Topic selection of traditional residential architecture papers in Henan Province

Abstract: The unique cognitive way of farming life determines the choice of architectural style. In the interdependent and harmonious relationship between man and nature, the architectural cognition of harmony between man and nature determines the development direction of ancient architecture in China. The characteristics and advantages of China's ancient architecture are inseparable from its earlier recognition of the affinity between man and nature.

Keywords: wooden frame layout of ancient buildings

The ancient architecture in China can be traced back to the Neolithic Age. According to the existing archaeological data, China had self-sufficient agricultural technology in the Neolithic Age in ancient times. The emergence of farming technology means that ancient ancestors broke away from the original state of living without a fixed place and began to consciously build living places to accompany their lives. With the repetition of farming and the ever-changing surrounding environment, the only constant is shelter from the wind and rain. It is not difficult to see that architecture has become the conscious choice of ancient ancestors' freedom of survival, and there is an essential difference between consciously building a house and instinctively seeking asylum. From then on, the ancient architecture in China began its historical process.

The cognitive way of farming life determines the choice of architectural style. Agricultural life of ancient ancestors at sunrise and sunset; The natural phenomenon of cold coming and summer going, one withered and one glorious; The interactive process of sowing, harvesting, harvesting and sowing; The fate closely connected with nature and surrounding environment constitutes a panoramic view of people's living conditions at that time. It is precisely because of the busy natural environment, changing weather and alternating solar terms that the ancient ancestors who made a living by farming in spring, summer, autumn and winter observed the cyclical and interrelated life order of all things in the universe when they received the favor of nature, thus recognizing the irresistible nature of the universe and confirming the harmonious relationship between man and nature. After years of observation and the accumulation of daily life experience, what is embodied in China's ancient knowledge system is the idea of "harmony between man and nature". Based on this understanding, the relationship between man and nature is based on an interactive and reasonable range, and it is by no means blindly asking for nature. Although the historical background of this thought is related to people's own level of understanding and limited survival power at that time, only by conforming to nature can human survival develop, the creation of metaphysical things can be in harmony with the natural laws of metaphysical way, and the unity between man and nature can be confirmed. "There is no systematic culture in the ancient cultural system in the world, and there has been the affinity between man and nature like in ancient China." (1) Therefore, the way of affinity is driven by the environment on the one hand, and the orientation of cultural values on the other. Since then, the ancient architecture in China has been attached to the embrace of nature.

Thanks to the architectural consciousness of harmony between man and nature, the ancient architecture in China tried its best to find the source of creation from the universe and nature, both in form and material. Trees that live with us day and night are organic living things in all natural things, and different seasons are closely related to people with different life forms. Therefore, the ancient buildings in China especially love wood in the application of materials. Facing the stones that can be seen everywhere, choosing wood as the main building material is the result of architectural concept and cultural belief. Moreover, the choice of wood depends on its superior physical properties and easy-to-process material characteristics. Through the processed form, it reflects the flexible and gentle quality. The smell of wood from columns, beams, doors and windows, as well as the texture that records the growth process, all reflect the affinity with people everywhere, and buildings built with wood will naturally be filled with the warmth of home. The choice of wood in China's ancient architecture, whether it is natural wood or heart wood, reflects the recognition of ancient China's human nature to wood, but wood also meets the requirements of heart.

Wood is the main building material in ancient buildings in China, and its good physical properties and easy installation and splicing provide a basic guarantee for the emergence and development of ancient building frame system in China. In this frame system of ancient architecture in China, columns and beams emphasize the structural relationship of mutual connection and existence, so as to meet the ever-changing architectural needs with a relatively stable frame order. The same column-beam frame can form a wide and open space place on the reciprocating extension, and a heavy courtyard can be formed on the deep advancement. Obviously, the structural relationship between column and beam comes down in one continuous line with the unique cognitive style of farming society. The architectural consciousness of the unity of heaven and man is undoubtedly based on the unified and interdependent relationship, rooted in the change of mutual growth and integrated into the understanding of circular development. Therefore, from the very beginning, the construction method of ancient architecture in China started from the concept of the unity of man and nature, and always believed that man could not be divorced from the universe and nature, and architecture should not be divorced from nature. Therefore, the ancient buildings in China did not deliberately chase the height of the houses, and any attempt to escape the gravity of the earth turned to the thick courtyards with trees as partners and mountains as neighbors. When building a house, its construction method stipulates "upper division", "middle division" and "lower division", that is, roof, house body and abutment, which correspond to heaven, people and earth respectively. The concept of harmonious coexistence between man and nature has penetrated into the construction of buildings. "When western architecture changes according to its function, traditional China architecture is preserved according to the value or ideal of maintaining a culture. The combination of these three parts is as long as the culture of China is. Therefore, when we begin to examine these seemingly basic parts, we are actually examining the face of the entire China culture. " (2) The wooden frame system in ancient buildings in China has a "three-part French style", which constantly meets and combines the functional requirements of various buildings. Therefore, ancient Chinese architecture always responded to nature with a friendly attitude and sought inspiration for creation. From the analysis of concrete architectural creation, we can better understand the characteristics of ancient architecture in China.

Ancient buildings in China used wooden columns and beams to form the basic framework of the building. Wood beams and columns bear the weight from the roof and floor, while the walls of the building do not actually bear the weight, which gives the building great flexibility. It can be made into a pavilion with no shelter on all sides and a roof and no walls. It can also be made into a warehouse with tight walls and closed space. Because of the wooden frame, the division of indoor space is also very free. In order to get a large area of indoor space, there is no need for any partition, only the arrangement of columns. On the contrary, the column can be closed to obtain a smaller space. In particular, the semi-transparent floor cover and other partition styles are adopted, which not only delimit the spatial scope, but also do not block the line of sight, so as to achieve separation and continuity, and alternate between reality and reality. The wooden frame structure can flexibly adapt to various terrains. It can not only aggregate single buildings into multiple courtyards to form huge buildings, but also build pavilions by mountains and rivers, which is not limited by different heights, which brings great possibilities for the spatial layout of buildings. China's ancient buildings, with wooden frames as the main body, are generally rectangular planar spaces from the perspective of single buildings, and the geometric shape of houses will not change much. In order to obtain the richness of architectural space, the solution is to form a courtyard through the arrangement and combination of single buildings to meet people's multiple requirements for architectural space. If a single building advances in depth through a plane, it will produce very different spatial aggregation. If you push them horizontally, a wide space will be formed, and houses and walls will be built around them, which will become a relatively closed courtyard. From this point of view, China ancient architecture does not seek to break through the height of nature to reflect the power of man-made conquest of nature. Any attempt to seek architectural height and conquer nature is dissolved in the development of plane, and embracing nature has become the only law followed by ancient architecture in China. The planning of the plane layout of ancient buildings in China is not only in the form of axial symmetry, but also in the form of free development according to the environment, which not only achieves rational standardization, but also achieves natural ingenuity. It is the ideal pursuit of China's ancient architecture to use nature skillfully without revealing traces.

If we look at the ancient buildings in China from the outside, it looks like a closed lifeless house, but when we walk into the courtyard of the ancient buildings in China, we obviously feel that people are closely related to nature and full of vitality. Courtyard space, as the connecting link of each single building, unifies the use function and traffic connection of each single building and forms a space unit for everyone to enjoy. Especially in the courtyard of residential buildings, the ventilation and lighting of rooms, the traffic connection of people and logistics, planting trees and flowers, children's games and leisure chatting are all carried out in this * * * enjoyment space. "From the movement of sunlight in court, you can feel the change of' time'. From the arrival of rain and snow in the palace, we can know the change of' solar terms'. From the freshness of the air and the warmth of the sun, we can feel that human life is closely related to the vitality of nature. " ③ People and nature live in harmony in the courtyard, and people breathe the breath of life freedom in this courtyard, which is a response to close communication with nature.

The architectural function of courtyard has become a place for dialogue between man and nature in ancient buildings in China. Symmetry of central axis is an orderly way to obtain the overall spatial layout. The symmetrical layout of ancient buildings in China, on the one hand, meets the functional and technical requirements, and is a "sky". On the other hand, it also meets the requirements of patriarchal etiquette and interpersonal norms, which is "humanity". For the above reasons, both palaces, yamen, temples, and residential courtyards in north and south places adopt a symmetrical way. In the ancient architectural system of China, the formal buildings, such as palaces and temples, are in strict accordance with the symmetrical spatial pattern with the longitudinal axis as the center. The symmetrical layout formed by the arrangement and combination of single buildings presents a square, regular and orderly space aesthetic feeling, and creates a solemn, calm, solemn and peaceful environment atmosphere. Generally speaking, the spatial pattern with symmetrical central axis shows that the main buildings are located on the central axis, the secondary buildings are spread around the horizontal axis, and other houses are arranged around the main buildings, forming a relatively closed courtyard. The key buildings are surrounded by surrounding houses and walls, which have an overwhelming central position in the closed environment and also form the visual focus in the overall layout. Buildings under the axis of symmetry can also be connected in series along the longitudinal axis into several courtyards, and each group is called "gold". That's what the so-called courtyard depth means. However, for a larger building community, secondary courtyards and multiple courtyards can also be built on one side of the main courtyard to form multiple longitudinal axes, and the two sides of the main axis are called "Middle Road" and "East Road" and "West Road" respectively. In view of the deep development of ancient buildings in China and the multiple changes in the space of buildings and courtyards, people can Emotional adjustment their excitement to an appropriate degree in the process of walking through many courtyards, and play a psychological adjustment role of inheritance and combination, acceptance and release.

The respect for nature in China's ancient architecture is also reflected in the attitude of using nature without destroying it. From the asymmetric free layout of buildings, we can see the positive performance of practicing this architectural concept. Because of the irregular terrain and great fluctuation, most ancient gardens and some residential buildings in China adopt asymmetric group mode. A number of single buildings move longitudinally along the topographic axis, and the distance between single buildings can be long or short, so a deep spatial sequence is formed among a few buildings, and the connection between buildings is mainly connected in series by the moving line of people. Observing the transformation of architectural space is completed through the time process of people moving lines, forming a step-by-step dynamic change. Although the single building is in a relatively static state, it is easy to produce a sense of spatial rhythm by using the flow view method. It is not difficult to see that subtle observation and instantaneous grasp are completed in a static and flowing state, which is the sense of space brought about by the change of wheelbase. In the plane layout of China classical gardens, their axes often deviate from a straight line. According to the ups and downs of natural landscape, flexible coping strategies are adopted to make the single building large and small and the function round; The connecting route can be curved or straight; The spatial transformation is even more tortuous. All buildings have entered the realm of winding paths and secluded places in ups and downs, hiding artificial signs without showing emotions in the natural state. This is the basic method of free layout. In the ancient architectural system of China, there is also a more open and free scattered plane layout, which is hidden in the mountains and water to express the natural feelings between mountains and rivers. It can be seen that buildings are scattered freely in a certain spatial range in a point-like way. The buildings arranged in dots seem to be careless, but in fact they are managed with heart. They do not have a domineering layout along the axis, nor do they value the tortuous linear series. The space of architectural group is aggregated and open, surrounded by the situation of points in a specific natural area, and formed according to the shape and potential. Others are scattered on the mountains, fluctuating. Some are scattered along the coast according to the current, and there is no obvious flow line. The scattered layout is not based on orientation and rules, but is free and harmonious to invest in the natural environment, borrow scenery to build houses, and be free and ethereal. Therefore, tranquility and simplicity are the desired spatial realm of scattered layout.

We have investigated the architectural consciousness of "harmony between man and nature", the construction mode and spatial layout of ancient buildings in China, and the response mode of ancient buildings in China to nature, which has always been based on the reasonable relationship between man and nature, using nature without destroying it, which is the core value of ancient buildings in China.

Precautions:

1 Xu Guanfu. China's Artistic Spirit, Feng Chun Literature and Art Publishing House, 1987, P 193.

② Zhao Guangchao. Not only wooden buildings in China, Shanghai Science and Technology Publishing House, 200 1, P77.

③ Wang Zhenhua. The image of China-the concrete technique and connotation of China architecture. New Theory of China Culture, Art Articles, Aesthetic Feeling and Modeling, Sanlian Bookstore. 1992，P7 16。