Xiangshan Campus

XIANGSHAN CAMPUS
Hangzhou, China

Traditional Revival through the Adaptation of
Traditional Chinese Architecture in Modern
Contemporary Design
Xiangshan Campus, Hangzhou

ABSTRACT
Chinese traditional architecture is indigenous to its time and place
which is not replicated elsewhere that allows a higher and more
sustainable quality of life within its contextual residential communities.
Such simple traditions have long been regarded as backwarded, and
have been replaced by half digested, mostly inappropriate
architectural values. Therefore, it is critical to regain those traditional
architecture values in modern contemporary architecture to maintain
the harmony and the unique tradition of the region.

METHODOLOGY
CASE STUDY : We carried out an in depth study on traditional chinese architecture and its
features which includes design elements, construction techniques, materials and how
context and traditional beliefs influence design. We chose a building that adapted traditional
chinese architecture along with modern contemporary design which is the Xiang Shan
Campus as a case study to learn about its design implications and intentions.
ANALYSIS : Based on the information and data collection from the case study of traditional
chinese architecture and Xiang Shan Campus , we analysed how traditional chinese
architecture elements is implemented into Xiang Shan Campus based on the orientation ,
how traditional chinese belief influence spatial arrangement , gable roof , courtyard , exterior
corridor, ideology of moon gate and materiality.
EVALUATION : With sufficient information collected and analysed, the evaluation is made
to help us further discuss to generate the conclusion on how the building adapts traditional
chinese architecture into modern contemporary design.

INTRODUCTION
Traditional chinese architecture has strong emphasis and relationship to its surrounding
context which its form and materiality reflects and responds to it.The local traditions and
culture also influenced the Traditional architecture by determining the spatial arrangement.
Xiang Shan Campus in Hangzhou, China aimed to revive many of the aforementioned
values as a means of preservation. The revival attempt in Xiang Shan Campus was not
only narrowed to recapturing the appearance and elements of traditional chinese buildings,
but also through reviving the construction culture and values of traditional Architecture
by reusing local materials and depending on local labor and workmanship in manifesting the
entire design of the campus.

How did Xiang Shan Campus revive
traditional Chinese architecture through
its building orientation?

1. Spatial arrangement (orientation)
Site orientation
In the basic substrate of Chinese culture lies the belief that humans may
occupy nature but only in harmony with the universe, constituted by
dualities or opposing and complementary elements.
Due to the belief of Bagua(八卦), the belief in which a building’s
orientation has an influence on the way in which energy of the universe
flow, and become decisive to achieve harmony with nature.The overall
arrangement of Xiangshan campus pays great attention to the ecological
environmental protection, taking advantage from the Chinese tradition
local construction approach, creates a functional and reasonable
interior space. The orientation of the blocks irregular arrangement to
avoid cutting down the trees around the area to preserve the originality of
the surrounding environment.
Ecological environment surround, mono 2015

1. Spatial arrangement (orientation)
Due to chinese vernacular architecture that recorded from ‘Han’, they believe that north represent ‘Ying’ while south represent ‘Yang’. China is located
on the Northern Hemisphere, the house which sits on the north facing to the south can get more natural lighting in the building, in chinese vernacular
architecture,In the past, the room which faces south is only for the most honorable person in the family due to the genius loci.The blocks of Xiangshan
campus are mostly facing north and south according to chinese vernacular architecture.
1. Main door (facing south)
2. Reception hall
3. Floral-pendant gate (facing south)
4. Courtyard
5. Main room for parent and grandparent (facing south)
6. Side room for 1st, 3rd sons (facing west)
7. Side room for 2nd, 4th sons (facing east)
8. Daughters and maids room

In the basic substrate of Chinese culture, the orientation of the building is the belief of Bagua(八卦) which they believe the energy of the universe flow, and become decisive to
achieve harmony with nature. Therefore, there are trees in the courtyard or in between two blocks it virtually blend in with the buildings to be treated as one entity.
The approach on the overall arrangement of Xiang Shan campus is due to the ecological environmental protection by using the knowledge of tradition Chinese architecture
construction method to create a functional and reasonable interior space within campus. One of the reason that the orientation of the blocks in Xiangshan campus arranged in
such a way no tree will be cut down in order to preserve the originality of the surrounding on the site.
Based on the record from ‘Han’ dynasty, they believe north represent ‘Ying’ while south represent ‘Yang’. And also due to the fact that China is located on the Northern
Hemisphere, the house which sits on the north facing to the south can get more natural lighting in the building. Therefore most of blocks of Xiangshan campus are built facing
south to achieve that purpose.

2. How has the revival of traditional
Chinese belief informed the
placement of Xiang Shan University?

2. Spatial arrangement (belief)
Due to the long tradition of landscape art(Mountain Villa,
Li Gonglin), Xiangshan campus is comfortably placed in the
mountains surrounded by the canal and woods. The architect
think that the environment will determines the future of
knowledge and education in a kind of human world,
determines the students' world outlook, art view, moral
values.Therefore, the whole plan is to attempt to rediscover
nature, and let the construction site to recreate the natural
scene, back to a forest, flowers, landscapes composed of the
original ecological nature.
In the construction of the campus, mountain north utilize the
lake to create water feature and the relationship between
mountain more closely. Campus’s four main blocks are built in
between the mountain and lake become a famous landscape
painting in China. Feng Shui(风水） is always the traditional
beliefs in China, water symbolize wealth, the building which
built beside the water will become prosperous.
Water feature surround XiangShan
campus, archilovers 2012Mountain villa traditional c

Chinese tradition believes that the environment will determine
the future of knowledge and education. Inspired by the
landscape art (Mountain Villa, Li Gonglin), Xiangshan
campus is placed in the mountains surrounded by the canal and
woods in attempt to rediscover nature. (Traditional Chinese
Architecture 建筑 jiànzhù, 2018)
In the construction of the campus, Wang Shu utilizes the lake
to create water feature closely with the mountain. The campus’
four main blocks are built in between the mountain and lake
which derives from a famous landscape painting in China. The
architect believes that the building which is built around water
features will become more prosperous according the traditional
belief Feng Shui (风水). (Feng shui, 2018)

How does the application of traditional Chinese
courtyards deliver the aim of reviving traditional
architecture at Xiang Shan University?

3. Courtyard
The physical design and spatial organisation of traditional courtyard house compound
applied the Daoist philosophical ideology which provided the guidance of housing to
practice along with the relationship between man, house and universe to help
inhabitants to find a good living environment to build their ideal home. (Awotona,
2016)
Xiang Shan Campus adapted the ideology of courtyard from the well known
courtyard house, Siheyuan in Beijing.

The courtyard compounds are enclosed by buildings connected with
one another and directed to frame alternating views of nearby hill
(Zhang, 2017)
Chinese character “enclose” was the theme of the buildings with the courtyards
being a prominent aspect. It serves many purposes for each building like gatherings,
events, class, relaxation, and climate control to encourage ventilation and micro
climate. (Arcspace, 2012)
Depth of the plan is reduced, allowing maximum daylight penetration and cross ventilation.
Buildings wrap around a central courtyard to reduce travel distance between opposing wings
to minimise the overall footprint. (Chakroff, 2012)

Courtyards in Xiang Shan Campus
1. The garden is open to the hill, to reveal the idea of
‘half the city and half the nature’.
2. The second phase of the project is free of idle, "U"
shape. Some of the courtyards face the hill and
others back to the hill, making the whole visible to
its attitude around the hill.
3. The formation of the courtyards in response to the
tradition and a good solution to a variety of
functions, including schools.
4. The courtyards can be crossed between the north and
the south, and the natural landscape is also arranged
by bringing a large amount of outdoor scenery
indoors and obscuring the boundary between
architecture and nature.

The humanistic thought of "Heaven and Man are one" is also reflected in it. The designer established a place model based on the word “back”. “Back” is the
courtyard. From then on, following a principle of subtraction, all campus buildings are “returned”, such as Chinese characters. The radicals, and the form of
aggregation, are directly derived from the intuitive grasp of the original spontaneous mountainous settlements of the target mountains.
Philosophical Implications of Traditional Courtyard House :
The physical design and spatial organisation of the traditional courtyard house compound are also rooted in the ancient Chinese philosophy. During the Han
Dynasty (206 B.C.–A.D. 220), the development of the Chinese philosophical system reached its peak. At the same time, practical experience of house construction
accumulated and a basic courtyard house form was gradually accepted as a dwelling style for ordinary people. These two separate streams had followed their own
routes and now began to converge. On the one hand, the philosophical ideology provided a theoretical guidance for house building practice. On the other, the
builders tried to express the ideology through the design of the house. Therefore, the traditional philosophy and the house patterns began to be integrated with each
other. As a result, the form and spatial organisation of the courtyard house specifically reflected features which the ideology embraced. In Fengshui theory, a
Chinese concept of living environment, was an application of Daoist philosophical ideology to housing in practice. It was concerned with the relationship between
man, house and universe, providing builders with theoretical guidance, helping inhabitants to find a good living environment to build their ideal home. In addition,
it was believed that an ideal site should be surrounded on three sides by higher land or mountains, like the crook of the elbow in a curved arm, to provide protection
from inclement weather or an enemy.

Three-sided courtyard
house
Four-sided courtyard
house
A traditional courtyard reflects the climatic, socio-cultural, philosophical,
spiritual, and aesthetic aspects of Chinese culture.
Traditional Chinese house design is based around a courtyard. Chinese
houses (宅院 zhái yuàn) are normally comprised of a main residence flanked
on two sides by walls and smaller rooms to form an enclosed space
(courtyard). The windows and doors are open onto the courtyard (庭 tíng)
rather than the exterior. It was designed for the occupation of an extended
family, typically three generations.

How does the form of the exterior corridors
revive traditional Chinese architecture by
reflecting the surrounding context?

The exterior corridor also known as the “Flying
Way”, is inspired by the traditional ink-wash
painting known as ‘Shan Shui’ which is
translated directly as ‘mountain and water’ and
expresses emotional connections to nature.
Chinese traditional architecture strongly
believes that nature is an integral part of daily
life. (YiZhao, 2016)
Figure 4.1 Traditional ‘Shan Shui’ ink painting
Figure 4.2 Exterior corridor of Xiang Shan University Figure 4.4 Walkway turning into interior
space
Figure 4.3 Yangzi Cave, China
The exterior corridors of Xiang Shan University
reflect the undulating Xiang Shan Mountain, not
only creates a visual link with the context but
give the user a sense of walking up and down
the hill.
The exterior walkways clipped onto the facade
turn at points into the interior spaces, creates a
scene of entering a cave enhancing the
emotional connection between human and
nature. (Michalis, 2018)
4. Exterior Corridors

How can the revival of traditional Chinese
architecture be accomplished by applying the
gable roofing system in Xiang Shan University?

The Revival attempt of the Chinese Gable Roof was through It’s:
CONSTRUCTION
CULTURE
CONSTRUCTION
TECHNIQUE
MATERIALITY FORM

The Revival attempt of the Chinese Gable Roof was through It’s:
CONSTRUCTION
CULTURE
CONSTRUCTION
TECHNIQUE
FORM MATERIALITY

CONSTRUCTION CULTURE OF THE GABLE ROOF
Not only was the attempt of reviving the Chinese gable roof narrowed down to only the
"form"/"shape" of the roof but also through recapturing the "construction culture" of
the gable roof
In order to build the roof of Xiang Shan Campus, over two million pieces of tiles of
different ages and sizes, reclaimed from old traditional houses demolished from the
surrounding province of Zhejiang, producing a premise that is sensible/considerate to a
very crucial/essential aspect in Chinese tradition: "context", the local scheme upon
which a building's configuration is established entirely from its surroundings with no
foreign attributes in determining the built nature of the roof.
Historically Traditional Chinese premises incorporated most or all of it's materials
specifically roofs from their surrounding topography.. Although the structure is out of
concrete, the vertical tiles and the tradition have a dialogue, which is a reinterpretation
of the tradition
Xiang Shan Roof
Traditional Clay Roofing

CONSTRUCTION TECHNIQUE OF THE GABLE ROOF
The Construction of Xiangshan Campus roof is traditionally authentic in the technique
applied in the construction of the roof tile system.
The campus adapts the “Song Dynasty”: Forty percent Overlap technique which is a
series of plate tiles are laid side by side across and overlapping each other with a
standard overlap of 40% of the second tile ratio to the first, it was not possible to have
triple tile overlap, as there was a twenty-percent gap between the first plate tile and the
third plate tile.
40%
Tile Plate Overlaying
Tile Overlaping Ratio

MATERIALITY OF THE GABLE ROOF
The Roof is one of the 5 facades in traditional Chinese Architecture.The roofs of the Xiangshan campus are different, and the roofs
are all tiled, the vertical tiles and the tradition have a dialogue, that makes incorporating clay tiles a way of cultural preservation
The Traditional Chinese character of dark grey traditional clay tile roof (usually built with a bamboo underlay). The clay tiles lie
upon the campus’ steel frames confronted with the rawness of traditional chinese custom played up in a contemporary way.
Clay tiles in particular are inherently tied to the earth and their local origins, while their history recall the history of ancient Chinese
structures. By incorporating elements such as salvaged tiles into the campus’ architecture.

REVIVING THE FORM OF THE GABLE ROOF
Xiang Shan Campus Adapts the most common Traditional roof form, “The Gable Roof Style” (ying-shan), as shown in the figure
below, this style comprises of a main ridge at the top of the roof, with two overhangs on the both ends of the gable flushed with the
ends of the Load-bearing wall.
At Xiang Shan Campus, the architect re-adapted the use of the Traditional Ying-shan gable form by applying the pitched overhangs
across the roof of the facade, contrary to the traditional method of having the overhangs on both corners of the premise, not facing
the front of the building.
Ying-Shan Roof type Ying-Shan Roof Section Xiang Shan Campus South Elevation

How does the ideology of traditional architectural
element moon gate “aid” in reviving traditional
architecture in Xiang Shan University

6. Moon Gate
The moon gate (月亮门) is an ancient Chinese landscape element representing the moon which is a connection to the other planets
and worlds. It is traditionally designed as an opening on the wall which acts as a transition for the user to move from one space to
another and provide different user experiences. (Houzz, 2018)
Moon Gate in traditional chinese architecture (Grossmann, 2014) Moon Gate in traditional chinese garden (Tematy, 2018)

In the attempt to revive traditional chinese architecture in Xiang Shan University, the traditional Chinese “moon gate” is adapted in
the form of geometrical openings on the wall. This helps to reduce monotony caused by the external concrete walls and creates frames
for the external landscape, leading to specific views outside. (Takopoulos, 2015)
Openings in the wall to frame the views of external landscape in Xiang Shan University
(archdaily.com, 2018)(inhabitat.com, 2018)

The variation of patterns that appear in tradition are used here to implement shifting perspective. It is to emphasize the
importance of the nature, so that the users can enjoy the scenery as a painting. (Takopoulos, 2015)

MATERIAL INTRODUCTION
In Xiang Shan Campus, the architect readapted the Traditional Chinese Architecture by recycling the old materials from old buildings and
local materials available around the ecologically dominant context.The materials which consist of stone,timber,bamboo and clay tiles are
the main materials used in traditional chinese architecture.However in Xiangshan Campus these materials blends naturally with the
modern materials like steel,glass and concrete creating a natural blending and harmony aesthetic outcome.

7. How does the application of old clay tiles in Xiang Shan
University conduce in reviving traditional Chinese
architecture?

7. Old Clay Tiles
The old clay tiles are the essentials of the Chinese origins and tied to earth which evokes the design of traditional Chinese structures. Since the Zhou Dynasty
(c. 1046 - 256 BC), the local Chinese during that era have been using this material as part of their Chinese architecture building.
In the traditional Chinese buildings, the tiles are commonly being used as roofs with swooping eaves. In term of symbolism, they are also associated with
dragon’s scales which is a auspicious talismans that believe used to control water, rain, typhoons, and floods.
Tu Lou (Earth Building), one of the traditional Chinese building used clay
tiles as their roofing. (Easy Tour China, 2013)
Traditional building at the countryside around China in the 19th
century. (Pagodared, 2018)

There are over two millions pieces of tiles from different
ages and sizes were salvaged from the traditional houses
demolished all over the province of Zhejiang for roofing.
(Meinhold. B, 2012)
Old clay tiles also being used as wall cladding of the building in
Xiang Shan Campus. (Meinhold. B, 2012)
Those clay tiles have the element of nature and traditional that the architect want to bring into the design of Xiang Shan Campus.
All the old roof tiles that are salvaged from the ruins of the villages that once occupied the site.
The salvaged tiles are applied to large louvers, supported by steel frames, and applied over a simple, modern ribbon window or
curtain wall around the campus. This material choice gives the campus the look and essences of as if it is built hundred years ago,
thus this helps in reviving traditional Chinese architecture in Xiang Shan Campus.

8. How does the vernacular material,
stones assist in reviving traditional
Chinese architecture at Xiang Shan
University?

STONE MATERIAL
The use of stone in chinese vernacular architecture are mostly found at mountainous areas and the locals makes good use of the site to
source local found materials. Usually the outside walls,slabs are built with stones,and wooden roofs is covered by stone slabs.Stone is an
affordable and commonly found material that protects against the wind and rain.Important buildings have traditionally been built on a
platform or terrace of pounded earth covered by stone.(Topchinatravel.com,2017)
Cuandixia Village,(1843magazine, 2015)Village in Taihang Mountain,(China Daily, 2015)Tuanshan Village,(China-Underground, 2017)

STONE MATERIAL
Xiangshan campus adapted the material,stone together with other vernacular materials like clay tile bricks and timber to form parts of the
building’s structures.The base,platform and terrace of the campus is made with stone by a method which,traditionally used in the local
Hangzhou tea field construction. As time passes by with more and more people walking over it,the stones buried under the top layer slowly
reveals up as a symbolic gesture representing the rooting of the school in the surroundings.(Arcspace.com,2012)
Stone base made from traditional Hangzhou tea field
construction(Blue Lapis Road, 2015)
Stone pavements(Archdaily, 2009)At Xiangshan, reclaimed roof tiles and wood panels can
be seen all over.(Blue Lapis Road, 2015)

9. How does the vernacular material,
timber assist in reviving traditional
Chinese architecture at Xiang Shan
University?

WOOD MATERIAL
Chinese preference for wood as material and structure is tied up with the abundance of forests around China and remained the most popular
building material even after quarrying and brickmaking developed, due to the Five Elements Theory used in fengshui (geomancy), which has
dictated many aspects of life since the Spring and Autumn Period (770–476 BC). As wood is the element that represents spring and life, it has
the best auspicious connotations for buildings. So fengshui believers have felt compelled to build their houses out of wood and remained as the
ideal building material: easy to obtain, process, and replenish.Dougong braces,heavy overhang roofs,free standing wood pillars and wooden
screen walls are examples of application of wood.(Chinahighlights.com,2018)
Exterior use of wood in Tulou(Unesco.com, 2017)Interrior use of wood in Tulou (Unesco, 2017)Five elements of Feng Shui (HomeEdit, 2018)

WOOD MATERIAL
At Xiangshan,reclaimed wood panels from old buildings can be seen all over the campus used in facade design,as window panels, roof truss
and the handrails are a painted steel frame with an in-fill of timber strips. Used of wood panels creates a colour contrast between other
materials such as stone, concrete, bamboo and clay tile bricks but also creates a natural aesthetic complimenting to the naturally to the
ecological surroundings at the same time.With relation to the Five Elements Theory used in fengshui (geomancy), wood is the element that
represents spring and life which further signifies the material choice to the building as it being so coherent to its natural context.It also
represents the rich chinese historical and cultural reference as being an important building material.(Bluelapisroad.com,2018)
Wood cladding (Inhabit.com, 2012) Wood window panels and wall cladding
(Inhabit.com, 2012)
Wood Truss (Inhabit.com, 2012)

2- Enclosure
The Traditional Chinese character for "enclose" was the theme of
the series and courtyards and gardens are a very important aspect
of each premise of the campus
These enclosed spaces serve many purposes for each building -
from events, gatherings, class, relaxation and even for climate
control to help encourage ventilation and a micro climate.
https://inhabitat.com/wang-shus-xiangshan-school-campus-
brings-chinese-architecture-back-to-its-roots/xiangshan-cam
pus-wang-shu-1-2
https://inhabitat.com/wang-shus-xiangshan-school-campus-
brings-chinese-architecture-back-to-its-roots/xiangshan-cam
pus-wang-shu-1-2
Adapted From: Liu Dunzhun, ed. Zhongguo gudai jianzhu
shi. (Beijing: Zhongguo gongyue chubanshe, 1984), p. 12

3- Clay Tile Roof
The Traditional Chinese character of dark grey traditional clay tile
roof with a bamboo underlay The traditional clay roof tiles lie upon
contemporary steel frames confronted with the rawness and
power of traditional chinese custom played up in a contemporary
way.
Clay tiles in particular are inherently tied to the earth and their
local origins, while their history evokes the designs of ancient
Chinese structures. By incorporating elements such as salvaged
tiles into their architecture
https://www.archdaily.com/20523/new-academy-of-art-in-hangzhou
-wang-shu-amateur-architecture-studio/500de8b328ba0d6625001
a95-new-academy-of-art-in-hangzhou-wang-shu-amateur-architect
ure-studio-image
https://depositphotos.com/13383768/stock-photo-cheng-hoon-teng
-temple-roof.html

4- Courtyard
The courtyard is an essential component in traditional Chinese
architecture.
Courtyard are either fully enclosed or bounded on three side.
The plan depth is reduced to allow maximum daylight
penetration and cross-ventilation. Each building wraps around a
central courtyard - reducing travel distance between opposing
wings hence minimises the overall footprint.
The open ends of the courtyards face many directions. Framing
alternating views of the city/nearby hill. Facade treatment
typically determined by the solar orientation.
https://bluelapisroad.wordpress.com/2015/10/31/xiangshan-campus-%E8%B1%A1%E5
%B1%B1%E4%B8%AD%E5%BF%83%E6%A0%A1%E5%8D%80-china-academy-of-art
-%E4%B8%AD%E5%9C%8B%E7%BE%8E%E8%A1%93%E5%AD%B8%E9%99%A2-h
angzhou-china/
Teaching buildings in Phase I are connected by bridges to
enable users to walk from one building to another in all
weathers. Similar to stroll as a bodily movement for
exploring a garden setting, the provision of bridge
connection in the campus facilitates sensory experience,
allowing users to access to courtyards with varying
atmosphere, to pass through wall openings in different
profiles, and to touch the tactility of wall surfaces.

Siheyuan, aka the courtyard house is a residential compound with a set of courtyards enclosed by the surrounding
buildings and high walls on four sides. The characteristics of the physical form of the courtyard house compound
have been mainly determined by climatic and sociocultural factors. It has been representative of housing patterns for
over one thousand years in China and has also been a historical heritage deeply rooted to the specific Chinese
traditions and culture. From the collapse of the last imperial dynasty (1911) to the establishment of the People's
Republic of China (1949), China underwent a series of wars which entailed destructive impacts on the development of
the courtyard houses. Due to some inappropriate policies after 1949, most traditional houses faced changes and
deterioration. Moreover, there has been a tendency since 1980 to excessively replace the traditional courtyard
houses by multi-storey buildings. All of this has seriously affected the cultural continuity of the traditional Chinese
housing form.
In addition to the relationship with the external landscape, almost every building has a courtyard or patio. The basic
plane of the teaching building is also arranged according to the prototype of the traditional residence of the Sanhe
and Siheyuan. Some of these courtyards are built with high platforms, and the ginkgo is planted on the high platform.
Standing in the courtyard, you need to look up to see the top of the ginkgo. The deep space of the courtyard makes
the originally low building seem to be much higher; some courtyards are sunken in the middle, more like the unique
atmosphere of Jiangnan folk houses, and the corridors connecting the classrooms are high. Some of the paving tiles
in the courtyard are small blue bricks and tiles that have been moved from the demolished villages.

5- Overhang Gabled Roof
Xiang Shan University
Xiang Shan University integrates the
overhang gable roof from traditional Chinese
architecture in a more curvature form in
respect to its context.
Hanging hill roofs (悬山顶 xuánshāndǐng)
have two straight, overhanging slopes. They
were third grade roofs, after hip roofs and
resting mountain roofs.
They were one of the most frequently used
roof designs for more well-to-do premises in
China. The most obvious feature is eaves
overhanging the gable walls by three-tenths
of the wall height.

6- Building Groups Each building was carefully designed based on its purpose and
location with regard for views, breezes, the sun and its relationship
to the rest of the campus. Traditional Chinese Architecture, usually
means a group of composed of many separate buildings. The
buildings are laid out according to a certain orientation, usually
along along a north-south axis. Here in Xiangshan campus the
architecture relates also to the landscape, individual parts are no
longer restricted to the whole and their inter-relationship is made
more interesting, often with unexpected twists at the turn of a corner.
XIANGSHAN CAMPUS, SITE PLAN

7. White wall
White walls were integrated from Classical Chinese gardens where by the
stark color contrast sets a nice backdrop for the trees and flowers. Green
leaves and colorful blooms really stand out against a white setting.
Classical Chinese garden

9. Cladding
Old roof tiles were salvaged from all over the province of Zhejiang and
reused at Xiangshan as shading device and wall cladding.
Cladding of outer walls using reclaimed bricks and tiles

The interplay of walls cladded with different stones is covered by a large roof. With a natural touch, the underside of the roof is dominated by the heavy
use of timber trusses and bamboo mats
10. Timber truss and Bamboo Mats

There is a water pond in front of the School of
Architecture area, encompassing three major
buildings with distinct architectural treatments.
11- Water
Element

12. Wooden Shutters
Typically small operable
panels, allowed to expand to
the height of corridor.

Footbridges connect many buildings in Xiangshan. This is
one of the interestingly designed pedestrian bridge that
crosses a small canal, and has been temporarily turned into
an open air exhibition space for students’ art pieces.

Ramp is a major design element in the
campus. In some cases, the upper levels
can be accessible for scooters and bikes.

Despite the overall brutal finishes and
craftsmanship, Wang’s and Lu’s design
concepts have successfully created
interesting architecture out of traditional
Chinese architecture and Modernist
design approaches.

In a number of the buildings, exterior circulation has
become a main facade feature. Though in some cases, the
circulation route would be in conflict with window openings.

Depending on the slope, some of the
exterior circulation route are actually
steps.

Distinct brise-soleil of the two School of
Architecture buildings: concrete vertical fins and
masonry cross openings, create a coherent
atmosphere for the exterior forecourt where the
flanking contrasting textures complement each
other.

Each building was carefully designed
based on its purpose and location with
regards to views, breezes, the sun and
its relationship to the rest of the campus.

Old roof tiles from all over the
province are reused here as
horizontal shading device.

Design Concept
The fluctuating motion of the building totally reflects the
undulating hills surrounded, it forms a link in the
visual.The corridors and the hallways are like a snake
shuttle the building in and out, it seems to strengthen
the breathing of the building.

Design Intention
The succeed of China’s urbanization in next ten years become a very hot topic to the world. The urbanized development of China, is similar to
the urbanization of various countries, which must be able to fuse with the local demand and culture. China is facing the unprecedented
opportunity in the urban planning and design, on the one hand must maintain the harmony with the Chinese age-old and unique tradition,
on the other hand must be consistent with the demand of sustainable development.

TRADITIONAL
REVIVAL OF CHINESE
ARCHITECTURE THROUGH:
SPATIAL
ARRANGEMENT
FORMS AND
SPACES
ARCHITECTURAL
ELEMENTS
MATERIALITY
MODERNITY
XIANGSHAN
CAMPUS
ORIENTATION BELIEF COURTYARD
EXTERIOR
CORRIDOR
GABLE ROOF
MOON
GATE
TILE STONE

Feedback: 23/10/2018
- …
- You are required to have problem statement as the abstract
- Spatial arrangement
- Your current weakness is diagrammimg
- 7min presentation
- How to present this informative study in the 7min (use diagrams)
- Poster is a visual summary of your research
- Findings/questions/abstract/
- Use diagrams to illustrate presentation
- Reference the info
- Intext citation
- Diagrams/
- Can modify the research within the framework
- Add concept mapping
- Use diagrams effectively in the A1 paper
- Introduce which parts of the campus is being researched
-

https://www.world-architects.com/es/amateur-architecture-studio-hangzhou/project/china-art-academy-new-campus-of-xiangshan-scho
ol
https://www.studiointernational.com/index.php/xiangshan-campus--china-academy-of-art--hangzhou--china
http://viewofchina.com/traditional-chinese-roof-types/
https://www.chinahighlights.com/travelguide/architecture/roofs.htm
http://en.people.cn/n3/2016/0615/c98649-9072737.html
https://www.archdaily.com/20523/new-academy-of-art-in-hangzhou-wang-shu-amateur-architecture-studio
https://inhabitat.com/wang-shus-xiangshan-school-campus-brings-chinese-architecture-back-to-its-roots/xiangshan-campus-wang-shu-
14
https://bluelapisroad.wordpress.com/2015/10/31/xiangshan-campus-%E8%B1%A1%E5%B1%B1%E4%B8%AD%E5%BF%83%E6%
A0%A1%E5%8D%80-china-academy-of-art-%E4%B8%AD%E5%9C%8B%E7%BE%8E%E8%A1%93%E5%AD%B8%E9%99%A
2-hangzhou-china/

http://www.chinasage.info/architecture.htm
https://www.archdaily.com/803799/deep3-courtyard-su-architects
http://factsanddetails.com/china/cat7/sub40/item252.html#chapter-7
https://arcspace.com/feature/china-academy-of-art/
https://www.studiointernational.com/index.php/xiangshan-campus--chi
na-academy-of-art--hangzhou--china
http://www.uia2017seoul.org/P/papers/Full_paper/Paper/Poster/P-0
766.pdf
https://inhabitat.com/wang-shus-xiangshan-s
chool-campus-brings-chinese-architecture-ba
ck-to-its-roots/
https://www.easytourchina.com/blog-v1108-fu
jian-tulou-china-s-ancient-earthen-castles
https://www.pagodared.com/blog/2018/03/27/
tilescapes-designing-roof-tiles/

1. Traditional Chinese Architecture. (n.d.). Retrieved from http://www.chinasage.info/architecture.htm
2. F. (n.d.). Retrieved from http://en.people.cn/n3/2016/0615/c98649-9072737.html
3. New Academy of Art in Hangzhou / Wang Shu, Amateur Architecture Studio. (2009, April 27). Retrieved from
https://www.archdaily.com/20523/new-academy-of-art-in-hangzhou-wang-shu-amateur-architecture-studio
4. Wang Shu's Xiangshan School Campus Brings Chinese Architecture Back To Its Roots. (n.d.). Retrieved from
https://inhabitat.com/wang-shus-xiangshan-school-campus-brings-chinese-architecture-back-to-its-roots/xiangshan-campus-wan
g-shu-14
5. Blue Lapis Road. (2015, November 03). XIANGSHAN CAMPUS (象山中心校區), China Academy of Art (中國美術學院),
Hangzhou, China. Retrieved October 29, 2018, from https://bluelapisroad.wordpress.com/2015/10/31/xiangshan-campus-象山
中心校區-china-academy-of-art-中國美術學院-hangzhou-china/
6.

Courtyards, a essential component in
traditional Chinese architecture, also
have a vital role at Xiangshan as much of
student life happen in these enclosed
open spaces.

4. Exterior Corridors (research info)
The fluctuating motion of the exterior walkways reflect the undulating hill surrounding the building which creates a visual link with the
context.
The exterior corridor wraps around the building gives the impression of everyblock is surrounded by a hill.
Walking through the corridors as if walking up and down the hill
through the multi-level circulation network that incorporates ground level pathways and elevated walkways. Multiple pedestrian connections
allow one to traverse the entire length of the campus, in good weather and bad.
Exterior walkways clipped onto the facades turn at points and become interior passages;
It is arranged on the north and south sides of Xiangshan Mountain and on the edge of Dujiapu River. The program specially designed an
open art corridor along the river, ranging from 30 meters to 120 meters in width, with forest flowers and plants as the main body, and small
art museums and artists. Studio group, outdoor sculpture, environmental art works.
Second, the “flying way” is inspired by the “Buddhist grottos caves on cliff” in the Thousand-Buddha Crag in front of Lingyin Temple in
Hangzhou. The architect appreciates the place and believes that this kind of space is the proto type of university of Asia. When the “flying
way” goes in and out the mass, it creates caves – the architecture interior. A series of poetic places appear abruptly when walking through the
building in the rhythm of Chinese calligraphy

4. Exterior Corridors (research info)
Chinese architecture where nature is an integral part of daily life in the city. I am looking for ways to adapt the Chinese
traditions of blending nature and architecture to contemporary architecture on urban scale.
but the intention is to create an emotional experience, to reconnect humans with nature.
Nature is not a tree or flower; nature is an emotional atmosphere—a place where one can seek their innermost being
Shan Shui is a philosophy; it is about establishing emotional connections to nature. WHAT. mine, cw whats yr prob
aesthetic and philosophical inspiration from the tradition of ink-wash paintings known as ‘shanshui’ (translated literally as ‘mountains and
water’
sense of harmony and balance to our relationship with the natural world’

Task Distribution
1. Spatial Arrangement
- Site (orientation) -os
- Belief -os
2. Form and spaces
- Courtyard -cc
- Exterior corridor - cw
3. Architectural elements
- Roof -mr
- Moon gate -ty
4. Materials
- Tile - kc
- Stone - cf

i. Boards/slides flow
ii. -topic
iii. -methodology
iv. -introduction and problem statement
v. -question 1-8(talk about how's it's used in Chinese vernacular architecture first
then how it is adapted in Xiangshan)
vi. -conclusion
vii. -referencing

6. Moon Gate
The moon gate is an ancient Chinese landscape element which acts as a portal between the inside and outside of a place. The gates
which look like a circle rising out of the land, has many meanings.
One of the interpretation of the moon gate is that it completes, represents and celebrates the cohesiveness of a family. This complete
circle provides entry to a pathway for the family members to return home to celebrate one another. The moon gate is also a symbol of
birth and renewal as it lifts itself out of the landscape. The moon gate represents the moon which is a connection to other planets and
other worlds. It is traditionally designed as an opening in a wall which connects garden to garden, inside to outside and public and
private.
In its traditional form, the moon gate is a round opening in a wall. Even when the wall is transparent, more virtual than real, the moon
gate provides an opening in the barrier and a connection between two worlds. And this traveling between the two worlds becomes even
more pronounced as you step up and over the threshold.

Xiangshan Campus

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