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Paper Abstract: This paper provides an in depth analysis of the architecture of the ancient Chinese Hakka culture that persists in contemporary times, dwellings known as tulou. How the tulou reflect the intense interface between culture and design is the focus of the analysis, including how form, function and materials of the tulou reflect the culture and lifestyle of the Hakka. Paper Introduction: Hakka Architecture In his essay Design and Avant-postmodernism Francois Burkhardtargues that the relation between form function and material must beinterpreted in a cultural perspective taking account of contemporarylifestyles and aspirations in Thakara Perhaps the earthlystructures known as tulou common to the Hakka people of Southern Chinamost clearly reflect the interface of culture and design Havercroft Interface is defined as a common boundary or interconnection betweensystems equipment concepts or human beings Interface The Hakkaarchitecture known as tulou clearly exhibit a strong degree of Text of the Paper: The entire text of the paper is shown below. However, the text is somewhat scrambled. We want to give you as much information as we possibly can about our papers and essays, but we cannot give them away for free. In the text below you will find that while disordered, many of the phrases are essentially intact. From this text you will be able to get a solid sense of the writing style, the concepts addressed, and the sources used in the research paper. The Hakkastyle is also transmitted from one culture to the next through a variety ofother artworks often found in tulou, including woodcarving, chinaware,tobacco pipes, and tombstones (Hakka 1). Tulou served as an area for raising buffalo or raisingpigs for sustenance. The tulouwere well ventilated in design and offered good lighting. The large tulou were often referred to as "small familykingdoms," and were fortified to offer maximum protection to the familieswithin them (Jifang 44). The largest type ofround house is typically 4 to 5 stories tall consisting of as many as threerings, holding about 6 to 7 rooms (Goh 2). Well off, these Hakka were able toconstruct the Phoenix House form of tulou, designed to mirror the imperialcourt (Goh 1). Resembling "giant mushrooms," these dwellingsbuilt into mountainous areas were detected by U.S. Today the residents of Tulou remain "fiercely proud"of their heritage, but the number of Hakka living in tulou is nowhere nearnumbers of past generations when the Hakka culture was at its height(Havercroft 21). There are three types of Hakka dwellings, PhoenixHouse, Round House, and Flat House (Goh 1). All of them are constructedfrom a mixture of compressed earth, lime, brown sugar water, rice paste andsmall stones (Havercroft 2 ). Tulou served as a form of defense against enemies or wildanimals. Clearly the interface of cultural beliefs and messagetransmission has never been more intensified than in the design of thetulou, whose design also changed over time to reflect the changing needs ofthe Hakka culture from both within and without the community. Hakka tulou also served to reinforce the ideology of fengshui,practices used in design and construction "to demonstrate the unity betweenman and nature" (Jifang 44). 18 Sep. By this period in time, theHakka had become integrated with local cultures to the point where theywere no longer the victims of attack. The main entrance doors were always secured after acurfew time that was established by the Hakka community within the tulou.All of the doors and windows of the residences open to the large communalcourtyard. Because there was less of a need forprotection and defense, the design of the round house tulou gave way to theform known as the flat house or "Piang Fong" (Goh 1). In this sense, each period of migration of the Hakka experienceddifferent cultural experiences and needs. The ground floor of the tulou houses thekitchen and dining room, the second floor is used for storage, and thethird level is designed with small bedrooms. Currently, there are more than 2 , tulou houses in YongdingCounty and over 15, in Nanjing County, the two major regions of tulou incontemporary China (Jifang 44). Hakka Architecture In his essay "Design and Avant-postmodernism," Francois Burkhardtargues that "the relation between form, function and material must beinterpreted in a cultural perspective, taking account of contemporarylifestyles and aspirations" (in Thakara 146). During the middle phase of migration, the Hakka began to loseinfluence at court. In their final stage of migration, the Hakka no longer had as greata need for protection from local threats. As Goh (1) explains, "To befriend the locals, the PiangFong was built as a symbol of openness." Different forms of tulou werealso popular in different regions, with Phoenix houses built primarily inearly Hakka settlements in Fujian, round houses more common in upperGuangdong, and Piang Fong tulou mostly restricted to the Pearl delta. The design of each tuloufollows the principles of fengshui. As Goh (1) notes of thisperiod, "The round houses were built during this period as a defensivestructure to fend off the locals." Despite an ultimate evolution to a formof flattened tulou, this structure would prove to be the most popular andenduring of all the different forms of Hakka dwellings and the one thatmost represents or reflects its enduring cultural practices and beliefs. In a sense, thisevolution not only shows the interface of culture and design in Hakkaculture, but it also shows how Hakka culture and design were influenced byother cultures. Because thewalls of the average tulou were 1.5 meters thick, the residences were oftenmoderate in climate, being warm in winter and cool in summer (Jifang 44).The round houses offered such good protection from outsiders that Goh (2)explains, "During the Ming dynasty as Japanese pirates intruded the coastalareas, they always left the Hakka's earth buildings alone." Main entrancedoors were fortified with iron sheet padding and locked by two horizontallyplaced wood bars. By far the most popular form of Hakka dwelling is the round house.As Havercroft (2 ) explains, "These formidable inward-looking earthenedifices are designed to repel attack." Primarily, as the Hakka were oftenunder attack because they did not enjoy protection of the emperor, theround house served as a form of defensive structure. 2 8 .Jifang, Zan. One of the finest examples left of traditional Hakkaarchitecture, the Lion House is more than 6,5 square-feet with six hallsand 16 rooms (Historic 4). Though earthen in material,the round house is strong enough to withstand an earthquake. As on local Yongding tulou residentnoted, "If the tulou hadn't been picked up by the satellite photos andmistaken for missile silos, Yongding wouldn't be so famous today"(Havercroft 22). In this sense theinterface between culture and design of the tulou continues to transmitHakka culture from one generation to the next as well as to generations ofoutsiders formerly unfamiliar with the Hakka culture and its practices. military satellites,causing alarm that missile silos were in the region (Havercroft 2 ).Instead of missile silos, the military concern over the tulou promptedgreater tourism and scholarly interest in the Hakka culture and theirunique architectural structures. Death would havebefallen anyone who undertook such modeling of the imperial court withoutthe blessing of the emperor. In Chengqi Lou village, a shrinking Hakkacommunity, Zhengcheng Lou - "the region's most famous tulou - has beenconverted into a hotel, where guests can watch a mock Hakka weddingceremony, complete with bridal sedan" (Havercroft 24). Design After Modernism. The majority of Hakka settledin Jiangxi, Fujian, Guangdong, and Taiwan. The tulou offered families protection from fire as well asearthquakes. The Hakka architecture known as Tulou were first constructed by theHakka in the Northern Song Dynasty (96 -1127), a term that literallytranslates to "guest family" (Hakka 1). 18 Sep. "Hakka Mausoleums in North Taiwan." Ethnology 3 .1, January 1991, 85-99.Thakara, John, ed. In this sense, tulouarchitectural design is closely interfaced with design in Hakka culture.For millennia these communal homes have served to fulfill the culturalneeds and express the culture of the Hakka. For the Hakka culture, tulou reflected the sum total ways of livingbuilt by this ancient Chinese culture, as well as being reflective of theinfluence of other cultures. Over 4 , Hakka still live in Yongding,with the largest concentration between western Fujian, eastern Guangdong,and southern Jiangxi. The series of chambers at Lion Hall encircletwo courtyards where cultural ceremonies and rituals occur. 2 8 ."CNA: Government to Revitalize Hakka Culture with 5-Year Program." World News Connection, 18 February 2 8, 1-2."Culture." Dictionary.com, 2 8. The Hakka tulou offered housing for approximately 2 families or 1 people, with a distinct design, but larger ones held as many as 8 peopleand resembled a community living under one roof (Jifang 44). London, 1988.Thompson, Fred. This shows how over time the interface of culture and design inHakka dwellings shifted as the characteristics of culture shifted. For each of these periods, tuloutook on the characteristics of design most linked with Hakka culture of thetime. Construction of Hakka tulou continued into the twentieth century.Recently, a unique Hakka house built in the 195 s, known as "Lion House,"was saved from demolition and preserved by a local developer to "as anoutstanding example of Hakka architecture, carving and wall paintings"(Historic 4). "Endowed with Heritage." Beijing Review 51.3 , 24 July 2 8, 44-45.Martin, Howard J. Between the rooms were firetraps to provide protection,preventing flames from spreading from one residence to the next. In the front of each room isan open, round, hallway and staircases that offer access from one level tothe next. Showing the self-reliance and closed off nature of the tuloucommunities, "The tulou are designed for self-sufficiency, built around atleast one well and a space allocated for pigs and water buffalo"(Havercroft 21). Tulou also served as a community and expressed bondsof kinship and family. Havercroft (2 ) maintains these fortified buildingsare the "ancient Chinese equivalent of a gated community and serve as areminder of the systematic persecution that has plagued the Hakka." Thiswas especially true after the Hakka lost favor with the imperial court andwere confronted with hostile locals who regularly attacked them. Showing the strong interface between culture and design with theHakka tulou to the present day, UNESCO's World Heritage Committee inscribedthe local houses of the Hakka ethnic group, the tulou, in south China'sFujian Province a world heritage listing" (Jifang 44). As Jifang (44) notes, "The tulou architecture reflects the folkcustoms and the unique living style of the Hakka ethnic minority withexquisite style and durable and ingenious structure." The tulou show the interpretation of form, function, and materialfrom a cultural perspective that considers contemporary lifestyles andaspirations. Thetulou clearly show form, function, and material interpreted from a culturalperspective that served Hakka cultural needs then and now. Increasing tourism continues to promote greater interaction betweenthe Hakka and other cultures. Fengshui is an ancient Chinese mode of designthat aims to keep the flow of energy positive. Perhaps the "earthlystructures" known as "tulou" common to the Hakka people of Southern Chinamost clearly reflect the interface of culture and design (Havercroft 21).Interface is defined as "a common boundary or interconnection betweensystems, equipment, concepts, or human beings" (Interface 1). In this era, such design showed favor with the imperialcourt, since it would have been a violation of the court to construct suchhouses of "exquisite décor" with approval (Goh 1). They were forced to compete with other local cultureson an equal footing. Many have been left behind by a younger,upwardly mobile generation that has migrated to the metropolitan areas insearch of education and career opportunities. 2 8 .Goh, Tin-Kay. As Havercroft (2 ) notes, "Constructedunder the guidance of a geomancer, the buildings were designed to ensure afavorable flow of energy (chi)." In keeping with the principles offengshui, those who lived on the southern side of a tulou experienced morepositive chi than those who lived on the north side. During this period, even the emperor had fallen intodifficult times and without his protection, the Hakka were often persecutedby their neighbors, who attacked them regularly. Forexample, during the era when the Hakka first migrated to Fujian, they wereofficials of the imperial court. The inner circle is left open and represents a public area forvarious ceremonies or communal events. "Last Line of Defense." Geographical 75.1 , October 2 3, 2 -25."Historic Hakka Home Saved from Demolition." South China Morning Post, 1 November 1996, 4-5."Interface." Dictionary.com, 2 8. In response, theChinese government earmarked $75 million for a five-year program to"revitalize Hakka culture," including preservation of the traditionalcolors of Hakka communities (CNA 1). Goh (1) maintains that each of the differentforms of Hakka dwelling was related to a different period of migration forthe Hakka culture and related to different needs of the culture inlifestyle. The Hakkaarchitecture known as tulou clearly exhibit a strong degree of interfacebetween culture and design; with culture being defined as "the sum total ofways of living built up by a group of human beings and transmitted from onegeneration to another," and design "to plan and fashion the form andstructure of an object, work of art, decorative scheme, etc." (Culture 1;Design 1). Inthis sense, the design, form and function of tulou continue to expressHakka culture. From purposes of defense and farming to purposes of shelter andfamily hierarchy, the tulou clearly demonstrate the intense interfacebetween culture and design among the Hakka culture of Fujian province. Tulou werehierarchical in design, with each family having a unit that spanned all ofthe floors of the building. Windows were non-existent on the ground floor andthose on the upper floors were too small for an invader or wild animal toget inside. Built bylayer, the Hakka could take as long as a decade to construct such asstructure, with outer walls up to 8 meters in diameter and two metersthick (Havercroft 2 ). Wells, bathrooms, and otherfacilities for daily existence were also built into the round houses. The tulou alsocontinue to serve as the embodiment of fengshui, an ideology meant toexpress the unity between man and nature. "Earthly Fortresses." The Architectural Review 199, February 1996, 84-86. The move is designed to strengthenHakka people's identification with their culture as well as encourage thepublic to explore Hakka culture and visit Hakka museums, which includedifferent types of tulou and other Hakka cultural artifacts. "Hakka House Architecture." Asia Wind, October 1999, 1-3."Hakka Culture Alive in East China School, Construction, Museums." Xinhua News Agency, 17 November 2 4, 1-2.Havercroft, Matt. Few cultures have ever expressed themselves through architecture asa reflection of contemporary lifestyles and aspirations as clearly as theHakka have in their architectural design, materials, and function in thetulou. The Hakka did not engage inintermarriage, and their culture has remained similar for thousands ofyears, "including their 2, -year-old traditional language, clothing andarchitecture" (Hakka 1). Works Cited"Design." Dictionary.com, 2 8. Many contemporary inhabitants of tulou are the elderlyHakka and their grandchildren. 18 Sep. In Hakka culture,those who lived on the north side were though of "as less intelligent, lesssuccessful and lacking the vitality of their sunny southern neighbors"(Havercroft 21). The tulou or "earth buildings"were originally large, circular fortresses that one historian refers to as"communal fortress housing" (Thompson 84). Tulou also served to reinforce the importance offamily hierarchy in the Hakka and Chinese culture, with "the elderly on thelower stories, the younger generation on the upper ones" (Thompson 84). This analysis will identify how Hakkaculture gets its expression in the form of architecture known as tulou, inorder to demonstrate the strong interface between culture and design thesestructures have expressed for the Hakka for millennia. Hakka architecture since the 12th century in Yongding county inFujian province, China, exhibits the strong interface of culture and designas these concepts are defined here. 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