The document discusses how vernacular architecture in Suzhou influenced the design of Suzhou Museum. It conducted a case study of Suzhou's traditional architecture elements like Siheyuan courtyards, white walls and tiles, and classical gardens. The museum's design adapted these elements through its layout arranged around courtyards, use of materials like white walls and gray tiles, and inclusion of a garden with a lotus pond and bridges emulating classical Suzhou gardens. The spatial planning and form of the museum also took cues from Siheyuan with areas of varying privacy and an entrance facing south. Overall, the document examines how understanding local tradition helped the museum design incorporate vernacular elements in a contemporary way that remained contextually appropriate

1. SUZHOU MUSEUM IN
JIANGNAN,CHINA
THE APPLICATION OF VERNACULAR
ARCHITECTURAL ELEMENTS IN
MODERN DESIGN.

2. ABSTRACT
ABSTRACT
BEAUTY
It should be aesthetically
pleasing.
UTILITY
It should be suitable for the
purposes for which it is used.
A study of how vernacular architecture in Suzhou has influenced the design of Suzhou
Museum. The objective of this study is to identify which architectural elements were adapted
in the modern design of Suzhou museum, and how the design responds contextually to the
surrounding site. The methodology used in this study includes an in-depth case study on the
city of Suzhou, an analysis on the design of Suzhou Museum, and to evaluate the vernacular
architectural elements found in the modern design. The general findings of this study show
the relationship of the building to the site, the adaptation of traditional Siheyuan and Suzhou
classical gardens into the modern building. In conclusion, the understanding of the tradition
and culture of a space helps designer to adapt the vernacular design in a contemporary way
without losing its original context.

3. METHODOLOGY
METHODOLOGY
BEAUTY
It should be aesthetically
pleasing.
UTILITY
It should be suitable for the
purposes for which it is used.
Case study: We did an in depth case study on Suzhou, including the location, weather and
local vernacular architecture to further understand the spirit of the place. A case study is
also done on the Suzhou Museum building. Information around the building, the interior
and exterior of the building was collected.
Analysis: Based on the information and data collected from the case study, we analysed
how vernacular architectural elements were adapted in the Suzhou Museum, based on
the spatial arrangement of the building, the structure, materiality and the garden in
Suzhou Museum.
Evaluation: With sufficient information collected and analysed, the evaluation is
constructed to allow us to have a further discussion in order to generate the conclusion
on how the building adapts to its context.

4. INTRODUCTION
INTRODUCITON
BEAUTY
It should be aesthetically
pleasing.
UTILITY
It should be suitable for the
purposes for which it is used.
Vernacular architecture is designed based on the local needs, availability of local
construction materials to reflect the locals’ traditions and culture. The rise of the
contemporary architecture has taken over the vernacular architectural and it gives
importance on the aesthetic more than the local connection which makes them superficial
and soulless. The consideration of adapting vernacular architecture into the modern
design shows respect and contribute to the site context. Suzhou museum is an example
of adapting vernacular Suzhou architecture in the modern building, keeping the spirit of
Suzhou and helps the museum to dwell harmoniously with the surrounding local
buildings.

5. ASIAN ARCHITECTURE | TAYLORS' UNIVERSITY
OVERVIEW
A QUICK
Designed by American Chinese architect Mr. Ieoh
Ming Pei.
Completed in 2016, covering a wide area of 10,700
sqm.
Enjoys over 40 thousand historical and cultural
relies exhibiting to the public.
INTRODUCTION TO THE BUILDING

6. 1. WHAT ARE THE
VERNACULAR CHINESE
ARCHITECTURE ELEMENTS OF
SUZHOU?

7. SUZHOU
a major city located in southeastern Jiangsu Province of East China
about 100 km (62 mi) northwest of Shanghai

8. VERNACULAR CHINESE ARCHITECTURE ELEMENTS
white walls and black tiles classical Suzhou garden

9. VERNACULAR CHINESE ARCHITECTURE ELEMENTS
WHITE WALL
&
BLACK TILES
1. weather
2. enforcement of the government

10. VERNACULAR CHINESE ARCHITECTURE ELEMENTS
CLASSICAL
GARDENS
-Started during the 6th BC (Wu kingdom)
-Royal hunting garden
-Pursue a natural approach to landscape design
-Mimic natural scenery of rocks, hills and rivers with
strategically located pavilions and pagodas

11. GARDEN OF
CULTIVATON
-Features mountain scenery
-Man-made mountains,
artificial waterfall, moon gate
in the wall, trees, lake and
bridges

12. VERNACULAR CHINESE ARCHITECTURE ELEMENTS

13. VERNACULAR CHINESE ARCHITECTURE ELEMENTS
SIHEYUAN
- traditional courtyard house
- allocation of spaces are in relation to the traditional hierarchy in families

14. VERNACULAR CHINESE ARCHITECTURE ELEMENTS
THE ADAPTION OF
+ +
=

15. 2. HOW DOES THE SITE
PLANNING OF VERNACULAR
ARCHITECTURE INFLUENCE
THE DESIGN OF SUZHOU
MUSEUM?

16. SITE CONTEXT
CONNECTING THE NATURE
The manmade lake in suzhou museum
embraces the strong sense of Suzhou natural
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.

17. SITE CONTEXT
URBAN FORM
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.

18. SITE CONTEXT
COURTYARD DESIGN
Courtyard design Suzhou Museum is erected adjacent to the Zhong Wang Fu mansion, built in the
early 19th century. The usage of a courtyard within the museum allows it to blend in with its
surrounding context. 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.
Suzhou museum Zhong Wang Fu mansion

19. 3. HOW DOES THE DESIGN OF
SUZHOU MUSEUM ADAPT TO
THE FORM AND SPATIAL
PLANNING OF VERNACULAR
ARCHITECTURE?

20. SPATIAL PLANNING AND FORM
- Suzhou Museum applies a few characteristics of Siheyuan as evident in the central courtyard as
the primary feature.
- The entrance of Suzhou Museum is south facing with the admission located at the side.
SUZHOU MUSEUM
1. Scholar areas & exhibition halls
2. Song Pavilion
3. Lotus Pool
4. Temporary exhibition hall
5. Museum garden
6. Great hall
7. Entrance court
8. Admission
9. Museum shop
10. Reception
11. Library
12. Contemporary art galleries
typical Siheyuan layout Suzhou museum layout

21. SPATIAL PLANNING AND FORM
Great hall of Suzhou museum resembles the reception hall and floral pendant gate of
Siheyuan, marking the entrance to a more private zone.
floral pendant gate of Siheyuan great hall of Suzhou museum

22. SPATIAL PLANNING AND FORM
Privacy builds up as approaching the inner part of the museum, resulting in the placement of
scholar areas and exhibition halls at the end of the museum.
Exhibition hall

23. SPATIAL PLANNING AND FORM
Suzhou museum experiences a
modification in its overall form as a
result of limitations of boundary
formed by the existing buildings and
landscape.
Suzhou museum
Existing building

24. SPATIAL PLANNING AND FORM
Covered with pitched roofs and two additional octagonal pitched roofs to achieve harmony
with existing buildings.

25. 4.WHAT ARE THE
VERNACULAR
ARCHITECTURAL ELEMENTS
IN SUZHOU ADAPTED IN THE
MODERN DESIGN OF SUZHOU
MUSEUM ?

26. ARCHITECTURAL ELEMENTS
using contemporary materials such as steel structures instead of the
traditional timber structures

28. ARCHITECTURAL ELEMENTS
‘shifting perspective’ was implemented with design geometrical openings
on walls, as to emphasise the importance of nature, so that users can
enjoy the scenery as a painting.

29. ARCHITECTURAL ELEMENTS
Lou Hua Chuang (漏花窗) allow users to have the view vaguely, not only a
glance at the view, but will curious and interested with the scenery
outside.

30. ARCHITECTURAL ELEMENTS
compliment the surrounding existing buildings with the use of colour.
white for wall, gray for roof. The exterior and interior walls were painted
with pure white colour and using gray colour to outline the shapes.

31. ARCHITECTURAL ELEMENTS
The museum was designed with the use of white concrete walls and gray granite to
replace the traditional clay tiles of the roof. The disadvantages of the traditional clay
tiles are the durability and always need to be repaired. While the new gray granite roof
is in robust shape to match with the simplicity and form of the museum.

32. ARCHITECTURAL ELEMENTS
modern architecture materials such as glass and floor tiles was used at
the interior spaces to reflect the beauty of modern architecture.

33. ARCHITECTURAL ELEMENTS
Light can be filtered in through louvered
windows at the apex of the reception hall. The
lofty, angled windows bring the changing skies
into the interior space.
Wooden bars and glass at the ceiling have
been introduced to allow more lights wood
also use to create a warm space

34. 5. WHAT ARE THE ELEMENTS
OF SUZHOU CLASSICAL
GARDEN IMPLEMENTED IN
THE GARDEN OF SUZHOU
MUSEUM?

35. SUZHOU CLASSICAL GARDEN ELEMENTS
- The whitewashed plaster wall with dark grey tiles is the traditional construction of old Suzhou.
- Inspired by traditional Chinese ink painting of abstract overlapping mountain peaks by a Song
Dynasty artist Mi Fu
- The architect came up with an idea for empty wall as a piece of paper and use rocks to c
create an ink painting on it.

36. SUZHOU CLASSICAL GARDEN ELEMENTS
- Suzhou museum's lotus pond are inspired from classical garden.
- The pond's flat surface works like a mirror and seems to increase the dimensions of the
surrouding.
classical garden Suzhou museum

37. SUZHOU CLASSICAL GARDEN ELEMENTS
- Masonry bridge designed without any strong color and intricate details of railings to reflect the
wooden outlines of traditional bridges in Suzhou garden.
- The idea is not to oppress the landscape but rather to be in harmony with it, allowing visitor to
focus on the intricate details of the garden.
classical garden Suzhou museum

38. SUZHOU CLASSICAL GARDEN ELEMENTS
- Overhangs of multi-layered roof of the gazebo emphasised more than most modern buildings
gives a uniquely Chinese feel to the outdoor room.
- The gazebo 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.

39. CONCLUSION
Contemporary architecture does not always have to stand on its own and be a contrast.
With two combine together, the building has successfully interpreted into its context. By
understanding vernacular elements and the spirit of the area, contemporary architecture
can be combined with the site contextually and synthesised into a new language and
order. It is fascinating to see how the two contrary eras can find balance and create a new
perspective in architecture and hopefully that is a possible direction for the future of
Chinese modern architecture.
CONCLUSION

40. REFERENCE LIST
1. The Garden of Cultivation. (2004). Retrieved from
http://www.china.org.cn/english/features/woeld_heritage/99277.htm
2. Admin, A. (2012). The Garden of the Cang Lang Ting (Blue Waves Pavilion) in Suzhou, China
Retrieved from http://annettegendler.com/2012/11/the-garden-of-cang-lang-ting-blue-waves/
3. Classical Gardens in Suzhou. (2015). Retrieved from http://en.g-
photography.net/china/cultural/news_4294.html
4. Suzhou Garderns Museum. (n.d.). Retrieved from http://chinamuseums.com/suzhou.htm
5. The New Suzhou Museum: Bringing Old and New - Beijing Review. (n.d.) Retrieved from
http://www.bjreview.com.cn/blog/txt/2007-12/27/content_92889.htm
REFERENCE

41. REFERENCE LIST
6. Suzhou Museum. (n.d.). Retrieved from https://architizer.com/projects/suzhou-museum/
7. Kothari, R. (2014, October 23). ELEMENTAL EXPERIENCE PEI’S SUZHOU MUSEUM REVISITED
[Web log post]. Retrieved from http://www.uncubemagazine.com/blog/14750609
8. Suzhou Museum: An I.M. Pei Masterwork - Google Arts & Culture. (n.d.). Retrieved from
https://artsandculture.google.com/exhibit/ogLyr9NyQc6tKA
9. Minter, A. (2007, December 19). The Suzhou Museum: Looks Like Masonry … Sounds Like
Fibreboard [Web log post]. Retrieved from http://shanghaiscrap.com/2007/12/the-suzhou-
museum-looks-like-stone-sounds-like-fiberboard/
10. Deitz, P. (2007, September 16). Suzhou - China - Architecture. Retrieved from
https://www.nytimes.com/2007/09/16/arts/design/16deitz.html
REFERENCE

42. GROUP
MEMBERS
BEAUTY
It should be aesthetically
pleasing.
UTILITY
It should be suitable for the
purposes for which it is used.
CHEE JIA XIN 0327392
CHEW RUI BO 0322334
TING XIAO YAO 0328663
LEE SHI YIN 0324679
LEE FEI SYEN 0323008
KANG ZI SHAN 0327605
TUTOR
MR. KOH JING HAO

43. THANK
YOU!