Analysis of the inspiration of Huizhou residential architecture on modern design

The inspiration of Huizhou folk houses on design Huizhou folk houses occupy a very important position in Huizhou culture. When mentioning Huizhou culture, people will naturally think of high dock walls and cyan butterfly tiles. Every village here is surrounded by mountains and rivers, with miles of greenery as far as the eye can see and surrounded by mountains. However, there are very few trees in most villages. Even if there are, they are only some shrubs or flowers for viewing. Ancient and large trees are often located at intersections or at the foot of mountains far outside the village, and do not affect the view of the village. Viewed from a distance, the white walls with curved corners and small gray tiles outline the outlines of residential buildings, like hearty ink paintings or high-profile art photos. Walking in the mountains is like walking in a painting. You can appreciate the charming painting anytime and anywhere, and feel the intoxicating poetry anytime and anywhere. Historical background Huizhou was called Xin'an in ancient times, and it covers the southern region of Anhui with Huangshan as the center. In ancient times, Huizhou consisted of six counties: Yi County, She County, Xiuning, Qimen, Jixi, and Wuyuan (now under the jurisdiction of Jiangxi Province). Since the founding of the Qin Dynasty more than 2,000 years ago, the long historical accumulation, coupled with the humid monsoon climate of the northern subtropics, and the people living in this area known as a "natural park" have used their own intelligence to create unique Huizhou folk houses. Architectural style. On the land of ancient Huizhou, there were a total of 7,000 ancient residential buildings in the Ming and Qing Dynasties, and more than 100 ancient villages in the Ming and Qing Dynasties. Huizhou's ancient residential buildings are of various forms, with a total of about fifteen types. Such as ancient cities, ancient villages and towns, ancestral temples, temples, academies, gardens, stages, archways, passes, bridges, towers, pavilions, embankments, springs, and villages. Huizhou has a long history and profound cultural heritage. Although it has beautiful mountains and rivers, a humid and warm climate, and rich products, its land is limited, its villages are densely populated, and farmers' lives are difficult. In ancient times, Huizhou was rich in wood, tea, and silk. Therefore, life forces people to leave their homes and seek development outside their homes. Some people developed from operating timber, tea, silk, and rice to operating salt, and soon became very wealthy households. After these Huizhou merchants became rich and distinguished themselves, they carried out large-scale construction projects and expanded their estates. It is these famous Huizhou merchants who created unique Huizhou folk houses. Inspiration for the design: First, the building is grand, spectacular, safe and practical

The outstanding features of the architectural image are: white walls, blue tiles, dock gables, brick-carved gate towers, door covers, wooden frames, wooden doors and windows. The interior of the ship is made of wooden frames surrounded by high walls, with undulating heights and well-proportioned black and white, which adds to the layering and rhythmic beauty of the space. The exterior walls have no windows or small windows. The square shape, the horse head wall falling into the water, and the shape of "a seal" are the unique style of Huizhou folk houses. Most of the ancient dwellings in Huizhou are located near mountains and rivers. The mountains can block the wind, making it easy to get firewood for cooking and heating, and they also give people a sense of beauty. Villages are built next to water, which can not only facilitate drinking and washing, but also irrigate farmland and beautify the environment. The ancient village of Huiju has relatively rough streets, wide and tall white gables, and unique gray horse-head walls. This structure saves land, facilitates fire prevention, theft prevention, cooling and moisture-proofing, and makes each house strictly distinguishable. The white walls and gray tiles of the house are very beautiful among the green mountains and green waters. The patio of Huiju can be ventilated and lighted, and water can be brought back into the house. It also adapts to the simple mentality of not letting the rich water flow out of the field. The second is the humanistic color and decorative beauty of the architecture

Due to the special geographical location across the Yangtze River and Huaihe River, Huizhou ancient residential buildings are located in the intersection and fusion zone of the two major architectural styles of the north and the south. They are influenced by Chu culture, Wuyue culture, The influence of Lianghuai culture, Jian'an culture, Tongcheng culture and Huizhou merchant culture has formed its own unique architectural style, architectural pattern and architectural art. In the ancient residential buildings in Huizhou, the strict Confucian hierarchy and the feudal moral values ??of distinction between superiority and inferiority, distinction between men and women, and ordering of elders and younger ones are also very obvious. Influenced by Confucianism, after they built wealthy houses, they combined Confucianism and businessmen, government and businessmen for development, established schools, respected Confucianism, and followed the path of learning and excellence to become scholars. Therefore, when many Huizhou merchants built their houses, they built buildings and expanded gardens according to the grades prescribed by the government. This is the reason for the formation of Huizhou ancient residential buildings. In Huizhou, wood, stone and brick carvings are the most famous and are known as the "Three Wonders of Huizhou". These "Three Wonders" can be seen in almost every household.

The carvings on the doorways, door covers, and leaky windows are rarely the same within one house. The carvings on the window sills, skirt boards, window sashes, diagonal braces, etc. are even more exquisite. In Xidi Village, there is a house with twenty-four filial piety pictures carved on twelve door leaves in the courtyard. They are very detailed. Although the feudal ethics are relatively strong, they are of great cultural research value. The third is the gardening sentiment of the architectural environment design

The location of the village should be "according to its yin and yang and its mountain and river situation", so as to achieve the right time, location, people and all the auspiciousness to achieve "the unity of nature and man" ” realm. Most of the villages are built in the sunshine of the mountains, close to the mountains and rivers or with water entering the village, blending in with the scenery of the mountains and waters. Most of the residences face streets. Tall trees are widely planted at the entrance of the village, decorated with pavilions and waterside pavilions, winding streams and crisscrossing fields, creating an excellent environment. The whole village gives people a quiet, elegant and simple feeling. It also provides an example for the design of modern architecture to integrate into the natural environment. Architecture is a symbol of social civilization in a historical period, a microcosm of social life at that time, and shows the living culture of Huizhou at that time. In the ups and downs of hundreds of years, Huizhou people have used their lives and blood to preserve a precious treasure house of residential art for future generations, facing the turbulent historical changes, the smoke and flames of war, and the destruction of nature and man-made. It also has important reference significance for modern architectural design. The application of Huizhou folk house cultural elements in modern interior design Content summary: Through the analysis of Huizhou folk house architecture and traditional sculptures, this article proposes to create a new design image based on the use of traditional Huizhou graphic arts to reflect the traditional art and The unity of modern design in cultural values ??fully demonstrates the traditional cultural heritage of the place.

Keywords: Huizhou residential culture visual elements, graphic symbols

The core of design is to show cultural characteristics. If the characteristics are lost, the value of the design will be lost. Now, due to too much imitation of Western modern design, many of our design works lack their own cultural characteristics. At the academic seminar of the National Art Exhibition and Design Exhibition held in Shanghai in 2004, many experts believed that in the past 10 years, China’s modern design has presented a “Western” face to the world, especially lacking “Chinese elements.” , modern, beautiful, practical and with "Chinese elements" are the excellent designs that China should have. Therefore, we must give full play to and utilize the rich design language in our own national culture.

1. Inspiration from Huizhou’s residential culture

Most of the residential buildings in my country have unique architectural decoration styles due to the differences in natural environment, economic culture and ethnic groups in various regions. . Folk houses in different regions have different interior design spatial layouts, structures and styles, and reflect different regional cultural characteristics. Huizhou residential culture is an important part of Chinese traditional residential culture. During the Ming and Qing Dynasties, Huizhou culture was prosperous, with distinctive local characteristics and rich connotations. It formed unique schools and styles in many fields and played an important role. Huizhou residential buildings are mostly two-story courtyard-style buildings with narrow residential spaces, in which the design of the patio plays an important role. The purpose of the patio design is to allow people in the house to have contact with the sky. "Organization of old and young, harmony between nature and man" is the architectural concept of most Chinese residential buildings, especially in terms of layout, structure and scale, which embodies Confucian principles. Ethics and cosmology. Yin-Yang Bagua and Feng Shui theory reflect the richness of traditional culture from one aspect. Combining local traditional art with modern design is the development trend of modern design art, which will greatly enrich the connotation of modern design and fully demonstrate the heritage of Huizhou's local traditional culture.

2. The residential culture of symmetrical layout

Huizhou residential buildings have a strong and beautiful sense of rhythm. The most distinctive ones are the white walls, black tiles and horse head walls, which are layered on top of each other. They are well-proportioned, alternate between long and short, and have simple lines, clearly outlining the outlines of Huizhou folk houses. The individual characteristics of Huizhou folk houses are formed under specific natural environment and cultural conditions. The complex and exquisite internal structure is in sharp contrast with the simplicity and liveliness of the external form. Huizhou folk houses are very deep, with a vestibule at the entrance, a patio in the middle, and a hall at the back. The hall is separated from the back hall by a middle door. The back hall has one hall and two bedrooms. Behind the hall is a firewall, and there are patios against the wall, and patios on both sides. When building a wing, this is the first step.

The structure of the second entrance is still divided into two halls on a ridge, with two courtyards at the front and back, with partitions in the middle, four bedrooms and two halls. The structure of the third, fourth or further entrances is the same. One entrance is nested within another, forming a house-within-a-house pattern. A small courtyard or small garden is arranged in the front hall or side of the hall, decorated with flower beds, pools, flowers and trees, and bonsais. The whitewashed walls are decorated with brick carvings and stone carved windows, or long stone tables, stone benches, and decorative objects are placed. Most Huizhou folk houses are located near mountains and rivers, integrating architecture, landscapes, flowers and trees with the environment, reflecting the organic function of the building. The symmetrical beauty of the building reflects the Chinese people's moderate outlook on life, while the structure of the living room reflects the etiquette of traditional Chinese culture. The style, craftsmanship and construction methods of Huizhou's residential buildings have extremely distinctive regional characteristics, reflecting the Huizhou people's Feng Shui awareness and decorative aesthetic concepts. Therefore, whether it is the natural environment chosen by people or the artificially arranged landscapes, flowers and trees, they are always combined with architecture, sculptures and decorations to form a cultural space full of artistic atmosphere.

3. Elements of Huizhou residential culture

Huizhou buildings rarely have windows on their exterior walls, and all lighting and ventilation rely on patios. The installation of patios also has the auspicious meaning of "keeping wealth from flowing out". The "patio" of the three-room house is located in front of the hall, and the "patio" of the four-bedroom house is located in the hall. This design makes the house full of light and air circulation. When it is sunny, the sunlight pours from the patio into the front of the hall, which is called "sprinkling gold"; when it rains, the rainwater falls into the front of the hall, which is called "liquid silver"; the roofs on all four sides slope toward the patio, and when the rainwater from all sides flows into the front of the hall, it is also called "four waters returning to the hall". ". Chinese people believe that "water" means "wealth", and the design of the patio follows the custom that "rich water does not flow out of other people's fields", which means "wealth flows in from all sides."

The interior design ideas of the Anhui Hall of the Great Hall of the People, hosted by Beijing designer Ma Yixi, revolve around "the four waters return to the Mingtang, and the returning water also promotes it", which means a virtuous cycle and the dialectical unity of cohesion and extroversion. , creating a unique atmosphere that feels both inside and outside. The S-shaped beam reflectors on the eaves are designed with abstract techniques around the hall, which naturally expresses Huizhou residential culture and becomes a new artistic symbol. It is simple and bright, fully embodies the local characteristics of Anhui, and the decoration design style is in line with Huizhou residential culture. characteristics. It can be seen that the designer has a deep understanding of the origins of Huizhou's residential architecture, and has made innovations while inheriting it. Instead of simply collecting and organizing data, or simply copying or simply appropriating Huizhou's traditional graphics, he has built on On the basis of a true understanding of Huizhou culture, we consciously refine, process, abstract, deform, simplify, recombine, etc. historical or local vocabulary, gradually excavate and transform traditional graphics, and summarize and organize the shapes and colors of traditional buildings. Make the tedious carved beams and painted buildings graphic and design a new form of decorative structure. 4. Huizhou sculptures and decorative elements

Huizhou sculptures are mainly used for decoration of residential houses, ancestral halls, temples, gardens and classical furniture. Brick carvings are widely used in Huizhou-style gate towers, door frames, lintels, eaves, roofs, etc. It is an important part of Huizhou architectural art since the Ming and Qing Dynasties; stone carvings are mainly used in the pillars, door walls, archways, etc. of temples and houses. The decoration of tombs and other places belongs to the art of relief and round sculpture; wood carving is mainly used in the interior of residential buildings. It is usually used in the scaffolding beams, corbels, eaves, floor railings, window sashes, railings, etc. of residential buildings. The carving work is exquisite. It is a unique architectural feature.

Huizhou wood carvings are mainly reliefs, semicircular carvings and openwork carvings, which are used for decoration on buildings and indoor appliances. They have a strong flavor of local life, such as screens, window lintels, railings, and beds for daily use. , tables, chairs, cases, etc. Huizhou wood carvings cover a wide range of themes, including stories about people, customs and sentiments, landscapes and trees, text couplets and various auspicious patterns, etc. They are both beautiful and practical. Wood carvings for furniture are mostly used on beds and wardrobes, which are mainly made of high-grade wood. The surface of the wood carvings is decorated with vermilion lacquer and gold foil, which is vivid and vivid, reflecting the connection between architecture, life, culture and tradition. Compared with other architectural decoration methods, architectural wood carving pays more attention to the ornamental effect of the facade. It is a part of people's daily life. The selection of its themes and the way of expression tend to be secular and life-oriented, and have a strong meaning of life.

Case 1: The interior design of the teahouse in Luhe Village, Wuhu, led by Anhui designer Yang Lin, uses a large number of Huizhou wood carvings as symbolic elements of the interior components, allowing people to feel the traditional Huizhou during the process of drinking tea. Cultural charm, with extremely strong local cultural characteristics. On the one hand, wood carving has the function of decorating and beautifying the building; on the other hand, it has the meaning of allegory, symbolism and prayer. It uses an intuitive image to express content that is not the meaning of the object itself. Its artistic characteristics and aesthetic connotation are rooted in traditional culture and aesthetic habits. . In modern interior design, some use wood carvings as decorations alone, while others use them as part of the overall design. Whether from ancient times to modern times, from form to meaning, wood carvings have profound cultural and spiritual values. As decoration in the indoor environment, they add a personalized artistic atmosphere to the indoor space.

Case 2: The interior design of a hotel in Hangzhou by Zhejiang designer Chen Yaoguang fully draws on the urban customs around Chenghuang Mountain, such as stone wells, horse head walls, blue and white ceramics, residential wooden windows, Jiangnan bamboo flutes, and West Lake boats The design also uses folk elements such as "li", "lane", "alley" and "square" as design themes, striving to retain and express some of the ancient heritage of Hangzhou City. The design does not include brackets, hangings and carved beams and painted pillars of traditional architecture, but it exudes oriental charm. The facade of the landscape shows red cube seals and calligraphy, with the words "Fu", "Lu", "Shou" and "Xi". "The wall with the theme of "As a decorative symbol, the traditional content and modern arrangement and combination fully reflect the cultural heritage of the designer.

Creative ideas rarely occur in a vacuum. American creative engineer Osborne once said: "All creative inventions are almost without exception produced through recombination or improvement." Aesthetician Lange also proposed that all forms and innovations in artistic design creation Skills are developed in the "processing" of prototypes. Art design must conduct on-site inspections to find the relationship between creative elements and culture, find out the combination of local cultural connotation and one's own personality, and form one's own design style. Most excellent design works have simple external forms and deep cultural connotations. They are summarized and refined using developed and extended forms to grasp the essential characteristics of objects. The use of traditional art in modern design reflects people's nostalgia and has become an important part of interior design.

References:

① Ma Yixi: "Sishui Guimingtang", "Interior Design and Decoration", 2000.7. /②Chen Ruilin: "History of Modern Chinese Art and Design", Hunan Science and Technology Press, Changsha, 2002. /③Xu Liang: "The Thought of 'Unity of Man and Nature' and Modern Interior Design", "Interior Design", 1999.2. /④Chen Yaoguang: "Chinese Style·Jiangnan Love", "Interior Design and Decoration", 2000.9. /⑤China Art Design Alliance