Start from Prototype, the Way of Regional Architecture Design in the Context of Internationalism – the Culture Centre of Pure Land School in XuzhouLuke Li 1, Guixiang Wang 2Post Doctor Researcher1, Institute of Architecture History & Theory, School of Architecture, Tsinghua University, China Professor2 , Institute of Architecture History & Theory, School of Architecture, Tsinghua University, China AbstractDuring the globalized period, traditional and regional cultures, which are reinspected by the subject, come into vogue in a unique way. Consequently, there comes a representative cultural phenomenon that Buddhism and temples are revived in present China. However, the concern about traditional culture always results in another assimilation, that is, the spirit of the time is lost, because of the imitation of ancient style. This cultural phenomenon seems more serious in the traditional type of architecture, a good example of which is Buddhist temple. How to unscramble and represent the feature of time, local, and culture, in this paper, are the key points of regional architecture design in the context of internationalism. The project of the Culture Centre of Pure Land School in Xuzhou Longhua Temple, is such an opportunity for us to attempt to solve the problems that mentioned. Keywords: globalization; modernity; localization; Buddhist architecture design; Pure Land SchoolIntroductionIn modern society, globalization reduces the dimension of time and space, which brings on the intercommunion of multiple cultures. At the same time, it causes internationalism of architectural culture and assimilation of the space and form of our cities. During the globalized period, traditional and regional culture, which are reinspected by the subject, come into vogue in a unique way. Consequently, there comes a representative cultural phenomenon that Buddhism and temples are revived in present China.However, the concern about traditional culture always results in another assimilation, that is, the spirit of the time is lost, because of the imitation of ancient style. This cultural phenomenon seems more serious in the traditional type of architecture, a good example of which is Buddhist temple. It already becomes a distingushing feature of modern Buddhist projects that blind or careful imitation of historical style. Some architects who are familiar with traditional culture, often prefix Tang Style, Song Style, or Qing Style, to their design works, in order to record the source of the model to be copied.How to unscramble and represent the feature of time, local, and culture, in my opinion, are the key points of regional architecture design in the context of internationalism. The project of the Culture Centre of Pure Land School in Xuzhou Longhua Temple, is such an opportunity for us to attempt to solve the problems that mentioned. In this project, specifically, we attempt to reflect the three characters - "modern", "Chinese" and "Buddhist", through form and space in the architectural design.In the architectural design process under the modern society and technical conditions, and the modern architectural theory of Functionalism, Symbolism and Typology, we tried to re-interpret its function with a long history, as well as to seek the "typical characteristics" or "prototype" from the religious doctrines and historical examples of such buildings.From Function to Form – Prototype from Religious CeremonyAs a Chinese Modern Buddhist architecture, the main functions of the Culture Centre of Pure Land School in Xuzhou Longhua Temple, is to provide a venue for the Buddhist monks and the believers, for preaching and religious practice, especially chanting the name of Buddha as a way of religious discipline. And other various functions for the monks’ daily life, is settled in the main building of Longhua Temple near to the Culture Centre. (Fig. 1)Fig. 1. Site Plan of The CultureCentre of Pure Land School,which is connected with apavement to the MainBuilding of Longhua Temple.There preserved a huge stoneBuddha bust of Northern Wei period(A.D. 386-534) in the old LonghuaTemple in Xuzhou, becomes theevidence of the long history of PureLand Buddhism in this area, whichis high of about 30 meters. So, in thenew cultural centers, the clients wishto imitate the huge Buddha bust, tobe worshipped in the main hall.For the historical Buddhist architecture, although in different age, different place, and different building system, the basic pattern of space for worship and spiritual has been retained. So, at first in this project, we find out the Buddhist way of religious worship and cultivation; second, we compare them with the existing samples of Buddhist architecture in space (Fig.2) and summarizing their spatial characteristics. After that, there can be drawn 4 essentially different types of space - the path space (to circumambulate around the Buddha), the meeting space (to observe the Buddha, to chant the name of Buddha, to worship the Buddha, to expound Buddhist doctrine, etc.), the private space (to sit in meditation, to recite or chant scriptures, etc.), the free space (to walk around for resting and meditating (经行)). (Fig.3)(1) (2) (3) (4)(1) Vihara Cave(毗诃罗窟): to sit in meditation, to recite or chant scriptures, meditation, expound Buddhist doctrine (Cave 285 of Mogao Grottoes, Western Wei Dynasty, A.D. 535-556);(2) Cave with Pyramidal Ceilings(覆斗窟): for observe the Buddha, to chant the name of Buddha, to worship the Buddha, etc.(Cave220 of Mogao Grottoes, Early Tang Dynasty, A.D. 618-755);(3) Central Pillar Cave(中心塔柱窟): Combination of observing the Buddha, worshipping the Buddha, and circumambulating around the Buddha.(Cave254 of Mogao Grottoes, Northern Wei Dynasty, A.D. 386-534);(4) Back-screen Cave(背屏窟): the further development of Central Pillar Cave, strengthening of the function of observing and worshipping, while weakening the function of circumambulating.(Cave55 of Mogao Grottoes, North Song Dynasty, A.D. 960-1036)Fig. 2. Chinese Cave Temple instance, with different cultivation methods corresponding to different spatial types(From Xiao Mo. Research of architecture in Dunhuang. Beijing: China Machine Press, 2003: fig. 11-13, 11-14, 11-3, 11-27)(1) the path space; (2) the meeting space; (3) the private space; (4) the free spaceFig. 3. Four essentially different types of space drawn from the samples of Buddhist caveOn the base of the 4 type of spaces, if we use the stupa or the statue of Buddha as a dual element, which is not only a key node, but also a boundary marker, then the path space and meeting space can be combined into a compound of worship space, which have samples of Chaitya Cave (支提窟) or Central Pillar Cave(中心塔柱窟). On the other hand, meeting space and private space can also be(), and the Christian combined into a compound of practice space, like Vihara Cave 毗诃罗窟monastery of the same spatial characteristics.Under the modern system of reinforced concrete frame structure, we can create a new form of "Vihara" (meeting space + private space), "Cave with Pyramidal Ceilings" (only meeting space) and "Back-screen Cave" (path space + meeting space) as conceptual design.(Fig. 4)(1) (2) (3)(1) New conceptual design of "Vihara" (meeting space + privatespace);(2) New conceptual design of "Cave with Pyramidal Ceilings"(only meeting space)(3) New conceptual design of "Back-screen Cave" (path space +meeting space)Fig. 4. Conceptual design for 3 types of spaces for religiousworship or practice, under the modern system ofreinforced concrete frame structure(1) (right above) Interior perspective of the hall of the eleven-headed Kuan-yin, Dule temple;(2) (right bellow) Interior perspective of Cave 130 of MogaoGrottoes (From Sun Yihua, Sun Rujian edit. The CompleteWorks of Dunhuang Grottoes. V ol.22. Hong Kong: CommercialPress, 2003 )Fig. 5. The sample of the ancient Chinese pavilion or grottos,which contain large-scale statue of Bodhisattva orBuddhaFor a huge statue of Buddha as the core of the space, the culturecenter of the Pure Land, need to consider the question of how the believers watch and get the perspective of the Buddha, in different heights and different distance. Big Buddhist Grotto, the Buddhist caves with large statue of Buddha as the main body, has already emerged in ancient Central Asia, which has spread into China after the Tang dynasty. The main function of these buildings is for the believers to observe and worship the Buddha. For this function, the sight line and natural light arecarefully designed. For example, the key point of view - the entrance, the second corridors, both have a strong or moderate effect of looking up with respect. The light, on the other hand, always flowed onto the head of statue, from the high side scuttle, while the other part of the statue and grotto is remained obscure and mysterious. (Fig.5, Fig. 6)In the project of the Culture Centre of Pure Land School in Xuzhou, we can use glass curtain to make better transparency, so that visitors in the entrance plaza can vaguely watch through the glass curtain to see the Buddha face, and thus achieve "look up naturally to see the Amitabha"(举目即见阿弥陀)1. (Fig.7)(1) (2) (3)(1) The Hall of the eleven-headed Kuan-yin, Dule temple, Jixian(蓟县独乐寺观音阁), Hebei province, Liao dynasty, A.D.984 (from Liang Si Cheng. a Pictorial History of Chinese Architecture. Beijing: China Architecture & Building Press, 1991);(2) Cave 130 of Mogao Grottoes, Flourishing Tang Dynasty, A.D. 712-762(3) Cave 6 of Tulin Grottoes, Song Dynasty, 960-1036 (From Xiao Mo. Research of architecture in Dunhuang. Beijing: China Machine Press, 2003)Fig. 6. Study of the sight line to the pavilion or grottos, which contain large-scale statue of Buddha1Qian Long Emperor. Approves for the Immeasurable Long-lived Buddha made by the emperor himself (乾隆《御制无量寿佛赞》)Fig. 7. Interior perspective (above right) and Section (bellow left) of the Culture Centre of Pure Land School in Xuzhou, marked out the sight lineFrom Symbolic to Form – Prototype from the Buddhist View of the WorldBesides the material function to be “useful”, the temple must undertake some spiritual function to be “sacred” or “sublime”. Ancient buildings are frequently used to “symbolize the heaven or earth”(“象天法地”), that is, to set up the order of building following the order of the universe. More or less, in many remained ancient Buddhist temple, we might also see the symbolic implications. For the Pure Land Buddhism, people believe more of the ideal world. They believe that people can be saved by the Buddha strength, through watching, chanting and worshipping the Buddha. After dying, they may be reborn in the Pure Land with great happiness. In the sutra of the Pure Land, such as Amitabha Sutra (阿弥陀经) and Infinite Life Sutra(无量寿经), there described the buildings and landscapes in Pure Land in detail. To afford the believers more confidence in the existence of the Pure Land, Pure Land Buddhist temples often express the world's structure in sutra, mainly by describing the Buddhist Pure Land by the wall paintings, sculptures and decorations, or use building and its geographical environment to symbolize the Pure Land.In fact, besides the Pure Land School, most other sects of Buddhism do not emphasize the specific model of the universe, nor stressed concrete building model. So, the building images in the Pure Land that depicted in the sutra, as well as the Pure Land portrayed by the ancient paintings, has become the most attractive building image in the history of Buddhist architecture. (Fig.8) And, for thousands of years in Chinese society, Pure Land Buddhism is relatively easy and evident to understand the argumentation and to self-cultivation, so that it is widespread in noble or common people until today. So it can be said that in Buddhist architecture, in particular the Pure Land School architecture, there is a ideal schema of the "Pure Land World".Fig. 8. Pure Land image portrayedin the ancient wall paintings(Cave 148 of MogaoGrottoes, Flourishing TangDynasty, A.D. 712-762)(1) (2) (3) (4)(5) (6)(1) Circular Mound Altar (圜丘) (Temple of Heaven, Beijing, China, A.D.1530-1749);(2) Great Stupa (Sanchi, India, B.C. 273-236);(3) Radian Hall (明堂) (Zongzhang period, Tang Dynasty, A.D. 668-670);(4) Lamaist Pagoda (Tayuan temple, Wutai Mountain, A.D. 1301);(5) Plan projects of St. Peter’s (Italy, 16th. century)(6) dkyil-ykhor (坛城) (ceiling pattern of Cave 3, Yulin Grotto, Western Xia Dynasty, A.D. 1036-1227) Fig. 9. The centralized composition of the architectural plan, indicated in Buddhist images or in ancient monumental architectureFig.10. The conceptual design, iterative combination of several squares, circles and slope roof with a central pointAccording to the sutra of the Pure Land, such as Amitabha Sutra(阿弥陀经) and Infinite Life Sutra(无量寿经), in the world of Pure Land, there are ornate pavilions, Lotus Pond, layer upon layer of the platform with railing, meshwork composed with jewelry, beautiful trees inlaid with treasures arranged neatly. Moreover, there is always heavenly music, flowers, wonderful varicolored birds and animals. There are numerous Buddha and Bodhisattva teach the Dharma by themselves. There are countless men and women study and practice the Dharma. Overall, the Pure Land described in the sutra a kind of “Ultimate Bliss”, the space of which are regular, orderly, heavenly and splendid. In these descriptions, large quantity of repeating is often used to reflect the sublime, splendid and happiness in the Pure Land.On aspect of architecture, ancient people frequently take the same choice to use the centralized composition in religious or monumental architecture. The “centralized composition”, have a common feature to organize square, circular and other sub-symmetric shape with a central point, in order to emphasize its centrality and orientation. Such a composition of high order will take an affect of sublime and splendid, if used properly. (Fig.9) In this project, we attempt to create a new composition with the feature of centralization and iterative, which is going to symbolize the Pure Land with an abstractive and modern form. (Fig.10)From History to Form – Prototype from the Memory of SocietySince Buddhist architecture is a type of a long history, besides the schema of ideal space described in the sutra, there is another schema, which is derived from the memory of society and mental habits. In another word, if the new building appears some image that existed in the historical buildings, even if the function has already changed, it also arouse people with their historical memory of the centuries-old type, "Buddhist temple". This could also explain why, most of the modern Buddhist architecturemime the antique form, in spite of that modern architecture is totally different from ancient buildings.In this project, we attempt to restore some space image of the traditional architecture with modern technical and architectural form. We start from the wooden structural system of ancient Chinese hall. In the Chinese building standard in 12th century, Yingzaofashi(营造法式), there are mainly two different types of timber structure, the first is more solemn and splendid, which is Monumental-scaled Type, called Diantang-type (殿堂式); and the second is more flexible and economical, which is Mansion Type, called Tingtang-type (厅堂式). For the Diantang-type (殿堂式), the structure is composed of three horizontal layers: the first layer is an uni-height column network; the second layer is assembled with bracketing units (斗栱), forms a "Tic-Tac-beam" structure, sustained by the columns; the third layer is a roof structure above ceiling level, sustained by the bracketing-units-layer. Containing the structural stability, the column near to the centre of the hall can be removed. Therefore, not only the meeting-space in the centre of the hall is expanded and enclosed, but also the path-space is created around the central part of the hall. Therefore, the structure and function of architecture come into a perfect combination. For the Tingtang-type (厅堂式), the building is formed by parallel transverse frameworks connected by longitudinal purlins and ties, available in many different types of space. It is more flexible and economical, therefore spread more abroad than Diantang-type.(Fig.11)(1) (2)(1) The Diantang-type (殿堂式) which is solemn and splendid (East Hall in Foguang Temple,A.D.857); (2) The Tingtang-type (厅堂式), which is flexible and economicalFig.11. Compare of the Diantang-type and the Tingtang-type(2) (3) (4)(1) Zhao Chen. Study on the framework of the drum-tower in North Guangxi Province, 2005; (2) Feng Jizhong, Helou exposed pavilion, squared-pagoda garden, Shanghai, c.1981;(3) Tadao Ando, Water Temple, Awajishima, Japan, 1989-91 (4) Tadao Ando, Komyo-ji-Saijo Temple, Ehime, Japan, 2000Fig.12. abstract interpretation of traditional framework by modern architectureFig.13. Interpretation of traditional framework of Diantang-type and Tingtang-type in the CultureCentre of Pure Land School in Xuzhou(1)2009 International Conference on East Asian Architectural Culture, Tainan, TaiwanAlthough the structure type is related with the traditional materials, they depend not only on the traditional materials. If we are using new materials and processes, and retain the order of the traditional framework, as the result, we can get a "modern" form with a reasonable function, which is contained in the traditional framework. Above all, it can arouse a kind of association with the context in tradition. Therefore, abstract interpretation of traditional framework, has become an important method of the architectural design that calls for more of historical meaning. In this field, some outstanding architects in East Asia have made some useful attempt. (Fig. 12) In this Project, we combined the elements of Diantang-type and Tingtang-type into the concentrative composition, with the different character of solemn and lightness. (Fig. 13)ConclusionOn the problem of Buddhist architecture, based on functionalism, symbolism and typology, we can boil the source of the form down to three factors: First, as a concretion of function, the form comes into a container of the religious functions as preaching and self-cultivation. Second, as a symbol of the world in sutra, the form comes from the depiction of sutra and ancient painting works. At last, as a carrier of the memory of the society, the form comes from some essential characters in historical architecture.In this project, we tried to retrace back to the historical prototype of the Buddhist, monumental, and timbered building, while the start point is the present age. We also tried to reinspect the ritual regulations and the argumentations of the Buddhist classics. Regarding the starting point as the function of physical and mental, as well as the ideal spaces in the Pure Land thought, we attempt to find out the possible modes of form, space and structure, and then, we recreate the form and space with modern material and structure. (Fig. 14, Fig.15)Fig.14. Ground floor plan of the CultureCentre of Pure Land School inXuzhouⅡ‐125The East Asian Architecture and Urbanism under OccidentalismFig.15. Perspectives of the Culture Centre of Pure Land School in XuzhouReferenceLiang Si Cheng. a Pictorial History of Chinese Architecture. Beijing: China Architecture & Building Press, 1991Xiao Mo. Research of architecture in Dunhuang. Beijing: China Machine Press, 2003Sun Yihua, Sun Rujian edit. The Complete Works of Dunhuang Grottoes. V ol.22. Hong Kong: Commercial Press, 2003Sun Yihua, Sun Rujian edit. The Complete Works of Dunhuang Grottoes. V ol.21. Hong Kong: Commercial Press, 2003Wang Guixiang. The Architectural Space in the East and West World. Beijing: China Architecture & Building Press, 1998Zhang Bo.(2003) General View on Religion Service Space of Architecture of Buddhism of Han Nationlity. Journal of North China University of Technology, V ol.15. No.4 pp.60-64The Amitabha Sutra. Translation by Ronald Epstein (Upasaka I Guorong) First published in Vajra Bodhi Sea, No. 9 (Dec., 1970), pp.11-21.Chen Yangjiong. General History of Chinese Pure Land Buddhism. Nanjing: Jiangsu Ancient Books Press, 2000Ⅱ‐126。
