CONVERGENCE in DIVERGENCE - School of Architecture - The ...

CONVERGENCE in DIVERGENCEInternational Conference on East Asian Architectural CultureContemporary Challenges in East Asian Architectural StudiesCONFERENCE ABSTRACTSSCHOOL OF ARCHITECTURETHE CHINESE UNIVERSITY OF HONG KONG2012 DEC 10-12 | HONG KONG

2012 International Conference on East Asian Architectural Culture, Hong KongCONVERGENCE IN DIVERGENCE:CONTEMPORARY CHALLENGES IN EAST ASIAN ARCHITECTURALSTUDIESCONFERENCE HOSTSSchool of Architecture, The Chinese University of Hong KongCentre for Architectural Heritage Research (CAHR),The Chinese University of Hong KongCONFERENCE SPONSORFaculty of Social Science, The Chinese University of Hong KongORGANIZING COMMITTEEHO Puaypeng, Conference ConvenerMaggie HUI, Conference ConvenerMiranda LI, Conference CoordinatorZHENG Jing, Organizing ConsultantKAM Ka Man, Conference SecretariatSCIENTIFIC COMMITTEEMohd Hamdan AHMAD, Akihito AOI, Stephen CHAN Chak Seng,CHANG Qing, CHUA Beng Huat, HENG Chye Kiang, HO Puaypeng,HSIA Chu Joe, HSU Min-fu, ITO Takeshi, IZUMIDA Hideo,JEON Bong Hee, Hidenobu JINNAI, KIM Bong Ryul,KIM Kyeong Pyo, KWAN Hwa San, LEE Sang Hae, LEE Sang Hun,LIN Hui Cheng, NAKAGAWA Osamu, PARK Kyung Rip,Iwan SUDRADJAT, WONG Yunn Chii, WU Cong, WU Kwang Tyng,WU Qing Zhou, XU Su-bin, Koichi YOSHIDA, ZHAO Chen,ZHU Guang-yaModern study of East Asian architectural tradition began slightly more than acentury ago, pioneered by Japanese scholars with ground-breaking research andpublications of Itō Chūta (1868-1954) in 1893, and followed by Chinese architectsin the early 20th century such as Liang Si-cheng (1901-1972), Liu Dun-zhen(1897-1968) and others. Since then, the field has expanded tremendously both inscope and methodology. What can we learn from the research achievement andexperience from this important period of development?The 2012 International Conference on East Asian Architectural Culture (EAAC)at the Chinese University of Hong Kong is organized not only to grasp the currentstate of the field, but also to project issues into the future. Encompassing a commonroot in architectural tradition, similar trajectory of development, and much crossfertilizationin the past century, how can we collaborate further in the realm of EastAsian architectural studies? Following the four thematic areas as below:1. Architecture of Interpretation: Historiography of East Asian Architecture2. Architecture of Negotiation: Monumental versus the Vernacular3. Architecture Conservation in Practice: From Ideal to Pragmatic4. Architecture in Projection: Twentieth Century Architecture and BeyondThis Conference explores further integration of our knowledge in the field withdeepening exchanges while addressing the academic concerns of today. With theoverriding premise “Convergence in Divergence: Contemporary Challenges in EastAsian Architectural Studies”, the EAAC 2012 aims to provide the opportunity foracademia in this vast field of research to face the challenges and look beyond.GRAPHIC DESIGNERWU ShuqinBOOKLET DESIGNERDU Ruijie3

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongCONTENTSThe Roles of City Planning in the Industralization of Seoul during the Colonial PeriodJUN’ICHIRO Ishida; KIM Joo-Ya27IntroductionKeynote Speeches3Research on the feature of design of Tohgo Murano in the works of his later yearsKAKUDA Akira28Reassessing Urban History in the Light of Disaster RecoveryAOI Akihito13A Meta-historical Writing of Taipei City - A study of critical typo-morphologyKUO Chao-lee; HUANG Poju29Becoming Heritage - Comparative Notes on Preservation and Conservation ofArchitecture in Japanese Colonial Taiwan and Manchukuo State Territories in NortheastChinaFU Chao ChingThe “Renew-construction” Concept in Korean Buddhist ArchitectureKIM Bong Ryol1415Hong Kong in Southeast Asian Spatial HistoriesLAI Chee KienFundamental Misunderstanding of the Buddhist Pagoda in East Asia - Cause of OriginalDissemination of Indian Buddhism into China, and Establishment of Modern Scholarshipby JapaneseLEE Hee-Bong3031Doubtful Existing Architectural Histories, My Attempting to Revaluate the East AsianArchitecture in Global Sustainable ViewZHAO ChenPaper Abstracts16Buildings Analysis of Changchun Kuanchengzi Tsarist Russia Railway SettlementLEI Jia-yue; LIU Da-pingThe Miniaturization of Chinese Garden Space and its Philosophical and AestheticsFoundationLIU Tong-tong3233Theme 1.Architecture of Interpretation: Historiography of East Asian ArchitectureThe Classification Study of Chinese Classical Architectural ArchetypesLIU Yang34A New Study of the Modular System of the Chinese Architecture: Wooden Monuments inthe Yuan Dynasties in Sichuan ProvinceCAI Yu-kun; ZHANG Yu; ZHAO Yuan-xiang19Water’s Edge Settlements on Micro-highlands: Through a Case Study of Floodplain inNiigata from the 16th to 19th CenturiesMATSUDA Noriko35Transforming Praia Grande: An Investigation of Urban Development of Macau in the 19thCenturyCHEN Yu20A Study on Jardine, Matheson & Co.’ s Branch Buildings and their Property ManagementMIZUTA Susumu36Katsushika Hokusai the ArchitectCLUZEL, Jean-Sebastien21Tatami – a Mat or a Module?SARVIMÄKI, Marja37The Discovery of Dule Monastery: Convergence and Divergence in Methodologies ofChinese Architectural StudyDING Yao22Venustas of Habitat Environment: Methodological Approach to Chinese Gardens asthe Scholars’ Life Style in Jiangnan (Lower Yangtze River Delta Area) of Ming and QingDynastiesSHI Wen-juan; ZHAO Chen38“Bamboo Cave”, “Tree Hut” and “Cocoon Jar”: Appearance and Significance of “Informal”Architecture in Chinese Garden HistoryGU Kai23Historical Study on the Development Process of the Area around the outer Moat in Tokyoduring the Meiji PeriodTAKAMICHI Masashi39Han Architectural Drawing on TerracottaGUO Qing-huaThe Aesthetic Implication of Harbin Modern Architecture DecorationHE Ying; LIU Song-fu; SUN Quan2425The Modern Architecture Movement in Taiwan: A Case Study of the Project of EstablishingBuilding Materials Research Center of Taiwan Provincial Cheng Kung University between1959 and 1965TSAI Yu-hua; HSU Min-fu40The Architectural Direction Conception Transition of Emperors’ Mausoleums’ Mounds inEarly Periods of Western Han Dynasty: An Architectural Plan and Elevation AnalysisJIANG Zhi-dan264 5

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongQing Yangshi Lei Family and Nan-Mu-Zuo ( 楠 木 作 ): Masters of Chinese Traditional InteriorDesign and MakingWANG Qi-heng; HE Bei-jie41Housing Tibetan Nuns at Labrang: Nunnary Architecture and Gender Space in TraditionalTibetan Cultural LandscapeHUI Mei Kei Maggie56Comparison between Ito Chuta’s Chinese Architectural History and Liang Sicheng’sChinese Architectural HistoryXU Su-bin; HE Mei-fangIn Search of Beijing Jade Spring Hill by Early PhotographyYANG Jing; LI JiangVisual Tactility and Movement in Korea Traditional Architecture - focused on the ExteriorSpace of Yunkyung-villa (1828) in the Palace Chang-DuckYOOK OkSooStudy on the Form and Institution of Zhisuo in Local Cities during Song DynastyYUAN Lin; YUAN LinThe Architectural World of Liu Dun-zhenZHUGE Jing4243444546Invention of a National Prototype House before the WWII in JapanKUROISHI IzumiMaking Vernacular Monumental: How Physical Gardens Became IconsLEE Wun Sze SylviaThe Construction of the Zhong-Shan Ring Road in Shanghai, 1927-1937LI Ying-chunAmbivalent Memory: Representation and Monumental Meanings of Political Prisonduring the Era of “White Terror” in TaiwanLIN Hui-wenModern Architectural Institution’s Culture Constructed under the Double-Power inShenyang, ChinaLÜ Hai-ping5758596061Theme 2.Architecture of Negotiation: Monumental versus the VernacularSettlement Spatial Structure Evolution and “Immigrants’ Guildhall ” in Sichuan in QingDynastyCHEN Wei; HU Bin48Melons or Poems? A Vernacular Landscape within the Transcribed Song BuildingStandardsREN Si-jieRecognitions of the Vernacular Architecture by Local People in JapanSUZUKI Arno6263On Commemorative Space in Modern Japan: The Myth of “Peaceful Country” fromYasukuni to HiroshimaCHUNG Wang Leung ThomasStudy on the Royal Cemetery and Tomb Guards’ Residence in Suburb of Beijing of Mingand Qing dynastyDONG Jian-feiModernism within Walls – Vernacular Industry and its Environmental ArchitectureDOU Ping-ping; LU An-dong495051The Architectural Style and Cultural Connotation of Lu Mansions in Kaiping of GuangdongTAN Jin-hua SeliaWhen Monumental Block Collides with Chaotic Urban Texture: New HousingDevelopment in the Chongyang Re-adjustment AreaWANG Chih-hungExploration of Study on Genealogy of “Diao House” in Khmas Tibetan Area in Perspectiveof TechnicWANG Ji-hong; WAN Jiang; HAN Xiao646566Space, Scenery, and Memory: Shaocheng Park and the Collective Memory of the RailwayProtection Movement in SichuanFAN Ying52A Typological Study on Traditional Vietnamese Houses Under the Influence ofMulti-CultureWANG Wei-ju67The Exploration about ‘‘MARKETS’’ in Suburban Area of Postwar TokyoHATSUDA Kosei53Mediating Publicness: The Social Life of Qílóu Space in Tainan CItyWEY Tiffany; CHANG Hsiu-tzu Betty68Spatial Order and its Transformations in an Anhui VillageHE Hong-guangVirtual Modernity: Rethinking the Loyal and Rebel Identities of Taiwan Tower in TaichungHSU Li-yu5455The Small Dujiang Weir, the Water Conservancy Project of Baotun in Anshun of GuizhouProvinceWU Qing-zhouReconstructing the Potala Palace: The Symbolic Presence of Qing Emperor and Dalai Lamain the Temple of Potaraka Doctrine in JeholYANG Xu69706 7

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongFrom Mary’s Alley to a Culture Street: Contested Traditions in InsadongYUN Jieheerah71Extraordinary Restoration of Tsunami Damaged Heritage Buildings at Kesennuma, JapanIZUMIDA Hideo; IMAI Keita; EGUCHI Keita; KAKIAGE Toshitak86Building in the Name of Sun Yat-sen: the Monumentality of Hankou Zhongshan Park inNationalist ChinaZHANG Tian-jie72Regeneration of Historic Buildings in Houpu Old Town in Kinmen - Focused on thePartnership of Local authority and ResidentsLIN Mei-yin87Architecture of Negotiation: a Convergence of Monumental and Vernacular in the(Re)construction of the Erwang Temple projectZHAO Chun-lan73Core Education of Taiwan Traditional Timber Frame– Use “Tng-ko” Preservation andTraining Project as an ExampleLIN Yi-chun; HSU Min-fu; WU Tien-jung88Bridging Communities and Architecture: Ownership Structure in the Study of ChineseCollective HousesZHENG Jing74Research on the Regeneration Management Mechanism of the Historical Area of TainanCity, TaiwanLU Chi-pang, CHEN Shih-ming89The Tradition of Culture Heritage Conservation in Qing Dynasty: the Case of Pan MountainZHU Lei75Brief Rethinking in the Foretime and Aftertime of China Architecture: Evaluated onStructure System and Cultural Comparison based on Guanyin Pavilion in Dule MonasteryLV Qiuchen90Theme 3.Architecture Conservation in Practice: From Ideal to PrgamaticConservation of the Built Environment in IndonesiaATMOKO Teguh UtomoResearch and Exploration on Buildings Administration in Historic Town - Taking CichengAncient Town in Ningbo as ExampleCAI LiResearch on Recovery of the Sites of Circular Mound Altar and Square Mound Altar in theMiddle Capital of Ming DynastyCAO PengDiscovering Historical Remains of Building Painting by a Multi-disciplinary ApproachCHEN Li-fen; DREWELLO, Rainer; HSU Min-fu77787980Importance of the Interior Design in Architectural Conservation and Practical Use: SpiritInherited with a DesignNAGATA Keiko; TAKAGI MasatoDevelopment of Row-of-houses Preservation Projects in TaiwanNISHIKAWA HiromiRecycling Patrimony: Cultural Negotiations of Chinese Material HeritageORTELLS NICOLAU, XavierA Study on Management System to Control Building Activities in the ImportantPreservation District for Group of Historic Buildings in Japan - Focusing on theCooperative Management of Local Government and a Private Architect Contracted as anExpert for RestorationURAYAMA Masuro; SHIMAMURA Akihiko; LIN Mei-yin91929394Comprehension and Consensus – The Reutilization Theory in the International ChartersCHEN Shu-yanTwo Basic Types of Wood Constructions in East Asian Traditional Houses: HorizontalStacking and Vertical TrussingCHEN Yao-ru; WANG Yi-pin; LEE Kuan-hui8182The Reconstruction of Religious Territories in Traditional Areas of Tainan City withParticular Reference to the “Investigation Records of Temples in Tainan City” (1875-1937)WU Ping-sheng; CHENG An-yuRestoration and Research of the Edict Paifang of Huang Siyang Village in Huidong CountyWU Yun-jiang9596Living Historic Cities: a Conservation ApproachDE AZEVEDO, PimpimStudy on the Renovation of the Floating Market in Hua Wiang, Thailand Rafting HousesMeasurement, Diagnosis and ReuseFUJII OBANA Manuel; YAGASAKI Zentaro; TACHAKITKACHORN Terdsak; OTA Shoichi;TSUBOI Hisako; KUMAGAI Toru8384The Early Stage of Urban Modernization in the Japanese Populated Area and its Impact onSeoul from 1885 to 1910YEO Kang ShuaCooperation or Competition - How Structure Principles Applied in Early Chinese TimberStructure EvolutionYUE Zhi9798A Preliminary Study of Tng-ko of Caisson Ceiling (Zao-Jing) – Use Master CarpenterHan-Jen Hsu as an ExampleHSU Min-fu; LIN Yi-chun; WU Tien-jung85Community-based Conservation Practice – a case of Serkhang Monastery ComplexConservation ProjectYUTAKA Hirako998 9

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongTheme 4.Architecture in Projection: Twentieth Century Architecture and BeyondReconsideration of Park Planning in Seoul, Especially about Parkway Planning Designatedalong Kyoungseong Street Planning in 1940AHN Sangmin; JUN’ICHIRO Ishida101From “Hanoak” to “A-pa-tu”: Korean Urbanism in the XXth CenturyPERNICE, RaffaeleNew Forms of Growth: The Re-urbanization of the Central Districts of TokyoPOMPILI, Marco116117Tracing Transplanted Modernity: Contested Architectural Discourses at Design Schools inChinaCHANG Chin-weiUrban Landmark: Retail Architecture in Postwar TaiwanCHANG Lang-kuei; HOGBEN, Paul102103Thick Realism in Contemporary Chinese ArchitectureQING FengThe Influence of Tourism Strategy toward Javanese Traditional Value in CandirejoSubvillage, Borobudur IndonesiaSARI, Suzanna Ratih; Nindyo Suwarno; Windu Nuryanti, Diananta118119A Research on the Co-existence of Imperial Family and Civil Complex in Changdeok PalaceRegion during the 20th CenturyCHANG PilGu104Study on Interior Color Design by Applying Comparative Analysis on Korea, China andJapan’s Traditional Color CharacteristicsSHIM Minkyeong, LEE Hyunsoo120From Architectural Avant-Garde Theory to Analyze Wang Shu and His WorksCHAU Hing-wahField Urbanism: Encoding the LocalCHOW, Renee Y.Imagining a New Asia? Three Cities and Three TalesKIM Jung InThe Scientific Foundations of Avant-Garde Architecture and Urbanism in Modern JapanKUAN Seng105106107108The Evolution of Sectional City: Public Spaces and Congested Urbanism in Hong Kongand ShanghaiTAN ZhengCrossing Continents and Cultures: Architectural Re(Production) and Evolving Form ofAsian ModernityTJOA, Pawda FransiscaHousing Development and the Expansion of Home Ownership in Hong Kong since the1950sTSUI C. M. Carmen121122123Western Architects and Modernity in the Urban and Social Landscape of Hong Kong,1920s and 1930sLAU Leung Kwok PrudenceThe Early Stage of Urban Modernization in the Japanese Populated Area and its Impact onSeoul from 1885 to 1910LEE Yeonkyung; Kim SungwooSelf Cultivation and Family Virtue: The Re-interpretation of Chinese TraditionalArchitectural Culture in Early Hong Kong MansionsLEUNG Yee Wah Edward ; CHENG HungInterpretation of the Contemporary Japanese Architectural Creation from the Perspectiveof NationalityLIU Song-fu; SHAN Lin-linMapping Asian ModernismLU Duan-fang; KARIM, Farhan Sirajul109110111112113Public Buildings in Hong Kong: an Account of Evolution since the 1960sXUE Charlie Q. L., HUI Ka ChuenExpression of a New Ideal for a City – the Study of the Evolution of Architectural Form andIntention in the Previous Century in ChengduZHANG RongFrom Familiarity to Defamiliarity: Contemporary Architecture of China Influenced byStudies on Classical GardenZHOU Hong-junCross-cultural Dialogue - Essential to Diversifying Architectural Creation in ChinaZHU Guang-ya; CHEN WeiThe University and Architecture: East Asian Architectural Progressions through Contentand FormZIPPRICH, Alexander124125126127128Tropical Resort Cities in Asia - an Alternative Urban Space in Modern Southeast AsiaOTA ShoichiA Study on the Accumulated Layers of Urbanization in YongsanPARK Kyung Rip; Seo Kyuduhk114115DirectoriesNotes12913610 11

2012 International Conference on East Asian Architectural Culture, Hong KongAkihito AOI is an associate professor in Architectural History and Theory at MeijiUniversity. He studied Architectural and Urban History and got his Ph.D in 2000 at KyotoUniversity. Over the last 15 years, he has conducted several research projects focusingon the transformation of built/natural environment and people’s daily living practices inTaiwan and Korea under the Japanese colonial rule. He has published many booksincluding “Shinto Shrine and Japanese Colonialism” in 2005 and “Changhua 1906: UrbanRenewal Project Runs the City” in 2006.Keynote SpeechesReassessing Urban History in the Light of Disaster RecoveryDisasters constitute essential problems of urban history.We have witnessed, in the world history, numbers of natural disasters, suchas those stemming from earthquakes, floods, heavy snows, tsunamis, or volcanicexplosions, and man-made disasters, the consequence of technological or humanhazards like nuclear radiations, wars, or terrorism. We should note, however, that adisaster, even though natural, is always a phenomenon that society gives birth to.It is easy to understand that any hazards never become a disaster in uninhabitedplace and may become totally different disasters in dimension and chemistrybetween a highly developed city equipped with heavy infrastructure and a hugeslum covered by small houses with light structures in a developing country. In otherwords, an earthquake, for instance, is an input to a certain society and a disaster isin turn an output the society expresses.KEYNOTE SPEECHESABSTRACTS & BIOSWhile risks are defined as a product of a combination of hazards andvulnerability, there is a limit to how unbreakable things are. Therefore, the conceptof resilience is required, which means a society’s capacity for flexible restoration,or buoyancy. A disaster is a process, which is not completed when an earthquakeor a tsunami strikes, undergoes successive changes, and sometimes expands fora long time. We can even regard a process of disaster as an transitional period inwhich a society eases the damage and changes dynamically to the next balancedstate. Authorities and communities must make many decisions in this course. Themode of decisions and actions are, again, derived from the pre-disaster structureof the society and, at the same time, can be set up aiming a new shape of society.Therefore, the recovery from the disaster gives the city a chance to reorganize itself.In this light, we can reassess the history and the identity of cities in the world. Acity, in specific time and region, has its own vulnerability, resilience, and dynamismin social structure. We, Japanese researchers, have just started to realize a kind of“softness” or “fluidity” of Japanese cities. In this keynote, I would like to introducesome cases which shows how Japanese cities had recovered from severe disasterand reached a new state, in the scope of urban tissue, from medieval, pre-modern,and modern period.Japanese authority has shifted their disaster-recovery scheme, in the late 20thcentury, from “on-site/self-aided/incremental-progress-oriented” one connected tothe “soft” and “fluid” tradition to “off-site/public-supplying/renewal-oriented” onebased on industrial capitalism and welfare statism. This scheme does not functionwell in the Great East Japan Earthquake. This is why I believe that re-examination ofurban history in the light of disaster-recovery is not mere a retrospection.13

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongKeynote SpeechesFU Chao-ching is a distinguished professor of National Cheng Kung University, Tainan,Taiwan. He attained his M.Arch Degree from the University of Washington at Seattle, USAand Ph.D. from the University of Edinburgh, UK in 1983 and 1990 respectively. He hasextensive professional experiences and published hundreds of research papers and books.He also received numerous awards including Alberti Award for Research and TeachingHistory of World Architecture and Architectural Award on Exceptional Achievement ofCulture and Arts on Architecture.KIM Bong Ryol attained his Ph.D from the Department of Architecture, Seoul NationalUniversity in 1989. He then further studied at AA Graduate School of Architecture, Londonin 1991. He has published numerous books on Buddhism temples and Korean traditionalarchitecture. His latest work is “The Secret Spirits of Korean Architecture”. He is now aprofessor of Department of Architecture, Korea National University of Arts, and the Presidentof Korean Association of Architectural History.Keynote SpeechesBecoming Heritage - Comparative Notes on Preservation andConservation of Architecture in Japanese Colonial Taiwan andManchukuo State Territories in Northeast ChinaEast Asia was a political and military battleground between different nationsduring the period between the second half of the 19th century and the end ofWorld War II in 1945. Japan established a new colony in Taiwan in 1895 and a newManchukuo state was founded with the support from Japan in 1932 in NortheastChina. Political attributions of pre-WWII Taiwan and Manchukuo are different, oneis a colony the other is an independent state. Similar governmental buildings andpublic facilities were constructed intensively in both Taiwan and Manchukuo toaccommodate new governments and meet the needs of the new societies. Mostof these new buildings were designed by Japanese architects. For example, theGeneral-Governor’s Office (1919) of the Japanese Colony in Taiwan was builtin Taipei and State Council (1936) of the new Manchukuo was built in Hsinking(Xinjing, today Changchun) as the highest administration office of both politicalentities.In the beginning of the post-WWII period, the architecture constructed inthe former Japanese colony and Manchukuo state was treated as a symbol ofthe shameful history by the Chinese Government and their preservation wasdiscouraged. However, the attitude towards these buildings changed dramaticallyin the last two decades. The legal protection of Japanese colonial architecturein Taiwan started in 1992 when General-Governor’s Office and other buildingsconstructed during the Japanese colonial period were designated as culturalheritage. Similarly, architecture in cities such as Changchun and Harbin becomelegal protected buildings in the late 1990s. Taipei’s Bo-ai Special Zone wheremany governmental buildings of former Japanese Colony located is now underprotection at the urban level. Xinmin Dajie where major governmental buildings ofManchukou located is awarded the title of Famous Street in China. This speech willreview the history of architecture in Japanese Colonial Taiwan and Manchukuo andaddress the development of their preservation and conservation.The “Renew-construction” Concept in Korean Buddhist ArchitectureKorean Buddhist temples had been experienced the transition constantlyover 10 centuries after their foundation. In Goryeo Dynasty(10C~14C), which thestate religion was Buddhism, due to the religious liberty many worship halls wereadded in the Buddhist temple, and the new architectural clusters were extendedfor its political and social function. In Joseon Dynasty(15C~19C), cracked downon Buddhism, the size of the temple was reduced and the religious sects and thebelief systems were merged.Although the process and method of this transition are various, all of theprocess that overlaps a new order with respects of the existing order showed upthe same. The concept which overlaps a new order on the existing one can beconfirmed in the process of “restoration ( 重 修 )” and “reconstruction ( 重 建 )” whichrepairs parts of the building, and of the “renew-construction ( 重 創 )” which extendsor reduces the arrangement of the temple buildings.It established the new approaches, realigning the axis of old temples and-ormade two centers to build new main halls responding to the existing ones. Alsomaking separate clusters up, the composition of the temple buildings was altered.Methodology of the renew-construction may be a result of interpretation of thereligious doctrine or consideration of the topographic obstacles such as mountainsand valleys around the temple. In addition, it may be a result that dismantlingtypical principles of the ancient temple, altered into the form of practical medievaltemple buildings.On the new order through many various methods, however, such likesedimentary layers, the constituent order of existing temples has still preserved.Currently the large Korean Buddhist temples are only the surface of a architecturalorder heaped through many times. Therefore, if stripped layer after layer of theorder away, each period order can be seen from the recent past to the distantpast. Also through its diachronic order, the process of transition and consistentdirectivity can be confirmed.The process of the renew-construction in Korean Buddhist temples is differentdefinitely from the method of redevelopment which gets rid of the past orderand is superseded by new architecture completely. Redevelopment methodof contemporary architecture clears the past race, disturbs the stratum of thetime and extinguishes the traditional order and value. Imprudent experimentof redevelopment makes a fad and a instant alternative of the contemporaryarchitecture and city, and changes them into the enormous nomadic society withoutthe root of settlement system. As even contemporary Buddhist architecture adoptsthe redevelopment method, the immemorial tradition with over ten thousandyears was broken. When the concept of renew-construction is resurrected and themethodology is modernized, this contemporary contradiction can be healed. Theconcept of renew-construction is the important value of East Asian Architecture tolast forever.14 15

Convergence in Divergence: Contemporary Challenges in East Asian Architectural StudiesKeynote SpeechesZHAO Chen graduated from the Department of Architecture, Nanjing Institute ofTechnology in 1982. Since then, he started teaching architectural design and researchingin the history and theories of architecture. He studied and worked in the Department ofArchitecture, Swiss Federal Institute of Technology (ETH), Zurich for twice during 1990-1998.His research focuses on the comparison of Western and Chinese/Non-Western ArchitecturalCultures. One of his academic publications “Misinterpretation of Facade” has receivedpositive feedbacks. He has designed and built some important works in China whichwon him certain awards. Currently he is a professor and the Vice-dean of the School ofArchitecture and Urban Planning, Nanjing University, China.Doubtful Existing Architectural Histories, My Attempting toRevaluate the East Asian Architecture in Global Sustainable ViewEast Asian Architecture has been cognized as a special style in the Worldwith existing Architectural History, however the values of this “style” reached insome way certain recognitions in the Modern History with the communication ofcultures especially between the East and the West, the view of architecture andculture in the World has been evolved in past decades further or faster than whatwe accepted, adopted, understood. With the situation of global development ofsustainability, the existing confined view of architecture with stylistic and “EuropeCentralism” should be doubt about, or to say criticize further. Those values ofarchitecture in Western Classicism with “Permanent, Monumentality, and GrandArt” based upon the essence of human construction: to build something forever.But, it is fundamentally contradict to the sustainable development for the humanbeings, which has made the consumption of materials from the natural worlduncontrollable enormous, just based upon to build spectacular and forever; evenworse were those spectacular styles transmitted to everywhere of the World withthe colonization. It should be recognized that the existing “history” of architecturewith stylistic in the World, helped the non-sustainable development in the past.Therefore, there is a need to have a new approach for faired values of architectureon sustainability of human civilization. With this paper, author is attempt to make ahypothesis on an aesthetic value with sustainable construction in the World; basedupon that, a revaluation of East Asian Architecture of human construction historyin the World would be established.PAPER ABSTRACTS16

2012 International Conference on East Asian Architectural Culture, Hong KongA New Study of the Modular System of the Chinese Architecture: Wooden Monumentsin the Yuan Dynasties in Sichuan ProvinceTHEME 1CAI Yu-kunABSTRACTResearch Associate , Chengdu Institute of Cultural Relics and Archaeology, ChinaZHAO Yuan-xiangZHANG Yu Lecturer, Southwest Jiaotong University, Chinaresearch assistant, Chengdu Institute of Cultural Relics andArchaeology, ChinaModern researches argued a lot on whether the traditional Chinese wooden architecture has applieda certain kind of module system, and whether it matched the canons set by the 12th century architecturalmanual, Yingzaofashi. This paper will come to its own judgment, based on some case studies of several13-or-14-century monuments in Sichuan Province of Southwest China.Architecture ofInterpretationARCHITECTURE OF INTERPRETATION:HISTORIOGRAPHY OF EAST ASIAN ARCHITECTUREThe writing of architectural history has been continually exerting a powerfulinfluence on the built environment. With only around a century’s establishmenton the study of architectural history in this region, the continuous shift ofparadigm caused by social changes has been influencing the selection on whatand how to write. In this theme, the writing of history, the interpretation on theconstruction of architectural history and how such readings inform our currentpractice on the study of architectural history shall be discussed.This paper focuses on the Hall of Rotating Buddhist Scriptures ( 飞 轮 藏 殿 ) in Jinxian Temple ( 金 仙 寺 ),in Pengxi County. This Hall, once being considered as a monument built no earlier than the 15th century,has newly been reconfirmed as a 1327-A.D.-built construction ( 泰 定 四 年 ). Under a careful survey of thiswooden building, we take different approaches to check the key dimensions of the building. As a result,a module system does exist in this building. Its value equals exactly the width of a single modular unit orTsai ( 单 材 ) . That means, its module system is almost in accordance with the regulation in Yingzaofashi (营 造 法 式 ).To make a broader and better understanding of the module system in traditional Sichuan architecture,the Hall of Rotating Buddhist Scriptures in Yunyan Temple ( 云 岩 寺 转 轮 藏 殿 ) of Jiangyou County (builtin 1181), and the Main Hall of Qinglong Temple ( 芦 山 青 龙 寺 大 殿 ) of Lushan County (built in early 14thcentury) are also included in the scope of the discussion. Aiming to obtain accurate survey data for thesebuildings, we are get ready to update and refine our conclusion if new progress were available.KEYWORDSSichuan, Architecture in Song and Yuan Dynasties, Module System, Yingzaofashi ( 营 造 法 式 ), the Hall ofRotating Buddhist Scriptures ( 飞 轮 藏 殿 )19

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongTransforming Praia Grande:Katsushika Hokusai the ArchitectAn Investigation of Urban Development of Macau in the 19th CenturyCLUZEL, Jean-SebastienCHEN YuAssistant Professor, Institut national d’histoire de l’art ,Paris, FranceTheme 1ABSTRACTAssistant Professor, National University of Singapore, SingaporePraia Grande in Macau experienced subtle transformation since the 1860s as part of the cityimprovement schemes initiated by the Portuguese. Though its residential nature of being a resort forhosting wealthy foreign sojourners remained unchanged, more government-related functions wereintroduced to this area in line with the Portuguese desire for establishing their influence. Avenue PraiaGrande became a venue for lodging different political powers. The increasing Portuguese nationalismled to the removal of the Chinese Customs house and the anchorage of the Governor’s palace alongthe Praia Grande. Yet the fortification of the Praia Grande was reinforced for symbolical purpose. AvenuePraia Grande was beautified for retaining its exclusiveness, and, more important, as a reminder of itscolonial origin. The growth of Avenue Praia Grande in the Nineteenth century was a reflection of thePortuguese desire for establishing their rights over Macau. The Portuguese achievements in renderingthe image of Avenue Praia Grande a charming European style promenade suggest Macau’s advance inthe modernization of treaty ports in China at that time.ABSTRACTTwo of the illustration books of the master painter Katsushika Hokusai (1760-1849) are dedicatedto architecture: The fifth book of Hokusai Manga (1816), and the New models illustrated for craftsmen(1836). Therefore it appears a little strange that those two albums are still not considered as a “valuablepieces” neither among construction books, nor among architectural books of the Edo period (1603-1868).Proceeding from a short structural analysis of a representative variety of 17th, 18th and 19thcenturies Japanese publications related to construction, this paper will explain some relation betweenconstruction books and Hokusai’s albums, showing the necessity of including them into the bibliographyof construction/architectural books. This conclusion will allow the author to discuss the limits of the fieldof architectural history in Japan, and to question the “none existence” of architects, and as well the “noneexistence” of architectural theory in pre-Meiji Japan. By this paper, the author hopes to enlighten Hokusai’swork, but as well to contribute to the elaboration of a transnational architectural history.KEYWORDSDefinition of architectural history, Japan, Hokusai.Architecture ofInterpretationKEYWORDSMacau, China, Portuguese, Praia Grande, Urban Reform20 21

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongThe Discovery of Dule Monastery:“Bamboo Cave”, “Tree Hut” and “Cocoon Jar”:Convergence and Divergence in Methodologies of Chinese Architectural StudyAppearance and Significance of “Informal” Architecture in Chinese Garden HistoryDING YaoLecturer, Tianjin University, ChinaGU KaiLecturer, Southeast University, ChinaTheme 1ABSTRACTThe two buildings in the Dule Monastery, Shamen (the main gate) and Guanyin Pavilion, are one ofthe most famous Chinese traditional buildings survived in contemporary China. They are treasured notonly for their high quality but also for the study of them is the milestone of the historiography of Chinesearchitecture in last century.It is well-known that Liang Sicheng ( 梁 思 成 ) published his first scientific investigation report for thediscovery of these two precious buildings in Bulletin of the Society for Research in Chinese Architecture,which is the first so-called journal focusing on Chinese architecture in China. In his report, he utilized bothwestern methods, such as style and structural mechanics, he learned in his education of architecture inthe United States, as well as the Chinese ones, such as reading ancient documents and Yingzao Fashi ( 营造 法 式 ), he learned from his father Liang Qichao ( 梁 启 超 ) and his colleagues, especially Zhu Qiqian ( 朱启 钤 ), in the Society for Research in Chinese Architecture ( 中 国 营 造 学 社 ). With the help of this wellorganizedand articulated report, Liang set his position of pioneer of Chinese architectural historiography,as well as created a writing scheme for architectural investigation.However, actually, it is the Japanese scholar Sekino Tadashi who first discovered Shanmen occasionallyin the same year when he was driving through Jixian to his destination Eastern Imperial Tombs of QingDynasty. By his experience of studying other Liao buildings, he rapidly identified Shanmen and GuanyinPavilion as Liao buildings. Later on, also with the help of Zhu Qiqian, he found some historical records totestify his assumption about Dule Monastery, which may gave Zhu and Liang clues to finish their report.But Liang Sicheng did not give Sekino any credits to his discovery in the report, which probably based onnationalism.ABSTRACTArchitecture has long been regarded as a factor that contributes greatly to the unique characteristicof Chinese gardens, and various types of buildings in existing garden examples have been carefullystudied, which are closely related with the normal architectural tradition. However, there existed aspecial type of architecture in Chinese garden history which has been almost completely neglected incontemporary scholarship. The architectural structure and form of this type are “informal” compared to“formal” architectural tradition shown in normal garden buildings, but the role is far from inferior.In this paper, the appearance and significance of this “informal” architecture are to be researched withhistorical texts and pictures. Three cases are to be studied in details: the first one is the “bamboo cave” inSima Guang’s Dule yuan (Garden of Solitary Pleasure), the second one is the “tree hut” in Wang Xianchen’sZhuozheng yuan (Garden of Humble Administration), and the third one is the “cocoon jar” in Song Lian’sJiangcheng xiaoshu ji (Record of the Petty Villa in Jiangcheng).The paper also shows that this type of “informal” architecture was once popular in Chinese gardenhistory, but surprisingly became almost forgotten in later periods till today. The reason of the transitionis to be studied together with the change of garden-making in the late Ming period. In this way, newunderstandings of the histories of both Chinese architecture and Chinese gardens are to be achieved.KEYWORDSInformal Architecture, Chinese Garden History, Appearance, Significance, TransitionArchitecture ofInterpretationThus, though from the very beginning of the discovery of Dule Monastery in 1930s, its significance asthe earliest Liao architecture has never been doubted, the discovery of it is actually a long and dramaticstory not as simple as that could express, which also narrates the beginning of Chinese architecturalstudies. Chinese and Japanese scholars are both the key writers of this historical episode, while thewestern and eastern methodologies are both the way to find out the essence of these two buildings. Thispaper is to make a closer reading of the historiography of Dule Monastery and try to clarify the historicalevents and background which paved the way for such those brilliant researches in depth 80 years ago.KEYWORDSLiao Architecture, Historiography, Dule Monastery, Liang Sicheng, Sekino Tadashi22 23

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongHan Architectural Drawing on TerracottaThe Aesthetic Implication of Harbin Modern Architecture DecorationGUO Qing-huaHE Ying Ph.D Student, Harbin Institute of Technology , ChinaProfessor, University of Melbourne, AustraliaLIU Song-fu; SUN, Quan Harbin Institute of Technology , ChinaTheme 1ABSTRACTA terracotta coffin of the Han dynasty was found at Xiaxian, Shanxi. Two building profiles are drawnagainst an empty background within rectangular frames surrounded by lozenges that cover the rest ofthe coffin. The drawing represents timber-framed buildings, to which architectural drawings of later timesseems linked, such as the Yingzao Fashi. This paper discusses the line drawings, architectural informationand structural type represented.ABSTRACTHarbin is a new emerging modern city which is developed under specific historical conditions andpossesses its own distinguishing features. The modern architectures in Harbin reflected from one aspectthe development tendency and aestheticindication of western architecture art; they have very highaesthetic value. Architectural decorations are external manifestations of the beauty of the building; theirunique sensatory value not only highlights the tendency of architectural art but also express deeply thecultural connotation of the building.Architecture ofInterpretationKEYWORDSArchitectural Drawing, Terracotta Coffin, Han DynastyIn this article, Harbin modern architectures are the main study objects. Through investigating andresearching, surveying and drawing of the existent buildings in Harbin, a comparative research is carriedout with great amount detailed and accurate data. Based on the above research and guided theoreticallyby the western aesthetic ideology, the author try to explain the aesthetic implication of architecturaldecoration from three aspects of aesthetical, ideological and perceptual configurations. Firstly, aestheticalconfiguration focused on the study of expression forms of decoration arts under the “ great style” ofart tendency, such as elegant forms, majestic forms, comedy forms; all these forms are outstandingexpression on modern architectural decoration of Harbin. Secondly, ideology reflects prominently thedimensionality of aesthetic thoughts in the development of municipal architectural art; from the artviews of “disenchantment” and “re-enchantment” to the unity and isomorphism of art and ideology,the development process reflects the tendency of architectural decoration art under the function ofart ideology. At last, perceptional configuration is based on the intuitive interest outburst system; theauthor illuminates the unique art expression of decoration forms from the three aspects which affect theformat elements of architectural decoration – potential of decoration materials, structure of original form,tendency of color.By the research of this article, the author revealed the development arteries of architectural art underspecial historical background and aesthetical concepts by the decoration forms. The author also constructsthe structures of theoretical models in multi aspects and views about the historical background, ideologybase, cultural context and art tendency of architectural development during the process of transmissionof the type of the city.KEYWORDSAesthetical configuration, ideology, perceptual configuration, Modern architectures of Harbin24 25

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongThe Architectural Direction Conception Transition of Emperors’ Mausoleums’ moundsThe Roles of City Planning in the Industralization of Seoul during the Colonial Periodin early periods of western Han dynasty: An Architectural Plan and Elevation AnalysisJUN’ICHIRO IshidaProfessor, Kyoto Institute of Technology, JapanJIANG Zhi-danKIM Joo-YaProfessor, Gyeongsang National University, KoreaTheme 1Ph.D Student, The Chiniese University of Hong Kong, Hong KongABSTRACTIt is widely recognized that eleven Western Han ( 西 漢 ) emperors’ mausoleums located near Chang’an( 長 安 )can be identified at the top of the feudal burial hierarchy. In chronological order, they are Changling( 長 陵 ), Anling ( 安 陵 ), Baling ( 霸 陵 ), Yangling( 陽 陵 ), Maoling ( 茂 陵 ), Pingling ( 平 陵 ), Duling ( 杜 陵 ), Weiling( 渭 陵 ), Yanling ( 延 陵 ), Yiling ( 義 陵 ), and Kangling ( 康 陵 ). In addition, in Western Han Dynasty, threemausoleums whose occupants were conferred a title equivalent to an emperor such as grand emperortitle or posthumous emperor title. They are respectively Wannianling ( 萬 年 陵 ) (located near Yueyang櫟 陽 ), Fengming Yuan ( 奉 明 園 ) (located in the southeast of Chang’an), and Gonghuangling ( 共 皇 陵 )(located in Dingtao 定 陶 ).The shape of these burial mounds is so prominent and immense in scale that it is known as a “frustumof quadrangular pyramid”. However, evidences show that they are not symmetry and in fact embodydifferences in different directions according to architectural plan and elevation analysis. So what arethese differences? What architectural direction concepts of these mounds did the differences embody?In this paper, I will first illustrate the evidences of these differences by summarizing previous scholars’descriptions of the mounds in their surveys and presenting my observation with architectural plan andelevation analysis. I will then place these observations into historical contexts and discuss the architecturaldirection conception in early periods of western Han dynasty before Zhaodi ( 昭 帝 ). I further divide thearchitectural direction concept of the mounds into two levels: the first level will focus on the scale of thecapital city, and the second level will emphasize the scale of the mounds themselves. I argue that therewas a transition of architectural direction conception of the mounds in early periods of western Handynasty. In conclusion, I will root the architectural direction conception transition into the transition ofsocial, political and different religious beliefs of governors. In addition, I will discuss the influences of thearchitectural direction conceptions transitions upon the layout of the mausoleums.KEYWORDSArchitectural Direction Conception, western Han dynasty, Emperors’ Mausoleums, MoundsABSTRACTAmong various cities in Korea, traditional cities which had been built before the modern period,such as “Keijo” and Taikyu/Daegu, had a dominating property of consumption city even under colonialoccupation by Japan. In the second half of 1930’s, however, administrations of these cities have launchedprojects to aggressively attract large factories to their region, by developing and setting up industrialzones as well as improving the infrastructures. The study is aiming at clarifying the role of urban planningwhich has led and supported the typical traditional city “Keijo” to convert into the largest industrial city inthe southern half of the Korean Peninsula and reviewing how the industrialization has been spatializedas well.We extract the following three aspects, in which city planning was involved in industrial urbanizationin “Keijo”, and demonstrated the process.The first aspect is relating to Eitoho/Yeongdeungpo district at southern suburb of Municipality of“Keijo”. Eitoho, which had been just an outlying farming village, has evolved into one of the largest factoryzone on the Korean Peninsula during the past 30 years. It has been regarded up to now that city planningin Eitoho had been implemented as a project of the Municipality of Keijo after it had been absorbed intoit in 1936. However, we have demonstrated that such planning had been in progress before that by theefforts of engineering officials of the Prefecture of Keiki and the local residents based on administrativedocuments of the Government General of Chosen and historical newspaper materials. Further, we’llclarify that domestic corporations to advance into the district and the Prefecture of Keiki have hammeredprojects out by compromising each other’s ideas while sharing information between themThe second aspect is relating to arterial roads reaching from center of the Municipality of Keijo toEitoho district. The Municipality of Keijo planned a network of streets spreading across the whole region,and a bit later decided the broad region for the land readjustment. Even though the land readjustmentwas conducted aiming mainly at developing residential lands in suburban area, we also demonstrate thattwo districts, i.e. Daiken/Daehyeon and Kotoku/Gongdok, were set up for an important purpose to makearterial roads toward Eitoho reach into the suburban area.As the third aspect, we discuss about a city planning project for developing premises for factories ineastern part of the Municipality of Keijo. The whole area on the outskirt of Dongdaemun was supposedto be developed as an industrial zone faster than Eitoho in 1920’s. As for two land readjustment projects,i.e. Ryuto/Yeongdu and Sakin/Sagun, which were set up for a main purpose of development of premisesfor factories, we’ll show that these projects were planned as an extension of those planned in 1920’s andaimed at utilizing the banks of Hangang river effectively.Architecture ofInterpretationBased on these knowledge, we’ll also point out that industrial urbanization conducted by Japanesegovernors was sophisticated as a city planning technique as well as short-sighted and supportivemeasures from a perspective of city management.KEYWORDSKorea, colonialism, industrialization, Yeongdeungpo, Kyeongseong26 27

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongResearch on the feature of design of Tohgo MuranoA Meta-historical Writing of Taipei City - A study of critical typo-morphologyin the works of his later yearsKAKUDA AkiraAssociate Professor, Kyoto Institute of Technology, JapanKUO Chao-lee Associate professor, National Taipei University, TaiwanHUANG Poju Ph.D Student, National Taipei University, TaiwanTheme 1ABSTRACTTOHGO MURANO is an architect representing the modernization of Japan.He realized manyarchitecture with the original style based on humanism, in the time of asking a function and structurebeing ideally reflected in a design for rationality.His styles are various things adhering to a detail orcolor to depend on craftsmanship.However, since his work was distinguished from the idea of modernarchitecture, his evaluation has not yet become settled.It is known that do not complete Murano’s design only with a drawing, continued after start ofconstruction, and examination was performed.Moreover, his left-behind words show that Murano wasalways investigating the state of human-centered architecture.In a main subject, it is shown through what kind of design process Murano’s design developed onsuch thought was built. And the special feature of Murano’s design is clarified by analyzing his designprocess.As the object of research, three works of Murano’s later years the “Nishiyama memorial hall”(1975),“Shoju-so”(1979), and the “Tanimura museum(1983)” are taken up, and those analysis is conducted.In thefeature of the function demanded, the context in which it is built, and a form, these are architecture withdifferent character. And in these works, the feature of Murano’s form operation has appeared well.The objects of analysis of a main subject are those drawings that the Kyoto Institute of TechnologyMuseum and Archives possesses.A design process is clarified by analyzing changes of a drawing.Furthermore, the background of a project is clarified by the interview to the persons concernedwith a design or construction and literature documentation which were concerned. And each specialfeature which can be read in the design process of three works is extracted, and those comparison andexamination are performed.ABSTRACTTaipei City was constructed from 1882-1884 as the last of the feudal border cities of the Late QingDynasty. The city soon felt the pressure of foreign intrusion and colonialism in 1895 when Taiwan wasceded to the Empire of Japan. In order to create a symbolic colonial capital, the imperial Japanesegovernment immediately destroyed buildings of the previous city government, as well as templesand other major structures, eventually dismantling the city walls in 1904. Only the four city gates anda fraction of the original urban fabric were left intact. Subsequently, Taipei’s urban environment in thetwentieth century has had to confront the contradictions of imperialism and modernism. As such, theeconomic-oriented urban culture arose from a grafting of colonial modernity to the growing influence ofthe post-war United States, which extended to the development of today’s neo-liberalism as manifestedin “product building” and the “instant city”. Therefore, the structural collapse of the traditional urbanlandscape and architectural type threatened to disappear, along with a “sense of place” in the historicalcontext. In the face of consumerism and globalization, we have been unable to grasp the urban artifact.In this study, the methodology attempts to combine typo-morphology and post-colonialism torewrite a post-colonial history of the city. In addition, it uses the concept of “meta-history” by examiningdifferent points of view, as well as deconstruction to reassemble the history of the city. Typo-morphologyis a methodology that is used to analyze the importance of urban space. It must take into account thethree factors. The first is the natural landscape, which includes the study of nature, landscape geography,weather, topography, geomorphology, hydrology and other factors relating to natural environmentalconditions. This reveals the constraints and opportunities related to local development. The second isthe man-made landscape (built environment). This takes into account the physical space as it relates tothe morphological and typologically shaped process when considering the relationship between localbuilt environment and the overall environment. Thirdly, we examine the urban artifact to understand theimportant role it plays in pattern classification and the links between “specific” and “non-specific” manmadeevents and spatial classification in the colonial cities.Architecture ofInterpretationBy this analysis, what Murano thought as important in each of different architecture is considered,and it is shown clearly how the intention of Murano’s design is materialized. The design posture inMurano’s later years becomes clear from the above consideration. It is that according to the difference inthe demanded building, the state of the construction which should be built there is considered carefully,and space composition and form operation suitable there are performed. He developed the design notbased on an abstract idea but based on a concrete space image and material.Murano investigated the detail and texture for it aiming at construction producing an atmospheregood for the heart of people in connection with it.His architecture gives the directivity of various designsin what is seen.However, it appears as a result of having investigated the way that should be suitable forthe situation for which each construction was asked, and is based on the bigger idea beyond the idea ofeach work.The study combines three dimensions-time, form and scale-weaving together a complex webof relationships, analysis of processes and the historical and dialectic relationship between buildings,open space and social practices in order to better understand the original meaning and contradictionsof the modern city. Starting with the perspective of meta-historical writing, what Muratori called “theoperational history of the urban form,” this study reveals the many layers of these relationships, whileapplying a mutual dialectic of urban form. As a result, it offers an efficient tool for urban design that isboth theoretically oriented and policy oriented.KEYWORDSMeta-history, Typo-morphology, Artifact, ColonialismMurano was the architect who tried to make the world of it being meaningful and influencing feelingfor man, in a framework called architecture.KEYWORDSTohgo Murano, Design Process, Drawing Collection28 29

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongHong Kong in Southeast Asian Spatial HistoriesFundamental Misunderstanding of the Buddhist Pagoda in East AsiaLAI Chee KienAssistant Professor, National University of Singapore, Singapore- Cause of Original Dissemination of Indian Buddhism into China, andEstablishment of Modern Scholarship by JapaneseTheme 1ABSTRACTHong Kong is geographically located at the northern rim of the South China Sea that is encircled byislands and lands geo-politically known as Southeast Asia. It is closest to the Philippines and is similarlyaffected by typhoons and other climatic conditions in the sub-Tropics. Hong Kong is also connected topolitical and economic histories of Southeast Asia by its lengthy “colonization” by a European power.While post-war processes of decolonization led to various forms of independence and self-rule in thesecountries, Hong Kong’s destinies were tied to transitions to Chinese governance between 1997 and 2046.LEE Hee-BongProfessor, Chung-Ang University, KoreaABSTRACTThis study aims to correct fallacy of architectural history in East Asia with a long tradition, by a methodof field study observation of Indian stupa in comparison to East Asian pagoda. . This paper examinesmisunderstanding and mistranslation of the original Indian stupa.Architecture ofInterpretationIn this paper, I examine and argue that the concomitant production of time and space enmeshingSoutheast Asia and Hong Kong during the British colonial period and as diasporic/national space afterWorld War II, are two iterations of spatial culture that were important but which have nonetheless“disappeared”. The trajectory of Shanghai-Hong Kong-Malaya-Singapore permitted mobility and rangeof practice for influential architectural firms such as Palmer & Turner as well as Keys and Dowdeswell.Aspiring and Chinese-educated technicians and qualified persons were also being trained in Hong Kong’sinstitutions before they returned to Malaya. Because of some parity between the Hong Kong and Malayancolonial systems, the public service as well as planning and housing have comparable trajectories.Like Taiwan, Hong Kong was also an important node between China and the estimated 25-30 millionoverseas Chinese ( 華 人 ) living in about 140 countries around the world. However, 80% of this diasporalive in Southeast Asia, which makes Hong Kong (and Macau) proximate to their southern neighbours aswell as to their socio-political economies and histories. At the broader level, the interconnectedness andcirculation of literary, press, music, art and entertainment worlds between Hong Kong and SoutheastAsia, colloquially and collectively known as 文 藝 界 , was a Heideggerian “world picture” enabled bytechnology and travel within those spaces. In particular, the film industries and markets of Singapore inthe 1950s and 1960s were influencing Hong Kong’s for two reasons – firstly, three major movie productionhouses: Shaw, Cathay and Kong Ngee, had bases in Singapore and their collective enterprises galvanized,modernized and diversified the industries. Secondly, when China closed its market to Hong Kong films in1952, Southeast Asia became the primary arena for distribution and consumption of these movies.In tow, the chronotopic texts reflexively produced by Hong Kong, in textbooks, juvenile literature,novels, newspapers, magazines, movies and music, etc., heightened the former British colony as a keyproducer and author of Nanyang (the South Seas), a term hitherto reserved mainly for Southeast Asia.I further argue that the disappearance of this spatial history corresponded with the nationalization ofeducational and cultural spheres of the respective nation-states of Southeast Asia, in particular Singaporeand Malaysia. Measures such as use of simplified Chinese script and ban on dialects have createdchallenges for the recording and evaluation of this common space and history, of which has gained someurgency.Although scholarly terminology should have clear meaning, pagoda terminologies have becomefallacy in East Asia of Culture Area of Chinese Character. Translated Chinese terminologies since 3rd CenturyA.D. are far from original meaning of Indian Buddhism. So are terminologies of Modern scholarship at thebeginning of the 20th century, established by Japanese, due to the erroneous Buddhist scriptures.Indian sanskrit name of sphere (or hemisphere) of stupa is “Anda” that means “egg” or “embryo” as anouter case of “Sarira”, remains from cremation. However, Chinese Monk Xuanzang ( 玄 奘 ) in Tang Dynastysuperficially translated it “Overturned Bowl”( 覆 鉢 ) (Chinese: Fubo, Korean: Bokbal, Japanese: Fukubachi).‘Overturned Bowl’ has derogative meaning of protest and punishment in Buddhism on the contrary tothe sacredness of pagoda. Therefore, I suggest new terminology “Buddhist Egg” ( 佛 卵 ), followed correctmeaning.Wheel, Chinese term Xianglun ( 相 輪 )(Korean: Sangryun, Japanese: Souring), atop of the East Asianpagoda has been misunderstood with Indian Parasol, which signifies honorableness. Although parasol,Sanskrit name “Chattra”, and wheel, Sanskrit name “Chakra”, could not be confused, Chinese scriptureshad been mistranslated since the 3rd century and Japanese scholars misdefined pagoda terminologiesat the 20th century. Chinese term “Cha ( 刹 ) (Korean: Chal, Japanese: Satz)” means pagoda comes from‘Chaduluo’( 刹 多 羅 ) (Korean: Chaldara), sound translation of parasol “Chattra”. Therefore, mistranslatedterm Wheel on the pagodatop in East Asian countries should be recovered into term Parasol.KEYWORDSBuddhism, Stupa, Pagoda, Overturned Bowl ( 覆 鉢 ), Wheel ( 相 輪 )KEYWORDSHong Kong, Singapore, Southeast Asia, Spatial Histories, Imagined Community30 31

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongBuildings Analysis of Changchun Kuanchengzi Tsarist Russia Railway SettlementThe Miniaturization of Chinese Garden Space and Its Philosophical and AestheticsLEI Jia-yueHarbin Institute of Technology, ChinaFoundationLIU Da-pingProfessor, Harbin Institute of Technology, ChinaLIU Tong-tongTheme 1ABSTRACTRailway Settlements is a special phenomenon in northeast China, it emerged as the construction ofChinese eastern railway lines and branch lines appeared, expanded with the development of modernrailway industry and resource-grabbing from great powers. The construction and development of railwaysettlement not only accelerated the colonization of modern times, but also constitute prototype of theChinese town system in modern northeast China.Changchun-Kuanchengzi railway settlement began to be built during 1895-1899 when Tsarist Russiabuilt the branch lines of Chinese eastern railway. At that time, in the city construction, Russia mainly paidattention to the construction of the key terminal towns, as well as trade ports and military ports. As asmall local town, the status of Changchun changed after Russo - Japanese War. According to the treatytruce, Changchun became the boundary station between the Chinese Eastern Railway and the SouthManchurian Railway. And Kuanchengzi settlement became the inchoation the city pattern of Changchun,the settlement area near the station railway is a standard rectangle, covers an area of 553 hectares. TheDongqing railway company not only planed the roads system, but also built the railroad club, churches,schools, powder factories and resident and other production and life service facilities. By building asthe carrier, Russia traditional architectural culture and the western historicism style were grafted ontonortheast China by the colonialism form.This paper will interpret the cultural phenomenon in railway settlement from the four aspects -theuse of materials, construction techniques, adornment skill and space form. And introducing the conceptof cultural flow, through the contradiction and resistance between the native culture and foreign culture,as well as the phenomenon that local culture takes in and coalesces the foreign culture , to exploreChina modern buildings unique cultural cross phenomenon in this colonial times, and to sum up thecharacteristics and explores its impact. Then revealed the unique industrial heritage value of the buildingsin the settlement, which will be a necessary part of the research on modern Chinese railway development.Associate Professor, Tianjin University, ChinaABSTRACTIn the existing Chinese classical gardens, there are a lot of small garden examples, of which the commoncharacteristics can be summarized as this; the garden can always create the impression of being largerthan it is by the variation of its elements in a small but exquisite space. But from the ancient literature,the Imperial Garden which appears as the early Chinese garden form, usually have a vast area and largescale with natural landscape. In this point, it is quite different between the early Chinese gardens andthe existing gardens. The miniaturization of garden space is one of the most important features duringthe development and transformation of Chinese gardens. This paper is aimed at investigating the causesand context of the miniaturization of Chinese garden space, analyzing the philosophy and aestheticfoundation of this phenomenon, and finally summarizing the principle and tactics of miniaturization ofgarden space.During the pre-qin period hermits usually chose the natural environment as seclusion. But in fact theyoften face the realistic problems such as a life of poverty, poor in the environment and so on. “Paradiseinside a pot” comes from an alchemist’s fairy story of History of the Eastern Han Dynasty, indicates to akind of quiet and leisurely life of Taoist. A famous literate of the southern dynasties, Yu Xin, combined“Paradise inside a pot” and garden together in his essay “the small garden”, aims to show that a hermit doesnot mind the size of the seclusion. Another great poet Bai Juyi in Tang Dynasty put forward “Zhong Yin”(intermediate hermit) and realized in his garden practice. So it became realistic that even the minimumgarden can be the Hermit Paradise.“Piece Stone and Spoon Water” was firstly mentioned as a philosophy conception of small versus bigfrom the Golden Mean of Confucian School, the saying “one thing is related with many others” includes thenature conception of Confucianism, and the dialectic relations between the unique character of “one” andgeneral nature of “lots”, making the specific issue of “Piece Stone and Spoon Water” meaningful widely.Architecture ofInterpretationKEYWORDSChinese Eastern Railway, Railway Settlement, Industrial Heritage, Architectural Form, CulturalInterpretationThe statement of “Piece Stone and Spoon Water” changed the meaning of aesthetic conception ofthe nature objective in gardens, getting rid of simply recreating and simulating the “original nature”. Thegardens’ space could then be set up with the principle based on the artistic generalization, to realize andre-appear the “original nature”.Based on the aesthetic foundation of miniaturization of garden space, Chinese gardeners could usemethods of summary and symbolism with “piece stone and spoon water”, instead of in pursuit of hugevolume and large space, but combining all gardening elements together, such as mountains and hills,cliff and ravine, spring and stream, lake and pool, building and vegetation; and interlacing them in far ornear, high or low, broad or narrow, secluded or open, barrier or flat, and etc.. Thus a variety of dimensionalmodel can be created in order to reflecting the vast universe outside a little garden.KEYWORDSMiniaturization of Garden Space, Hermit Paradise, Paradise inside a Pot, Piece Stone and Spoon Water,Confucianism32 33

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongThe Classification Study of Chinese Classical Architectural ArchetypesWater’s Edge Settlements on Micro-highlands:LIU YangThrough a Case Study of Floodplain in Niigata from the 16th to 19th CenturiesLecturer, Harbin Institute of Technology, ChinaMATSUDA NorikoTheme 1ABSTRACTThis paper comprehends archetype as code system of collectivity consciousness, absorbing the fruitof analysis psychology and architectural semiology. The architectural code is the basis of realizing thecommunication of the different architectural subjects. Umberto Eco, Italian scholar, put forward threearchitectural codes, including semantics code, syntax code, technique code. They have the correspondingrelationship with the third tripartite division (rheme, dicisign, argument) raised by the one of semioticsfounders, Charles S. Peirce. On the grounds of these, the paper classifies the archetypes of Chineseclassical architecture into structural technique archetype, space syntax archetype, modular semanticsarchetype. There are three structural technique archetypes in Chinese classical architecture, consistingof nest archetype, cave archetype, well archetype. The author puts forward four space syntax archetypes:boundary enclosing archetype, axial sequence archetype, mandala archetype and nonlinear layoutarchetype. The modular semantics archetype is divided into four levels, including group, single, parts,component. With the lapse of time and regions discrepancy, each of archetypal codes evolves manykinds of sub-codes, for example nest archetype comprises ZengChao architecture, GanLan architecture,ChuanDou structural frame, etc. For the axial sequence archetype, the hierarchy pattern of associationwhich is the space reflective of different architecture arrangements can be concluded to an “axessuperposition law”. A music system frame is imported to describe the axes combination relationship,and to analyze the polyphony thoughts method in the embodiment of gardens layout. In addition, itdiscusses the “scale time viewpoint” and its politics connotation that the mandala ceremony architecturehas reflects. From the angle of landscape imagery of village and gardens, it discusses the characteristicand theory meaning of the two non-linearity archetype layout.The module is one of the important forms in Chinese classical architecture, furthermore, all elementsof the module have highly semantics characteristics. The author puts forward a series of propositions ofmodule semantics in Chinese classical architecture. It recurs to the mode of music theory to describe thedifferent characters of main ridge roof and round ridge roof. It illustrates the paths through which the layoutof gardens leads visitors to come into “fractal time”. It discusses the influence of the religion consciousnessof mystery mutual infiltration of the nature upon the architecture intention of bionics ideas through theridge-animal semantics. A character similar to life evolution can be found from the phenomenon that thestructure-function of tou-kung gradually declines while show-function is outstanding. The paper makessidestep as an example for accounting for the tendency existing in Chinese architecture that outstandingsignifier has been covering the signified.The author lists all sub-codes of each archetype and their extension meaning that refers to typicalcontext, function semantic and technique semantic and intension meaning in the table. By means ofinterpreting the semantics of archetypal code, it is easy to regulate the developing laws of Chineseclassical architecture, and created the condition of grasping the archetypal system of Chinese classicalarchitecture in general.KEYWORDSArchetype,Code,Semiotics,Semantics,ModuleLecturer, The University of Tokyo, JapanABSTRACTThis research looks at the historical relationships water and settlements include water risks. I wantto introduce two keywords ‘Water’s edge settlements’ and ‘Settlements on micro-topography’ in orderto understand habitability of historical settlements in swampy lowlands. ‘Water’s edge’ is a concept thatincludes not only the meaning of water amenity or water-friendly space described by the word waterfrontbut also to treat environments that arise from the water, including floods and tsunamis. ‘Settlementson micro-topography’ is a concept to analysis special configuration of lowlands, and livability of there.This report introduces one case study located in Niigata prefecture based on 16-19th centuries. TheKambara plains in Niigata were vast flood plains. They were in between two large rivers directly facingthe Sea of Japan. The Kambara plains were in a submerged condition where frequent flood disasters hit.In the Kambara plains, three types of micro-highlands and villages: natural embankment, sand hill,and flat marsh. Natural embankment type villages were developed earlier than other types, the end of16C. Sand hill type villages settled at the beginning of 17C. And Flat marsh type villages were developedlate 17C. In these villages, things are positioned along according to the micro-highland. As stated above,the three village typologies vary according to the terrain where they have been found. Only a few metersor a few centimeters of difference in the height of the terrain had an influence on the spatial configurationof villages.Micro-topography of the Kambara plains was made by water behavior. Low sand hills in the Kambaraplains are aligned in 3 groups in three large arcs, which are centered on the sea. The positions of thesesand hills imply the shifting of the shoreline B.C.3500 to the end of the 16C. Few centimeters high landsin the plains are natural levees of lagoons. These micro-highlands are important clues to settle in theKambara wetlands.The Kambara Plains were increasingly developed at the beginning of the 17th Century. The first typeof immigrants was an originator, developer and also a resident, were the samurai soldiers. It is said thatthey came with their lord Mizoguchi Hidekatsu from Kaga. The second group of originators is related tothe Jodo-Shinsyu sect, the true pure land sect of Buddism. People moved from counties such as Echizen.Lords were related and supported to these reclamation of the Kambara plains. These characteristics amongdevelopers remind us a flood controlling technology handled by samurai soldiers during the MedievalAges. Developers chosen sandy micro-highlands to settle and they drained peatlands surrounding them.They developed peat bog to rice-fields. People held common lands to gather soil for making their ricefieldsand also preparing housing sites.This study is a step to understand not only the spatial organization composed from the assembly ofsettlements, but also begin to notice other factors such as the farmland, water system, topography andsoil types of the land surrounding the settlements.KEYWORDSWater Risks, Micro-topography, Terrain Settlements, Development of Swampy Lowlands, TraditionalWater Management SystemsArchitecture ofInterpretation34 35

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongA study on Jardine, Matheson & Co.’s branch buildings nd their property managementTatami – a mat or a module?MIZUTA SusumuSARVIMÄKI, MarjaAssistant Professor, Hiroshima University, JapanAssociate Professor, University of Hawaii at Manoa, United StatesTheme 1ABSTRACTThis paper deals with branch buildings of Jardine, Matheson & Co. and their property management.Jardine, Matheson & Co. (hereafter Jardines), founded by William Jardine and Robert Matheson at Macaoon 1832, is a British enterprise acting important role modern Asian economic and sometimes politicalhistory, having their head quarter in Hong Kong from 1841. According to the expansion of British tradewith East Asian counties, Jardines established their braches on treaty ports, such as Shanghai, Tientsin,Hankow, Yokohama, Kobe etc., where they send their staff or agent to do business with native merchantsand sometimes with clans or governmental bodies. In addition, Jardines did business not only in the fieldof trade also of the management and letting of their property for both native and foreign merchants.There has been many researches considering Jardines’ activities from the viewpoint of economicalhistory, in Japan for Kanji Ishii’s book and in China for their own historical biography , Robert Blake’s book&c., in while this paper stands on the architectural history, which considers what did the merchants intendor how did the merchants struggle with architect’s professional services, materials or structures suitablefor local climate, native customs, etc. when they build their own business building or lets the properties.Of course, there exists the largest purpose of commercial profit for Jardines themselves, however theauthor expects that they had thought another factors, such as symbolism, consideration for the localitiesetc. in their architectural activities, and that their architectural activities at a branch always were probablyconnected and influenced with other branches or head office in supply of materials, design, and architect.The presentation will be composed of three chapters as follows:Chapter 1 do to clear the location and the period of Jardines’ branches existed in the treaty portsbecause most branches has been closed and its building demolished, excluded in Shanghai and Tientsin,leaving no information at present. In order to approach this matter, the chapter will make use of thedirectory of foreigner at Asian countries.Chapter 2 shows, from the collection of Jardines historical documents archive, some featuredexamples of their branch buildings according to the age focusing on its architectural style and planning,and also refers to the detail of Jardines’ architectural activities in establishing or rebuilding the branchesto make clear the connection with and influence from other branches.Availing the property letter book of Jardine’s archive, chapter 3 focused on the Jardines’ propertymanagement business in Hong Kong. Jardines were engaged in the property business at almost allconcession in East Asia, particularly in Hong Kong, they managed the houses for Chinese labor classes,with which Jardines needed to struggle to keep the buildings in ‘preferable’ condition.ABSTRACTCountless studies on Japanese architecture hold that the tatami mat is a module of Japanesetraditional residences. This view has been prevalent ever since the early modernists became inspired byJapanese architecture and started to publish their analyses on it. Despite some opposing indications, theconcept of tatami as a module has been and still is repeated time and again in publications on Japanesearchitecture, without much concern about the multiple meanings of the Japanese modular methods –with emphasis on the plural tense of both meaning and method. The primary argument of this paperis that these analyses do not pay attention to the actual meaning of the Japanese modular order andare, instead, based on the visual role of the tatami in expressing it. Hence, the two primary Japanesemodular methods, kyo-ma and inaka-ma, are examined below from the perspective of the ken, or‘column distance,’ by tracing its etymological background to the Chinese spatial concept jian. Moreover,as another Japanese reading of this same Chinese ideogram is ma, one more recurring theme in studiesof Japanese architecture, this paper focuses on the many meanings of this conception, including notonly ‘columniation’ or ‘opening,’ but also ‘space,’ ‘time,’ ‘interval,’ ‘pause’ and other spatio-temporal terms. Incontrast, the word tatami does not have any spatial connotations and as a verb (tatamu) means ‘to fold’which refers to the long evolvement of tatami from foldable straw mats into the fundamental interiorelement of Japanese residences.The goal of this examination of the Japanese concept of module, Latin modulus for ‘little measure,’is to shed light into its shared roots with the Chinese and Korean modular concepts as part of East Asianarchitectural tradition, as opposing to the common views of the uniqueness of Japanese architecture.Moreover, as Japanese architecture was such an important precedent for many modernist principles, theaim is also to clarify this foundation and correct some misinterpretations in order to provide accurate basisfor the analyses of modern architecture. In addition to the new reading of the concept ken/ma, this paperlooks at the structural order of Japanese architecture, rather than at their visual re-presentations by tatami.Among others, the analysis includes the notion of ‘honest wall’ (shin kabe) which refers to the “honest”expression of the structural system, although it, in fact, comprises of such features as the frieze rail (uchinori-nageshi)that is a non-structural member in solid walls; instead, the concealed horizontal ties (nuki)resist the lateral forces. This phenomenon also underlines the importance of inventive interpretations ofarchitecture, in this case, command of both the visible vocabulary and invisible grammar of the languageof Japanese architecture in trans-disciplinary and cross-cultural context.KEYWORDSModule, inaka-ma, kyo-ma, jian, ken/maArchitecture ofInterpretationAs a conclusion, the author again mentions some historic matters from the above studies in Jardines’architectural activities in 19c East Asia.KEYWORDSBritish Architecture, Jardine, Matheson & Co., Treaty ports, British Concessions and Colonies36 37

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongVenustas of Habitat Environment: Methodological Approach to Chinese GardensHistorical study on the development process of the area around the outer moat inas the Scholars’ Life Style in Jiangnan (Lower Yangtze River Delta Area) of Ming andTokyo during the meiji periodQing DynastiesTAKAMICHI MasashiSHI Wen-juanPh.D Student, Nanjing University, ChinaPh.D Student, Hosei University, JapanTheme 1-ZHAO ChenProfessor, Nanjing University, ChinaABSTRACTAs the essence of Chinese cultural traditions, Chinese gardens updated constantly as a unique systemin a long history and had nothing to do with the architectural design methods of the West all along.The research in Chinese gardens began in the 1930’s in China, especially rich and thorough in theprivate gardens in Jiangnan of Ming and Qing dynasties depended on a large number of relevanttexts in the scholars’ notes and quite a few of historical remains survived through vicissitudes. In thearchitecture field, the researches in Chinese gardens mostly focused on design methods in the serviceof architects, considering the garden as the fine art. The re-searches either analyzed and diagramed thematerial environment of the extant gardens by surveying and drawing the plans, elevations, sections, orsummarized some gardening rules and concepts by demonstrating the lay-outs through the relevanttexts written by the scholars.However, as everyone knows that a Chinese garden was generally built by the scholar to beautify hishabitat environment with simple constructions or buildings, and symmetry, reason, rules were completelydisregarded in it for its unusual design character famous as sharawadgi. Therefore it is doubted that usingthe modern architectural design methods to express this unique unmeasurable Chinese art of habitatenvironment. If the Chinese gardens could be regarded as a reflection of the Chinese culture, showingthe harmony of buildings and the environment, then the key to the garden design should be to go intogardening intention at the very beginning based on the scholars’ lives. The literati notes written by thescholars in Ming and Qing dynasties who were also usually the owners of the gardens like Chang Wu Zhi,Xian Qing Ou Ji, Yan Qi You Shi, which have great significance to today’s study, all paid close attentionto leisure in daily lives when talking about gardening, considered the private garden as a hodgepodgeof buildings, plants, implements, paintings, calligraphies and other artificial things, which is a symbolof their unique personalities. Perhaps we would touch the unique concepts and design methods of theChinese garden despite its subjective and deceptive appearance by observing and studying the scholars’lives in their own gardens through these texts, giving consideration to their economic, social, ideological,and other statuses.ABSTRACTAdministration reorganizes urban space by creating much modern architecture by a public and largescaleplan in early modern Tokyo. On the other hand, the private sector also reorganized some areas bymodern architecture centering on individual residence.The purpose of this study is to analyze the development process of the area around the outer moat inTokyo which is the old samurai place where the modern architecture by a private sector was built in themeiji period.If the circumstances of selection and acquisition of the land their modern residence are observed,some tendencies can be found out there. They build residence in the land of the end of hills which isunifying two or more lands of the old samurai residence. Ideas, such as a hygienic concept, a view, andsymbolism, had become their motivation. Furthermore, Its logic is different from both inside and outsideof the outer moat. In contrast with the outside where residence was built, Many institutions, such as aschool and a hospital, are rather built by the inside which is in old Edo castle. The hierarchy of inside andoutside was continuing in the outer moat.KEYWORDSTokyo, Meiji Period, Outer Moat, Residence, Private SectorArchitecture ofInterpretationThis article will discuss the possibility of elucidate the Chinese gardens by observing and studyingthe scholars’ life style and the ways they seeking leisure in their own gardens, on the basis of generalizingtypes of viewpoints from the present research achievements in the pri-vate gardens in Jiangnan of Mingand Qing dynasties. This attempt may provide quite a new point of view to solve today’s more and moresevere habitat environment problem.KEYWORDSThe Private Gardens in Jiangnan of Ming and Qing Dynasties, Habitat Environment, Fine Arts, Scholars’Life Style, Leisure38 39

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongComparison Between Ito Chuta’s Chinese Architectural History and Liang Sicheng’sIn Search of Beijing Jade Spring Hill by Early PhotographyChinese Architectural HistoryYANG JingLecturer, Tianjin University, ChinaXU Su-binProfessor, Tianjin University, ChinaLI JiangPh.D Student, Tianjin University, ChinaTheme 1HE Mei-fang Ph.D Student, Tianjin University, ChinaABSTRACTFor Chinese architectural history, both the research of Ito Chuta and that of Liang Sicheng haveinitiative significance. Actually the earliest Chinese architectural history was written by Japanese scholarIto Chuta. Over ten years later, the first Chinese architectural history written by Chinese scholar wasaccomplished by Liang Sicheng. Comparing these two works and analyzing the two author’s historybackground, this paper has the opinion that different impelling forces are the root-force of these twoworks’ difference. As a Japanese scholar, Ito Chuta’s architectural study career has gone through anexperience of Japanese nationalism’s development and upsurge. In this period the Japanese Asianismwas also constructed gradually. During the architectural research process of Ito Chuta, China was theotherness from beginning to end. His starting point and destination of Chinese architectural study wasalways Japanese architecture. The Chinese architectural study plays an important role to Ito Chuta’sconstruction of oriental architectural history. The Chinese Architecture History of Liang Sicheng wasbased on long-period field work and deep study on Chinese architectures. The Chinese ArchitectureHistory of Liang Sicheng is entirely different from Ito Chuta’s research. His starting point and destinationof Chinese architecture study was China. Liang Sicheng’s research and his work was accomplished in thedrive of Chinese nationalism and taking up the mission. The different background and impelling forcecause these two works’ different contents and the way of constitution, and eventually reflecting these twoauthors’ entirely different view of Chinese architectural history.ABSTRACTIn the past, western people recognized Chinese architecture in illustrations drawn by missionary.Those illustrations exaggerated some characteristics of Chinese architecture, and closely related to theimagined image of an alien land. After the invention of photography, the reliability of photographs wasin a high level, but the western photographers also selected the photographic objects base on occidentalperspective, which reflected their enchantment with oriental exoticism. In their sights, such as “pagoda”,“pavilion”, “city gate”, “pai lou”( 牌 楼 ), were some dramatic space elements in a mystery country, whichwere showed many times in the photographs.Jingming Garden ( 静 明 园 ) of Jade Spring Hill in Beijing is an Qing dynasty imperial garden, whichwas built in Kangxi ( 康 熙 ) period, but achieved its prosperous in Qianlong ( 乾 隆 ) period. It constitutes“three mountains and five gardens”, the famous imperial garden complex in Beijing. Jade Spring Hill isnot only an important imperial garden in Qing Dynasty, but also a typical example to research of the earlyphotographic sources by western photographers. In their lens, four various types of pagodas, numerousreligious grottoes in Jade Spring Hill were taken their attentions more than survived wooden structures.Nowadays, those photographs give us a large number of information. In this paper, we focus onresearching the history and the original appearance of Jade Spring Hill, which does not open to thepublic, by early western photographic sources, and also attempted to explore the opinions of westernphotographers towards the garden.Architecture ofInterpretation*This research was supported by research programm “Examining the Historiography of Non-textualCultural Heritage” through the National Natural Science Foundation of China (50978179).KEYWORDSHistory Photography, Western Photographers, Occidental Perspective, Jade Spring Hill ( 玉 泉 山 )KEYWORDSChinese Architectural History, Ito Chuta, Liang Sicheng, Asianism, Nationalism42 43

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongVisual tactility and Movement in Korea traditional architectureStudy on the form and institution of Zhisuo in local cities during Song Dynasty- focused on the exterior space of Yunkyung-villa (1828) in the Palace Chang-DuckYUAN LinAssociate Professor, North China University of Technology, ChinaYOOK OkSooYUAN LinPh.D Student, Tsinghua University, ChinaTheme 1Professor, Seoul Institute of Arts, KoreaABSTRACTIn Western culture and philosophy, dichotomous thinking exists for objects based on the visual sense.The object recognition is judged by visual stance, eyes are more focused on the subjects than other sensesare and subjects always have distances for objects. For instance, a typical example, perspective is focusedon visualization for object and treated to the space as uniform between subjects and objects. And alsothe photography is to become one-sided, a weighted tendency towards the optical development forthe object’s relationship. In Western architecture, the development of form based on dichotomous logicby eyes has continued from the proportion and module from the Middle Ages architecture, functionand structure to the Modern Ages architecture, deconstruction and discourse to the Contemporary Agesarchitecture.But nowadays, other senses are magnified out as the importance of perception in the developmentof diverse media. From this, extension of perception can be seen not by the single perception but by thecomplex perception. In the visual sense, distance is required and used through dichotomous logic tocomprehend the object. Otherwise, in the tactile sense, the distance is removed. Tactile action indwellsas object reaction of visual sense leads to subject’s activity from difference in the distance between visualsense and visual tactility, and it shows the possibility for point of view to move from the subject to objectdepending on time flows. It is time to go to the structural level to understand the movement’s relationshipfrom recognition level that visual sense understands object. In this point of view, it is necessary to reviewthe time and movement in architecture, having been studied to the form and space until now.As an example of traditional architecture following visuals and tactile movement, Yunkyung-villa(1828) placed in the Palace of Chang-Duck is a representative one. Especially, its exterior space shows notonly visual characteristics but also movement-time structure of visual tactility depending on personalstanding points. Each of the spaces has continual direction from the inside to stepwise outside on theview point changes. And it becomes to objectification due to time connecting of movement’s differencedepending on characteristics of seven exterior spaces: touching, repetition, depth, turning, stopping,controlling, and extension from the visual tactility. Especially, Sarang-garden has experiences for thediverse visual and tactile senses, it comes to architectural space that expects the diverse movements inone space to the pluralistic time structuralism, not the single time structuralism that chooses one time atonce from repetition of separation in diverse times. Yunkyung-villa can see objects not in a distance butclosely, reveal character that is direct and holistic as the representative traditional architecture in Korea.ABSTRACTThe thesis studies the form and institution of ZhiSuo ( 治 所 ) seat of local governmentin local citiesduring the whole Song Dynasty.To begin with, with the help of archaeology and document, the thesis analyses a series of preciouscity maps in Song Dynasty as well as some city features such as the perimeter, scale, form, locationand the positional relation with ZhiSuo. The cities case includes Lin’an Prefecture ( 临 安 府 ), JiankangPrefecture ( 建 康 府 ), Pingjiang Prefecture ( 平 江 府 ), Jiande Prefecture ( 建 德 府 ), Changzhou Prefecture (常 州 ), Yangzhou ( 扬 州 ), Zhenjiang Prefecture ( 镇 江 府 ).These cities are investigated integrally, Meanwhilesome important spatial elements are summarized.Moreover, the thesis studies the influence to Zhisuo by organizational systems of administration,official institution, building institution, and relative political events, and establishes the correlationamong them. This part is summarized as “relative institutions on the administrative building complex”and concludes that powerful control to financial and military authority of Song Dynasty governmentsgave rise to a host of negative situations of construction of the administrative building complex in SongDynasty.The form transition of administrative building complex in Northern and Southern Song Dynasty isan epitome of long-time change during Tang and Song periods. For local cities, ZhiSuo attached itself toInner Cities ( 子 城 ). The inner layout of ZhiSuo was inherited from institution in Tang Dynasty, but ZhiSuowas no longer an absolute personal power space of local officials in Song Dynasty. Around ZhiSuo camemany different kinds of administrative organizations which formed the local city space.This transitionpresents the progress, the improvement of political institution, the centralization of imperial power, andthe differentiation of the administrative building’s function.KEYWORDSCities of Song Dynasty, Inner City, ZhiSuo ( 治 所 seat of local government), Space FormArchitecture ofInterpretationKEYWORDSVisual Sense, Visual Tactility, Movement, Experience44 45

Convergence in Divergence: Contemporary Challenges in East Asian Architectural StudiesThe Architectural World of Liu Dun-zhenZHUGE JingLecturer, Southeast University, ChinaTheme 1ABSTRACTThe founding of Yin-Zao-Xue-She( 营 造 学 社 ) was a significant event in the modernization ofChinese architecture, as well as the modern study of Chinese traditional architecture was a critical part inthe history of Chinese modern architecture.Mr. Liu Dun-zhen was one of the main founders of modern study of Chinese architecture. He waseducated to be an architect in Japan. When he returned in 1922, he organized an architectural design firmin Shanghai, and then he worked as a teacher in Suzhou Industry Technological College and other schools.He joined Yin-Zao-Xue-She in 1930 as a director of Department of Documents and began investigationand study of Chinese traditional architecture. After 1949, Liu Dun-zhen was not only engaged in researchand education, but also active in the field of architectural practicing and heritage conservation. From1930s to 1970s, Liu Dun-zhen published a lot of papers and books on Chinese architectural history. Thescope of his research field was ranged from Han Dynasty to Qing Dynasty; from palace to gardens andvernacular houses; from China to Asian. His main concern was from founding the genealogies of Chinesearchitecture to try to conclude the principle of design and construction of Chinese architecture. In 2007,China Architecture & Building Press published The Complete Works of Liu Dun-zhen which gives us anopportunity to understand Liu Dun-zhen’s research courses in about 50 years.In this paper, we regard Liu Dun-zhen’s works not only the founder of Chinese architectural history,but also a part of modernization of Chinese architecture. Combining with analysis of the development ofChinese architecture from 1930s to 1970s, we try to trace the courses both of Liu Dun-zhen’s research ofarchitectural history and his architectural practicing through text analyzing of The Complete Works of LiuDun-zhen, and reveal the theory structure and the changing of ideas behind the lines. In doing so, we tryto discuss three questions:(1) What was the relationship between the objects, questions, methodology and concepts that LiuDun-zhen founded in his works and the development of architecture from 1930s to 1970s in China?(2) As a researcher, a practitioner and an educator, which role did Liu Dun-zhen and his works performin the transition of architectural industry and the establishing of the discipline of architecture in modernChina?THEME 2ARCHITECTURE OF NEGOTIATION:MONUMENTAL VERSUS THE VERNACULARStudies in the monumental and the vernacular architecture have been thetwo major concerns architectural history across East-Asian regions. Buildingsspecifically designed for specific and the higher sectors in the society contrastswith the natural evolution of the built environment and have produced twodistinctive approaches in architectural discourse. Underlying social forces thatshape them may share similar issues such as identity, culture and power. Thistheme aims to draw papers that bring together the concerns between themonumental and the vernacular, the formal and informal, the physical andspatial, and between the single structure and the settlement.(3) Furthermore, what was the relationship between the architectural historical writing and thearchitectural practicing in the transition of architectural industry in modern China?KEYWORDSLiu Dun-zhen, Architectural Historiography, Architectural History, Chinese Modern Architecture46

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongSettlement Spatial Structure Evolution and “Immigrants’ Guildhall ”On Commemorative Space in Modern Japan:in Sichuan in Qing DynastyThe Myth of “Peaceful Country” from Yasukuni to HiroshimaCHEN Wei Assistant Professor, Chongqing University, ChinaHU Bin Lecturer, Chongqing University, ChinaCHUNG Wang Leung ThomasAssociate Professor, The Chinese University of Hong Kong, Hong KongTheme 2ABSTRACTThe great immigration dubbed as “ Hu Guang Tian Sichuan” literally means people from Hunan andGuangdong immigrating to Sichuan province in Qing Dynasty )not only changed regional populationcompositions but also formed a social structure which takes immigrant groups as the mainstay and bearsgreat regional peculiarity for grassroots organization and administration. Among all the changes broughtabout, the most typical one rests with the immigrants’ guild halls that emerged in larger numbers. Comparedwith other regions, immigrants’ guild halls in Sichuan province are “larger in number, more extensivein distribution and more varied in types”. They are not only essential as a social extension of nationalgovernance into the grassroots level, a balancer of economic exchanges and interests of all aspects anda carrier of cultural, recreational and religious activities, but also play a crucial role in the revitalization ofurban areas and the formation and evolvement of settlement patterns and spatial frameworks in Sichuansince middle Qing Dynasty. In the light of local chronicles and extensive filed surveys, immigrants’ guildhalls in Sichuan becomes an important channel and cultural scheme for a comprehensive understandingof the features carried by traditional settlement patterns and spatial frameworks in Sichuan province.ABSTRACTThis paper ‘commemorative space’ in relation to architecture, urban setting and landscape byexamining two key examples in modern Japan, namely:1) The Yasukuni Shrine with Kudan area and the Imperial Palace, Tokyo (1869)2) The Hiroshima Peace Memorial Park and Hiroshima city (1955)Commemoration (in particular, that of war remembrance) was central to nation-building in earlymodern Japan. In the lead-up to WWII, it continued to be a powerful contribution to Japan’s cultural,socio-political identity, fusing with invented traditions of the emperor cult. After defeat and rapideconomic postwar modernization, problematics and ambiguities of commemoration resurfaced in themid-1980s when the ‘memory boom’ dovetailed with quests for cultural identity borne by theories ofJapanese uniqueness (nihonjinron) and emphasis on the spirit of wa (peaceful/harmonious cooperation).In the late 1990s, debates on cultural and social memory centred on the historical revisionism of thetextbook controversy, and the escalation of the ‘Yasukuni problem’ from visits by the prime minister.Architecture ofNegotiationThis paper studies the main content includes: 1)Sichuan immigrants’ guildhall quantity andGeographical distribution investigation in Qing Dynasty. According to the place of walled cities literaturereview, first to compare accurate statistics the number of immigration hall in this period, type and inSichuan province all geographical distribution. 2)Explore the relationship between settlements spatialstructure of the evolution and Immigrants’ guildhall. The paper presented two important ways ofsettlement mode of generating. Not only expresses the “alternate” dependencies between guildhalls andsettlements, but also confirms the transmutation of the material and spiritual functions with the timesof development and changes of Hall played in the town. 3)The site of guildhalls and the compositionof towns’ settlements patterns in Sichuan region during Qing dynasty. As the important elements of thesettlement, Hall site reflect the variety of cultural significance. The builders will normally consider theneeds of the town as a whole form potential pattern. And hope to Control and improve “feng shui” of town.Combining the location layout of “immigrants’ guild hall” of folk grassroots social organizations with urbansettlement structure evolution research, Not only enriched the forms and ways of understanding thetraditional settlement space, Also affirmed the significance and value of the existence of the immigrationhall Similar to the traditional rural society in the space of daily life “.KEYWORDSImmigrant’s Guildhall, Geographical Distribution, Settlement Spatial Structure, Production of Space; CivilSocietyThe two high-profile, controversial sites are both highly charged with iconographic meanings, yetthey have seldom been studied architecturally or urbanistically. Yasukuni, as ‘Peaceful Country’, aspiredto prewar national accord, wartime expansionist pan-Asianism or ‘hakko icchiu’. It remains Japan’sfountainhead for venerating war dead. Hiroshima, as the A-bombed city, symbolized extreme humansuffering. The rebuilt city with its Peace Park and museum defined postwar sentiment with its absolutevalue of ‘world peace’ and internationalism. Both sites appeal to the ‘peace’ rhetoric, though they appearpoles apart. Yet if Yasukuni is notorious for unrepentant militarism, interrogating its urban history willyield much more nuanced readings of Japanese self-understanding. While Hiroshima, with its nuclearvictimhood seemingly beyond controversy, will divulge more than dubious secrets if the peace park’surban architecture is earnestly scrutinized. Considered in reciprocity, these two sites arguably bracketthe trajectory of modern ‘commemorative space’, bringing out persisting paradoxes on themes of death,remembrance and peace.This paper examines ‘commemorative space’ as a combination of monuments, architecture,urban setting and landscape that are contextualized within their socio-political histories and politics.Architectonic and urban interpretation will discover how they embody legitimizing narratives of modernJapan – ‘Yasukuni’ (peaceful country) and ‘pan-Asianism’ prewar, continuing as ‘peace’ and ‘internationalism’postwar – how they differ or connect, materially and symbolically. A broader ambition is to speculate howsuch ‘memoryscapes’ work can be refined to contribute to a more profound way of inclusive rememberingof such ‘places of memory’ that go beyond present antagonisms and political deadlock in East Asia, inlight of 20th century’s war remembrance, contested histories and resurgent nationalisms.48 49

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongStudy on the Royal Cemetery and Tomb guards’ Residence in suburb of Beijing ofMing and Qing dynastyModernism within Walls –Vernacular Industry and its Environmental ArchitectureDONG Jian-feiPh.D Student, Hanyang University, ChinaDOU Ping-pingLU An-dongPh.D Student, University of Cambridge, United KingdomProfessor, Dessau Institute of Architecture, GermanyABSTRACTThe Royal Cemetery as the importand memorial structures in Chinese history is undeniabl.It hasimportant Memorial significance.The structure of it also loaded several most mainstream Culturalelements as Ideological worship, Religion, Decoration means of artistic expression. After sevel dynastyaccumulation,This kind of memorial structures had develped in mature、and with systematizationspatial sequence、space or architectural form in Ming Dynasty.ABSTRACTAgainst the widespread view that regards China as primarily a recipient of ‘modern’ architecture,this article will investigate into the alternate thread of an indigenous modernism, i.e. the architecture ofvernacular industry in the early 20th century China, which resorted to regional and traditional buildingtechniques to meet the requirements that never existed before. One crucial but largely overlookeddimension in such movement is environmental design.Theme 2A large number of cemetery and temple resides with Royalty, Aristocracy also Eunuch had beenbuild in suburb of Beijing from Ming Dynasty. As the Eight Banners Army entered Beijing city and Hannationality move out from inner city in Qing dynasty, The great part of suburb used as graveyard forRoyalty, Aristocracy and Soldiers and also used as manor be attached to Royalty, aristocracy. Qinggovernment had inherit and improve the structure form of the cemetery which made by Ming dynasty,while merged the culture elements of Manzhu nationality.So there are contemporary and cultural blendin the cemetery of Qing dynasty.While the Tomb guards’s residences were important Auxiliary part forthe cemetery which named as Yangzhai ( 阳 宅 ) was a coalition united by features of cemetery and localliving culture .As the accretion of the cemetery, this kind of special residence had turned in an importantbuilding type in suburb even grown into community.Some conditions also leaved by some Joseon envoy’srecord that written by Ming and Qing dynasty. Though these envoy’s records, local chronicles also somehistorical document, the The feature that united by cemetery and local living culture of Royal Cemeteryand the Tomb guards’s residence will be tapped,and this special architecture type will be investigated inthis paper.KEYWORDSBeijing Suburb,The Royal Cemetery ,Tomb Guards’s Residence, Envoy’s RecordsThe burgeoning vernacular industry in the Yangtze delta region in the early 20th century not onlygave strong impetus to local economy and society, but also posed new questions for building design. Thisarticle will focus on the case of Da-Fu Silkworm Breeding Factory, built in 1928-1936 in Changjing Town,a typical water town of the region. The breeding process of the silkworm has strict requirements aboutthe temperature, humidity level, ventilation rate, as well as abundant water supply and efficient deliverysystem. Architecture provides the measure for intelligent control of these factors. Based on on-site study,this article will analyze the Da-Fu Silkworm Breeding Factory in terms of three systems:• Ventilation and temperature control: a system comprising the tall side windows, the beneathwindowmoveable panels, the flues, the wind cowls and the dormers that relates to façade and rooffeatures;• Water supply and humidity control: a system comprising half-basement, water tanks, floor holes,and the use of materials that relates to façade proportion and room layout;• Staff circulation and products delivery system (separation, efficiency and mix-use) that relates tothe conventional arrangement of settlements in the Chinese Water Towns.What makes this factory building complex a particularly interesting case of modern architecture isnot only its solutions to these practical requirements, but the relationship of its solutions to traditionalarchitectural techniques and vernacular morphological principles instead of external foreign references.It manifests the architectural trials and inventions of combining the traditional ‘water-town’ architecturewith a modernizing industry.Architecture ofNegotiationKEYWORDSChinese Modernism, Vernacular Industry, Environmental Architecture50 51

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongSpace, Scenery, and Memory:The Exploration about ‘‘MARKETS’’ in Suburban Area of Postwar TokyoShaocheng Park and the Collective Memory of the Railway Protection Movement inSichuanHATSUDA KoseiAssistant Professor, The University of Tokyo, JapanTheme 2FAN YingAssociate Professor, Sichuan University, ChinaABSTRACTThe public space with distinctive scenery is a special carrier of recording and saving historicalevents, creating and inheriting collective memories. It is usually an important sign of a city from thevisual and mental perspectives, which plays a key role in the formation of the city’s public memorialspace. The Railway Protection Movement initiated and participated by Sichuanese people in Chengdu,which triggered the 1911 Revolution, symbolizes the revolutionary spirit of the Chinese and a specialcontribution to China’s modern history. As soon as the Memorial Monument of the Casualty in the RailwayProtection Movement was erected in the Shaocheng Park of Chengdu in 1914, the park has become notonly an unique monumental space of the Railway Protection Movement, but also a physical reference ofthe local identity and psychological home to the collective memory of the city.By focusing on the construction of the Memorial Monument of the Casualty in the Railway ProtectionMovement, this essay traces the formation of this unique public memorial space by discussing thephysical process as well as the mental process, through which the “revolutionary memories” were to beconcretized and visualized. As a medium linking this historical event and social memory, the constructionprocess of the monument, the creation of the form and image, and changes of the surrounding publicspace, all have helped to reveal the discourse and the dynamic interactions among the state power, localintellectuals and elites, overseas students, and native people in the formation of public memorial spaceand collective memory of Chengdu. During a century-long practices of officials and ordinary peopleover the recreations of public memorial space, the collective memory of the Shaocheng Park has beenextended continuously.The monument, together with the public space around it, is not only a landmark and a bonding pointof the collective memory of the Railway Protection Movement, but also an important component thatcontributes to the recreation and transformation of the city’s collective memory. In turn, such a collectivememory that condensed in this physical space helps to continuously defining and constructing the localcultural identity and social cohesion.ABSTRACT’’Markets’’ is an one-time term which means a commercial facility with lined multiple stores in Japan.They characteristically appeared in many places around Japan as black markets in a few years from the endof World War II. So many ‘‘Markets’’ appeared in postwar Japan, that they were called as heroes of the time.According to the inquiry by Tokyo Metropolitan Police Department in August 1948, 299 ‘‘Markets’’ existedand 8265 participants existed in Tokyo. But they became endangered few years later, in fact, accordingto the inquiry by Tokyo metropolitan government in January 1951, the number of them reduced rapidly,and 194 ‘‘Markets’’ exited. We seldom can discover their trace at the surface of cities except for some casesnowadays. But would so many ‘‘Markets’’ disappear so easily? Were there any reasons for their diffusion ina short time? These questions are the start point of this paper.The previous studies have often emphasized festival and violent characters of ‘‘Markets’’. As a result,these studies have tended to deal ‘‘markets’’ as extraordinary spaces only in immediate postwar years.In contrast to this, this paper will reconsider the significances of ‘‘markets’’ by investigating of widerrange cases in those days from the viewpoint as above.I have visited listed addresses of ‘‘markets’’ basedon the censuses ‘‘Shopping street associations and Markets investigation In Tokyo metropolitan area’’published in 1949. Then I have investigated their present situations and have interviewed local peoples, Ihave clarified the reality of ‘‘markets’’ such as their location and their attribution of representative person,especially in suburban area which have not been known so much. Through these works, this paper focuson the usual aspect of ‘‘markets’’ but the unusual aspect, and try to clarify that they were built upon thetraditional foundation which exist throughout the agesKEYWORDSBlack Market, Stall, Retail Market, Street-stall KeeperArchitecture ofNegotiationKEYWORDSShaocheng Park, Memorial Monument, Public Space, Collective Memory, Local Identity52 53

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongSpatial Order and Its Transformations in an Anhui VillageVirtual Modernity: Rethinking the Loyal and Rebel Identities of Taiwan Tower inHE Hong-guangTaichungPh.D Student, University of Sydney, AustraliaHSU Li-yuTheme 2ABSTRACTRural space in China has undergone profound reconfiguration and reconstruction since the reformera began in 1978. The latest round of change was initiated in 2006 when the central governmentlaunched a new policy known as “Building a New Socialist Countryside”. This chapter deals with the“spatialisation of government” in Xiaogang, which is reputedly the first in China to decollectivise andcommence agricultural reform in 1978. Based on the village experience, this chapter analyses two typesof rural space and delineates the logic behind their transformation over the past two decades. The chapterargues that while spatial transformation underpins many significant changes in rural social, economicand political structures, new forms of space continue to bolster collectivised rather than individualisedforms of subjectivity.KEYWORDSSpace, Governmentality, Rural ChinaAdjunct Lecturer, Chung Yuan Christian University and Tamkang University, TaiwanABSTRACTInstead of staying with the critique on the aesthetic formation of not yet built building, this paper isintend to rethink the modernity of foreground architecture and urban identity by reflecting the processand result of international competition. The design competition of Taiwan Tower in 2011 was hold by thelocal government, Taichung City, under the leading of Mayor Jason Hu. Since the architectural programalmost only deals with the icon of Taiwan engaged with an ecological concept as the landmark for thenew urban area in Taichung City where used to be a combinational airport, the modernity of architecturaldesign and urban plan is virtual and tricky. Behind the issues related to the category of architectural cultureand city aesthetic, it is unavoidable to rethink the critical benefits and negotiations within virtual capital,political competition, and capitalized ecology as the site of Taiwan Tower. According to the ideologicalfunctioning of architectural landmark, I would like to ask why and in what semantic context they areconsciously or unconsciously selected in the first place; and, inversely, why and in what semantic contextthey are allowed to be recognized as operative truths. It discourses not only on what vision of urban iscreated, but also on what identity of city is represented by the process of architectural competitions.Architecture ofNegotiationFor the purposes of clarity an exposition I divide the paper into two parts. The first – comprising thefirst three sections – is a formal analysis of the ideas of Taiwan Tower design, competition program, andhistorical meaning. The second is an attempt to situate the design strategies of Taiwan Tower within thegeneral ideological context in which they were operative. Section one examines the idea of “21st CenturyOasis” by the debate between the spirit of Taiwan and the identity of Taichung. Section two examinesthe idea of “light of life” by the debate between the vision of Taichung City and the viewing of Taiwanisland. Section three examines the idea of “circulation” by the debate between the height of Taiwan Towerand the landscape of ecological viewing-platform. The remaining sections examine the mythology thatcapitalized Taichung City had woven around the concept of nature, the myth of country-city debate, andthe political-capital landscape. Under the history of the relations between mainland China and Taiwan,even the tower is not yet built , it has already aimed at a critical reassessment. It is expected to bring theeffort into the research of architectural history across East-Asian regions.KEYWORDSVirtual Modernity, Architectural Competition, Urban Identity, Political landscape, Taiwan Tower54 55

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongHousing Tibetan Nuns at Labrang: Nunnary Architecture and Gender Space inInvention of a National Prototype House before the WWII in JapanTraditional Tibetan Cultural LandscapeKUROISHI IzumiHUI Mei Kei MaggieProfessor, Aoyama Gakuin University, JapanTheme 2Assistant Professor, The Chinese University of Hong Kong, Hong KongABSTRACTWomen’s studies have become a frequent topic in Tibetan studies in recent years. However, thearchitecture and associated buildings that house women in the most traditional setting - the TibetanBuddhist Nunnery - are rarely studied as a reflection of social setting, particularly when compared to therest of the society, which includes the monastery and lay villages. The demolition of religious buildingsin the 1960s and the continuous rebuilding process of modern-day Tibet reflect both the adoption of anolder traditional form and a newly adaptive element. The physical buildings of the nunnery thereforeoffer a deeper understanding of Buddhist nuns’ social organisation in relation to the everyday Tibetancultural landscape.In the traditional monastic setting such as that of Labrang, a major Gelupa Tibetan Buddhist monasterylocated in Amdo Tibet, the lay village settlement and nunnery are in close proximity to the monastery. Thenunnery is a social mechanism that is essential to the everyday practice of Tibetan society. At Labrang, thethree nunneries are organised in different ways, but all are considered subsidiaries of Labrang. They werefounded at different times throughout history and vary in terms of their settlement formation in relationto the villages, monastery, and geographical landscape. I have documented a small number of houses inthe lay villages and the Labrang monastery in my previous doctoral research.This paper will use the physicality of the nunneries at Labrang to examine the understanding ofTibetan nuns’ role in traditional society as well as the concept of femaleness in the Tibetan religious ideal.This paper shall reveal how architectural choice, house form, and spatial organisation explain the practicaldaily operation and identity of the Tibetan Buddhist nunnery.KEYWORDSTibetan Architecture, Nunnery, Buddhist Architecture, Gender SpaceABSTRACTIn the modernization of Japanese architecture, the impacts of the ideas, technologies and designsof European and American architecture have been recognized as the dominant force. Even though therewere critical architects and scholars opposed to the hasty westernization of Japanese architecture, as thenotions of modernization and westernization were coupled with Evolutionism, westernization of Japanesearchitectural production has been generally interpreted as a natural historical process in response to itssocial and economical progress. However, in the invention of a house type for public housing before theWWII, there were diverse proposals and discussions about how to interpret the people’s way of living in ahouse, and its historical, social, habitual, and geographical conditions. In Japan, the house for the peoplecould not be westernized so easily. Rather, architects and scholars noticed the necessity to convert thepeople’s way of living in a house and the idea of Japanese traditional house in order to answer for boththe modernization and the protection of cultural identity. In other words, as the idea of house is soclosely united with the idea of family in Japan, the modernization of the Japanese idea of a house andthe interpretation of its history was not formal and functional issues but a political, symbolical and socialissue.Another factor determining the process of the modernization of house is the architectural culturalmeaning of a house. The idea and design of public housing was the key factor for the development of theidea of modernism in Europe and U.S.A. for presenting a Utopian image of the new society and democraticway of life. But in Japan, the idea of architecture was introduced at the end of the nineteenth century, anda house was not recognized as architecture until after the WWII. Thus, the invention of an idea of publichouse in Japan caused a diversion of its idea of architecture as a work of art.This study is going to explain how diverse ideas and examples were presented by architects andscholars in that process of the invention of “Japanese modern” house. Especially, I would explain how theJapanese historical rural house type was analyzed and converted to the idea of the national prototypehouse, and how it was applied to the design and ideas of later modern public housings, such as those byKokumin Jutaku (national house) project and Dojunkai project.Architecture ofNegotiationKEYWORDSModernization of Japanese house, Rural House, Prototype, Westernization, National House, Dojunkai56 57

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongMaking Vernacular Monumental: How Physical Gardens Became IconsThe Construction of the Zhong-Shan Ring Road in Shanghai, 1927-1937LEE Wun Sze SylviaLI Ying-chunAssistant Professor, Hong Kong Polytechnic University, Hong KongPh.D Student, The University of Hong Kong, Hong KongABSTRACTIn the seventeenth century, private gardens were originally constructed for personal enjoyment butthey often became “sites” for sightseeing. They were buildings, architecture, or space originally designedto be in a “free” form but the designing of gardens was schematized by writings and paintings in theseventeenth century and later made into treaties by modern architectural historians. Many gardenswere originally physical space but their existences were immortalized by many writers and paintersparticipating in the garden culture.ABSTRACTUp to the mid-1920s, Shanghai had become one of the greatest cities in the World, being equippedwith well paved streets, modern civic buildings as well as parks and bridges. This modern built environmentwas largely created by the Municipalities in the International Settlement and the French Concessionduring the late nineteenth century and the first decades of the twentieth century. In 1927, however, theestablishment of the Greater Shanghai Special Municipality marked the decline of the Western influencesin the city and the emergence of the Chinese political forces.Theme 2This paper will discuss how some famous gardens such as Zhuozheng yuan changed from relativelyprivate construction supposing with minimal planning into a monumental icon representing a set ofideologies that changes over time. Through analysis on the seventeenth and eighteenth-century writings,this paper will unfold how social, cultural and political issues that changed in the course of time wouldform and shape the interpretations and the meanings embodied by these gardens. As a result, we willbe able to see that ideologies that embodied by the physical gardens changed in the course of time andthe monumental icon were used in a very different manners at different periods. This paper will draw ourattention to rethink some of the interpretations of garden designs and culture.During the ten-year existence of the Municipality, it had managed to work out several grand urbandesign plans, and put part of the schemes into practice. The first such project was the construction ofthe Zhong-shan Ring Road, which was launched in 1927, designed in early 1928, and was completedby the end of 1929. Compared with the more ambitious “New Civic Center” scheme at Wusong, with itsarchitectural forms, political agendas as well as cultural identities being widely discussed in the academicworld, the Zhong-shan Road project was rather moderate in scale and in form. But it was filled with thesame political ambition as was the New Civic Center, and was targeted to solve the real problem of thecity, and to encounter with the building fabrics that had created by the foreign municipalities.Architecture ofNegotiationKEYWORDSGarden Culture, Garden Design, Jiangnan Gardens, Scholar GardensThis proposed paper attempts to give a review of the Zhong-shan Ring Road’s design and constructionby taking into account the socio-political conditions at that time. The design work is to be put into thediscourses of modern urban planning at that time in general, and in the existing built form of Shanghaiin particular, so as to achieve a comprehensive understanding of its political agenda, remedial characteras well as technical consideration.KEYWORDSZhong-shan Ring Road, Urban Planning, Politics, Social Confrontation58 59

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongAmbivalent Memory: Representation and Monumental Meanings of Political PrisonModern Architectural Institution’s Culture Constructed under the Double-Power induring the Era of ‘White Terror’ in TaiwanShenyang, ChinaLIN Hui-wenLÜ Hai-pingAssistant Professor, National Cheng Kung University, TaiwanAssociate Professor, Shenyang Jianzhu University, ChinaTheme 2ABSTRACTDuring Taiwan’s long 38 years of martial law, the era of ‘White Terror’ then soon conducted by theKMT (Chinese National Party as Kuo-Min-Tang during that time). For their real or perceived opposition tothe Chinese National Party- KMT government, which dominated by monocracy of Ching Kai-shek. Mostof those prosecuted were labeled as ‘Chinese Communist bandit spies’ or ‘seditionists’. Over 29,000 wereprosecuted by military courts during the period of ‘Martial Law’ (1949-1987) with over 3,000 executedand ended up to 140,000 victimised through prison sentences of varying severity and other sanctions.Victims of ‘White Terror’ included two societies, one the local communists and the other were people whoimmigrated from China. Most cases occurred in the early years of the ‘White Terror’ during 1950s to 1960s.Most suspects were sent after arrest to the Ministry of National Defence Bureau to Preserve Secrets fortorture and interrogation. Political prisoners who were sentenced to death were usually taken on to theTaipei Race Track execution ground and shot by firing squad, while people given prison terms were sentto the ‘New Life Correction Centre’ on Green Island or the Ministry of National Defence Military Prisonin Shin-Dian to serve out their terms. Suspects sentenced to short terms of “re-education” were sent toGreen Island or to the Production Education and Testing Centre, and also to other three prisons. Two ofthe political prisons have now been preserved for districts of human rights. This paper examines theambivalence memory of the surviving victims during the era of ‘White Terror’, for its monumental meaningsand the binary oppositions of living memory constitutes the difficult past and its transformation andproduction of space from the colonised period to present. This research will also discuss the presentationand interpretation of the two political prisons transformed as the Dual linked of Jing-Mei Human RightsMemorial Park and the Green Island Human Rights Cultural Park, for their roles of the modern society inTaiwan.KEYWORDSRepresentation, Monumental, White Terror, PrisonABSTRACTShenyang(Mukden) locates Northeast of China(Manchu)(123.4°,41.8°), which was the hometownof Manchurian and became the second capital beyond Beijing in the Qing Dynasty (1644-1911), also waswell-known by the whole world because it was grabed by Tsarist Russia/Japan in the end of 19th century.The construction of the Mid-east Railway and the Railway Accessorial Land deeply stimulated the moderndevelopment of Northeast of China.After 1911, Manchu was governed by the Fenfxi Warlord. Under the Japanese colonist’s bully andblackmail, the Fengxi Government was beginning to reform consciously. Fowelled the developmentpattern which constrcted railways and harbor, the Fengxi Government renewed the old walled-city,planned the new urban area, established the weapon industries, founded the city halls, setted updifferent modern schools ect until Japanese occupied the Manchu on the 8th September, 1931. The studyof Shenyang is one of the important parts in the field of Manchurian modern history. To throw away thenarrow nationalism, Manchurian modern civilization which was structuring from 1850 to 1945, was anew civilization integrated by the mainland of northeast Asia (China/Russia), the Korea Peninsula and theislands’(Japan) civilizations.Shenyang architectural institution was the core of Manchu’s, was one of the Chinese part, and wasthe oversea part of Russia/Japan’s. This paper studies the modern architectural institution’s culture inShenyang, which influenced by the double powers not only Chinese but exotic governments. Modernarchitectural institution is a necessary prerequisite for the culture. Shenyang institutional culture consistsby the multi-element collage. Under Chinese sovereignty,Chinese and western people followed theirown architectural culture to develop modern architecture. Under Russian/Japanese sovereignty, thecolonists transplant their own institution which was closed and noncommunicative with the local power.From the view of architectural institution, Shenyang’s urban planning and architecture in modern timeare clear and rational to be researched and understanding. The muti-collage architectural culture inShenyang is the typical pattern in the whole China in the moderntime.Architecture ofNegotiationKEYWORDSShenyang, Architectural Institution, Architectural Culture, the Multi-collage60 61

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongMelons or Poems?Recognitions of the Vernacular Architecture by Local People in JapanA Vernacular Landscape within the Transcribed Song Building StandardsSUZUKI ArnoREN Si-jieLecturer, Kyoto University, JapanTheme 2Ph.D Student, University of Pennsylvania, United StatesABSTRACTYingzao fashi 營 造 法 式 (hereafter YZFS), or the Building Standards, was first issued in 1103 CE of theNorthern Song period. As one of the two extant, full-scale, imperially-commissioned building manualsin Chinese architectural literature, it is praised as one of the two “grammar books” needed to unlock themysteries of pre-modern Chinese architecture, and its rediscovery has been long considered the startingpoint for the modern study of Chinese architectural history.However, YZFS represents an architectural literary tradition unpreceded by any similar or evenremotely comparable text. Even its title, fa-shi, is a legal term suggesting orthodoxy that means “organized,integrated bodies of rules on a particular topic.”This paper will set out to explore the intentionally transcribed vernacular roots hidden between thelines of these orthodox standards. A group of terms employed for timber members in bracket-sets, guazigong瓜 子 栱 , man-gong 慢 栱 and ling-gong 令 栱 , will be examined as the point of departure. Instead ofparing man-gong (formerly understood as “long arms”) with ling-gong (formerly understood as “regulararms”), and considering them allusions to man-ci 慢 詞 (lyrics for long melody) and ling-ci 令 詞 (lyrics forshort melody) as current scholars have suggested, I argue that man is transcribed from its homophone,“man 蔓 (vine)”, and should be paired with “guazi 瓜 子 (melon) ” in order to untangle their nomenclature. Thisreading corresponds with their relative positions within the bracketing system: the vine-arms protrudingon top of the melon-arms, perfectly resemble vines and melons. This reading is further supported byarchaeological evidence.However, this reading does not entirely deny the other transcribed reading. The very transformationfrom melons to poems, further supported by a survey of other transcribed vernacular terms such as qieji-tou切 幾 / 雞 頭 , “decapitated chicken” used throughout YZFS indicates that, instead of seeing YZFS asevidence of the impacts of literature and art on Song architecture, it is actually the compiler’s painstakingeffort to reference elite culture, thereby seeking orthodoxy and remolding the vernacular. I shall alsoshow that the chief compiler, scholar-official, Li Mingzhong 李 明 仲 , was largely responsible for the richcultural implications behind this unique work.ABSTRACTVernacular architecture is a good model of sustainable design that fits in the natural climate andsocial context of its particular region. Traditional folklore residences in Japan show good examples. Theyare, however, facing difficulty in preservation and utilization, especially when the cultural-asset laws andlocal building codes make it difficult for the owners to use their home to its best function. Even thoughthose folklore residences are energy efficient, zero emission and low in environmental impact, they mayno longer be ‘sustainable’ in the modern economic and social environment with westernized lifestyle ofpeople. The author interviewed owners of cultural asset residences in Japan and identified obstacles forthe vernacular architecture in Japan to remain sustainable.Fujioka Residence, for example, is over 250 years old shop-house in Nara, in the west of Japan. For itis designated as an important cultural asset by law, the owner has the obligation to preserve their houseas it was originally, even though the traditional carpentry and the original natural materials cost them afortune nowadays. They are, however, one of rare families who still live in and use the historical houseunder this circumstance. The author observed and interviewed Fujioka family from 2001 to 2011, andfound that their financial and psychological burdens were caused by the lack of understanding by localpeople, including the government, researchers, educators, tourists and neighbors.The author also interviewed some other owners in the east of Japan. Their properties were damagedfrom the 2011 earthquake and tsunami, but the owners are still trying to restore the houses and keepthem functioning.A survey research on 280 students, including both domestic and international, shows that they all canunderstand the significance and value of the vernacular architecture as a model for an environmentallyfriendly lifestyle. The result also suggested a possibility of utilizing those historical residences forenvironmental education. However, other surveys on cultural asset owners and general public show thetotal lack of understanding toward historical houses, and local Japanese people had less understandingthan visitors from western countries. The lack of understanding often leads developers to make wrong andirreversible alteration on the vernacular architecture. We have to find ways to make proper introductionsof the vernacular architecture and enlighten local people with their irreplaceable values.Architecture ofNegotiationThe establishment of Standards as orthodoxy raises other questions: How was YZFS received? Howfar did its influence reach? How was it transmitted after Song? When did its role as orthodoxy becomedimmed and why? After its rediscovery in early 1900s, why was it again erected as the unchallenged textfor Chinese architectural history? This paper seeks to answer all these questions.KEYWORDSDesignation, Preservation, Utilization, Education, EnvironmentKEYWORDSYingzao fashi, Building Standards, Li Mingzhong, Orthodoxy, Vernacular62 63

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongThe Architectural Style and Cultural Connotation of Lu Mansions in Kaiping ofWhen Monumental Block Collides with Chaotic Urban Texture: New HousingGuangdongDevelopment in the Chongyang Re-adjustment AreaTAN Jin-hua SeliaWANG Chih-hungPh.D Student, The University of Hong Kong, Hong KongAssociate Professor, National Taiwan University, TaiwanTheme 2ABSTRACTDuring the Republican Period, many overseas Chinese returned to their hometown – Kaiping ofGuangodng to build houses for their families at home. Some of them followed the tradition to build localthree-bay-two-corridor local style dwellings, while many of them constructed thousands of buildings ina new tower style. They were: either diaolou for defensive purpose, or lu for the sake of better living. Thisnew architectural style not only changes the traditional cultural landscape of Kaiping, but also reflects thelocal people’s thoughts and life style at that time.This article will focus on the lu architecture, which contains more life information of the then Kaipingarea. The author will try to analyze the changes and characteristics of floor plans, facades, decorations,god worships, and the sky-wells of lu, and to explore the cultural origins of this new architectural style inthe overseas Chinese hometowns in Kaiping of Guangdong.KEYWORDSQiaoxiang, Hometown of overseas Chinese, diaolou, lu, Siyi area, Kaiping of Guangdong, ArchitecturalReformABSTRACTThe article attempts to use the case Chongyang re-adjustment area, which is located in New Taipeicity, Taiwan, to examine the relationship between the new housing landscape and the existing urbantexture. By the analysis of architectural form and field research, we connect these two different landscapesto the concepts of monumentality and vernacular architecture: the aesthetized housing block contrastswith the chaotic but vivid urban place. The contrast between them demonstrates an urban developmentstrategy driven by real estate market and gentrification. And this process also declares the birth ofaesthetic discipline in urban life.Over the past decade, a new kind of housing landscape, which was produced by several land readjustmentand zone expropriation projects, has emerged in the main cities of Taiwan. These newhousing landscapes are isolated from the old, existing urban texture, featuring high rise buildings, wideopen space, aesthetic design, and brand values in architectural form. They are gated communities withstrict security system and surveillance, usually accompanied with strict rules which regulate the space useand people’s conduct in open space. Therefore, there exists a strong contrast between these new housinglandscape and the existing urban districts which are chaotic and organic and full of illegal and mixed use.These new housing landscapes are fruit and symbol for the continuing process of modernization andcivilization of city; they are new heavens for new middle class in a chaotic, dangerous and filthy city.Architecture ofNegotiationThe author argues, these new emerging housing landscapes in Taiwan, embody a new kind ofmonumentality that likely threaten the vernacular urban texture. Also I argue the vernacular should not bemerely understood as ‘traditional local architecture’, but as a product of common people’s appropriationin everyday lives. After WW II, lots of modern apartments were built in Taiwan. Although their style weregreatly influenced by western Modernism, even could be said as a ‘copy’, these modern apartments stillbecome the vernacular architectures and demonstrate great vitality after being immersed in people’spractice of everyday lives. On the contrary, the purified, aestheticized new housing landscape, in spiteof fulfilling the modern housing dream, are monotonous and isolated, leaving no chance for cross-classinteractions and small businesses. The monumental visuality of new high-rise buildings, discarding allthe illegal appendages, billboards and mix uses, dominates and excludes the sensuous bodily practicesof vernacular urban living. These new housing landscapes are the new enclaves for the middle class whocreate an absolutely different lifestyle that embedded in a trans-local network. However, as we can see,they still rely on the convenient urban services that provided by surrounding area. Also, this real estateboom supported by governmental development project could trigger a giant bubble economy whichwill finally burst. If these new monumental blocks fail to develop its own organic texture, they mightturned to be ‘ghost towns’ in the forthcoming devaluation crisis.KEYWORDSHousing Landscape, Gentrification, Aestheticization, Monumentality, Vernacular64 65

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongExploration of Study on Genealogy of “Diao House” in Khmas Tibetan AreaA Typological Study on Traditional Vietnamese Housesin Perspective of TechnicUnder the Influence of Multi-CultureWANG Ji-hongLecturer, Southwest Jiaotong University, ChinaWANG Wei-juWAN Jiang Lecturer, Southwest Jiaotong University, ChinaAssistant Professor, Shu-Te University, TaiwanHAN XiaoLecturer, Southwest Jiaotong University, ChinaABSTRACTDiao House is the most typical architecture in Tibentan architecture system and is the origin of otherimportant architecture types such as Zongbao, Guanzhai, temple and manor.ABSTRACTFor a long time we had believed that the house patterns brought to the immigrant communities mustbe from their hometowns. But during the long-term study on the house types in Southeastern China,researchers have discovered that many types only found in the new settlements, not back at home.Theme 2From archaeology, Khmas Tibetan area is the cradle of Tibetan Diao House in three Tibetan zones,moreover, up to now,it is famouse for the most diverse types of Diao House, an important part of Tibetanhistory research, both in architecture and structure in the whole Tibentan area.Presently there was a great progress in research for Khmas Tibetan Diao House, however, for the vastterritory including Sichuan, Yunan, Qinghai and Tibet and inconvenient traffic around the HengduanMountain area, present research focused on static research, partial region, lack of dynamic diachronicstudy and comparison and integration among regions, even the absorption of research results in relativesubjects is not sufficent.Aimed at genealogy contruction of Diao House in Khmas Tibetan area, based on summary of earlierdwellings genealogy research methods, the thesis put forward a relative complete research frame ofDiao House genealogy in Khams Tibetan area, that is, in view of the particularity of Diao House in KhmasTibetan area, choose structure system, plan pattern, spacial pattern, decorated art and other single factorsto divide groups and summarize regions and build database, then integrate those single factor groupsby software and finally set up a complex genealogy of Diao House. At the same time, the evolution ofgenealogy and formation machanism were analyzed in culture and nature aspects by multidisciplinaryresearch method, namely combined the theories, methods and achievements in cultural anthropology,human geography and history.The research thought would not only lay the groundwork for future Tibetan Diao House historyresearch, but also provide concepts and enlightenments for how to carry forward tradition in modernarchitecture design all over the Tibetan area. At the same time, how to continue the national culture in therapid economic development in present Khmas Tibetan area made this research more urgent.KEYWORDSKhmas Tibetan Area, “Diao House”, Genealogy, DivisionThe reasons that such variation has been developed are not decided yet, but it can be concluded that:1).House types should not be identified or defined through a single concept such as spatiality ormateriality.2).It is possible that the factors deciding “spatiality”- spatial arrangement- and “ substantiality”-superficial tactic- can be separated.Based on the methodology proposed in earlier research “Typological Schemata System of TraditionalHan Houses in Taiwan and Fujian Area”, six layers from spatiality to substantiality are introduced, theyare: “default schema”、”base schema”、and “operation schema” of the spatial layers, and “form tactics”,”building tactics” and “surface program” of the substantial layers.In order to examine the effectiveness of this methodology, this study chooses Vietnamese houseswhich shows the influence of the Han Culture throughout the history. In addition to the Han influence,Vietnamese housing has adapted to the needs of native Vietnamese people as well as the imprints of theChampa Culture, providing an ideal condition for such an intercultural study for the “genes” of structuraltypology.Through the comprehensive comparison, the genes of Vietnamese housing are identified before theevolution of housing in the immigrant settlements over time.During the gene comparison, researchers have some findings from the minority groups in Vietnam:1).The Han genes found in traditional Vietnamese houses are fewer than what the researchers hadexpected. It suggests that spatiality that is formed deeply in life over time is not passed on easily betweendifferent ethnics.2).Traditional Vietnamese houses, including individual houses and and their settlements, largelymaintain the spatial genes from their origins of minority ethnics. It shows that the use of space mainlyfollows local experience.Architecture ofNegotiation3).More Han genes have been found in northern Vietnam, such as the form tactics of rooms andframeworks. Some wooden structures that might be categorized as Japanese genes have been found inmiddle Vietnam.4).Original genes of spatiality are largely maintained in building tactics of traditional Vietnamesehouses, including individual buildings and the arrangement of the settlements.KEYWORDSTypological Study, Traditional Vietnamese Houses, Han Culture, Structure of Typological gene, Evolution,Adaptation Mechanism66 67

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongMediating Publicness: The Social Life of Qílóu Space in Tainan CItyThe Small Dujiang Weir, the Water Conservancy Project of Baotun in Anshun ofWEY TiffanyFulbright Fellow, National Cheng Kung University, TaiwanGuizhou ProvinceCHANG Hsiu-tzu BettyAssistant Professor, National Cheng Kung University, TaiwanWU Qing-zhouTheme 2ABSTRACTIn the past half-century, streetscapes in Taiwan have evolved to accommodate rapid urban expansionand economic development. A critical component of the vernacular streetscape is “qílóu”, a mixed-usebuilding arcade that requires landowners to accommodate limited public access to private property. Theqilou is a contested space between the needs of urban users. This paper examines the spatial appropriationof qilou space to understand how public and private spaces are negotiated from an individual to collectivescale to create distinct social streetscapes in Taiwan.Through a case study of Tainan city, the research examines six commercial streets that representdifferent degrees of spatial appropriation of qilou. Rather than examining building typologies or stylesin the context of architectural preservation, this research focuses on the collective use of spaces tounderstand how qilou provides an architectural framework for urban social life. The data is collectedbased on in-depth interviews and field observations of behavioral patterns. Specific attention is paid tohow the space is physically modified via partitions, awnings, and platforms. Variables such as buildingtype, adjacent land use, and user type are included to analyze their spatial consequences.Professor, South China University of Technology, ChinaABSTRACTThis paper discusses the water conservancy project of Baotun in Anshun of Guizhou Province withreasonable planning and ingenious composition. It’s distinguishing features are as follow: simple andpractical structure, prolonging the axis of dams, using as more rock base as possible,using local materials.It has ten functions as irrigntion and drainage, water mill and roller,water supply, swimming, gardening,environment protection, flood control, military defence and transportation, promoting the unity of thenations.Therefore, it has the title as small Dujiang Weir, which makes Baotun rich and prosperous.KEYWORDSSmall Dujiang Weir, Features, FunctionsArchitecture ofNegotiationThis research found that qilou space does not only function as mobility infrastructure based on physicalcodes described by written law, but it is in fact governed by social codes mediated by street stakeholders.The degree of activity in qilou serves as an indication of publicness, a gradient of appropriation followinga negotiated code of conduct specific to the social life of the street. The strategies of appropriation alsoreflect a specific attitude toward potential customers and result in different spatial orientations. Anurban architectural form, the qilou’s spatial ambiguity allows for a multitude of interpretations as sites ofsocial exchange. This paper concludes with a design proposal that further facilitates the qilou as a site ofcollective use.KEYWORDSQilou, Pedestrian Space, Social Life of Public Space, Vernacular Streetscape, Tainan68 69

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongReconstructing the Potala Palace: The symbolic Presence of Qing Emperor and DalaiFrom Mary’s Alley to a Culture Street: Contested Traditions in InsadongLama in the Temple of Potaraka Doctrine in JeholYANG XuMuseologist, National Museum of China, ChinaYUN JieheerahAssistant Professor, Hongik University, KoreaTheme 2ABSTRACTThe Eight Outer Temples were built by Qing court in Jehol in 17-18 Century, which are royaltemples with great monumentality in political and religious. Among them, there are six temples whichwere built with some famous temples locating at the different places in national territory, as prototypes. Toimitate the landmark buildings all over the nation to a heartland, is an important phenomenon in ancientChinese emperors’ building behavior. The imitative buildings were always designed with strong politicalintentions. The “Imitative Temples” in the Eight Outer Temple was a concentrated reflection of this imperialart tradition. The imitative temples in Jehol were not designed strictly according to their prototypes. All ofthem had got different degree of deformation or reconstruction. What happened during the process ofimitating? What is the reason of the change? What about the design idea, psychological motivation andpolitical intentions behind the imitative building? This thesis tries to explore these questions.This thesis selects The Temple of Potaraka Doctrine ( 普 陀 宗 乘 ), one of the Eight Outer Temples,to do a case study. This temple is a imitation of Potala Palace, Lhasa, Tibet. I compare the prototypearchitecture and imitative architecture on their function and type, systematically analyse the changeoccurred during the imitating process. Firstly, I did repartition of the two main building to differentparts, and researched the congruent relationship between them. I find that the designer had some deepconsideration about politics role and funtion positioning to Potala Palace. Difference between the goldenrooves of they two announces the relation between their inner space and roof form. This article has alsoresearched the internal structure of main buildings, and revealed the fundamental difference of theirstructure by observing the constructing order in document of Qing Court. I argue that its structure is aprogram of eclecticism between Tibet style and Han style. The orientations of rooms have reported theirdifference on historical origin and complexity level. What’s more, this article also did research on thetwo building’s main hall: One is obviously a traffic center, the other itself is the core space of the wholebuilding; One aims at showing its inner space, while the other is catching eyes by its outer figure. Thecomparation of the main halls has revealed the fundamental diversity of them.This article shows that the imitating action of PutuoZongcheng Temple was influenced by thesubtle political relations between Qing Court and Kashag. Changes during the process of imitating were akind of re-creation under the aspect of Potala Palace. This is an expression of Qing Court’s Celestial Empireconcept and its definition to minority regimes. In this process, Qing Court had reconstructed the potalapalace with its own empire mode, and also constructed the Manchu’s political face as an empire ethnic ofHan, Mongolian and by using architecture language.ABSTRACTThis paper analyzes the urban changes in Insadong, a commercial district famous for intricate streetpatterns and sales of traditional paintings, artifacts, and “authentic Korean food.” Nicknamed “Mary’s Alley”by foreign residents due to its many curvy and dead-end alleyways, Insadong has long been synonymouswith Korean art and culture, and, since 1987, it has increasingly served as a stage for numerous festivals andexhibitions. Furthermore, the increasing popularity of Insadong as a tourist destination has prompted thecity government to designate the district as a Global Cultural Zone and as the site of one of Seoul’s CultureStreets. The government’s promotion of the district involved various street beautification measures suchas new stone pavements and implementation of a Car Free Zone.However, the changing ambience brought by redevelopments generated a controversy amongprofessionals and historians. Some are worried that the current rate of increasing crowds in Insadongmay permanently eliminate the area’s quiet ambience while others lament the invasion of foreigncommercial interests. Older Korean style houses have vanished while numerous contemporary buildingshave emerged. Supposedly, the “authentic identity” of Insadong is threatened not only by a proliferationof contemporary art galleries but also by cheap souvenir shops and an overload of restaurants. Theincreasing number of young generations and sales of “non-traditional” objects are perceived as damagingthe reputation of Insadong. The combined efforts of the city government and a non-governmentalorganization to promote the area have backfired, producing instead a narrative of loss.While indignant attitudes toward the current transformation are partly the result of a “culture policy”perceived as a tool for global place-marketing, placing the blame on “poor cultural taste” may inadvertentlymarginalize the burgeoning spatial practices associated with boheng-gwŏn, or the right to walkablestreets. Despite the close association between increased pedestrians and global cultural homogenization,this viewpoint fails to consider diverse manifestations of global cultural flows. At the same time, it takes anarrow definition of Korean tradition and culture, and neglects the inherent fluidity within these terms. Iargue that the current messy appearance of Insadong does not represent a loss of identity since it reflectsthe ongoing processes of local negotiations regarding what constitutes “Culture Streets.” By tracing thecontinuity between the current use of public space and the March 1st independence movement in thecolonial era, I conclude that invisible traditions live on despite the tendencies to channel the concept oftradition into a new development strategy.KEYWORDSAuthenticity, Identity, Traditions, Redevelopment, Walkable StreetsArchitecture ofNegotiationKEYWORDSJehol, Temple of Potaraka Doctrine, Qianlong Emperor, Potala Palace, Manchuria Characteristics70 71

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongBuilding in the Name of Sun Yat-sen: the Monumentality of Hankou Zhongshan ParkArchitecture of Negotiation: a Convergence of Monumental and Vernacular in thein Nationalist China(Re)construction of the Erwang Temple ProjectZHANG Tian-jieZHAO Chun-lanLecturer, Tianjin University, ChinaAssociate Professor, Sichuan University, ChinaTheme 2ABSTRACTIn Nationalist Hankou, the most ambitious spatial representation to commemorate Sun Yat-sen wasthe construction of Zhongshan Park, a symbolic space for the “Founding Father of the Republic”. As thefirst municipal park in Hankou, it opened free to all sections of the public. The park introduced to localresidents a new kind of public space and urban life different from old privileged private or imperialgardens. Taking Hankou Zhongshan Park as a specific case, the paper explores the monumentality of thispioneering government project to transform old urban space and also traditional society. The researchintends to reveal the diversified ways in which the park aroused the political consciousness among theheterogeneous and traditional population, and indoctrinated them with the ideology of the Nationaliststate in the Nationalist era.The paper firstly examines the conceptualization and materialization of Hankou Zhongshan Parkcontextualized in the cult of Sun Yat-sen promoted by the Nationalist government, together with theprofound challenge of China’s nationhood in the early twentieth century. After his death in 1925, Sun Yatsenwas widely used as a nationalist symbol. The ideology of Sun and the Guomindang regime was at thesame time inculcated among the masses, which aimed at transforming the disorganized Chinese massesinto a cohesive, politically and nationally conscious citizenry. It was in this context that Hankou municipalgovernment decided to build Zhongshan Park as one of the top priorities among the reformist projects.Secondly, the paper investigates the park-building initiatives of Hankou’s governmental officialsagainst the backdrop of nationwide urban reconstruction in the 1920s. From their perspective, a newpublic park was an outward symbol for republican egalitarianism, in accordance with the ideal of “People’sLivelihood” (minsheng), one of founding principles of Sun’s thinking. Besides, Zhongshan Park was asuitable public space to house monuments and also a fitting ceremonial space to perform new rituals inremembrance of Sun Yat-sen.The paper further examines the architectural settings to commemorate Sun. In Hankou ZhongshanPark, a variety of physical components were configured from 1928 to 1937 under the name of Zhongshan.They usually referred to Western counterparts or traditional memorial structures, recalled Sun Yat-sen andhis events, and further provoked the public to ponder the significance. The research attempts to elucidatehow the structures perpetuated Sun’s existence and explicitly guided the viewer’s imagination about Sun,the Guomindang party and the nation-state.ABSTRACTAlthough the monumental and the vernacular have been considered two distinctive approaches inmost architectural research and practice discourse, the author argues that there also exists a possibleconvergence of the two within a single architectural project. Based on careful studies of abundanthistoric literatures and archive materials, as well as on-site investigations after its recent post-earthquakereconstruction, the author believes that the Erwang Temple, located on the Chengdu Plain and next tothe renowned Dujiangyan Irrigation System, is such an appropriate and vivid case to exemplify such anopinion and viewpoint.By reading and analyzing related materials around its socio-spatial formation and transformationprocess in history, the author intends to regroup and reconstruct discovered evidences of the monumentaland the vernacular in a juxtaposition manner at each level, i.e. project initiation, site selection, landscapeplanning, spatial organization, architectural design, construction technology and details, societalreactions and reflections, etc. Meanwhile, it is interesting to find out: 1) what is the deep socio-culturalrelations between the temple and the adjacent irrigation system; 2) how the worship of Li Bin and hislegendary son, two deified historical figures from the local, has become a shared will of the higher sectorand the lower of the Chinese society through the continuous (re)construction of the physicality of thesite; 3) more over, what are the underlying social forces and cultural factors that have contributed todefine and shape the uniqueness of this project.In short, this research intends to conclude that the monumental and the vernacular are not alwaystwo opposite positions and stands that one excludes the other. In fact, when there is a shared socioculturalintention and vision by both higher and lower sectors, it is possible to bring the two positionstogether through creative works of architecture. And most likely, the physicality of such an architecturalproject (site) will be respected by the formal and the informal, the state power and the ordinary people,and will be cherished and carefully maintained generations after generations. In return, its socio-culturalimage and meaning becomes an indispensible component of both national and local cultural identities.KEYWORDSThe Erwang Temple, Monumental, Vernacular, Architectural Negotiation, Cultural IdentityArchitecture ofNegotiationFinally, the essay investigates common park-goers’ activities. It attempts to unveil local responsesto the top-down monumentality in Hankou Zhongshan Park. Through unofficial materials, observance,misuse, conflicts and negotiations can be identified and scrutinized. Based on the above analyses,the paper argues that Hankou Zhongshan Park became a routine space of collective remembering,governmentally and nongovernmentally, keeping Sun Yat-sen’s charisma alive and inspiring his followersto finish what he started.KEYWORDSPublic Park, Monumentality, Sun Yat-sen, Nationalist China72 73

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongBridging Communities and Architecture:The Tradition of Culture Heritage Conservation in Qing Dynasty:Ownership Structure in the study of Chinese Collective Housesthe Case of Pan MountainZHENG JingZHU LeiPostdoctoral Fellow, The Chinese University of Hong Kong, Hong KongLecturer, Tianjin University, ChinaTheme 2ABSTRACTThe Collective houses dispersed in the vast region of western Fujian, eastern Guangdong and southernJiangxi Province in China have received considerable scholarly attention during the past decades. Recentstudies attempted to build up analytic systems to understand the evolution of the architectural forms, aswell as the underlying connections with the communities. However, without solid historical data on theconstruction intention, it is difficult to establish convincing connections between the owner-occupantsand architectural forms.This paper attempt to explain the synchronous diversity of building forms and the periodictransformations inside a settlement, by focusing on collective houses built in the 20th century. Basedon investigations of the builders of these collective houses, I suggest that the structure of collectiveownership is the link between the residential community and the spatial configuration of collectivehouses, because the residential members were not only owner-occupiers of the collective houses butoften also the builders. The relations between collective members and their practical considerations weredecisive in forming and transforming the houses.ABSTRACTAbsorbing the Han Culture was the important mode of governing in Qing Dynasty(1644-1911). Thepaper tells the tradition of culture heritage conservation in this background through researching thehistorical materials and the field work. Unsurprisingly, that numbers of the historical relics before theQing Dynasty remain now should benefit from the preservation of the Qing Dynasty. In the case of PanMountain which has a long history from Cao Wei(220-265) and the antiquities since the Tang Dynastywas protected by the royal of Qing. Because of the East Mausoleum area of Qing Dynasty being built inZunhua, the Pan mountain which is the amazing landscape on the way from Beijing to Zunhua, becamethe place which the emperors often visited, so the protection had the policy support and the fund. AXanadu was built in Pan Mountain in Qianlong period. The historical relics were not only protected bythe method of relocation, rebuilding and repairing but also used to improve the culture contents of theXanadu. Until now , the conservation measures have been positive. Since then, the preservation had notbeen interrupted until the end of the Qing Dynasty. So the Pan Mountain is studied as a epitome of thetradition of culture heritage conservation in Qing Dynasty.Architecture ofNegotiationTwo types of ownerships are discussed in order to understand the ownership structure: collectiveand private. Collective ownership refers to assets and property that belong to a body of people whocontrol their use. These structured collective ownerships could be cooperatives, corporations or clans.To govern how assets are used, shared or treated, the collectivity may impose certain regulations on itsmembers. Private ownership refers to a subset of collective property whereby a collective group owns.In different consequences, a collective ownership could be structured distinctly. In some occasions, suchas in cooperatives, all shareholders enjoyed an equal right to the shared property and the organization isdemocratic. Some collective ownership may follow the original structure of the collectivity. For instance,the clan ownership often resembles the hierarchical structure of the social institute.KEYWORDSTradition of Culture Heritage Conservation, Qing Dynasty, Pan Mountain, XanaduThis paper starts with an examination of current approaches on analyzing the composition ofrural communities and housing complexes in southeast China. Based on these studies I build up a setof symbolic expressions to visualize the composition of spaces in collective houses and the structureof collective ownership. I propose the Clan and Cooperative Models and analyze how communitiesalternated between the two models to form residential collectivities and recruited members. At last, Ianalyze the variation of socio-political circumstance in history and suggest how they affected the formsof collective houses.KEYWORDSOwnership, Social Structure, Collective Houses, Communities74 75

2012 International Conference on East Asian Architectural Culture, Hong KongConservation of the Built Environment in IndonesiaATMOKO Teguh UtomoLecturer, University of Indonesia, IndonesiaTHEME 3ARCHITECTURE CONSERVATION IN PRACTICE:FROM IDEAL TO PRAGMATICThe practices and philosophy of conservation have been continuouslyevolving. Depending on social and cultural contexts, each case for architecturalconservation generates new discussions. Particularly in East-Asia, the fastpacedeconomic growth results in new developments that confront daily withconservation of historical buildings. Issues regarding conservation ideals indetermining the values that lead to actual practices will be the focus of thistheme. The continuing negotiation between the ideal and the pragmatic, andthe shifting definition of the two, shall be emphasized.ABSTRACTArchitectural conservation has been evolving from the conservation of historic monument to theconservation of the built environment, the building and the site, that the latter is often parts of a city.Therefore, more and more of the built environment is subject to the conservation. At the same time,there is a shift of the conservation methods that treating the object from archeological artifact to thearchitectural artifact. These shifts involve many negotiations between the ideal and the pragmatic.As the conservation was originated from the school of archeology, the ideal practice and philosophyof built environment conservation is considered of theirs, while the pragmatic is from the discipline ofarchitecture or non-archeology background discipline.Conservation of the built environment in Indonesia began with the conservation of ancient historicmonuments such as temple ruins and other archeological sites. Therefore, it is understood that thepractice and philosophy of conservation was heavily dictated by the school of archeology, and oftenneglecting the nature of the architecture, manmade structures and spaces used / occupied by humanbeing.Today the conservation efforts are also include the architecture of the past, buildings and urban sites.The buildings include the vernacular buildings and the buildings from the colonial era, which differentform the ancient temples, architecturally. Event, in some cases, these heritage building was constantlybeing remodeled or intervened because of the nature of its structural and construction or the nature ofits usage, which provoking debates between the ideal and the pragmatic.However, with the time passed by and the development in this market-driven continue, more andmore heritage buildings are conserved and reborn again. Architectural conservation practices overthe last decades in Indonesia, which in the process bring more understanding about the nature ofarchitecture, chiefly building, lead to the pragmatics and the idealist closer, and it is a positive gestureto the conservation efforts and to the stakeholders especially in this part of the world where the fastpacedeconomic growth results in new developments that confront daily with conservation of historicalbuildings taken place.Architectural Conservationin PracticeKEYWORDSConservation, Building, Architecture77

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongResearch and Exploration on Buildings Administration in Historic TownResearch on Recovery of the Sites of Circular Mound Altar and Square Mound Altar in- Taking Cicheng Ancient Town in Ningbo as Examplethe Middle Capital of Ming DynastyCAI LiLecturer, Ningbo University, ChinaCAO PengAssociate Professor, Tianjin University, ChinaTheme 3ABSTRACTGovernments in China have always attached great importance to historic cities, towns, and villages.Cicheng ancient town is one of Ningbo city’s satellite towns in Zhejiang province. In 2005 it was evaluatedas China’s famous historical and cultural town. It retains ancient defense system composed by rampartswall and moat. Inside town couples of streets were planed vertically and horizontally following Chinesetraditional pattern of county seat, where rivers were also dug paralleling close to the streets, whichcrisscrossed into dual - chessboard traffic system and unique streets space.Cicheng government has invited several renowned universities to offer ideas for town’s conservationand development. However, there still exits several problems. The first issue is that much more attentionwas paid on historic sites than common sites, which led to unbalanced control of buildings conservation.The second contradiction is that conservation planning for town will restrain massive activities of buildingnew construction while civilians are eager to have new houses with better living conditions. Thirdly, lackof proper guidance of construction masses of spontaneous housing repairs and decoration can breakand even damage town’s traditional appearance. In conclusion, we put more emphasis on key buildingsin key site and neglect massive ordinary buildings in the rest of town. And we also have no effective andoperational approach to guide civilians to construct or renovate their buildings. All these finally make theimplement of conservation of historic town more difficult.Based on the above analysis, we summarize that the building objects administrated not only arehistoric architecture, but also should be all of building monomers in this ancient town, which shouldbe treated not better or worse without hierarchical difference and only can be distinguished by variousspecific measures from an administrational perspective. And effective and direct constructional guidanceor reference should be formulated to regulate civilians’ construction activities of reforming or newlybuilding their own houses so as to maintain traditional style of this historic town.ABSTRACTBuilt since 1369, the Middle Capital of Ming Dynasty, sited in Fengyang City, Anhui Province, is animportant example of ancient Chinese capitals. The Circular Mound Altar and Square Mound Altar,respectively used to worship heaven and earth at the south and north suburb of the capital, are theexisting crucial sites of altar construction of ancient China. In this passage, a new judgment on theinside and outside walls of the Circular Mound Altar and Square Mound Altar is put forward, through theresearchers’ remote sensing images analysis, field survey and literature research. And the design ideas,methods and theories more than 600 years ago are also revealed, through the recovery and research onthe layout and shape of the two sites from the literature and measurement data.KEYWORDSMiddle Capital of Ming dynasty, Circular Mound Altar, Square Mound Altar, Law of scale and size,Mathematical philosophyArchitectural Conservationin PracticeCorrespondingly the research is composed by two parts: one is specialized study on traditionalarchitecture in Cicheng town. This comprehensive, objective and in-deep research on traditional culture,which’s aim and content should be served for practical demands, is the premise to achieve and improvebuildings administration work; The other is research for buildings’ evaluation and classification standardand counterpart classified measures for buildings administration. we draw inspiration from bottom-uppragmatic wisdom by folks and frontline administrational experience or lessons, and align administrationobjectives with civilians’ expectations,thus to explore the possibility of a win-win situation betweendevelopment and preservation in historic town. Further, we sample several typical building monomers inone block as case analysis in order to describe the process of application of research findings.On account that buildings administration is a long-term and arduous project, we offer an operationalapproach that administration mode following buildings classification should be spread gradually block byblock with continuous review and timely correction by practice. Supported by above, we will eventuallyachieve the goal to preserve historic towns.KEYWORDSAncient Town, Buildings Administration, Traditional Architecture, Evaluation Criteria78 79

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongDiscovering Historical Remains of Building Painting by a Multi-disciplinary ApproachComprehension and ConsensusCHEN Li-fen Ph.D, National Cheng Kung University, Taiwan/ University Bamberg, Germany– The Reutilization Theory in the International ChartersDREWELLO Rainer Professor, Building Preservation Science, University Bamberg, GermanyCHEN Shu-yanHSU Min-fu Professor, National Cheng Kung University, TaiwanLecturer, Tianjin University, ChinaTheme 3ABSTRACTThe combination of analytical methods is the key to gathering assured information about historicalobjects. In our research concerning the Beikang Chao-Tian temple in Yun-Lin county we are combiningknowledge about the historical background with a complementary scientific study. Our goal is to describethe painting concepts used in the temple and their evolution.The Beikang Chao-Tian temple is an interesting target for this type of study as it is the only temple inthe Yunlin County of Taiwan to be listed as a national historic building. For three centuries, this temple hasundergone major and minor renovations and repainting works. Generally, the local painters have paintedover the existing layers. Thus the old painting layers from different time periods have been unintentionallypreserved throughout the years. The study of historical sources delivers information about the painters,the year of painting, and the repair history. However, through the evaluation of on-site oral interviews,we have found that the information gathered is still not accurate enough to compile a comprehensiveoverview of the temple’s painting history.To fill in the gaps, we can employ a number of analytical approaches to scientifically analyze thepaintings. For example, energy dispersive x-ray spectroscopy (EDX) is an analytical tool widely used todetermine the elements in a chemical composition. Infrared and Raman spectroscopy are complementarytechniques that are in addition able to identify the organic compounds that are used in binding materials.Light microscopy and secondary electron microscopy can be employed to observe details in the layerssuch as structures in the materials. By applying these techniques to exemplary micro-samples taken fromthe paintings, we can build an understanding of the types of pigments and binding materials utilized. Theresults can then be cross-referenced with painting techniques from various time periods to improve ourknowledge about the painting.ABSTRACTThe heritages charters have a clear development since 1931. The relationship about preservationand utilization has transformed from antagonistic and critical to comprehension and consensus with theeconomic growth and further understanding, which is developing extensive cooperation by the way ofinternational law. Self-sufficient ability of heritage is becoming a worldwide topic, principles, processesand implementation approaches about reutilization theory, which were experiences and theory summaryof nations, had been write in international charters, but it is self-evidence even more less than the theoriesof preservation and renovation. However, heritage workers and heritage hosts should attach importanceto innovate and practice heritage reutilization theory, assuming the preservation. And the bold attemptto new processes could lead the reutilization of heritages.Heritage reutilization is just beginning in China, the understanding about domestic heritages andspirit of international charters are still need to going further, the practice is always hover around. And weshould break barriers from learning some successful experiences for being alive. This situation in China isjust a minor example of a much broader phenomenon of eastern Asia.KEYWORDSWorld Heritage, Charters, Preservation, Reutilization, InstanceArchitectural Conservationin PracticeThis investigative study focusing on historical pigments will be used as a historical reference forbuildings in Taiwan and should give guidance for future repair activities. To date, a preliminary study usingEDX has been performed that reveals clear layers in many of the paintings analyzed so far. Furthermore,it has been found that these layers contain different elements thus supporting our theory that there arehidden paintings beneath the current paintings.KEYWORDSBuilding Painting, EDX, IR/Raman, Pigment History, Repair, Temple80 81

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongTwo Basic Types of Wood Constructions in East Asian Traditional Houses:Living Historic Cities:Horizontal Stacking and Vertical Trussinga Conservation ApproachCHEN Yao-ruWANG Yi-pinAssociate Professor, Cheng Shiu University, TaiwanResearch Assistant, Cheng Shiu University, TaiwanDE AZEVEDO, PimpimCo-director, Tibet Heritage Fund / MRes student, University College of London, PortugalABSTRACTLEE Kuan-huiResearch Assistant, Cheng Shiu University, TaiwanEthnic groups of East Asia have built diversified house types for thousand years. Many brilliant housetypes can be seen in Southeast Asia, Japan and China. Every single house type was built with talentedconcepts and skills, which inspires our curiosity and imagination.In the cases we surveyed and studied, two basic types of wood construction systems may becategorized as “horizontal stacking” and “vertical trussing”. In “horizontal stacking” system, columns withequal height are built together to form an invisible platform, on which the roof was constructed. Horizontalplatform offering a transformation interface is the general rule, as well as the rule of constructionmembers stacking to form the roof structure. In “vertical trussing” system, columns with different heightsare arrayed and combined with short beams to form a single truss, and several trusses are juxtaposed toconstruct a house’s framework with roofing covered. (Fig.1&2)ABSTRACTIn recent decades, the conflicting needs of urban development and conservation of historicarchitecture have created different gradations and meanings in architectural conservation in East Asia.The pressure to provide rentable space in old cities is a fundamental part of modern urban development,but it is also important to find solutions to preserve vernacular architecture as a part of common heritage.Often the decisions that prioritize economic development are made so quickly that there is notime to create adequate conservation plans for historical sites, resulting in the loss of historic, authenticbuildings and spaces and their heritage value. This loss will also affect the tourism industry and the studyof vernacular and historic architecture in future.This paper will present the work of the author and Tibet Heritage Fund as a conservation approachto historic urban sites in Asia and suggest how living architectural forms can be adapted without losingheritage or economic value.Theme 3This study will present that most of Southeast Asian house types adopted “horizontal stacking”system, few adopted “vertical trussing” system. “Encroached construction” is another featured option forsome Southeast Asian houses, always accompanied with “horizontal stacking”. The “horizontal stacking”and “encroached construction” can be also found in Japanese house types. However, Chinese house typesadopt “vertical trussing” without any “encroached construction”.3D-modelings are used in this study to demonstrate the construction processes of different housetypes. From the demonstration, features of “horizontal stacking” and “vertical trussing” can be easilydistinguished and observed in two aspects: formation of roof form and spatial layout under construction’sinfluence.These two basic types of wood construction systems have driven house types into differentdevelopments. House types based on “horizontal stacking” system present diversified roof forms, morefree spatial layout, and unlimited variations in appearance. Comparatively, house types with “verticaltrussing” system present fewer options of roof forms and no encroachments. Single house volumecontaining simple spatial content, it always grows into large amounts of house groups as the house typehas to meet multi-needs.This approach emphasizes the participation of residents and the community as a means of ensuringthe success of conservation initiatives.In this approach, architectural preservation cannot be done without the original users, people whomaintain not only the building but also the living traditions of which it is an expression, keeping a richerurban architectural culture alive.I will show how essential it is to involve local craftsmen trained in local building technologies and howpreservation and renewal of these traditions is a key to architectural conservation.This approach is proposed as an alternative to re-building with what Dr. Liu calls the “the preservationof cultural memory”, where living architecture is replaced by new buildings incorporating some localmotifs to give a local flavour. These new buildings are generally designed and built by people from outsidethe local environment and made in the most economical way, often not appropriate to the local climate.I will suggest that ideally, for conservation interventions to be successful, local government, localcommunity, craftspeople and conservation experts need to work together.Architectural Conservationin PracticeFrom the viewpoint of basic types of wood construction, this study re-examines the house typesappeared in architecture history. The adaptability of house constructions and spaces in East Asia will beproved to connect with the basic concepts of construction.KEYWORDSConservation, living architecture, Inhabitants, CraftspeopleKEYWORDShouse type, house construction, encroached construction, horizontal stacking, vertical trussingFig.1: “Horizontal Stacking” system in Batak Karo house (Chen,2008)Fig.2: “Vertical Trussing” construction systemChinese house(left) (Liu,1982), Minangkabau house(right) (Chen,82 83

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongStudy on the renovation of the floating market in Hua Wiang, Thailand.A Preliminary Study of Tng-ko of Caisson Ceiling (Zao-Jing)Rafting houses measure, diagnosis and reuse.- Use Master Carpenter Han-Jen Hsu as an ExampleFUJII OBANA, ManuelPh.D Student, Kyoto Institute of Technology, JapanHSU Min-fuProfessor, National Cheng Kung University, TaiwanYAGASAKI Zentaro, TACHAKITKACHORN Terdsak OTA, Shoichi, TSUBOI Hisako, KUMAGAI ToruLIN Yi-chunAssistant Researcher, National Cheng Kung University, TaiwanABSTRACTHuan Wiang is a small village located along a branch Chao Phraya riverside, approximately 80 km northof Bangkok in Sena district, Ayuthaya province. The village is basically composed of the riverside area andthe newer inland area. We obtained verbal information about the evolution of the rafting houses, butdue to the lack of written records we could not verify its accuracy. We found three stages in its evolutionuntil the current status. First, the presence of Chinese nomadic traders on the river who had their housesbuilt by Thai carpenters allowed the free transport, commerce and housing in the same space. Second,following the modernization of the country, the Thai Royal laws banned floating houses on any river.Consequently, all floating houses were brought to landside and built on stilts higher than one story and ahalf due to the rising waters and floods in the region. Finally, the increasing number of residents led to thehouses extension causing an expansion and urbanization from the original village size. The houses wereintertwined between them and this created common sharing spaces (bridges).WU Tien-jungAssistant Researcher, National Cheng Kung University, TaiwanABSTRACTCaisson ceiling (Zao-jing), also known as “spider spins its web”, is a unique decoration in TaiwaneseHan-style traditional buildings. The decoration is tenoned by tou and kung which rise and shrink intothe commanding point, formed a umbrella shaped structure on the ceiling. This kind of structure usedto support the skylight, but develop into a place for craftsmen to demonstrate their extraordinary skillbecause of its complicated structure and gorgeous design.The study attempt analyzing Tng-ko of caisson ceiling (zao-jing) from interviewing master carpenterHan-Jen Hsu, record and establish Tng-ko rule from carpenter’s Lo-ko procedure during implementation.Trying to understand Hsu’s thinking procedure and scale measurements for this traditional frame.Theme 3This study was divided into three scales: urban plan (general mapping of the area, zoning, actual useand possession of ships for fishing or river transportation), architecture exterior plan (survey of housesand the relationship with their neighbours, real heights, check of the structures of houses and diagnosis),and architectural interior plan (measure and draw of plans of 5 selected houses, analysis of the type andchoice for areas for protection and conservation, analysis of problems caused during the rainy season andpossible solutions).We discovered structural problems in the houses, decline of the original townscape produced by nontraditionalarchitectural elements, and discordance in the space use. In the original state of the raftinghouses, a “core” space with Chinese ornamentation and furniture for product display was facing to theriver as an evidence of the residents lifestyle. However, with the shift from fluvial to road transportationthe core space was now used as a storage room and displaced to the back of the house. Furthermore,currently, to protect Bangkok from the floodwaters the Thai government altered the course of the watersto the rural areas. This raised the level of flood in the existing houses, causing further deterioration.KEYWORDSTng-Ko, Caisson Ceiling, Zao-Jing, Master CarpenterArchitectural Conservationin PracticeFrom the collected information, we are developing a conservation plan and recommendationsconsidering the equilibrium between the current villager lifestyle and the maintenance of its historicalproperties.KEYWORDSThailand, Rafting House, Floating Market, Renovation, Architecture Survey84 85

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongExtraordinary Restoration of Tsunami Damaged Heritage Buildings at Kesennuma,Regeneration of Historic Buildings in Houpu Old Town in KinmenJapan- Focused on the Partnership of Local Authority and ResidentsIZUMIDA Hideo Professor, Toyohashi University of TechnologyLIN Mei-yinIMAI Keita, EGUCHI Keita, KAKIAGE Toshitak Graduate Students, Toyohashi University of TechnologyAssistant Professor, National Quemoy University, TaiwanTheme 3ABSTRACTHundreds of towns along the Sanriku Coastal line were swept away by the giant tsunami in March11, 2011. No historical buildings survived except of Kesennuma city, where some heritage buildings wereleft on the site in tremendous condition. As the city’s heritage division was looking for possibility to savethese damaged heritage buildings, author and his graduate students assured them of giving full assistantto realize it. The survived buildings are not only the city’s heritage, but also monument of the disasterand hope of recovery. Therefore, we took extraordinary restoration way, which has probably never beenapplied into ordinary case.The heavily damaged buildings are two, both of which are timber-framed construction plastered bymortar in outside and by stucco in inside. The lower stories were hit away by ships and large floatingrubbish and the upper story survived. After examining condition of the damages, we proposed somefeasible restoration idea for these buildings, considering the cost, construction technique and significanceof the buildings.KEYWORDSDisaster, Heritage, Restoration, Timber Construction, Mortar Plastering, TsunamiABSTRACTKinmen island is located off the southeastern coast of Fujian Province in Xiamen Bay at the outlet tothe Jiulong River. The total area of Kinmen is 152.47km2, but with 167natural formed villages. Most ofthose villages conserved different cultures with traditional culture of South Fujian, Overseas Chinese, andmilitary culture due to Cold War. Houpu Old town is the biggest town and center area in Kinmen sincethe government office was established in 1734. In 2009, sixteen Chin family’s shop houses in Houpu oldtown were restored with the subsidy of conservation of historic buildings. Moreover, the partnership withlocal authority and citizen was built for the regeneration of those buildings in 2010, which is considereda totally new style of conservation project in Kinmen . The purpose of this research is to analyze this newstyle regeneration project from the following points of view: (1) The position of these historic buildings inthe old town; (2) The operation system of the partnership by local authority and residents. (3) The effectsand issues of the practice of the regeneration by the partnership.KEYWORDSHistoric Buildings, Kinmen, Partnership, Local Authority, Citizen ParticipationArchitectural Conservationin Practice86 87

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongCore Education of Taiwan Traditional Timber FrameResearch on the Regeneration Management Mechanism of the– Use “Tng-ko” Preservation and Training Project as an ExampleHistorical Area of Tainan City, TaiwanLIN Yi-chunHSU Min-fuAssistant Researcher, National Cheng Kung University, TaiwanProfessor, National Cheng Kung University, TaiwanLU Chi-pangCHEN Shih-mingPh.D Student, National Cheng Kung University, TaiwanAssociate Professor, National Cheng Kung University, TaiwanTheme 3WU Tien-jungAssistant Professor, National Cheng Kung University, TaiwanABSTRACT“Tng-ko” is regard as the core foundation of Han-style traditional buildings. This technique was notprovided with every master carpenter after their learning period. The impartation of this invaluabletraditional building technique was limited and represents a special position in the craftsman’s team. Thestudy and the four months’ project are based on the willingness of master Zhi-Der Liao and Han-Jen Hsuto pass on their tsuang-dou and dei-dou “Tng-ko” technique.Different from traditional inheriting process, preservation and training education project attempt toanalyze the thinking procedure and scale measurements of Taiwanese Han-style traditional buildings,and actual proof the analysis through master carpenters’ explanation and existent timber frames. At thesame time, training promising carpenters and teaches them how to put “Tng-ko” technique to real use.By operate practically and popularize digitally, these invaluable traditional building techniques will bepassing on perpetually.KEYWORDSTng-Ko, Preservation and Training, Taiwanese Han-style Traditional Buildings, Master CarpentersABSTRACTThe regeneration of historical areas is a debate between historical preservation and contemporarylife-style. The early-developed areas in Tainan City lack public facilities and public spaces; therefore, theoperations to regenerate these historical areas are primarily focused on the hard-ware element from theperspectives of the government and academic experts to provide the residents with public spaces, andneed the participation of the local residents in regard to the soft-ware element.Recently in Tainan City, local schools, local communities and NPOs have practised various managementmechanisms to contribute to the town management organization of the historical area. This researchaims to propose practical plans for such local organization involving cooperation between several localgroups such as residents’ associations, schools, communities, temples, churches and so on.The study found that town management involving multi-group participation is the key factor in theliving culture and the environment of the regeneration. The processes practised in the area demonstratethat the regeneration of the historical area needs a combination of both the hard-ware element and thesoft-ware element in a single track. Coordinating local cultural events enhances the engagement andexchanges between local residents and the management mechanism and continues the legacy of localculture at the same time as cultivating a new cultural style. The process of event planning helps to identifyreleasable and reusable spatial resources within the historical area. These spatial resources can then beintegrated into cultural events, and ways of management and negotiation of the spatial resources can bedeveloped.Architectural Conservationin PracticeKEYWORDSConservation, Regeneration, Participation, Local Organization, Management Mechanism, Historical Area88 89

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongBrief Rethinking in the Foretime and Aftertime of China Architecture:Importance of the Interior Design in Architectural Conservation and Practical Use:Evaluated on Structure System and Cultural Comparison based on Guanyin PavilionSpirit Inherited with a Designin Dule MonasteryLV Qiu-chenChongqing University, ChinaNAGATA Keiko Assistant Professor, Nagoya Institute of Technology, JapanTAKAGI Masato Kyoto Institute of Technology, JapanTheme 3ABSTRACTIn western architecture development, Brunelleschi built the straight sections of the dome’s panels asflat arches between the main ribs, which is the recorded first attempt of frame structure. Then with thecontinuous material development and technology innovations, western structure evolves into today’sreinforced concrete frame structures. For its reasonable structure style, it is widely used in all over theworld. While compared with west, for thousands of years, ancient Chinese architecture has gone througha long and tortuous path. But we cannot have a structure type like frame structure until today. LiangSicheng said, we need to create architectures suitable for our Chinese people. So this article aims tocombine structure with architecture based on Guanyin Pavilion, and this is a practical method to analyzeChina wood buildings from structure view.The article will take Guanyin Pavilion in Dule Monastery as astudying case. Guanyin Pavilion is a typical wood building andits position as the excellent wood structure never be doubted.Compared with western architecture, how we can achieve the samespatial pattern inspired by China architecture, how we can derive thereasonable stress flow from ancient Chinese building, or how canwe achieve the unique Chinese space from Chinese wood structure.This article will be three parts: structure part, culture part andcomprehensive analysis:1. Structure part; The part will mainly focus on two aspects. Thefirst one is the overall macro analysis on this outstanding structuresystem combine using Ansys or Midas, while the other is its pillarsystem and pingzuo story. The second part focus on its pillar systemaiming at analyzing its reasonable stress flow chart and stress cloudchart for further design. While pingzuo story as the most importantpart in China Architecture, its function is the most impressiveresearch point.ABSTRACTMany buildings built before the first half of the 20th century in Japan are superannuated, and the timewhen a plan decision must be made is drawing near. When accepting value as a traditional building, it isas follows as the plans of management between an owner and peripheral people;1. The situation at the time of building completion is restored and maintained.2. The purpose of using a building is changed and interior is made to correspond. (Ex. reformation toa restaurant, a shop, a meeting hall, an exhibition room, and so on3. Many of structures of a building are made new, and furniture and an interior design are transferredand maintained.Thorough examing private school building constructed in the first half of the 20th century inYokohama, this paper attempts to interpret the importance of architectural design which expresses spiritof architecture from the perspective of decision of design and move construction of interior items andmaterials.This school building completed in 1929 groped for the plan for coping with superannuation. Interiordesign and elevation design were saved for symbols of spirits.KEYWORDSBuilding Conservation, Management, Architectural Design, Interior DesignArchitectural Conservationin Practice2. Research and analyze the western structure sciences evolution history and western architecturedevelopment history; while focus on conducting analysis on these practical rules and practical theoriesfor Guanyin Pavilion.3. Based on the comprehensive studies of structure analysis of Guanyin Pavilion and integrationof Western and Chinese documentaries and references, conduct analogy analysis on wood structure ofGuanyin Pavilion and finally achieve the analysis on the uniqueness of wood structure as well as potentialapplication in modern architecture designs. Then, try to simulate the same spatial pattern as framestructure by using Guanyin Pavilion analysis result.With the evolutions in western structure development and architecture designs and thus to conductfurther researches in traditional Chinese wood structures and its potential application in modernarchitecture and structure designs, this article aims to achieve from ideal to pragmatic.KEYWORDSGuanyin Pavilion, Structure System, Western Architecture History, Chinese Wood Architecture, Fusion9091

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongDevelopment of Row-of-houses Preservation Projects in TaiwanRecycling Patrimony:NISHIKAWA HiromiCultural Negotiations of Chinese Material HeritagePh.D Student, Kyoto Institute of Technology, JapanORTELLS NICOLAU, XavierPh.D Student, Autonomous University of Barcelona, SpainTheme 3ABSTRACTIn Taiwan a number of Lao-jie is remained. Lao-jie is traditional row-of-houses which is consisted inshop-houses. Recently the row-of-houses preservation project took effect everywhere in Taiwan. The wayof the preservation project has the characteristic different from the way of Japan.In Taiwan the architecture of shop-house has been actively discussed after World War 2, then, itreached its study peaked in 1980’s. In administrative system, Council for Cultural Affairs was establishedin 1981. The preservation activity by inhabitants became obvious as a result of Community BasedDevelopment developed in 1994, and the row-of-houses preservation came to be encouraged. AndTownscape Renaissance Project by Taiwan Provincial Government has great effect on preservationprojects of provincial cities. The preservation projects had been widely implemented until 2000. Thosepreservation projects have more than 10 years, it can be said came time to verify.The system which preserve the low-of-houses by surface of those façade dose not exist in Reviseof Cultural Asset Reservation Law that the act on the preservation of historical architecture in Taiwan.However, there is a preservation project borrowed (refer) from City Planning Act. But, the preservationproject that the whole low-of-houses is certified and preserved is not taken effect in present. In an actualpreservation project, many cases designate as Cultural Properties by a shop-house. In this wise, thepreservation project of Lao-jie in Taiwan is developed a characteristic project each Lao-jie.The scenery which is the low-of-houses of Lao-jie has been characterized extremely by a constructionand a design of the arcade (Din-a-ka) which was obligated by Taiwan Housing Regulation in 1900, thelow-of-houses is sharing similar façade. Therefore the subject how to operate a similar construction ofthe low-of-houses and façade has in common. In brief, it can be said that we can see the diversity apreservation project of Lao-jie in Taiwan throughout the ways treat a construction of Din-a-ca and façade.ABSTRACTThe negotiation of China’s architectural heritage has been, since Liang Sicheng’s pioneering effortsat constructing an indigenous architectural history, an arena permeated by diverse and sometimesconflicting international actors and influences. China’s ongoing re-urbanization programs have inescapablyaccentuated different ways of understanding the value of architectural patrimony and conservation. Justrecently, when Liang’s former residence, a symbol of preservationist attitudes, was demolished, an officialwas quoted tackling criticism with the common answer that that a replica would be built.Solipsistic cultural approaches of political and cultural authorities, both foreign and Chinese, havebeen the norm. In front of a Ruskin-like approach, for which current generations have no right whatsoeverto trample with material remnants of the past, a cultural disregard for stones and materiality in Chinahas got reinforeced by the interests of real state developers and governmental agencies. In contrast,the proposals of a group of internationally-trained Chinese architects, designers and artists have aimedat bridging between different cultural traditions and social needs, synthesizing aesthetic, cultural, andeven political traditions into site-and-time specific projects that search for alternatives to the milieu ofglobalized, contemporary cities.The notion of recycling, as previously explored by anthropology (Helen Siu) and urban studies(Madeleine Dong, Michael Dutton) scholars, offers a chance to conceptualize the work of different artistsand social agents, like architects Liu Jiakun and Wang Shu or artists Song Dong and Xu Bing, whose workcan be characterized by an intelligent reusability, the vindication of amateurism and the recycling oftransnational elements, all of them put to work to revive tradition and culture while producing sociallysustainablealternatives to the speed and scope of China’s developmentalism.Architectural Conservationin PracticeThis study focus on several Lao-jie has been actively carried out a preservation project, clarify inhistory development of the preservation project.KEYWORDSPatrimony, Material, Demolition, Recycling, DifferenceKEYWORDSTaiwan, Lao-jie, Row-of-houses Preservation, Din-a-ka, Shop Houses9293

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongA Study on Management System to Control Building Activities in the ImportantThe Reconstruction of Religious Territories in Traditional Areas of Tainan City withPreservation District for Group of Historic Buildings in JapanParticular Reference to the “Investigation Records of Temples in Tainan City”- Focusing on the cooperative management of local government and a private(1875-1937)architect contracted as an expert for restorationWU Ping-shengAssistant Professor, National Cheng Kung University, TaiwanURAYAMA MasuroProfessor, Mie University, JapanCHENG An-yuNational Cheng Kung University, TaiwanSHIMAMURA AkihikoKameyama City, JapanTheme 3LIN Mei-yin Assistant Professor, National Quemoy University, JapanABSTRACTThe Important Preservation District for Groups of Historic Buildings (IPDGHB) is the system forconserving the historic environments by the Law for Protection of Cultural Property in Japan. According tothis system, all building activities in IPDGHB are under the standards to preserve the historical environmentsformed by historic buildings and surrounding environments. Generally the building activities such asrestorations, remodeling, elimination and repairs are checked whether they meet the standards by localgovernment that have IPDGHB. Because it needs expertise to judge standards conformance, in somedistricts the check of standards conformance and the restoration of historic buildings are carried out withthe cooperation of experts for the restoration of historic buildings, who are stationed as administrativestaffs or also who is contracted a private architect.This paper focuses especially on the later system which administration staffs and a contracted privatearchitect as the expert for restoration co-operatively manage to control building activities, from theconcern which it may be easy to arrange than to employ the expert as an administrative staff. Thereforethe purpose of this study is tackled to clarify the features of this system and conditions for applying sothat a historic environment can be kept and improved.At the setout, a nation-wide questionnaire to local governments where IPDGHBs locate was carriedout to grasp the real condition of administration of building control. Focusing on the restoration, theadministrative system can be classified into the system to check whether applications should conformto the standards and the other to prepare the basic documents of the restoration by the expert. Amongthe later system, the system that administration staff and a private architect contracted as the expert cooperativelymanage to control building activities occupies a large portion.ABSTRACTFolk belief activities are an important connotation of daily city life. In the spatial research of traditionalfolk beliefs in Taiwan, the concept of the “religious territory” is most often used to refer to as the spaceterritory formed by temples with main gods. In folk beliefs in Tainan City, the temple, described as theJing or Miao-Jing, was taken as the spatial representation of the religious territory, the important spaceconstruction of urban structure. However, compared to most of the streets and settlements in Taiwan, dueto its differences in development background from the rural areas and the changes in social environment,the range of Miao-Jing of folk belief in Tainan areas seems to be rather vague. It is worth especially toexplore whether the Miao-Jing (“Jing” and “associated Jing”) formed in Tainan City and Five-Canal Districtsoutside of the city, since the Ching Dynasty has still maintained the original stable structure under theurban texture changes during the period of Japanese occupation. Although there were many studies ofreligion and beliefs in the past, most of them adopted the painting comparison of historical literaturedata and the existing environment, which can only indirectly or approximately construct the past sphereof Miao-Jing.Following the above description, this study will be based on the map presented by research project of“The Reconstruction and Representation of Historical Tainan City (1875-1945) with Particular Reference tothe Digitalized Cadastral Map of the 1920s.” To conduct the territory, Miao-Jing of the temples is identifiedas registered in Investigation Records of Temples in Tainan City (1937), published in the Japanese colonialperiod. And it is hoped to show a spatial structure and change of Miao-Jing in different periodizations,while on the other hand, explore the operation and interaction of Miao-Jing.KEYWORDSReligious Territory, Miao-jing, Folk Belief, Digitalized Cadastral Map, Spatial StructureArchitectural Conservationin PracticeNext, Kumagawa-Jyuku of Wakasa Town, which is a local town in Fukui Prefecture, is chosen as a casestudy to clarify conditions so that historic environments can be improved. Firstly, it is clarified that theprocess of restorations which can be divided into the subsidized restoration and the non-subsidizedrestoration, and how administrative staffs, the expert for restoration and the committee member ofIPDGHB manage to control building activities cooperatively. Secondly, by analyzing photos of restoredor remodeled buildings’ façades, it is grasped that the majority of them meets the restoration standards.Third, a questionnaire to local people was carried out to analyze whether they can know the system whichconsults restoration to the expert, and whether they have intention to keep historic environments. Fromthe results of these analysis, I would like to be say that every subsidized restoration and remodeling isdesigned by the expert for restoration to meet standards, and non-subsidized restoration are checkedby the committee member of IPDGHB and constructed by private builders to be suited for the designguideline, which was made by them and the expert for restoration. And I would present a relation whichneeds such roles in order to preserve historical environments.KEYWORDSImportant Preservation District for Group of Historic Buildings, Restoration of Historic Buildings, Expertfor Restoration, Kumagawa-Jyuku94 95

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongRestoration and Research of the Edict Paifang of Huang Siyang Village in HuidongThe Early Stage of Urban Modernization in the Japanese Populated Area and itsCountyImpact on Seoul from 1885 to 1910WU Yun-jiangLecturer, South China Agriculture University, ChinaYEO Kang ShuaAssistant Professor, Singapore University of Technology and Design, SingaporeTheme 3ABSTRACTThe Edict Paifang of Huang Siyang Village was built in Jiaqing the 20th year (1815). It was destroyedduring the Cultural Revolution (1966-1976), and was blown up to hundreds of pieces and scattered tobuild dams, terraced fields, houses and so on. This paper presents the restoration details of the EdictPaifang of Huang Siyang Village in Huidong County, such as analyzing the Paifang’s formation, structureas well as orientation, and speculating the details and the measurements according to limited materialsand hundreds of residual pieces collected and inspected. It also researches and explains the characteristicof the Paifang’s formation, decoration style and cultural connotations. The experts of cultural relics ofGuangdong and the villagers speak highly of and give their approval to the Paifang after restoration.The project has been generally accepted as an example among the similar projects in Guangdong. ThePaifang has been officially authorized as a unit of preserved cultural relics.KEYWORDSThe village of Huang Siyang, the Edict Paifang, Restoration, Design, ResearchesABSTRACTThis paper attempts to explore the fine balancing act between internationally establishedconservation charters as well as principles, namely those developed by UNESCO and ICOMOS, and thereality when carrying out actual conservation work in-situ. While international charters “universally”address architectural conservation principles, the significance of authenticity and the emphasis on thepreservation of historical materials, they have been much criticized as being Eurocentric when appliedto East-Asian contexts. My involvement in the architectural conservation work on Yueh Hai Ching Temple(Wak Hai Cheng Beo), a historic Chinese temple in Singapore, has brought forth a range of conservationissues that highlight this tension between conservation ideals and reality, especially those pertaining tothe undoing of past repairs and/or conservation works.The paper starts with an overview of the conservation of Chinese architecture in Southeast Asia. Thisis followed by my reflections on the conservation work undertaken at Yueh Hai Ching Temple, especiallyin terms of striking a tough balance between the ideals of conservation with that of the aspirationsand expectations of the temple users (owners and devotees), as well as the inherent tensions betweendifferent technical conservation methods and approaches. The tension is also exacerbated by the desireto avoid replicating methods for which previous similar conservation works have been critiqued. Inparticular, the paper will also comment on how the conservation work at the temple compares with theway historic Chinese architecture has traditionally been “conserved” in the past, with special regard toissues of authenticity and integrity.Architectural Conservationin PracticeResearch for the project began in 2010, prior to the commencement of current restoration efforts.The on-going research was mainly undertaken to determine the present state of significant architecturalcomponents in the temple property for conservation purposes and to recover past information onspatial practices of the temple. Although the conservation research was conducted collaborativelywith the input of the Ngee Ann Kongsi (owner), decisions on whether to reinstate certain architecturalcomponents which were previously removed with the intention to facilitate the “ease” of religiouspractice, or the existence of which had been forgotten with the passage of time but were subsequentlyuncovered through archival research and site investigations, had to be grappled with. Apart from being atemple that remains in active use for religious purposes, the fact that the temple is a national monumentadds to the contradictions and complexities that arise in the decision-making process. This dual identitymeant different expectations imposed/demanded by their respective user groups, which may or maynot overlap with one another. The owner and devotees have certain expectations of the temple, whileconservationists, heritage authorities as well as the general public have others. The manner in whichthese can be overcome and resolved is key to the success of any conservation project.KEYWORDSConservation, Restoration, Decision-Making Process96 97

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongCooperation or Competition - How Structure Principles Applied in Early ChineseCommunity Based Conservation Practice – A Case of Serkhang Monastery ComplexTimber Structure EvolutionConservation ProjectYUE ZhiYUTAKA HirakoPh.D Student, Southeast University, ChinaCo-director, Tibet Heritage Fund, JapaneseTheme 3ABSTRACTThe structures of monumental and vernacular architectures are quite different. In order to manifestthe identity and power of the ruler, the sizes of components and wood joint techniques used inmonumental architectures were significantly different from that used in vernacular buildings. It seemsthat the structures of vernacular buildings are simplified from that of monumental and less advanced. Butthis concept may not to be true.The paper studied five different cases in primitive society period in China and tried to find outwhether the structures of “big house” are more advanced than that of “small house” or not. Some studieson early Chinese wood structures, such as articles written by Yang HongXun or Liu XiuJie were limitedby the analysis method and basic data. Assisted with modern infinite element computer program andrecent experimental data, it is possible to consider more and complex factors such as wind or earth quakebesides gravity. With the experimental data of traditional wood joints, it’s expectable that the results canbe more precise.The study focused on four “small houses” with different characters. The first is a common shanty inprimitive society period. The second is the roof of hemitroglobiotic period. The third is a bigger housewith low vertical walls. And the fourth is a house from Hemudu relic. The paper also studied one “bighouse” with central column structure. Except the forth “small houses”, all other samples were selectedwith time sequence and an increment in span.The internal force diagram revealed that each house, no matter “big” or “small”, has its unique pattern.Though roof gravity and joint strength are common problems, each structure of these houses has its ownstructural solution according to its spatial requirement. It is possible that they may not evolve from oneto another. With the analytic of above internal force diagram, some hidden rules such as the importanceto reduce the force on eave column or the requirement to increases joint strength are found universal indifferent houses. But these rules interacted differently in “small house” and “big house”.Above results implied there might be more link than differences, more cooperation than competitionbetween monumental and vernacular buildings. No matter “big” or “small”, each practice has its uniquecontribution to the advance in structure techniques. And the negotiation between monumental andvernacular buildings maybe more than expected. Besides above, the article also showed the potential ofmodern structure analysis as a powerful tool in future architecture history studies.ABSTRACTArchitectural conservation is a young practice and as a concept it is relatively new for the majority ofEast-Asia where rapid economic growth has occurred in last two decades. Tibet Heritage Fund (THF), aninternational NGO, has operated various architectural conservation projects since 1996 in China, Mongoliaand India. THF has adopted an unconditional approach towards a community based conservationpractice vital part of which is direct involvement with local communities. THF’s vision is to respect andrestore the architecture created for the needs of space and function for people. Any act of architecturalconservation remains indispensably attached with the people using both exterior and interior spaces.Hence, the social aspect of design-work and its implementation is given equally high importance as toarchitectural heritage.As a case of the THF’s conservation practice, I would like to present the “Serkhang Monastic ComplexConservation Project”.Serkhang monastic complex is a Tibetan monastery founded in 14th century; significantly expandedlater in 18th century. The monastery, known as “the region of the eight tribes of Nangra”, is a vibrant centerfor eight Tibetan villages and plays a vital role in everyday life of the community. Site consists of fivetemple buildings in various architectural styles with different functions, and attached living quarters formonks. They contain a rich variety of art and architectural details, including early wall-paintings, historicdecorative roof tiles and traditional timber elements. Local inhabitants visit the monastery for their dailyreligious prayer and practice.Based on site-studies and architectural surveys of every building and with kind support of the localchieftain’s successor, THF had discussed with the community to develop planning and design. THFprioritized to preserving a maximum of historic elements and use of original materials and technologies.Simultaneously, we focused on ensuring liveability so, it continued proper use of the complex andupgraded infrastructure within, installing sewage system, water supply and public ecological toilet, andcourtyard paving; all designed to prevent any disturbance to historical structures on site.Throughout the work-process, our team has worked hand-in-hand with local builders/craftsman andlabourers as well as domestic/international conservation expertise. Consequently, scientific methodswere also followed particularly for wood identification and mural conservation, in cooperation withexperts and scientists related.Architectural Conservationin PracticeKEYWORDSArchitecture History, Structural Analysis, Negotiation, Infinite Element Analysis, Primitive Society PeriodFurthermore, Sangye Khang, Yul-Lhakhang and Serchi Labrang shall be introduced as individual casesof different approaches taken for conservation planning and process. They were developed accordinglyconsidering existing condition and value of the building itself and feedbacks from the community.THF had also designed this restoration project to include community-based training programs. Thus,skills in traditional construction and mural conservation can be shared and learnt by the peoplethemselves. Through a direct participation the local community can gain more understanding andawareness of the importance of their own cultural legacy as well as sustenance.The project was the winner of UNESCO Asia-Pacific Heritage Awards as the “Award of Merit” for CultureHeritage Conservation in 2011.KEYWORDSSerkhang, Community, Tibetan Architecture, Conservation, UNESCO98 99

2012 International Conference on East Asian Architectural Culture, Hong KongReconsideration of Park Planning in Seoul, especially about Parkway PlanningDesignated along Kyoungseong Street Planning in 1940AHN Sangmin Assistant Professor, Tokushima Bunri University, JapanJUN’ICHIRO Ishida Professor, Kyoto Institute of Technology, JapanTHEME 4ARCHITECTURE IN PROJECTION:TWENTIETH CENTURY ARCHITECTURE AND BEYONDOur understanding of the built environment since the early twentiethcentury should not only align with but also respond to evolving discourse andresearch in the field. We are at a time where we can reflect on works of the pastcentury and the power of architecture in binding together levels of meaning,identity and culture, with the stakeholders ranging from foreign powers tolocal persons. In this theme, studies related to the transformation of the societythrough the physicality of architecture and the construction of images andideals will be welcomed.ABSTRACTIt was in the late 1920’s which city park plan had been set in motion in Seoul (Kyoungseong: 京 城 ). InKyoungseong city planning in 1928, parks were classified with 4 types of city parks and natural parks, andplayfield parks and neighborhood playgrounds according to their purposes and scales. The details of parkplanning got developed more concretely after Choseon Street Planning Decree ( 朝 鮮 市 街 地 計 画 ) wasdeclared in 1934, and Kyoungseoung Street Planning Parks ( 京 城 市 街 地 計 画 公 園 ) finally became to bedesignated in 1940. 140 parks were designated and they were categorized with 3 types of grand parks,neighborhood parks and neighborhood playgrounds along their scales and 1 type of parkways along itspurpose. In 1940’s park planning compared to 1930’s, it can be referred as one of the significant changesthat 13 parkways were newly planned and designated, besides that lots of independent small-scale parkswere created through the Land Readjustment Project.This study aims to analyze and clarify the process of park planning in ‘modern Seoul’ from 1930’sto 1960’s, especially through the planning of parkways designated in 1940. Parkways were defined asroads to connect with each ‘important’ parks but the intention of planning parkways was not obviouslypresented, and has not been cleared yet. At around that time in domestic Japan in 1936, ‘The parkwayplan’ was published through the journal of landscape( 造 園 雑 誌 ) by Watanabe Takao and he definedparkway as one that doubles as a ‘specific’ park and a road to prevent a traffic jam. I point out that playfieldparks, schemed in 1930 but disappeared in 1940, got absorbed into parkways with sanitary plazas ( 保 健広 場 ; which were not included in Kyoungseong Street Planning parks). It is implied the possibilities ofwhich parkways were planned by priority to prepare secure places for emergency such as air strike, ratherthan to purely serve landscaped roads. Parkway planning had been hold until 1945 in which Korea gotliberated from Japan and it continued with reorganizing project of Seoul city planning in 1962. This studyconsiders the real intention of parkway planning through the transition process with the changes of theirpurposes as well as of the definitions of them.KEYWORDSCity Planning, Park Plan, Parkways, Playfield ParksArchitecture inProjection101

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongTracing Transplanted Modernity:Urban Landmark: Retail Architecture in Postwar TaiwanContested Architectural Discourses at Design Schools in ChinaCHANG Lang-kueiLecturer, De Lin Institute of Technology, TaiwanCHANG Chin-weiHOGBEN, PaulSociety of Architectural Historians, Australia and New ZealandTheme 4Ph.D Student, National Taiwan University, TaiwanABSTRACTThe 1970s, characterize as the age of Reform and Opening-up, contributes to critical accounts not onlyof how nowadays China incorporate into the global economy, but of how a radical shift of architectureand urbanism take place as well. Just as contemporary architects carry out thoroughgoing transformationof urban landscape, so does the education in schools of architecture bring about fundamental influencein the condition of postmodernity as David Harvey depicted. Accompanying international events suchas the Olympic Games 2008 Beijing and the World Expo 2010 Shanghai, Chinese capacity of architecturaldesign-and architectural education, of course-has been calling forth worldwide consideration in additionto the building projects conducted in China by famously-established Western architects.This research does not aim at study of personal careers regarding specific built achievement like eitherexisting or ongoing ones in China; for the sake of a profounder intellectual scope inspired especially with,but not limit to, Adrian Forty and Greig Crysler, the significant ebb and flow of discourse formation alongwith Chinese architectural education deserve further investigation-on the basis of historically-constitutedinterrelationship amongst primary schools of architecture in China as well as their characteristic personswith representative teaching practice-in order to decipher three hypotheses: (1) Differentiating from thecultural actualities of Western world, Chinese requested a convergence in divergence on their way fromBeaux to Bauhaus in architecture; (2) Owing to the specific context of politics, Chinese failed to keep pacewith the West in terms of their educational agenda of modern architecture; (3) Regarding postmodernismas modernism, there is no such a thing as “modern architecture” in China but merely “post-Beauxbuildings” instead. These approaches to locating, relocating or even dislocating contemporary teachersand architects are in the reaction to/against the transplantation of modern architecture from the Westand its institutionalization and spatialization on the sway of the discursive reproduction of Beaux-Arttradition to the rest.In today’s rapidly globalizing world, after the implementation of the Reform and Opening-up Policyin China by 1976, a considerable trend of overseas study in architectural field worldwide takes place from1980s to date, many contemporary architects—who teach at design schools, too—choose the path ofLiang Sicheng as their optimal routes. Most of them, nevertheless, fail to situate themselves in careerbecause mainly of an indistinct sense in conjunction with social and cultural processes of architectureas a discipline in China: At the very least, how do teachable discourses formulate? How do transplantednarratives of Beaux and Bauhaus, and to what extent, include and exclude each other? Namely, in short,where are they from as well as where are they going? These open-ended questions are in the interest ofanswering an ultimate inquiry: Why do Chinese people be involved so much with modernism howeverusually, if not always, deals with it very formalistically? That is the question according to which thisresearch will ultimately try to respond.ABSTRACTRecent publications testify to a growing interest in modern architecture in post-war Taiwan. This ismost clearly seen in the appearance of two books entitled 20th Century Architecture in Taiwan and Rusticand Poetic: An Emerging Generation of Architecture in Postwar Taiwan (which was also the name of anaccompanying exhibition). References within this publication are primarily to domestic, institutional,religious and commercial buildings. Within this publication, there is no discussion of retail architecture– an omission that characterises all the literature to date. It seems retail architecture is absent from thecurrent narratives of modern post-war architecture in Taiwan.Of the early forms of modern retail architecture in Taiwan, the appearance of department stores was akey factor of the growth of the commercial centres in Taiwan. After World War II and at end of the colonialperiod the development of retail architecture in Taiwan continued. Along with Japan and Hong Kong,Taiwan became a major centre for the influx of Western influences on retail design and infrastructure.When looking at post-war retail buildings in Taiwan, one is struck by the modernity of the architecture.For example, the Chunghwa Arcade (figure 1), opened in 1961, is a long series of stark white modernistblocks raised above the ground in a Corbusian fashion. Another example is the Wan Nian Emporium(figure 2), opened three years later, which, with its glass curtain wall, would easily fit a description ofInternational Style architecture.How can we account for the striking modernity of these buildings? What was driving their design?Can existing studies of modern architecture in Taiwan explain developments in retail architecture? Likethe avant-garde houses and modern institutional and religious buildings in Taiwan, retail architecturealso needs to be recognised for its place in the history of modern architecture in Taiwan.This research paper aims to examine the history of retail architecture in post-war Taiwan and assess itssignificance from the urban viewpoint. By applying Kevin Lynch’s theory in the key physical characteristicof landmark to retail buildings in post-war Taiwan to understand if they are: 1) illustrating the class ofsingularity; 2) unique in the urban context; 3)memorable in the urban context; 4) having a clear form; 5)contrast with their background; and 6) prominence of spatial location.Besides evaluating the retail architecture with Lynch’s theory, the goal of this research paper is tofurther propose that there are other meanings attach to the post-war Taiwan retail buildings, in whichrises their value as the urban landmark.KEYWORDSRetail Architecture, Department Stores, Post-war Taiwan, LandmarkArchitecture inProjectionKEYWORDSBeaux, Modern, Design, Transplant, China102 103

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongA Research on the Co-existence of Imperial Family and Civil Complex in ChangdeokFrom Architectural Avant-Garde Theory to Analyze Wang Shu and His WorksPalace Region during the 20th CenturyCHAU Hing-wahCHANG PilGuPh.D Student, The University of Melbourne, AustraliaTheme 4Researcher, Seoul National University, KoreaABSTRACTIn 20th century, in Changdeok Palace region, there was the uncomfortable co-existence ofImperial Family of Jeseon Dynasty and civil amusement complex. That situation caused many changesof buildings and landscape. Add to this, Changdeok Palace region is the arena of competition for themodern production as well as the central place of the last Empire of Joseon Dynasty, so it was operatedas a main palace of Emperor of Joseon Dynasty and modern amusement park in early 20th century, areturning palace of the Crown Princess and contemporary civil park in late 20th century, and one of theWorld Heritage in 1990’s. However, many researches have concerned the transplanted modern changesas well as deconstructing palace region during Japanese Colonial period rather than detailed changesfor a long time. In this reason, this research planned to define the conflict situations between traditionand modernization, deconstruction and construction, and last empire and civilization among ChangdeokPalace region during 20th century. For example, Injung-Jeon and attached buildings in ChangdeokPalace were modernized and used for exhibition room for VIPs. Myungjung-Jeon, Kyungchoon-Jeon andHwangkyung-Jeon in Changkyung Palace remodeled to museum, and King Lee’s modern museum werenewly built which substitute for Jakyung-Jeon in 1911.Above all,. This study analyzes architectural changes; construction, remodeling, and destruction inthat place. Last Empire family’s space were reduced around the Naksun-Jae and annexes, so rest of palaceregion used for national ceremony or civil amusement around zoo and botanic garden during JapaneseColonial period. In 1960’s and 1970’s, that happened again in similar way. Last Queen and Crown Princess’sliving place encountered most famous civil complex in this country where many exhibition and civilevents were held until 1990’s. Those series of architectural changes would reveal the space occupationmanners of the Imperial and Civil in Changdeok Palace region.At the same time, this study would analyze the social cognition of Changdeok Palace region. Thiswork would show the dual attitudes which is to unveil the Imperial family’s bare skin with maintain themcontemporarily and to appease the common people with modernized exhibitions and amusements.Buildings have to be changed inevitably according to time and operation systems. However, if thosechanges are happened in a short time, there should be collisions. Changdeok Palace region is very thatcase.*This research was supported by Basic Science Research Program through the National ResearchFoundation of Korea(NRF) funded by the Ministry of Education Science and Technology (2012R1A1A2009565)KEYWORDSChangdeok Palace, Imperial Place, Civil Amusement, Space Occupation, ModernizationABSTRACTThe term “avant-garde” has been broadly used among artists and cultural critics for various fields ofart and is also a popular term used by curators to highlight the revolutionary aspects of displays. Thisterm comes from the French phrase l’avant-garde, meaning “advance guard”, that is “the foremost part ofan army”. As a spearhead, the avant-garde is responsible for reconnoitering the unknown terrain aheadand exploring a course for the subsequent army to follow. Under this military metaphor, it is now used todescribe pioneers or innovators having the works that are characterized chiefly by experimental methods.On one hand, Clement Greenberg advocates that the avant-garde should maintain high levels of artby retiring from public altogether and raising to the level of “art for art’s sake” against kitsch production;while Renato Poggioli considers the avant-garde as a minority culture in combating and denying themajority culture, having antagonism towards the public. However, on the other hand, both Peter Bürgerand Andeas Huyssen take a historical approach, pointing out that the aim of the avant-garde in the earlytwentieth century was the reintegration of art into life praxis against the idea of “art for art’s sake” andreturning art to its effective place in society.Compared to Poggioli’s opposition between the avant-garde and the masses which is insufficientto explain the architectural avant-garde of the early twentieth century, Hilde Heynen appreciatesthe theoretical contribution of Bürger and Huyssen which is considered as productive in the realm ofarchitectural history. Apart from Heynen, architectural scholars such as Manfredo Tafuri, Michael Haysand Michael Speaks concur that the architectural avant-garde should be closely connected to society,taking an oppositional strategy to break with the past practice as well as producing both formal critiqueand social critique.Wang Shu ( 王 澍 ) is the first locally trained Chinese architect to receive the prestigious PritzkerArchitecture Prize. Being considered as the most humanistic and literary architect in contemporaryChina, his works have attracted widespread discussion. Referring to the discourse of both avant-gardetheory and architectural avant-garde theory together with contextual, historical analysis of the sociopoliticaltransformation in China, this paper argues that some of the polemical written texts, verbal texts,exhibitions and built works of Wang Shu can express his oppositional strategy and cutting-edge approachagainst the mainstream practice, producing criticism of the current Chinese context.The term xianfeng ( 先 鋒 ) is a Chinese translation of “avant-garde” as xian means “advance” and fengmeans “guard”, conveying similar military meaning of the French phrase l’avant-garde. Besides, feng hasanother meaning of “cutting-edge”; as such, apart from the original military metaphor, xianfeng refersto pioneers having cutting-edge approach. Therefore, based on this understanding, Wang Shu can beconsidered as a xianfeng architect in contemporary China.KEYWORDSWang Shu, Contemporary Chinese Architecture, Architectural Avant-garde Theory, Xianfeng, OppositionalStrategyArchitecture inProjection104 105

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongField Urbanism: Encoding the LocalImagining a New Asia? Three Cities and Three TalesCHOW, Renee Y.KIM Jung InAssociate Professor, University of California Berkeley, United StatesAssistant Professor, Soongsil University, KoreaABSTRACTConditions of local site are critical to achieving resource and cultural sustenance in cities. The urbanproblems of the 21st century such as increasing density, resource management, legibility and urbanidentity require solutions in which designers communicate with each other about the particular qualitiesof a setting and collaborate in the development of extended environments. Past strategies for developingcohesive urban fabrics, for example block and building types, are challenged by contemporary scalesand economies of development. Today, designers need new tools to envision urban fabrics. UsingChinese urbanism as case study, this paper proposes communicating through systemic parameters, fieldconditions, to provide a shared understanding of local conditions.field urbanismABSTRACTIntention of this study is to explore three urban developments that are currently scheduled tobreak ground, or under construction along the both coasts of the Yellow Sea. Straddling three majormetropolitan areas of Beijing, Shanghai, and Seoul, the Yellow Sea and its vicinities now symbolize thespace of ‘hot’ development with full of optimism not exclusively for those who live inside, but also formany transnational corporations and elite architectural firms. Taking into account exemplar cases ofYujiapu Central Business Districts near Beijing, Lingang New City of Shanghai, and Songdo New City ofSeoul, this study intend to compare the ambitious urban plans that are sea-bounded from those centersof the Asian mega-cities. Paying attention to the common paradigmatic themes and discourses in whicharchitecture and urban design are used to achieve a certain local and national agenda, the study aims touncover a constant currency among these cities in the practices of designing “Asian-ness”.Theme 4Until the middle of the twentieth century, Chinese urban life revolved around courtyards. Whetherfor housing or retail, administration or religion, everyday activities took place in a fabric of pavilions andwalls that shaped collective ways of living. While the courtyard compound is typically described as abounded rectangle apart from its context, this paper begins by describing field conditions in the Chineseurban fabric, the reciprocal relations between compounds that inform everyday living from the scale ofthe room to the city.fragmenting urbanismThe paper then critiques contemporary design practices that are erasing urban fabrics and thelegibility they afford. Cities are now showcases of China’s rapid leap to international prominence whoseevery component - street, park, or building - is designed to express its distinctiveness. This propensity forobjects is erasing the relational qualities that once distinguished each city, a global practice that is mademore apparent with China’s rapid growth. In first tier cities, the results are a cacophony of events wherethe extraordinary is becoming a burden to the ordinary - experiences at street level are disconnected,illegible and disorienting. As this erasure is touted as progress, second and third tier cities emulate thisfiguring, producing a dulling uniformity within and between Chinese cities.encoding the localDesigned to reach the coast by the top-down decisions and drawn upon the current mode ofurbanization conditioned in the forces of globalization, these instant Asian cities of Yujiapu, Lingang, andSongdo are modeled on the most comprehensive urban development plans, and aspire to be the financialand informational center within the region. Colored in inter-Asian rivalries and framed discursively in thegreen and smart urbanism, these three cities now stand as an open arena that addresses how the impactof globalization articulated in the region, and becomes the windows to theorize an “Asian style” urbanexpansion. The three mega developments relevant to each urban agglomeration of Beijing, Shanghai, andSeoul are, unlike the privileged understandings of Euro-American tradition, the places through which wecan extrapolate the emergence of a new urban paradigm for future cities. Celebrated for their spectacularlyscaled constructions and praised in their bold adaptation to the global themes of sustainability, thesemaritime cities in East Asia with their distinctive architectures and urban infrastructures would be the sitefor insightful analysis and critical debates.KEYWORDSEast Asia, Mega Projects, Yellow Sea, Architecture of Spectacle, GlobalizationArchitecture inProjectionUsing a lens of field relations, this paper presents two theoretical projects: one outside Zhujiajiao,a canal town west of Shanghai; the other adjacent to Wudadao, a historic treaty district in Tianjin.Detailed observations from courtyard to regional landscape are unlayered to reveal the relations thatbuild particular extended environments. These attributes are then relayered as a local code to integratethe emergence of form by a variety of environmental agents - from designer to user - providing a newparadigm for the design of large projects. This encoding draws from the local to propose new urbanfabrics with a capacity for change, multiplicity and the collective use of resources. This paper is not aboutpreserving traditional urban fabrics - it proposes a new way to see and extend metropolitan life.KEYWORDSField, Fragment, Local, Collaboration, System106 107

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongThe Scientific Foundations of Avant-Garde Architecture and Urbanism in ModernJapanWestern Architects and Modernity in the Urban and Social Landscape of Hong Kong,1920s and 1930sKUAN SengAssistant Professor, Washington University in St. Louis, Unites StatesABSTRACTJapan’s postwar generation of architects, represented most notably by the Metabolist group,produced designs that exude a powerful sense of technological optimism and territorial romance. TangeKenzō (1913–2005), Kikutake Kiyonori (1928–2011), and Kurokawa Kishō (1934–2007) all made originaland profound contributions to the canon of modern architecture as being of universal value, not merelyregional interest. Recent scholarship has established clear historical connections between this postwargeneration and colonial endeavors on continental Asia during the prewar period, further implicating therationalist visions of CIAM and Le Corbusier’s Japanese acolytes.The proposed essay will focus on a series of quantitative investigations undertaken by Tange and hismentor Takayama Eika (1910–99) in the 1940s and 1950s—a period extending from the height of WorldWar II to Japan’s high-growth period. Building upon recent advances in the field of regional science inGermany, the USSR, the UK, and the United States, Takayama and Tange’s work on building density andcommuting patterns laid essential groundwork for the visionary proposals of the postwar generation.Tange’ own doctoral dissertation on land rent patterns in central Tokyo has remained largely ignored incritical scholarship. Despite Tange’s reputation as an architect of consummate taste and style, he pusheddesign in a rigorously analytical direction that contributed to a disciplinary schism that still defines Japan’sarchitectural and planning professions.LAU Leung Kwok PrudencePh.D Student, The Chinese University of Hong Kong, Hong KongABSTRACT:The city of Hong Kong, colonized by the British in 1842, had primarily established an imperialand western urban lifestyle, as observed from legislations, ordinances, and social life. The TwentiethCentury Impressions of Hong Kong, Shanghai and other Treaty Ports of China, a detailed and substantialcompendium published in London 1908, documents a wealth of anecdotes and portraits of the time. Itappears that at that period of time, at least from the editors’ viewpoint, the Chinese did not socially exist.Except for one reference in a chapter, “Apart from the Chinese …” in addressing the demographics of thelocal population, they are not once referred to.In the start of the 20th century, however, the evolution and rise of the modern Chinese city andtheir inhabitants can be revealed by a close analysis of various agents in the built environment and theirinteractions with the local setting. Numerous construction companies also contributed to this by theirbusinesses and collaborations with the local scene. Foreign companies, one example being the CréditFoncier d’Extrême-Orient (C.F.E.O.) that specialized in mortgage-loan, real estate, public and private works,developed businesses in Chinese cities and Hong Kong during the 1920s and 1930s, and are consideredto have been important agents of modernity in the prismatic development of treaty ports. Established inTianjin in 1907, the C.F.E.O. expanded during the years 1910-1915 to Shanghai, Beijing, Hankou and HongKong, later to Singapore and Malaysia. Little is known, however, about the precise roles, functions andstrategies of these Western companies and their collaborations with local urban and social sectors.Theme 4Whilst research and literature prevail on the evolution and development in the modern urbanlandscape of Chinese cities by Western architects, similar in-depth studies of the case of Hong Kong arestill lacking. How did the design environment differ between the foreign concessions in Chinese cities andthe British colonial system in Hong Kong? How did modern architectural design and techniques primarilydiffuse from the West and then merge and evolve locally in a colonial setting in China? This paper willpresent the urban phenomenon that was constituted by Western architects and companies in Hong Kongin the modern architectural exchange and development between East and West.Architecture inProjectionKEYWORDSHong Kong, early twentieth century, Western Architects and Companies, Urban and Social Landscape108 109

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongThe Early Stage of Urban Modernization in the Japanese Populated Area and itsImpact on Seoul from 1885 to 1910Self Cultivation and Family Virtue: The Re-interpretation of Chinese TraditionalArchitectural Culture in Early Hong Kong MansionsLEE YeonkyungKIM SungwooPh.D Student, Yonsei University, KoreaProfessor, Yonsei University, KoreaLEUNG Yee Wah EdwardCHENG HungProgramme Academic Director, HKU Space, Hong KongSouth China University of Technology, ChinaTheme 4ABSTRACTFrom late 19th century to early 20th century, the modernization process was begun in Seoul withintroduction of modern civilization through the West and Japan. This period has a meaning of providinga basis of modern city in Korea and showing complex relationship among Korea, Japan and the West atthe early stage of modernization. It was 1882 when foreigners begun to reside in Seoul, and since then,the city has been directly influenced by the foreign cultures. Especially, the urban culture of Japanesepopulatedarea where the biggest group of foreigners in Seoul resided has greatly affected the city.Daehan Empire, the first Korean modern state, tried to make Seoul a modern city through urbanimprovement project since 1896; however, a few years later, the project was ceased. During the 1900s,urban changes including improving road’s condition and constructing new roads was mainly done inJapanese residential district by the committee of Japanese residents. After Japanese ruling begun, theurban planning of Seoul was focused on Japanese populated area. That is, modern urban planning inSeoul was begun by Korean government, but gradually affected by Japanese.Sanitary works was also begun in Seoul with urban improvement project. Sanitation is an importantissue in modern city, because it is deeply related with preventing diseases such as cholera and alsoconstructing urban infrastructure such as water and sewage facilities. In Seoul, the early stage of sanitarywork was not successfully done because of lack of Koreab people’s understanding and shortage ofbudget; however the sanitary work of Japanese residential district was operated well with consistency.Since 1905, Japanese has begun to play a leading role of sanitary work in Seoul.Commercialization (and also capitalization) is a prominent characteristic of the modernization processof a city. In Seoul, new products and sales system was introduced by Chinese, Japanese and the Westernmerchants. Especially, Japanese merchants were rapidly increased since Sino-Japanese War in 1895, andthey has greatly affected to Korean business world. Jingogae Street, the center of Japanese residentialdistrict, was a main shopping street leading a newly introduced modern shopping culture.On the background of these changes, architecture of Seoul was gradually transformed. At first,foreign style buildings were built around the Western and Japanese populated areas, and Koreantraditional style buildings were gradually affected by newly appeared foreign buildings. Furthermore,as commercialization was going on, buildings on the street became multi-storied buildings with moredecorative facades.Modern changes of urban architecture should be considered as a part of complex phenomenon ofmodern society. Thus urban planning, sanitation, and commercial issues are important to understandmodern transformation of architecture. Especially, dealing with modern changes of Japanese residentialdistrict and its relationship with Seoul provides an understanding the early stage of modernization andcolonization of Seoul.ABSTRACTMr Liang Zse-cheng opined that the personal quality of an architect of a typical architect should“possess the cultivation of an integrated artist”. Therefore, the personal cultural belief of an architect isthe basis of an architectural design. The early Chinese architects, contemporaries of Liang and graduatedfrom abroad since 1920s, building on their knowledge of Ancient Chinese Architectural Characteristicslike hierarchical rules or structural principles on the one hand, and thriving to integrate functionalismin Western Modern Architecture on the other, developed an innovative style, loosely known as “ChineseRenaissance Architecture”.Hong Kong, as the significant juncture of east-west cultural exchange, is no short of such examples. Asfor private mansions, we select three notable examples, where adequate public information is availablefor detail research. They are Dragon Garden (began building 1958) owned Dr Lee Yu Cheng, a scholar /industrialist, and designed by Near-modern Chinese Architectural Master Mr Chu Pin, King Yin Lei (built1937), owned by the richest elite Lee family, and designed by fellow Xi-yi Prefecture architect Chan Namcheong,and Har Paw Mansion (built 1935), owned and designed by Mr Aw Boon Har, the Hakka originflamboyant businessman.The real question is, amongst the many mansions in Hong Kong owned by Chinese, why were thereonly these three designed with such rare distinctive “Chinese Renaissance Style”? Even when an owner,due to whether adoration of Chinese culture or showoff of status, wished to possess a grand Chinesemansion, why did he not straightforwardly build an imitated Chinese palace with the most luxurioustraditional technique? Why did the owner bother to co-study with the architect, to extract ritual messagesand hidden beliefs from Chinese architectural characteristics, and to re-interpret into seemingly nostalgicbut in fact innovative designs? This Article beliefs that the hint may indeed be revealed from the analysisof how the site-selection, orientation, landscape, indoor spatial organization, guest / host circulation,and ornamental details of each of these three mansions, nicely adhere to the ancestral clanship customs,Chinese association, family virtues and ritual ideas of the respective owner. The manner that architecturalsemiotics were deployed to suggest the vision of its owner, is obviously impossible to have been achievedsimply by copy of ancient architectures or standard buildings. It would unmistakably need the personalparticipation of the owner, in co-research with the architect or master-builder who shares such belief.This article aims to point out that the value of “Chinese Renaissance Architecture” is not on itsappearance or history, but on experiencing how early 20th century Chinese educated class in Chinaand overseas, apply the noble ideal of “Chinese Knowledge as Basis, Western Knowledge for Use” inarchitecture. Within the current course where Chinese culture dovetails with international economy, we,contemporary Chinese architects, may well take reference of the design concepts of these three mansions,where personal Chinese cultivation can be used to express in house design, thus fulfilling the traditionalChinese aspiration of “Self Cultivation and Family Virtue”.Architecture inProjectionKEYWORDSColonial Modernity, Modernization, Urbanization, Japanese-Populated District, SeoulKEYWORDSChinese Renaissance Architecture, Near-modern Chinese Architecture, Cultural Belief, AncientArchitectural Characteristics110 111

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongInterpretation of the Contemporary Japanese Architectural Creation from theMapping Asian ModernismPerspective of NationalityLU Duan-fangAssociate Dean, University of Sydney, AustraliaLIU Song-fuProfessor, Harbin Institute of Technology, ChinaKARIM, Farhan SirajulAssistant Professor, Kansas University, United StatesSHAN Lin-linPh.D Student, Harbin Institute of Technology, ChinaABSTRACTHistory of the development of Japanese architecture is indispensable for the development ofcontemporary architecture in Asia. From the Meiji Restoration to the end of the twentieth century, Japanesearchitects that keep up with the step of the world architecture and always pursuit the aesthetical tasteof nationality, have achieved great success and have been widely accepted by the whole architecturalfield. The formative factors are the result of the hard work of the Japanese architects for generations,and also are directly derived from national spirit of Japanese. What is the driving force for the Japanesearchitecture, is worth of thinking carefully about.ABSTRACTThis paper provides a critical review of recent scholarship on histories of modern architecture in Asiaand sketches future directions for a multidimensional historiography. Up until three decades ago,academic inquiry with built environments in Asia concentrated on traditional forms; little attention wasdevoted to their modern architecture, except the work of Japanese architects and a very small numberof acclaimed architects in other Asian countries such as Geoffrey Bawa and Charles Correa. This orientationhas been changed in recent years. Scholarship on the far-reaching variability of modernism hasgrown rapidly, advancing our understanding of how modernist architecture was adopted, modified,interpreted, and contested in different societies.Theme 4At the beginning of this century, few architects is interest in the decoration of architecture or thehistorical building style in the Japanese architectural field. The pure imitation style is also hardly touched,but the aesthetical taste of nationality is widespread. The creative thought of some Japanese architects,such as Tadao Ando, Toyo Ito, Arata Isozaki, Fumihiko Maki, Kazuyo Sejima and so on, shows the obviouslynational character. Moreover, the architectural theories provided by Japanese architects, includingmetabolism, temporality and decomposition of architecture, involve the national cognition, emotionand idea of Japanese and profoundly reflect the nationality of Japanese. Specifically, some traditionalconcepts make influence on the architectural space and behavior. For example, nature exists in space andbehavior, and to praise the shadow of the oku that is a Japanese spatial concept. The cultural orientationof fineness, lightness, pureness, and simplicity, makes influence on the architectural form. The aestheticideal of animism, dreariness, and substance sadness makes influence on the architectural aesthetics. Allthese are the deep cultural connotation of contemporary Japanese architecture.The aesthetical taste of nationality is the spiritual foundation of the development of Japanesearchitecture. In the evolution process of the traditional architecture, the architectural form with theaesthetical taste of Japanese is never ruled out when it is impacted by the advanced culture. At thelast century, the modernist swept across the whole world, the aesthetical taste is used to interpret theeastern architectural culture in Japan, and its driving force is derived from the nationality of Japanese.The aesthetical taste of nationality is universal in contemporary Japanese architecture, and it is also therepresentative characteristics of nationality. Through conjoint analysis of the architectural examples andthe theory of nationality, this paper proposed that the creative thinking of Japanese architecture owns theprofound traditional culture and firm nationality, and it is a various nonlinear system, making a transitionto ideological constraint from simple imitation. Although contemporary architecture has characteristicsof polytropism, nationality of Japanese always affects its development.The first part of this paper offers an overview of our current state of understanding modern architecturein East Asia, South Asia and Southeast Asia. The second part of the paper identifies a number ofproblems in current historiography. First, the issue of scales of analysis. While nation-based analyses andlocal histories have been fruitful, their competing claims often create significant disjunctions and serveto cloak the larger picture. The paper argues that more attention should be paid to the articulation betweendifferent scales of historical narratives. Some topics (such as diasporic architecture) may requireone to traverse existing sociopolitical boundaries by linking different local, national, and regional histories;others may need research from a global perspective. Second, the problem of global/local narratives.At present, global perspectives and local histories are largely unconnected. Broad generalizations andtotalizing narratives are often placed against local case studies that are embedded in place and timewhile providing little contribution to the advancement of global scholarship. The paper suggests thatmore efforts are to be made to set local histories in relation to each other and integrate their particularitieswith knowledge of global connections, patterns, and discourses. Third, the question of tradition asknowledge. Today, like never before, indigenous building knowledges and technologies have been vanishingin many places. Yet our current historiography has not seemed to be bothered by the impulses ofobliterating the remnants of other ways of building and dwelling in the name of development and progressin our time. This paper calls for a multidimensional architectural historiography which enfranchisesother building traditions and spatial rationalities as legitimate knowledge for thinking about the future.KEYWORDSAsia, Modernism, Historiography, KnowledgeArchitecture inProjectionKEYWORDSContemporary Japanese Architectural, Nationality, Architectural Creation, Aesthetical Taste of Japanese112 113

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongTropical Resort Cities in Asia - an Alternative Urban Space in Modern Southeast AsiaA Study on the Accumulated Layers of Urbanization in YongsanOTA ShoichiAssociate Professor ,Kyoto Institute of Technology, JapanPARK Kyung RipSEO KyuduhkProfessor, Kangwon National University, KoreaProfessor, Kangwon national university, KoreaABSTRACTIn the region of today called as Southeast Asia, there was vertical disposition of habitation territoriessuch as plain land, mountainous land, and water-surface area. Fundamental rearrangement of thistraditional setting was caused by the introduction of territorial country, namely horizontal division. Therewe can observe the birth of novel urban space, along with the transformation of indigenous societies.This study will focus on how these traditional habitation spaces were transitioned into territorialcountries, then unveil the process of forming the new urban space, hill station. In the later years thisurban space was not concluded as merely sanatorium, escape from tropical heat, but it also had multifunctionalresort city. These resort cities can be the alternative modern urban space in the region, otherthan primate cities, which is typical image of megalopolis in Southeast Asia.The actual case of resort city was initiated with Shimla, British India. It became political seat in thecourse of colonial rule and regarded as summer capital in India. An attempt to escape from the heat oftropical colony was also conducted also in Dutch East Indies, present Indonesia. Here the capital city wasset in Batavia, present Jakarta, and its hill station of Bokor or Bandung constantly came to share its functionwith the low land capital city. As resort city was indispensable to Westerners, it welcomed the time ofurban planning. The planned city, Baguio in The Philippines, was constructed. From the establishment assanatorium to planned city, about genealogy of hill station, Dalat has it all. The city is located in presentVietnam, former French Indochina.Resort cities in Tropical Asia are not merely places for rest or recreation, but with various meanings,including political center. Specific features of artificial space would be printed in resort cities.ABSTRACT‘Yongsan’ located in the center of Seoul at present, was out of city boundary until 20th century whenSeoul started urbanization process. Seoul has steadily expanded its area from north to south side of‘Han’ river which runs in the middle of Seoul and now Yongsan became a hub for urban structure ofSeoul. Through this modernization process Yongsan had to undergo several convulsions and haveunique character of isolated territory for being utilized by military camps of three different countriesand mixed culture of Korea and those diverse foreign countries. This history of Yongsan can be dividedinto four periods in chronological order. The first period is the open port period developed as a foreigntrade point after it became an open port to foreign vessels in 1883. The second is the Japanese colonialperiod, when the Seoul-Incheon Railroad opened in 1900 and Japanese military base occupied this majortransportation point. The third is US armed force period when Korea was liberated from Japanese colonialrule in 1945. Finally the Fourth is the restoration period after the US military base has removed and majorredevelopment plans are now in progress. The purpose of this study is to understand this urbanizationprocess of Yongsan and propose a healing process for upcoming redevelopment plans by analyzing theaccumulated layers of city structure configuration and determine the factors of relationship through therapid historical change after 19th century.KEYWORDSYongsan, Seoul, Modernization, City Layer, Urban Growth, History TransitionTheme 4KEYWORDSResort, Hill Station, Southeast Asia, Baguio, DalatArchitecture inProjection114 115

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongFrom “Hanoak” to “A-pa-tu”. Korean Urbanism in the XXth CenturyNew Forms of Growth: The Re-urbanization of the Central Districts of TokyoPERNICE, RaffaelePOMPILI, MarcoLecturer, Xian Jiao-tong - Liverpool University, ChinaLecturer, University of New South Wales, AustraliaTheme 4ABSTRACTKorea’s impressive process of fast modernization and urbanization and the consequent radical reshapingof its traditional urban fabric and urban network of cities in a span of just 50 years during the lastcentury have gained the country the definition of “Republic of Apartments”, with the capital Seoul praisedas an efficient model of “Giant-Radiant-City”. During the second half of the XXth century constructiontechnologies, design elements and planning schemes, taken and adapted from the discourse ofarchitecture and urbanism proposed during the XXth century by the most advanced nations, notablyJapan and Europe, have achieved successful results. This fast process of economic development and rapidurbanization have promoted the formation of an entire new model of urban life and social transformationwhich have stimulated the design of an urban environment which has been mostly localized either inthe large urban metropolitan areas of Seoul and those of Daegu, Ulsan, Busan, or in several new townswhich served as response to many problems (social, economic, political) mainly caused by the excessiveconcentration of functions and people in the few main conurbations of the country. This trend has beenaccompanied by the total rejection of precedents in Korean urban and architectural traditions. This paperfocuses on the striking contrast between the memory of the traditional architectural and urban elementsof Korea and the characters of the contemporary urban landscape which is essentially composed by newhigh density collective housing complexes integrated with new urban facilities and well maintained greenpublic spaces. The paper will also address several other important issues related with the developmentof contemporary Korean urbanism, such as the influence of political decision and other economic factorsover social aspects of the planning process, the relation between the plans of recent new towns aimedat the creation of a network of modern, technologically advanced and efficient multi-functional urbanclusters, designed and built to foster the formation of a larger super-urban structure in the country tobetter compete in the global economy and stimulate the national economy, and the consolidation of theKorean middle class.KEYWORDSKorean Urbanism, New Towns, High-rise, Hanoak, Korean ArchitectureABSTRACTThe significant scale of economic, political, social and cultural transformations that have taken placein Asia in the past few decades is reflected in an as much as significant series of urban phenomena. Incontrast to a process of contraction characterizing most cities in the West, Asian cities demonstrateto have developed in the early XXI century. This, however, cannot be generalized and extended to allcountries in Asia. For example, in countries such as China and Japan urban change has shown differenttendencies. While China has experienced an unprecedented urbanization resulting in remarkable urbanexpansion and transformation, in Japan dynamics that have characterized major cities since the mid 1990sseem to align with those taking place in Europe because of a peculiar phenomenon of urban “shrinkage”(P. Oswalt:2006; H. Ohno:2008). This depicts an ambivalent scenario encompassing the two extremeconditions of growth and decline. As part of a project aiming to explore the response of urbanism andarchitecture to these conditions in the context of the cities of the East Asian Region, this paper will discussthe instance of Tokyo, a city that shrinks and grows at the same time. In particular, the discussion will focuson the urban and architectural forms resulting from the process of re-urbanization of the city’s centraldistricts. The paper will conclude by highlighting the underlying typological approach in the structuringand in the reconfiguration of these areas.KEYWORDSTokyo, Re-urbanization, Shrinkage, Architecture, Urban DesignArchitecture inProjection116 117

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongThick Realism in Contemporary Chinese ArchitectureThe Influence of Tourism Strategy toward Javanese Traditional Value in CandirejoQING FengSubvillage, Borobudur IndonesiaLecturer, Tsinghua University, ChinaSARI, Suzanna RatihLecturer, Gadjah Mada University, IndonesiaTheme 4ABSTRACTAs China becomes probably the most important architectural market in the world, Chinese architectswere given the freedom and opportunities to explore individualistic design approaches. The internationalrecognition won by several architects such as WANG Shu, LI Xiaodong, LIU Jiakun in recent years testifiesto the value of their characteristic architectural philosophies. But, are there any similarities in their works?Is it possible to make a generalization of their theoretical stance? This essay will try to answer thesequestions by identifying an attitude of thick realism as a shared characteristic of these architects’ designapproach.Realism is not new in Chinese architectural discourse. Prior to 1978, Socialism Reaslim was the officiallydominant theory of Chinese arts. While reality was rendered as a society of simple class structure, suchtheory in architecture turned out to be an anonym of architectural symbolism as was exemplified bymonumental government buildings of neoclassic framework plus de-westernized details.For contemporary Chinese architects, the deep limitation of such theory is apparent. Pacingthe transformation of Chinese society and being tired of abstract ideologies derived from simplisticexplanation of reality (both of China and western world), many Chinese architects called for an authenticrealism, which respects the complexity and contradiction of reality instead of reducing it into simplisticnotions. To some extent, this transformation is similar to that of the supporters of post-critical stance inthe west, although Chinese architects were almost isolated from such debate.Despite of this similarity, there is a deep difference that separates these Chinese architects fromwestern post-criticalist. While western post-criticalist adopted the stance of weak realism, Chinesearchitects embraced the stance of thick realism. The distinction between the thick and the weak mainlydrives from Nietzsche’s formulation of the difference between strong and weak evaluation. For Nietzsche,strong evaluation affirmatively embraces certain values to define an individual or a group’s identity, whileweak evaluation reaches the same target by defining an individual or a group’s identity negatively asagainst something. Hence the weak evaluation lacks substantial content and fails to provide firm basis forhuman existence. Similar thought was also expressed in Charles Taylor’s rejection of thin theory of goodin favour of thick theory of good. This essay would argue that, different from contemporary western weakrealism as exemplified in post-critical current, some Chinese architects’ architectural attitude is closer tothe thick realism. Instead of adopting an uncertain and flexible attitude towards architectural problemsas an escape from dogmatism, they rather confirmatively pursue certain substantial values not fearingof being accused of naivety or romanticism. Such characteristic is represented in LIU Jiakun’s notion of“handling reality”, WANG Shu’s consistent exploration of humanistic tradition and LI Xiaodong’s ruralprojects.Nindyo Suwarno, Windu Nuryanti, DianantaAssociate Professors, Gadjah Mada University, IndoesiaABSTRACTCandirejo is one of the sub villages that still remain traditional even thought there are many changesand effects of tourism strategy forced local value to be changed. Candirejo subvillage is located at thenorthern part of Borobudur, which belongs to Central Java province. Candirejo is very traditional subvillage compared in Borobudur to some other sub villages such as Candirejo village which is already semimodern.Mostly, Candirejo people are producing traditional bamboo such as “gedeg” ( traditional wall},bamboo basket, bamboo accesories etc. This become unique because the bamboo production they madesimilar with picture/manuscript that stipulated at one of the relief Borobudur Temple. Since long timeago, people in Candirejo used their house to produce Bamboo production. Usually they sell their bambooproduction in traditional market close to their housing. But, the condition little bit different whenevertourists come and visit their place. They brought some influences toward the existence of local valueof the people including their houses. For example: some of traditional houses with traditional spacesfor bamboo production have changed for tourism purposes but some were still remain. The features oftraditional architecture are some developed to fulfill their needs and tourists needs.Based on the above phenomena, therefore, it was needed to study more on the spatial transformationof traditional houses as one of the significant changes occurred in Candirejo. By using case study research,it is expected to look into detail the spatial transformation due to some aspects including tourism. Thediscussion of this paper will focus on how tourism and other aspects influence not only the traditionalhouses but also the surrounding environment.Moreover, this study is expected to learn how to improve the living condition of the people throughtourism aspect without diminishing traditional value and preserve some historical features for tourismpurposes. Based on field survey, it is hope that it would be clarifies the formation and transformationprocess of traditional houses and discusses the problems for the future improvement.KEYWORDSJava Traditional House, Layout of Housing, Spatial TransformationArchitecture inProjectionSuch difference between China and the West may be explained by the absence of the philosophicaltradition of autonomy in Chinese culture. And based on Karsten Harries’s discussion of the danger offreedom, this essay would argue that thick realism constitute a valuable approach for the developmentof Chinese architecture.KEYWORDSRealism, Nietzsche, Thick, Weak, China118 119

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongStudy on interior Color Design by Applying Comparative Analysis on Korea, Chinaand Japan’s Traditional Color CharacteristicsThe Evolution of Sectional City:Public Spaces and Congested Urbanism in Hong Kong and ShanghaiSHIM MinkyeongLEE HyunsooPh.D Student, Yonsei University, KoreaProfessor, Yonsei University, KoreaTAN ZhengPh.D Student, University of California, Los Angeles, United StatesABSTRACTColor in interior space gives humane characteristics to the space and defines the characteristics of thatspace. The usage of color strengthens or weakens the spatial characteristics of the building, emphasizesthe objects in the space or makes harmony, and gives an immediate tension or stability to the interior.Color is also used as means to express an emotion. Therefore color is an inevitable element in representinga spatial atmosphere.This thesis prerequisites the view that in order to carry on the traditionalism, understanding theessence of design and the work to reinterpret that is very important. In Korea, efforts are underway tomodernly reinterpret Han-ok, which is one of the traditional housing methods. There are many designelements in reinterpreting the traditional Han-ok. From this, color is a design element that can veryeffectively express the cultural identity. However the research into Korea’s traditional color has beeninsufficient till now.For this, this study first performed an analysis of the colors shown in Korea, China and Japan’s interiorspace as the main research content. This is using each country’s representative traditional and moderninterior images as basis to extract the appearing color and compare it. Secondly, this research is doingcomparative analysis on Korea, China, Japan and other Northeast Asian countries’ traditional color palette.Thirdly, by comparing Korea’s previously developed traditional color palette, it explains the characteristicsof Korea’s color. By using the above three methods, Korea’s color characteristics and identity are explainedand the application method is discussed.ABSTRACTThe chaos in the 19th century arcades, originally studied by Walter Benjamin, resurfaced in the Asianscene for the past decades. In Hong Kong, the geographic limitation and leissez-faire policy cultivated atype of wisdom in reclaiming livable space from uninhabitable zones. Such wisdom and its presence inother Asian cities presented a different appearance of congestion and density than that of New York orParis. In Hong Kong, multi-tiered retail spaces were conjured economic instruments to refigure the citycenter as a consumer Mecca. The corporatized city centers are not only the faking civic spaces in theage of skyscrapers, but also the background of today’s public realm. Meanwhile emergent public spacesas alternatives to shopping megastructures mushroomed on the urban edges, borders and peripheries.However, these spaces on footbridges, sunken squares and rooftops staged a new urban scene beyondthe mutual actions of privatizing and occupying. They echoed the rationale of 19th century Paris arcadesand enriched the narrative of an urbanism of crowds.My paper advanced the strategy of “sectioning” as an alternate apparatus for conceiving of thecontemporary global cities. A cross-section is not only a neutral vertical slice but also a volumetric andeventful stage. A section of a public space can be loaded with activities and encounters. In congestedurban areas where the space of the city is partitioned and gridded by borders, walls and floors, the cheekby-jowlsituation pushed all human intercourse to the transparent border. Hence, sectioning can berather seen as a planning and design tool to permeate the heavily floored and walled urban space and todiscover the volume, dimension and internal structure of the edge. And by this intervention it constituteda body of knowledge of the city without a master plan.Theme 4This research suggests and discusses the direction and the method of interior space designingreflecting Korea’s traditionalism.KEYWORDSCultural identity, Color palette, Traditional Color, Interior design, Modern Han-okBased on a profound observation of urban experience of New York, Richard Sennett suggested thatthe edge, border or interstice, rather than a vague zone in the language of conventional zoning, wouldbe the potential sites where public space can be built (Sennett, 1990:197). A considerable amount ofscholarship has been dedicated to the critique of the privatized public space in global cities. Yet only afew scholars identified architecture as a positive participator in reinstalling the public realm in congestedurban conditions. The Making of Hong Kong: From Vertical to Volumetric by Barry Shelton et al and CitiesWithout Ground: A Hong Kong Guidebook by Jonathan Solomon et al are two recent outstanding piecesof scholarship which soundly discussed the architectural characters of public spaces of Hong Kong.However, few texts were able to contextualize the Asian experience both in a broader historical narrativeof urbanism of crowds and an independent narrative of Asian port cities.Architecture inProjectionThe research examines a couple of categories of urban interventions particularly in Hong Kong andShanghai. The interventions took shape in different scenarios and weaved up approaches of architecture,engineering, planning, and landscape. Each category covers a series of cases in different contextsbut develops under the same scenario. Four categories of scenarios have been identified and will beinvestigated in details: (1) Roundabout Scenario; (2) Waterfront Esplanade Scenario; (3) Sky MarketplaceScenario; and (4) Rooftop Scenario. In most cases the intervention took place at the edge or peripheryof the private property, or on uninhabitable zones of public works. These cases indicated consistentattitudes and strategies which have been observed in earlier urban practices and visions for reconcilingthe contradiction of growing density and limited space. Through the case studies, my research attemptsto argue that volumes, height, density and adjacency were not blind constants but variables which couldbe manipulated by active design and planning.KEYWORDSPublic Space, Section, Congestion, Edge120 121

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongCrossing Continents and Cultures: Architectural Re(Production) and Evolving Form ofHousing Development and the Expansion of Home Ownership in Hong Kong sinceAsian Modernitythe 1950sTJOA, Pawda FransiscaTSUI C. M. CarmenPh.D Student, University of Cambridge, United KingdomAssistant Professor, City University of Hong Kong, Hong KongABSTRACTThis paper will first examine how successive waves of cultural importation have contributed to theconstruction of cultural self-image in Asia, and how this cultural importation now reflects the increasinglyindividualised and self-preserving attitude, which is becoming prevalent in major East Asian andSoutheast Asian cities. Some stress the role of colonialism in the importation of culture. Yet other formsof cultural importation had occurred in the centuries before the ‘colonial’ period as a result of events suchas coastal migration, and cultural importation has also continued through to the present day as a resultof globalisation.ABSTRACTExisting studies on the dominance of home ownership in societies like the United State and Singaporehave focused mainly on the provision of government subsidy and public housing. This paper takes anotherperspective by researching the role of commercial developers in expanding home ownership in HongKong. Since the 1950s, the purchase of condominium has become a popular, if not the most popular,housing choice for the Hong Kong people. This paper explores how such a trend is created and its impacton both the urban landscape of Hong Kong and the urban living of the people. How did condominiumbecome so widespread in Hong Kong and why did it take the form that it did?Theme 4This paper will show how migrating groups, moving for instance from the Far East into SoutheastAsia, redefined their cultures through the use of a culturally essentialist strategy. These redefined cultureswould subsequently become ingrained in the following generations; as Bourdieu (1984) explains, culturalidentities and attitudes are often inherited from the accepted definitions offered by the elders. Recentlymeanwhile, the sporadic and spontaneous urban development evident in the fast growing capitalisteconomies of Jakarta and Manila, influenced by the culture of the US and Europe, has led to the city beingperceived in an increasingly atomized and individualised manner.Yet many persist in attributing one’s choice of lifestyle and architectural styles simply to one’s personaltaste. However, the cultural assumptions, which lie behind the selection of many of the images and stylescurrently in vogue in Southeast Asia, were constructed through generations of essentialist tendenciesin the everyday life, which as Debord and Lefebvre would agree, is governed by the rule of scarcity. Theprocess of de-colonization, political reformations and recovery from civil disorder that has necessitatedmultiple reconstructions in Asian cities has revealed not only their resilience but also their remarkablecreativity and versatility. Cities like Jakarta, Manila and Shanghai have all learned to adapt to the on-goingexternal influence of globalisation and increasing mobility, often through cultural importation, while atthe same time it has managed to preserve some locally held traditions that continue to be observedtoday.In this day and age, architectural style and one’s lifestyle preferences are branded like cars andimported like commodities. While some are willing participants in these trends, others express uneaseand even hostility at the rapid loss of regional character and the imposition of globalisation on belovedcities and regions. Architects are not immune to this commoditization of culture and lifestyle; Jamesonpoints out that we continue to consume photographic images of buildings while using classificationssuch as ‘modern’ and ‘classical’, even in our architectural histories and journals, treating them like we wouldactual buildings. The postmodern reductionist implication of this consumption would later place evengreater focus on the “image”, which according to Debord was the “final form of commodity reification”.This “image” however continues to be abstracted not only through photographic reproduction thatJameson lamented about, but also to the extent of full-scale architectural reproduction and reification inthe present day urban fabrics, as this paper would reveal.This paper explores the ways new market mechanisms and housing designs since the 1950s havechanged the housing landscape in Hong Kong. It covers three major commercial initiatives that havemade private condominium affordable to the common people. The first initiative was the invention ofnew legal and financial mechanisms in the 1950/60s, such as the vertical subdivision of titles of multistoreybuildings, mortgage, and the installment buying of real property. The second initiative was theconstruction of large scale condominium development like Mei Foo Sun Chuan and Taikoo Shing. The lastpart initiative was the provision of mini condominium units, usually less than 450 sq. feet, in Hong Kong’snew towns. All these initiatives have successfully lowered the threshold for becoming home owners.By studying the active involvement of commercial developers to make private condominiumaffordable, this paper suggests that the growth of home ownership in Hong Kong since the 1950s is theresult of a series of careful business decisions. It also provides a way to interpret the design, meaning, andpopularization of private condominium, which is a historically overlooked and under-theorized housingprototype.KEYWORDSHousing, Home Ownership, Real Estate, Condominium, AffordabilityArchitecture inProjectionKEYWORDSCultural Importation, Image Making, Self-preservation, Abstraction, Social Recognition122 123

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongPublic Buildings in Hong Kong:Expression Of A New Ideal for a City – the Study of the Evolution of Architecturalan Account of Evolution since the 1960sForm and Intention in the Previous Century in ChengduXUE Charlie Q. L. Assistant Professor, City University of Hong Kong, Hong KongZHANG RongHUI Ka Chuen City University of Hong Kong, Hong KongLecturer, Southwest Jiiaotong University, ChinaTheme 4ABSTRACTIn a capitalist society, the existence of public buildings is an exceptional and peculiar form of socialcapital. It is a medium to balancing the private and civic interests and providing convenience and comfortfor the entire population. Usually, architecture of public institutions occupies a central and decisive roleof civility in the city. In Hong Kong, public buildings are particularly socially important, as people livingwithin the compact city need and aspire for more acute use of public spaces. In this local context, commonspace and public buildings naturally form an extension to city living. This also significantly gives rise tospatial efficiency in city planning and building design.This article is a short account of the evolution and development of the public building in HongKong, from the early1960s to the new millennium. It considers the historic background of the modernistmovement and the socio-economic setting of the city. In chronological order, the paper delineatessix examples: the City Hall (1962), Town Hall and public buildings in Shatin New Town (1985), CulturalCentre (1989), Heritage Museum (2000), Central Library (2001) and Wetland Park (2006). The authorspresent the statistical analysis of public buildings during this period and examine the case studies withestablished criteria of public/civic buildings. Furthermore, social background and the strategies thatthose designs adopted are discovered and discussed. While generally following the modernist principles,the government architects in Hong Kong adopted the alternative methods to respond to the increasingsocietal expectations, for example, pragmatism, neo-classicism and sustainability. It concludes bysuggesting the future of the city’s public buildings in the West Kowloon Cultural District in the comingdecade.ABSTRACTChengdu is an ancient city with 3000 years of history. Its history shows it as a city continually in pursuitof its ideals. Dating back to pre- Qin period (21st BC–221 BC), the exploration of an ideal city structurebegan and the tradition of embodying the ideal form emerged. The unique characteristics and locationof its site predestined the reality that traditional and the modern have had to exchange and replace onewith each other.Due to its changing political status over different periods, the city has alternatively played differentroles as creator and imitator. During the pre –Qin period, Chengdu has traditionally been an original city,but in the feudal era ( 221 BC – 1911 AD), it became the faithful follower of the Capital System. The city’spolitical center and Feast Tour civilisation (love of entertainment and the finer things in life) became itspoles, representing the city’s function of political life and public life. The city construction began with anideal fortification pattern. It has an enduring traditional and symbolic blueprint.This inheritance of nearly three thousand years of traditional architectural structure changed onehundred years ago. The surge of reform in architectural structure and visual imagery began in 1911 withthe Xin Hai Revolution. This overthrew the feudal system and established a democratic regime for the firsttime in China’s history. The new regime needed a new form of expression, which freed the thoughts toexplore a new architectural form .both nation-wide and world-wide.This paper is intended to study the changes of landmark buildings in the past one hundred years inChengdu and the powers that lie behind these changes. This paper is divided into 5 stages; the landmarkyears of 1911, 1958, 1984, 2000 and 2012. In the Xin Hai Revolution of 1911, the municipal governmentset their headquarters in the symbolic core area of the city, announcing the start of the Great Reform.Beginning in 1958, traditional buildings in the city center and the surrounding ancient walls weredemolished and the Technology Exhibition and the Statue of Chairman Mao erected. In 1984, five yearsafter the end of Culture Resolution, Chengdu was nominated as one of the national historical and culturecities, which were carefully protected. With the implementation of West Big Development Strategy in2000, reconstruction of the old area of Chengdu accelerated. In 2012, the new municipal governmentstarts to think about a new city plan, paying more attention to the value of culture.Architecture inProjectionThis paper finds that the creation of a new structure or changes to the existing structure rely mainly onthe traditional fortification pattern: Beginning with the central core zone, expanding towards the centralaxis of orthodoxy in the city, extending on the public cultural axis and penetrating into all importantsymbolic spaces.Nowadays, there are new demands facing the city’s development. Maybe this time, we can use thetradition of historical changes to lead the successful construction of new architectural space and form.KEYWORDSAn Ideal City Structure, Changes of Landmark Buildings, Creator, Imitator124 125

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongFrom Familiarity to Defamiliarity: Contemporary Architecture of China Influenced byCross-cultural Dialogue - Essential to Diversifying Architectural Creation in ChinaStudies on Classical GardenZHU Guang-yaProfessor, Southeast University, ChinaZHOU Hong-junCHEN WeiSoutheast University, ChinaTheme 4Researcher, University of Tokyo, JapanABSTRACTThis paper probes into one unique phenomenon in Chinese modern architecture, in which manyarchitects did designs under the influence of the study on classical gardening. In other words, in designprocess architects applied design skill, element or idea which was acquired from classical gardens. Thefirst background is that Chinese modern architecture has been featured with the intrinsic identity ofregionalism since its beginning, and as one stream of regionalism many architects have been involvedin the architectural practice related with classical garden. The second background is that Chineseclassical garden is mainly treated as a type of architecture, rather than vegetal landscape. About thisphenomenon, the main purpose is to make the trend and characteristic clear in aspect of design skill anddesign philosophy.Firstly, relevant works of architecture are collected through a detailed survey on several architecturalmagazines and analyzed. Based on this, it can be divided into two stages. The first stage is before 1990sand the second is after 1990s, with different design features. For example, Mo Bozhi and his many workscan be considered as the typical of the first stage, and Wang Shu of the second stage. Concretely, Modesigned some architectures in the style of garden since 1950s, and Wang claimed that he inspired bygarden in designs since 2000s. The comparison between the two stages is conducted in terms of designskill and idea, mainly based on their representative architects and works. It is found that in the first stagearchitects tended to imitate the form from classical garden and mainly such designs as layout, border,route from gardens were emphasized and applied. In the second stage architects tended to utilize thedesign from gardens indirectly and make some deformation, and such design skills as collage, visual linecontrol and interpretation were applied in the design process.Overall, it is found that it is one process from familiarization to defamiliarization. In most works ofthe first stage, architecture was designed to be similar with classical gardens, from form to atmosphere.Oppositely, most architects of the second stage studied gardens and acquired some design for theirarchitecture design, but kept a distance from the common appearance of classical gardens. It is explainedthat this change from familiarization to defamiliarization is influenced by the introduction of architecturein modernism style since 1980s and the followed change in the knowledge about architecture in thesocial level.Also, this trend can be examined in the analysis on other types of contemporary architecture, such asnamed new vernacular architecture which is influenced by the traditional residence architecture of China.KEYWORDSClassical Garden, Contemporary Architecture, Defamiliarity, Design SkillABSTRACTThis paper provide an introduction to the academic part of a research report on a programcalled launched by theChinese Academy of Engineering in 2011 - and is illustrated with cases, and examples of designers’theoretical thinking. The program was led by an Academy member, noted architect Cheng Tai ning andsupervised by other Academy members, with professors of four universities participating. The completeresearch report is due in 2013.World-wide economic globalization has greatly destroyed countries’ local cultural traditions -including China’s. Since the 1990’s, and especially this century, China’s rapidly developing economy hasachieved a GDP which is second largest in the world, but at the same time, in its urbanization process,many of its cities have lost their identity and are referred to as “thousand cities but only one face”. Manypublic buildings show a similar aesthetic tendency, rather than creative initiative.To investigate/analyse this phenomenon - to determine, through analysis, how aesthetic standardswere formalized/assimilated, the program has used case studies from five cities. Political and socialsystems being of course other factors at play - crucial, and worth rethinking, to Chinese academic circleis the ideological basis.Recent development of various disciplines related to Chinese cultural tradition were introduced,while the focus of the analysis has been on the core part, i.e. the life force, of Chinese traditional thought/philosophy –as a possible supplement to west culture.The research analysis has led the members of the Chinese Academy of Engineering to believe thatfor Chinese architects cultural self-confidence and awareness form the necessary spiritual foundation forarchitectural creation.Today, a century after absorbing Western architectural knowledge and experience, and the westerneducational system - and China’s own practice of architecture - China confronts an historic challenge –also an opportunity - to combine contemporary technology with ancient Eastern ideology and to createnew architectural works from a diversifying cultural viewpoint.A policy of cultural diversity, embracing universal value of countless developing countries and nations,never before so closely connected as now, by globalization, will benefit the world.KEYWORDSCross-culture, Architectural Creation, Self-confident, Divergence, IdeologyArchitecture inProjection126 127

Convergence in Divergence: Contemporary Challenges in East Asian Architectural StudiesThe University and Architecture: East Asian Architectural Progressions throughContent and FormZIPPRICH, AlexanderPh.D Student, The Chinese University of Hong Kong, Hong KongABSTRACTThe paper illustrates ways in which East Asian architecture has advanced through university institutionsin academic content and built form. Pioneering effects in the modern East Asian architectural traditionare the result of contributions and collaborations among Chinese and Western scholars and practitionersthrough global institutions and professional practice in architecture. Universities thereby play a dualrole in furthering the discipline in architecture. On the one hand the institutions provide a channel forscholars and the discourse in architecture to evolve, while on the other hand the planning and design ofuniversity campuses engages a professional and scholarly discourse by which these institutions reflectand represent the state of architectural traditions in China and East-Asia.The discourse in architecture has been further globalized since the establishment of universitiesunder adaptation of Western education models at the turn into the 20th century. Beaux-Arts andWestern planning traditions began to greatly influence China. In 1910 Zhang Ying Xu published a bookon architecture as the first Chinese author, titled New Architecture, with an introduction to Westernarchitecture. The first foreign trained architects returned to China during the beginnings of Europeanmodernism in architecture. In the 1920s Liang Sicheng was fundamental in establishing architecturetraining in China, shifting the focus from Beaux-Arts training towards modern architecture. China andEast Asia established an architectural culture influenced by the training at Western universities. Crossculturalencounters and collaborations of the 20th century through institutions supported the rise of EastAsia in particular towards the 21st century.DIRECTORIESTheme 4As much as East Asian scholars have been keen to encounter the West, likewise have American andEuropean architects shared an interest in engaging in China and East Asia. With their knowledge andbackground Western architects sought to contribute while relating to a local context. Already in 1757,British architect William Chambers, documented and published his impressions on Chinese architecture.Traditional university campuses in China such as Peking University and Wuhan University throughcontributions by American architects Jeffrey Cody and Francis Kales represent transpacific collaborationswhich shaped the architecture tradition in East Asia through design praxis.Par example of university campuses as cultural icons and epitomes of architectural tradition, thepaper illustrates ways in which an international architectural discourse on one hand and cross-culturalprofessional practice on the other helped shape an academic tradition in East Asia. It reveals thatduring the 20th century architecture in East Asia was academically primarily shaped by Chinese/East-Asian scholars who had encountered the West, while American/European architects had a direct impactthrough professional contributions - lesser on a purely academic level. It raises the questions whetherthe twenty-first century will see greater convergence at both levels: academically and through praxis.Chinese architects Yung Ho Chan at MIT and Qingyun Ma at USC are examples of cultural convergence atinstitutional level. Through the variety of cross-cultural collaborations, ideological divergence based onnational origin is poised to diminish in the 21st century, while there is likely to be a new surge in recognizinglocal conditions, site specific features of ecology and sociology that may lead to a divergence by design,recognizing different strengths and attributes, which may provide identities and new opportunities forlocalities by converging features into a global network.KEYWORDSCampus Design, Academia & Architecture towards the 21st Century, Local and Universal Aspects128

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongAHN SangminTokushima Bunri UniversityJapanahn@tks.bunri-u.ac.jpATMOKO Teguh UtomoUniversity of IndonesiaIndonesiatiua@eng.ui.ac.idCAI LiNingbo UniversityChinalilycai19792010@hotmail.com,caili@nbu.edu.cnFAN YingSichuan UniversityChinafanying99@126.comFUJII OBANA ManuelKyoto Institute of TechnologyJapanmanuelfujii@gmail.comGU KaiSoutheast UniversityChinagukaicn@gmail.comCAI Yu-kunChengdu Institute of CulturalRelics and ArchaeologyChinacaicaiai@gmail.comCAO PengTianjin UniversityChinateacher_cao@163.comCHANG Chin-weiNational Taiwan UniversityTaiwanr95544006@ntu.edu.twGUO Qing-huaUniversity of MelbourneAustraliaqinghua@unimelb.edu.auHATSUDA KoseiThe University of TokyoJapanhatsuda@pop17.odn.ne.jpHE Hong-guangThe University of SydneyAustraliahohe4325@nau.edu.cnCHANG Lang-kueiDe Lin Institute of TechnologyTaiwank8chang@yahoo.comCHANG PilGuSeoul National UniversityKoreafeelnine@empal.comCHAU Hing-wahThe University of MelbourneAustraliahingwahchau@yahoo.com.hkh.chau@pgrad.unimelb.edu.auHE YingHarbin Institute of TechnologyChinahe33007@yahoo.com.cnHIRAKO YutakaTibet Heritage FundGermanypingzifeng@hotmail.comHSU Li-yuChung Yuan Christian Universityand Tamkang University in Taiwanmuto18@hotmail.comCHEN Li-fenNational Cheng Kung University;University BambergTaiwan/Germanylifen.emma@googlemail.comCHEN Shu-yanTianjin UniversityChinacsy12349@163.comCHEN WeiChongqing UniversityChinaJzx2007cw@126.comHSU Min-fuNational Cheng Kung UniversityTaiwanminfu@mail.ncku.edu.tw, hsiao.na2012@gmail.comHUI Mei Kei MaggieThe Chinese University of HongKongHong Kongmaggiemkhui@gmail.comIZUMIDA HideoToyohashi University ofTechnologyJapanizumida@ace.tut.ac.jpCHEN Yao-ruCheng Shiu UniversityTaiwanyaoru.chen@gmail.comCHEN YuNational University of SingaporeSingaporeakicy@nus.edu.sg; echochenyu@gmail.comCHOW, Renee Y.University of California BerkeleyUnited Statesrychow@berkeley.edujIANG Zhi-danThe Chinese University of HongKongHong Kongshuiyueqingyin@hotmail.comJUN’ICHIRO IshidaKyoto Institute of TechnologyJapanishida@kit.ac.jpKAKUDA AkiraKyoto Institute of TechnologyJapanakakuda@kit.ac.jpChung Wang Leung ThomasThe Chinese University of HongKongHong Kongtchung@cuhk.edu.hkCLUZEL, Jean-SebastienInstitut national d’histoire de l’artFrancejean-sebastien.cluzel@inha.frDE AZEVEDO, PimpimTibet Heritage FundGermanypemamarpo@yahoo.com.hkKIM Jung InSoongsil University, Seoul, SouthKoreaKoreajungin@ssu.ac.krKUAN SengKUO Chao-leeWashington University in St. Louis National Taipei UniversityUnited StatesTaiwanSKuan@samfox.wustl.edu chaoleek@gmail.comDING YaoTianjin UniversityChinadingyao@tju.edu.cnDONG Jian-feiHanyang University KoreaKoreadongjianfei999@hotmail.comDOU Ping-pingUniversity of CambridgeUnited Kingdompd293@cam.ac.ukKUROISHI IzumiAoyama Gakuin UniversityJapanizumi-k@sccs.aoyama.ac.jpLAI Chee KienNational University of SingaporeSingaporecheekien.lai@gmail.comLAU Leung Kwok PrudenceThe Chinese University of HongKongHong Konglklau.prudence@gmail.com130 131

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongLEE Hee-BongChung-Ang UniversityKoreahblee@cau.ac.krLEE Wun Sze SylviaThe Chinese University of HongKongHong Kongoneclee@gmail.comLEE YeonkyungYonsei UniversityKoreayk1227@gmail.comOTA ShoichiKyoto Institute of TechnologyJapanshoichi@kit.ac.jpPARK Kyung RipKangwon National UniversityKoreakrpark@kangwon.ac.krPERNICE, RaffaeleXian Jiaotong - LiverpoolUniversityChinaraffaeleitaly@yahoo.com;raffaelepernice@hotmail.comLEI Jia-yueHarbin Institute of TechnologyChina25189664@qq.comLEUNG Yee Wah EdwardHKU SpaceHong Kongedward.leung@aedas.comLI Ying-chunThe University of Hong KongHong Kongleeyingchun@gmail.comPOMPILI, MarcoUniversity of New South WalesAustraliam.pompili@unsw.edu.auQING FengTsinghua UniversityChinaqingfeng@tsinghua.edu.cnREN Si-jieUniversity of PennsylvaniaUnited Statesrensijie@sas.upenn.eduLIN Hui-wenNational Cheng Kung UniversityTaiwanhwlin@mail.ncku.edu.twLIN Mei-yinNational Quemoy UniversityTaiwanmylin@nqu.edu.twLIN Yi-chunNational Cheng Kung UniversityTaiwanhsiao.na2012@gmail.comSARI, Suzanna RatihDiponegoro UniversityIndonesiasuzanneratih@yahoo.comSARVIMÄKI, MarjaUniversity of Hawaii at ManoaUnited Statessarvimak@hawaii.eduSHI Wen-juanNanjing UniversityChinawenjuan.nju@gmail.comLIU Song-fuHarbin Institute of TechnologyChinashanlinlin1979@163.comLIU Tong-tongTianjin UniversityChinaliutt-bb@163.com, 350795701@qq.comLIU YangHarbin Institute of TechnologyChinalyarchi@126.comSHIM MinkyeongYonsei UniversityKoreamin.k.shim@gmail.comSUZUKI ArnoKyoto UniversityJapanarnosuzuki@gmail.comTAKAMICHI MasashiHosei UniversityJapantadoo5524@yahoo.co.jpLU Chi-pangNational Cheng Kung UniversityTaiwantimlu67@gmail.comLU Duan-fangThe University of SydneyAustraliaduanfang.lu@sydney.edu.auLU Hai-pingShenyang Jianzhu UniversityChina497564645@qq.com vTAN Jin-hua SeliaThe University of Hong KongHong Kongjinhuatan2011@gmail.comTAN ZhengUniversity of California, LosAngelesUnited Stateszhengtan@ucla.eduTJOA Pawda FransiscaUniversity of CambridgeUnited Kingdompt325@cam.ac.ukLU Qiu-chenThe Hong Kong University ofScience and TechnologyHong Kongcandylqc@163.comMATSUDA NorikoThe University of TokyoJapandda771@hotmail.comMIZUTA SusumuHiroshima UniversityJapansmizuta@hiroshima-u.ac.jpTSAI Yu-huaNational Cheng Kung UniversityTaiwann76914122@yahoo.com.twTSUI C. M. CarmenCity University of Hong KongHong Kongcmtsui@cityu.edu.hkURAYAMA MasuroMie UniversityJapanurayama@arch.mie-u.ac.jpNAGATA KeikoNagoya Institute of TechnologyJapannagata.keiko@nitech.ac.jpNISHIKAWA HiromiKyoto Institute of TechnologyJapannishikawa@wr-arch.jpORTELLS NICOLAU XavierAutonomous University ofBarcelonaSpainXavier.Ortells@uab.cat, ortells.xavier@gmail.comWANG Chih-hungNational Taiwan UniversityTaiwancherishu@ms32.hinet.netWANG Ji-hongSouthwest Jiaotong UniversityChina365312985@qq.comWANG Qi-hengTianjin UniversityChinawang_qi_heng@163.com132 133

Convergence in Divergence: Contemporary Challenges in East Asian Architectural Studies2012 International Conference on East Asian Architectural Culture, Hong KongWANG Wei-juShu-Te UniversityTaiwanvivi@stu.edu.twWEY TiffanyUnited States Department ofStateUnited Statestwey@post.harvard.eduWU Ping-shengNational Cheng Kung UniversityTaiwanpswu@mail.ncku.edu.twZHU LeiTianjin UniversityChinatruly2001@hotmail.comZIPPRICH, AlexanderThe Chinese University of HongKongHong Kongzipprich@post.harvard.eduWU Qing-zhouSouth China University ofTechnologyChinaqzwu@scut.edu.cnWU Yun-jiangSouth China AgricultureUniversityChina425456136@qq.comXUE Qiuli CharlieCity University of Hong KongHong Kongbscqx@cityu.edu.hkXU Su-binTianjin UniversityChinahp666666@126.comYang JingTianjin UniversityChinayangjing827@yahoo.com.cnYANG XuNational Museum of ChinaChinaxu.yang@hotmail.comYEO Kang ShuaSingapore University ofTechnology and DesignSingaporeyeokangshua@sutd.edu.sgYOOK OkSooSeoul Institute of artsKoreaosyook@seoularts.ac.krYUAN LinNorth China University ofTechnologyChinayuanl@mails.tsinghua.edu.cnYUE ZhiSoutheast universityChinananlin_teaher@126.comYUN JieheerahAcademy of Art UniversityUnited StatesJieheerah@gmail.comZHANG RongSouthwest Jiiaotong UniversityChinazrcd02@hotmail.comZHANG Tian-jieTianjin UniversityChinaarch_tj@126.comZHAO Chun-lanSichuan UniversityChinachunlan.zhao@scu.edu.cnZHENG JingThe Chinese University of HongKongHong Kongjing.zheng.cool@gmail.comZHOU Hong-junThe University of TokyoJapanzhouhj04@gmail.comZHUGE JingSoutheast UniversityChinazhugearch@gmail.comZHU Guang-yaSoutheast UniversityChinazhgy@seu.edu.cn134 135