Southern Chinese Pavilion Construction Report

A report on theconstruction of

the

SOUTHERNCHINESEPAVILION

and an analysis of itssimilarities

with the

COLLINGWOODSINGAPORE

COTTAGE

Viet Hoang207703

ABPL90336Southern ChinesePavillion

Construction

Qinghua GuoHamish Hill

Ross Berryman

THE TEAM

Prof. Qinghua GuoMr. Hamish Hill

Mr. Ross Berryman

Fiorn LeeNopanit Isarankura

Zheren ChenChris James

Huang WangAnton Setyadjl

Ning LuSerena Foo

Min Soo ParkAndrew Posala

Marisa LeelasinlapasatMarie KanekoRaza Bolouri

Fernando FernandezOndine McGlashan

David FungLaura PachonChris JacobsShujia ZhaoChuan Wang

Carol YanFebria TjanJing Yang

Lodewijk VinckierNimaya Peiris

Selvie GoRobert Halim

Andre AuViet Hoang

Ilari LehtonenLok Tsang

Leander Chen

ABPL90336Southern Chinese

Pavilion Construction

Semester 1, 2012

Melbourne UniversityVictoriaAustralia

1

CONTENTS

Preface

The Chinese Pavilion

Modelling exercise

Proposed Location

Workshop Construction

Final Build

The Singapore Cottage

Drawings

Comparison and Analysis

Conclusion

Bibliography

4

6

16

32

38

64

82

88

98

112

116

2

PREFACE

Southern Chinese Pavilion Construction is a Masters-level Architecture subject at the University of Melbourne, Aus-

tralia. Led by Professor Qinghua Guo, managed by Hamish Hill, and assisted by Ross Berryman, the class of 32 students

undertook a semester of learning and traditional Chinese timber carpentry. The team ultimately worked toward the

construction of a full sized pavilion, based on real-life exist-ing examples.

Throughout the semester, students explored traditional joinery, structure and framing, tools and techniques. Each student worked on individual columns and beams of the final pavilion. Though everyone started off slowly, people

practised and soon became accustomed to the same methods of construction that Chinese builders used, and in just over twelve weeks, the elements came together to become a full

scale pavilion.

It was the product of hardwork and effort by all involved, and the result is something of which the class is greatly

proud. A big thanks to Professor Guo, Hamish, and Ross, who passed on great knowledge and wisdom to the class, and

it is from them that the class was able to learn so much.

I would also like to thank my teammates, who have all been a pleasure to work with and to learn from. I personally have had a wonderful time in this class and felt that I have learnt

a great deal from it.

Viet Hoang, June 2012

4

The SOUTHERN

CHINESEPAVILION

or

The “WIND - RAIN

BRIDGE”

Chengyang Wind-Rain Bridge over the Sanjiang River, Liuzhou,

Guangxi Province, China(Meier 2010)

6

7

THE DONG PEOPLE

Of the 56 officially recognised ethnic groups of China, the Dong people are one of the most unique. Living mainly in

Southern China in the Guizhou, Hunan, and Guanxi prov-inces (and a sizable number in Northern Vietnam) (Geary

2003), the Dong are particularly well-known for their unique architecture and their well-honed carpentry ability.

Living in small villages in rural areas away from urban centres, the Dong people speak their own dialect of Chinese,

possess their own style of cuisine, their own societal rules and customs, and they produce the majority of the resources they require - including agriculture and building materials. They are also recognisable for their festivals and celebrations, in

which they wear tradtional Dong costumes and sing in Dong choirs (Geary 2003).

Their proximity away from major Chinese cities and the majority Chinese cultures has allowed the Dong culture to

flourish even into the new millenium. Their beliefs and cus-toms have influenced every aspect of their society, including

their architecture.

Top: Regions of China in which the majority of Dong villages can

be found (Wikimedia 2011)

Bottom: Choir girls in traditional Dong costume (Randomix 2009)

THE ‘WIND-RAIN’ BRIDGE

With many Dong villages built across rivers, there is a need for bridges to provide safe passage. Furthermore, bridges

are required to link parcels of land owned by different Dong villages. In the former case, the bridges are the symbolic link that holds both the land and the soul of the village together. In the latter case the bridges link separate communities of

Dong as one. The bridges act as gateways.

It is for these reasons that the bridge is an important element of Dong culture and architecture, and they have developed it far beyond the simple function of providing access across

bodies of water.

The Fengyu style bridge (literally ‘Wind Rain’) in particular, has evolved into a place providing shelter, a place to pray, a place to congregate and socialise, and celebrations are often

held in some of the larger scale bridges.

These bridges are long covered pavilions running across riv-ers of any width - the Chengyang bridge pictured opposite is a particularly long one, while the one below it is noticeably smaller and more modest. The roof is typically covered with tiles, while walls can be found along segments of the bridge’s span. They are usually single story structures, though many possess multi-levelled pagoda style entries, and very large bridges may be multi-storied. Ultimately, there are many

different styles of Fengyu in the Dong regions, but they share the same elements.

The Wind-Rain bridge is thusly named because it provides protection against rain and wind. For bridges that are far out between two Dong villages, it provides a place for travellers to relax and recover safely against the elements. The centre of the bridge also holds a small shrine where the traveller

can pray.

The Wind-Rain bridge is a unique piece of Dong and Chi-nese architecture.

10

Top: The very large Chengyang ‘Wind-Rain’ bridge (Meier 2010)

Bottom: A smaller ‘Wind-Rain’ Bridge in a Dong village (Diaz

2011)

11

‘WIND-RAIN’ BRIDGECONSTRUCTION

As is common with many structures in rural China and in the country’s classical eras, the Fengyu bridges and the pavil-

ions atop them are typically built of timber. Larger bridges may incorporate stone, as in the bluestone pillars of the

Chengyang bridge, and roofing may consist of stone tiling as well. The true beauty of the construction, however, lies in the carpenters’ knowledge of the properties of timber, and how

they work with them in seemingly impossible ways.

There is not a single screw or nail in the Dong ‘Wind-Rain’ bridge. Rather, the structure is held together with accurately cut timber joinery, including mortise and tenon joints, dove-tail joints, and wedging. In this way, the individual columns, beams, purlins, rafters, all slot together in a precise matter.

Additionally, each joint is unique; each mortise is cut to precisely fit its tenon, and so there can only be one way that

the ‘Wind-Rain’ bridge can be erected.

There can be hundreds of different elements in these bridges, especially the larger varieties. To ensure that the builders do not get confused, Chinese markings etched into each log fol-low the designer’s ‘Gao Chi’, a long strip of timber on which are abstracted construction drawings. The ‘Gao Chi’ are the plans, sections, and details of Dong architecture, and they

are the instruction manual of that particular structure.

To cut each timber element to size and shape the joints correctly, a number of traditional Chinese tools were used.

The two handed Chinese saw allows for the cutting of curved edges as well as straight across. Meticulous chiselling was re-quired for the joinery. Chinese ink line mechanisms allowed for accurate measurements. Blades were used to shave and

smoothen timber.

Most of all, however, was the need for a large workforce. The construction of a ‘Wind-Rain’ bridge had many people work-

ing together to ensure a well-made structure built quickly. The Chengyang bridge drew workers from over eighty vil-

lages. Even the unskilled helped out with smaller tasks, while the skilled carpenters and stonemasons worked on the more difficult elements (Diaz 2011). Through its construction, the ‘Wind-Rain’ bridge draws the people of the village together

just as it draws the land closer as a whole.Top: Interior shot of the Chang-yang bridge showing interlocking beam and column structure (Diaz

2011)

Bottom: Mortise and Tenon, and Wedge joints allow the pavilion

to stand without screws, nails, or bolts. (Guo 2012)

Opposite Top: An example of the complex timber joinery techniques

used in some Chinese pavilions (Guo 2012)

Opposite Bottom: Chinese build-ers use a large Chinese saw to cut a timber beam to size (Guo 2012)

Above: Paintings from 14th Century China illustrating the

large workforce effort involved in pavilion construction (Guo 2012) 14

INITIAL MODELLING

EXERCISE

16

Balsa dowels used for the construction of a scaled physical

model.

MODELLING THE CHINESE PAVILION

To foster a deeper understanding of the mechanics and in-tricacies of Chinese pavilions and the techniques involved in their construction, the class divided into smaller groups, each tasked with modelling a pre-existing pavilion. Groups were required to produce a 3D CAD model, plans and sections,

and a physical model.

My group consisted of Ilari Lehtonen, Lok Tsang, Leander Chen, Andre Au, and myself. We divided up the tasks further

so that a pair handled the 3D model, a pair handled the physical model, and the final for the 2D drawings. Through our work, we were able to explore mortise and tenon joints,

as well as the wedge joint.

We discovered difficulties when multiple beams needed to intersect at a column, which required tenons of small sizes to overlap each other. This also meant that the mortise had to

change half way through as well.

We used standard balsa wood dowels to form the bulk of the physical model. Due to the small size, we used drills and blades to create mortises. The angles with which we drilled were very important, as we soon discovered that a mortise

even slightly off would destabilise the whole pavilion, making it crooked.

Ultimately, the group learnt from this exercise the traditional Chinese structural techniques. The drawings and models we

created allowed us to understand how the individual ele-ments of the pavilion came together.

17

Top and bottom: The original pa-vilion from which the group had to develop drawings and models

(Guo 2012)

Following pages: Group 2D CAD plans and sections.

23

Preceding page: Renders of the 3D CAD model.

Above: List of beams and columns required for the construction of

the group’s design.

Following pages: Photos of the physical modelling process.

28

Following Pages: In class presen-tation of all the groups’ physical

models.

32

PROPOSED LOCATION

TASK

The small lawn south of the Raymond Priestly is a proposed

location for the Chinese pavilion.

33

PROPOSING AN ON-CAMPUS SITE

The final, full scale Chinese pavilion, is quite a large struc-ture. Students were asked to propose a location on campus on which to place the pavilion permanently. Additionally, students were asked to inject some further functionality to the pavilion; for example, it may be a place for students to

quietly relax, or perhaps a rendezvous point.

Students were to create an A3 poster detailing their proposed location and explaining the rationale behind their choice.

The posters are to be presented to the University council for approval, and so the assignment had to be treated seriously.

I selected the small lawn in the open space surrounded by the Raymond Priestly, Old Arts, Wilson Hall, and the Chemistry

faculty. I selected this location because it was quite well circulated, and so the pavilion would have decent exposure. The lawn does not get much sunlight during the day, except for the late afternoon when the sun’s beams shine between the Raymond Priestly and the Old Arts. The pavilion can take advantage of this small windows of sunlight by acting

primarily as a rendezvous point for students who have finished class and are about to head home.

I also cited the significance of the open courtyard space to Chinese architecture, being the space where the energies of the buildings are released. The courtyard is one of the most

important areas in Chinese planning, and is a necessary feature for individuals to reconnect and harmonise with the environment. It seemed appropriate, given that one of the original functions for the traditional Chinese pavilions as a place to worship, that our pavilion should be place in the

centre of this courtyard space.

As of writing, the University is still examining the students’ proposals.

Opposite: Students present their proposals to the workshop.

Following pages: My final A3 proposed location poster.

35

SOUTHERN CHINESE PAVILION CONSTRUCTIONVIET HOANG, 207703

A PROPOSED SITE FOR THE PAVILION: THE LAWNBETWEEN RAYMOND PRIESTLY AND WILSON HALLThis small grassy lawn is in a large and open space. It is a short location away from the Architecture build-ing. There is decent exposure to the public here, and sunlight shines on this lawn in the late afternoon. The pavillion acts as a meeting place for students and staff to rendevous after classes, before heading home via the major Swanston Street tramstop. The idea of a large open space is important to Chinese architecture and urban planning. The courtyard is often the most important space in a complex of structures, and it is here where the building’s occupants can escape, relax, and reconnect with the outside environment. This particular lawn is surrounded by four large buildings on all four sides, and the placement of the pavilion here as a focus is particuarly appropriate, considering the spiritual and meditative connections of the structure.

Concrete footingStone paving

Timber construction

N̂

36

SOUTHERN CHINESE PAVILION CONSTRUCTIONVIET HOANG, 207703

A PROPOSED SITE FOR THE PAVILION: THE LAWNBETWEEN RAYMOND PRIESTLY AND WILSON HALLThis small grassy lawn is in a large and open space. It is a short location away from the Architecture build-ing. There is decent exposure to the public here, and sunlight shines on this lawn in the late afternoon. The pavillion acts as a meeting place for students and staff to rendevous after classes, before heading home via the major Swanston Street tramstop. The idea of a large open space is important to Chinese architecture and urban planning. The courtyard is often the most important space in a complex of structures, and it is here where the building’s occupants can escape, relax, and reconnect with the outside environment. This particular lawn is surrounded by four large buildings on all four sides, and the placement of the pavilion here as a focus is particuarly appropriate, considering the spiritual and meditative connections of the structure.

Concrete footingStone paving

Timber construction

N̂

38

WORKSHOP CONSTRUCTION

Workshop mamanger Hamish shows the class how to clamp the log to the table to prevent

movement.

38

CONSTRUCTION IN THE WORKSHOP

The bulk of the semester was spent in the timber workshop. Under the guidance of workshop manager Hamish, and

assistant carpenter Ross, students spent 3 hours each week working on the individual timber members of the pavilion.

Students first worked in pairs to familiarise themselves with the basic techniques of chiselling, sawing, drilling, and shav-ing, as well as techniques for marking and measuring. Once students were comfortable, they each worked on their own log. Toward the end of semester, students were able to work

very quickly and accurately.

With Ross’ background in carpentery and Hamish’s experi-ence in woodworking, we were able to learn handy hints and

shortcuts that greatly sped up our production.

Throughout the semester, several changes were made to the original drawings and these had to be accommdated into the existing members. The design of the pavilion evolved along-side its construction - which perhaps may not have been the

best idea in some circumstances.

Safety precautions were observed within the workshop, with the presence of heavy and sharp objects; students were re-

quired to wear steel capped work boots, and where required, hard hats. Power tools were used toward the end of semester when time became an issue, and ear muffs and safety goggles

were required during the operation of these.

I personally felt that the greatest amount was to be learnt during the workshop sessions. I learnt a great deal in the way of timber construction, which can be translated to real world

applications further down my architectural career.

Opposite: Students of the Wednes-day morning workshop session

refer to the working drawings as they begin to assemble a frame.

39

Opposite: Using the inkline to mark out straight lines along the log. Pictured here is a Japanese inkline, but the Chinese have a

very similar design. Western car-pentery uses the chalk line, which is the exact same concept except

with chalk.

The centres are first measured out on each end of the log. The line,

previously drenched in ink within the inkwell, is stretched taut along and attached to either end of the

log at the measured points.

A slight tug of the line at the cen-tre smashes it against the log and imprints a perfectly straight line

down the centre of the log.

Following page: Another method with which to achieve straight

lines along the length of a log is to slide a pencil down the edge of the benchside. This is quicker, but it relies on having the right bench and that the bench is reliably flat.

MEASURING AND MARKING

Necessarily, the first step is to measure and mark out all the desired interventions on the log. All measurements and

markings must be perfect before the worker begins cutting or chiselling, as cut wood cannot be reclaimed.

A variety of methods can be used to ensure precise measure-ments, many of which are very simple techniques used by

carpenters from centuries earlier. Some of these methods are pictured on the following pages.

The tools we used most often include set squares, rulers, inklines, and paper.

43

Preceeding page: A simple sheet of paper can be wrapped around the log to create a perfectly accurate line about the circumference of

the log.

Opposite: A ruler as shown in the top picture can be used to draw a line across the exact centre of the log. Unfortunately, this tool relies on the circumference of the log to be a perfect circle. In some cases

this is not the case, and the result-ing line is inaccurate.

Once the initial center line has been ruled, a right-angled set

square can be used to easily draw the perpendicular.

46

Opposite: Using rulers and set squares, the entire tail end of this dovetail joint is marked out prior

to cutting and chiseling.

Above: A reliable method to check whether the central lines are

accurately straight is to measure by eye. Projecting two rulers

along the centre lines upward, a person from a short distance away

should be able to see any errors should the two rules not appear

to line up.

Panels of timber nailed to the ends can be used in exactly the

same way.

Opposite and Following page: Traditional tools used in the

workshop include the mallet and chisel, plane shavers, and saws.

SAWING, CHISELLING, AND SHAVING

Only after all measurements and markings have been done can one commence cutting away at the log. As an extra

safety measure, it is ideal to be conservative and cut a little less than specified, and then slowly chisel away the excess to

exactly match the adjoining member.

Sawing, chiselling with mallets, and shaving are the main method to achieve all the joints on the pavilion. This was the case for Chinese pavilion construction in the classical eras, and is for the most part true for this workshop (powertools were used toward the end of semester as time started to run

out).

It was discovered that while chiselling along the grain was relatively easy and resulted in almost perfectly smooth

finishes, chiselling across the grain was particularly difficult, especially with the very hard pinewood used for this pavilion. It took a lot of time to chisel away mortises through the log, and most cases we required a drill to achieve the objective

quicker.

Every joint is unique - a tenon is shaped to exactly fit its mortise and no other. Because of this, the use of these

traditional tools was necessary for the accuracy required; such perfectly fitting joints are not as easily achieved with

advanced machinery.

47

Preceding page: A saw is used to make a cut across the log. To assist the saw, the line is slightly

chiselled to create a groove for the saw to slide into.

A chisel and mallet must be used to slowly remove the wood either side of the tail. A saw cannot be

used to do this because of the an-gle of the dovetail joint - it is very

difficult to saw at an angle.

Above: The chisel and mallet method is used for mortises too.

The mortises have been drilled to make it quicker to chisel away, but even so, this is a very time

consuming process.

Opposite: The Chinese saw is required to saw the wedge joints. The curve is possible due to the Chinese saw’s smaller blade and

the pulling action required to cut (as opposed to the Western

saw’s thrusting cut). The curve is cleaned with some chiselling, to

create a smooth finish.51

54

JOINTS

The joinery in the Chinese pavilion are perhaps the most intriguing aspect of the whole structure. The joints used

include the mortise and tenon joint, the dovetail joint, and wedge joints - all of which are quite common in Chinese

architecture, even today. It is less common in contemporary Western architecture, but these joints can be found in West-

ern vernacular architecture, and more commonly in Western timber furniture. It is a very old joint that is effective and

joining two members at right angles.

These joints’ most unique feature is their ability to hold to-gether tightly and securely without requiring fixings. Indeed, no glue, screws, nails, or bolts are needed in such structures which can stand on their own. Due to the nature of timber, this gives the overall structure some flex, which has proved

invaluable in the case of earthquakes - the pavilion remains standing while more rigid structure collapse.

This demonstrates the Chinese builders’ deep understanding of timber and timber structures.

Opposite: The plane shaver can be used to create perfectly flat and smooth surfaces on the curved log.

However, its main usage during this workshop was to quickly and easily shave off a few millimetres from a surface that was just a bit

too thick - like a tenon joint.

Following page: The dovetail joint is a very secure joint. In the workshop, this joint was used to extend the length of beams and

members. The dovetail joint rests in the centre of a mortise joint, making it almost impossible for the individual beam elements to

fall apart. This is also an example of a joint within a joint.

57

Preceding page: In Chinese pavil-ions, the mortise and tenon joint is the most prevalent type of joint.

The tenon is precisely shaped to snugly fit into the mortise hole. The properties of timber ensures

the strength of this joint.

In many situations, two beams from different directions may

intersect at the same point on the column. In this case, the tenons must be shaped so that they can overlap each other equally and

comfortably.

Though there is usually no danger of the individual beam or column

falling off, a peg can be placed on the other side of the tenon to

secure the whole joint.

Opposite: The ‘wedge’ joint. The columns merely rest atop another

log. The columns need to have their bottoms precisely curved so that they may sit snugly on the

circular beam.

To secure the columns to the beam and prevent them from falling off,

pegs are placed within the joint that connect the two timber ele-

ments together.

Following pages: One of the four frames of the pavilion coming

together in the workshop.

64

TheFINAL BUILD

The site of the final build, just outside the workshop at the Ar-

chitecture building at Melbourne University.

Opposite: Snapshots of the pavil-ion being erected.

Following pages: Stills from the timelapse video progressively

showing the erection of the pavil-ion throughout the day.

ERECTING THE CHINESE PAVILION

On Tuesday the 29th of June, 2012, the class of the Southern Chinese Pavilion Construction course gathered outside the Architecture faculty of Melbourne University at the early

time of 8:30am. After a hard semester in the workshop, the team had finally completed manufacturing each and every element of the Chinese pavilion. Today was to be the day of truth - it was to see if all that hard work would turn out to

be a success.

Scaffolding was necessary for the build as the pavilion is quite a high structure. This was was erected first. The ele-

ments of each frame were taken outdoors and fabricated on-site. The ground was cleared, marked, and concrete footing

was placed.

The centre frames were raised first. Once the tie-beams con-nected the two together frames together, the purlins were put in placed and the whole structure secured. The outer frames were the next to be raised, one at a time. The tie-beams were

connected as the frames were raised.

At 5pm, the pavilion was finally completed. There were a few minor situations that required quick fixes in the workshop,

and there were problems with the marking system on the logs that resulted in confusion, but all in all, the final build went

excellently.

In a few weeks time, the pavilion will be dismantled by the class and sent to the factory to be treated. We now await the University council to approve the permanent erection of the

pavilion on one of the class’ proposed locations.

I created a timelapse video of the day, which can be found at this link: http://vimeo.com/43052222

65

82

TheSINGAPORE

COTTAGE

The prefabricated “Singapore Cottage” of 136 Sackville Street,

Collingwood, is a rare and lasting example of the once lively trade

of Chinese prefabricated housing during the late 19th Century.

(Widescreencam 2009)

84

THE PREFABRICATED SINGAPORE COTTAGE TRADE

On a quiet street in Collingwood, a suburb of Melbourne, lies an important part of Chinese and Australian history. Though

it may not look like much, the modest timber house that stands at 136 Sackville Street, Collingwood, is one of the last remaining examples of a once booming industry in Chinese

prefabricated housing. Stumbled across quite by accident by a developer, the cottage has since been restored and has become heritage protected. From it, we can study first hand the same traditional timber construction techniques that the Chinese have used for their Wind-Rain bridges, and that our

class has used for our own Chinese pavilion.

Many Chinese, primarily from the See Yup Southern Chinese provinces (of which the Dong provinces are a part), Singa-pore, and Malaysia, migrated to Australia upon receiving news of the Victorian gold rushes in the 1850s (Chinese

Museum 2012). The sudden influx of people into the country resulted in housing shortages. It was also believed by the

Chinese that it would be easier to bring their own housing than to build or purchase there. From this came a demand

for transportable, prefabricated houses (Lewis 2009).

There is very little evidence remaining of such houses, even in their country of manufacture, but Singapore was at the

time a massive producer. They were produced by hand by an army of Chinese workers from exotic “Singaporean Teak”, or dedaru and meranti timber. There are records of large

numbers of purchases made by private and public owners, including one purchase of 200 Singapore Cottages made by

one enterprising firm (Lewis 1993). Also, the cargo manifests of trading ships of the time have recorded the transport of

dozens of the cottages, such as the Catherine (Lewis 1993). The classifieds often advertised Singapore-made houses, and there was evidence that such cottages were quite sought after.

Today, there are very few of these cottages known to exist. The most prominent onee is at 136 Sackville Street, Colling-

wood.

Opposite: Interior photos of the restored Singapore Cottage, show-ing the timber interiors. The Chi-nese construction techniques are

hinted at by the unusual structure and framing. (Liew 2009)

85

THE SINGAPORE COTTAGE AT 136 SACKVILLE STREET

The cottage on Sackville street was discovered by a devel-oper, who was intending to demolish the property to erect

townhouses. When he inspected the run-down timber house, he discovered peculiar Chinese markings on the unusually heavy-set timber skeleton frame. With some reluctance, he

handed the property to the Heritage Victoria, as a significant piece of Victoria’s architectural past (Brown 2010).

The cottage was imported in 1853 from Singapore, and was built from Malaysian timbers to a Chinese template. The cottage had been dismantled and moved around before -

Sackville Street was not its original location (Brown 2010). Parts of the house had gone missing during the moves. A

combination of this and its age meant that the cottage was beginning to fall apart. It was restored in 2010.

The most important elements remain and are what identifies this as Chinese origin - the original structural frame, built

with traditional mortise and tenon, and dovetail joinery; an extra horizontal beam running across the house through the structural columns. The frame was standing without fixings, as in traditional Chinese construction. These elements still

contain the original Chinese markings - abstract, nonsensical characters that aided the builders in its construction. Finally,

the timber used was Malaysian meranti, a durable timber not found in Australia (Heritage Victoria 2012).

Long regarded as an eyesore by the neighbourhood, no-one realised that it was a building of such architectural and

historical significance.

Opposite: The original door frame of the Singapore cottage, and

the butt-jointed meranti timber boards that compose the wall

(Widescreencam 2009).

88

TECHNICALDRAWINGS

of theSINGAPORE

COTTAGE

A detail from the original techni-cal drawings created when the cottage was first brought to the attention of Heritage Victoria

in 1992.(Gabrys 1992)

89

TECHNICAL DRAWINGS

The following drawings were created by Groscia Gabrys and his team in 1992, for the Matthew Flinders Drawing

Competition. The drawings are available at the State Library of Victoria. It is important to note that these drawings are

interpretations of the building and not the original technical drawings that the Chinese builders used.

The plan shows several Chinese characters, all abstract terms. These were likely labels for each member, used to

differentiate one from another. The original Chinese architect may have used a Gao Chi - the long timber board on which

were his/her own building instructions.

The detail drawings show several traditional Chinese joinery techniques, many of which the class has used in the construc-tion of the Chinese pavilion. There are many other joints that

the class hadn’t used and are more complex; a complicated joint involving the intersection of many members was used for the roof. The details further show how the frame is con-

structed without fixings.

Opposite: Structural plan showing the Chinese markings found on each member (Gabrys 1992).

98

aCOMPARISON

of the

SINGAPORECOTTAGE

with the

SOUTHERNCHINESE PAVILION

The dovetail joint is a common type of joint used in both the Sin-gapore Cottage and the Southern

Chinese Pavilion.(Gabrys 1992)

100

THE CHINESE PAVILION AND THE SINGAPORE COTTAGE

Though both buildings serve different functions, their construction shares similar elements. The Chinese pavilion was primarily built for circulation, allowing individuals to

traverse bodies of water. The extra progammes of wor-ship, relaxation, and a celebration hall are secondary to its

primary purpose. The Singapore Cottage, on the other hand, is a residence; it is a building designed to be lived in, but it was also designed to be easily and quickly assembled and

disassembled.

Despite the vastly differing functions of the buildings, they both share very similar building techniques in their construc-tion. In particular, the joinery used by Chinese builders for

centuries are present in both these buildings.

However, there are some differences too, which may be attributed to the different locations that the buildings were constructed. Some building techniques may be unique to

Wind-Rain bridges and the Dong people.

101

THE DOVETAIL JOINT

The dovetail joint is a common and traditional Chinese building technique that is present in both buildings. Though the exact implementation is different, the basic concept is the same. Two beams are held together at a 90 degree angle with

the tail lodged securely into the dove.

In the drawn example of a dovetail joint present in the Sin-gapore Cottage shown opposite, two beams are inserted into

the one crossbeam. The crossbeam must have two sockets into which the tails of the two beams slot. In this way, the two beams are joined together and act as one long beam.

In the Chinese pavilion, the same result is achieved with a slightly different method. Instead of requiring two sockets,

the two halves of the beam are first connected together with dovetail joints and a dovetail “key”, creating one long beam. This is then inserted into a mortise that secures all members in place. This achieves the same result of using three mem-

bers to create a very long beam.

103

THE MORTISE AND TENON JOINT

The classic joint which is present in almost all traditional Chinese architecture. Both buildings make abundant use of them. Interestingly, the Singapore Cottage uses only simple mortise and tenon joints, between the wall studs and nog-

gings. There is no instance where there are two beams cross-ing over each other, as is quite often the case in the Chinese

pavilion.

The joint is more integral to the overall structure of the Chinese pavilion, and a vast majority of the joints are in this manner. It is only a secondary joint in the Singapore cottage, and it is possible that the joints are not even required for the

structural integrity.

Nevertheless, the mortise and tenon joints work in exactly the same manner in both buildings.

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OTHER JOINTS

Within the roof of the Singapore Cottage are many instances of a particular type of joint that is common in Chinese archi-tecture but is not used in our Chinese pavilion - the overlap-ping ‘sawtooth’ joint. It is an efficient method of combining two beams together to create a single, long beam with great

structural integrity. Additionally, a column is connected from underneath, and a peg that pass through the overlap of both members acts as a lock, holding the joint together. In the case of the Cottage, roof posts extend the column upwards, con-

necting to the peg. It becomes an efficient method to combine four pieces of timber together in different directions.

The roof also contains a variety of other joints that are specific to roofing structures. The pavilion lacks a rafters or a proper roof, but if it did, it might make uses of joints similar

to these.

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OTHER JOINTS

The corner studs of the Singapore Cottage bear much weight and are important to the over structure of the frame. They possess a special tongue-in-groove joint that also serves to

lock the stud to the floor framing.

The Chinese pavilion does not make use of such a joint. Instead, simple dovetail joints are used to connect the logs

running along the base to the posts of the frames.

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BEAMS AND COLUMNS

Interestingly, the Singapore Cottage’s timber frame is con-structed entirely of square or rectangular timber members; there are no circular members in its design. In the context of a house, however, it may make more sense to use square members because these are easier to work with and to inte-

grate into the wall and floor fabric.

The Chinese pavilion makes liberal use of circular members as well as square members. It demonstrates the Dong people’s

remarkable ability with timber because a greater degree of precision is required to handle circular timbers.

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MARKINGS AND LABELLING

In the class’ Chinese pavilion, we used a Western labelling method of Roman numerals and shapes. This came about

because of the straight edges of the roman numbers could be chiselled in fairly easily (as well as the fact that many stu-

dents cannot read or write Chinese). However, with the lack of consistency and because of the nature of Roman numerals,

some degree of confusion arose during the final build.

The Chinese builders’ use of abstract Chinese characters would lessen such confusion, especially with the uniqueness of each character. However, the markings are less descriptive and more ambiguous - another builder would have greater

difficulty assembling the structure without knowing the origi-nal builder’s schema. Our pavilion differentiates between

bays with shapes, and there are further labelling methods to differentiate between columns and beams.

CONCLUSION

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Much has been learnt during the semester. We were given a great opportunity to learn about traditional Chinese build-ings and building techniques through the lecturers exploring

vernacular Chinese architecture. The workshops provided a great opportunity to engage with the knowledge learnt in

lectures in a hands-on practical manner. The research assign-ment provided us with an opportunity to expand our knowl-

edge into areas not covered in the lectures or workshops.

The course demonstrated to us the great skill and knowledge that the Dong people possess in making timber structures such as the Wind-Rain bridge and Chinese pavilions. We were not able to come close to the precision and accuracy that they were able to build with, even as their structures

stood multiple times larger than ours - and this was despite our use of powertools. Furthermore, their ability is amplified as they construct such pavilions and bridge without the need

for fixings.

If I were to take only one thing away from my study during this semester, it is to not underestimate the power and use-

fulness of timber construction. The Chinese have mastered it over many centuries, with many timber structures still stand-

ing today. Even in Melbourne, the Singapore Cottage has managed to remain despite being built 160 years earlier, and despite having travelled great distances. There is a wealth of knowledge to uncover in timber construction, both Chinese, Asian, and Western, that will undoubtedly prove useful in

my future career as an architect.

I would like to thank Qinghua, Hamish, Ross, and my classmates for a wonderful learning experience. It has been a

productive and enjoyable semester and I have learnt a lot.

BIBILOGRAPHY

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REFERENCES

Brown, Jenny. 2010. “Builder unearths gold rush cottage.” The Age. June 29.

Chinese Museum. 2012. Museum of Chinese Australian His-tory [Exhibition]. Melbourne, Australia.

Diaz, Ernie. 2011. Wind & Rain Bridges, Drum Towers. http://www.chinaexpat.com/2011/04/19/wind-rain-bridges-

drum-towers.html. Beijing: Asia Briefing Ltd.

Guo, Qinghua. 2012. Southern Chinese Pavilion Construc-tion, Week 1 [Lecture Presentation]. Melbourne, Australia:

Melbourne University.

Heritage Victoria. 2012. Singapore Cottage. Victorian Heritage Database. http://vhd.heritage.vic.gov.au/places/

result_detail/315?print=true

Howard, Jane. 2001. “Past a knotty problem.” Sunday Herald Sun. August 19.

Lewis, Miles. 2009. “The forgotten half of the globe.” Proceed-ings of the Pacific Connection: Trade, Travel and Technol-ogy Transfer Conference 2009. Melbourne, University of

Melbourne.

Lewis, Miles. 1993. “The Asian Trade in Portable Buildings.” Fabrications: The Journal of the Society of Architectural

Historians, Australia and New Zealand, 4. PP31-55.

National Trust of Australia – Victoria. 2009. Singapore Cot-tage. http://www.nattrust.com.au/trust_register/search_the_

register/singapore_cottage__1

D. Norman Geary, Ruth B. Geary, Ou Chaoquan, Long Yaohong, Jiang Daren, Wang Jiying. 2003. “The Kam People

of China: Turning Nineteen”. London / New York, Routledge-Curzon 2003.

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PHOTOS AND IMAGES

Diaz, Ernie. 2011. Wind & Rain Bridges, Drum Towers: 19 [Photo]. http://www.chinaexpat.com/2011/04/19/wind-rain-

bridges-drum-towers.html/19-8/

Diaz, Ernie. 2011. Wind & Rain Bridges, Drum Towers: 20 [Photo]. http://www.chinaexpat.com/2011/04/19/wind-rain-

bridges-drum-towers.html/20-8/

Liew, Jevon Aindreas. 2009. A piece of Singapore conserved in Victoria, Australia...Prefabricated (Singapore) Cottage [Photos]. http://iamtheopium.blogspot.com.au/2009/11/

piece-of-singapore-conserved-in.html. Melbourne, Australia.

Meier, Andreas. 2010. 1503e Chengyang Wind and Rain Bridge [Photo]. http://andi.flowrider.ch/gallery/index.

php/2010-China/Guangxi/1503e_Chengyang_Wind_and_Rain_Bridge. Chengyang, China.

Randomix. 2008. Dong Song singer girls [Photo]. http://www.fotopedia.com/items/flickr-2589120953. Fengdeng,

China

Widescreencam. 2009. Prefabricated House Colling-wood (Singapore Cottages) [Photo]. http://www.flickr.

com/photos/23651645@N03/3790770457/in/set-72157621950736914. Melbourne, Australia

Wikimedia Commons. 2011. Guizhou, Hunan, Guangxi in China (+all claims hatched) [Image]. http://upload.wikime-

dia.org/wikipedia/commons/0/0b/Guizhou_in_China_%28%2Ball_claims_hatched%29.svg

Southern Chinese Pavilion Construction Report

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