I've always been wondering about the relationship between design and conservation, history and modern, craftsmanship and architecture. I've always been trying to find my own standpoint. I gradually perceived the limitation of my former education. This is why I decided to step beyond the paradigm of architecture and see things from other perspectives. I realized the necessity of better understanding the nature of conservation in the context of global and regional development, and considering history with respect for its continuity. At the same time, I keep reflecting my original passion for architecture, again and again, trying not to forget it.
PART - 1 CONSERVATION STUDY
01 MOON GATE
Decorative Arts Preservation Project
02 DOU GONG
Traditional Craftsmanship Practice
03 PENDANT-FLOWER GATE
Study of Architectural Decorative Coatings
04
JINGMAI BUDDHIST TEMPLE Building Preservation Project
1
CONSERVATION STUDY-01 MOON GATE Decorative Arts Preservation Project Conservation Practice in the CRAFT studio, Palace Museum Other Member: Jiang Zhe ; Zhao Sarina ; Xu Yang ; Li Shuo Instructor: Charles J. Moore Year 2016
Description The Qianlong Garden is located in Ningshougong, which was established in 1771 as a retirement complex for the emperor Qianlong. Not willing to surpass his grandfather, the Kangxi emperor—who ruled the country for 61 years—emperor Qianlong vowed to abdicate after 60 years of rule, and ordered the construction of Ningshougong. Though he did resign as he promised, the emperor did not really lived in the garden meticulously built to his taste. However, the Qianlong Garden still perfectly reflected his artistic and philosophical appetite. The moon gate of this conservation project is located in the Bower of the Three Friends, a small pavilion isolated by rockeries within the third courtyard of the Qianlong Garden. The moon gate is a circular opening in a partition wall in the west room. Bamboo thread marquetry—of a traditional "wan" pattern—covers both side of the wooden structure of the wall, and the opening is framed with carved hardwood in the form of plum and pine tree trunks. Green and white jades were inlaid on the marquetry as leaves and flowers. The jade and the carved wood depict a scene of pine tree, plum blossom and bamboo, the Chinese "Three Friends". This workshop was the main part in the second semester of the CRAFT program. In the workshop, we spent a lot of time on site to evaluate the current condition of the moon gate. At the same time we experimented the method used to make the bamboo thread marquetry. Finally, we tried to come up with a possible treatment proposal. All work was done under the guide of our instructor Charles J. Moore.
Carved Wood
Carved Jade
Bamboo Threads
Statement of Value Integrity • Mostly very well preserved • Original (99%) material Design/ • The moon gate has its uniqueness, Crafts- considering about the design. manship • Just as the name implies, the decoration motif of the Three Friends Bower is bamboo, pine and plum blossom. • The “wan” pattern of the bamboo thread marquetry has value in Tibetan Bhuddhism, which was practiced by the Emperor Qianlong. The design is used in other areas of the Qianlong Garden as well as the Forbidden City. • The bamboo thread marquetry is very exquisite. Ancient workmen controlled the gap very carefully, and all the angles were cut meticulously. Original jade and wood carvings are elegant.
Provenance
• The embroidery, lacquerwork and carving represent highest levels of southern China craftsmanship. • The bamboo threads might have been brought from the south. • The moon gate has been preserved on original site, by isolation within the garden.
Identity • The moon gate is related to Emperor Qianlong. Artistic
Rarity
Scientific
• Probably made by southern China craftsmen. • High level of artistic value. • Evidence for the development of a Qianlong “style”, which often means ornate. • Moon gates were widely used in the garden and some landscape design. It was seldom be used as interior decoration. • Part of a one-of-a -kind assemblage of buildings and arts. • Important material to study ancient China cratsmanship.
Identification of Significant Features • Bamboo thread marquetry: a form of decoration apparently unique to South China • Carved jade: The inlaid green and white jade leaves and flowers are beautifully done. • Carved wood: the carving is beautifully done.
2
3. Experiment
Condition Summary
We also discovered a repeated unit in the 'wan' pattern. The original craftsmen may or may not have made the entire surface by assembling those units. So we started our research from exercises on building the single repeat, in order to know more about the working procedure.
Structure
Special templates were made to produce different parts of the pattern. Bamboo Threads Protected by the Jade(Sample)
Bamboo Threads Protected by the Jade
Research of Bamboo Threads In the black ones, color has penetrated into bamboo threads. We speculated that black ones were not stained. Original craftsmen might have soak those threads into the dye, which is a traditional method applied on bamboo. On the surface, pigments are associated with a translucent amorphous layer of wax. The wax accounts for the shinning surface after some cleaning. 2. Pattern After experiment, we found out that black bamboo threads are 1.0mm. Dark brown and light brown ones are 0.8mm. • Black ones were painted. • Light brown lines have width of six bamboo threads. To make those lines, bamboo threads were stuck to blue tapes, then the combination was cut into right width. • Dark brown lines have width of five bamboo threads. They were made by the same method of making light brown lines, then painited.
We then tried two different methods of building the bamboo threads pattern. • Make repeated units, then assemble those units together. • Directly build larger pattern. Those experiments enabled us to contemplate on how did original craftsmen made the marquetry. To be specific, how did those craftsmen controlled the gap between different parts. However, this problem have not been solve yet. More research is needed.
• Thick dust and environmental pollution on surface • Bamboo thread marquetry instability(marked in yellow) and loss(marked in brown)
Attachments
• Jade instability(marked in yellow) and loss(marked in green and blue) • Wood instability(marked in yellow) and loss(marked in purple) • Poor replication of replacements for missing jade(marked in green)
②-a,b
③
Disease Record of front and Back Side
④
Recommended scope of work • Additional research
Bamboo Thread Pattern ⑥-a,b
⑦
12
⑩
⑧
Cross-section Microscopy of Black Bamboo Thread
Decorative surface
①-a,b
⑤
1. Bamboo Thread We found that there are 3 different colors for the threads, light brown, dark brown and black. The best colors were found on the back of a group of threads where the surface had been protected from degradation by light and the atmosphere.
• There are shrinkage cracks in wood substrate, (marked in red) • Structure is otherwise in good condition
⑨
One Single Unit of Bamboo Thread
11
• More examples of bamboo thread marquetry • Research into the coloring methods for the bamboo threads. The threads could have been colored by a variety of methods • More cleaning tests on wood, jade, and bamboo thread marquetry • Consolidant tests
• Creation of treatment plan
Questions arrised: • What are the diameters of the three kinds of bamboo threads? • How did original craftsman made the three different colors? We took samples and made cross-section microscopic research and we found that the brown ones and the black one are different in the way of staining. In the light brown and dark brown ones, little tiny particles of pigment are found on surface of the bamboo threads. The color doesn’t exist inside the thread. Dye may have been used for the dark and light brown threads.
Cross-section Microscopy of Light Brown Bamboo Thread
Special templates were made and used
Cross-section Microscopy of Dark Brown Bamboo Thread
Two methods of building the pattern
With Jeff, 2016 3
CONSERVATION STUDY-02 DOU GONG
3
Traditional Craftsmanship Practice
1
Conservation Work in the CRAFT studio, Palace Museum Other Member: Jiang Zhe ; Zhao Sarina ; Xu Yang ; Li Shuo ; Cao Zhenwei ; Zhuo Yuanyuan Supervisor: Xiang Bingzhe Year 2016
Description Dou Gong or “cap and block” is known to be a remarkable structural element of joining wooden brackets. It is one of the greatest elements in Chinese traditional architecture. The pieces are fixed together by only the joints made in the wood.
2
4
6
8
5
This workshop was the main part in the third semester of the CRAFT program. It was a preliminary training in traditional Chinese wood working skills. In the workshop, we not only learn knowledge about one simple kind of Qing style Dou Gong, but also tried to make one model in traditional way. We used typical Chinese tools such as Chan(Chisel), Ju(Hand saw), Baozi(Plane). All work was done under the guide of traditional carpenter Mr. Xiang Bingzhe.
9
正心枋-Zheng Xin Fang
10
單材瓜栱-Dan Cai Gua Gong
11
單材萬栱-Dan Cai Wan Gong
12
拽枋-Ye Fang
13
廂栱-Xiang Gong
14
機枋-Ji Fang
15
三才升-San Cai Sheng
16
十八斗-Shi Ba Dou
PENCIL
6 BASE
SQUARE
9 CLAMP (MIDDLE)
正心萬栱-Zheng Xin Wan Gong
8 CLAMP (SMALL)
正心瓜栱-Zheng Xin Gua Gong
8
7
桁椀-Xing Wan
7
5
撐頭木后帶麻葉頭-Cheng Tou Mu
6
HAND SAW
耍頭-Shua Tou
5
4
4
CHINESE SAW
昂-Ang
3
翹-Qiao
3
2 CHINESE CHISELS
2
WHEEL MARKING GAUGE
櫨斗-Lu Dou
7
1
1
9
4
Xing Wan
11
FIFTH LAYER
SIXTH LAYER
6
The proportion of each and all parts of the building is measured in terms of the CAI(material).
5
Cheng Tou Mu
13
FOURTH LAYER
Shua Tou
10
Dan Cai Gua Gong The edges are cut into several facets to make a arc-like shape. This is called JUAN SHA.
3
Ang
8
Zheng Xin Wan Gong Those GONG that sat atop the wall have to bear weight, thus is thicker than other gong. Those are called ZU CAI GONG, which means full material.
THIRD LAYER SECOND LAYER
Xiang Gong
GONG is set of curved wooden slats, with each upward-curved bow longer than the bow below it. 4
FIRST LAYER
Dan Cai Wan Gong
2
Qiao
7
Components
Zheng Xin Gua Gong This series of increasingly longer bows stacked one atop the other could flex yet resisted continued bouncing.
1
Lu Dou
Cross-shaped Doorjamb
16
Shi Ba Dou
Cross-shaped Doorjamb
Cao Sheng Zi
Straight Tenon
15
San Cai Sheng 1
2
3
4
5
6
7
8
Swallow-tail Tenon
5
CONSERVATION STUDY-03 PENDANT-FLOWER GATE Study of Architectural Decorative Coatings Conservation Training in the CRAFT studio, Palace Museum In association with SACH (State Administration of Cultural Heritage) Other Member: Jiang Zhe ; Zhao Sarina ; Xu Yang ; Other trainees Supervisor: Charles J. Moore ; Liu Chang ; Chen Tong Year 2016
Description
Research of Interior Color Painting
The Pendant-flower Gate is the second gate in Qianlong Garden, as well as the entrance gate of the second courtyard. It is located on the main axis. It can be categorized into the ‘one hall plus one extension’ kind, which is the most common style of Pendant-flower Gate. On the west and east side, it is connected to two subsidiary halls of Hall of Fulfilling Original Wishes. The east corridor further connects Hall of Spiritual Cultivation. This workshop was a training section in the second semester of the CRAFT program, held by Palace Museum and SACH. In the workshop, we spent a lot of time on site to study and evaluate the current condition of four sites with unique decorative surface in the second courtyard of Qianlong Garden. We focused on technique of 4 different type of decorative surface date back to Qing Dynasty. We tried to apply the method of cross-section microscopy to analyze those surfaces. The issue of value had been discussed through out the whole project. All work was done under the guide of our instructor Charles J. Moore, Mecka Baumeiste, Susan L. Buck, Catherine Coueignoux London, Gregory Landrey and Liu Chang.
Sample 1-200x-visible light
Sample 1-200x-uv light
central element style 'Su' type color painting, W2 Lin: Dark Dian: Red
Process of Making Samples
Fang: Dark Same structure from other building
聚 锦 (Ju Jin): A certain type of decoration of the color painting. “Ju”means gathering. “Jin” means textile decoration. Originally silk was uses as a decoration on purline. Later its pattern became a motif of color painting. The Jin motif was uses frequently in Su style color painting.
Document from Qing Court had recorded some pigment used in the Forbidden City.
Traditional Chinese literal painting applied to background color of both black and white was found in the interior color painting.
Questions arrised: • What kind of black and blue? • The color usage is so elaborate and pioneering that reveal a possibility that painter from Ru Yi Institute could have been involved in making the interior decoration. • The usage of mixed color and how to identify it using microscopy Further research should be done to answer those questions.
Identification of Significant Features Statement of Value
Interior Color Painting
Oil Painting
Exterior Color Painting White Background
5 W5
4
W4
4
W3
7
W2
7
W1
7
Ochre E1
4
10
7
E2
7
E3
7
E4
4
E5
4
Unit: Chinese Feet
• Color Painting: an architectural decoration applied to the surface of wooden structure. • Oil Painting: an architectural decoration applied to the surface of wooden structure.
Black Background
Green Black
Indigo Indigo
Ju Jin, 'Su' type color painting, W2
• Painting applied to white background: use ink to depict natural scenery and people. Theme: Poem by Jia Dao, a famous poet in Tang dynasty • Painting applied to black background: use the other end of brush or traditional writing brush to wipe the black surface in order to reveal the back color, forming picture of orchid, bamboo or chrysanthemum.
Black color: of burned firewood or grass. Could be Yan Zi or Xiang Mo. Yan Zi, traditional pigment made from residue ivided into three different type. Blue: Seems to be a mixture of blue and white pigment. Maybe it is not Da Qing(first blue), but Er Qing(second blue) or San Qing(third blue) Technical Specification: Apply a layer of background color of San Qing, then a layer of black on top. Use the other end of brush or traditional writing brush to wipe the black surface in order to reveal the back color.
• Rarity: Generally there were three types of color painting in Qing Dynasty: He-xi, Xue-zi and Su type. In the Forbidden City, most remaining color paintings are either He-xi type or Xue-zi type. The color painting in the Pendant-flower Gate and its corridors is one of the few remaining Su type color painting dating back to period of Emperor Qian Long. Those Su type color painting was exquisitely made, and was one of the best Su type color painting of the time. • Aesthetic: The color painting in Pendant-flower gate has high aesthetic value. • Technologic: Part of a one-of-a -kind assemblage of buildings and arts. It is one important resourse to study color painting of Qing Dynasty.
6
CONSERVATION STUDY-04 JINGMAI BUDDHIST TEMPLE Building Preservation Project
Praxis at Cultural Heritage Conservation Center of Beijing Guowenyan Supervisor: Zou Yiqing ; Zhou Li Year 2016
Description Jingmai Mountain is located in the southwest of Pu'er, Yunnan province. Yunnan is the origin of Pu'er tea, and Jingmai is one of the important ancient plantations. In the past several hundreds of years, indigenous people domesticated and planted tea trees and lived on the natural sources they got from the mountain. Splendid and unique culture was created through local Dai and Bulang people's interaction with the nature. In the year 2012, the Ancient Tea Plantations of Jingmai Mountain was added to the World Heritage Tentative List in China. I got the precious chance to work in the Jingmai Mountain project at Cultural Heritage Conservation Center of Beijing Guowenyan since March,2016. The major project that I have been working on is the
restoration of Jingmai Buddhist Temple. The temple is very different from Buddhist temples of Han culture in other part of China. One significant feature is that the temple is still being used by local Dai minority group. Thus the conservation and restoration of the temple involves issues concerning living heritage, and the methods used in this case should be different from methods used in restoration projects of other Han Buddhist temples. The temple is now under severe condition and the local villagers are worried about it. With the guide from my supervisors, I did a survey of the temple, recorded the disease and proposed possible treatment.
Indigenous People Local people should be involved into the conservation process and their needs and requirements should always be kept in mind by us. In the project of the Jingmai Temple, the concept of living heritage affects the process of conservation in several ways. To what extent should the current restoration process intervene with the structure should always discussed between experts and local people. The issue of proprietorship makes the situation more complicated, since the owner of the temple—the government—is different from the user of the temple, namely local people.
Architecture
Jingmai Temple is composed of one pagoda and three buildings, namely one Buddhist hall, one pavilion which is called “tower” by the local people, and one `building used as the scripture hall. The Buddhist hall is the most important building of the temple, which houses the statue of Buddha. The hall is a rebuilt one after the big fire in 1991. The fire destroyed almost everything in the temple, except the “tower” pavilion. After the fire, the local carpenter leaded the villagers to rebuild the Buddhist hall in the original shape. The pavilion used to shelter one tower in the past, but the tower was destroyed during the Great Cultural Revolution between the 60s and the 70s. The pavilion is the only remnant that survived after the revolution and the fire, thus it holds important information about the traditional architectural styles and techniques.
Disease Due to the lag in building technology, the Buddhist hall was not in good quality even after it was first built. After more than 20 years of use, many problems—including leaking roof, broken tile and dilapidated wood structure—now trouble the local people. However, since the whole tea plantations have been added to the World Heritage Tentative List, the villagers cannot restore the hall by themselves. Instead, they have to follow a rigorous procedure to declare to the China’s State Administration of Cultural Heritage, so we help them to apply a more scientific method of conservation.
Value •Representation of Dai artistic style •Evidence for Dai architecture and how it is related to Han architecture •Evidence for Dai traditional building technique and how it is similar to and different from Han technique •Important material to study the architecture of Dai people •High spiritual value •The process of conservation may introduce modern scientific method of construction to local community 7
PART - 2 DESIGN WORK
01 BUDDHIST CEMETERY Life Beyond Death
02 BREATH AND TIDE
Memorial to the Shipwreck
03
REVOLVING
Pulpit Rock Tourist Center
8
BUDDHIST CEMETERY Life Beyond Death
Collaborative Studio Work in Tsinghua University Other Member: Jiang Zhe ; Tang Ning ; Qin Zhengyu Instructor: Liu Chang ; Li Luke Year 2014
Shanxi Province
Xinzhou City
Sunrise on Oct.30th
Wutai County
7:52 a.m.
7:57a.m.
8:03 a.m.
8:08 a.m.
Location of Wutai Mountain
平面及轴线分析，轴侧
North Peak–Yedou
分析层层抬高 / 线性空间组织
Mid Peak–Cuiyan
Site
Site West Peak–Guayue
East Peak–Wanghai
Site THIRD AXIS
Taihuai Town
FIRST AXIS SECOND AXIS
Shuxiang Temple
South Peak–Jinxiao
Five Peaks of Wutai Mountain
Location of Site
The original assignment of this studio is to design a Buddhist temple. However, after visiting the site, we were astounded by the mountain scene. We felt like minuscule creatures out there alone amid harsh wilderness. Watching the sun rising from the mountain valley, trembling in the cold November wind, we could not help contemplating about nature, about human's role in this universe, about the Buddhist cycle of life and death. This is why we decided not to design another normal Buddhist temple in Mount Wutai, but to think about a Buddhist cemetery instead. This studio involved a probe into philosophy as well as a manipulation of architectural elements. The Buddhist view on death and rebirth is so unique and recondite, and we never stoped delving into it throughout the whole design process. We also tried to combine traditional Chinese architectural ideas, like axises, symmetry, hierarchy and tectonics into the design, but in modern manifestation. On other hand, the design tried to find a balance between traditional and modern, secular and spiritual, life and death, Buddhist and Confucian.
Isometric 9
ENTRANCE
PRELUDE
3 6
4 5 4 5
3
5
7 PRAYER ROOM
WOODS
RELICS OF RIGUANG TEMPLE
LECTION ROOM
DINING HALL
TEA HOUSE
STAIRS
TURNING POINT
4
ARCHAEOLOGICAL PARK
2
SERVICE CENTER
DISABLE ENTRANCE
1
THREE WALLS
COBBLESTONE SPACE
WOODS
PARKING LOT
FORK
3 6
6 8
7 8
1 2
Second Axis
Third Axis
11
CEMETERY
TREE BURIAL
BONE ASH ROOM
YARD
PRAYER ROOM
TEMPLE BY HILL
BREATH AND TIDE Memorial to the Shipwreck
Collaborative Academic Work in Tsinghua University, Year 2015 Other Member: Yang Liangsong ; Ge Zhaoqi ; Li Xuelun Breath and Tides is completed for the Concordia Lighthouse Compitition. The requirement was to design a lighthouse in memorial of the Costa Concordia disaster. Life begins from the ocean, and it will be returned back to the ocean. We attempted to establish an architectural dialogue between the memorial lighthouse and the tide. Visitors will experience the strength of the nature. This experience indicates the remembrance of the decease and introspection of the Costa Concordia disaster.
REVOLVING Pulpit Rock Tourist Center
Collaborative Academic Work in Tsinghua University, Year 2015 Other Member: Yang Liangsong ; Ge Zhaoqi ; Li Xuelun Revolving Station is a pleasant shelter which its function dependent closely with nature. We hope that through the installment of Revolving Station, Pulpit Rock will become a place worth contemplating for the visitors, a place for rethinking the relationship between man and nature.
12