Research on Subjective-Cultural Ecological Design System of Vernacular Architecture

Abstract

With the impact of urbanization and other factors, the vernacular architectural heritage faces the problem of how to carry on and innovate for sustainable development with originality and authenticity in the process of redesigning and planning. Therefore, this study uses the visualization method of quantitative analysis to analyze the research trends and hot spots of domestic vernacular architecture and explore new ways of coexistence between vernacular architecture, subject perception and cultural ecology. The critical challenge of this study is to analyze the theoretical coupling action rule between the socio-cultural structure of emotions and the cultural ecosystem of vernacular architecture, drawing on the concept of cultural ecology and the reasoning method of transmission relations in logical deduction. The main contribution of this study is to propose the concept of a subjective-cultural ecological design system for the sustainable development of vernacular architecture, to establish a three-dimensional structural analysis design paradigm and an evaluation analysis matrix, and to make vernacular architecture present the self-renewal ability of continuous exchange and revision in the dynamic cycle of this design system. This study aims to provide a standardized and flexible design research framework for contemporary vernacular architecture’s innovation and sustainable development.

1. Introduction

Vernacular architecture is the inheritance carrier and expression of Chinese traditional culture, and vernacular architectural heritage with national and regional colors is an indispensable part of traditional culture. As a critical research object, the architectural heritage of vernacular residential buildings should not only have the characteristics of ethnicity and folklore in the redesign planning, but also pay attention to the study of human-centered settlement and environmental issues [1]. However, most vernacular architecture renovation lacks the rigorous refinement and inheritance of traditional cultural spirit [2]. For example, there are two common types of residential renovation: one takes the form of batching and replicating new construction, and the other takes the form of micro-renovation, such as surface painting and mural decoration. This simple transformation of surface texture fails to achieve the role of the cultural heritage of vernacular architecture. It destroys the rule of self-renewal of sustainable development of vernacular architecture. External factors cannot solve the problem of preserving and transmitting vernacular architectural heritage. Vernacular architectures are only the carriers of conventional culture transmission. The people in them are the intrinsic determinants of the sustainable development of architectural culture. Therefore, we can let the modern architectural concepts and methods and the residents’ subjects contribute equal communication and collision at the cultural spirit and wisdom level. By condensing and internalizing traditional architectural techniques and modern concepts and technologies, we allow the residents to make trade-offs in their original knowledge system, form a new architectural concept system and spontaneously update the vernacular architecture. Only in this way can the cultural spirit in vernacular architecture be perpetuated. This study will focus on stimulating local subjects to perceive and value the cultural heritage of vernacular architecture in the design process. By guiding the local subjects to recognize the relationship between vernacular architecture culture and the human living environment, the study will promote the continuous self-renewal mechanism of vernacular architecture from inside to outside [3]. How, then, is it possible to fully stimulate the vitality of residents in the process of redevelopment of vernacular architecture? How do we evaluate the design factors of spatial scale, spatial form, spatial quality, and spatial relationship that need to be satisfied in vernacular architecture? Moreover, how do we support designers and residents in making the right design decisions for vernacular architecture in the redevelopment process, which emphasizes cultural uniqueness and pleasant space? Research on emotional patterns may be the key to answering these questions. In order to better understand the role of residents’ subjects in vernacular architecture’s culture and living environment, designers need rational thinking research methods and empathetic interpretation [4].

An excellent emotional model can help designers better understand the archetypal theory and the spiritual value of the generation of traditional vernacular architectural forms in the interactive relationship between the inhabitants’ subjective perception and social culture. For example, Kengo Kuma used the “Architecture of the Five Senses” exhibition to convey the core concept that the greatest joy of architecture lies in its ability to resonate with the five senses. The exhibition allows people to experience emotions at the level of spiritual liberation and deeply explains the direction and thoughts of future architectural design in the post-epidemic era. Modern architecture scholars or those from other disciplines have performed much research on traditional and vernacular architecture in terms of settlement form, spatial form, human settlement environment, ecology, cultural inheritance, and preservation. Polish scholars present methods for documenting and evaluating the style of a historic wooden resort complex called “Swidermajer” on the outskirts of Warsaw, Poland, confirming its cultural value and strong connection to the Alpine architectural style [5]. Turkish scholars present a case study of Heritage Building Information Modeling (H-BIM) application in a historic village in Bursa, Turkey, proposing a feasible, practical and replicable H-BIM implementation method for vernacular conservation applications [6]. Italian scholars believe that modern architecture is replacing the Italian countryside and is even being abandoned by the locals. They did not realize the intrinsic value and role of vernacular architecture as a carrier of traditional vernacular culture. Therefore, they proposed the “rural landscape” concept and chose ISOLA SERAFINI in the Po Valley as an example to determine its value as a rural landscape. They also proposed three potential projects corresponding to the initial goal of revitalizing the rural landscape [7]. The deciphering of the interior spatial layout of the new house “DiarCharpenti” by scholars from the African country of Algeria proves that its spatiality is an innovation based on the most original places and reveals unique design preferences which can help to better design and plan homes in rural Algeria [8]. Chinese scholars have used Ladybug and Honeybee tools to analyze the thermal performance and regional adaptability of different courtyard layouts and propose an ecologically optimized design. This not only has a positive effect on preserving the local architectural culture but also plays a crucial role in improving the comfort and standard of living of the residents [9]. At the same time, as the boundaries between disciplines become increasingly blurred, domestic and international architecture scholars are increasingly interested in cross-border design. The conservation and renewal of vernacular architecture is no exception, and scholars are integrating multidisciplinary concepts, methods, and techniques to discuss it intensely. In the second edition of Cognitive Architecture, Sussman and Hollander review new findings in psychology and neuroscience to help architects and planners to better understand their clients. The book discusses vital biometric tools that help designers “see” subconscious human behavior and presents new methods for analyzing design prior to construction as the latest scientific tools relevant to assessing architecture and the human experience of the built environment [10]. The architectural design concept of “Suffused Space” proposed by Wei Na is an abstract and perceptible space, which is the soul of architecture. Compared with the traditional “closed space,” “Suffused Space” is a kind of human space that no longer takes the physical interface of closed space as the main load. However, it breaks up the material to form an interactive and symbiotic relationship with people [11]. Qu Yan promotes establishing a rural emotional community in Xu and Qingtian villages through the warmth of art and rejuvenating the villages through artistic means [12].

In conclusion, different solutions for sustainable development of rural vernacular architecture are given at home and abroad according to different development needs. Especially with the advent of the post-epidemic era, foreign scholars have paid much attention to architectural research from the perspectives of psychology and neuroscience. In contrast, domestic scholars are also trying to start from the perspectives of the human living environment and social and ecological benefits. Although many measures for the protection and renewal of vernacular architecture have promoted the development of the rural tourism industry and rural public buildings, there is no proper guidance for residents. The lack of systematic theoretical basic knowledge to follow the trend of self-built buildings has the undesirable consequence of the idea that “thousands of villages are the same.” Therefore, this study uses emotional patterns as an entry point to examine the impact of the interaction between the resident subjects and the society and culture on the role of vernacular architectural heritage inheritance and innovation. This study aims to refine the design process steps from the basic theory to form a standardized and flexible design system of theory, method, and evaluation. The specific research ideas are as follows.

• Through literature review and generalization, this study finds that domestic scholars’ research on the basic theory of vernacular architecture is weaker than the research on technical aspects. At the same time, the visualization method of literature cross-referencing network analysis through the China Knowledge Network presents the academic research hotspots of vernacular architecture. It clarifies the mutual relationship between vernacular architecture, social culture, and residents’ subjective perceptions.
• This study analyzes the theoretical coupling role of the socio-cultural structure of emotion and the cultural ecosystem of vernacular architecture with the help of the concept of cultural ecology and the method of transferring relational reasoning in logical deduction. In this way, it is clear that the interaction between the resident subject and the social culture has an inherently determining role in the inheritance and innovation of vernacular architecture, so the concept of the subjective–cultural–ecological design system of vernacular architecture is proposed.
• Based on the proposed concept, the subjective–cultural–ecological design system of vernacular architecture is constructed, which contains a three-dimensional structural analysis design paradigm and evaluation analysis matrix composed of subject, spatial, and cultural dimensions. This study aims to form a standardized and flexible design research framework system.
• The case demonstrates the operation of this design research framework, presenting the self-renewal ability of vernacular architecture to continuously exchange and revise in the dynamic cycle of this design system. The results show that the subjective-cultural ecological design system not only meets the needs of unified and diverse residents and sustainable development, but also continues the cultural value of vernacular architecture.

2. Materials and Methods

2.1. Study Design

This study analyzes domestic vernacular architecture’s research trends and hotspots through quantitative and visual methods and clarifies the close relationship between vernacular architecture, culture and residents’ perceptions, continuing through the reasoning method of transferring relations in logical deduction. The theoretical coupling action rule of the socio-cultural structure of emotion and the cultural ecosystem of vernacular architecture is analyzed, and the concept of the emotion-cultural ecological design system is proposed. Through this concept, this study aims to construct a complete design research framework system of the dynamic cycle of autonomous regulation, integrating internal determinants and external influences to encourage vernacular architectures to generate the ability of continuous self-renewal internally.

2.2. Search Strategy

First, this study summarizes domestic vernacular architecture research trends through the bibliometric method of the China Knowledge Network. Secondly, this study analyzed the research hotspots of vernacular architecture using the visualization method of cross-citation network analysis of literature on the China Knowledge Network. Finally, this study deduces the theoretical coupling action rule between the socio-cultural structure of emotion and the cultural ecosystem of vernacular architecture through the positive transfer of relational proposition in the form of relational reasoning in logical deduction. It proposes the concept of the subjective-cultural ecological design system of vernacular architecture.

2.3. Data analysis and Conceptual Reasoning

2.3.1. Research Trend Analysis

This study used the Chinese full-text journal database of the China Knowledge Network (CNKI) as the data source. In the search, “vernacular architecture” was used as the search term, and the journals of “SCI source journals, EI source journals, Peking University core journals, CSSCI, CSCD” were selected to improve the academic type of the data sample. The 11th Five-Year Plan adopted in October 2005 proposed to promote the construction of a new socialist countryside by the requirements of “productive development, prosperous living, civilized countryside, clean village appearance, and democratic management.” Therefore, the period of the literature search was limited to 2005–2022, and 819 documents were retrieved. Figure 1 shows that domestic scholars’ research on vernacular architecture has steadily increased. In particular, Figure 1 reveals that the number of publications at the “technical research” level and the “applied basic research” level of vernacular architecture peaked in three periods: 2010–2011, 2016–2017, and 2020–2021. Most surprisingly, the number of articles issued in the first half of 2022 is already approaching its maximum peak, and it is foreseeable that it may reach another record high in the future. As Tiejun Wen, a scholar, said, rural vernacular architecture may become the following development trend in the real estate industry. However, when comparing the “technical research” level and the “applied basic research” level in the total number of papers published in recent years, we find that more academic achievements of domestic scholars are focused on the “technical research” level. The chart reveals that the number of publications at the “technical research” level is consistently higher than the number of publications at the “applied basic research” level. Figure 2 reveals that there has been a sharp increase in the number of publications at the level of “technical studies” for vernacular architecture since 2019. In contrast to the “technical research” level, the number of publications at the level of “applied basic research” has been in the doldrums. What can be clearly seen in this chart is the steady decline in the number of publications at the “applied basic research” level for vernacular architecture since 2019. This data set reflects that although domestic scholars are highly concerned about developing rural vernacular architecture, the study of its basic theory has not received sufficient attention. As a result, starting from the basic theory, this study expects to provide a new way of thinking to improve the design research framework system of inheritance and innovation of vernacular architecture in China.

2.3.2. Research Hotspot Analysis

The literature search method in this phase is the same as described above, which helps to improve the analysis of the current status of academic research on vernacular architecture in China. Figure 3 shows the visualization data of the literature with more than 900 citations selected according to the circular area. The most striking result to emerge from the data is that the research hotspots of domestic vernacular architecture mainly focus on the thermal environmental comfort experience of the human living environment, the creation of vernacular architecture, and the cultural and spiritual needs of the residents. It reflects the relationship between vernacular architecture, residents’ perceptions, and social culture. If we want to study the sustainable development of vernacular architecture, we cannot ignore the relationship between the three. Consequently, this study aims to analyze and summarize the interaction between vernacular architecture and residents’ perceptions and social culture and explore a systematic, normative, and flexible design research framework system for the sustainable development of vernacular architecture.

2.3.3. The Concept of the Subjective-Cultural Ecological Design System for Vernacular Architecture

The above data show that the relationship between vernacular architecture and social culture and the perception of the inhabitants’ subjects is closely related. Therefore, applying the concept of integration to examine the three as a whole may answer the question of how vernacular architecture can maintain the characteristics of originality, authenticity, and sustainability in the re-planning. The inhabitants of villages are influenced by social culture, religious beliefs, and the natural environment, forming unique cultural and ecological values that profoundly affect the way of thinking and building of the inhabitants. House owners, neighbors or friends, and relatives will participate in each stage of the life cycle of vernacular architecture in multiple overlapping capacities. The finalized spatial structure reflects the survival wisdom of the residents’ living practices and intuitively maps the residents’ material and spiritual needs [13]. Because of this, in order to thoroughly analyze the deep structure and architectural language of vernacular architecture, we can draw on the concept of cultural ecology and place vernacular architecture in a cultural ecosystem to observe the relationship between the perceptions of residents, social culture and vernacular architecture. Cultural ecology is the concept of perceiving and interpreting a cultural phenomenon in the context of the entire natural and human environment. Applying the system integration concept clarifies each relevant factor’s role, status, and relationship in cultural development [14]. Scholars such as Dai Zhizhong divided the cultural ecosystem of vernacular architecture into three parts, the output layer, input layer, and feedback mechanism, and gave the definitions of the input layer and output layer. On the one hand, the input layer implies viewing vernacular architecture within a macroscopic cultural context and integrated network of relationships, such as natural and socio-cultural factors. On the other hand, the output layer implies studying the rules of vernacular architecture itself, such as the form of the design language that shapes the interplay between surface form and deep structure [15]. However, there is a lack of clear explanation and definition of the feedback mechanism of this system.

Vernacular architecture is one of the figurative carriers presented by the behavior and thoughts of residents. The interaction between social culture and the residents’ subjects shapes the spiritual temperament of vernacular architecture. In this spiritual dimension, studying emotional patterns is a crucial kernel. The study of affective patterns is a social phenomenon shaped by the cultural environment and influenced by the particular culture in a given society [16]. Affective patterns play an important role in reconstructing vernacular architecture that cannot be ignored. On the one hand, it helps to decipher the connection between vernacular architecture and its occupants and social culture. On the other hand, it helps to examine the influence of residents’ perceptions and social and cultural interactions on vernacular architecture. Therefore, this study considers whether the residents’ emotional patterns can serve as a feedback mechanism for the cultural ecosystem of vernacular architecture. Through a literature review, this study draws on the circular process of an emotional, sociocultural structure conceived by Swaro scholars and tries to deduce the theoretical coupling rule of the emotional, sociocultural structure and the cultural ecosystem of vernacular architecture. As shown in Figure 4, this study utilizes a positive transfer relation proposition in the form of transfer relation reasoning in the logical deduction for the theoretical deduction. In the sociocultural structure of emotions, culture (C) nurtures the affective model (E), which, in turn, influences social and political events (S) and, at the same time, the culture of society (C) [17]. However, vernacular architecture is a product of residents’ needs and social culture. It belongs to a subset of social and political events in the social and cultural structure, and the two belong to the relationship of inclusion and exclusion. Therefore, the sociocultural structure of emotion and the cultural ecosystem of vernacular architecture form a positive transmission relationship. Social culture (C) cultivates human values and emotional patterns (E), which in turn affects the morphological construction of the social system (S) composed of people. The vernacular architecture’s cultural and ecological values are finally presented by translating and decoding the system’s emotional patterns (A). In turn, vernacular architecture is dynamically and continuously involved in constructing the renewal of social culture (C). In the whole process, the interaction between the residents’ subjects and social culture forms the inner energy that drives the vernacular architecture to continuously absorb and evolve through the translation of emotional patterns and burst out with profound, rich, and introspective cultural values from the inside out. These results show that the interaction between social culture and residents’ perceptions intrinsically influences the construction of vernacular architecture. The dynamic cycle process forms a complete operational system that integrates internal and external factors. In summary, this study argues that the emotional pattern can be used as an internal feedback mechanism to enrich and improve the cultural ecosystem of vernacular architecture. Therefore, this study proposes the concept of the subjective–cultural–ecological design system, which provides a theoretical basis for systematically establishing a research framework for vernacular architecture’s subjective–cultural–ecological design system.

3. Results

By analyzing and summarizing the research trends, research hotspots, and theoretical coupling, the results show that the subjective-cultural ecological design system concept can perfectly integrate the particular emotional and psychological model between vernacular architecture, residents’ perceptions, and social culture. This particular psychological pattern includes internal factors formed by the inhabitants’ culture and daily residential practices and external factors formed by the natural and social environment. The two factors are expressed and rationalized through vernacular architecture, reflecting that vernacular architecture’s internal determinants and external influences complement each other. Therefore, to better sort out the basic theory of sustainable development of vernacular architecture and to form a standardized and flexible design model, this study attempts to build a complete set of dynamically cyclical and self-regulating design systems to encourage vernacular architecture to generate continuous self-renewal from inside and outside. Through this system, vernacular architecture will find an excellent sustainable growth method and an ideal and pleasant spatial relationship.

3.1. A Design Research Framework for the Subjective-Cultural Ecological Design System of Vernacular Architecture

3.1.1. Three-Dimensional Structural Analysis Design Paradigm

Based on the operation mechanism of the subjective-cultural ecological design system of vernacular architecture, the feedback mechanism of the emotional model connects the subject and cultural and spatial dimensions in series. It constructs a three-dimensional structural analysis paradigm of the subjective–cultural–ecological design system. This framework decomposes the system’s external input and internal output factors in terms of subject, cultural and spatial dimensions. The subject dimension then serves as the core processing layer of this system, evaluating and weighing each sublevel of the cultural and spatial dimensions. As in Figure 5, each factor axis in each dimension consists of many squares, representing the connection between each cultural factor, each spatial factor, and the subject’s perception. In the right-angle spatial coordinates, the intertwined factor axes form a three-dimensional, organic, and visualized design analysis research framework, which makes the theory, design methods, and evaluation methods in the subjective-cultural ecological design system clear at a glance. It provides a clear and complete design research framework for redesigning vernacular architecture and a more systematic and scientific research idea and method for conserving and sustainable development of contemporary vernacular architecture.

(1) Subject dimensions

The post-epidemic era will soon usher in an era of “five-sense architecture,” where integrating elements that stimulate the five senses in architecture can free the mind and body. Therefore, this study suggests that the five-senses experience is closely related to the design of vernacular architecture. Some scholars believe that the origin of architecture is not the type of form but the eternal necessity of “desire for the expression [18].” In the theoretical framework of the subjective–cultural–ecological design system, the five senses of residents play the role of “desire for the expression.” Influenced by the cultural values of religion and primitive beliefs, the inhabitants usually create an architectural environment that satisfies both material and spiritual needs by expressing intuitive experiences based on their instincts. The visual field is only a flat perception, but when the senses of touch, smell, hearing, and taste are involved in the process of perception, it deepens the dimension and depth of our memory [19]. Wuli Village in Pinzhongluo County, Nujiang Prefecture, Yunnan Province, is a typical village in Nujiang where the architectural forms and styles of the Nu ethnic dwellings are relatively well preserved. The village’s inhabitants are mainly of the Nu ethnic group and worship nature. From Figure 6a,b, we can see the natural harmony of the mountain, water, people, and dwelling pattern in Wuli Village, which shows the wisdom of the Nu people living by the mountain and water. Figure 6c shows that every flower, plant, and tree in the living space around the residential buildings seems to have a spiritual nature. This picture leads us to imagine the warmth of the wood we can touch, the fragrance of the flowers we can smell, and the chirping of the cicadas and birds we can hear, creating a scene of the natural and simple rural life of the residents. The stimulation of the five senses brings a creative energy that awakens the emotional resonance of our interaction with vernacular architecture. As a result, the subject dimension introduces the five senses theory to evaluate and analyze vernacular architecture’s cultural and spatial environment with rational thinking based on sensibility.

(2) Cultural dimension

As an art appreciation building or a social, communal building, architectural forms are inseparable from a particular society’s historical and cultural background [20]. We see not just an ordinary residential building, but the cultural phenomenon of ethnic settlement. Based on the research and data review, the cultural dimension is broken down into five essential factors: physical geography, religious beliefs, cultural interactions, artistic aesthetics, and lifestyle. Natural geography, religious beliefs, and cultural interactions determine vernacular architecture’s cultural value and style [21]. As shown in Figure 7a, the hollow bottom of traditional Dai vernacular architecture perfectly fits the complex and changing mountainous terrain and hot and humid environment of Dehong Prefecture. The three-story gable green tile roof of the Mangxuan Zang room shows the characteristics of the roof form of Southern Theravada Buddhist monastery architecture. At the same time, cultural interactions have also produced the phenomenon of cultural intermingling, as in Figure 7b, where the layout structure of the public security department of the ancient Dehong Prefecture was modeled after the form of Chinese Han Dynasty architecture. On the other hand, artistic aesthetics and lifestyle determine the construction techniques and texture expression of vernacular architecture. For example, in Figure 7c, under the influence of Buddhist culture, traditional Zang houses embody the construction features of multi-story eaves and tile roofs. The doors, windows, and eaves are carved with exquisite flower and bird patterns. The overall exquisite decoration and architectural forms reflect the aesthetic concepts of Buddhist culture and meet the emotional pattern atmosphere required for religious activities. The Hani people have developed a unique land use system based on the mountain’s terrain, forming a natural ecological cycle system of four elements, forest, village, terraced fields, and water system, as shown in Figure 7d. At the same time, the Hani people have cultivated the belief in worshiping nature and gods by worshipping water, fields, and forests. The mushroom house in the village of Azheke fully demonstrates the wisdom of Hani’s life practices, as shown in Figure 7e,f. The mushroom houses in the village of Azheke are warm in winter and cool in summer, and the building materials are mainly earthen-based walls, bamboo and wood frames, and thatched roofs. The bottom floor of the house is for raising livestock and storing farming tools; the middle floor is a living room with a fire pit in the center, and the top floor is used for stacking miscellaneous things. The middle floor also has a terrace, an important place for people’s production work, daily life, and leisure activities.

(3) Spatial dimension

This dimension draws on the division of spatial elements in the concept of multi-meaning space proposed by scholars such as Dai Zhizhong. Therefore, this study separates the spatial dimension into four factors, scale, form, quality, and relationship of space, as the main design elements of the spatial structure of vernacular architecture [22]. The scale of space then represents the scale-proportional relationship of space. As shown in Figure 8a, the vernacular architecture of Wolong Ancient Fishing Village in Kunming utilizes the earth and wood structure, and the material of the earth base wall makes the architecture present a thick, safe, and solid volume characteristic in visual perception. The form of space includes the external form of space and the internal form of space. As shown in Figure 8b,c, the exterior form of the buildings of the ancient fishing village and the planning form of the courtyard reflects the principle of balance and symmetry. The quality of the space refers to the impact indicators of the physical and artificial environment of the space, including the physical environment, such as air quality, light, ventilation, noise, and the artificial environment, such as lighting, decoration, furniture, and facilities. Figure 8d,e show the building’s warm and simple physical and artificial environment. Figure 8f,g show the decorative details of the buildings, where the inhabitants would carve the building elements with auspicious symbolic patterns, both for aesthetic purposes and to represent good wishes for the family. The spatial relationship refers to the connection between spatial functional areas; the relationship between each space can be changed to meet different functional and spiritual needs. For example, the space adopts the concept of juxtaposition to gather its functions, strengthening the concentration of space that highlights the characteristics and focus. As in Figure 8h,i, the staircase is the main passage connecting the second floor of the main house, the second floor of the side room, and the open space on the first floor. The tread at the main house’s entrance in Figure 8h can also be used as a staircase handrail, reflecting one thing’s multi-purpose function. Figure 8i shows that the entrance of the side room is slightly lower than the main house’s entrance. Usually, the main house is occupied by the parents, and the side house is occupied by the children, which reflects the influence of the family ritual system on the architectural pattern and spatial relationship.

3.1.2. Evaluation Analysis Matrix

In the design paradigm of three-dimensional structural analysis of vernacular architecture’s subjective–cultural–ecological design system, an evaluation matrix exists for analyzing the weight of spatial design factors. For example, V15 in

Table 1. Evaluation matrix of the combination of factors in the cultural and spatial dimensions under the visual factor.

	Cultural Dimensions	Physical Geography	Religious Beliefs	Cultural Communication	Art and Aesthetics	Way of life
Spatial Dimensions
Scale		V11	V12	V13	V14	V15
Form		V21	V22	V23	V24	V25
Quality		V31	V32	V33	V34	V35
Contact		V41	V42	V43	V44	V45

“V15” represents the analysis of the combination of factors in the “V” model of Figure 5.

reflects the evaluation and weighting analysis of the visual experience of the subject dimension on the combination of cultural and spatial factors. As shown in Table 1, the matrix uses the five sensory factors of the subject dimension as the primary evaluation factors. It represents the multiple patterns of the mutual combination of cultural and spatial dimensions under the perspective of visual factors. Each pattern will set up relevant questions based on visual perception factors and score and rank them with satisfaction and care measurement scales. The evaluation matrix provides a transparent and standardized, reliable basis for the design requirements of the relevant spatial scale relationships and the weighting ratio of each scale factor.

Table 2. Evaluation analysis of the V15 model factor combinations under visual factors.

V15	Space Requirements	Way of Life	Satisfaction Measurement					Importance Ranking
Scale	Public Space	1.Separate kitchen space for 1–2 people	1	2	3	4	5	1	2	3
		2.Open kitchen activity space	1	2	3	4	5	1	2	3
		3. Sufficient storage space	1	2	3	4	5	1	2	3
		4. Compact and flexible bathroom/multipurpose room	1	2	3	4	5	1	2	3
	Private Space	5. Compact bedroom space	1	2	3	4	5	1	2	3
		6. Spacious bedroom space (with private bathroom)	1	2	3	4	5	1	2	3
	Functional space	7.High and open living room/terrace	1	2	3	4	5	1	2	3
		8.Vegetable Garden/Flower Garden	1	2	3	4	5	1	2	3
		9. Reasonable drainage system	1	2	3	4	5	1	2	3

“V15” represents the analysis of the combination of factors in the “V” model of Figure 5.

shows the residents’ preferences for selecting each functional space scale under visual factors. Based on the analysis of the table, it is possible to derive different functional space volumes and significant spatial demand influencing factors that meet the residents’ minds. At the same time, through further refinement of each model by this evaluation matrix, key evaluation factors corresponding to crucial elements of vernacular building space design can be analyzed to form a set database of design evaluation factors for vernacular buildings.

Take the “one seal” architectural form of the Wolong Ancient Fishing Village in Kunming. The “one seal” architectural form is typical of the traditional courtyard in Kunming. Because the layout and overall appearance of the building are similar to a square, the building is named “one seal.” The ancient fishing village of Wolong is near the sea, with a significant temperature difference between day and night. The architectural form of “one seal” is perfectly adapted to the local natural environment and lifestyle, forming a unique architectural form of the ancient fishing village, as shown in Figure 9a. In addition, the plan layout of the “One Seal” building adopts the principle of central symmetry, reflecting the traditional Chinese cultural order of respect and inferiority. As shown in Figure 9b, the main house faces south on the top of the longitudinal axis, while the side houses are located on the left and right sides, and the main door is opposite to the main house, forming a quadrangle with a courtyard in the middle. In this study, we conducted field surveys of 43 residential buildings in the ancient fishing village, as well as in-depth interviews and questionnaires with 135 residents. We learned that the current vernacular architectural form in the town has changed from the initial “one seal” architectural form to the “one seal” architectural form that changes with the needs of life. The fundamental spatial elements of the original “one seal” architecture include the main house, side houses, gates, courtyard, corridors, and stairwells. The new spatial layout corresponds to the new living needs of the inhabitants. The change in the architectural form of “one seal” implies that the interaction between residents’ perceptions and social culture has an inherent role in determining the form of vernacular architecture. Therefore, in this study, we analyze and study the fundamental relationship of the “one seal” building with 135 samples of data, taking the spatial demand of residents in the V15 model as an example. The results show that when the target group is the middle-aged and elderly (45 or above), the proportion of spatial scale of residents’ lifestyles under visual factors is ranked as follows: functional space > public space > private space. When the target group is young people (below 45), the proportion of residents’ spatial scale for lifestyle under visual factors is functional space > private space > public space, as shown in Figure 10. This comparison clearly shows that the residents’ demand for functional space is the dominant reason for changing the essential spatial elements of the original “one seal” building. The pie chart in Figure 11 shows that among the functional space needs, bathrooms/multipurpose rooms and kitchens are the main focus of residents. In addition, middle-aged and older adults are more concerned with arranging small vegetable/flower gardens and drainage systems in public spaces. In contrast, young people are more concerned with planning bedrooms in private rooms.

This study designed and planned the building layout based on the above analysis. As shown in Figure 12, by comparing with the original building layout, it can be found that the first-floor plan layout of the partial rooms on both sides of the building has been adjusted with functional areas. The layout of the first floor of the left side room is divided into a wet and dry bathroom and a storage room. The bathroom is close to the main bedroom. It is separated by a staircase, which not only meets the conditions of convenient use for the elderly in the main bedroom but also avoids the problem of moisture return. At the same time, the space under the stairs can be used as a shelf for the entertainment room/dining room, making full use of the corner space, as shown in Figure 13. The right side of the first floor includes the open dining/entertainment area and the kitchen. The kitchen is close to the front door, which solves grease and ventilation problems and facilitates the laying of sewer lines. In addition, the planning of the drainage system on the first floor reflects the traditional idea that “flowing water gathers wealth.” As shown in Figure 14, the ground in the courtyard is provided with a drainage ditch based on the dripping of water from the corridor. The drainage system on the ground collects rainwater into the water purification system in the basement of the storage room on the left, where it is purified with domestic sewage and used as organic fertilizer for vegetables/gardens. The space on the second floor of the building mainly addresses the space needs of young people. The second floor of the main room was originally an oversized room. In order to make full use of space resources, we divided the second floor of the main room into three rooms, as shown in Figure 15. The second floor directly above the main house is still used as a space for ancestor worship, and a small storage room is set up on the right side of the space connected to it, enriching the functional attributes of the space. On the left side is a separate bedroom space. On the second floor on the left are an independent bathroom and a small bedroom. The second-floor independent bathroom corresponds to the location of the first-floor bathroom, which is conducive to drainage system management. At the same time, the bathroom on the second floor is located between the two bedrooms, connecting the relationship between the two separate spaces while meeting the needs of young people who want to have their bathroom. On the right side, on the second floor of the side room, is a separate multi-purpose room. This room is DIY in nature, with the residents giving the space functional attributes and scale proportions, reflecting the normative and flexible characteristics of the subjective–cultural–ecological design system.

It is worth pointing out that the above case shows only one axis of perceptual factors of the subjective dimension of the evaluation analysis matrix. The single most striking observation to emerge from the data comparison is that each of the perceptual dimensions of the subject dimension is a system of methods that includes, from large to small, a collection of steps such as design purpose, design factors, design solutions, and design evaluation. The formation, generation, and development of these specific methods will provide more systematic and scientific theoretical support for the conservation and sustainable development of vernacular architecture.

3.2. The Continuous Self-Renewal Characteristics of the Subjective-Cultural Ecological Design System of Vernacular Architecture

The most surprising aspect of the data is that the subjective–cultural–ecological design system leads to the innovative conclusion that vernacular architecture continues to renew itself. In the subjective–cultural–ecological design system, culture, as an abstract term, contains many complex factors such as regional characteristics, ideal beliefs, cultural interactions, and artistic aesthetics. Culture is translated into figurative perceptual factors by cultivating people’s emotions. After inputting into the system, architectural language with cultural symbolic meaning is output to complete the construction of the physical building. At the same time, vernacular architecture continuously exchanges energy with the social and cultural environment outside the system, which induces the imbalance of the internal factors of the vernacular architecture to produce qualitative changes. Then, through the emotional assimilation path of the residents, the system is reactive to the renewal of the architectural language, which in turn affects the renewal and revision of the original cultural pattern. Finally, the whole system completes the internalization process of old and new cultures in the path of the dynamic cycle of emotional patterns. As shown in Figure 16, the vernacular architecture shows the dynamic characteristics of frequent participation in the identity and continuity of settlement culture, subject identity, and family emotion in the emotional cycle of the subjective–cultural–ecological design system.

(1) Promote the recognition and revitalization of the cultural value of the settlement

The operating mechanism of the system deepens the connection of emotional patterns between designers and residents, vernacular architecture, and social and cultural environment on the one hand. It stimulates residents’ sense of responsibility for revitalizing rural culture. On the other hand, it encourages residents and designers to jointly and scientifically grasp the differences in rural culture and the differentiated characteristics of development trends and reinterpret and record the value of homeland cultural resources in the new era with contemporary architectural language. This study guides residents to recognize their home culture by integrating emotional patterns, ultimately presenting the cultural and emotional pattern value of contemporary vernacular architecture beyond that inspired by practical tasks and revitalizing the traditional texture of vernacular architecture.

(2) Promoting the reshaping of the identity of rural social subjects

From the feedback mechanism of emotional patterns, we maintain the tightness and activeness of the emotional pattern connection between designers, residents, and vernacular buildings. Through the dynamic regulation process of translating, assimilating, and conforming to emotional patterns, the power of social culture and the subject’s perceptual interaction continues to dominate the implicit force of emotional patterns to guide the practice of vernacular architecture. It fully stimulates rural residents to participate in the cultural creation of the settlement, strengthens the reshaping of collective identity and sense of identity, establishes a more intimate relationship between people and nature, people and others, people and countryside, and people and faith, and promotes the link of rural emotional community.

(3) Promote the consolidation and continuation of family emotions

The subjective–cultural–ecological design system translates culture into a symbolic code in the vernacular building through the emotional patterns and shares it with the residents, constituting an identity space or imaginary field for the existence of the group with common cultural background. They grasp the meaning of this symbolic emotional pattern with each other. In the continuous self-renewal of the system, the vernacular architecture and the whole family members will continue to produce emotional resonance so that the family culture, norms, and interpretation of emotional patterns will be consolidated and continued in the transmission.

4. Discussion

The idea of writing this paper is also the process of thinking about new ways of coexistence between vernacular architecture and residents’ subjective perceptions and social culture, as well as exploring a more systematic and scientific theory and design model for the sustainable development of vernacular architecture. In reviewing the literature, domestic scholars’ research on vernacular architecture has mainly focused on three aspects: cultural, functional, and economic. (a) Cultural dimension: analysis and preservation of the architectural culture and spatial layout of residential buildings in terms of history, physical geography, spatial and temporal distribution characteristics, cultural genes, and digital technology, respectively, based on the disciplines of anthropology, ethnography, cultural studies, and archaeology. (b) Functional level: design and planning of the structural performance, life cycle, and environmental impact of residential buildings in terms of spatial structure, spatial function, habitat environment, fire and earthquake prevention, and green sustainability, respectively, based on the disciplines of architecture, environmental behavior, and ecology. (c) Economic dimension: mainly focusing on the tourism industry, the countryside and the incorporation of vernacular architectures into the industrial upgrading system to improve their economic value, which is also a renewal strategy vigorously promoted in China. Although the residents’ living standard has improved, the lax refinement of culture has led to the undesirable phenomenon of cultural homogenization in some altered vernacular architecture. This phenomenon reflects that the study of vernacular architecture cannot ignore that the interaction between the inhabitants’ subjects and the society’s culture has an intrinsically determining influence on vernacular architecture. To sum up, the conservation and development of vernacular architecture cannot focus only on external factors or only on internal factors. Research on the conservation and development of vernacular architecture must combine internal and external factors to ensure its healthy growth.

Therefore, this study aims to construct a systematically, normatively, and flexibly designed research framework for the sustainable development of vernacular architecture, with the following specific contributions. (a) Firstly, domestic vernacular architecture’s research trends and hot spots are analyzed through the bibliometric method, literature cross-referencing network analysis visualization, and the close relationship between vernacular architecture, social culture, and residents’ subject perceptions are clarified. (b) Second, this study draws on the concept of cultural ecology and the reasoning method of relational transmission in logical deduction. The theoretical coupling of the socio-cultural structure of emotion and the cultural ecosystem of vernacular architecture is analyzed. It is proven that the interactive relationship between the resident subject and the social culture has an inherent determining force on the heritage transmission and innovation of vernacular architecture. Therefore, the concept of the subjective-cultural ecological design system of vernacular architecture is proposed in this study. (c) This study integrates the subject, cultural, and spatial dimensions to construct a three-dimensional structural analysis design paradigm and evaluation matrix for the subjective–cultural–ecological design system of vernacular architecture. This provides a systematic, standardized, and flexible design system integrating theory, method, and evaluation and a database of emotional evaluation factors for conserving and developing vernacular architecture. (d) Finally, use case studies to demonstrate how this design research framework works. This study finds that in the dynamic cycle of the subjective–cultural–ecological design system, the vernacular architecture endogenously generates a self-renewal mechanism of “continuous exchange and revision” from the inside out, effectively extending the life span of cultural values.

5. Conclusions

In short, in the dynamic cycle of the subjective–cultural–ecological design system, vernacular architecture can undergo a self-renewal of “continuous exchange–revision,” no longer waiting to be interpreted like “antiques.” It presents the dynamic characteristics of frequent participation in the home’s cultural identity, the subject’s identity, and the transmission of family emotion. A subjective–cultural–ecological design system helps stimulate vernacular architectures to generate an excellent sustainable growth cycle and extend the building’s cultural value and practical use. Thus, it can play a more profound social, ecological, and cultural benefit. However, this design research framework still has many parts that deserve detailed refinement and improvement. The main limitation of this study is that external factors such as epidemic control prevented the collection of sample data from more regions from supporting further validation and refinement of the designed research framework. Based on this, this study hopes to conduct fieldwork on samples from different regions, diverse cultures, and multiple forms as much as possible. By deepening its research ideas and methods through a large number of sample data, it will form a set of theories and design models for the sustainable development of residential buildings that are standardized and flexible. Finally, the authors hope this study can enrich the theoretical system of sustainable development of contemporary vernacular architecture in China and the new pattern of rural development in Yunnan.