Asian architecture-case-study-paper

ASIAN
ARCHITECTURE
( ARC 60403/ ARC 2234)
Joshua Yim 0317945
Ong Jia Hui 0317752
Ong Min Junn 0317767
Sonia Mancxia 0317751
Tang Wei Xin 0322731
Tay Jit Ying 0319002
Tutor
Ms Alia
Case Study Topic:
The application of
vernacular elements
in the modern
courtyard of Suzhou
Museum in Jiangnan,
China.

1
A B S T R A C T
The Suzhou Museum as a modern icon situated within a vernacular context faces an issue of coping
with modernization without losing the essence of the traditional elements. (issue) With the courtyard
being one of the most significant feature in the traditional Chinese architecture as it is used throughout
many centuries, it is crucial to understand the vernacular elements of these courtyards in a modern
context as it has a strong identity in the Chinese culture and architecture. (objective)In assisting the
validation of research, literature reviews based on various sources regarding courtyard houses were
conducted to enhance the process (methodology) In order to provide a wider variation of research, it is
important to deliberate on contexts that can showcase the true essence of Chinese traditional
architecture while coping with modernization, in which the Suzhou Museum (case study) is taken to
represent the architectural fusion of this old and new. The Suzhou museum adopts the idea of
traditional courtyard in the design in order to suit the typical Jiangnan vernacular architecture. As it is
nested in the middle of a historical old town which is conserved by the local authorities, designing a
contemporary museum in compliance to the local act of conservation would be difficult. Features such
as the materials, spatial arrangement, landscape and building elements are taken into account to
design the building to fit contextually. (findings) Hence, it has come to a conclusion that the fusion of
traditional courtyard and contemporary elements creates a possibility of a modern building to be
erected within a historical context. (discussions and conclusions) It is fascinating to see how the two
contrary eras can find a balance and create a new perspective in architecture.

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I N D E X
Abstract 1
1.0 Introduction 3
1.1 Issue and Objectives
1.2 Overview of Siheyuan 4
- History
- Development , formation and types
1.3 Elements of Siheyuan 4
- Factor in terms of climate and culture
2.0 Methodology 7
3.0 Study Delimitation 9
4.0 Case Study 10
4.1 Overview of Suzhou Museum
- History and Development
- Architect
- Context
5.0 Findings
5.1 The adaptation of siheyuan into Chinese Museums 12
5.2 The modernization approach of Suzhou Museum 17
5.3 The contextual response of Suzhou Museum 22
6.0 Discussion and Recommendations 26
7.0 Conclusion 27
8.0 References 28

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1.0 I N T R O D U C T I O N
1.1 ISSUES AND OBJECTIVES
The emergence of skyscrapers with contemporary designs have been altering the skyline in most of
the cities around the world. In a smaller scale, China itself has been undergoing dynamic changes as a
result of the rapid growth in the economy for the past few decades. The urban pattern of the old China
has experience a shift and is criticized to be homogenous and lack of distinctiveness.
This progressive development that has led to the loss of identity and culture as these aspects were
neglected in the process of urbanization has been a rising concern for the urban planners, architects or
to those that shape the city. In contrary to the architects that are trying to reach for the sky to create
exemplary structures, the Suzhou Museum is built to be iconic yet fit into the context without
disrupting the skyline of an ancient city. As much as it is a modernized building, the essence of the
traditional elements were blended intelligently into the design which pays respect to the Chinese
culture and architecture that was established since centuries ago.
This paper is concerned with the modernization of traditional Chinese courtyard designs in a typical
Jiangnan context that constitutes a set of vernacular elements. This feature is conducive to the
distinctiveness of the traditional Chinese architecture, hence it is a must to sustain in modern China.
In view of the issue, this paper is an attempt to study the application of vernacular elements in the
modern courtyard of Suzhou Museum and to study a better approach for the future development of
Chinese architecture in Jiangnan, China.

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1.2 OVERVIEW OF SIHEYUAN
The history of this housing typology initially developed during the Zhou Dynasty (1122 B.C. to 256
B.C.), and was well developed in Beijing after it became the capital city during the Yuan Dynasty
(1271 A.D. to 1368 A.D.) In the past 3000 years, the siheyuan has accumulated cultural wisdom and
building practices which became the principal building layout for Chinese architecture. Confucianism
which is based on the cosmic order and the hierarchy of superior and inferior relationships, dates from
500 BC respects individualism and emphasizes self-discipline. It has remained a basic ingredient of
the Chinese family and society to this day and had tremendous influences on siheyuan design.
Traditionally, most of the urban houses in China were constructed based on this typology which is a
series of quadrangles or “four-side enclosed courtyards” As the name implies, these courts are inward-
facing houses on four sides which are enclosed by walls. There are two elements in the houses, one is
an enclosed indoor space, and the other is an enclosed outdoor space.
Figure 1.1: A typical siheyuan design.
1.3 ELEMENTS OF SIHEYUAN
The only entrance gate was built at the southeast corner which was the "wind" corner, and house was
made to face the south with the main building on the north side which was believed to belong to
"water" and it is said that it can prevent fire. The Chinese believed that the south facing house
symbolizes victory which is auspicious.

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In relation to the traditional hierarchy in families, the allocation spaces are designated based on the
importance of the member in the family. The master’s room will be located at the The southern row
on the opposite side, those nearest to the entrance gate, were generally used as the study, the reception
room, the man servants' dwelling or for sundry purposes which are less important spaces.
Figure 1.2: A programmatic diagram of a siheyuan.
The courtyard houses stresses symmetry in design which is part of the Confucian ideology. This is
seen in many other ancient constructions including cities, palaces and even tombs. A good example
would be The Forbidden City, the world’s best-preserved imperial palace which was built in a
bilaterally symmetrical way. An axis line is formed in the center which runs along the south-north
direction and the constructions were aligned symmetrically on either side of the axis. This
symmetrical layout further reinforces the relationship of spaces by creating an A-B-C-C-A rhythm.
reception hall/
guest room
male
servant
entrance
study
room
toilet
floral pendant gate
screen wall
courtyard
parents
grand
parents
main room
ancestral
hall
corner
room
corner
room
side
courtyard
2nd
, 4th
sons’
room
1st
, 3rd
sons’
room
daughters & maids
private
domain
public
domain
Back cabinet house
Principal room
Wing room
Courtyard
Inverted room
side
courtyard

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Figure 1.3: Section of siheyuan indicating solid-void relationship and symmetry.
Figure 1.4: Schematic diagram of courtyard house.
The nature of the courtyards enhances the environmental as well as living quality in traditional
housing. This intelligent construction was developed as the ancient Chinese believed that humanity
should exist coherently with nature. The connection with nature is an inherently efficient and
sustainable approach towards the climate. These enclosures serve in temperature regulation and in
ventilating the building complexes. Courtyards in the North are typically open and facing the south to
allow the maximum exposure of the building windows and walls to the sun while keeping the cold
northern winds out.
This common feature of traditional Chinese architecture symbolizes the pre-modern vernacular
housing typology in ancient China. It has led to a better quality of life of the dwellers. To this end, it
is to realize that the contribution of the fundamental nature of courtyards can be promoted in modern
architecture as it demonstrates the essence of the traditional Chinese houses.

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2.0 M E T H O D O L O G Y
2.1 RESOURCES AND MATERIALS
Information collection is conducted by utilizing biographical and historical materials to facilitate the
understanding in respect to the architect, building design and culture background. The searching of
photocopying entitlements is targeted at Jiangnan architecture and Suzhou Museum to limit the field
of research. Internet access was used to study the photos and street views, which are considered as
primary resources to minimize the errors from studying the secondary resources. The review articles
collected from the journal aid in the understanding the cultural background and responses towards the
context.
2.2 RESEARCH METHODS
Case study: Literature search about research field and object. Information was then collected and
classified with respect to the scale of object (e.g. building, site etc.). Fundamental study towards the
buildings is conducted followed by initial analysis of the buildings with respect to the site response,
and design ideology.
Comparison: To understand the connection between the building and site, comparison method is used
to have a clear image of the relationships. By analysing the result of comparison, similarities and
differences may help us to image the intention of design and further investigate the context of the
building.
Analysis: Studied information and data is thus analysed to pursue the depth in studying the objective.
In conjunction with the knowledge of architectural approach and history background, analysis has
been done to prove and establish the statement. While the analysis is supported by significant number
of critical essays.

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Evaluation: With sufficient information collected and analysed, the evaluation is constructed to allow
us having a deeper discussion in order to integrate the conclusions and coming out with
recommendations as a reflection towards the design.

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3.0 D E L I M I T A T I O N S
3.1 INDIRECT ACCESS
The major limitation is the absent of first hand data collection as we are unable to visit the site
personally. There are lack of minute details as most of them may not be captured and recorded
through photographical or literature materials.
3.2 RESTRICTION OF TIME
There are many additional stories written during the established year, part of them was left behind,
while some might have been included depends on the relevant degree of particular articles. In order to
examine an individual work more closely, we have elected to focus on those where the courtyard
functions as either a central theme or an important backdrop.
3.3 TRANSLATED LITERATURE
As the building is located in Jiangnan, China, most of the articles and biographical information are
initially in the language of Mandarin. As such, certain data could not be translated directly and were
described in the other way.
3.4 ABSENCE OF SURVEY
A survey to investigate the choices and thoughts of users towards siheyuan houses was not conducted.
Due to cultural differences, the perception of courtyard houses in Malaysia might differ to the ones in
Jiangnan, China.

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4.0 C A S E S T U D Y O F S U Z H O U M U S E U M
4.1 OVERVIEW OF THE ARCHITECT
Figure 4.0: Sketch of Ieoh Ming Pei
The design of the Suzhou Museum was sparked by one of the senior statesman of modernism, I.M.
Pei. The American architect, who is Chinese-born, conceived the idea along with Pei Partnership
Association to create a new meaningful architectural language for China. The idea is to replace the
current frenzy of instant spectacle (Kothari, 2014) where China is booming with skyscrapers and large
iconic buildings that do not respond well with its context.
Pei’s architecture approaches the surroundings despite being known as a modernist. As for the
museum, he intends to establish a new paradigm of contemporary contextualism in China. In addition,
Pei is a native to Suzhou because of his family’s history that began about 600 years ago in Suzhou.
Hence, he felt it was suitable for him as he was being commissioned to build a modern museum in the
city’s oldest neighbourhood.
4.2 OVERVIEW OF SUZHOU MUSEUM
Suzhou Museum was originally located in the Zhong Wang Fu palace complex of Suzhou which is
one of the national historic landmarks. It was founded in 1960 and has been a highly-regarded
regional museum with a number of classical relics from the Ming and Qing dynasty. The museum has

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then been shifted to the current site which sits adjoining to the Humble Administrator’s Garden and
the Zhong Wang Fu mansion.
The site of the new museum is located at the northeast of the Suzhou’s oldest city and it is famous for
the Jiangnan architecture where buildings had white-washed walls and dark grey pottery tiles.
Figure 4.1: A typical view that is obtainable from any part of the old city.
The Humble Administrator’s Garden is one of the oldest gardens in China, dating back to the 16th
century while the landmarked Zhong Wang Fu mansion has classical structures that date back to the
19th
century. As such, erecting a building in adjoining with both buildings mentioned requires careful
design to complement both buildings and to sit contextually yet being an icon.
4.3 DESIGN APPROACH
The museum has become a building that embraces modern design of vernacular elements. This causes
the museum to stand out however the museum integrates classical elements that allows the building to
sit in the site comfortably. Hence the museum is not just a landmark in Suzhou, but it is also a bridge
into the future for the culture of traditional Chinese architecture (Suzhou Museum, 2015). In order to
achieve its aim, Pei designed the museum with 4 main points:
I. Integration of environment and architectural style
II. Distinctive spatial procession
III. Delicate building materials with elegant interior concept
IV. Maximize natural lighting in indoors

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Figure 5.0 Shaanxi History Museum
5.0 F I N D I N G S
5.1 ADAPTATION OF SIHEYUAN INTO CHINESE MUSEUM
The elements and layout of siheyuan was traditionally used for residential houses in China. However,
this essence has gradually been adopted by other building typology as well over time which includes
but not constrained to buildings such as museum.
5.1.1 Adaptation of siheyuan into Shaanxi History Museum
Shaanxi History Museum (figure 5.1) is a museum located in the ancient city of Xi’an, in the Shanxi
province of China. It is built between year 1983 and 2001 with a building area of 55, 600 square
meters. The building captures the architecture style of Tang Dynasty that goes by “hall in centre,
storied buildings in corners.

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Figure 5.1 Layout of Shaanxi History Museum
Shaanxi History Museum follows by the basic element of siheyuan by using quadrangle as the basic
layout, and follows a central axis symmetrically with obvious principal and subordinate buildings in
order (Overview of Shaanxi History Museum, n.d.) (figure 5.1).
The main exhibition hall takes up the role of a principal room and is located centrally as it is deemed
as the most important space in a museum. This is reflected by having the biggest area and volume
among the public buildings. As per the secondary exhibition halls that acts as the wing rooms, they
are flanked at the east and west as an extension of the main exhibition hall.
The museum conforms to the siheyuan arrangement whereby the staffs of the building goes to the
back of the building, behind the principal rooms. However, the office building is considerably tall
despite not being a main area, to accommodate the vast number of staffs and possibly exhibits that are
office building
research
library
administration
building
exhibition
hall
exhibition
hall
central exhibition
hall
(ancient history
display)
prefatorial
hall
foreign
guest room
VIP
room
main gate
Back cabinet house
Principal room
Wing room
Courtyard
Inverted room

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Figure 5.2 Study area that is being relocated to the back of the building
being stored away. The exterior of the building is also less prominent as it is a staff-only area where
ornaments and refinements are not a priority.
Despite the use of a typical siheyuan layout, there comes a certain change in the importance and
arrangement of spaces in a museum compared to a residential dwelling.
In a traditional siheyuan layout, the inverted rooms are considered as the least important area within
the dwelling. However, the museum elevated the importance of the front part of the building into
serving VIP and foreign guests which is crucial since this is where the first impression will emanate.
The research library which takes the place of a study room, is now deposited at the back of the
building to ensure more privacy and placidity due to the nature of its function. This follows the fact
that the research library is only limited to the staffs and is unsuitable and inappropriate to be placed at
the front of the building (figure 5.2).
Due to the function of spaces and building typology of a museum, the element of a central courtyard
is diminished and replaced by smaller courtyard and side yards.

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Figure 5.3 Layout of Suzhou Museum
5.1.3 Adaptation of siheyuan into Suzhou Museum
As with the Shaanxi History Museum, Suzhou Museum seemingly applies a few basic elements of
siheyuan with the central courtyard being the most prominent trait, and derives a spatial layout and
characteristics of its own (figure 5.4).
A notable change in terms of the typical hierarchical spaces is the relocation of the staff area
(admission) from the back of the building to the front even though it is a staff-occupied space; as it is
a place that serves the visitors as well.
Aside from the changes made in terms of layout due to the functional purpose, Suzhou Museum
encounters a change in its form as well due to the limitations of a boundary formed by the existing
buildings and landscape (figure 5.4). Instead of a full quadrangle as its basic layout, Suzhou Museum
is compelled to have the top right part of its quadrangle chipped off to stay within its site boundary.
1. Scholar areas &
exhibition halls
2. Exhibition hall
3. Museum garden
4. Great hall
5. Entrance court
6. Admission
7. Museum shop
8. Reception
9. Library
10. Contemporary
art galleries
Back cabinet house
Principal room
Wing room
Courtyard
Inverted room
1
2
4
3
56 7
8
9
10

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Figure 5.4 Existing buildings and landscape forming a
boundary for the museum
Figure 5.5 Landscape in and outside of the building is
connected visually
Existing buildings and
landscape
Suzhou Museum Landscape
Unlike Shaanxi History Museum whereby the centre of the quadrangle is occupied by the main
exhibition hall, I.M. Pei abides by the essence of siheyuan by placing a central garden with a slight
tweak on his part. He emphasizes on connecting his building contextually by connecting his courtyard
from the inside to the landscape outside (figure 5.6), forming a balance between the natural and built
environment. This in turn leads to the absence of a complete quadrangle and a typical principal hall as
the importance of courtyard is deemed as the utmost importance by him.
Siheyuan was traditionally applied to the formation of Chinese vernacular dwellings. However, as
time passes by, it is now applicable to various other building typologies, while taking the function of
the building into consideration without losing the essence of siheyuan.

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5.2 MODERN APPROACH OF SUZHOU MUSEUM
5.2.1 Adapting Traditional Garden Siheyuan Elements
With influence of traditional Suzhou gardens, Pei designs the garden within the museum’s courtyard
with modern contemporary vernacular elements such as the zigzag bridge, long corridors, piled
rockery resembling mountains, and water pavilions to translate the spiritual essence of Suzhou
Architecture in a modern approach. His method of connecting the past with his current design can be
seen through multiple elements.
I. Rocks
The garden reflects traditional Chinese landscape painting of Chinese scholar’s through the use of
rocks and water. Private gardens illustrate the sense that integrates the person with nature. It is a
unique method of design, which expresses Chinese philosophy and showed the ability of dealing with
floating space.
Figure 5.6: Mi Fu’s ‘Auspicious Pines In Spring Mountains’ shows a typical painting of a landscape (left) and can be seen similarly with the
placement of the rocks within the courtyard garden.

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Figure 5.7: Light effects at night of the rockery painting allows the wall to be a canvas to the ‘painting’ of the rocks
The whitewashed plaster wall with dark grey clay tiles is the traditional construction characteristic of
Old Suzhou. Pei who was inspired by the traditional Chinese ink painting of abstract overlapping
mountain peaks by a Song Dynasty artist Mi Fu, came up with an idea for the empty wall as a piece of
paper and use rocks to create an ink painting on it. Thus, it incorporates the main element of a Suzhou
garden which is the rocks into an interesting metaphoric approach.
II. Water Feature
A closer look at the features of the Suzhou museum shows the extent to which I. M. Pei borrowed
ideas from the traditional elements of Jiang Nan architecture. Pei made the lotus pond the heart of the
design which directly relates to the traditional elements where the abundant resource in the area was
that the traditional residential houses were built along rivers and water canals.

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Figure 5.8: View of the lotus pond (left) that mimics the importance and ambience of water canals in Suzhou that is mainly affected by
Jiang Nan architecture (right).
The pond’s flat surface works like a mirror and seems to increase the dimensions of the surroundings.
Reflections, along with the bridges spanning the water's branches, serve to make the garden appear
even larger.
III. Cloister
Instead of conventional corridors found commonly in siheyuan, Pei integrates cloister surrounding the
courtyard and serves to link the galleries within the museum. The semi-public space draws the
boundaries between the outer courtyard and the inner courtyard thus offering comfort and privacy to
the visitor in the internal courtyard.
Figure 5.9: First floor plan of the Suzhou Museum.
Corridors that surround
the inner courtyard

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I.M. Pei implemented a ‘shifting perspective’ on geometrical windows within the cloister as seen in
traditional Scholars homes around Suzhou which embarks the viewer on a journey through beautiful
settings inside a painting. Techniques of framing and highlighting are a common greeting throughout
the museum.
Figure 5.10: Corridors that surrounds the courtyard act as viewing points to it (left) as each geometrical window frames each view (right)
IV. Bridge
Inspired by the wooden outlines of traditional bridges, Pei decided to go simple with the approach of
‘less is more’ by designing the masonry bridge without any strong colour and intricate detail of
railings and accents. The idea is not to dominate the landscape but rather to be in harmony with it,
allowing visitor to focus on the intricate details of the garden and immerge oneself in the natural
environment.
Figure 5.11: A view of a traditional zigzag bridge within the Humble Administrator’s Garden (right) and the similar but straightened bridge
within the courtyard garden of Suzhou Museum (left).

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V. Gazebo
The overhangs of the multi-layered roof of the gazebo emphasized more than most modern buildings
gives a uniquely Chinese feel to the outdoor room. The gazebos provide markers in the courtyard and
complete the top with a mast found commonly in Buddhist Shrines. The whole structure holds the true
use of symmetry and contrast in modern approach.
Figure 5.12: Traditional gazebo in a different Suzhou garden (left) and the modern gazebo within the Suzhou Museum’s courtyard shows
similarities of elements but with different materials that define its era.

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5.3 CONTEXTUAL RESPONSE TO SUZHOU MUSEUM
The buildings in the old Suzhou area are all visually similar to each other. They take of the old
vernacular style of houses which key characteristics are its white walls with dark timber columns,
beams and balcony. The usage of a courtyard within the museum allows it to blend in with its
surrounding context
I. Courtyard design
Suzhou Museum is erected adjacent to the Zhong Wang Fu mansion, built in the early 19th
century. As
such, the building serves as a historical landmark and it is important for the museum to be built in
respect of the landmark. Thus, Suzhou Museum’s layout is built similar to the mansion, with both
deriving from a siheyuan layout that focuses on courtyards.
Figure 5.13: Aerial view of the Zhong Wang Fu Mansion that incorporates siheyuan

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In accordance to a typical siheyuan layout, the museum is built with a grid-like pattern surrounding
two courtyards. The idea is to maintain a seamless connection of solids and voids of different
buildings within the same area. As such, the museum is designed to be a part of the old city, being one
of the contributors to the pockets of courtyards.
Figure 5.14: Similar layout throughout the area can be observed as buildings surround their courtyards (left) which are also known as voids
and generally scattered within the area (right)

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II. Garden within a Courtyard
Adjacent to Suzhou Museum is another historic garden known as the Humble Administrator’s
Garden, which dates back to the 16th
century. The garden covers a large area towards the northeast of
the building and holds a large amount of greenery and waterscapes. For the museum to be built in
respect with the 16th
century garden, a traditional Suzhou-styled garden is adapted within the
courtyard..
Figure 5.15: A diagram that shows the connection of water-bodies of Suzhou Museum and the Humble Administrator’s Garden.
The connection between Suzhou Museum’s garden with the Humble Administrator’s Garden can be
viewed from the top or in a plan view where an illusion of both water-bodies are connected or the
water-body of in Suzhou Museum originates from the water-body of the Humble Administrator’s
Garden.

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III. Pitched Roofs
Courtyards of surrounding buildings are encapsulated by solids covered with pitch roofs which
emphasize the void space of a courtyard. In the manner of creating a new contemporary
contextualism, the courtyard of Suzhou Museum is designed to be surrounded by buildings with
pitched roofs as well but with two additional octagonal shaped pitched roofs that allows the building
to stand out slightly.
Figure 5.16: Octagonal pitched roofs of Suzhou Museum that blends well with the pitch roofs in the background
IV. Materials
To be in context with its surroundings, Pei designed the museum with the use of white concrete walls
and dark granite, which replaced the traditional dark grey pottery tiles due to its durability and
enhanced colour when it rains.
Figure 5.17: Roof covered with dark grey pottery tiles with the Suzhou Museum standing at the back, enhanced with the granite tiles.

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6.0 D I S C U S S I O N A N D R E C O M M E N D A T I O N S
Siheyuan was initially built to maintain the privacy for the inhabitants. However, this idea has
unintentionally created a spatial layout with inner facing views to the center. With a central axis that
conforms to the Confucian ideologies, it enhances interactions. This is insightful to the housing design
today as this principle can be overlaid with various paths and circulation to created intimacy of
spaces. The idea of courtyard as a spatial centre acts as a spatial coordinator that can initiate
the design of the building. In terms of functions, spaces and circulations, various
configurations can be made or altered based on this simple concept.
As skyscrapers and office blocks emerge, this courtyard configuration could aid in the clustering
concrete blocks by maximizing the interface of the blocks to form an enclosed area. As such,
greeneries could be introduced and the open spaces and buildings are connected visually and
physically. It is also a practical perspective on small-scale housing.
Figure 6.1: Adaptation of siheyuan in a restaurant setting. The hierarchy of spaces are followed strictly according to the underlying
principles.

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7.0 C O N C L U S I O N
Forming a new architectural language or identity of an area/city does not require a sudden and
intense change of the original language of the context. Contemporary architecture does not always
have to stand on its own and be a contrast. Instead, by understanding vernacular elements and the
spirit of the area, contemporary architecture can be combined with the site contextually. Even if
the context is an old neighbourhood, the elements within are still important to learn from. A
siheyuan layout have been around for centuries but as of this day, it can play a major role in
designing modern buildings as it still holds the essence of Chinese architecture along with its
design purposes. In conclusion, contemporary architecture helps create a new language or image
within an area while contextual architecture allows the language to be accepted and be a part of
the area. With both combined together, a great piece of architecture can be formed.

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8.0 R E F E R E N C E S
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