ASIAN ARCHITECTURE (ARC60403/ARC2234)

PROJECT PART B: CASE STUDY PAPER

Usage of Traditional Building Materials in Great Bamboo Wall to Integrate With Surrounding

Physical and Cultural Context

Group Members1. Wong Zhen Fai 03178902. Yan Wai Chun 03196263. Khor Hao Xiang 03180654. Teo Hong Wei 03229905. Eddie Poh Goh King 03229156. Yeoh Xiang An 0322691

Tutor: Koh Jing Hao

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Usage of Traditional Building Materials in Great Bamboo

Wall to Integrate With Surrounding Physical and Cultural

Context

Table of Contents Page

Abstract ……………………………………………………………………………..………………. 2

1.0 Introduction ….………………………………………………………………..…………………2

2.0 Existing Physical and Cultural Context of Site ………………………………………………3

3.0 Usage of Bamboo in Vernacular Aspect ……………………………………………………..7

4.0 Usage of Bamboo in Visual and Form Aspect ………………………………………………10

5.0 Usage of Other Traditional Building Materials …………….………………………………..13

6.0 Conclusion ………….………….……….………………………………………………………18

7.0 References ……………………………………………………………………………………..19

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Abstract

The content of this research is aimed towards the discussion of Kengo Kuma’s use of

traditional building materials; especially bamboo, in the design and construction of the Great

Bamboo Wall dwelling. Through his signature style of incorporating traditional building

materials in his style of architecture, Kengo Kuma successfully integrates the building to the

surrounding context in terms of the visual and cultural aspect. The first segment of this

research study is directed towards breaking down the individual components of what forms

the existing physical and cultural context of the site. Once the foundation of the research

topic has been understood, the discussion is then directed towards a more in-depth

investigation of how the usage of bamboo in particular has resulted in a successful

integration within the context through the vernacular and, visual and form aspect. The usage

of other traditional building materials are also discussed.

1.0 Introduction

The architect of our research topic is Kengo Kuma, a renowned Japanese architect

celebrated for his signature style of displaying the essence of Japanese roots through the

usage of traditional elements along with the contradictory contemporary style. The Great

Bamboo Wall dwelling is one of the many projects in the Commune by the Great Wall

development. In this development, 12 Asian contemporary architects were chosen to each

design their own assigned dwelling to be located in close proximity to the Great Wall of

China. According to (commune.sohochina.com), the Great Bamboo Wall has a total of 6

bedrooms with one bathroom each and the primary space; the tea room, is surrounded by 4

sides of lean bamboo with gaps in between in order for the users to view the magnificent

landscapes of China and a beacon tower of the Great Wall. The dwellings, or more

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commonly referred to as villas, are usually targeted towards individuals of the wealthier

class.

Bamboo plays a hugely significant role in the design and construction of the Great

Bamboo Wall. It is responsible for shaping the form of the dwelling, bringing in natural

lighting and creating poetic spaces for the user. Bamboo also serves as the bridge between

the local vernacular context and the contemporary design of the dwelling. Below are the

research questions and topics of interest that were targeted in this research paper.

1. How does bamboo, as a building material, promote integration with the surrounding

physical context in terms of visual appearance and form?

2. How does bamboo, as a building material, promote integration with the surrounding

cultural context in terms of material characteristics and cultural significance?

3. If bamboo was to be substituted with a modern building material, what will be the

difference and impact to the original concept?

4. What were the existing and significant elements of the physical and cultural context

that were focused in depth with during the design process?

5. How does the modern construction method incorporate with the traditional building

materials to achieve the essence of the material?

2.0 Existing Physical & Cultural Context of Site

The existing physical and the cultural context of the site are the crucial roles and

are deeply in consideration on the Great Bamboo house design. For instance, the verticality

of the bamboo canes facades created a sense of transparency and fragility which tie the

house in with the rough image of the surrounding physical context and generated the feeling

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of interior spaces exterior simultaneously. The principle of this design is to apprehend the

essence of the natural light, airflow and the available landscape.

One of the reason Kengo Kuma used bamboo as the main material for the Great

Bamboo house is because of his significant style, ‘Erasing‘ architecture. By using bamboo

canes from the local, the Great Bamboo house’s appearance merged or blended into the

surroundings effectively as it created the metaphor of forest or bamboo forest.

Framing the Landscape

Bamboo canes act as device to frame the existing landscape is significantly

important to generate the sense of integration with surrounding nature as well as meditative

feels. Trees with thin trunks were planted around the site with certain distances as to fit in

the narrow gaps between the bamboo canes. Different feelings and colours of nature can be

captured during different seasons throughout the year.

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Figure 2.0: Autumn view of Great Bamboo House

(Source: http://openbuildings.com/buildings/great-bamboo-wall-profile-42061)

Topography and Skyline

Topography of the site affected the height and levels of the Great Bamboo house.

The house itself lie on a slope terrain which created one and a half storey. At the higher

ground of the site, height or skyline of the Great Bamboo house can be made with the

reference of ancient Chinese domestic architecture, which one storey height can be easily

visualised.

The existing historical structure, the Great Wall of China, which built much more

higher on the top of the mountain generated differences between the skyline of the Great

Bamboo house and the skyline of Great Wall of China. For instance, the sense of dominance

of the Great Wall of China is well maintained even though it is a historical structure.

The chosen site for the Great Bamboo house is significantly important as it has the

essence of culture and a sense of history of China. It is located within the historical site

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Great Wall Slope terrainAncient Chinese domestic architecture

Figure 2.1: Diagrams indicating the height of Chinese domestic architecture in relation to Great Wall.

(Source: Yan Wai Chun)

Figure 2.2: Diagrams indicating layout of Great Wall on the left and circulation of Great Bamboo House on the right.

(Source: Yan Wai Chun)

which is near to one of the gate of the Great Wall of China, in Shuiguan. Thus, the cultural

context of the site is also one of the crucial aspect to be concerned while Kengo Kuma is

designing the house.

Historical Structure

An obvious observation can be perceived as the usage of bamboo throughout the

Bamboo house created an opposition in terms of physical sense of quality. The light and

fragile of the bamboo canes contradicted to the solidity and the sense of gravity created by

the structure of Great Wall of China.

Besides, the inner form of the Great Bamboo house is affected by the cultural context

of the site. The inner form of spaces of Great Bamboo house were organised in such order

that were similar with the Great Wall of China. It contained a unobstructed hallway as the

connector of every stations which similar with the inner spatial of the Great Bamboo house,

a corridor that connected to every different spaces.

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Figure 2.3: Solidity and fragility of Great Wall and Great Bamboo House.

(Source: http://blog.buildllc.com/2008/10/kengo-kuma-lecture/)

3.0 Usage of Bamboo in Vernacular Aspect

What is Vernacular Architecture?

Before further elaborating the aspects of contribution in terms of bamboo as building

material in vernacular architecture, we must first know what vernacular architecture is about.

Vernacular architecture is one of the many fields in architecture that serves to meet specific

needs of the locals, in the meantime accommodating and respecting the values, cultures

and way of life that reflects their local traditions. Vernacular Architecture is always evolving

as the time passes by to reflect the most current environmental cultural, historical and

technology of the context which it exists. In other words, vernacular architecture is achieving

human’s needs with the simplest form. The following images bellows shows the simplest

examples vernacular architecture across the world:

The Igloo house found in the Antarctica, strongly reflects the vernacular architecture

in terms of local environment in climatic needs as well as the construction materials which is

snow as it is found abundance in the context while being a suitable building material.

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Figure 3.0: Igloo House

(Source: http://www.sawyoo.com)

The Log Hut found in Valley Forge also an obvious vernacular architecture as the

area which are rich in trees will tend to develop a wooden vernacular, while on the other

hand if the context doesn’t have as much trees as this are, they may use mud or stone

instead.

Despite these variations, it can be strongly concluded that vernacular architecture is

sustainable and will not deplete or exhaust the local resources. And for the Great Bamboo

Wall, the vernacular aspects are presented in three categories which is much related the

criteria of being a Vernacular Architecture in the sense of Climatic Needs, Built

Environment as well as Culture and History of the context.

Climatic Needs

The Great Bamboo Wall is located at Beijing, China, which is having a temperate and

continental monsoon climate, with four seasons that have big difference in temperature

between day and night, especially during the summer season where it’s extremely hot and

humid. With the usage of bamboo as building material and varying the intervals between

bamboo placements of the external walls, climatic filtration is achieved. The loosely placed

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Figure 3.1: Log Hut

(Source: http://oldeurpopeanculture.com)

vertical placement of bamboo on exterior and partition walls allows breezes to freely

penetrate through the entire space as there are no barriers from external until the interior.

Therefore, the Great Bamboo Wall has achieved the vernacular aspect on resolving the

climatic condition of the site.

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Built Environment

Other than resolving the climatic needs, the use of bamboo is also vernacular in the

built environment aspect. For instance, China is known as the ‘Kingdom of Bamboo’ due to it

having the most bamboo in the world and its abundance use of it as material. Therefore for

the geographical factors, bamboo is used as the building material for the Great Bamboo Wall

as it is widely found on site, using it as building material will cause the least impact to the

environment with addition of bamboo’s characteristic being strong and rapidly renewable, in

the same time harmonizing the landscape and needs of guest.

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Figure 3.2: Great Bamboo Wall Tea Room on the left and Climatic Filtration Ventilation Diagram on the right.

(Source: http://oldeurpopeanculture.com)

Culture & History

Furthermore, bamboo is also culturally significant to the site. The Shang Dynasty

period has seen the usage of bamboo in the production of weapons and daily objects.

Bamboo strips were also tied together to form a flat piece of writing medium that was

commonly used before paper was invented. This is because bamboo strips cost generally

lesser, were more durable and were easily found in the local context. Bamboo has thus

played an important role in spreading and developing traditional Chinese culture and it is

closely connected to the daily lives of the local people at the site. Therefore, using

bamboo as building material reminds them that bamboo is the root from their

advancement and development today, and also a form of respect towards the local people

for using their culturally significant material. The following image shows some of the

appliances used by the Chinese during the olden days:

4.0 Usage of Bamboo in the Visual and Form Aspect

Form

The form of The Bamboo wall is strongly affected by the usage of bamboo and the

site context. The material of the building is having a strong relationship with The Great Wall

which is located next to the Bamboo Wall, which is to create a strong contrast between

concrete from the Great Wall and bamboo from the Bamboo Wall. The main intention for its

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Figure 3.3: Traditional Bamboo items.

(Source: http://fao.org)

rectangular form is to seamlessly coexist with the Great Wall and the site topography, which

the feeling of running endlessly is created by the colour and repetitiveness of the bamboo on

the facade in relation to the site context.

Visual

The visual aspect of the Bamboo Wall is strongly affected by the usage of bamboo.

The view from both inside and outside of the Bamboo Wall are seamlessly filtered with

bamboo so that the user of the building will be unaware that there is an actual barrier

between inside and outside of the building. Vertical arrangement of bamboo on the facade

creates an illusion of the bamboo stalks extended all the way into the terrain.

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Figure 4.0: Great Bamboo Wall sitting on the site context.

(Source: www.michaelfreemanphoto.com/media/d182ef70-3aa2-11e0-bed7-43171a70d2a2-bamboo-wall-house)

Figure 4.1: Vertical Arrangement of Bamboo stalks on the facade.

(Source: http://www.archdaily.com/771525/spotlight-kengo-kuma/55c4dba5e58ece67c100013a-spotlight-kengo-kuma-photo)

The sensory experiences in the tea room are hoisted by the cool slate flooring,

smooth bamboo stalks and the shallow reflective pool which mirrors the landscape from

outside into the interior and emanate sounds of serenity associated with water.

Usage of artificial lighting is cut down because bamboo and glass roofing materials

used allow sufficient sunlight to enter the building.

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Figure 4.2: View of scenery through the tea room.

(Source: http://www.architravel.com/architravel/building/great-bamboo-wall/)

Figure 4.3: Dining Area with sufficient natural lighting.

(Source: http://www.architravel.com/architravel/building/great-bamboo-wall/)

Speckled light penetrates between the thin bamboo stalks, creating a feeling of being

in a forest of Asia. Different density and diameter of the bamboo offers the diversity of space

partitioning. The bamboo positioned side by side encloses the living area and stairwell. With

varying gaps in between, an illusion of the bamboo shoots are hovering above the ground is

created. Also, creating floating and breezy partitions.

5.0 Usage of Other Traditional Building Materials

Figure 5.0: Diagram of other important and local materials.

(Source: Yeoh Xiang An)

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Figure 4.3: Seamless boundary with the scenery.

(Source: http://www.architravel.com/architravel/building/great-bamboo-wall/)

The traditional building materials that are seen in traditional Japanese architecture

are reusable and recyclable, which is a feature of sustainability.

Figure 5.1: Construction of a small wooden house in the Japanese traditional style by using

Traditional Building Materials

(Source: Japan: The official guide, Architecture, 2010)

What is the usage of other traditional building materials?

Figure 5.2: Earth

(Source : Contemporary Design in Detail: Sustainable Environments by Yenna Chan)

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Earth

Walls made of earth known as tsuchikabe was an ideal construction material

because it suited to the specific climate conditions of Japan (very humid summers). Earth

would absorb moisture, and release it when conditions were dry.

The use of earth as a building material is prevalent in many cultures around the world. Earth

is readily available - always at one's feet - and very versatile. Earth is a good insulator and is

strong against wind and, depending on how it is used, even rain. It can be mixed with other

materials to increase its strength and durability and to add texture and color. The first use of

earth in architecture in Japan was as the floor material in ancient dwellings.

 

Figure 5.3: Stone

(Source : Material Immaterial: The New Work of Kengo Kuma by Botong Bognar)

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Stone

 The stone is locally sourced, environmental friendly and low cost. Stone of all the

materials used in traditional Japanese architecture, stone is the most permanent - it is

durable, strong, heavy, and rough. But it also can be light, smooth, and delicate. In

traditional Japanese buildings and gardens, of stone are used to show its particular

character and the vast possibilities of its expression. As a permanent, durable material,

stone is used as the foundation under / column or wall as retaining wall for a garden or

terraced rice paddy. Light, delicate material, stone is used to represent moving water in

gardens or to give texture and pattern to tamped earth floors (tataki) and mud plaster walls.

Each stone is carefully chosen by the builder or garden designer for its specific use based

on its. As well as a number of stones work better as structural elements than others.

Figure 5.4: Rice paper

(Source: Traditional Japanese Architecture: An Exploration of Elements and Forms By Mira

Locher)

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Rice Paper

Rice paper (smooth, thin, strong) is named as a wrapper for rice. Made from bark

fibres of the paper mulberry tree, the use of rice paper, in Japanese buildings is one of the

main component. A rice papers are used for various purposes in the Japanese building,

common feature of the home in the form of rice paper sliding doors and screens.

Figure 5.5: Wood

(Source : Japanese Architecture : woods and traditional homes, 2013)

Wood

Wood is the most important material in Japanese architecture because the volcanic

nature of the islands ensures that there is little for suitable stone work to use.

Wood is a particularly sustainable material as it typically has a long life cycle as well as

the capability to be easily reused and recycled.

Wood is also can be durable, and can be reused, reshaped many times; eventually useful

as fuel and source of ash. Due to their complex joinery system traditional Japanese

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buildings were constructed without using nails or adhesives of any kind, thus allowing

them to be easily dismantled and the materials reused.

Japanese architectural aesthetic was based on articulated, jointed frames, and the

possibility of removal, reuse, and recycling. Because of the complex joinery system, wood

is the most abundantly utilized natural material in traditional Japanese architecture.

Wood was especially suited for architecture in Japan because it absorbs humidity in the

wet months and releases moisture when the air is dry, assisting in creating a comfortable

interior environment..

Wood, although most abundant, was not the only natural material featured in traditional

Japanese architecture; earth was also a commonly used resource. Just as wood was

chosen for its climate assisting abilities, earth and other wall materials were selected for

their abilities to help maintain a comfortable environment within the building.

6.0 Conclusion

Bamboo despite not being widely used anymore, still serves as a purposeful and

versatile building material to be used by contemporary architects. Previously used during

ancient times due to its abundance in the local Chinese and Japanese context, its structural

advantages and its natural aesthetics, there is still plenty of room for exploration and

creativity in the future.

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7.0 References

7) @. (n.d.). Great (Bamboo) Wall | ArchiTravel. Retrieved November 23, 2016, from http://www.architravel.com/architravel/building/great-bamboo-wall/

8) 1b: Analysis. (2011). Retrieved November 21, 2016, from https://kumabytannerdab310.wordpress.com/part-1b-analysis/

9) By Arch. Patricia Erin Tobias, uap. (2016). Designer Spotlight: Kengo Kuma - Revolution Pre-Crafted Properties. Retrieved November 18, 2016, from http://revolutionprecrafted.com/blog/designer-spotlight-kengo-kuma/

10) Bognár, B., & Kuma, K. (2005). Kengo Kuma: Selected works. New York: Princeton Architectural Press.

11) Bognár, B., & Kuma, K. (2009). Material immaterial: The new work of Kengo Kuma. New York: Princeton Architectural Press.

12) Courtney, A. (2013). Concept and Technique: How Traditional Japanese Architecture can contribute to Contemporary Sustainable Design Practices. Retrieved from /react-text http://digitalcommons.conncoll.edu/envirohp/10

13) Great Bamboo Wall. (n.d.). Retrieved November 18, 2016, from http://www.archidiap.com/opera/great-bamboo-wall/

14) Great (bamboo) Wall Guest House. (2009). Retrieved November 21, 2016, from https://arcs210509.wordpress.com/houses/great-bamboo-wall-guest-house/

15) GREAT (BAMBOO) WALL. (n.d.). Retrieved November 21, 2016, from http://inhabitat.com/great-bamboo-wall/

16) Great (Bamboo) Wall. (n.d.). Retrieved November 25, 2016, from http://obsessivecollectors.com/great-bamboo-wall

17) Kuma, K. (1999). Kengo Kuma: Geometries of nature. Milano: L'arca.

18) Kuma, K. (2004). Kengo Kuma: Materials, structures, details. Basel: Birkhäuser- for Architecture.

19) Kuma, K., Fischer, V., Schneider, U., & Menzel, T. (2008). Kengo Kuma: Breathing architecture: The teahouse of the Museum of Applied Arts Frankfurt. Basel: Birkhäuser Verlag.

20) L, S. (n.d.). Great (Bamboo) Wall by Kengo Kuma. Retrieved November 18, 2016, from http://travelwithfrankgehry.blogspot.my/2009/12/great-bamboo-wall-by-kengo-kuma.html

21) Spotlight: Kengo Kuma. (2016). Retrieved November 21, 2016, from http://www.archdaily.com/771525/spotlight-kengo-kuma

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