FOR thousands of years, Chinese builders have turned to wood not just as a material but as a medium for cultural memory. From the sweeping roofs of imperial palaces to the quiet elegance of neighborhood courtyards, timber frames have carried the weight of history, faith and daily life.

The traditional craftsmanship has been recognized by the United Nations Educational, Scientific and Cultural Organization as an Intangible Cultural Heritage of Humanity.

What holds these structures together, often for centuries, is a joinery technique known as sunmao, the art of connecting wood without nails or glue.

Interlocking joints join column to beam, and eave to pillar, creating structures that are both strong and flexible. Builders could assemble them quickly on-site, and the buildings could sway through earthquakes without collapsing.

The ancient wisdom dates back more than 7,000 years. Archeologists found hundreds of wooden components with mortise and tenon structures at the Hemudu archeological site in east China’s Zhejiang Province. They are the earliest known applications of mortise and tenon structures in Chinese wooden-frame buildings.

This technical mastery was paired with what became known as the “eight great crafts” — masonry, scaffolding, carpentry, tilework, plastering and wall painting, polychrome painting and papering. These skills were handed down through generations, often within families or through strict master-apprentice lineages.

In 1100, architect Li Jie compiled the “Yingzao Fashi,” or “State Building Standards,” a richly illustrated manual that set out rules for design, proportions and decoration. It is the oldest Chinese technical manual on buildings.

Across China, distinctive regional styles grew from local needs, materials and lifestyles.

Hui-style architecture

Nestled in the mountains of Anhui Province, Hui-style architecture is instantly recognizable: whitewashed walls and gray-tiled roofs.

The style traces its origins to the ancient Yue people, who first inhabited this rugged, humid region over 2,500 years ago. To cope with the humid climate, they built stilted houses — elevated on wooden pillars, with families living above and livestock sheltered below.

When migrants from the central plains, the middle reaches of the Yangtze River, later settled here, they brought new ideas. Over time, a unique architectural language emerged, flourishing during the Song (960-1279) and Ming (1368-1644) dynasties as local merchants grew wealthy through trade.

Every detail in a Hui-style building carries meaning. Above the entrance, a graceful arch, known as menmei in Chinese, diverts rainwater while signaling the status of the family within.

From afar, the houses seem restrained. But step closer, it is a different world. Elaborate carvings in brick, wood and stone adorn gates, eaves and screens. Flowers, animals and mythical scenes aren’t merely decorative; they embody the family’s wishes, values and social standing.

Xidi Village in Anhui’s Yixian County is one of the best places to get a glimpse of typical Hui-style residences. With a history of more than 950 years, the village is a living museum of Hui culture. Historical records suggest that in its heyday it supported a population exceeding 10,000 people and saw the construction of over 40 public buildings and more than 1,000 dwellings.

Siheyuan courtyard homes

At the heart of old Beijing’s residential life lies the siheyuan, a traditional type of courtyard house.

Its name reveals its form: si for the four sides enclosing the courtyard, and he for their harmonious union into a quiet, private world. Behind a single gate, life unfolds within a square of interconnected buildings, each side facing inward toward the shared courtyard, a space for gathering and seasonal celebration.

The layout of a siheyuan reflects the Confucian ideals of order and hierarchy. The main house, facing south for optimal sunlight, is reserved for the family elder. The eastern wing, thought to attract greater fortune, goes to the eldest son, while the western side houses other descendants. The northern rooms, cold and less favored, are often allocated to servants or used for storage.

Yet within this structure, intimacy flourishes. Children chase dragonflies under the shade of old trees; mooncakes are shared during the Mid-Autumn Festival; winter sunlight falls gently on potted pomegranates.

For generations, these courtyards have not just been homes; they are a living record of Beijing’s lifestyles.

Suzhou’s Xiangshan school

Located by the Taihu Lake in Suzhou, Jiangsu Province, Xiangshan has long been a cradle of architectural excellence. Its artisans — carpenters, bricklayers, lacquerers, sculptors and painters — perfected a style that blended structural ingenuity with artistic grace.

With origins dating back to the Spring and Autumn Period (770-476 BC), the school matured during the Tang (AD 618-907) and Song dynasties and peaked in the Ming and Qing (1644-1911) dynasties.

Its most renowned master, Kuai Xiang, earned imperial favor as the lead designer of major buildings in Beijing’s Forbidden City, elevating the school’s prestige nationwide.

By the Qing Dynasty, the Xiangshan school had evolved from individual craftsmanship to organized, large-scale operations that brought Suzhou’s architectural vision to grand public and private projects across China.

Minnan-style architecture

Originating in the coastal region of southeast China’s Fujian Province, Minnan-style architecture, also known as Hokkien architecture, stands out with its expressive energy.

Unlike the understated elegance of Hui-style buildings or the solemn symmetry of Beijing’s courtyard homes, Minnan structures radiate a lively charm.

The most iconic feature is the swallowtail roof with its ridge sweeping upward like the graceful tail of a swallow in flight, a form rarely seen elsewhere in Chinese architecture.

But the true brilliance of Minnan style lies in its dazzling porcelain carvings. Artisans collect brightly colored porcelain bowls and vessels, breaking and polishing them into delicate fragments. These are then meticulously arranged into intricate patterns depicting flowers, animals and mythological figures. The porcelain carvings are used to adorn roofs, windows and doors.