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Marks of Vernacular Achitecture
Marks of Vernacular Achitecture
Shenzhen, China
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Marks of Vernacular Achitecture
Shenzhen, China
Firm
Type
STATUS
Built
YEAR
2016
SIZE
3000 sqft - 5000 sqft
“Where can I get a big broad shelter under where all the world’s poor people can share with smiling faces?” The design is inspired from house building activity with traditional Chinese civil work in combination with carpentry, giving full play to the craftsman, architecture and space themselves. The visual effect created actually is what is left for the space in this building activity. The dripping watermark is left. Therefore, we put it in this way: the dripping watermark effect leaves behind nothing but memory of ingenious building of native Chinese artistic work.
Factor 1: Craftsman
The most precious factor in traditional Chinese civil work is the spirit of craftsman. Here, I mean the craftsman himself is devoted to playing a leading role. So, during the spatial creation, to respect the craftsman, as well as the presence of their spirit, rather than that of an artist remains the essence of this creative work. The whole creation is much more like a house building activity with traditional Chinese civil work in combination with carpentry. Every craftsman is proactively involved in the activity, giving full play to their respective wisdom. They are not simply performing a commercial cooperation. Instead, they are told to be very significant for the project, constituting an integral part of the creation. All work is completed under this status where the good faith of craftsman is followed. Therefore, it requires their constant vigor and persistent efforts. Allowing them to act as a real craftsman for spontaneous engagement in creation is the most valued part in this spatial creation. A qualified space system should be like this. It is definitely not a mere execution of simple imagination of spatial artist by workers. The space created in such way shows neither sincerity, nor vigor. At least on my part, as a work but not a product, it lacks sincerity.
Factor 2: Structure
When it comes to the visual effect created by the real spirit of traditional Chinese civil work, the three-dimension structure and light always account, rather than two-dimension shapes. Therefore, to present a visual effect of the whole space, we should strictly adopt a logical structure interpreting its three-dimension structure nature. Use one kind of structures only, never too many. This well explains the thought of “Less is More”. However, in Chinese civil buildings of countryside structure, except bricks and stones, mortises and tenons are also used. “Protruding tenon” refers to exposure of all tenons. They are not hidden in the structure; on the contrary, they become the leading role in the structure, interpreting their own splendor. Therefore, it might be a modern fashion to expose the element of “tenon”, confidently presenting it without any cover-up, to challenge the traditional perfection. Besides, the “bamboo boards” are stacked as needed to naturally create different heights. Having assimilated the essential air-conditioners, fire-control facilities and beamframes in modern architecture, it forms a naturally organic visual system. This is a site-specific practice completed naturally without deliberation. The bamboo boards are vertically crossed in traditional doorframe scale, connected by the means of tenons, to create an organic visual effect, simple but modern. Thus, the whole space is in a complete logic, constituting a rich and integral part.
Factor 3: Peep
Zong Baihua once mentioned the beauty of peep in Chinese architecture. In fact, I have always been infatuated with those small scales, lattice windows, cracks and chinks. Be it inside or outside buildings, new or old, in Chinese countryside, they can be found everywhere. It remains the same case now. Some scales are too small. They may be for ventilation, or safety, or more likely created carelessly. But it is this “small” scale that nurtures the most wonderful part in Chinese countryside structures – warmth. The whole countryside buildings are granted with moderate rules and constraints by such small scales, making them mysterious and graceful, restrained and tender. The materials for countryside buildings are diversified. In the whole space, we present a set of natural and unconstrained lattice windows in walls. You standing inside may feel the existence of the outer space, as if there were light. It is these widows carelessly created that help the whole space to develop a seemingly familiar hazy emotion toward the countryside.
Factor 4: Mark
On the last stage, we create some burnt marks on the wall. Each and every mark is present there when you look back. It is me who decide to burn on the wall; while it leaves the fire to determine how those marks look like. “Time” – I just want this space to experience the time lapse. The marks left by “fire” and the light pouring down from the top perfectly echo each other. All marks show on the wall along with the light. This sense of time flying really makes me obsessive.
Throughout the spatial creation, we have tried to bypass the impression of design technique tactically and earnestly, and subtly cover up the presence of the artist’s “artificial work” to reveal genuine state and purity of the space. As “I leave no trace of wings in the air, but I am glad I have had my flight”, the space itself speaks, including tenons, lattice windows and burnt marks. Upon completion, the “architecture” will present its inherent states and marks, including light, time and emotion. The dripping watermark is left, with “dripping” as the process for this building activity and “watermarks” the visual effect finally presented. Therefore, we name it dripping watermark effect.
Factor 1: Craftsman
The most precious factor in traditional Chinese civil work is the spirit of craftsman. Here, I mean the craftsman himself is devoted to playing a leading role. So, during the spatial creation, to respect the craftsman, as well as the presence of their spirit, rather than that of an artist remains the essence of this creative work. The whole creation is much more like a house building activity with traditional Chinese civil work in combination with carpentry. Every craftsman is proactively involved in the activity, giving full play to their respective wisdom. They are not simply performing a commercial cooperation. Instead, they are told to be very significant for the project, constituting an integral part of the creation. All work is completed under this status where the good faith of craftsman is followed. Therefore, it requires their constant vigor and persistent efforts. Allowing them to act as a real craftsman for spontaneous engagement in creation is the most valued part in this spatial creation. A qualified space system should be like this. It is definitely not a mere execution of simple imagination of spatial artist by workers. The space created in such way shows neither sincerity, nor vigor. At least on my part, as a work but not a product, it lacks sincerity.
Factor 2: Structure
When it comes to the visual effect created by the real spirit of traditional Chinese civil work, the three-dimension structure and light always account, rather than two-dimension shapes. Therefore, to present a visual effect of the whole space, we should strictly adopt a logical structure interpreting its three-dimension structure nature. Use one kind of structures only, never too many. This well explains the thought of “Less is More”. However, in Chinese civil buildings of countryside structure, except bricks and stones, mortises and tenons are also used. “Protruding tenon” refers to exposure of all tenons. They are not hidden in the structure; on the contrary, they become the leading role in the structure, interpreting their own splendor. Therefore, it might be a modern fashion to expose the element of “tenon”, confidently presenting it without any cover-up, to challenge the traditional perfection. Besides, the “bamboo boards” are stacked as needed to naturally create different heights. Having assimilated the essential air-conditioners, fire-control facilities and beamframes in modern architecture, it forms a naturally organic visual system. This is a site-specific practice completed naturally without deliberation. The bamboo boards are vertically crossed in traditional doorframe scale, connected by the means of tenons, to create an organic visual effect, simple but modern. Thus, the whole space is in a complete logic, constituting a rich and integral part.
Factor 3: Peep
Zong Baihua once mentioned the beauty of peep in Chinese architecture. In fact, I have always been infatuated with those small scales, lattice windows, cracks and chinks. Be it inside or outside buildings, new or old, in Chinese countryside, they can be found everywhere. It remains the same case now. Some scales are too small. They may be for ventilation, or safety, or more likely created carelessly. But it is this “small” scale that nurtures the most wonderful part in Chinese countryside structures – warmth. The whole countryside buildings are granted with moderate rules and constraints by such small scales, making them mysterious and graceful, restrained and tender. The materials for countryside buildings are diversified. In the whole space, we present a set of natural and unconstrained lattice windows in walls. You standing inside may feel the existence of the outer space, as if there were light. It is these widows carelessly created that help the whole space to develop a seemingly familiar hazy emotion toward the countryside.
Factor 4: Mark
On the last stage, we create some burnt marks on the wall. Each and every mark is present there when you look back. It is me who decide to burn on the wall; while it leaves the fire to determine how those marks look like. “Time” – I just want this space to experience the time lapse. The marks left by “fire” and the light pouring down from the top perfectly echo each other. All marks show on the wall along with the light. This sense of time flying really makes me obsessive.
Throughout the spatial creation, we have tried to bypass the impression of design technique tactically and earnestly, and subtly cover up the presence of the artist’s “artificial work” to reveal genuine state and purity of the space. As “I leave no trace of wings in the air, but I am glad I have had my flight”, the space itself speaks, including tenons, lattice windows and burnt marks. Upon completion, the “architecture” will present its inherent states and marks, including light, time and emotion. The dripping watermark is left, with “dripping” as the process for this building activity and “watermarks” the visual effect finally presented. Therefore, we name it dripping watermark effect.
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