自梳 Zì Shū - Water, Land Art, and the Single-women Co-living Community

Design Strategy

自梳 Self-Combed

zì shū

/ Water, Land Art, and the Single-women Co-living Community

Design Strategy | Royal College of Art ADS 9 | Zhuxuan Yang

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CONTENT

Meaning of Title

1

Abstract

3

Introduction

5

Part 1: Emerging Subjectivity

11

Part 2: Spatial Typology

45

Part 3: Site

65

Part 4: Spatial Phenomena

87

Bibliography

97

3

自梳 Self-Combed

[ zì shū ]

Self-combed, the old ritual of braiding one’s hair, was an act of autonomy and selfdetermination in Chinese female culture, a symbol of freedom from forced marriage and enslavement in family life.

1

From the project “Combing for Ice and Jade” © Kurt Tong

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Abstract

Video Iink: here

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The Empowerment of Single Women Mainstream social values in China today still regards being a good wife and mother as the ideal life path for females.1 However, things are changing now. Higher earning, educational attainment, employment status, these are the new ingredients that have empowered female group to downplay the attachment of marriage to receive a better life or gain societal identities.2 Building a family is not the life goal anymore.

For the women who choose to be single, instead of saying that they have completely rejected marriage or couplehood life, they have empowered themselves an alternative way of living which claims a women’s personal value shouldn’t be measured by marriage. Work satisfaction, personal hobbies, liberty, status, identities, self-sufficiency, well being…the new desire is arising and it’s going to eclipse anything that’s tabooed.3

[ 1 ] Arianne Gaetane, ‘Single Women in Urban China and the “Unmarried Crisis”: gender resilience and gender transformation’, Centre for East and South-East Asian Studies, 31 (2010), 1-28 (p. 2-3). [ 2 ] Wangqi Gong, Caixie Tu & L. Crystal Jiang, ‘Stigmatized portrayals of single women: a content analysis of news coverage on single women and single men in China’, Journal of Gender Studies, 26:2 (2017), 197-211 (p. 197198). [ 3 ] Wanqi Gong, Qin Guo & L. Crystal Jiang, ‘The Dilemmaof Chinese Single Women: Understanding Oppression and Discrimination from an Intersectional Perspective’, 28:2 (2018), 117-128 (p. 117).

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Emerging Co-living of Single Women The form of single-women collective living can be seen as a resistance to the existing norm of family living. The form that is based on other like-minded women instead of the traditional way of domestic living based on conjugal relationship. Although the phenomenon is happening in different age periods, the basic spatial requirements that they share is similar. Except for bedroom, all the spaces are shared which doesn’t suggest any hierarchy. They get to autonomously decide their daily rhythms and whether they want this day to be shared or unshared. Kitchen becomes the celebrating space of labour as cooking become the collective ritual, moreover, it’s evolving into the second living room of the house as the space is also used now for socialising and companionship.

Courtyard becomes the space for self-expression which directly reflects one’s daily ritual, also the new gathering space for collective dining and cooking if weather is good. Common interests, emotional sustenance, holding initiatives and autonomy of life are the reasons for living together and they will continue to reshape women’s sphere.

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Land Art Offers New Vision to Everyday Life Land art introduced by single women in Taolin Village added a new layer to their community.

Before actually creating land art, they will go through a series of process from drafting ideas, picking landscapes and collecting natural materials. Therefore, the ritual of land art creates an intangible but strong link between everyday domestic rituals and outdoor activities. The collectivisation of constantly negotiating ideas and storing materials requires adaptivity of communal spaces, which also gives hint on the social structure of the female group. Personally, the experiences of constructing a temporal change of landscape through land art provide the women community emotional satisfaction. As a group, the ritual of doing land art has actively reshaped the domestic sphere through constant discussion and autonomously division of labour regarding preparing materials.

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Can a feminine space of empowerment be created that challenges the existing spatial typologies and redefine women’s sphere?

Can land art be used as a spatial language to redefine an everyday life and even the social structures?

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The Proposal The project seeks to become a hybridised urban space for women in different demographics in the urban context of China, to be more specific, in the city of Chongqing as it’s one of the most developed cities in China which accommodates a large number of women from different economic and cultural background. The urban space will not only be a co-living place for single women, but also a social gathering space which covers a larger group of women who need an intermittent escape from the society. It will be a constantly evolving place that celebrates and promotes women from realising their individual power, as well as denounces the banal judgement of singlehood as misfortune. With the emerging form of co-living and essence extracted from Chinese ancestral female spatial typologies, the project questions whether a feminine space of empowerment can be created that challenges the existing spatial typologies and redefines women’s sphere. Moreover, with the exploration in landscape and symbiotic relationship between nature and architecture, can land art be used as a spatial language to redefine an everyday life and even the social structures.

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“The synthesis, a feminist strategy for domestic reform, would neither be limited to experimental socialist communities nor bounded by the model private kitchen.”

- Dolores Hayden, The Grand Domestic Home Revolution (Massachusetts: The MIT Press, 1982) p. 63.

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| EMERGING SU

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UBJECTIVITY |

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Single Women’s Community in Taolin Village

The single women community in Taolin Village are a group of 40s’ female who have received high-level education and have decent jobs.

Among them, there are fashion designer, stylist, accountant, school teacher, herb doctor, etc. They used to live in the urban area of Beijing but moved to the nearby village to enjoy a post-productive life. The post-productive life can be afforded as each individual has a specialised craftsmanship to maintain the life quality without working in highly production. They choose to live close with each other in the village so that they can take care of each other both physically and emotionally, in the meantime, they will do collective rituals as ways of co-living and sharing everyday life.

The morning is normally the collective time for jogging and yoga whereas afternoon is the highly concentrated time for work. Weekends

Figure 2. Land Art Making, 2020

Figure 5. Picnic in the Woods 2020

are normally the time for land art experiments and socialising parties.

Among all the collective rituals, land art making is the most marked one as it empowers the community an alternative state of lifestyle and emotional sustenances. For them, at the age of 40, the state of single is still alterable but they don’t want to get married if it isn’t for love as they have accumulated strong economic capitals which empowers them to be detached from marriage.

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Forest Park

Forest Park

Taolin Village

Where the single women community lives

Taolin Village is located in the suburban area near Beiji some local rivers around the village which provide na group to do land art experiments.

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Taoyukou Reservoir

ing, there are forest park and atural realm for the women

Jingmi Diversion Channel

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Domestic Sphere

Kitchen Although their domestic life is separated as each of the women rent an independent courtyard house in the village, there are some semblable characteristics that all their houses shares, the kitchen is an independent house within the courtyard house which is used to share with the rest of the community and other guests. It’s normally the place for social gathering and discussing land art ideas. There are two rooms in the kitchen house but they are highly interacted with each other through the middle open table which enables both cooking and dining become a collective ritual.

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The Cuisine Culture

Rehmannia

Sophora Japonica

Rehmannia Wine

Sophora Japonica Soup

• Wash and dry the petals • Soak with 50o sorghum liquor

• Blend hempseed into paste • Boil the paste with moderate amount of water • Soak the patel with 60o water • Add petals into the hempseed soup with honey

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Pinus Massoniana Lamb

Cirsium Japonicum

Cirsium Japonicum Porridge

Pinus Massoniana Lamb Pastry

• Boil blackseed into porridge with brown sugar • Add petals and keep boiling for few minutes

• Prepare the dough Sugar power 20g Wheat flour 100g Gutinous rice flour 20g • Steam for 20 minutes • Sieve the pinus massoniana lamb power in and add honey • Bake for 20 minutes

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Domestic Sphere

Living Room The living room sits in another corner of the house connected with the bedroom. It’s a highly personal space where everything is laid out by the host’s preferences. The indoor space is dominated by plants and supplemented by simple furnitures such as tatami and tea table, whereas the outdoor deck is a wooden terrace for morning yoga. The living room can be the highly concentration space for work or smaller-range sharing space depends on the time of the day.

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Domestic Sphere

Courtyard The courtyard occupies the largest area of the house which is a direct reflection of their daily ritual. It is cultivated as a little botanic garden with a variety of plants. The central table is the place for house host’s own crafts making and floral creation, also the outdoor gathering spot if weather is sunny.

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Outdoor Sphere

Hosting Events The empty square in the village was usually utilised by the single women community for public events. Organising environmental event is the collective ritual that they do during weekends.

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Outdoor Sphere

Land Art The single women are either floriculture lovers or on the way of becoming a professional florist, therefore doing land art is one of the most keen collective rituals.

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Land Art Offers New Vision to Everyday Life Land art introduced by single women in Taolin Village added a new layer to their community. Before actually creating land art, they will go through a series of process from drafting ideas in the kitchen house for several times, picking favoured natural ground around the village and collecting natural materials such as flowers and stones, improvisation happens occasionally in smaller-scale work.

Therefore, the ritual of land art creates an intangible but strong link between everyday domestic rituals and outdoor activities.

The collectivisation of constantly negotiating ideas and storing materials requires adaptivity of communal spaces, which also gives hint on the social structure of the female group.

Moreover, the post-documentation and display of the earthwork can potentially play a part in re-shaping domestics spaces. Personally, the experiences of constructing a temporal change of landscape through land art provide the women community emotional satisfaction. As a group, the ritual of doing land art has actively reconstructed the domestic sphere through constant discussion and autonomously division of labour regarding preparing materials.

Flower

Grass

Stone

Water

Soil

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Branch

Domestic Everyday Life

The Inextricably Linked Ritual B

Between Domes

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Land Art Offers New V

The Ritual of Land Art

Between Domestic and Outdoor

stic and Outdoor

Vision to Everyday Life

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Figure 15. Dining, 2020

Figure 16. The Co-working Space, 2020 33

Changwuzhuang House for Single Women

Changwuzhuang House provides an urban coliving lifestyle for young-age single women where they can receive emotional support and sense of belonging from each other. The house is not only a sharing space for residents to collectively live and work, it is also a commune which gathers residents and surrounding environment closer through cultural salons and socialising events. However, the single state for female at 20s is mostly temporal therefore the reason of co-living is largely due to the desire for socialising and sense of security that comes from being the same gender.

The main communal space is located in ground floor and there are 6 individual rooms upstairs for long-term rent, the landlord of the house are in responsible for organising socialising activities and there are strict rules for inviting males to the place.

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Daytime of the House

The communal space is located in the ground floor and 6 individual bedrooms are located upstairs. During the daytime, the communal space is a mixed place of various activities. The space shares a mutual spatial quality by not putting strict division of walls, the residents are using the space simultaneously through working, living and dining.

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Nighttime of the House

During the evening, residents will invite friends and neighbours to come over for socialising events and the sofa area becomes the activity centre naturally.

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Envisioned Living Model

Proposed by the house owner The model is a proposal by the sharing house owner which aims to develop the sharing house into a city connector in the future. The centre of the model is the house they live and around are the available communal spaces that they seek to rent within the city, the communal spaces can be developed into their communal living rooms for larger collective activities which can radiate to a larger group of people.

What is interesting about the proposal is that it imagines a collective community that can involve a larger group of single females.

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| SINGLE-WOMEN COMMUN

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NITY IN DIFFERENT AGES |

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T H E D E G R E E O F S H A R E

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S I N G L E W O M E N

I N D I F F E R E N T

C O A L G I E V S I N G

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| SPATIAL T

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YPOLOGY |

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Xiu Lou

Lady’s Building

Lady’s Building in Li’s Manor

Xiu Lou was developed to restrict the activities’ area of young girls until whose married in the feudal era. The building is usually located in the corner of the house of the wealthy, the second floor is where the lady lived and the first floor was for the servants.

Xiu Lou is normally taller than the surrounding buildings with long roof overhangs, besides its convenience for ventilation, it’s also used to limit the exposure of lady’s body and create the sense of mystery as the people who come to visit have to look up even 47

Window in Lady’s Building

they are in the same level of adjacent buildings.1

of restriction.Young ladies could only perceive the outside world through extremely limited architectural forms.

The ornaments designed for Lady’s building is self-contradictory, it is both highly expressive but in the same time contains a distinct implication 48

[ 1 ] Lin Li, ‘Traditional Chinese residential architecture in a feminist gaze’, <https://wenku.baidu. com/view/8392db6f0 2 d 8 c e 2 f 0 0 6 6 f 5 3 3 5 a8102d276a261d9.html?fr=search-1-income11> [Accessed: 17 December 2020]

Xiu Lou Facing Inward The facade facing inward is sophisticatedly engraved with small-sized openings on window panels for the lady to have a peek to the internal courtyard if any young man is visiting.

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Xiu Lou Facing Outward The facade facing outward has less windows which are designed to highly restrict the lady’s sight to the outside world.

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Lady’s Building

Ground Floor Plan 51

The lady’s building, connects directly with other three buildings, together forms a courtyard. The courtyard is introverted, close and obscure, covered with half the roof, used only for skylight and ventilation.

Roof Plan 52

Muleng Fang

The Wooden House for Mosuo Minority

Mosuo Minority’s House, 2017

Muleng Fang is the traditional housing typology for the Mosuo minority. The Mosuo minority is a matriarchal tribe which doesn’t follow the system of couple marriage but a walking marriage system which means the couple doesn’t get

married and they live separately on their mother’s side. Where there is a couple, the man usually visits the woman’s house after dinner and then returns to the mother’s house early in the next morning.1 53

Grandmother’s House, 2017 [ 1 ] Huey-Jiun Wang and Chien-Wei Chiou, ‘Interaction Between Spatial Structure of Dwellings and Continuity of Matriarchal Families -- A Case Study on Dwellings of Mo-so People’, Journal of Design, 12 (2008), 61-74 (p. 63).

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1.

2.

4.

3.

Ground Floor Plan Muleng Fang follows the basic principle of courtyard house as 4 separates houses and an internal yard. The layout of the courtyard house is a direct reflection of their marriage patterns, family organisation and religious beliefs.1 55

1. Grandmother’s House: where the oldest female in the family lives and the activity centre of all family matters 2. Sutra Hall: for religious rituals and guests to live 3. Flower House: for nubile women to live and their walking-marriage partners 4. Storage House: for cattle and grain

The grandmother’s house is the activity centre of the whole family, also where the oldest female in the family lives. Sutra hall and storage house is laid out on the two sides while the flower house is standing at the opposite of grandma’s house. The flower house is where the nubile women lives and each of the women is living in an individual room connected through the porch, therefore it’s convenient and private for their partners to visit in the evening.

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[ 1 ] Jialin Li, Keqi Liu, Xiaochuan Chen & Lunbin Xiao, ‘Approach to new constructions with features for Mosuo people at Lugu Lake’, Industrial Construction, 38 (2008), 116-118 (p.116-117).

The Fireplace, 2017

The grandmother’s house is a square plan which is clearly formed as three rings, inner, middle and outer ring.

The fireplace is located in the central square with grandmother’s bed adjacent to it, all the family matters are happening around the fireplace.

The two columns on the two sides of fireplace have a symbolic meaning which is indicating male and female.

And the fireplace is believed as the place to contact and communicate with the spirits.

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Male

Female

Grandmother’s House

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Luoshui The important aspect of Mo-suo dwelling is that the ho depending on the size of the family. The courtyard is e members for togetherness. Externally, each dwelling sits small path or 59

i Village ouse around the yard is not fixed, it can be one or six, extroverted, open and wide, connecting all the family s closely with each other, connects each other through open field.

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Summer Palace The Royal Garden

The Summer Palace in Summer by Roa Kuo, 2018

The Summer Palace utilised its inherent topography along with a delicate layout of buildings to form a picturesque man-made scenery.

The general layout follows an organic order which is dominated

by mountains and supplemented by water. Plants and landscape become the governance of the garden and buildings are the subordinate elements.1 61

The Summer Palace in Winter, 2019

There are two principles of planting: to respect the growth habits of flowers and trees and to take into account the seasonal phases to ensure that there are plants that will last throughout the seasons. Different

plant materials are used according to different landscape environments to highlight the landscape features of each section and render the poetic prospect.2 62

[ 1 ] Xiangli Sun, Qixiang Zhang, ‘Research on the Plant Landscape in the Summer Palace’, Landscaping Forum, (2015), 5-9 (p. 5-9). [ 2 ] Qiheng Wang, Yajing Di, Long Zhang, ‘Colocation Analysis of Plant Historic Landscapes in the Summer Palace’, Journal of Tianjin University (Social Science), 11(2009), 504-508 (p. 504).

Plants: 1 The long corridor is the transitional space between natural and architectural elements which connected the main attractions in an organic way. The planting on both sides of the promenade is dominated by cypress to create a uniform order.

Long Corridor, 2018

Plants: 3, 5, 6, 8 The hall of benevolence and longevity is the centre of political activities therefore the layout is based on the central axis to highlight the supremacy of imperial power.

Large amount of cypress and pine tress are used not only to indicate the longevity, but also to show a regular and dignified layout of the royal garden.

Hall of Benevolence and Longevity, 2014

Garden of Harmounious Interests, 2011

Plants: 2, 7, 9,10, 11,12

The Garden of Harmonious Interests is originally the place for royals to enjoy and rest. The whole garden is dominated by a large pond in the centre with different heights of pavilions around, corridors and bridges are used to connected buildings and landscape together, artificial mountains encircled the whole garden from the periphery. The garden itself was trying to imitate the botany and bioclimatology of the southern Chinese Gardens therefore a large amount of southern Chinese plan species were applied.

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1. cypress

2. lespedeza michx

3. pinus bungeana

4. ulmus pumila

5. sophora japonica

6. Platycladus orientalis

7. malus spectabilis

8. catalpa ovata

9. willow

10. lotous

11. water lily

12. bamboo 64

| SIT

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TE |

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The Shallow, Coral Island Coral Island, stands as the gate of the old city (Yuzhong Peninsula) geographically, stares at the new city (Nan’an District) across the river. After being used as an airport during WWII, coral island was abandoned until the construction of the Yangtze Bridge above it.

Coral Island was once affectionately knows as the “socialist village for bridge workers” during the time when the bridge was commenced building in 70s. The title of bridge workers is not exclusive to workers but to every citizen who has come to help spontaneously, as some of the work are heavily relied on manual labour due to the lack of heavy equipment. There was once a famous scene of 10,000 people together picking and crushing pebbles on site, and the exact sentence from the newspaper was “besides works and soldiers, there are also students and women, anyone who could contribute was scrambling to come.”

The completion of the bridge has raised a controversial topic at that time of China as the artist decided to put 4 nude status at the two ends of the bridge, two naked women and two naked men, representing the four seasons. By the end the artist had to compromise to put on a veil onto the sculpture.

Nowadays the history of coral island and the bridge have been forgotten by the new generation of people, but the place was once an epitome of some Chinese societal values and has played an essential role in the process of cultural reform.

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Google Aerial Map | Coral Island in Dry Season

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Google Aerial Map | Coral Island in Flood Season

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AVERAGE WATER LEVEL +170M

LOWEST WATER LEVEL +160M SEASONAL WATER LEVEL

0.8km

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WATER LEVEL 180m 175m 170m 165m 160m MONTHS JAN

FEB

MAR

APR

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JUN

CORAL ISLAND | SEASONA 0

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0.3km

0.6km

2.6km

JUL

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SEP

OCT

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AL WATER LEVEL | SPRING 1.5km

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HIGHEST WATER LEVEL +180M

AVERAGE WATER LEVEL +170M

LOWEST WATER LEVEL +160M SEASONAL WATER LEVEL

0.8km

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WATER LEVEL 180m 175m 170m 165m 160m MONTHS JAN

FEB

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CORAL ISLAND | SEASONAL 0

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0.6km

2.6km

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AUG

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OCT

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L WATER LEVEL | SUMMER 1.5km

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AVERAGE WATER LEVEL +170M

LOWEST WATER LEVEL +160M SEASONAL WATER LEVEL

0.8km

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WATER LEVEL 180m 175m 170m 165m 160m MONTHS JAN

FEB

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CORAL ISLAND | SEASON 0

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0.3km

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2.6km

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NAL WATER LEVEL | FALL 1.5km

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LOWEST WATER LEVEL +160M SEASONAL WATER LEVEL

0.8km

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WATER LEVEL 180m 175m 170m 165m 160m MONTHS JAN

FEB

MAR

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CORAL ISLAND | SEASONA 0

77

0.3km

0.6km

2.6km

JUL

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SEP

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NOV

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AL WATER LEVEL | WINTER 1.5km

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m 90 + 172m

+ 173m

+ 174m

+ 175m

0m

+ 171m

13

+ 170m

+ 176m

+ 177m

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CORAL IS 0

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0.1km

0.2km

+ 178m

SEASONAL WATER LEVEL

SITE CONTOUR LINE + 180m + 179m + 178m + 177m + 176m

Average Submerged Area in Flood Season (summer)

+ 175m + 174m + 173m + 172m + 171m + 170m

+ 179m

+ 180m

+ 20cm Average Rise Level

+ 10cm + 0cm DAILY WATER LEVEL CHANGE

SLAND 0.5km

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Winter | Dry Season 85

Summer | Flood Season 86

| SPATIAL PH

| PRECEDENT

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HENOMENA |

T RESEARCH |

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Land Art and Its Evolution

Land art was initiated in America since 60s as an anti-traditional forms of art and a resistance to the conventional market-driven art world. It is normally made directly in the landscape, sculpting the land itself into earthworks or making structures in the landscape using natural materials such as soil, rocks, vegetation and water.1 Land art takes its value in utilising natural everyday materials to create a temporal change in landscape. The meaning of “land art” has evolved since 1960s. Previously it was heavily relied on monumental artworks in remote places that are far away from urban civilisation. Today, land art is still focused on investigating the relationship between natural environment but not necessarily to be placed in remote places nor has to be enormous scale. Artists share not only their vision and experience through the earth work, but also encourage the public to actively participate in the making process.2

[ 1 ] Tate, ‘Art Term - Land Art’, <https:// w w w. t a t e . o r g . u k / a r t / art-terms/l/land-art> [Accessed: 17 December 2020] [ 2 ] Bianca Nandzik, ‘Rethinking Land Art’, 2013 <https://www. fairobserver.com/region/ north_america/rethinking-land-art/> [Accessed: 17 December 2020]

The project would like to question whether land art today can become a collective ritual that can be used to define an everyday life.

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Spiral Jetty by Robert Smithson at 1970, photograph by Louis Arevalo at 2016

Circles on the River by Stef Adriaenssens, 2018

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Loud Shadows | Liquid Events Assembled as an experiment by Kees Lesuis

Loud Shadow | Liquid Events Translucent Bubble, 2017

The temporary space is ambiguous, soft, transparent and illusional.

Its ephemeral skin influences the surroundings as much as its inner space offers a lucid view outwards.

The space subtly merges dance, music and nature to challenge the spectators’ perception.

are highly integrated with the surrounding environment. The right transparent bubble is pierced by a tree, whereas the left milky translucent bubble is squeezed between tree branches and their shadows. The ring connecting the 2 elements loops around trees which creates a void in the centre as another performing space.

The 3 circular elements in the site

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Loud Shadow | Liquid Events Translucent Bubble, 2017

Loud Shadow | Liquid Events Plan, 2017

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The Cistern Hiroshi Sambuichi

The Cistern, 2017

The intervention uses earth as a natural building material to unfold the character and hidden qualities of the space, a symbiosis rather than physical boundary is created between nature and architecture. The flowing water, high level of humidity, absence of daylight, glass box and earth, together created this peculiar phenomena of space.

The spatial quality is achieved through the superimposition of materials, the first layer is the stone vault, then the square glass box, earth crosses the glass box and sprawls to its surrounding with water, lastly a hazy optical experience inside the box.

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The Cistern Detail Look, 2017

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Sand and Light Landscapes Laddie John Dill

The Sand and Light Landscape Installation, 2016

The work is a combination of both landscape and architectural imagery using a variety of cement, polymer and glass. The cement imitates the fluid form of sand dune and the glass gives the hint of architectonic shape.

The straight glass sheet is able to form a series of semi-open space or divisions. As these glass sheets are short, therefore they can flexibly create any form from a circle, to a square or long corridor. The cement provides an undulating ground to the space which forms a spatial contrast between dynamic and static.

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The Sand and Light Landscape Installation, 2016

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Bibliography

97

Books and Journals Gaetane, Arianne, ‘Single Women in Urban China and the “Unmarried Crisis”: gender resilience and gender transformation’, Centre for East and South-East Asian Studies, 31 (2010), 1-28 Gissen David, ‘Nature’, AA files, 76(2019), 26-29 Giudici, Maria Shéhérazade, ‘Alone Like the Horn of a Rhino: Reproduction, Affective Labor, and the Contemporary Boarding House in South Korea’, Harvard Design Magazine, 46(2018), 34-41 Gong, Wangqi, Caixie Tu & L. Crystal Jiang, ‘Stigmatized portrayals of single women: a content analysis of news coverage on single women and single men in China’, Journal of Gender Studies, 26:2 (2017), 197-211 Gong, Wanqi, Qin Guo & L. Crystal Jiang, ‘The Dilemma of Chinese Single Women: Understanding Oppression and Discrimination from an Intersectional Perspective’, 28:2 (2018),117-128 Hayden, Dolores, The Grand Domestic Home Revolution (Massachusetts: The MIT Press, 1982) Li, Jialin, Keqi Liu, Xiaochuan Chen & Lunbin Xiao, ‘Approach to new constructions with features for Mosuo people at Lugu Lake’, Industrial Construction, 38 (2008), 116-118 Sun, Xiangli, Qixiang Zhang, ‘Research on the Plant Landscape in the Summer Palace’, Landscaping Forum, (2015), 5-9 Wang, Huey-Jiun and Chien-Wei Chiou, ‘Interaction Between Spatial Structure of Dwellings and Continuity of Matriarchal Families -- A Case Study on Dwellings of Mo-so People’, Journal of Design, 12 (2008), 61-74 Wang, Qiheng Yajing Di, Long Zhang, ‘Colocation Analysis of Plant Historic Landscapes in the Summer Palace’, Journal of Tianjin University (Social Science), 11(2009), 504-508 Website and Other Publications Ignant, ‘Sand And Light Landscapes’ <https://www.ignant.com/2016/02/10/sand-and-light-landscapes-byladdie-john-dill/> [Accessed: 17 December 2020] Li, Lin, ‘Traditional Chinese residential architecture in a feminist gaze’, <https://wenku.baidu.com/ view/8392db6f02d8ce2f0066f5335a8102d276a261d9.html?fr=search-1-income11> [Accessed: 17 December 2020] Nandzik, Bianca, ‘Rethinking Land Art’, 2013 <https://www.fairobserver.com/region/north_america/ rethinking-land-art/> [Accessed: 17 December 2020] Plastique Fantastique, ‘Loud Shadow | Liquid Events’, <https://plastique-fantastique.de/LOUD-SHADOWSLIQUID-EVENTS> [Accessed: 17 December 2020] Tate, ‘Art Term - Land Art’, <https://www.tate.org.uk/art/art-terms/l/land-art> [Accessed: 17 December 2020] Yellowtrace, ‘Building with sun, water, and air - Hiroshi Sambuichi’s Subterranean Installation at the cistern in Frederiksberg’, <https://www.yellowtrace.com.au/hiroshi-sambuichi-the-water-subterranean-installation/> [Accessed: 17 December 2020] 98