By Cooper Voss
Starting in the Yuan dynasty, the courtyard house was one of the first and most notable structures. The foundations were constructed with a stone base, and the original houses used wood for the structures. Though wood was widely used, fired bricks were also popular, ultimately material use depended on the region of the build. When making the roofs, the materials varied based on the family’s wealth. Poorer families used bamboo because it was widely available, while wealthy families used clay shingles. The layout of these houses began with a singular entrance facing southwards, done mainly for the feng shui of the space. The southward entrance allowed positive energy to flow through the home, bringing good fortune. Based on the value of privacy important to traditional families in China, four walls were installed to enclose homes. This way Chinese families could feel comfortable conducting private ancestral worship. In addition to privacy, these walls granted the homeowners security as they could easily regulate visitors. Visitors would be immediately presented with a symmetrical design that conforms to the rest of the layout. This symmetry allows for feng shui to flow continuously throughout the entire house. The north side of the building contains the main hall, designed for parental living, directly opposite the entrance. Behind this hall, at the back of the house, was a section designated for women. The women were delegated to the very back of the house to limit their access to the courtyard. This limitation was inspired by the traditional Chinese belief that women should always stay inside. Women were meant to remain confined to womanly tasks, while the sons would have access to the courtyard and their living quarters located on the west side of the building.
The house was designed specifically with a courtyard to enforce ideas of Confucianism. The courtyard’s centrality in the house enables a sense of harmony. This flow of harmony is one of the central beliefs of Confucianism. This can be seen through the proximity of dwelling spaces with each other. Confucius thought the closer the rooms were, the closer the family was, which, in turn, equaled a better-functioning household. The layout of the rooms encouraged this harmonious functioning household by enforcing a social hierarchy: men toward the front, parents in the back, and the women furthest from the courtyard and the public eye. Based on social hierarchy, this organization enforced harmonious living and Confucian beliefs. The elements of harmony and order will naturally lead to the unseen energy flow throughout the home. Harmony, a critical factor in the house, can also be represented in the courtyard directly in the middle of the structure. The inclusion of nature in this courtyard directly links to ideas of harmony and family unity. Inspired by the natural order of nature, these ideas are reinforced into the family hierarchy.
between 1406 and 1420,Beijing, China, Dongcheng District
The Forbidden City, built during the Ming and Qing dynasties, is an example of what a Chinese Courtyard House offered on a much larger scale. The aerial image helps distinguish specific features of the city that could be immediately associated with that of the traditional Courtyard House. The materials used to build the place come from the same natural elements as the original courtyard house, consisting of wood, stone, and brick. The palace, however, is decorated in luxurious materials such as gold and marble. These material choices are untraditional in comparison to the traditional courtyard house. Traditional courtyard houses used locally sourced materials to build their homes, while the Forbidden City imported materials from all over China. The palace’s layout is similar to the Traditional Courtyard house, including a southern entrance. This entrance choice was also thought to be the auspicious direction of Feng shui, letting all the positive energy flow seamlessly throughout the palace. The palace has three entrances [DL: four main gates], and the southern entrance has been designated for visitors. This mirrors the detail of the traditional courtyard entrance in that it was also used for visitors. Just like the traditional house, the regulation of visitors into the palace was also helpful in assisting with security for the emperor.
Additionally, security being valued by the traditional courtyard house can be demonstrated within the four walls on each side of the palace as they help protect the emperor and provide privacy. The four walls also connect to the traditional courtyard idea of feng shui in that balance is promoted within the symmetrical layout. Similar to the layout of the Forbidden City, the courtyard house has the same hierarchical elements. The further one travels into the palace, the more valuable the buildings become. Similarly to how the grandparents/parents of the traditional courtyard house live toward the back of the house, the emperor’s living space is designated in the back of the palace, proving how the emperor values the same Confucian ideas of the hierarchical society. This can explain the emperor’s title as the “all father,” for he is the father of all of China. One can also see the similarities between the original courtyard house and the Forbidden City, for they share the same use of nature. The Forbidden City has a courtyard with many trees and water features, taking Confucius’ ideas of harmony and nature to another level. Specifically looking at water, the Jinshui River or the “Golden Water River” represents the flow of positive energy and the sifting and discarding of negative energy. This plays not just into the Confucian ideas of harmony but also the concepts of feng shui, which have all been incorporated into the traditional courtyard house.
This replica of the original Lhakhang Karpo Monastery is a historical site that predates the original courtyard house by a couple of centuries [DL: The first archaeologically excavated courtyard houses/palaces in China date to the neolithic Xia Dynasty, at the Erlitou site]. While this is the case, you can still see some architectural similarities. The Monastery is based in Bhutan and seamlessly blends into the landscape of vast mountain ranges and extensive forests. The availability of these natural materials makes building materials for the temple very convenient, as they are mostly made from stone and wood. The monastery’s entrance is different from the traditional southern entrance of the courtyard house. The monastery’s entrance faces the east because the Buddhists think that having the building face the direction of the sunrise would help represent the vision of a new day. They believed this new day represented the start of the awakening and dispelling of all the darkness. The layout of the monastery is somewhat representative of the Chinese courtyard house. It follows a similar design in that it is symmetrical on two sides that perfectly mirror each other. However, the significant difference between them is that the monastery only has a three-sided layout versus the original four-sided layout of the traditional courtyard house. There are various reasons why there could only be three sides of the building, as the number three is significant in Buddhist culture. This can be seen as representing the three realms of existence or even the three bodies of truth, bliss, and Emanation. Another likely reason for the three sides is that the courtyards in the Buddhist temples are meant for more public affairs rather than private, so they are designated for worship rather than some sort of private space.
While the layout has some differences, the monastery still shares a similar type of hierarchical structure. Like in the traditional courtyard house, the further you travel into the structure, the greater the importance of the room. The Buddhist temples are no different in that the front of the temple is designated as the monks’ living quarters. Traveling further into the building then reveals the Buddhist sacred worshiping spaces. This can be connected to the Chinese courtyard house in another way, for toward the back of the building, there are ancestral halls with shrines dedicated to past ancestors. The Buddhist temples’ courtyard is less beautiful than its Chinese counterpart. As stated earlier, the use was different; the Buddhists used the courtyard for ritual use, while the Chinese used it as a gathering space and a private place shielded from the outside. The Chinese courtyard houses valued the Confucian ideal of harmony with nature, as seen in the integrated courtyard. While Buddhists still value harmony with nature, they incorporate this aspect of nature not inside the courtyard but by seamlessly nestling the entire temple into the side of a mountain. While these similarities with Confucian values belonging to Chinese courtyard houses are true, many cultural differences can be seen. Confucianism can be seen in the traditional courtyard house, which values simplicity and elegance, while Buddhists value the symbolism of objects and the idealization of statues. For example, there are paintings depicting scenes within the monastery that illustrate lotus flowers that were meant to symbolize purity and enlightenment. Statues seen within the temple are Amitayus, the Buddha of boundless life; Green Tara, a compassionate deity that removes obstacles from worshippers’ paths; and Ap Chundu, a protector deity. These components are unique to the Buddhist culture and are not comparable to the traditional Chinese courtyard house. Although the values may be similar, the cultural context behind these decision vary.
The Naramachi Lattice House, or the “machiya” style house in Japan, is a fascinating comparison for several reasons. The Lattice house is made of the same materials as the traditional courtyard house due to the use of available wood. Differences become apparent immediately when looking at the entrance of the lattice house, for the entrance was not private and was designated for commercial use. The “machiya” house type was owned by merchants and craftsmen who combined their living space with their workspace within their homes. The word for this in Japanese is called “misenom” or shop space. The Chinese courtyard layout is very similar to the Lattice houses in that it is symmetrical [DL: symmetry is not supported by the photo, which shows the garden at one side] and enclosed on all four sides. However, instead of being somewhat squarish rectangular shape like the Chinese courtyard house, the Lattice house is a very thin lengthy rectangular building. That aside, both cultures still value the same idea of connectivity, as both structures are all interconnected and have open spaces. While there is some social hierarchy in the Lattice house, similar to the Chinese courtyard house, what is more prominent is a hierarchy of status. This type of hierarchy divides the busy public shop floor of the first level and the more private living quarters of the second floor. Again, there are similarities on how privacy within the home is essential to both cultures; this value is highlighted in their own way. In the Chinese courtyard house, the entrance leads directly into the public courtyard, ingraining privacy into the design. The Japanese Lattice house does this differently by creating levels to separate public versus private. The courtyard of the Lattice house seamlessly integrates nature with the rest of the house. However, the Lattice house courtyard is too small and narrow to be considered an actual courtyard, so it is better classified as a garden. Its use is still very similar; the traditional courtyard house and garden were used for more private gatherings. They differ slightly in how the Lattice house garden was used as more of a meditation area. The urban layout of the traditional Chinese Courtyard house was designed to be more inward-facing to prioritize private living and separate it from neighboring buildings. In contrast, the Japanese Lattice house is situated directly sitting side to side, many of which share the same walls. This design is because the “machiya” all have storefronts along the streets, providing better public access to their homes and businesses. While Confucianism might seem to have a lot in common with this Lattice house, Shintoism is one of the primary influences on its architecture. Shintoism is the Japanese religion of believing humans are inherently good, while spirits are the ones who create evil. Shintoism can be seen as valuing ideals such as purity, harmony, and family respect. While Shintoism shares similar values with Confucianism, it is still very culturally different. Shintoism is a religion, and Confucianism is more of philosophy. Also, Chinese courtyard houses have places where they honor their ancestors, whereas in Shintoism, they have places in the “machiya” where they pray to the gods of kami.
Devon Rd in Amagansett, New York, is a modern Americanized version of the Chinese courtyard house. This new build in 2023 focuses on the seamless integration of nature within the home. This was achieved by using natural elements and methods, such as the use of the vertical planks of wood on the outer rims of the building. The black earthy color was achieved by charring the exterior wood. Similarly, the traditional Chinese courtyard house values a set of natural earth tones such as brown and gray. The earthy tones contribute to the value of the seamless blend of home and nature. The Inside of the Devon Rd home was designed for the modern concept of entertaining due to the many open spaces. This contemporary concept can be traced back to traditional themes of the Courtyard House, which connected all rooms and structures throughout the entire home. The layout of Devon Rd is somewhat reminiscent of the courtyard house; it also values the traditional value of privacy, for the further back into the home, the more private and important the rooms become. For example, the main bedroom is at the back of the house, tucked away from the public areas, relating to the traditional value of privacy. The home layout has three sides, two parallel to each other, channeling that aspect of the Chinese courtyard house symmetry. Differences come in layout forms and the three sides instead of the traditional four enclosed sides. While this is true, Devon Rd adds a fourth wall using its natural surroundings, creating a natural wall of privacy. The traditional value of privacy and other values of integrating nature into the home are seen. Differences also arise in terms of the number of floors, for in the very back of the home, stairs lead to the main bedroom on the second level.
However, while this is a difference in tradition, it can also be seen as playing into the concept of the separation between public and private living. Like the Devon house, the Chinese courtyard house has more public-friendly areas in the front with more private areas towards the back of the building. Devon Rd’s courtyard has a seamlessly integrated pool surrounded by a gray stone patio. This connects to the traditional color of the outside of the courtyard house and its integration with nature. While the house is not Confucian, it is still interesting to note that this modern structure carries many Confucian values. The integration of social harmony within the home, the social hierarchy of private vs. public, and its integration of nature makes everything blend together. The traditional Confucian values seen in China a hundred years ago are still valuable ideals in home design.
Source Evaluation
My comparison was aided by the “Feng Shui Models Structured Traditional Beijing Courtyard House” entry. This academic source explored the relationship of feng shui and nature in the traditional Beijing courtyard. Details are provided concerning the symmetry and flow which achieves a layout that promotes confucianism and harmony. This source provided my basis for an understanding of the traditional Beijing Courtyard House which I used as a standard model to compare houses from houses by other cultures. I expanded upon this source in my publication by placing the knowledge of the home in contrast with other cultural houses. My second academic source, “Traditional Chinese Regional Architecture: Chinese Home” helped to set a standard for what the traditional definition of a Chinese courtyard house is. The article described the house’s functions and the social rules that visitors and residents had to follow. This article aided in my publication because it provided me with various examples of Chinese houses, which helped me to understand the uniqueness of the traditional courtyard house.
Conclusion
My publication analyzes traditional Chinese courtyard houses and notes the structures’ definable traits. This is expanded on by the use of the traditional Chinese courtyard house as a model to compare and contrast with similar structures from other cultures. Through an in depth exploration of the traits of these structures I began to understand the cultural significance behind each. Comparing the structures of Chinese, Buddhist, Japanese, and American cultures provided a point of identification as well as a varied exploration of Asian and American houses. All of the included structures are categorized as different cultural interpretations of courtyard houses. My publication shows that the similarities between the different structures was a reflection of overlapping values of these cultures, despite their differing origins.
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