Village. Image © Xuguo Tang

村。形象（三）徐国堂

架构师提供的文本描述。这座房子位于全村入口处，是进入这座古徽州村的第一栋看得见的建筑。这个小而甜美的建筑最初被用作一家面积只有80㎡的小药房。为了接待越来越多的游客，我们把她改造成了全村的接待中心。设计要求很简单：为了与整体环境协调，不允许大、高或突变。然而，她仍然需要承担起整个古村落入口点的标志性角色。

Text description provided by the architects. Located at the entrance of the entire village, this house is the first building in sight when entering this ancient Huizhou village. This tiny sweet piece of architecture was originally used as a small pharmacy store with an area of only 80㎡. In order to receive growing number of tourists, we renovated her into a reception center for the entire village. The design requirements are simple: in order to coordinate with the overall environment, it’s not allowed to be bigger, taller or abrupt. However, she still needs to bear the iconic role of the entire ancient village at the entrance spot.

Text description provided by the architects. Located at the entrance of the entire village, this house is the first building in sight when entering this ancient Huizhou village. This tiny sweet piece of architecture was originally used as a small pharmacy store with an area of only 80㎡. In order to receive growing number of tourists, we renovated her into a reception center for the entire village. The design requirements are simple: in order to coordinate with the overall environment, it’s not allowed to be bigger, taller or abrupt. However, she still needs to bear the iconic role of the entire ancient village at the entrance spot.

 Exterior. Image © Xuguo Tang

外表。徐国堂

 Facade. Image © Xuguo Tang

正面。徐国堂

在概念阶段，我们不希望她的外表像网络名人那样夸张，而是一个读诗的当地女孩。因此，更新仍采用了当地徽州建筑语言。当前面的三个折叠门完全打开时，你会很高兴发现里面隐藏但漂亮的空间。

During the concept phase, we don't want her appearance to be smeared exaggeratedly as a cyber-celebrity, but a local girl who reads poetry. Therefore, the renovation still uses the local Huizhou architecture language of Matou Wall. When the frontal three folding doors are fully opened, you will be thrilled to discover the hidden but beautiful space inside.

During the concept phase, we don't want her appearance to be smeared exaggeratedly as a cyber-celebrity, but a local girl who reads poetry. Therefore, the renovation still uses the local Huizhou architecture language of Matou Wall. When the frontal three folding doors are fully opened, you will be thrilled to discover the hidden but beautiful space inside.

 Void wall. Image © Xuguo Tang

空墙。徐国堂

暖结构是目前对传统木结构体系的建筑研究和继承，始终围绕着“斗公”这一独特的结构元素互锁木支架。很少有人对传统木材结构的整体体系进行结构研究。架构师通常将这项工作归类为工程师的职责，即为架构设计本身服务。然而，我们的团队一直致力于研究和更新传统建筑中的“定时器结构木工系统”的整体系统。在前期工程“冷暖厅”的设计中，首次尝试了一种新的整体木结构体系。在第十宗室的设计中，我们进一步发展了以前的木材结构木工系统。我们希望这是对目前以“斗工”为基础的传统木结构木工制度的补充。

Warm structure The current architectural research and inheritance of traditional timber structural system always revolves around the subject of“Dou Gong”, a unique structural element of interlocking wooden brackets . Rarely, structural studies have been conducted on the overall system of traditional timber structures. Architects often categorize this job as engineers’ responsibilities, which is to serve to the architecture design itself. However, our team has been working on the research and renewal of the overall system of“ Timer Structural Carpentry System”in traditional architecture. In the design of previous project “cold and warm hall”, for the first time we tried a new overall timber structural system. In the design of Clan Hall X, we further developed the previous new timber structural carpentry system. We hope that this is a supplement to the current traditional timber structural carpentry system based on “Dou Gong.

Warm structure The current architectural research and inheritance of traditional timber structural system always revolves around the subject of“Dou Gong”, a unique structural element of interlocking wooden brackets . Rarely, structural studies have been conducted on the overall system of traditional timber structures. Architects often categorize this job as engineers’ responsibilities, which is to serve to the architecture design itself. However, our team has been working on the research and renewal of the overall system of“ Timer Structural Carpentry System”in traditional architecture. In the design of previous project “cold and warm hall”, for the first time we tried a new overall timber structural system. In the design of Clan Hall X, we further developed the previous new timber structural carpentry system. We hope that this is a supplement to the current traditional timber structural carpentry system based on “Dou Gong.

 Axonometric

与江南地区的传统木匠工作不同，古徽州地区的木结构具有“厚梁细柱”的特点。因此，为了使柱显得纤细，原大柱被切割成四根细柱，成为一组“分离柱”。同时，为了提高梁的稳定性和节奏感，将一根梁改为一对并排的梁。传统的“方梁-方柱”结构虽然没有圆形结构那样的柔度和美观，但其结构效率最高。所有的梁和柱都是通过螺栓和索节点结构连接在一起的，形成了一个由独立柱和复杂梁组成的屋顶桁架-“整体木材结构木工系统”。

Different from the traditional timber carpentry work in the Jiangnan area, the timber structure of the ancient Huizhou area is characterized by “thick beam and slim column”. Therefore, in order to make the columns appear slender, the original bulky column is cut down into four thin columns and becomes a group of "separated columns". At the same time, in order to increase the stability and rhythm of the beam, one beam is replaced by a pair of beams lying side by side. Though the traditional “square-beam-and-square-column” structure doesn’t have the tenderness and beauty of the round ones, it has the highest structural efficiency. All the beams and columns are snap-fitted together by mortise and tendon joint structure, forming a roof truss of separated-columns and complex beams --"the overall timber structural carpentry system".

Different from the traditional timber carpentry work in the Jiangnan area, the timber structure of the ancient Huizhou area is characterized by “thick beam and slim column”. Therefore, in order to make the columns appear slender, the original bulky column is cut down into four thin columns and becomes a group of "separated columns". At the same time, in order to increase the stability and rhythm of the beam, one beam is replaced by a pair of beams lying side by side. Though the traditional “square-beam-and-square-column” structure doesn’t have the tenderness and beauty of the round ones, it has the highest structural efficiency. All the beams and columns are snap-fitted together by mortise and tendon joint structure, forming a roof truss of separated-columns and complex beams --"the overall timber structural carpentry system".

 Void wall. Image © Xuguo Tang

空墙。徐国堂

 Detail. Image © Xuguo Tang

细节。徐国堂

西方古典建筑以“柱序”为核心组织建筑形式和比例，而中国木结构则一直强调梁柱整体的系统性。中国建筑虽然没有强调精确的比例，但它追求的是整体空间的精神和节奏，其创造与木结构体系密切相关。结构不再是现代建筑中需要隐藏的消极因素，而是创造整体空间精神和节奏的重要骨架。

Western classical architecture organizes architectural forms and proportions with “order of pillars” as the core, while Chinese timber structures have always emphasized the systematic nature of beams and columns as a whole. Although Chinese architecture does not emphasize precise proportions, it pursues the spirit and rhythm of the overall space, the creation of which is closely related to the timber structural system. The structure is no longer a negative factor that needs to be concealed in modern architecture, but an important skeleton to create the spirit and rhythm of the overall space.

Western classical architecture organizes architectural forms and proportions with “order of pillars” as the core, while Chinese timber structures have always emphasized the systematic nature of beams and columns as a whole. Although Chinese architecture does not emphasize precise proportions, it pursues the spirit and rhythm of the overall space, the creation of which is closely related to the timber structural system. The structure is no longer a negative factor that needs to be concealed in modern architecture, but an important skeleton to create the spirit and rhythm of the overall space.

 Detail. Image © Xuguo Tang

细节。徐国堂

墙壁木匠结构定义了尺寸，而墙决定了整个空间的界面和视觉元素。阴影墙：对中国人来说，竹子不仅是人们喜爱的对象，也是文人气质的精神象征。几乎每个人都喜欢竹子，但是竹子不能在室内生存，所以中国人试图用绘画和雕刻来代替室内。在X宗室，我们通过光线和阴影将生长在外面的竹子投射到这面半透明的玻璃墙上。整个室内充满了竹子的影子，在风中旋转。

Walls The timber carpentry structure defined the dimensions, while the wall determines the interface and visual elements of the whole space. Wall of Shadows: for the Chinese people, bamboo is not only a favorite object, but also a spiritual symbol of literati temperament. Almost everyone loves bamboo, but bamboo cannot survive indoors so the Chinese try to fill the interior with its replacement by means of paintings and carvings. In Clan Hall X, we project the bamboos growing outside onto this translucent glass wall through light and shadow. The entire interior is filled with bamboo shadows whirling in the wind.

Walls The timber carpentry structure defined the dimensions, while the wall determines the interface and visual elements of the whole space. Wall of Shadows: for the Chinese people, bamboo is not only a favorite object, but also a spiritual symbol of literati temperament. Almost everyone loves bamboo, but bamboo cannot survive indoors so the Chinese try to fill the interior with its replacement by means of paintings and carvings. In Clan Hall X, we project the bamboos growing outside onto this translucent glass wall through light and shadow. The entire interior is filled with bamboo shadows whirling in the wind.

 Outdoor view from inside. Image © Xuguo Tang

从里面看室外景色。徐国堂

 Floor plan

 Shadow wall. Image © Xuguo Tang

影子墙。形象（三）徐国堂

虚拟分隔墙：“马头墙”，被称为“马头墙”，是徽州传统建筑的标志性标志。它被用于防火，后来成为一种独特的地域文化语言。马头墙提供了一种神秘和隐蔽的感觉。然而，作为一个公共接待中心，我们希望在保留徽州建筑语言的同时，摆脱这些墙所赋予的孤立感。因此，我们用现代玻璃砖建造了马头墙的整体界面，作为内部和外部的虚拟分隔。突然间，建筑发生了有趣的变化，里面的木匠结构是以熟练而神奇的工艺呈现给外界的。

Wall of Virtual Separation: The “horse head wall”, known as “Matou wall”, is the iconic symbol of traditional Huizhou architecture. It was used for fire prevention and later became a unique language of regional culture. Matou wall provides a feeling of mystery and shelter. However, as a public reception center, we hope to retain this Huizhou architectural language and at the same time to get rid of the sense of isolation given by these walls. Therefore, we constructed a whole interface of horse head wall made of modern glass brick as a virtual separation between the inside and outside. Suddenly the building has an interesting change that the inside wood carpentry structure is presented to the outside with skilled and magical craftsmanship.

Wall of Virtual Separation: The “horse head wall”, known as “Matou wall”, is the iconic symbol of traditional Huizhou architecture. It was used for fire prevention and later became a unique language of regional culture. Matou wall provides a feeling of mystery and shelter. However, as a public reception center, we hope to retain this Huizhou architectural language and at the same time to get rid of the sense of isolation given by these walls. Therefore, we constructed a whole interface of horse head wall made of modern glass brick as a virtual separation between the inside and outside. Suddenly the building has an interesting change that the inside wood carpentry structure is presented to the outside with skilled and magical craftsmanship.

 Void wall. Image © Xuguo Tang

空墙。徐国堂

 Void wall. Image © Xuguo Tang

空墙。徐国堂

树墙：西面墙是建筑物内唯一的实心墙，以增强内外翻转的戏剧性效果。特别是，我们从800公里外的苗圃里采摘了一棵弧形的枣树。这棵树被砍倒后，我们在它旁边种了一个新的幼苗。这棵美丽的弧形枣树被运回来，挂在墙上，没有任何装饰。由枣树和未经修饰的原始枣树组成的木材结构体系被放置在一个空间中。外表与自然，虚拟与真实，内外，弯曲与直线，内部则获得一种平衡感，就像传统文学中的一种对立关系。

Wall of the Tree: The west gable wall is the only solid wall in the building so as to enhance the dramatic effect of flipping the inside and outside. Specially, we picked a curved jujube tree from the nursery garden 800 km away. Once the tree was cut down, we planted a new seedling next to it. This beautiful curved jujube tree was then transported back and hung on the wall without any decoration. The wood structural system made of jujube trees and the unmodified original jujube trees are placed in one space. Facade and nature, virtual and real, inside and outside, curved and straight, the interior then acquires a sense of balance, just like a kind of antithesis relation in traditional literature.

Wall of the Tree: The west gable wall is the only solid wall in the building so as to enhance the dramatic effect of flipping the inside and outside. Specially, we picked a curved jujube tree from the nursery garden 800 km away. Once the tree was cut down, we planted a new seedling next to it. This beautiful curved jujube tree was then transported back and hung on the wall without any decoration. The wood structural system made of jujube trees and the unmodified original jujube trees are placed in one space. Facade and nature, virtual and real, inside and outside, curved and straight, the interior then acquires a sense of balance, just like a kind of antithesis relation in traditional literature.

 Tree wall. Image © Xuguo Tang

树墙。徐国堂

这种做法可能受到环保主义者的质疑。但事实上，我们相信有两个生命周期的树木。一种是在树林中生长的自然生活，另一种是人们作为建筑或家具的材料使用的艺术生活，从而使他们的生活在艺术意义上得以延长。除了这个接待中心，我们还做了一系列整修，我们在这个村子里叫“微创手术”，包括一个旅馆，一个茶馆，一个竹亭，一个竹桥等等。我们不打算完全改变村庄的面貌，这可能会造成其背景或甚至原住民的巨大改变。相反，我们希望通过"小行动和大精神"的方法，迷人的村庄将再次焕发光彩。

This practice may be questioned by environmentalists. But in fact, we believe there are two life cycles of trees. One is the natural life that grows in the woods, and the other is the artistic life that people use as materials for construction or furniture, so that their lives can be prolonged in the artistic sense. In addition to this reception center, we also did a series of renovations that we called “minimally invasive surgery” in this village, including an inn, a tea house, a bamboo pavilion, a bamboo bridge, etc. We don’t intend to alter the appearance of the village completely, which may cause huge changes of its context or even aborigines. Instead, we hope that through the approaches of "small actions and big mind", the charming village will shine again with glowing beauty.

This practice may be questioned by environmentalists. But in fact, we believe there are two life cycles of trees. One is the natural life that grows in the woods, and the other is the artistic life that people use as materials for construction or furniture, so that their lives can be prolonged in the artistic sense. In addition to this reception center, we also did a series of renovations that we called “minimally invasive surgery” in this village, including an inn, a tea house, a bamboo pavilion, a bamboo bridge, etc. We don’t intend to alter the appearance of the village completely, which may cause huge changes of its context or even aborigines. Instead, we hope that through the approaches of "small actions and big mind", the charming village will shine again with glowing beauty.

 Exterior. Image © Xuguo Tang

外表。徐国堂

Architects SU Architects

Location Shanli, Huangshan, An’Hui, China

Architect in Charge Keyuan Ma

Design Team Shaoxun Guo, Jiachen Xie, Ming Tang

Area 80.0 m2

Project Year 2018

Photographs Xuguo Tang, Ming Tang

Category Adaptive Reuse