,
will
articulate the space that it fronts.
vertical
vertical
plane
plane
configuration
-57-
associated
of
will
planes
form
with
an
which
it
A
another
"L"-shaped
generate
a
FIGURE 39
field
a
of space from the corner outward along
diagonal.
vertical
If
planes,
there
they
oriented volume of space.
are
two
define
parallel
an
axially
A "U"-shaped arrangement of planes defines
volume
oriented
toward
the open end of the
configuration. Four pl ane s
introverted
space,
usually
defined
configuraiton
vertical
of
plane,
flanking the front
enclose
will
an
the) actually articulate
the field of space around the
most Chinese houses
a
enclosure.
In
the space of the room is
b y comb ining the "U"-shaped
p1anes
with
creat ing
an
two
of the rooms
the
ancestor
hall
play
defining the space. The
different roles in
front
plane
the courtyard is always either in the form of
a
row
of
doors
whiich
could
be
wider
door
opened.
or
opening,
The
remaining
is left completely
three
sides
the
configuration
of the ancestor hall as a
"U"-shaped configuratic in of vertical
(Figure 38).
defines
a
focus
as
traits,
vertical
and
horizontal
combination
of
elements basically
create the form of a rectangular box
are
openings
with
a
prism loft on top. These vertical elements in
is
(Figure
we l1
39).
as
an
the
space
outward
We might say that
lighter
the primary element in affecting
the sense of space because of its
relative
planes,
fiel d of space that has an
the front side, with an opening and
the
a
generally fixed. Theref ore, we might consider
orientation
hall,
of
isolated
inward
ancestor
opened
entirely, if necessary, or in the form
which
In the
facing
uniqueness
to the other three sides.
It allows
and
spatial
to
have
visual
continuity with the courtyard.
-
58-
2-3-4-4:
brick walls with a wide gate in the center.
Surfaces and Edges
3) Front wall:
1) Side walls or partitions:
previously,
As described
columns
most
are
The
side
front
receives
a
interior
regional
architecture,
The
the
partitioning walls and
based
location
side
walls
of
are
on the layout of the wooden structural
frame.
Therefore,
articulated
by
surfaces
those
support
elements
or
western
architectural
and
edges
inserted
the
columns,
pillasters
terms)
are
(Figure
(in
rule
a-31)
usually
lot of attention similar to most
usually engaged in the exterior walls and the
partitions.
building
each
of
the
but
difference
between them is that the well-decorated front
in a Chinese house usually faces the
facade
inner courtyard rather
the
than
outside
street ), in which the centered main entrance
is
to
medium
primary
the
claim
status. For the Chinese in older
outside
was
a
strange
world,
owner's
times,
The
back
outside
wall
wall
is
of
a
basically
building
filled
facing
with brick or
other materials, but the front side
up
-59-
of
either
moveable
the
is
made
door-like panels or
with
the
symbolizing
blank
insecurity and uncontrol. Thus, a huge
2) Back wall:
(
smaller openings always faces the
strange outside world. According to
Yuan-Shu
elegant
facades,
Lee's
viewpoint,
those
particularly in the front facade
house
of
a
main
and the ancestor hall, in fact, act as
flFTT1~1
the background for the courtyard. Most of the
buildings' facades are designed to create the
scene in a
Chinese
The
courtyard.
architectural
main
art
dramatic ally and sequentially
spirit
of
to
arrange
these
various
is
layers o f building and scenery. Theref ore, to
design
building's
a
as
elevations
the
FIGURE 40
backgrou nd
for
is
courtyard
the
more
importan t than as the expression for b uilding
itself.
For
example,
a building, which is
has
four
facades,
but the formative continuity
among
the four
sides
always
rectangular
important
than
of
in
the
cannot
is
more
the
reserved
for
we
study
the
location
where
that
actually is placed in the dwelling
layout, and we also cannot neglect the factor
a
background
for
the
Besides these characteristics, it should also
that
when
as
courtyard.
be noted
of traditional Chinese houses, we
neglect
elevation
courtyard
elevation
that of the building facades
(Figure 40). Therefore,
elevations
shape,
of
of scrolls or
there
must
be
some
spaces
inscribing or hanging the pair
calligraphic
paintings,
such
objects must be displayed symetrically on any
wall,
be it the side walls or back walls, or
front walls (Figure 27).
-60-
Another issue that should be addressed
color
".
The
traditional
architecture
mostly wooden, with stone and brick
secondary
materials.
only because it can
but
also
frame.
role
because
used
provide
various
Chinese
bright,
happy
Different
color
meanings.
In
meaning
for
the
and
have
aplendid
different
general,
the
primary
colors
are
symbolize good luck and wealth
colors
Chinese
toward
colors.
Pure
white
color
edges
meaning,
used to
mostly
in
dwellers.
and black are avoided and rarely
employed except for outlining
the
ridge
temple
a
big
or emperor's palace. During the Ching
dynasty, most buildings in Taiwan were always
colored in the following manner:
symbolic
are
as
1) The platform
is
usually
constructed
by
stone. Therefore, the original color of stone
is
which
kept,
is
chalky
or milk
white.
Green ---
peace and eternity.
Red -----
luck and happiness.
Yellow --
power and wealth.
2)
White ---
sadness and peace.
constructed
Black ---
destruction.
is the general color in most dwellings.
-61--
or
of a building. Yellow can only be used
for very important buildings, such as
always
follows:
red
as
corresponding
colors
and
green
important
architecture.
Under this classification of
is
it can protect the wooden
architecture generally has a tendency
using
"
Paint is desirable not
Therefore, it plays a very
in
is
The
body
of
building
of wood or brick.
is
usually
Garnet or red
(
or
" Chao
fuscous, which is actually the original color
figure
of tiles. The r idge is always chalky.
discussed
3) The roof
is
always
in
colored
gray
"
) or " Ko-Shan
.
rule
a-25),
([INN)
"
have
,
already
in the section, "space
(see
been
transition."
Location:
In the
Chinese
openings
2-3-4-5: Openings
are
courtyard
wholly
within
planes of a space, which do
Up to now, I have already generally described
some spatial properties, but there is another
the
not
most
of
encolsing
weaken
the
edge definition nor the sense of enclosure of
the
space.
still
issue, i.e. openings.
houses,
Basically, the form of the space
remains
intact
and
perceptible.
Openings are rarely located along one edge or
openings
The size, shape and location of
voids
for
an enclosed form strongly affects
the quality of a space. Here, I should
the
or
definition
of
opening
to
limit
coventional
near
a corner of a wall or on ceiling plane,
nor do they visually span vertically
the floor and ceiling planes, or horizontally
between
two
wall
planes,
in the
fixed partitions or walls. The other forms of
ancestor
hall,
openings, such as opening formed by so-called
usually introduced at the both
voids
in the
main
except
openings
terms, i.e. windows, doors or
between
hall,
such
for
the
as
the
where there are two openings
ends
of
the
-62--
rear
ends
in
order to connect the parts of
the building behind
serve
this
ancestor
hall
or
the function for service movement from
the side rooms. Therefore, a
secondary
zone
sectoral, etc.. But, the rectangular shape is
the generic shape which is mostly adopted for
used
usually
are
openings
is created in that space. Sometimes, the side
something or make a space
rooms
These
that
flank
the
ancestor
hall
direct accesses to the ancestor hall.
have
In this
case, the space of the ancestor hall actually
reinforced
is multidirectional and dynamic in nature.
rule a-34).
is a public space and the heart of the
It
the
of
with
symbolize
to
more
interesting.
could occur any where. The
variations
individuality
of
shapes
other
The
dwellings.
ordinary
a
is
opening
heavy
frame
often
(see figure
whole
dwelling (Figure 39).
SHAPE
Besides the rectangular
shape
of
openings,
there are a lot of variations in shape, which
usually contrast with the enclosing plane and
emphasize
its own individuality. They can be
in the shape
bottle-like,
-63-
of
a
or
circle
or
hexagonal,
semi-circle,
octagonal,
DIMENSION
Because
always
the
emphasized
enclosing
bounded
effects.
individuality
wall,
by
the
by
the
wall
of
openings
contrasting
opening
is
is
with the
narrowly
to create contrasting
2 -
4: GENERAL DESCRIPTIONS on
THE FURNITURE LEVEL
VIEW
While some spaces
as
such
a
have
family
an
internal
focus,
table, or have an
altar
outward orientation given to them by
a
view
The arrangement of furniture makes a
to the outdoors or an adjacent space, such as
".
natural
" place
scenery,
a
courtyard
private garden or with a
water-fall,
openings
establish a
visual
space
and
its
man-made
are
seen
relationship
surroundings.
Sometimes, they
shapes
to
uniqueness.]
as
a
could
create
miniature
provide this view, and
small openings tended to frame
and
with a small
a
painting
also
sense
be
between
a
The furniture indicates the boundary of a
".
being used
in
various
of interest and
of furniture by the selection of
In the selection of furniture,
such
on the wall.
the
furniture and the disturibution of furniture.
with
view
Here, I would like to discuss
arrangement
In this case,
a
place
"
the
I
will
deal
issue of what kind of furniture is
distribution
in
of
a
particular
room.
In
the
furniture, I will deal with
the issue of how they relate to
one another,
In other words, the relationship among
these
furniture.
- 64-
main
such as the family altar table.
table,
is usually located in a very prominent place,
and
11
c3
dominates
the
whole
of
disposition
furniture in that room. The suited chairs and
ca
-.
tea-poy
table are grouped with this table to
form
so-called
a
"place"
(Figure
41).
A
cabinet, commode and bookshelf,etc. are also,
FIGURE
more
41
often,
symmetrical way and
orderly
2-4-1:
Introduction ---
one,
suite
of
placed
a
in
strict
a
and
Therefore, various and
create
a
subtle accounterments are used
to
lively atmosphere in the room.
For instance,
Observation 1
the Ming and Ching dynasty, one, or
than
be
required
arrangement.
paintings,
In
to
coupled
furniture
more
used
to be
a
pair
of scrolls, calligraphic
paintings, curio and miniature gardens,
etc.
usually with very bright and beautiful colors
arranged in a symmetrical layout. In general,
and shapes are used to satisfy these kinds of
furniture is placed against the
special
facing
the
main
entrance
directly
always the gravity center of that
-65-
window,
and
and is
room.
The
requirements.
These
accounterments
matched with brown furniture and white walls,
create a gorgeous space.
2-4-2: The Arrangements of Furniture
Now, I try to
furniture
describe
in
the
different
arrangement
rooms
lower
of
from
the
level,
and the furniture
infill
elements
level.
Therefore,
and the distribution of furniture.
can formulate
the
general
the
other
and
level,
Site ---
The ancestor hall acts
furniture
relationship between the
room,
as
a
site
of
relationships involved; one is the horizontal
among
1) The selection of furniture
the
kinds
two
are
there
relationship
In The Ancestor Hall
be
the room on the higher
for
followimg aspects: the selection of furniture
2-4-2-1:
will
from
which
from which we
for
rules
is
the
furniture
this
vertical
the
and
we can also formulate the
interface rules between the two levels.
for the furniture.
Elements ---
Family altar table
a) Family altar table:
Eight-person table (Credence)
The family altar table
Drum stool
the transversal axis against the
Formal sitting chair ( Faureul)
and facing the main entrance of that room. It
Tea-poy table
actually
plays
solid
on
wall
a dominant role, relative to
the other furniture,
2) The distribution of furniture
used to be placed
in
the
ancestor
hall
(see figure rule a-38).
The room is the site for the furniture on the
-66-
b) Eight-person table and Drum stool:
against
The eight-person
room.
with
table,
usually
associated
the
wall
and
symmetrically in the
the family altar table, is also located
on the
transversal
axis.
Two
drum
stools
2-4-2-2:
respectively
stand
beside both sides of the
eight-person
table
and
in
front
of
the
1) The selection of furniture:
Site ---
familay altar table.
In The General Room
general room as a site for furniture
Elements ---
Bed with bedspread
c) Formal sitting chairs and Tea-poy table:
Foot stool
Formal sitting chairs and the
Table
tea-poy
table
are always together and symmetrically located
Five-drawer chest
at
of the transversal axis. The
Closet
formal
and
Drum stool
the " place " in which
Wash stand
both
sides
arrangement
tea-poy
major
of
table
family
forms
sitting
actiivities,
such
chairs
as
Chairs
social
gatherings, wedding ceremonies, worship rites
$)
The distribution of furniture
and welcoming guests, etc. take place.
a) Bed
In short, most furniture are
-67-
usually
placed
(see figure rule a-38)
The bed used to be against either the
center
I ,
segment
of
the
solid
wall, which could be
considered the same as that of ancestor
where
the
They depend on the requirements.
family altar table is located, or
in the corner of the bedroom.
stool
hall
d) The rest of the furniture:
always
accompanies
A
the
small
bed,
foot
2-4-2-3: In The Kitchen Room
where
The kitchen is also an important room in the
users remove their shoes and keep them there.
Chinese
house.
It reflects the organization
of family structure.
b) Table
The table also sits against the wall opposite
1) The selection of furniture:
the location of
the
bed.
Drum
stools
and
Site ---
chairs
Kitchen as the site for furniture
are placed beside the table or sit in
Elements ---
Chinese stove
front of the table.
the other auxiliary facilities,
such as a place for storing fagots.
c) Closet and Five-drawer chest:
The
closet
separately
and
placed
are
chest
five-drawer
against the side walls in
terms of the transversal axis
of
the
room,
beside where the table and bed are placed.
2) The distribution of furniture:
The location of
the
Chinese
stove
is not
predetermined. Sometimes, it is placed in the
temporary
room
attached
to the end of main
-68-
house or side house
( Hu-Long ).
Sometimes,
3. Reference to M.I.T. Thsis
Chang,
it
is
placed
in
the
needed
be considered is that the location of the
kitchen
requires
because
of
the
very
thick
Yih-Ping
end room of the main
house. But, the most important factor
to
by
1983.
good
fumes
ventilation
created while
cooking.
4. A distinction must be made between
walls and partitions. The wall is a mass
and the partition is a surface. The wall
serves to form the enclosure and performs
a static function, but the partition, both
exterior and interior, are infill
between
the pillars and have no static functions,
but instead, aesthetic and symbolic value.
frame
5. These types of wooden
Tai-Liang
type,
Ch'uan-Tou
type
Ging-Gan type. (see figure 42)
FOOTNOTES
I. Reference to "Traditional architecture" by
Chien-Lang Lee, page 46.
2. "Hu" --"Long"
6. Tai-Liang type
The wooden frame is built up by planting
the columns on the stone bases along the
direction of the building depth, and then
placing major beams on the top them. The
distinctive feature of this
type
of
construction is that the whole framework
consisted of several layers of column-beam
frames, sometimes of two layers, three
the
shorter
more,
with
layers
or
column-beam frame used to be laid to
overlap on the major one in order to
support the roof frame (see figure 43).
Protection
---
Dragon
The meaning of "Hu-Long" is the protection
of the main building from the
world outside.
-69-
are
and
7. Ch'uan-Tou type
The main difference between the Tai-Liang
type and the Ch'uan-Tou type is that the
I
11t
j
t-W
-Givg-Ga" +YPe
FIGURE 42
roof truss of the Ch'uan-Tou type rests
directly on the main columns instead of on
the shorter column-beam frame, but there
layers of tie-beams
several
are still
Another
between columns (see figure 44).
difference is that the distance between
in the Ch'uan-Tou frame is
two columns
much narrower than that of the Tai-Liang
frame.
is
8. The meaning of the eXterior wall
relatively
defined
depending
on its
context (or surrounding).
On the building level, the exterior wall
is discussed
in terms of integrity, i.e.
it is viewed as the facade of a building,
which we usually use in an architectural
sense.
On the room level,
the portion of the
exterior wall bound ing the room is only
seen as one component of the room. It is
only
a
fragment,
not viewed as the
integral elevation of a building any more.
-70-
FIGURE 44
9. Reference to "The Traditional Style
Taiwan Houses" by Shao-Mei, page 8.
of
10. Reference to "Architecture:
Form,
Space and Order" by Francis D. K. Chong,
page 137.
-71-
CHAPTER 3:
RULES and PHYSICAL PATTERNS----72
-73
-
1:
INTRODUCTION
3 -
2:
ON THE DWELLIG
3
LEVEL ---
3-2-1:
Spatial Organizati
3-2-2:
Spatial Sequence
3-2-3:
Space Transition--
3 -
on
-74
-
- 78
--
-83
--87
3: ON THE ROOM LEVEL
3-3-1:
Dimensions
3-3-2: Shapes
--
- -
-
-
Conf igurations
3-3-4:
Surfaces and Edges
3-3-5:
Openings
4:
-89
-
- -
3-3-3:
3 -
74
-
ON THE FURNITURE LEVEL-
-89
-----
90
-92
-
---
-92
92
-72-
3 -
1:
INTRODUCTION
The rules will be abstracted on the basis
of
3) Implicitness:
accepted
by
turn
it
It
is
their characteristics:
The rule must be subconsciously
1) Popularity:
the
The rules must be shared by the majority, not
concretely into regulations or lawS.
by a certain group of people.
always
The conformity
majority,
implicit
with rules serve to establish the conventions
environment
which make the transmission of formal meaning
consider
(or
image)
under
circumstances
ordinary
2) Inheritability:
The rule must be able
through
to
be
inherited
generations,
and
it
and
is
subconsciously generated by the majority, not
by the minority or specific persons.
-73
-
is
and
nature.
hard
behind
Thus
to
the
I
physical
do
not
laws, building codes or regulations
as rules because of their explici t
which everybody must follow.
possible.
adjusted
in
and
dominance
3
-
2: ON THE DWELLIG LEVEL
3-2-1: Spatial Organization
V
Rule a-1. ACCESS
Each unit should have direct
public
access
to
the
open space. The access will allow the
occupant to identify themself
and
have
the
FIGURE Rule a-1
opportunity to claim his territories.
Rule a-2: BUILT FORM
The built form must be rectangular.
FIGURE Rule a-2
Rule a-3: SPATIAL ORGANIZATION
IN THE
GRID
SYSTEM
The spatial organization and the
~~~VZ1
circulation
system should integrate into geometrical grid
sys tem.
U
w
FIGURE Rule a-3
- 74-
Rule a-4: CIRCULATION
All
circulation
courtyard.
must
The
be
linkage
taken
through
between
a
spaces
surrounding the courtyard is achieved through
a room-like courtyard opened to the sky,
by
a
narrow
not
corridor or passageway. Such a
circulation space provides more flexibilities
not
only
for
movement,
but
also
for
accommodating various activities.
FIGURE Rule a-4
Rule a-5: THE CENTRALITY OF THE DWELLING
The ancestor hall and the courtyard in
of
the
ancestor hall should be conceived as
the center of gravity for
The
huge
the
whole
solid exterior wall, for
is usually employed as a means of
for
the
family
-75
-
The
wall
house.
instance,
protection
from the outside world. The
family activities are
inside.
front
oriented
towards
the
also serves as a symbolic
FIGURE Rule a- 5
representation of the cosmological principles
The
directions.
forms'
of the sequence and
variety
of functions including using them as
sleeping quarters, studios,
for
house should have an inward characteristics:
dinning, etc.. They could all
1) The Central courtyard should be the center
shape,
of family activities.
compounds
articulation
clear
2) There should be a
of
territory.
3)
as
entrance
main
the
(
street
the
than
rather
face
should
elevations
outside ) and use
primary
household,
and
which
each
dimension.
house
more
household
the
of
the
the
a
or
look similar in
may
portion of the compound with its
Building
courtyard
form
storage
For
large
than
one
occupy
own
a
center
activities,.inner courtyard and rooms. But
distribution
of
such
elements
are
according to needs.
medium to communicate with the world
outside.
Rule a-6: FLEXIBILITY IN SPACE FUNCTION
In the Chinese House,
always
reserved
the
central
hall
for ceremonial purposes but
all other rooms can be used for a variety
purposes
depending
moment. Rooms
is
should
on
be
the
able
needs
to
of
serve
of
the
a
FIGURE Rule a-6
-76-
Rule a-7: FLEXIBILITY IN STRUCTURAL SYSTEM
Extreme
structural
flexibility
Preferably
considered.
construction should
types
be
used
be
The main house
a're
should
same method of
south
hill
in the back and overlook
for
the
different
It should also provide
building.
of
the
should
Rule a-9: THE ORIENTATION OF THE MAIN HOUSE
with
water
north-south
a
(
river,
axis
lake
is
perferably
etc.
reinforced
).
face
The
by
the
flexibility for constant changes, renewal and
symmetrical organization of space around
the
addition.
axis.
Rule a-8: RECTANGULAR SHAPE
Form, arrangements, axis are preferably
out at right angles.
axis
edge
avoided in
diagonal
ways.
or
even
the
means
laid
FIGURE Rule a-8
A diagonal arrangement,
walls
layout
slanted
or
etc.,
design,
should be
because
which connotes evil
(the Chinese generally try to avoid any
descriptions
would
which
connotations
in
lead
their
to
bad
literal
pronounc i at ion.)
FIGURE Rule a-9
-77--
primary
The territory must be clear ly demarcated. The
circulation system.
spatial
The interior circulation within each building
outside
and
inside
the
buildings
the
and
quality,
between
is
Rule a-10: THE BOUNDARY OF TERRITORY
between rooms is
territory, must be clearly distinguished.
the
secondary
circulation
system.
Rule
a-11:
CLEAR
DISTINCTION
BETWEEN
THE
nnp~
PRIMARY SYSTEM AND THE SECONDARY SYSTEM
There should be a clear
the
distinction
between
primary system and the secondary system.
FIGURE Rule a- 10
Such distinction should be reflected not only
in the circulation system, but
system
also
in
the
of physical built form. For instance,
the height
of
the
main
house
is
usually
higher than that of houses in the side wings.
circulAtion
3-2-2: Spatial Sequence
RULE a-12: CIRCULATION SYSTEM
The exterior
circulation
within
FIGURE Rule a-12
prwir'
-courtyards
-78-
Rule a-13: CIRCULATION PATH
~
The axial path should be circuitous, although
S
0
all
I
the
primary
spaces
are
symmetrically
arranged along the central axis. For example,
the entrance to the ritual
space, such as the
I
ancestor
* S
zig
*
hall,
must
happen along the axis.
But, to enter the space
the
0
ritual
space,
/
courtyard
behind
the axis shifts, and the
S
FIGURE Rule a-13
transition space is usually
I
I
I
wall
facing
behind
the central entrance.
a
solid
The axis
in the primary spaces can also be shifted
a
variation of arrangement, with a back door
on one side of the
IJ qWZL
passageway
central
FIGURE Rule a-14
-79-
primary space, connecting
the back parts of the dwelling by means of
Iv5
cAMVI
by
parallel
line.
to,
but
a
away from the
Rule a-14: SPATITAL SEQUENCE
form
For the courtyard house:
the whole
Outside -- ) Main entrance -Ritual space -- )
)
Courtyard
j
Courtyard -- )
Living
--
(
spaces
Outside.
Back door --
the
central
dwelling.
system of organization of
The
main
entrance
these primary spaces should be located in the
center
of
the front facade and also line up
along the central axis.
For the merchant house:
Ancestor HAI .
Outside --
Transitional space
Commercial space
Ritual
space
--
( Arcade)
f Transitional
--
Transitional
--
spaceit-space
FaV:17 n--mr
Outside.
A transition space should be
placed
between
Li-#vi ng r-om
two spaces with different characters.
Rule a-15: THE ORGANIZATION OF PRIMARY SPACES
The primary
hall,
formal
spaces,
living
such
room
as
the
ancestor
FIGURE Rule a-15
and family room,
should be located along the central axis
to
and
-80-
symbolizes
reverence
for the ancestors.
In
other words, the spaces right above the nic e
still could be used for another
space
was
*4*
anor niahe
fa-asorplkdes
The
for placing the ancestor plate usually
semi-enclosed
also
1
space.
required
a
and
well-decorated,
place
around
itself
and
for
attaching the symbolic couplets.
IGRe Re
Rule a-16
FIGURE
Rule a-17: THE
INTENSIFICATIONS
OF
PRIMARY
Rule a-16: ANCESTOR HALL and NICHE
SPACES
The ancestor hall always serves
as
a
place
for receiving guest, having family activities
or
praying
more public
to
the
ancestor plate.
relative
to
the
It was
rest
of
the
On the building level:
The following patterns are used to strengthen
the importance of the primary spaces.
1) Locating the central axis:
rooms.
2) Increasing the vertical dimension:
There
are
overlapping
no
on
habitable
the
top
spaces
of
directly
ancestor
hall
within the same dwelling unit, except for the
place for
-81-
praying
to
the
ancestor.
That
-
Interior courtyard ---
The
most
important
building, such as the ancestor hall, was made
higher
in
order
to
signify
its
relative
4) More detail treatment:
To use
more
decoration
to
articulate
the
important spaces.
On the room level:
5)
3)
5) Centering the main entrance doorway:
The main entrance door
located
Cs
cevI~
on
should
be
centrally
the front facade. Such a room is
A
FIUR
ReOo o
always
the
cluster
of
formal
rooms
connection
with
between
the
the other groups of
rooms or courtyard.
On the furniture level:
F IGURE Rul e a-17
~
6)
The
furniture
arrangement
importance. Sometimes, it may be two or three
symmetrical:
stories high.
Such furniture may include the
- The height of the roof --the
height
of
roof
to
To make
use
articulate
the
table,
formal
family
altar
sitting chairs etc., and they
may be the focal part of the activities in
a
particular room.
hierarchies of spaces.
3) increasing the horizontal
of
be
should
dimension:
Enlarging the width of the space.
7) The arrangement of
the
couplet
on
door
panels:
-82-
3-2-3: Space Transition
/
Rule a-18: INTIMACY GRADIENT
Entry --
I
--
Main hall
hall
Ancestor
bedroom or kitchen room
(
I
A high degree of privacy is maintained in the
I
Chinese house. This sequence of
privacy
can
never be converted or confused, which ensures
I
I
S
S
that
anything
FIGURE Rule a-18
J
user
the
without
disturbance
from
can
feel
fully
free to do
any
unexpected
fearing
the outside territory. The
latter the position, the
higher
privacy
it
holds.
OR
Rule a-19: TRANSITION SPACE
There should be a
transition
space
between
the inside and outside. This transition space
FIGURE Rule a-19
-83-
could be a foyer or just the main gate.
Rule a-20: MAIN ENTRANCE
Usual ly, the main entrance
should
1) Location ---
have
a
The main entrance to the dwelling
should
be
a
archi trave
threshold
on
the
and
top
of
at
least
well-decorated
doorframe
to
disti nguish the inside from the outside.
located on the central axis.
2) Form --for
the
Rule a-21:.
entrance. The main entrance should
not
Gates should be
only be located at a prominent position,
but
to the ridge of the pitched
There should be a symbolic
main
should
element
contain a symbolic element, such as a
door panel tablet inscribed
giving the owner's status,
with
characters
(I)
the door panel.
3) Setback ---
set
back
to
create
a
should
transitional
located
on the wall parallel
roof and not in the
gable end wall.
owner's status on
The main entrance to the dwelling
GATE
rim
LhTL
EThI1
be
(3')
centro~
MIG
space
(4)
between the public territory and
the private
territory. It should also manifest a sense of
welcome.
4) Threshold and Architrave ---
FIGURE Rule a-20
-84-
TOTAL PARTITIONING
Rule a-22:
The space may be totally divided without
FIGURE Rule a-21
visual and spatial
linkage.
1) Partitioning elements:
such
as
solid
any
walls,
Solid
brick
partitions,
walls,
panel
walls, etc.,could be used.
2) Position: These partitions should be fixed
and
should
spaces
be
mostly
employed
characters,
heterogeneous
with
functions, or for separating
divide
to
the
spaces
in
the private zone.
FIGURE Rule a-22
Rule a-23: TOTAL
PARTITIONING
WITH
A
DOOR
OPENING
A space may
solid
FIGURE Rule a-23
85-
be
also
partitions,
totally
but
separated
by
there will be a door
opening
to
spatial
continuity. Most general rooms could
provide
optional
be divided in this way.
visual
and
1) Partitioning elements: Solid partitions.
(
necessary.
refer to rule 21 )
2) Position: This type
2) Position: These partitions should be fixed
usually
be
and mostly used to
similar
characters
different
divide
the
spaces
with
characters or functions, or spaces
used
to
of
partition
should
divide the spaces with
or
functions,
or
to
subdivide a room.
in the private zone.
Rule a-24: PARTIAL PARTITIONING
A
space
may
be
partitions
divided
in
order
by
to
moveable
"
provide
some
flexibility and a higher degree of visual and
spatial
linkage, access to
adjacent
spaces,
Ige
p
i-F'ji!
or some ventilation and natural
1)
Partitioning
partitions,
such
in
the
Ko-Shan " (y'
,1 il
elements:
I i
|i
Moveable
as folding screen, screen,
door-like or window-like
void
light.
upper
partitions
part,
which
with
a
we cali
"
FIGURE RuIe a-24
(U!oe
COwh)
) . These par t i t ions coul d be
entirely removed to make a
large
space,
if
-86--
Rule a-25: SYMBOLIC PARTITIONING
The space may not actually
Li
only
~ii7- ~,zji
-
i
symbolically
be
divided
divided,
by
"
but
symbolic
partitions " which narrow down the height and
I
the width of the connection.
1)
Partitioning
elements:
This
( $
partition was termed " Chao"
type
).
of
There
are four basic variation.
2) Position: This type of partition should be
used to divide
characters
and
the
spaces
with
functions,
homogenous
or to indicate a
subdivision within a room.
3
-
3: ON THE ROOM LEVEL
3-3-1: Dimensions
Rule a-26: DIMENSIONS OF ROOMS
The ancestor hall should be
FIGURE Rule a-25
- 87-
the
the
largest
in
whole dwelling, in terms of width, depth
and
height.
dominant
It is also located at
the
most
location and has the most elaborate
decoration. If we simplify the dimensions
each
room, we can roughly
dimensions as follows:
of
width of back wall may not necessarily be the
same as
that
of
ancestor
hall,
but
wide
enough to place a family altar table.
r
induce the typical
H
(see Table 1)
Rule a-27: Proportion
Therefore,
we
can
infer
the
general
proportion from rule 25 as follows:
width : depth : height =1 : 1.5 : 1
The ratio of the diameter and the
height
the column is usually around 1:8 or
Rule
a-28:
THE
WIDTH
OF
FIGURE Rule a-27
SOLID
H. D=
~r
:
of
1:13.
WALL
FOR
PLACING FAMILY ALTAR TABLE OR TERMINATING THE
CENTRAL AXIS
FIGURE Rule a-28
The main door to
the
ancestor
hall
should
always be centered at the front side and face
.
directly
the
solid
wall
at
the back. The
v
-88-
3-3-2: Shapes
ON
Rule a-29: SHAPES
Apart from some of the Hakka dwellings
in
found
China in the form of concentric
Mainland
FIGURE Rule a-29
Chinese
circles, most traditional
' -
V
always
are
considered
as
dwellings
a composition of
rectangular shaped spaces. (reference to Rule
a-3)-
/
-k/
f
,
3-3-3: Configurations
Rule a-30: CONFIGURATIONS
2)
1) For the ancestor hall
The
ancestor
"U"-shaped
hall
should
FIGURE Rule a-30
- 89-
be
a
configuration of vertical planes,
which define a field of
inward
always
focus
orientation. This
as
space
well
as
configuration
that
an
has
an
outward
allows
the
space
to
have visual
and spatial
2) On the back wall:
continuity
The back side of the room is
with the courtyard.
configuration
always
with
have
a
"[]"-shaped
one or two doors on both
lateral walls, or with one door on the
wall
only
a
soild wall.
2) For the other rooms
The other rooms
always
3) On the front side
The surface and edges on the front
always
front
of that room, which also define a field
more
are
elegant and gorgeous than those
of the other sides. They
either
side
well-decorated
are articulated
door-like
by
panels
or
of space that has an inward focus but less of
well-decorated brick walls.
an outward orientation.
BAK
3-3-4: Surfaces and Edges
Rule a-31: SURFACES AND EDGES
1) On the side walls and.partitions:
Surfaces and edges
partitions,
the
columns
more
or
on
the
often,
side
walls
and
!I510 WALL
are articulated by
structural
elements
always are engaged in the walls.
which
FIGURE Rule a-31
-
90-
Rule a-32: A PLACE FOR INSCRIBING OR
PASTING
UP THE SCROLL PAIRS OR COUPLETS
There must be some place to inscribe or paste
up
the
pair
paintings
or
of
scrolls,
couplets
on
calligraphic
the
surfaces of
walls.
1) On the back wall:
In the ancestor hall,
most
important
placed
the back
wall.
symmetrically
wall
is
the
those places should be
around
the
ancestor
niche.
2) On the side walls:
They
should
pasting
up
scrolls, or
have
symmetrical
those
symbolic
calligraphic
for
places
or
PitermN
-- c
(courtde)
decorative
paintings
on
the
FIGURE Rule a-32
columns or walls.
FRONT
WALL
3) On the front side:
The
places
for
those
things
located around the door-frame.
are
always
RULE a-33: COLOR
Chalky, garnet and green
paint the building.
-91-
could
be
used
to
3-3-5: Openings
Rule a-34: OPENINGS
The openings always are within the
enclosing
planes of a space, and they are rarely locate
along
one
edge
or
at
a corner of a wall.
Besides, being rectangular
still
are
a
lot
of
in
shape,
variations,
there
such
as
circle, semicircle etc.. But, the rectangular
shape is popular, and their
dimensions
also
contrast with those of walls, that is to make
it
smaller.
Most
openings
are
usually
reinforced with a heavy frame.
3
-
4: ON THE FURNITURE LEVEL
Rule a-35: THE ARRANGEMENT OF FURNITURE
All
the furniture should
be
placed
the wall and arranged symmetr ically.
against
I
AIR~%CflOLIS -IFA
2 2'10 ;"';S
sAMLf
ALAs
N
s
5-"O()L
6 TFA A11
N
PAW(,
77ALRCst T
J*ST
'
'Rwf
O
L.(SET
Foor sTO(x
1O*A~fR
FIGURE Rule a-35
-92-
Rule a-36: FAMILY ALTAR TABLE
Rule a-39: CHINESE STOVE
The family altar table and eight-person table
The Chinese stove should
associated with the drum stools should always
openings
be placed in the ancestor hall along the wall
a good condition for ventilation.
be
closed
to
of kitchen room in order to provide
facing the main entrance.
Rule a-37: TEA-POT TABLE
The Tea-pot table
between
formal
should
always
sitting
chairs,
be
placed
rarely
in
FIGURE Rule a-34
front of these chairs.
Rule a-38: BED
The bed
always
and
be
table
in
the
bedroom
Veyttilatiort
should
placed on the transversal axis of
bedroom and opposite
each
should
to the direction of the
be
parallel
other.
The
bed
ridge or beams.
FIGURE rule a-39
-93-
the
CHAPTER 4: THE SELECTED RULES and PHYSICAL PATTERNS----94
4 -
1: INTRODUCTION---
4 -
2: ON THE DWELLING LEVEL-
-----------------------95
4-2-1:
Spatial
Organization
4-2-2:
Spatial
Sequence
4-2-3:
Space Transition
4 -
--
-
----
4-3-2:
Shapes
-
4-3-3:
Configurations
4-3-4:
Surfaces and Edges
4-3-5:
Openings
ON THE FURNITURE
-97
-
98
----
4:
-
----------
Dimensions
4 -
95
-
------
4-3-1:
-
-------
---
3: ON THE ROOM LEVEL
-
----
-
99
-
100
----
-100
-
LEVEL
----
-
-
-------
99
-
0
-- 101
--- 101
-- 94-
4 -
4-2-1: Spatial Organization
INTRODUCTION
1:
Rule b-1: ACCESS
In this chapter, I attempt to make a new
of
set
rules, on which the design will be based,
by implicitly selecting or
transforming
the
relevant traditional rules, and by implicitly
some
borrowing
contemporary
That
that
or
perfect
required,
context
not
does
new
mean
from
conventions
and
that
further
building
any
study
the
codes.
decision is
is
Each unit in
have
its
the
public open space or
entrance
an
inner
logic
hall.
2:
identification
territory.
not
and
ON THE DWELLING LEVEL
FIGURE Rule b-1
--95-
The
to
a
common
should enable the expression
consi stency.
4 -
should
apartment
main entrance open directly to the
but means only that these selected
rules are derived from
walk-up
and
the
commonly
shared
hall
entrance
of
the
control
user's
of
his
Rule b-2: BUILT FORM
for the whole dwelling.
The same as rule a-2.
2) There should be a
Rule b-3: SPATIAL ORGANIZATION
IN
GRID
THE
SYSTEM
clear
articulation
of
territory.
Such centrality is very important
for
occupants
the
existential place.
to
identify
their
(* 1)
The same as Rule a-3.
Rule b-6: FLEXIBILITY IN SPACE FUNCTION
Rule b-4: CIRCULATION
The central public
The major circulation path should be
a
centered
mostly
space
for
used
through
family
activities.
which
could
could all
The
living
combination
living
living
a
variety
the
dwelling,
room,etc.,
of
purposes
the needs of the moment.
look similar
in
shape,
is
They
form
and
dimensions.
characteristics:
1)
on
in
inward
have
should
house
The
the
always reserved for
depending
Rule b-5: THE CENTRALITY OF DWELLING
be
space
Rule b-7: FLEXIBILITY IN STRUCTURAL SYSTEM
room,
room
or
some times
and
dini ng
could be conceived as the center
of
a
The same as rule a-7.
room,
gravity
-96-
Rule b-8: RECTANGULAR SHAPE
the
The same as rule a-8.
system of physical built form.
circulation
system,
but
also
on
the
Rule b-9: ORIENTATION
4-2-2: Spatial Sequence
All the spaces around the public space in the
dwelling
point
should
create
an
internal
focal
but also should have a strong sense of
orientation towards the connection
exterior
space.
dwelling.
(* 2)
with
the
This outward orientation of
Rule b-12: CIRCULATION SYSTEM
The primary circulation system should have
direct
connection
the dwelling.
is
the
with
the public space of
The connection
secondary
a
between
circulation
rooms
system which
should be distinguished from the primary one.
Rule b-10: THE BOUNDARY OF TERRITORY
The same as rule a-10.
Rule b-13:
CIRCULATION PATH
The central axis of the dwelling
Rule
b-11:
CLEAR
DISTINCTION
BETWEEN
vertically
PRIMARY SYSTEM AND THE SECONDARY SYSTEM
circuitous.
There should be a clear
the
primary
distinction
distinction should be reflected not
-97-
between
and the secondary system.
only
should
not
THE
Such
on
cut
through
the
whole,
but be
Rule b-14: SPATIAL SEQUENCE
The
outside
Transitional
etc.) ---
--
Main
Space
(Foyer
Public space
Transitional
(Dining
Room
Transitional Space
entrance
--
or Front Balcony
The same as rule a-16, but
the
living
room
could substitute for the ancestor hall.
(Such as Livingd Room)
Space
or
Rule b-16: ANCESTOR HALL and NICHE
--
Private
Bedroom
(Back
Space
etc.)
Balcony
etc.)
Rule b-17: THE INTENSIFICATIONS OF PRIMARY
--4
SPACES
--
The same as rule a-17.
Outside.
A transitional space should be placed between
two spaces with different characteristics.
4-2-3:
Space Transition
Rule b-18:
Rule
b-15:
THE
ORGANIZATION
OF
INTIMACY GRADIENT
PRIMARY
Entry --
SPACES.
Living room
-- )
dining
room
bedroom or kitchen room
The primary spaces, such as th e living
room,
family room or dining room, sh ould be located
Rule b-19: TRANSITION SPACE
along
the
central axis and f orm the central
system of organization of the
The same as rule a-19
whole dwelling.
-98-
4 -
Rule b-20: MAIN ENTRANCE
3:
ON THE ROOM LEVEL
The same as rule a-20.
4-3-1:
Rule b-21: GATE
Dimensions
It is not applicable in this design.
Rule b-26: DIMENSIONS OF ROOMS
It is not applicable in this design.
Rule b-22: TOTAL PARTITIONING
The same as rule
a-22.
Rule b-27: PROPORTION
Rule b-23: TOTAL
PARTITIONING
WITH
A
DOOR
It is not applicable in this design.
OPENING
The same as rule a-23.
Rule
b-28:
THE
WIDTH
OF
SOLID
WALL
FOR
PLACING FAMILY ALTAR TABLE OR FOR TERMINATING
Rule b-24: PARTIAL PARTITIONING
THE CENTRAL AXIS
The same as rule a-24.
The main door to the dwelling
be
centered
at
face the solid wall
The same as rule a-25.
of
-99-
always
the front side and directly
Rule b-25: SYMBOLIC PARTITIONING
the
should
at the back.
The
width
back wall may not necessarily be the
dwelling. The other rooms are
same as that of the dwelling, but wide enough
space
to place the family altar table.
always "fl"-shaped configuration with a
on
any
of
the
wall,
which
door
also define a field of
space that has an inward focus but less of an
4-3-2: Shapes
outward orientation.
Rule b-29: SHAPE
4-3-4:
The same as rule a-29.
Surfaces and Edges
Rule b- 31: SURFACES and EDGES
4-3-3: Configurations
The same as rule a-31.
Rule b-30: CONFIGURATIONS
The public space, such as
always
should
configuration
define
a
of
field
be
living
the
in
vertical
room,
"U"-shaped
a
planes,
Rule b-32: A PLACE FOR INSCRIBING OR
PASTING
UP THE SCROLL PAIRS OR COUPLETS
which
of space that has an inward
The same as rule a-32.
focus as well as an outward orientation. This
configuration allows the space to have visual
and
spatial
continuity
with
the
exterior
Rule b-33: COLOR
it is not applicable in this design.
-100-
Rule b-37: TEA-POT TABLE
4-3-5: Openings
It is not applicable in this design.
Rule b-34: OPENINGS
It could be the same as rule a-34.
Rule b-38: Bed
It is not applicable in this design.
Rule b-39: CHINESE STOVE
4 - 4: ON THE FURNITURE LEVEL
The same as rule a-39.
Rule b-35: THE ARRANGEMENT OF FURNITURE
It is not applicable in this design.
Rule b-36: FAMILY ALTAR TABLE
It should always
be
space,
the
such
as
placed
in
living
room, and should be against the
the main entrance.
-
101-
the
public
room or dining
wall
facing
(1) (reference to "Exstence,
Architecture"
written
by
Norberg-Schulz).
(1) (reference to "Mensch Und
by 0. F. Bollnow.)
Space
and
Christian
Raum"
written
CHAPTER 5: THE PROPOSED DWELLING MODEL for
THE CONTEMPORARY WALK-UP APARTMENT-----102
5 - 1: INTRODUCTION ------------------------ 104
5 - 2: THE GIVEN REQUIREMENTS -------5-2-1: Dwel l ing and Access Types--------------104
5-2-2: The Requirements of Spaces and Functions --- 10 5
5 - 3: THE PROPOSED DWE LL ING MODEL - - ----------- 106
106
5-3-1: Method----------- ------------------------- ------- -------- 107
5-3-2: Support Plan--107
--------------5-3-2-1: Support Plan
5-3-2-2: Dimensional Study - --------------------112
5-3-2-3: The Determination of Access - - - ---- 117
5-3-2-4: Variations of Dwelling Units
within The Support Plan --------------- 18
19
----- - - --5-3-3: Dwelling Units
5-3-3-1: Basic Dwe! ing Units -- ---------.--119
-- 120
5-3-3-2: Variations of Dwelling Units ---- - --5-3-4: Examples
- - -- --.----------- 121
121
- ------------ - ---5-3-4-1: Type A -124
-- -----------5-3-4-2: Type B
5-3-4-3: Sections of Type A and Type B --- --- 127
- 5 - 4: Discussions
5-4-1: Support Level -- 5-4-2: Dwel i ng Level ---5-4-3: Room Level - - - -
-
----
-
- -
- - - ---
--
- -
- -----
- -
- - -- --
128
-------
---
-
-
128
-129
- 102-
organization of forms and spaces,
5 -
1:
from
I
not
start
INTRODUCTION
have
developed
rule
system.
Before
functional
program,
but
from
an
architecture image.
bring all those rules together
to
beginning
a
a
in order to make new dwelling types, we
must
Before I move to the physical design, I would
know
about
the uses that can be made of the
like to make some assumptions , on which
Therefore,
spaces.
we
proposed
analyzing
the
the
with
start
will
dwelling
model
will
be based, to
capacity of various spaces on
limit the scope of this study
various levels by investigating in what
a
ways
given space can be used or inhabited. Once
1. It is assumed that these formulated
we are
familiar
with
such
capacities,
should
be freely able to deploy those spaces
rules
we
and
patterns
are acceptable in terms of the
contemporary context.
on a higher level according to the rules that
we already made, because we already know what
uses or functons could be
allowed
in
2. It is also assumed that
various
units
in
dwelling
those
be
accommodated
an
apartment
spaces.
complex, which will create a
variety.
begin
with
However,
wide
range
of
this need not necessarily
the
Therefore,
I
actually
arangement
of
furniture and lead toward the
be the case and hence cannot be a accepted as
a rule.
-103-
3. It is assumed that apartments be developed
in such a way that various groups
of
5 -
2: THE GIVEN REQUIREMENTS
people
with various backgrounds can be accommodated.
5-2-1: Dwelling and Access Types
4. It
of
is assumed that the
four-story
limit
Since this study
apar tments
is
an
appropriate
way
the
personal
connection
height
deal
with
walk-up
the access to each dwelling unit
between
on the upper floors
building
to
to
apartments,
express
is
should
rely
on
stairs
and the health of a people.
rather
(* 1)
A:
uYPn
than
equipment, e.g.
However, there are
types
walk-up
in
instance,
1
mechanical
elevators.
gallery
1
on
we
with
in-between
stairs,
may
use
an
commonly
interior
as
apartments
an
other
(*
access
2).
exterior
For
public
shared stairs, or an
corridor
access.
with
According
open
to
the
previous rules, I should limit this study
or
OR:- 7e eo&roIPlAfkd,
FIGURE
42
Ryoft er C
.0~-P t0±th tf'fm
to
the following access types
(Figure 42).
it
not necessarily be
also,
however,
need
accepted as a rule that we have to
But,
strictly
fol low.
-104-
Different
Functions
and
The Minimum Dimension
TABLE 2
5-2-2: The Requirements of Spaces and
(The requirements
of Rooms:
Types
in
Area
of building codes in Taiwan)
Unit: o'
Besides the selecte i rules and
we
patterns,
Diimnmo
The Uumber
also
should
abide
the
public
Rel evant
samples
and
requirements
regulations.
building
local
the
by
requirements are listed in tables
housing
the
of
(Table 2
&
of Bedrooms
Studio
1 - 2
2 - 3
3 - 4
3 - 4
Category
Type A
Type B
Type C
Type D
Type E
Living Rm.
12 d
12
14
15
2.7 m
Dining Ra.
6
8
9
10
2.4 .
Living Rm.
16
18
20
22
2.4 a
Dining Ru.
Dining Ba.
Dining Rm.
9
10
12
14
2.1
m
10 (1)
10 (1)
10 (1)
2.7
a
7.5 (1)
7.5
(2)
7.5 (2)
2.1
5 (0-1)
5 (1-2)
5 (1-2)
1.8
m
m
Kitchen a.
Master
10 (1)
Bedroom
3)
Bedroom (A)
5 (0-1)
Bedroom (B)
The
main
entrance
be
should
the
on
to
each
dwelling
unit
Kitchen
front side, never on the
Ru.
4
4.2
4.2
5.5
5.5
1.8 a
Toilet Ra.
+
Bath Rm.
3
3-4
3.4
4
4
1.5 '
1.35
1.35
2
2
3.5
5
6
3ath
lateral sides or
the
back
side.
For
menion
all
am.
3torage Rm.
0.9
m
Living Rm.
those
types
of
access directly lead to the
2.7 .
18
Dining R..
3edroom
center of the dwelling.
It
simply
disobeys
Footnote:
rule b-14: Spatial Sequence.
TABLE 3
The number of (0-1)
The
or (1) stands for the number of rooms.
Minimum Heights in Various Rooms:
Room
Footnotes:
Living 3paces:
Non-living
- 105-
---
-sn"o-
- -
-
---
W
N 4100
Bedroom. Living Room.
Kitchen Room. Dining Room,
etc.
3paces:
Toilet, Bathroom.
.torage Room.
Staircase. Corridor,
Balcony, Basement, etc.
Height (cm)
Living Spaces
260
Non-living Spaces
240
The Bottom Edge
of Beam
Mezzanine ae a18
Living Spac
Toilet with a
ceiling ._210
210
8
5 -
3: THE PROPOSED DWELLING MODEL
5-3-1: Method
which
a
a
as
An ideal methcd should serve
method
The
decision-making process
identify
of
task
theme--. The
Ih.arvelant
.relations- among
them.
employ a zoning
system,
among
a
as
method,
those
on
can be explicitly made, and
design
which should be able to reflect the
rules.
base
is
selected
back-and-forth
a
design
between
and
thematic design is to
and
elements
I
Here,
based
on
intend
the
the
to
SAR
base, where all the relations
identified
elements
can
be
"A zone distribution is
and
system
of
zones
margins, the relative positions of which
follow certain conventions".
MC---
An alpha
intended
zone
is
an
internal
area,
for private use, and is adjacent to
an exterior wall.
---
A
beta
zone
is
an
internal
area,
intended for private use, and is not adjacent
to an external wall.
r ---
A
gamma
zone
can
be
internal
or
external but is intended for public use.
6 ---
explicitly located.
a
delta
A
zone
is
an
external
area
intended for private use.
Here, two types of
developed
to
be
distribution
zoning
bases
variations can be made.
on
which
are
a lot of
Margin --zones,
A margin is an
area
between
two
with the characteistics of both these
zones and taking its name from
them.
(*
3)
-106-
TYPE A:
C/A
( 120
0( 300
co
at S 1'20
C 30
120
210
120
3
0 GO
OL
120
I2O"
am
THE GROUND FLOOR and THE FOURTH FLOOR
120
THE SECOND FLOOR and THE THIRD FLOOR
CA
0( 300
120
210
ot
r
120
360
(1) PERFORMANCE RULE
(* 4)
90
/W0
In
THE SECOND FLOOR and THE THIRD FLOOR
every
zone
distribution
three
primary
positions can be distributed:
TYPE B:
Position 1:
>
0(3
Ix0C^
O. 300
ot-o lA0
The minimum depth of a space is the width
one
zone
and
of
maximum depth is the width of
the zone plus the two adjoining margins.
120
THE GROUND FLOOR and THE FOURTH FLOOR
-107-
Special purose spaces (* 5) , such as bedroom,
study room, guest room, master bedroomm,etc.,
will be usually be located in position 1.
position 2:
The minimum depth of a space is the width
the
plus
zones
between them.
the
the margins
of
width
The maximum depth is the width
zones and the margins.,
of the
POSITION
ancestor
family
hall,
room,
1
room,
General purpose spaces, such as living
-
of
etc., will be
0(
located in either position 1 or position 2.
position 3:
Ox
The maximum depth of a space is the width
of
the margin.
POSITION 2
kitchen
Service spaces, such as
room
and
room,
bath
toilet room, etc., will be located
in position 1 or position 3.
All these positions conform
performance rule
Spaces always
I
to
the
in
0(
general
(* 6):
ejd
=
oL
a
margin
where
structural components will be placed.
the
POSITION
3
--108 -
5-3-2: Support Plan
3400
30o
A9
480
500
4A0
300
41
00
5-3-2-1: Support Plan
s-3
TYPE
A-
SUPPORT PLAN
Scale:
1/200
Ur0
TYPE B -SUPPORT
-109-
PLAN"
Scale:
1/200r
1
M
.5 ~L
2
Il IrI
TRANSVERSAL SECTION
FI-
0
4.'
BAse-
11
I1011111111
~ll
ifi
~I
'1
Scale: 1/200
-110-
/'0o
90
r o-
LATERAL SECTION
-111-
/8o
IA-
Scale:
15ct10
1/200
zo '2
150
1o
360
/20
oc ev
Z/o
/20
300
.
/20
5-3-2-2: Dimensional Study
Go
J~a
~o
0
--
6'
a
K
Mo
'- 95
2-2
A.~
90
120
A45
2857
E~
0
X)
0A
IwI
GENERIC DIMENSIONS
- 112-
3040
WIDTH
300
3500
300
300
Sca
0o
-113-
0100
o00
4AO
480
DEPTH
Scale:
1/200
OLC
711W
-114-
PREFERRED DIMENSIONS and AREAS
ILLUSTRATIONS
Single bed
According to rule b-6
o
o
on(
O
Din ing Room
D
0 Furniture
EOD
TI"
I
So
Dining Room
function) ,
intend
to
appropriate dimensions for
will
Double Bed
I
(Flexibility
adopt
certain
search
each
degree
terms of the function of
in
space
for
room
which
flexibility
each
room
an
in
(Figure
Washing Equipment
43).
Wall Closets
Partition
Stairs
Toilet
C
Each space
will
classification
Family Altar
be
of
categorized
large,
under
medium
the
and small
space by indicating the range of the
minimum
Table
and maximum dimension for each type of room.
o
0 Kitchen Equipment
Sofa
1. Large space is a space intended to be used
as living room, family room, etc..
Table
2. Medium space is a
used
etc..
-115-
as
master
space
bedroom
intended
to
be
and double bedroom
3. Small space is a space intended to be used
as single bedroom and
kitchen
toilet
room,
room with a bathroom, etc..
flexibility in the usage of space.
a
create
will
requirements
These minimum dimensional
The large space should be able to accommodate
its own activities and the activities of
spaces.
smaller
The
smallest space should
its
also be large enough to accommodate
possibile
activities.
In
other
be
large space should be able to
into
medium
the
words,
own
a
subdivided
a medium space and a small space, and a
space
should
also
be
able
to
be
subdivided
into
a small space and a utility
so
that
the
space,
flexibility
will
be
provided by such classification.
- 116-
5-3-2-3: The Determination of Access
Scale: 1/400
29-.2
If the total floor area on each floor is less
than 400 m2, it requires a minimum of a common
stairway as access to the ground.
(required
by Building Regulations).
2. Thus, the
common
maximum
stairways
distance
between
two
in this design is fixed at
28.2 m.
3. A common stairway with adjacent
which
located
both
in
the
galleries
second and the
third floor can serve four dwelling units
each floor.
-117-
on
4-k
2~.2/~A
5-3-2-4: Variations of Dweling Units within The Support Plan
TRANSVERSAL SECTION
Scale:
PRIMARY CIRCULATION
1/400
Common Gallery
Common Stairway
SECOND ARY CIRCULATION
A
Extra Stairway
Variations of Dwelling Units
LATERAL SECTION
1. Common gallery at the
second and third f l oor
will serve as access to
the upper floors.
2. Should unit(s) created
on the fourth, an extra
be needed
stairway will
the
as access between
third and fourth floors.
(Relevant rule: b-1)
Two-Story-Unit
All One-Story-Unit
Two-Story-Unit
Occurring at
Occurring at
The Upper Floor
The In-between Zone
-118 -
5-3-3: Dwelling Units
BASIC DWELLING UNITS
5-3-3-1: Basic Dwelling Units
0 FLOOR PLANS
1. We may construct a three-story-unit
or
a
IL
two-story-unit.
2. There are
many
possibilities
of
making
Three-Bay-Unit
various
combinations
of
would like to limit the
and
the
height
dwelling units.
maximum
of
floor
dwelling
I
unit
can develop
Two-Bay-Unit
area
to
*
two-story-unit with three three bays.
3. Thus, morphologically,I
One-Bay-Unit
SECTION
three
basic dwelling types.
4.
The
combinations
horizontal
dwelling
119-
variants
unit
with
beteen
can
vertical
create
variance.
and
different
Two-Story-Unit
One-Story-Unit
with a Mezzanine
One-Story-Unit
5-3-3-2: Variations of Dwelling Units
VERTICAL VARIATIONS
3-Bay-Unit
HORIZONTAL VARIATIONS
2-Bay-Unit
Dwelling Unit
1-Bay-Unit
0
.4 J
AA
,:E j
0
4-1
-120-
5-3-4: Examples
.5-3-4-1:
Type A
480
480
/IA
^
CI-
4
^AoC/^
(J
0
0
cN4
~0
0
~-r ~
N
LOWER FLOOR
TYPE A --Scale:
-121-
ONE-STORY-UNIT with ONE BAY
1/200
TYPE A ---
UPPER FLOOR
TWO-STORY-UNIT with ONE BAY (OR MEZZANINE)
cav'.
4AP
TYPE A ---
30
ONE-STORY-UNIT
4~o
3oo
TYPE A ---
480
.300
490
300
TWO-STORY-UNIT with TWO BAYS (OR MEZZANINE)
with TWO BAYS
LOWER FLOOR
Scale:
1/200
UPPER FLOOR
-
122-
0'
CL"
OR
-(!
TYPE A --TWO-STORY-UNIT
with THREE BAYS
(OR MEZZANINE)
-123-
0
'N
-N
5-3-4-2: Type
T
B
460
4~o
410
up
LOWER FLOOR
TYPE B ---
ONE-STORY-UNIT
TYPE B ---
UPPER FLOOR
TWO-STORY-UNIT with ONE BAY (OR MEZZANINE)
with ONE BAY
Scale:
1/200
-
124-
AA
300
0040
300
4AO
300
o
L- --TYPE B ---
ONE-STORY-UNIT
WITH TWO BAYS
Scale:
-125-
1/200
TYPE B
LOWER FLOOR
4A0
300
o
ES
TWO-STORY-UNIT WITH TWO BAYS (OR MEZZANINE)
UPPER FLOOR
t
0
)
C4
N -04
OL
C
0
N
TYPE B ---
ONE-STORY-UNIT with THREE BAYS
LOWER FLOOR
N
0C
OR
cGL
)
04
0
Scale:
'N
1/200
UPPER FLOOR
TYPE B ---
TWO-STORY-UNIT with THREE BAYS (OR MEZZANINE)
-126-
5- 3-4- 3 : Sections of Type A and Type B
of Type A and Type B
5-3-4-3: Sections 0CY
cx.
I
I
I
I
I
I
I
*
I
I
I
r
I4
Ii
OFL.N
I
I
i
______
I
3
-5
-v
IE
II
Scale:
I
I
I
I
I
I
I
I
L
i
I
I
-
*
I
I
I
*
I
I
rn~w~ !~Trn~
6-127-
Th
204F L.
I
-I
i
/.
mu
W"
I
I
-
U
I
J
I
I
-
LI ~
I
II
I
5 - 4:
DISCUSSIONS
This is a review
of
Disadvantages:
the
proposed
dwelling
model
a) Construction cost:
The construction cost might be
increased
by
the split level public gallery.
5-4-1: On The Support Level
Advantages:
a) Neighborhood interaction:
5-4-2: On The Dwellin g Level
The neighborhood interaction can be increased
Advantages:
by means of the public gallery.
a) Flexibility:
b) Privacy and territory demarcation:
The marginal space allows
The privacy of
each
maintained
a
by
split
public gallery and the
the
same
time
dwelling unit
dwelling
the
is
unit
level
can
between
habitable
floor,
be
the
at
private balcony of each
treated
as
a
the
territory;
changed
therefore,
over
time
on
the
the
space which demarcates the private territory.
a) Circulation:
c) Flexibility:
A longer circulation path is
Since the concept of support system caters to
layout
the demand to different floor plans,
entrance at the sidewall.
range of variations can be accommodated.
house
basis
can
of
be
the
specific requirements.
Disadvantages;
wide
to
change the arrangement of spaces within their
transition
a
occupants
as
compared
to
the
implied
in
the
layout with an
b) Public spaces for fami ly activities:
-128-
Because the living room will be
by
the
path,
circulation
the
cut
through
need
for a
c) The conflict between circulation
for
thus
generating
the
only
designed
for
a
specific use at one time, but also to be used
movement
and activies in the living room:
room,
a) Floor:
Because a room is not
larger area would be required.
All movement has to pass through
Disadvantages:
living
the possibilities of
other
uses or be subdivided at another
time, the need for larger
areas
under
each
room category would be required.
conflict. The conflict will be sharpened when
there is a guest in the living room.
5-4-3: On The Room Level
(1) Reference to "Pattern Language" written
by Alexander.
(2) referrence to the Japanese architecture
information book vol. 1, p 122 - p 123.
Advantages:
a) Flexibility:
All
the
categories
by
spaces
grouped
into
the
range
dimensions,
of
thus
minimum
enabling
flexibility in the function of room.
-129-
three
of large, medium and small spaces
indicating
maximum
are
and
a
(3) Referrence to "Variations"
Habraken, p 53 - p 55
(4)
by
N.
J.
Referrence to "Variations" p 62 - 64
(S) 5. The definitions of special purpose
space, general purpse space and service space
are different from those of the catagories of
to
2,
referrence
in
chapter
rooms
"Variations" p 57)
CHAPTER 6: CONCLUSION----- --------------------130
6 -
1: CONCLUSION---------------------------- --- 131
6 - 2: THE IMPLICATIONS for FUTURE RESEARCH----133
-130-
6 -
1: CONCLUSION
fuse
the
traditional
ideas
contemporary context, and how
It
is
undeniable
that
the
entire
social
into
to
the
develop
a
contemporary Chinese dwelling in Taiwan still
leaves room for exploration.
structure
in
tremendous
change
economic
years.
that
Taiwan
due
development
The change
it
has
not
The
undergone
to
in
has
the
the
been
constant
last
so
thirty
widespread
everyday
change
will
refer
religious
to "ph.D.
Liu, 1980)
surely
go
on,
consider adaptati on
belief.
(Readers
can
The r elat ionship between old
and
the apartment buildings
in Taiwan, which have adopted an overwhelming
Western
reflect
-131-
style,
it.
have
Thus, the
failed
completely .to
question
of
how
to
imported
the different contexts from
derived;
changes
and
mind.
however,
seems
family
emperor
are
necessary
to
if we have tradition in
courtyard
house
doctrines
depicted
family
of
with
a
Confucianism,
structure
subsys tem of 'the dictative political
which
they
symmetric al axis was actually created
on the basis of
which
it
which
For exampl e, the well-organized layout
of the traditiona l
strict
built
are heterogeneous in nature because of
its
Dissertation by John K. C.
new is so subtle that
forms
of
sense of tradition conveyed through living
style and
As we know, traditional
lives
however, one still feels among these
a
a
only affected traditional
values but also the
people.
has
means,
was
to
the
as
a
as
a
system,
status of the father in a
important
dynasty.
as
that
of
the
Such a rigid layout
for the Chinese dwelling, no
matter
how
we
look at it in terms of the concept of spatial
organzation
attending
only to trivial
details, such as decorations.
or the social concept, would not
exist in the twentieth
still
means
expression
century.'
Unless
we
insist on the kind of life-style under
To summarize my arguments:
1. In the process of selecting
a
meaningful
the hierarchy of the Chinese family structure
pattern,
with the supremacy of father, we do not
or reject tradition, but whether the attitude
any
reason
have
to insist on the rigid layout of
"Syh-Ho Yuan".
symmetrical
It does
layout
is
not
mean
that
inappropriate,
simply implies that we should not
adopt
a
the issue is not whether to inherit
toward tradition is rational.
What
I
would
like to encourage is a rational attitude.
it
the
2. Under the principle of
free
choice,
the
layout without questioning its origin and our
popularity of any timeless pattern will never
intent.
be eliminated in a rational manner.
As a matter of fact, the concept of
symmetrical
layout has been
widely
accepted
if the sense of monumentality is intended.
3.
The process of
style
is
In architecture, traditional moral values can
Architects
only be expressed in physical forms, however,
residents.
it
is
rather
superficial
if
a
concrete
formulating
gradual
cannot
and
impose
architectural
accumulative.
patterns
on
It takes continuous searching for
the architects from the past and the present,
-132-
to
form
purpose
participation from residents,
with
together
is
pattern.
architectural
any
to
feasibility of
the
address
My
whether traditional patterns could be applied
to
to the contemporary context, and
design
rational
a
propose
further
research
and
2. The Support Model
Since
the
and
socio-cultural
environment
also
this
6 -
2: THE IMPLICATIONS for
forms
zoning
(including
sector analysis ),
issue,
not explored in this study.
It appears necessary to study the
of
living
constant
important
transformation is another
was
physical
to
adaptable
both
is constantly
physical,
transforming, how to make a
which
method.
context,
environmental
capacities
analysis
and
the support structure, and
FUTURE RESEARCH
in
the infill components
1. Adaptation
As the emphasis
formation
support
of Traditional Patterns
of
this
of a model,
study
is
on
the
model that can
order
to
make
a
be changed over time
to meet occupants' in-time requirements.
I am aware of the fact
that the study has not addressed the
problem
3. Surrounding Context
of how to adapt traditional patterns into the
I did not discuss how to
contemporary
site for the proposed dwelling model, neither
adaptation
context.
The
is nevertheless very
and calls for further studies.
-133-
issue
of
important,
did
I explain
how
select
a
specific
to plan a neighborhood,
which is feasibile in my conceptualization.
4.
of
Evaluation
and
Process
Design
is
theme
is
should
made,one
(to see if
evaluate the entire design process
the
consistently reflected in the
design), and the
environmental
quality.
A
set of criteria for a good living environment
is
needed
,
which may contain issues like
the sense of territory,orientation,
identity,
us
the process of physical
understand
environmental transformations, which in
Environmental Quality
Once the dwelling model
help
convenience,
will
serve
in
developments
The
power
a
as
of
knowledge
transformational
turn
good predictor for future
the
physical
environment.
prediction, together with the
about
processes,
important areas of research
environmental
is
the
very
in architecture.
privacy,
accessibility
and
safety.
5.
Research model
The physical environment is a
of
the
representation
socio-cultural context.
The changes
in socio-cultural context will also result in
the
transformations
environment.
A
model
interactive relationship
of
the
which
between
physical
studies
them
the
will
--134-
BIBLIOGRAPHY
1. On Theory and Mothodology
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J
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%t~
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TT
,Z)AU _& Z
f ft
fl' )L=
I!- ia
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tI]
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31)
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-
Hsia, Cu-Chiu, "The Restoration of The Lin Family Garden
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RESOURCES OF ILLUSTRATONS
From (18)
Fig. 22, p. 31
Fig. Rule a-35, p.25
From 19)
Fig. 2, p.138
Fig. 10, p. 99
Fig. 18, p. 139
Fig. 20, p. 138
Fig. 27, p. 250
Cover, p 169
From (31)
Fig. 24, p. 86
F'rom
Fig.
Fig.
Fig.
Fig.
big.
From
From (24)
21)
13, p. 86
16, p. 86
42, p. 207
Rule a-24, p. 261
Rule a-25, p. 301
(22)
Fig. 3, p.
67
Fig.
1, p. 75
From (25)
Fig. 4, p. 46
Fig. 5' p. 46
Fig. 6, p. 46
Fig. 7,
46
Fi g. 8, p. 46
JFrom (23)
From (27)
Fig. 21, p. 79
Fig. 25, p. 79
Fig. 26, p. 79
Fig. 43, p.
Fig. 44, p.
4
6
From 29)
Fig. 19, p. 62
-140-