Lehigh-Bethlehem
Harmony Pavilion
Sponsored by the Henry Luce Foundation Lehigh University and the City of Bethlehem
Tabel of Contents Meet the Team
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Project Overview
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From Bridge to Pavilion Goals of the Pavilion Project Mysteries of the Dougong
Phase 1: Spring Semester 2012
Contextual Studies
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The Burnside Plantation
Snug Harbor Exhibit Help from the Professionals
Pre-Construction Preparations
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Recieving Approval
Reaching Out to the Community Formulating a Plan Modeling the Pavilion Learning the Tools
Beginning Construction
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Site Preparations
Laying a Foundation Harvesting the Timbers Shaping the Columns Raising the Lower Frame Fabricating the Dougong Building the Roof Structure
Phase 2: Fall Semester 2012
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Completing the Pavilion
Constructing the Roof
Placing the Roof Tiles Laying the Tile Flooring
Spring Dedications
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Lehigh-Bethlehem Harmony Pavilion
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A Tribute to Our Fearless Leader
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Acknowledgments
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Studio Instructors
Marcus Brandt
Master Craftsman
Wang Dongning
Norman Girardot
Michael Moore
Christine Ussler
Visiting Post-Doctorate University Distinguished Teaching Assistant Professor of Practice Research Fellow Professor of Religious IDEAS: in Architecture Studies Mechanical Engineering and Architecture Class of 2012
Visiting Scholars: Professor Scott Cook, Ginnell College, Department of Modern Languages & Literatures Fifth International Scholars Lecture “Alcohol, Fate, Pavilions and the Creation of Ritual in Early China” Professor Lindsay Jones, Ohio State University, Head Editor: 16 Volume Macmillion Encyclopedia of Religion “The Ritual of Building: Incentives, Logistics, Logics, and Liabilities” Professor Ronals Knapp, SUNY-New Paltz, Leading Authority on Chinese Bridges/Vernacular Architecture “Making and Meaning of China’s Vernacular Architecture Professor David Pankenier, Lehigh University, Department of Modern Languages & LIteratures “The Luminous Hall (Mingtang) and the Shape of Space-Time” Professor Sijie Ren, University of Pennsylvania Traditional Chinese Architecture Consultant Professor Nancy Steinhardt, University of Pennsylvania, Leading Expert on the History and Meaning of Traditional Chinese Architecture “The Chinese Pavilion: Structure and Context” Professor Lala Zhou, Swarthmore College Traditional Chinese Architecture Consultant
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Student Participants- Spring 2012
Mark Boltres
B.S. Buisness and Economics Class of 2015
B.S. Civil Engineering Class of 2012
Bryan Maher
Brandon Onopa
B.S. Computer Engineering Class of 2013
IDEAS: Industrial Engineering and Chinese Class of 2014
Daniel Shi
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David Crowley
B.S. Mechanical Engineering Class of 2014
Kenyatta Drake
Ben Gingold
B.A. Architecture Class of 2013
IDEAS: Mechanical Engineering Class of 2015
Ralph Missimer
Amanda Phillips
B.S. Civil Engineering B.A. Architecture Class of 2012
B.A. Architecture Class of 2012
Jason LaForest
B.S. Physics Class of 2012
CJ Rabey
B.A. Architecture Class of 2012
Sara Wing
B.A. Architecture Engineering Minor Class of 2012
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Student Participants- Fall 2012
Tingyun Cao
B.S. Buisness Class of 2014
Andrew Law
B.S. Buisness Class of 2014
Tek Tze Lee
James Chen
B.S. Environmental Engineering Class of 2014
Evan Mullen
Taylor Standiford
B.S. Mechanical Engineering Class of 2010
B.S. Civil Engineering Class of 2014
Jackson Tu
Edwin Wong
Sarah Woogen
B.S. Mechanical Engineering Class 2014
Rachel Giampa
B.S. Buisness Class of 2013
B.S. Mechanical Engineering Class of 2011
B.S. Buisness Class 2013 8
Richard Chang
B.A. Architecture Class 2013
B.S. Pre-Med Class of 2013
Maggie Xu
B.S. Buisness Class 2014
Sam Hau
B.S. Civil Engineering Class of 2016
Xuan Pan
B.S. Accounting Class of 2010
Tianli Zhang
B.A. Journalism Class of 2013 9
Project Overview
A Chinese Pavilion or Ting is a kind of ecological bridge that links human beings with their immediate natural environment, their local cosmos. They are way stations that allow for rest, relaxation, and regeneration while walking the path, the Dao, or the Greenway of life. As the ancient Chinese Daoist sage, Laozi, said in the Book of the Dao and Its Power: “The journey of life begins with the very first step.
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From Bridge to Pavilion The Lehigh-Bethlehem Harmony Pavilion represents the culmination of two grants from the Henry Luce Foundation in New York City that began in the 2009-10 academic year. Known as the Chinese Bridge project, the grant was intended to promote American student awareness of China by means of various “bridging” programs - that is, the interdisciplinary linking of technical and liberal arts perspectives; enhancing Chinese studies at Lehigh; and the fostering of global awareness through summer travel and study in China. These conserns came together in a project-based way that connected theoretical and cultural awarness with practical hands-on experience. It first took the form of a special desing-build studio which constructed on Lehigh’s campus a full-scale version of the famous 12th century Chinese Rainbow Bridge. The success of the bridge led to a second and much more ambitious project focused on the construction of a Chinese style pavilion that would continue the bridging theme by symbolically and practically connecting the university community with the city of Bethlehem. Erected on Bethlehem’s south side Greenway, the Harmony pavilion was designed and built by an interdiscplinary team of Lehigh students over a nine month period from the spring to the winter of 2012. The construction was under the guidance of the master craftsman, Marcus Brandt, and architect, Christine Ussler, along with Professor Norman Girardot and Dr. Wang Dongning. The pavilion notably makes use of uniqe design-build techniques modeled on traditional forms of Chinese carpentry (e.g., the unique Chinese puzzle-like corner brackets called dougong), the roof design, and the geometric granite slab flooring. In China, pavilions have traditionally been places of rest, reflection, cultural interaction, and social recreation. It is our fervent hope that our efforts will contribute to these ends as well as to the continued developement of the Bethlehem Greenway. 12
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Goals of the Pavilion Project The overall goal of the pavilion project was to create a cross-cultural, interdisciplinary, handson, and real-world learning situation that directly engaged the university and the local community. The project incorporated experience with Chinese building techniques observed in China during the summer of 2012 and emphasized some initial academic activities (reading/writing/discussion/ watching-listening/drawing/modeling) along with the actual construction. An important aspect of the design phase of the project involved an intensive “dougong [literally “cap/arm [and] block”]” joinery workshop with Chinese architectural experts from the University of Pennsylvania. Another goal of the project was to conceive of, and construct, the structure in the spirit of “hybridity” – that is, to be sensitive to the linking of traditional and modern, Eastern and Western methods. This principle was seen at the World Expo in Shanghai where the China Pavilion was a dramatic example of the hybrid adaptation of a traditional pavilion. Christine Ussler, our architectural mentor, observed that: “It is my strong believe that the best way to come up with a new interpretation of a traditional form in architecture is to fully understand the principles and details of the archetype and the material constraints, budget constraints and site conditions... Out of this study, I am sure we will end up with a hybrid solution.”
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You have to have a good footing in firm ground before you can make a leap. One thing I will press hard for is that anything we design and build uses the Chinese building “grammar and vocabulary” Just like with language you have to understand the basic rules before you can talk proficiently. Unlike most of what builders use these days, it’s all about ratios and proportions and how they interrelate. Once we get that under our belts, we can go forward. Of the two Chinese building manuals that still exist, I’m most familiar with the Yingzao fashi from the Song dynasty. It was most helpful when we were building the rainbow bridge to help with proportions etc. I think the structural paradigm from the Song is more elegant than the later manual from the Qing Dynasty. If we use that paradigm, it
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The Dougong is an interlocking wooden bracket system found primarily in traditional Chinese architecture. They are typically comprised of many different interlocking dou (cap) and gong (arm) that fit together without the need for glue or fasteners. They were widely used in Imperial construction during the Spring and Autumn Period (770–476 BC) as a structural network that joined the pillars and columns to the frame of the roof. However, after the Song Dynasty, advances in building technologies lessened the structural neccessity of these beautiful bracket systems. From then on, dougong were used more for decoration than function. The diagram to the right details the dougong structure we used in our pavilion. It has 31 individual pieces, and is typical of a dougong found in the Song dynasty. The sheer complexity of this structure allows for flexibility in the system while still maintaining its structural integrity.
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This is an exerpt from the Yinxiao Faoshi that we based the dougong used in our pavilion off of
The Mysteries of the Dougong
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Phase 1: Spring Semester 2012
A Chinese pavilion in general is a temporary shelter or home that also reveals a vision of the interconnectedness of the human, social, and cosmic realms of reality. It embodies a sacred story or myth (which is also a place within which to live). It is the link, connection, yoke, ligature connecting earth and heaven, the present with past and future – a kind of “third term” connecting the vertical and horizontal planes of reality. Remember that one etymology of the word “religion” involves a connection with the Latin term religare or “to link/bind.” It is the bracket, joint, cosmic tree, or dougong that upholds the human world. Indeed the dougong is symbolically and practically a tree trunk [block] and branching multi-branched canopy that organically links the earth and the heavens, the base and the soaring roof.
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– N. J. Girardot
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Contextual Studies
Thirty spokes share the wheel’s hub; It is the empty center hole that makes it useful. Shape clay into a vessel; It is the empty space within that makes it useful. Cut doors and windows for a room; It is the holes [that which isn’t there] which make it useful. Therefore profit comes from what is there; Usefulness from what is not there.
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The Burnside Plantation
In early February, the class travelled to the Burnside Plantation in historic Bethlehem along Monacacy Creek. There we were able to examine techniques used by carpenters in early 18th century Moravian framing systems. Our master craftsman, Marcus Brandt, had helped with the transport and erection the barn years prior and was able to provide valuable insight into how the barn was constructed. We were shown the tools and methods these carpenters used, as well as the reasons behind these choices. Our class left the plantation well versed in mortis and tenons, woods and grains, along with various types of joinery. The experience taught us a lot about wood carpentry that we would later recall when constructing our pavilion. 22
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I was amazed at how many different types of joints there were in traditional farm structures. Each one had a different purpose but all were essential to the overall stability of the structure, much like the joints in the dougong we are using on our pavilion.
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- Jason LaForest ‘12
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Snug Harbor Exhibit The second field trip our class took was to Snug Harbor’s Chinese Scholar’s Garden in Staten Island, NY. While none of the pavilions in the exhibit were similar to the style we wanted to build, the entire class was able to gain a greater understanding for the quality of work that was expected of us. Chinese pavilions are not just thrown together structures, but more like carefully assembled works of art. If we were going to replicate one of these traditional pavilions, we were going to need to take our time and ensure it was done right. The garden at Snug Harbor‘s Exhibit provided everyone in the class with a more accurate perception of the type of structure we were striving to construct. It gave us concrete examples we could draw on as our focus shifted to finalizing the design of our pavilion.
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Help for the Experts While the two field trips were highly successful in helping us understand the structures of both traditional Chinese and American architecture, there were still a number of technical concerns that needed to be addressed before we could finalize the concept for our pavilion. To help us accomplish this, experts in the field of Chinese architecture were brought in. LaLa Zhou and Siji Ren, two scholars from Swarthmore College and University of Pennsylvania respectively, gave us an extensive workshop in the history and methods of traditional Chinese architecture.
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LaLa and Siji went through each step of the building process to help us see exactly how these pavilions were created. They translated ancient texts and provided us with diagrams, instructions, and even dimensions for a traditional square pavilion. With this information, our class was finally able to formulate a concrete design and could start preparing for the construction of our pavilion.
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Pre-construction Preparations
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Being a part of the Community Outreach Committee, I was fascinated to see how much time and effort goes into even just the preparation of a project. The actual construction only constitues a small portion of the overall time a project takes. I can only imagine as the scale of the project increases so does the importance of this preparation phase.
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--CJ Rabey ‘12
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2011 artefact, inc
CHRISTINE USSLER, AIA 26-28 EAST THIRD STREET BETHLEHEM, PA 18015 610.861.0235 PHONE 610.861.0275 FAX
9"
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3'-5"
Artefact, Â Inc.
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9"
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3'-5"
NOTE: CLAY TILES OMITTED FOR CLARITY
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SONG DYNASTY CHINESE PAVILION
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RAMP DN 1:12 MAX. SLOPE
3'-5"
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SOUTH BETHLEHEM GREENWAY BETWEEN WEBSTER & TAYLOR STREETS
STONE PAVERS
7'-0"
Architecture Sustainable Design Preservation and Planning
22'-4"
SLOPED EARTH
SLOPED EARTH
7'-0"
www.artefactarchitecture.com
32'-4"
Once a design for the pavilion had been finalized, a number of preconstruction preparations had to be addressed. Most importantly, a building permit had to be secured from the city. This required the class to submit a set of working AutoCAD drawings stamped by a licenced architect and engineer to the city for approval. Fortunately, the lead architect for the project, Christine Ussler, offered to take care of the building permit application, provided someone could supply her with the neccessary drawings. Using the skills he had learned in previous architectural studios, CJ Rabey ‘12 drafted a set of floor plans, elevations, and building sections of the pavilion. Ralph Missimer ‘12 then applied his knowledge of structural engineering to calculate the possible loads that would be placed on our structure. His calculations were later checked by Christine’s engineer, who signed off on the drawings.
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Receiving Approval
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PLAN
ROOF PLAN
SCALE: 1/4" = 1'-0"
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OF
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PLANS, ELEVATIONS & SECTIONS
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4x6 BEAM T.O. BEAM T.O. BEAM 4x12 BEAM T.O. BEAM
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COLUMN
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NOTE: ALL CONNECTIONS SHALL BE CHINESE MORTISE & TENNON
STONE PAVER SAND CRUSHED STONE STONE PLINTH
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FLOOR ELEV.
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FLOOR ELEV.
PROJECT NUMBER: DRAWN BY:
CU 03.12.12
DATE:
STAINLESS STEEL DOWEL & EPOXY
CJ RABEY
RALPH MUSSIMER CHECKED BY:
REVISON DATE:
PIER, MIN. 3'-0" BELOW GRADE 5'-0"
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SCALE: 1/4" = 1'-0"
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Reaching Out to the Community
A commitee of students consisting of CJ Rabey ‘12, Ralph Missimer ‘12, and David Crowley ‘12 along with Jason Slipp, an instructural technologist at Lehigh University, set up and met with a number of local groups to hear their feedback on the design of the pavilion. These meetings were geared towards understanding how the pavilion would be received and utilized by the members of the local community. Most groups were very supportive of the idea and felt like the pavilion was going to have a positive impact on the community. Certain groups even expressed interest in holding sanctioned events in the pavilion once it was completed.
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Formulating a Plan To help keep the project on track, Marcus and David Crowley ‘12 worked together to produce a construction schedule using Microsoft Project. This chart, seen on the following page, detailed every task the class needed to accomplish by the end of the semester. It organized them chronologically and designated a time frame to complete each task. Unfortunately, we underestimated how long constructing the dougong and roof structure would take and had extend the project to a second semster.
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Modelling the Pavilion
The final pre-construction preparation that needed to be addressed was the creation of a working model of the pavlion. Using SketchUpPro, a 3D modelling software, CJ Rabey ‘12 was able to accurately create a digital representation of each piece of the project. This step was crucial to understanding how the structure would be assembled on site. In particular, the complexities of the dougong could be resolved and instructional diagrams could be produced. The images on this page are examples of these step by step dimensioned diagrams created to help students manufacture each piece. The most important information the 3D model provided, however, was the quantity of each material needed for construction. The list was extensive. Not only did we need 12 different dimensions of lumber, but we also had to order thousands of traditional clay tiles directly from China.
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Learning the Tools
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When working with a hand saw, mallet, and chisel to make the Dougong, I really started to develop an intuition for how to go about working with a piece of wood. Knowing the grain, and of how the grain of wood effects its strength is incredibly important to understnad. I’m glad I got the experience of working with my hands even though working with the machines in the woodshop was vital towards the completion of our project.
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-Ben Gingold ‘15
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Beginning Construction “This project taught me more than I ever would have learned by strictly creating models on the computer. I got to use my hands to construct a real structure and gained an understanding of how a building actually gets constructed. It is a skill that many architects do not have or appreciate, and I am thankful for the experience given to me.” --CJ Rabey ‘12
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One of the most challenging but beneficial aspects of this design-build project was obtaining a familiarity with all the different tools involved in construction. As an architect, I’ve done a lot of conceptual design work and computer modeling, but this is the first opportunity I’ve had to actually construct something and see a project come to life. It was amazing to be able to contribute to a design, and then create the tangible structure that will have a lasting presence and impact within the community. It is the first real-life architectural application I have been a part of, and I have definitely learned more in the past few weeks during construction (and all the problem solving associated with it) than I have from studying architecture from textbooks over the past 4 years. It has been an amazing process, and I think we all have experienced how one can truly become more invested and connected to a piece of work when we learn to put it together with our own hands.
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-Sara Wing ‘12
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Site Preparations
The project finally broke ground in early March with the preparation of our site. The site’s location made it prone to flooding, so the foundation had to be elevated 18� off the ground. This added elevation was also neccessary in keeping with Chinese tradition, which believes that buildings like a pavilion should be placed on a symbolic mound or mountain. The City of Bethlehem graciously donated a truckload of dirt and a backhoe to help with these preparations. Once our site was complete, construction of the foundation for our pavilion could begin.
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Creating a Foundation The foundation for our pavilion is quite simple. It is composed of a stone plinth which rests on an 18” diameter concrete pier. The pier is set 4’ in the ground to ensure it reaches below the frost line. In order to create these concrete piers, holes had to first be manually dug at the exact location of the structural columns. The dimensions of the pavilion were layed out and measured multiple times to make sure these holes were being dug in the correct spot. Any miscalculation could risk the structural integrity of the entire project, so it was important we got this step absolutely right. After the holes had been dug, concrete was delivered to the site the following day. Students took turns transporting the concrete from the truck to the site. Once all the holes had been filled, the class used surveying equipment to take elevational measurments of the four corners to ensure the piers were all level.
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Although I had taken a course and read a manual on concrete, the reality of actually working with the material was much more educational than the theoretical information I had learned in class.
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- Ralph Missimer ‘12
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Harvesting the Timbers
Shaping the Columns With the site and foundation complete, it was time to begin gathering materials needed for the structure of our pavilion. Most of the lumber that was harvested was from Lehigh University’s woodlot on South Mountain. Students were careful to only select downed or dead trees in order to preserve the natural habitat as best as possible. Once harvested, many of these logs were then sent to a local saw mill where they were cut to the dimensions of lumber needed for the pavilion. A few students in the class were lucky enough to go with Marcus to witness this process take place. Not all the lumber that the class harvested was sent to the saw mill, however. Four of the larger logs were identified as ideal candidates for our structural columns and were instead sent to the studio to be properly shaped.
According to the Yinxiao Faoshi, traditional Chinese columns were typically tapered towards the top. This taper was based on a set of proportions calculated from the logs height and width. While this meant spending significantly more time preparing these logs, the class felt it was important to follow Chinese tradition. In order to do this, students first had to strip the logs of their bark so that the taper could be mapped out using chalk lines. Then, using a combination of a broad axe and small hand planes, students were able to properly shape the columns into their final form. Finally, slots were cut into the top of each column where the cross bracing beams would be received. With this last detail complete, our columns were ready to be transported to the site to be installed. 48
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Raising the Lower Frame The erection of the pavilion began with the assembly of the lower frame, which consists of the four main structural columns and the cross-bracing beams that hold them together. The construction of this frame was surprisingly complex, however. Because of the tremendous size and weight of the pavilion, our class was forced to raise the structure in halves. The front and back faces were assembled on the ground then manually tilted onto the plinth stones and secured. A gin pole then had to be constructed in order to lift the final two beams into place. Once all four beams had been installed, the lower frame of the pavilion was complete. The structure was allowed to settle over night before the dougong and the roof structure were mounted on top.
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Fabricating the Dougong Because of the sheer complexity of the dougong structure, this phase of construction proved to be the most time consuming. The problem was that each corner consisted of 31 individual pieces that needed to be precisely made in order to fit together properly. We addressed this concern by assigning each student a few pieces per corner. This system helped maximize our productivity and created a consistency among all four of our dougong structures. Once all the pieces had been finished, mock assemblies of each of these structures were built in order to ensure they fit together correctly. With the lower frame complete and the dougong ready to be installed, the construction of the roof could begin.
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“
Assembling the dougong was a difficult task in general, but one of the most frustrating parts was making it all fit together. Even though we had pre-cut and measured the pieces in the studio, many of them had to be chiseled down again at the site in order to fit perfectly. It was a long process, but when they finally came together in the end, the result was even more rewarding.
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-Amanda Phillips ‘12
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Building the Roof Structure The roof structure is the most intricate and important part of our pavilion. Made up of the dougong, 3 tiers of purlins (the beams that directly support the rafters), and 4 ridge beams (the beams that give the roof its curvature), it is the job of the roof structure to capture the massive load of the roof above and direct it through the dougong to the columns below. We made sure to take our time installing this system, as it is not only the most visually appealing part of our pavilion but also what prevents the entire structure from collapsing. The images on the following pages illustrate the progress of the construction of our roof structure through the end of the semester.
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Phase 2: Fall Semester 2012
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Completing the Pavilion
Liang Ssu-Ch’eng, in Chinese Architecture, called the immediately outstanding feature of Chinese architecture: a curved roof with overhanging eaves, which a wooden skeleton supports. This is strikingly different from most Western roofing systems–they put a lot of stress on the outer walls. But the Chinese roof sits on the timber frame, and this distributes the stress evenly–there’s no need to preplan a system of inner walls to support the roof. The even distribution of weight [in a Chinese traditional roof] reflects ideas of the harmonious flow of energies. Chinese roofs don’t confront the walls and columns they sit on like Western roofs do–they balance all the forces in the environment, like yin/yang energies and wind. They also harmonize with each other. . . .Roofs harmonize with each other and the environment. No blunt surfaces hit each other. All surfaces mesh into a harmonized whole. This focus on the whole, rather than any particular part, is reflected in traditional Chinese religions, which try to maintain harmony with many spirits. The roof also expresses this focus on harmony by curving and rising upwards at the corners–it honors Heaven and presides over Earth, and thus balances both. – Brian Holihan
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Completing the Roof Structure UmIssero nonscie natilina, num omperis? quium teludem, sunu ius pest vive, ut omandac orestrorumus con tem iume hacciis patquidet vasdam aciem portam aciorum tus fatiace rfeconsultor quam orenteridium facchilicaut vo, dis. clum inum nuntilla nimpotam, qui fuem nonoc, nuliam tam in se, fatieribut gra milic tatur, ut auconsulost L. Fulia dea re, consunte, virmis Mulemultors sulus et Cas bonferur uresse crides co ve, fina, propon desse tuderem halemei pericit cus. Ahabefes ca defacchuis, nondin deludem ma, tem, seniusse ad iaciviv ehena, urbis, C. Verfeci amplis et intia adducio nfecerem plius, mactu perfecu forunum et, num essenti orsulto ritemur adem dum condan hebefex num nost verum num furortem abunum occipse natia? Bonsupio vivesti enterem oendam nos erenduc iaet L. Hebatis, ducotat re des iuropotessed Catuspimur. Forestis, Cas
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Working on the Harmony Pavilion the last two semesters was the most demanding experience of my academic career. However, the project was immensely rewarding because unlike most classes, we got to see a tangible result of our collective efforts. Without this class I would never realize how much I enjoy the building process. Working on the structure was extremely gratifying and instilled a pride of craft in me that I never thought would develop. It provided us all with the opportunity to construct something that we can be proud of for years to come.
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– Mark Boltres
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UmIssero nonscie natilina, num omperis? quium teludem, sunu ius pest vive, ut omandac orestrorumus con tem iume hacciis patquidet vasdam aciem portam aciorum tus fatiace rfeconsultor quam orenteridium facchilicaut vo, dis. clum inum nuntilla nimpotam, qui fuem nonoc, nuliam tam in se, fatieribut gra milic tatur, ut auconsulost L. Fulia dea re, consunte, virmis Mulemultors sulus et Cas bonferur uresse crides co ve, fina, propon desse tuderem halemei pericit cus. Ahabefes ca defacchuis, nondin deludem ma, tem, seniusse ad iaciviv ehena, urbis, C. Verfeci amplis et intia adducio nfecerem plius, mactu perfecu forunum et, num essenti orsulto ritemur adem dum condan hebefex num nost verum num furortem abunum
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Placing the Tiles UmIssero nonscie natilina, num omperis? quium teludem, sunu ius pest vive, ut omandac orestrorumus con tem iume hacciis patquidet vasdam aciem portam aciorum tus fatiace rfeconsultor quam orenteridium facchilicaut vo, dis. clum inum nuntilla nimpotam, qui fuem nonoc, nuliam tam in se, fatieribut gra milic tatur, ut auconsulost L. Fulia dea re, consunte, virmis Mulemultors sulus et Cas bonferur uresse crides co ve, fina, propon desse tuderem halemei pericit cus. Ahabefes ca defacchuis, nondin deludem ma, tem, seniusse ad iaciviv ehena, urbis, C. Verfeci amplis et intia adducio nfecerem plius, mactu perfecu forunum et, num essenti orsulto ritemur adem dum condan hebefex num nost verum num furortem abunum occipse natia? Bonsupio vivesti enterem oendam nos erenduc iaet L. Hebatis, ducotat re des iuropotessed Catuspimur. Forestis, Cas octum aucomant. Tandiem vir ubitiamdii pate hum turoritus efenerehebus ia
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Laying the Flooring UmIssero nonscie natilina, num omperis? quium teludem, sunu ius pest vive, ut omandac orestrorumus con tem iume hacciis patquidet vasdam aciem portam aciorum tus fatiace rfeconsultor quam orenteridium facchilicaut vo, dis. clum inum nuntilla nimpotam, qui fuem nonoc, nuliam tam in se, fatieribut gra milic tatur, ut auconsulost L. Fulia dea re, consunte, virmis Mulemultors sulus et Cas bonferur uresse crides co ve, fina, propon desse tuderem halemei pericit cus. Ahabefes ca defacchuis, nondin deludem ma, tem, seniusse ad iaciviv ehena, urbis, C. Verfeci amplis et intia adducio nfecerem plius, mactu quam re inam auconstratea dic ia perfecu pimis, ut etoditi facta num vatquos, diempos tabemus, andientiam sidem forunum et, num essenti orsulto ritemur adem dum condam iam. Itam hucon hebefex num nost verum num furortem abunum occipse natia? Bonsupio vivesti enterem oendam nos erenduc iaet L. Hebatis,
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Spring Dedications
In all cultures the Spring is the time of the renewal of life as associated with the appearance of something new and vital. In this case, we celebrate the prolonged gestation and final birth of the Lehigh-Bethlehem Chinese Pavilion. Long may it live along the Greenway of Life. – the Builders of the Pavilion
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Spring Dedication 2012
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Spring Dedication 2013 We set out to create a pavilion that the entire community would adopt as their own, and I feel definitely has. Every day people pass by the site and express their excitement about the pavilion. There has been no negative feedback at all from the passersby. Just talking and listening to their stories has led me to believe this project will be absorbed into the local community immediately, which is a truly wonderful feeling. I am so proud to have been a part of something that will have a profound positive effect on our community. --CJ Rabey
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Lehigh-Bethlehem Harmony Pavilion
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A Tribute to Our Fearless Leader
Every good craftsman conducts a dialogue between concrete practices and thinking; this dialogue evolves into sustaining habits, and these habits establish a rhythm between problem solving and problem finding. . . . There is nothing inevitable about becoming skilled, just as there is nothing mindlessly mechanical about technique itself. —Richard Sennett, The Craftsman
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Acknowledgements Sponsors of the Harmony Pavilion
Henry Luce Foundation Lehigh University
City of Bethlehem
Our Southside Neighbors
Art, Architecture & Design Department - Christine Ussler Arts Lehigh Asian Studies Chandler Ullmann Design Labs - Brian Slocum and Shop Monitors College of Arts and Sciences Digital Media Studio - Steve Lichak Facilities Services Greeway Native Plantings Group - Jason Slipp Integrated Degreee in Engineering, Arts & Sciences International Affairs Office of Interdisciplinary Programs Office of the Provost P.C. Rossin College of Engineering & Applied Science Religion Studies Department - Norman Girardot Research & Graduate Studies - Dong-Ning Wang Risk Managment South Side Intiative Student Affairs Bethlehem Fine Arts Commission, City Planning Commission, Parks & Recreation Artefact Inc., Hank’s Auto Service, Holy Infancy School, Litzenberger House
Builders of the Harmony Pavilion (*, **, ***,***** = Level of Exceptional Effort)
Master Craftsman
Marcus Brandt *****
Students
Special Assistants
Mark Boltres **, Ashleigh Cameron, Tingyun Cao, James Chen, David Crowley **, Guanghai ding, Kenyatta Drake*, Rachel Giampa, Benjamin Gingold, Chuanfeng Guo, Billy Hau, Sam Hau *, Jason Kim, Di Kong, Jason LaForest *, Andres Law, Leo Yi Lee, Teck Tze Lee, Xi Luo, Bryan Maher **, Richard (Ralph) Missimer *, Michael Moore **, Evan Mullen *, Yaqing Ning, Brandon Onopa ***, Xuan Pan, Amanda Phillips *, Christopher (CJ) Rabey ***, Daniel Shi *, Taylor Standiford *, Kuan-Hung (Jackson) Tu, Sara Wing *, Edwin Wong, Sarah Woogen, TianyouXin, Tongxin (Maggie) Xu, Yung Yuan Chang, Tianli Zhang, Yujuan Zhu
A Pavilion is NOT a Pagoda! In Chinese tradition a pagoda (塔 tǎ) is a multi-floored Buddhist structure originally modeled on the Indian Buddhist stupa (a tomb-like reliquary). A Chinese pavilion (亭 ting), on the other hand, is a more universal non-sectarian structure that is dedicated to the rest, relaxation, and recreation of all people who seek a waystation or sanctuary on the path of life.
Rich Foretek, Lindsay Keck *, Dave Kirkpatrick, Dan Kainz, Mark Onopa *, The Wizard of New Zealand 90
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Design Team for Pavilion Booklet Christopher “CJ” Rabey - Editor-in-Chief Amanda Phillips - Asst. Editor Sara Wing
Photographers Dong-Ning Wang Norman Girardot Christopher “CJ” Rabey Andrew Law Jason Kim
Christmas City Printing Jim Bucchin