Methods of Documentation & Measured Drawings (ARC60305) - Li Yuan, Xi'an by Nurin Abdullah

METHODS OF DOCUMENTATION AND MEASURED DRAWING 2016 (ARC60305) BUILDING REPORT LI YUAN, XI’AN, CHINA

DECLARATION OF SUBMISSION We, the Team Li Yuan, in Methods of Documentation and Measured Drawing of Bachelor of Science (Honours) in Architecture, hereby declare all the information and content of this report are original, except when appropriately referenced to other sources, and that written permission has been granted by any existing copyright holders. We affirm that this is a record of our work carried out during the field trip from 26 to 28 January 2016 in Li Yuan, Guanzhong Folk Custom Art Museum, Xi’an, Shaanxi Province, China. Team leader: 1. Philia Chua Yi Sian

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Team members: 1. Ameer Farhan Bin Ramlan

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7. Mohamad Ridzwan Bin Rosman 0313350

2. Chia Sue Hwa

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8. Ng Hong Bin

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3. Chong Yu Xuan

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9. Nurin Binti Abdullah

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4. Ellen Gowiko

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10. Nurina Aida Binti Ghizan

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5. Lee Czen Shing

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11. Pablo Idris Bin Badrul Ilahan

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6. Lim Joe Onn

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12. Rozanna Farah Ibram

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ACKNOWLEDGEMENTS Team Li Yuan, Xi’an would like to formally recognize and express our gratitude to all those who had provided us with guidance and knowledge to complete this report. We express our utmost appreciation to all parties that kindly helped us, without whom this project could not have been possible. We would like to take this opportunity to thank and show our gratitude to both our lecturers, Mdm Nor Hayati Binti Ramli and Dr Francis Lin ChiaHui for organizing this site visit, collaborating with foreign authorities and providing us valuable guidance during the whole process of completing this project. Next, we would like to thank Mr Feng Jian, the Director of Xi’an Institute of Archaeology and Deputy Director of the International Council for Monuments and Sites (ICOMOS) International Conservation Centre of Xi’an for willing to collaborate with the School of Architecture, Building and Design of Taylor’s University to make this research trip possible. Then, we would like to thank Mr Gong Tian, a committee member of ICOMOS Conservation Centre of Xi’an for his valuable presentation about preservation and conservation of heritage sites in Shaanxi Province, giving us extra insight as well as information for the report.

Lastly, we express our utmost gratitude to the authorities of Guanzhong Folk Custom Art Museum in Shaanxi Province for granting us permission to measure, photograph and study Li Yuan in detail. Without their permission, the research and documentation process would not be possible.

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TABLE OF CONTENTS TOPIC i.

Abstract…............................................................................................................................................. IV

ii.

List of Figures....................................................................................................................................... V

iii.  Chapter 1 – Introduction....................................................................................................................... 1 iv.  Chapter 2 - Historical Background …................................................................................................. 33 v.

Chapter 3 - Architectural Development…........................................................................................... 74

vi.  Chapter 4 - Structtural Components …........ ...................................................................................... 177 vii.  Chapter 5 - Materials…....................................................................................................................... 204 viii.  Chapter 6 - Construction Details…….................................................................................................. 216 ix.  Chapter 7 – Conclusion….................................................................................................................... 232 x.

Chapter 8 - References and Appendices...... ..................................................................................... 235

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ABSTRACT This report documents the overall information and data obtained from Measured Drawings activity on the site of the Li Yuan building situated in Guanzhong Folk Custom Art Museum, Xi’an, China. Our team travelled to Xi’an to conduct this project. Three days were spent on site for measurements. The Li Yuan building was initially an entertainment area with three major blocks, namely the Audience Block, Performance Block and Teahouse. These buildings were built during the Yuan Dynasty but have significant influences of Ming and Qing Dynasty heavilyornamented architecture styles. The Li Yuan was relocated into the Guanzhong Folk-Custom Art Museum in 2004. As a functional theatre for performances, this building demonstrates the lifestyle and culture of Chinese people hundreds of years ago, as well as the history of its context.

Keywords: Li Yuan, China, entertainment, Audience Block, Yuan, Ming, Qing, ornaments, theatre, performance, culture, history

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LIST OF FIGURES CHAPTER 1 PAGE

FIGURE Figure 1.1: Ornamentation details on the front façade (Lim, 2016)

Figure 1.2: Details of the main door and a stone lion in the Audience Block’s front façade. (Rozanna, 2016)

Figure 1.3: Distance of our journey from Taylor’s University Lakeside Campus to Guanzhong Folk Custom Art Museum, Xi’an. (Google Maps, 2016)

Figure 1.4: GLM 50 Professional Digital Laser Distance Meter (Lim, 2016)

Figure 1.5: DLE 50 Professional Digital Laser Distance Meter (Bosch, 2016)

Figure 1.6: Stanley Long Measuring Tape 30 metres (Lim, 2016)

Figure 1.7: Rockey 30 metre Steel Tape (Lim, 2016)

Figure 1.8: Plastic Contour Gauge (Lim, 2016)

Figure 1.9: Tripod (Lim, 2016)

Figure 1.10: Nikon DSLR camera(Lim, 2016)

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CHAPTER 1 PAGE

FIGURE Figure 1.11: Scale ruler (Lim, 2016)

Figure 1.12: PVC connectors (Lim, 2016)

Figure 1.13: 1-metre long PVC (Lim, 2016)

Figure 1.14: Long pipes after assembly (Lim, 2016)

Figure 1.15: Mounting board (Lim, 2016)

Figure 1.16: Butter paper (Lim, 2016)

Figure 1.17: Butter paper (Lim, 2016)

Figure 1.18: Museum tour guide briefing us on information regarding Li Yuan in Mandarin (Lim, 2016)

Figure 1.19: The compound of the museum entirely covered by thick snow (Rozanna, 2016)

Figure 1.20: Snow coverage on parts of the buildings make it harder for us to observe the details (Rozanna, 2016)

Figure 1.21: Ameer digging through snow to get measurements (Lim, 2016)

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CHAPTER 1 PAGE

FIGURE Figure 1.22: Illustration demonstratig perspective transformation. The diagonals now meet exactly in the centre of trectangle (Agostini, n.d.)

Figure 1.23: Example of a rectified image produced using control points measurements (Tsioukas, 2007)

Figure 1.24: Example of mosaicking. 6 photos round the edge have been mounted into one single photo-mosaic in the center (Agostini, n.d.)

Figure 1.25: Facades of Li Yuan are heavily ornamented with many carvings placed at heights that are impossible to reach (Lim, 2016)

Figure 1.26: Ameer taking pictures (Lim, 2016)

Figure 1.27: Samantha holding a 1-metre long PVC pipe when Ameer’s taking pictures (Lim, 2016)

Figure 1.28: Photo of pipes and part of the front façade taken by Ameer. (Ameer, 2016)

Figure 1.29: Photo of pipes and part of the North façade taken by Ameer. (Ameer, 2016) Figure 1.30: Photo of façade taken from camera on a tripod (Lim, 2016)

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CHAPTER 1 PAGE

FIGURE Figure 1.31: Photo taken (Ameer, 2016)

Figure(s) 1.32: The tripod is then moved to different positions to capture other parts of the façade (Rozanna, 2016)

Figure 1.33: Labelling of measurements marked on photo digitally based measurements documented. (Chia, 2015)

Figure 1.34: All photos taken of the North façade are stitched together using Photoshop. (Chua, 2016)

Figure(s) 1.35: Diagrams showing a comparison of photos before and after adjustment in Photoshop. (Lim, 2016)

Figure 1.36: Ridzwan and Hong Bin recording the readings (Lim, 2016)

Figure 1.37: Philia tracing the ornaments(Lim, 2016)

Figure 1.38: Instruments classified into their specific parts to measure (Measured Drawing Team Li Yuan, 2016)

Figure 1.39: Ellen and Hong Bin using laser measuring device and mounting board (Lim, 2016)

Figure 1.40: Yu Xuan and Ridzwan using a measuring tape (Lim, 2016)

Figure 1.41: Diagram of the two measurements taken (a) and b) and the designated measurement (x)

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CHAPTER 1 PAGE

FIGURE Figure 1.42: Formula to obtain x

Figure 1.43: Pablo getting the two measurements (Lim, 2016)

Figure 1.44: Pablo getting the two measurements (Lim, 2016)

Figure 1.45: Measurements taken by Pablo recorded on a photo taken by Ameer. (Chia, 2016)

Figure 1.46: The tips of the PVC pipes, one with a measuring tape, the other with a pencil. (Lim, 2016) Figure 1.47: Team members using the two pipes to get measurements of higher parts (Lim, 2016)

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Figure 1.48: Samantha drafting the measurements (Lim, 2016)

Figure 1.49: Hong Bin draws the scaled drawing based on the drafts drawn (Lim, 2016) Figure 1.50: Screenshot of a stitched photograph used as reference during AutoCAD drawings (Lim, 2016) Figure 1.51: Mr Gong Tian, a representative from ICOMOS giving his presentation about heritage site conservation efforts (Lim, 2016)

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CHAPTER 1 PAGE

FIGURE Figure 1.52: One of the presentation slides by ICOMOS (Ridzwan, 2016)

Figure 1.53: Diagram showing process of completing the model

Figure 1.54: The roofing details done by Nurina (Lim, 2016)

Figure 1.55: Ameer working on the model (Lim, 2016)

Figure 1.56: Table of job distribution among members of the team (Measured Drawings Team Li Yuan, 2016)

Figure 1.57: Table of job distribution among members of the team on site work and AutoCAD drawings (Measured Drawings Li Yuan Report Group, 2016)

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Figure 1.58: Sketch of the Audience Block of Li Yuan (Lim, 2016)

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CHAPTER 2 PAGE

FIGURE Figure 2.1: Table showing 5 major stages of Chinese society since the dawn of Chinese society

Figure 2.2: The Great Wall of China, an amazing architectural feat (Sophie, 2015)

Figure 2.3: Illustration of Chinese gunpowder rocket. Gunpowder is one of the Four Great Inventions of China alongside with paper, printing and compass (All Empires, 2012)

Figure 2.4: Image of a porcelain set (Skinner, 2014)

Figure 2.5: Eaves on a traditional Chinese building (Top China Travel, 2013)

Figure 2.6: Forbidden City in Beijing (Jetbay, 2014)

Figure 2.7: Temple of Heaven in Beijing (Beijing Half Day Tour, 2014)

Figure 2.8: Simple diagram of a typical Chinese building

Figure 2.9: Layout of a Chinese courtyard

Figure 2.10: Timeline of China’s history (Measured Drawings Team Li Yuan, 2016)

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CHAPTER 2 PAGE

FIGURE Figure 2.11: Potrait of the Yellow Emperor (Baike, 2015)

Figure 2.12: Potrait of Confucius, or Kong Fu Zi, an influential Chinese philosopher (Wikimedia, 2015)

Figure 2.13: Artifacts of musical figures from the Han Dynasty (Cultural China, 2007)

Figure 2.14: Painting of ladies and horsemen from the Tang Dynasty (Cultural China, 2007)

Figure 2.15: Potrait of Kublai Khan, founder of the Yuan Dynasty (BBC, 2012)

Figure 2.16: National flag of Qing Dynasty China (Cultural China, 2007)

Figure 2.17: Position of Shaanxi Province in the centre of China (Wikimaps, 2015)

Figure 2.18: The Yellow River, symbol of the birth of Chinese civilization (Tricycle, 2012)

Figure 2.19: Map of Silk Road in China (China Highlights, 2012)

Figure 2.20: Map of Silk Road (500.co, 2012)

Figure 2.21: Topography map of Shaanxi (China’s government webpage)

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FIGURE Figure 2.22: Winter in Shaanxi Province (Lim, 2016)

Figure 2.23: Pie chart of GDP distribution in Shaanxi province. (Shaanxi People’s Government, 2011)

Figure 2.24: Illustration of a house with a Danpo roof (Wang, 2006)

Figure 2.25: Image of Yaodong cave dwellings (Asia Cultural Travel, 2012)

Figure 2.26: The Bell Tower in Xi’an (Lim, 2016)

Figure 2.27: Timeline of changes in Xi’an’s name (Measured Drawings Team Li Yuan, 2016)

Figure 2.28: The Southern City Wall of Xi’an Ancient City (Lim, 2016)

Figure 2.29: Pie chart of demography of Xi’an (Shaanxi People’s Government, 2011)

Figure 2.30: Hui Chinese in the Muslim Quarters of Xi’an (Chia, 2016)

Figure 2.31: Han Chinese (Joshua, 2016)

Figure 2.32: Topography map of Shaanxi (China’s government webpage)

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CHAPTER 2 PAGE

FIGURE Figure 2.33: Picture of the Loess Plateau. (Gao, 2013)

Figure 2.34: Map of Xi’an. The city of Xi’an follows a square grid due to its flat terrain. (Baidu Maps, 2016)

Figure 2.35: Table of temperatures recorded in Xi’an (Travel China Guide, 2016)

Figure 2.36: Dust storm in Xi’an (Cool Blue Ice, 2013)

Figure 2.37: Timeline of historical events in Xi’an (Measured Drawings Team Li Yuan, 2016)

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Figure 2.38: Great Mosque of Xi’an (Nurin, 2016)

Figure 2.39: Small Wild Goose Pagoda in Xi’an (INSNA, 2013)

Figure 2.40: Satellite image of the museum (Wang, 2013)

Figure(s) 2.41: Scenes in the museum (Lim, 2013)

Figure 2.42: Satellite image showing the location of Guanzhong Folk Art Museum in Xi’an (Google Maps, 2016)

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CHAPTER 2 PAGE

FIGURE Figure 2.43: Its layout refers to Ming and Qing era town-planning systems, where the grid is perpendicular to four points of the compass (Wang, 2013.)

Figure 2.44: 3D digital model of Guanzhong Folk Custom Art Museum (Measured Drawings Team Li Yuan, 2016)

Figure 2.45: 3D model of the museum’s position and surrounding terrain (Measured Drawing Team Li Yuan, 2016)

Figure 2.46: Front façade of Li Yuan (Chua, 2016)

Figure 2.47: The inner compound of Li Yuan (Ng, 2016)

Figure 2.48: Map showing the distance between Heyang County, Li Yuan’s original site to Guanzhong Folk Custom Art Museum (Google Maps, 2016)

Figure 2.49: 3D model with the red circle indicating the position of Li Yuan in Guanzhong Folk Custom Art Museum (Measured Drawings Team Li Yuan, 2016)

Figure 2.50: 3D model of Li Yuan (Measured Drawings Team Li Yuan, 2016)

Figure 2.51: Potrait of Emperor Xuan Zong of Tang (Chinatours, 2011)

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CHAPTER 2 PAGE

FIGURE Figure 2.52: The instruments played by the figurines above include the harp, clappers, flute, pan flute, pipa and sheng, instruments widely used by musicians during the Tang Dynasty (National Museum of China, n.d.)

Figure 2.53: Qinqiang performance in Xi’an (Lotour, 2013)

Figure 2.54: Biangbiang noodles of Shaanxi (Lim, 2016)

Figure 2.55: Qinqiang performance in Li Yuan (ICOMOS, 2015)

Figure 2.56: Process of Li Yuan’s restoration (Gong, 2016)

Figure 2.57: Conservation process of heritage sites (ICOMOS, 2011)

Figure 2.58: The faces of these human carvings on the Performance Block were added on during restoration. (Lim, 2016)

Figure 2.59: Cut marks are evident on a huge ornament at the Tea House. (Lim, 2016)

Figure 2.60: Comparison of building orientation before and after relocation and restoration. (Lim, 2016)

Figure 2.61: Historical timeline of Li Yuan (ICOMOS, 2011)

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CHAPTER 3 PAGE

FIGURE Figure 3.1: Opera performance in Shaanxi Province (Arts Cultural China, 2011)

Figure 3.2: Timeline of development of Chinese theatre design (Wang, 2006)

Figure 3.3: Sketch of a qinqiang folk art performance on Li Yuan’s stage by Hong Bin (Ng, 2016)

Figure 3.4: Sketch explaining the spatial arrangement of the courtyard, the stage and backstage by Joe Onn (Lim, 2016)

Figure 3.5: Table comparing architecture styles of different dynasties. (Measured Drawings Team Li Yuan, 2016)

Figure 3.6: Image of a replica of a Tang Dynasty building in China (Xi, n.d.)

Figure 3.7: Image of the Yonghe Lamasery in Beijing built in 1694 during the Qing Dynasty (Paul, 2015)

Figure 3.8: Image of ornaments on the Audience Block of Li Yuan (Chia, 2016)

Figure 3.9: Table of each dynasty and its influences on Li Yuan (Measured Drawings Team Li Yuan, 2016)

Figure 3.10: Illustration of Romance of the Three Kingdoms (Jin, 1644)

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FIGURE Figure 3.11: Colourful ornaments depicting scenes in ‘Dream of the Red Chamber’ (Lim, 2016)

Figure 3.12: Brick carving that potrays a scene in ‘Romance of the Three Kingdoms’ (Lim, 2016)

Figure 3.13: Painting documenting the bustling trade between Qing China and Western seafarers at the port of Suzhou (Xu, 1772)

Figure 3.14: Colourful curvy ornaments of mythical beasts and flowers above the stage (Lim, 2016)

Figure 3.15: Floral and geometrical elements carved on the front façade (Lim, 2016)

Figure 3.16: Image of Leping Theatre in Jiangxi Province (ALXW, n.d.)

Figure 3.17: Image of a theatre in Bowang District, Anhui Province (Ahxinshi, 2016)

Figure 3.18: Diagram of layout for Wannian style theatres (Measured Drawings Team Li Yuan, 2016)

Figure 3.19: Image of Lin’s Residence Shrine Theatre, Wufeng, Taiwan (Chen, 2010)

Figure 3.20: Image of Pu’s Family Shrine Theatre in Sichuan Province (Li & Feng, 2015)

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FIGURE Figure 3.21: Diagram of layout for Shrine style theatres (Measured Drawings Team Li Yuan, 2016)

Figure 3.22: Image of Hangzhou Teahouse Theatre (Hangzhou Daily, 2014)

Figure 3.23: Image of Temple Theatre Beijing Opera House (Mask9, n.d.)

Figure 3.24: Diagram of a Goulan Style Theatre (Measured Drawings Team Li Yuan, 2016)

Figure 3.25: Table of comparison between Li Yuan, Leping Theatre and Lin’s Residence Shrine Theatre (Measured Drawings Team Li Yuan, 2016)

Figure 3.26: Site analysis based on the surrounding context of Guanzhong Folk Custom Art Museum (Measured Drawings Team Li Yuan, 2016)

Figure 3.27: Site analysis based on the surrounding context of Li Yuan (Measured Drawings Team Li Yuan, 2016)

Figure 3.28: Image of the Performance Block and courtyard. (Lim, 2016)

Figure 3.29: Diagram indicating parts of Li Yuan covered in hardscape (Measured Drawings Team Li Yuan, 2016)

Figure 3.30: Image of the man-made Audience Block (Lim, 2016)

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FIGURE Figure 3.31: Image of part of the hand-carved front façade (Lim, 2016)

Figure 3.32: Image of a small tree in the courtyard supported by an external structure (Lim, 2016)

Figure 3.33: Diagram indicating parts of Li Yuan covered in softscape (Measured Drawings Team Li Yuan, 2016)

Figure 3.34: Pine trees in an elevated garden within Li Yuan (Rozanna, 2016)

Figure 3.35: A sycamore tree that shed its leaves during winter. (Chong, 2016)

Figure 3.36: Image showing a tiled walkway surrounded by trees. The balance of softscape and hardscape is a key principle in Chinese landscape design (Lim, 2016)

Figure 3.37: The door at the entrance of Li Yuan opens inwards for feng shui purposes (Lim, 2016)

Figure 3.38: Indication of the entrance door through elevation drawing (Measured Drawing Team Li Yuan, 2016)

Figure 3.39: The master plan of Li Yuan in its original orientation at Heyang County before relocation (Measured Drawings Team Li Yuan, 2016)

Figure 3.40: In its new position after relocation, more sunlight shines on its front façade (Lee, 2016)

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FIGURE Figure 3.41: A pair of dragons placed on a wooden beam in the Audience Block (Chia, 2016)

Figure 3.42: Gently curved roof on top of the Audience Block (Lee, 2016

Figure 3.43: Stone lion placed at the entrance of Li Yuan (Lee, 2016)

Figure 3.44: Sketch of Li Yuan’s front façade by Hong Bin (Ng, 2016)

Figure 3.45: Massing diagram showing the view of audiences from the Audience block and courtyard towards the stage (Measured Drawings Team Li Yuan, 2016)

Figure 3.46: View of stage from the Audience Block’s first floor (Lim, 2016)

Figure 3.47: Image of floral ornaments adorned in natural colours at the first floor (Lim, 2016)

Figure 3.48: Master plan of Li Yuan in its initial orientation, where the VIP room and Teahouse were placed at the East (Measured Drawings Team Li Yuan, 2016)

Figure 3.49: Image of carved ornaments depicting historical events above the main entrance (Lim, 2016)

Figure 3.50: The master plan of Li Yuan (Measured Drawing Team Li Yuan, 2016)

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FIGURE Figure 3.51: Shows the audience balcony can be seen at the first floor of the ground floor (Measured Drawing Team Li Yuan, 2016)

Figure 3.52: Master plan of Li Yuan showing the interlocking space (Measured Drawing Team Li Yuan, 2016)

Figure 3.53: Massing diagram of the Audience Block (Measured Drawing Team Li Yuan, 2016)

Figure 3.54: Indication of the entrance corridor and doorway through elevation drawing (Measured Drawing Team Li Yuan, 2016)

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Figure 3.55: Entrance corridor and doorway at the Ground Floor (Ng, 2016)

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Figure 3.56: Indication of the store room from the ground floor plan of the audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.57: Interior view of the storeroom (Ng, 2016)

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Figure 3.58: Indication of the VIP Room from the ground floor plan of the audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.59: Interior view of the VIP room (Rozanna, 2016)

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FIGURE Figure 3.60: Indication of the stairways from the ground floor plan of the audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.61: Image of the stairway at the eastern part of the Audience Block (Lim, 2016)

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Figure 3.62: Image of the stairway at the western part of the Audience Block (Chua, 2016)

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Figure 3.63: Indication of the viewing platform from the first floor plan of the audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.64: Image of the wooden balcony and the Performance Block behind (Lee, 2016)

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Figure 3.65: Image of the empty space and exposed wooden beams (Chong, 2016)

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Figure 3.66: Image of Qinqiang performances during summer ( ICOMOS, 2015)

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Figure 3.67: Sketch of audiences viewing performances and their view of the stage from the Audience Block (Lim, 2016)

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Figure 3.68: Two tour guides dressed in red in Li Yuan (Chia, 2016)

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FIGURE Figure 3.69: Image of Chinese tourists visiting Li Yuan during winter ( Lim, 2015)

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Figure 3.70: Sketch of ornaments of the building, “Dreams of the Red Chamber”(Chia, 2016)

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Figure 3.71: Sketch of a battle scene in the Chinese classic ‘Romance of the Three Kingdoms’ (Ameer, 2016)

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Figure 3.72: Circulation from the ground floor to first floor and back to the ground floor (Measured Drawing Team Li Yuan, 2016)

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Figure 3.73: Circulation of performers (Measured Drawing Team Li Yuan, 2016)

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Figure 3.74: Ground Floor of Audience Block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.75: First Floor of Audience Block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.76: Average human density in Li Yuan (Measured Drawing Team Li Yuan, 2016)

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Figure 3.77: One of the staircases connecting the ground and first floors (Chong, 2016)

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Figure 3.78: Ground floor of audience block (Measured Drawing Team Li Yuan, 2016)

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FIGURE Figure 3.79: First Floor of audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.80: Sketch of Front façade by Joe Onn (Lim, 2016)

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Figure 3.81: Front Elevation of Audience Block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.82: Ground Floor of Audience Block, showing the circulation diverging from the entrance (Measured Drawing Team Li Yuan, 2016)

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Figure 3.83: Front Elevation of Audience Block showing the entrance as a reference point (Measured Drawing Team Li Yuan, 2016)

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Figure 3.84: Front Elevation of Audience Block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.85: North Elevation of Audience Block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.86: Ground floor of audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.87: First floor of audience block(Measured Drawing Team Li Yuan, 2016)

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Figure 3.88: Front elevation of audience block (Measured Drawing Team Li Yuan, 2016)

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FIGURE Figure 3.89: North elevation of audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.90: Temperate table (China Weather Forecast, 2016)

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Figure 3.91: The average temperatures graph (China Weather Forecast, 2016)

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Figure 3.92: The average high and low temperatures graph (China Weather Forecas , 2016)

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Figure 3.93: The average humidity graph (China Weather Forecast, 2016)

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Figure 3.94: The average rainfall graph (China Weather Forecast, 2016)

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Figure 3.95: The average air quality index (AQI) graph (China Weather Forecast, 2016)

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Figure 3.96: Climate response of Li Yuan (Measured Drawing Team Li Yuan, 2016)

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Figure 3.97: The courtyard covered in snow (Nurin Abdullah, 2016)

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Figure 3.98: Indicating the location of window opening at ground floor of the audience block (Measured Drawing Team Li Yuan, 2016)

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FIGURE Figure 3.99: The window openings at the VIP Room, A (Ng, 2016)

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Figure 3.100: The window openings at the storage room, B (Chong, 2016)

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Figure 3.101: The close-up figure which explains the flow of natural wind direction enters the space in the room (Wiley, 2014)

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Figure 3.102: Indicating the location of viewing balcony at First floor of the audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.103: The viewing platform openings (Ng, 2016)

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Figure 3.104: Natural wind received at the VIP room and viewing platfrom in Cross Section B-B’ (Measured Drawing Team Li Yuan, 2016)

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Figure 3.105: Sun path direction in Li Yuan (Measured Drawing Team Li Yuan, 2016)

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Figure 3.106: Natural lighting received at the entrance pathway and viewing platform in Cross Section AA’ (Measured Drawing Team Li Yuan, 2016)

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FIGURE Figure 3.107: Natural lighting received at the VIP room in Cross Section B-B’ (Measured Drawing Team Li Yuan, 2016)

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Figure 3.108: Analysis studies of the audience block’s orientation in Li Yuan based on Figure (below, left) during solar noon (Measured Drawing Team Li Yuan, 2016)

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Figure 3.109: Orientation of the audience block in Li Yuan (Measured Drawing Team Li Yuan, 2016)

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Figure 3.110: Side view of a stone lion (Lim, 2016)

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Figure 3.111: Front view of a stone lion (Lim, 2016)

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Figure 3.112: Indication of the lion statues from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

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Figure 3.113: A dunshi placed at Li Yuan’s entrance (Chua, 2016)

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Figure 3.114: Sketches of dunshi by Philia (Chua, 2016)

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Figure 3.115: Indication of the mythical dragon head from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

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FIGURE Figure 3.116: Ornamentation of a mythical dragon head (Lim, 2016)

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Figure 3.117: Indication of the mythical dragon head from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

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Figure 3.118: Picture of the entrance (Lim, 2016)

131

Figure 3.119: Ornaments on top of the door (Lim, 2016)

132

Figure 3.120: Indication of the 2 vertical ornaments with 8 lions and carvings of humans and nature from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

133

Figure 3.121: Vertical ornament with 8 lions (Lim, 2016)

133

Figure(s) 3.122: Carvings of humans and nature (Lim, 2016)

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Figure 2.123: Wooden carvings above the door (Lim, 2016)

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Figure 3.124: Indication of the wooden carvings from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

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FIGURE Figure 3.125: Zoom-in image of a wooden carving (Lim, 2016)

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Figure: 3.126 Ornamentation of 8 humans (Lim, 2016)

136

Figure 3.127: Indication of the ornamentation of 8 humans from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

136

Figure 3.128: Zoom-in of the ornamentation of 8 humans (Lim, 2016)

137

Figure 3.129: Indication of depictions of men under a pine tree from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

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Figure 3.130: Carving of an old man and a buffalo. (Lim, 2016)

138

Figure 3.131: Carving of a smiling man playing an instrument. (Lim, 2016)

138

Figure 3.132: Ornamentation of many men (Lim, 2016)

139

Figure 3.133: Indication of the human carvingsfrom elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

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FIGURE Figure 3.134: Ornamentation of two warriors and seven footmen (Lim, 2016)

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Figure 3.135: Ornamentation of two elderly men, two young children and six men (Lim, 2016)

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Figure 3.136: Image of the highest part of the front façade (Lim, 2016)

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Figure 3.137: Indication of the mirror-opened lightfrom elevation of the front façade (Measured Drawing Team Li Yuan, 2016

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Figure 3.138: Image of a ‘Mirror-Opened Light’ brick carving on the left side of the front façade (Lim, 2016)

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Figure 3.139: Indication of the mirror-opened lightfrom elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

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Figure 3.140: Carving of two horses in a natural setting (Lim, 2016)

142

Figure 3.141: Ornaments at a corner of the ‘Mirror-Opened Light’ carving (Lim, 2016)

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Figure 3.142: Indication of the mirror-opened light’s corner from elevation of the front façade (Measured Drawing Team Li Yuan, 2016

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FIGURE Figure 3.143: Zoom-in of the floral pattern at the corner (Measured Drawing Team Li Yuan, 2016)

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Figure 3.144: Ornaments at the top part of the upper left façade (Lim, 2016)

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Figure 3.145: Indication of the mirror-opened light’s corner from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

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Figure 3.146: Zoom-in image of the smiling lion ornaments at the edge of the roof (Lim, 2016)

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Figure 3.147: Indication of the mirror-opened light’s circle from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

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Figure 3.148: Carving of a paddy field surrounded by pine trees and mountains (Lim, 2016)

145

Figure 3.149: Indication of the matouqiang from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

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Figure 3.150: Image of a protruding wall and matouqiang (Lim, 2016)

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FIGURE Figure 3.151: Zoom-in of the matouqiang. Elements of horns, beasts and flowers are carved. (Lim, 2016)

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Figure 3.152: Upper part of the protruding wall. All parts are symmetrical except for the part where a human is riding a beast. (Lim, 2016)

147

Figure 3.153: Carvings of a vase, furniture and flowers. (Lim, 2016)

147

Figure 3.154: Carving of two humans standing on a platform. (Lim, 2016)

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Figure 3.155: Image of the small door at the rightmost part (Lim, 2016)

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Figure 3.156: Indication of the matouqiang from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

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Figure 3.157: Image of one of the two wheels (Rozanna, 2016)

149

Figure 3.158: Image of one of the two wheels sketching (Ameer, 2016)

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Figure 3.159: Indication of the matouqiang from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

149

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FIGURE Figure 3.160: Image of the north elevation. (Lim, 2016)

150

Figure 3.161: Colourful ornaments near the roof (Lim, 2016)

151

Figure 3.162: Indication of the colourful ornaments from elevation of north façade of audience block (Measured Drawing Team Li Yuan, 2016)

151

Figure 3.163: Carvings of dragons and phoenixes on wooden beams (Lim, 2016)

152

Figure 3.164: Indication of the dragons and pheonix carvings from elevation of north façade of audience block (Measured Drawing Team Li Yuan, 2016)

152

Figure 3.165 : Carvings at the North façade (Chia, 2016)

153

Figure 3.166: Character of ‘prosperity’. (Chia, 2016)

153

Figure 3.167: Character of ‘good fortune’. (Chia, 2016)

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Figure 3.168: Carving of a warrior on a horse preparing for battle (Lim, 2016)

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FIGURE Figure 3.169: Indication of ornaments carvings from elevation of north façade of audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.170: Image of the north elevation (Lim, 2016)

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Figure 3.171 (left): Stitched image of the protruding wall (Lim, 2016)

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Figure 3.172: Indication of ornaments carvings from elevation of north façade of audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.173: A matouqiang above one of the protruding walls (Lim, 2016)

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Figure 3.174: Indication of ornaments carvings from section of the audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.175: Zoom-in image of floral ornaments below supportive wooden beams (Lim, 2016)

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Figure 3.176: Floral ornaments painted in natural colours below wooden beams (Lim, 2016)

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Figure 3.177: Dragon carvings below wooden beams (Lim, 2016)

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FIGURE Figure 3.178: Carvings of mythical beings, geometrical patterns and lotus flowers below wooden beams (Lim, 2016)

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Figure 3.179: Carved paintings of lotus flowers, geometrical patterns and mythical beings above the balcony (Lim, 2016)

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Figure 3.180: Indication of ornaments carvings from section of the audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.181: Battle scene with four armed warriors holding weapons (Lim, 2016)

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Figure 3.183: Indication of ornaments carvings from section of the audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.184: Hexagonal ornament on the middle of a wooden beam (Chua, 2016)

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Figure 3.185: Wooden dragon carving on a corbel bracket below a wooden beam (Lim, 2016)

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Figure 3.186: Wooden carving with organic elements placed above the middle part of a wooden beam (Lim, 2016)

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Figure 3.187: Carved calligraphy of the characters of ‘Li Yuan’ (Lim, 2016)

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FIGURE Figure 3.188 Indication of the characters calligraphy from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

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Figure 3.189: Indication of the vertical calligraphy from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

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Figures 3.190: Vertical calligraphy pair at two sides of the main entrance (Lim, 2016)

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Figure 3.191: Indication of the calligraphy from side elevation of the audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.192: Calligraphy carved in ‘Cao Shu’ font (Lim, 2016)

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Figure 3.193: Carved calligraphy above the door viewed from the southern direction (Lim, 2016)

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Figure 3.194: Indication of the carved calligraphy above the door from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

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Figure 3.195: Carved calligraphy above the door viewed from the northern direction (Lim, 2016)

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FIGURE Figure 3.196: Indication of carved calligraphy above the door from elevation of north façade of audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.196: Indication of carved calligraphy above the door from elevation of north façade of audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.197: Indication of ornaments carvings from section of the audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.198: Mural showing three actors involved in a play (Lim, 2016)

170

Figure 3.199: Mural showing three actors performing martial arts (Lim, 2016)

170

Figure 3.200: Image of parts of the front façade (Lim, 2016)

171

Figure 3.201: Image of parts of the North façade (Lim, 2016)

171

Figure 3.202: Table comparing stone lions of Li Yuan, Cheng Hoon Teng Temple and Beijing Summer Palace (Measured Drawings Team Li Yuan, 2016)

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Figure 3.203: Table comparing ornaments on Li Yuan, Kwanimm Temple and Yang Family Ancestral Temple (Measured Drawings Team Li Yuan, 2016)

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FIGURE Figure 4.1: Front Door (Ridzwan, 2016)

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Figure 4.2: Side Door (Ridzwan, 2016)

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Figure 4.3: Interior Door (Ridzwan, 2016)

177

Figure(s) 4.4: Indication of the doors at the audience block floor plans (Measured Drawing Team Li Yuan, 2016)

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Figure 4.5: Indication of the front door from ground floor plan of the audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 4.6: Image of the timber front door (Rozanna, 2016)

178

Figure 4.7: Indication of the side entrance door from ground floor plan of the audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 4.8: Image of the Side Entrance Door (Rozanna, 2016)

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Figure 4.9: Detailed metal works on the wooden door (Chua, 2016)

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Figure 4.10: Indicating the interior door at ground floor plan of audience block (Measured Drawing Team Li Yuan, 2016)

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FIGURE Figure 4.11: Image of the door of the Storeroom (Ridzwan, 2016)

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Figure 4.12: Indicating the windows at the North façade (Measured Drawing Team Li Yuan, 2016)

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Figure 4.13: Windows at the Audience Block (Lim, 2016)

181

Figure 4.14 : Zoom in of the ornaments on a window (Rozanna, 2016)

181

Figure 4.15: Shows the known location of the column on the ground floor (Measured Drawing Team Li Yuan, 2016)

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Figure 4.16: Shows the known location of the column on the first floor. (Measured Drawing Team Li Yuan, 2016)

182

Figure 4.17: Image showing the column fitted adjacently to the walls (Ridzwan, 2016)

183

Figure 4.18: columns on the Ground floor (Measured Drawing Team Li Yuan, 2016)

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Figure 4.19: Image of a column, also known as ‘yanzhu’ (Ng, 2016)

183

Figure 4.20: Shows the column placed within the gridline (Measured Drawing Team Li Yuan, 2016)

183

Figure 4.21: Columns on the Ground floor (Measured Drawing Team Li Yuan, 2016)

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FIGURE Figure 4.22: Measured drawing of one of the columns (Measured Drawing Team Li Yuan, 2016)

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Figure 4.23: Shows the beams with ornaments (Ridzwan, 2016) Figure 4.24: Illustration of a dove-tail system that was used during the Yuan Dynasty (Guo,2005) Figure 4.25: Indication of the guazhu from section of the audience block (Measured Drawing Team Li Yuan, 2016)

185

Figure 4.26: Image of one of the massive beams supporting the roof (Lim, 2016)

186

Figure 4.27: shows the highlights of the walls (Measured Drawing Team Li Yuan, 2016)

187

Figure 4.28: shows the connection of the wall to the whole structure (Ridzwan, 2016) Figure 4.29: shows the wall at of the audience block in Li Yuan, the bricks arranged in an evenly manner (Ridzwan, 2016)

187

Figure: 4.30: Shows the ceiling with bare construction details (Ridzwan, 2016)

188

Figure 4.31: Shows the ornament on the ceiling (Chua, 2016)

188

185 186

187

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FIGURE Figure 4.32: shows the ceiling (Chua, 2016)

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Figure 4.33: shows the location of the VIP Room (Measured Drawing Team Li Yuan, 2016)

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Figure 4.34: shows the ornament on the ceiling in the VIP room (Nurin, 2016) Figure 4.35: shows the location of the exterior stairs (Measured Drawing Team Li Yuan, 2016)

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Figure 4.36: shows the location of the interior stairs (Measured Drawing Team Li Yuan, 2016)

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Figure 4.37: Interior Stairs (Chua, 2016)

190

Figure 4.38: Shows the stairs heading leading down to the plaza and two smiling lion siting on each side of the stairs (Measured Drawing Team Li Yuan, 2016)

191

Figure 4.39: Image of the railings of the First floor during the Ming and Qing dynasties (Wang, 2007)

192

Figure 4.40: Illustration of Bottle-styled railings popular during the Qing Dynasty (Wang, 2007)

192

Figure 4.41: Location of the First floor railings (Measured Drawing Team Li Yuan, 2016)

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190

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FIGURE Figure 4.42: Illustration of the elevation showing the roof (Measured Drawing Team Li Yuan, 2016)

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Figure 4.43: shows the roof of Li Yuan covered in snow (Ng, 2016)

193

Figure 4.44: Wen ornaments on the far end of the roof (Chong, 2016)

194

Figure 4.45: Wadang ornaments on the edge of the roof (Lim, 2016)

194

Figure 4.46: Indication of the ornaments from north elevation of the audience block (Measured Drawing Team Li Yuan, 2016)

194

Figure 4.47: Indication of the arches from north elevation of the audience block (Measured Drawing Team Li Yuan, 2016)

195

Figure 4.48: Shows the arched entrance on the First floor (Lim, 2016) Figure 4.49: Shows the location of the furniture (Measured Drawing Team Li Yuan, 2016)

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Figure 4.50: Shows the furniture are place on the exterior (Ridzwan, 2016)

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Figure 4.51: Shows the furniture are place in the VIP Room (Ridzwan, 2016)

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FIGURE Figure 4.52: Shows the furniture are place on the exterior (Lee, 2016)

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Figure 4.53: Illustration shows the “Ma Tou Qiang” on the audience façade (Measured Drawing Team Li Yuan, 2016)

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Figure 4.54: Illustration of the elevation showing the position of the thicker brick wall (Measured Drawing Team Li Yuan, 2016)

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Figure 4.55: The image of the fire prevention brick wall (Measured Drawing Team Li Yuan, 2016)

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Figure 4.56: 3D diagram of a simple qieti (Measured Drawings Team Li Yuan, 2016)

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Figure 4.57: An ornamented qieti at the North façade (Lim, 2016)

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Figure 4.58: Image of dougongs on the North façade (Lim, 2016)

200

Figure 4.59: Diagram of the ‘wangong’ (above) being fit into the ’zuodou’ (below) (Measured Drawings Team Li Yuan, 2016)

200

Figure 4.60: Indicating the portholes at the north elevation of audience block (Measured Drawing Team Li Yuan, 2016)

201

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Figure 4.61: Image of an air ventilation hole Chua, 2016)

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Figure 4.62: View through an air ventilation hole (Nurin, 2016)

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Figure 4.63: Safety ramp at the side door. (Chua, 2016)

202

Figure 4.64: Staircase railing at a stairway (Chia, 2016)

202

Figure 4.65; Sketch of an ornament above a beam by Ameer (Ameer, 2016)

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CHAPTER 5 PAGE

FIGURE Figure 5.1: Collage of different materials used at the audience building (Measured Drawings Team Li Yuan, 2016)

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Figure 5.2: Figure shows the bond pattern of façade wall - running bond (Chua, 2016)

204

Figure 5.3: Timber floor tiles at audience block (Chua, 2016)

205

Figure 5.4: Timber structure – framing, trusses, beams, lintels (Lim, 2016) Figure 5.5: Timber structure – columns, carved ornaments (Lim, 2016)

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Figure 5.6: Timber structure – railings (Chua, 2016)

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Figure 5.7: Timber structure – side entrance door (Chua, 2016)

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Figure 5.8: Timber structure – dougongs and ornamental carvings (Lim, 2016)

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Figure 5.9: Timber structure – decorative partition (Rozanna, 2016)

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Figure 5.10: The use of ceramic floor tiles can be found at the stairs (Lim, 2016)

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Figure 5.11: Basalt tile floor at the Audience Block (Lim, 2016)

207

205

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Figure 5.12: Door rivets (Chua, 2016)

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Figure 5.13: Door knocker(Chua, 2016)

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Figure 5.14: Door knocker (Lim, 2016)

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Figure(s) 5.15: Stone carvings (Ng, 2016)

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Figure(s) 5.16: Carved stone bricks for the front façade Ornaments (Lim, 2016)

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Figure 5.17: The use of stucco, glutinous rice & cement for Ornaments (Nurin, 2016)

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Figure 5.18: The clay roof tiles (Ng, 2016)

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Figure(s) 5.20: Cement plaster at the First floor of audience block (Chua, 2016)

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Figure 5.21: Ornaments (Lim, 2016)

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Figure 5.22: Wood coated with layers of drying oil (Lim, 2016)

212

Figure 5.23: Image of the wood shelf (Nurin, 2016)

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Figure 5.24: Image of the decorative partition (Lim, 2016)

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Figure 5.25: Shows the location of the furniture (Measured Drawing Team Li Yuan, 2016)

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Figure 5.26: Furniture placed at the exterior (Ridzwan, 2016)

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Figure 5.27: Furniture placed in the VIP Room (Ridzwan, 2016)

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Figure 5.28: Sketch of details on the side of the roof by Nurin (Nurin, 2016

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CHAPTER 6 PAGE

FIGURE Figure 6.1: Image showing the worn-out part of the structure where no usage of nails can be seen (Ridzwan, 2016)

216

Figure 6.2: Illustration of Audience Block by Hong Bin (Ng, 2016)

217

Figure 6.3: Tools to make rammed earth wall in West China (Ren, Lu & Cao, 1986)

218

Figure 6.4: Shows the process of making the bricks by “ramming the earth” (Guo, 2005)

218

Figure 6.5: Sticky-rice juice, one of the components of making the mortar (American Chemical Society,2010)

219

Figure 6.6: Process of rammed earth bricks production (Guo, 2005)

219

Figure 6.7: Image of masonry wall left bare without any coating (Lim, 2016)

220

Figure 6.8: Image of painted cement plaster walls. (Chong, 2016)

220

Figure 6.11: Shows the placement of the ceramic tiles. (Measured Drawing Team Li Yuan, 2016)

221

Figure 6.12: Image showing the stairs are made with the same finishing (Lim, 2016)

221

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FIGURE Figure 6.9: Construction details of earthworks (Ren, Lu & Cao, 1986)

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Figure 6.10: the construction details of the floor foundation (ICOMOS, 2010)

222

Figure 6.13: Shows the process of ceramic tiles production (Guo,2005)

223

Figure 6.14: Process of the clay sheet being stripped (Guo,2005)

223

Figure 6.15: Illustration highlights the location of the floor(Measured Drawing Team Li Yuan, 2016)

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Figure 6.16: picture shows the wooden floor in relation to its surroundings (Lim, 2016)

224

Figure 6.17: shows the area of the basalt tiles in audience block (Measured Drawings Team Li Yuan, 2016)

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Figure 6.18: Process of Basalt installment in Li Yuan (Lim, 2016)

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Figure 6.19: shows the basalt tiles that has been added to the building (Lim, 2016)

225

Figure 6.20: Indication of the roof construction from site plan (Lim, 2016)

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FIGURE Figures 6.21: Images of the roof of the Audience Block (Chong, 2016)

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Figure 6.22: Process of beam construction (Ren,Lu & Cao, 1986)

227

Figure 6.23: Beams and Tenon (Source: Ren,Lu & Cao, 1986)

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Figure 6.24: Shows the roof section with different layers.(Measured Drawing Team Li Yuan,2016)

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Figure 6.25: Shows the components of the water proof and tile placement (Ren, Lu & Cao, 1986)

228

Figure 6.26: Illustration of a Chinese roof (Wang, 2007)

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Figure 6.27: Ming and Qing dynasty tiles (Ren, Lu & Cao, 1986)

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Figure 6.28: Schematic water prevention capacity of a round caves-tile (Ren, Lu & Cao, 1986)

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Figure 6.29: Schematic Water prevention capacity of a dripping tile ‘dishui’ (Ren, Lu & Cao, 1986)

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Figure 6.30: Shows the location of the roof ridge (Measured Drawing Team Li Yuan, 2016)

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CHAPTER 6 FIGURE

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Figure 6.30: Shows the location of the roof ridge (Measured Drawing Team Li Yuan, 2016)

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Figure 6.31: Roof ridge and ornaments (Ridzwan, 2016)

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Figure 6.32: Roof ridge on top of a matouqiang (Chong, 2016)

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Figure 6.33: Sketch of details of the roof eaves by Philia (Chua, 2016)

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FIGURE Figure 7.1:Group Photo (Pablo,2016)

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Figure 7.2:Culture and history creates architecture.

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Figure 7.3: Group photo (Gowiko,2016)

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CHAPTER 8 PAGE

FIGURE Figure 8.1: Sketches of the section of the front façade.(Measured Drawings Team Li Yuan, 2016)

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Figure 8.2: Sketches of Li Yuan (Lim, 2016)

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CHAPTER 1:! INTRODUCTION!

CHAPTER 1: INTRODUCTION

1.1 AIMS AND OBJECTIVES This project aims to produce a set of measure drawings of the Audience Block of Li Yuan for performing arts located in The Guanzhong Folk Custom Art Museum in Xi’an, China. The project is an on-site exercise where students are required to execute fieldwork and hands-on measuring exercise that will help document the significance of the building. A report containing important and historical information of the building complement the drawings. We are required to analyse the relationship between the architecture of Li Yuan’s Audience Block, its context and its significance.

The research conducted aims to answer the following questions: •  What signifies the historical value and architecture that transpires within Li Yuan

Figure 1.1: Ornamentation details on the front façade (Lim, 2016)

•  What are the context of the crucial features of Li Yuan that contrives to its cultural essence? •  What are the meticulous measurements that design Li Yuan’s Audience Block? MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 1

CHAPTER 1: INTRODUCTION

1.2 INTRODUCTION TO RESEARCH This report highlights the outcome of Measured Drawings research exercise on the Audience Block of Li Yuan in Xi’an, China. With a total of thirteen members in a group, we are required to document all findings in this report. The research that are documented fixates on various aspects such as historical, architectural and cultural. In which, we are highlighting the relationship of how these three aspects can affect the inhabitation of the building. This report additionally contains supporting information with a set of measured drawings of the Audience Block.

With the fact that Li Yuan was built since the 14th century AD, it signifies that this building has a lot of historical value in it. The building is relocated from its original place in Shaanxi Province to Guanzhong Folk Custom Art Museum in Xi’an. The building is built during the Yuan dynasty but it is then refurbished influenced by the

Figure 1.2: Details of the main door and a stone lion in the Audience Block’s front façade. (Rozanna, 2016)

following dynasties of Ming and Qing. This report also will explicate the research of the architectural styles, structure, technology and the significant elements of the building. MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 2

CHAPTER 1: INTRODUCTION

3534 k

Xi’an, China

Subang Jaya, Malaysia

Figure 1.3: Distance of our journey from Taylor’s University Lakeside Campus to Guanzhong Folk Custom Art Museum, Xi’an. (Google Maps, 2016)

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CHAPTER 1: INTRODUCTION

1.3 MATERIALS In order to obtain measurements of the building and document, certain equipment are required. DLE 50 and GLM 50 Professional Digital Laser Distance Meter These digital laser distance meters from Bosch were used to measure distances and heights of greater magnitude that are more difficult to obtain efficiently. For instance, when measuring the height of a ceiling from the floor, the device is placed on the floor with its laser transmitter facing the ceiling at a right angle. After correcting the settings, the distance between floor and ceiling appears digitally up to 3 decimal points on the screen.

Figure 1.4: GLM 50 Professional Digital Laser Distance Meter (Lim, 2016)

Figure 1.5: DLE 50 Professional Digital Laser Distance Meter (Bosch, 2016)

(Figure 1.5)

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CHAPTER 1: INTRODUCTION

Standard Measuring Tape The primary piece of equipment utilized to measure multiple parts of the building. The rolled tape was pulled from end to another end of a part of the building to acquire its length based on markings on the tape. At least two students are required when operating this device.

Figure 1.6: Stanley Long Measuring Tape 30 metres (Lim, 2016)

Figure 1.7: Rockey 30 metre Steel Tape (Lim, 2016)

Contour Gauge Consisting of a set of plastic pins that are placed tightly against one another in a frame that keeps them in the same plane, it allows the user to place it onto surfaces that are uneven to obtain the exact shape and measurements. When pressed against an object, the pins conform to the object. The shape of the pin set after conforming is then traced onto a paper and labelled. (Figure 1.8)

Figure 1.8: Plastic Contour Gauge (Lim, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 5

CHAPTER 1: INTRODUCTION

DSLR Camera and Tripod The function of the tripod is to stabilize the DSLR camera attached on top of it so that the photos taken are clear and perpendicular to the taken surface. High quality images of the façades are taken using these equipment. (see Figure 1.9 & Figure 1.10)

Figure 1.9: Tripod (Lim, 2016)

Figure 1.10: Nikon DSLR camera (Lim, 2016)

Scaled Ruler Used to draw accurate drawings after rough drafts with measurements were done. It is a specialized ruler designed to facilitate the drafting and measuring of architectural drawings. (Figure 1.11)

Figure 1.11: Scale ruler (Lim, 2016)

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CHAPTER 1: INTRODUCTION

PVC Pipes and Connectors 1-metre long PVC pipes (Figure 1.13) were connected together using PVC connectors (Figure 1.12) to become longer pipes. For one long pipe, a measuring tape is stretched and attached to it using cellophane tape while for the other pipe, a pencil is attached at its end. (Figure 1.14) Two team members collaborate together while using these two long pipes to measure lengths of objects that are high up.

Figure 1.12: PVC connectors (Lim, 2016)

Figure 1.13: 1-metre long PVC (Lim, 2016)

Figure 1.14: Long pipes after assembly (Lim, 2016)

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Butter Paper and Graph Paper Measurement readings and rough drafts were drawn on butter

A black sheet of paper was used as Point B while measuring a length from Point A using a digital laser distance meter. Due to its black surface, the red laser point can be clearly seen. (Figure 1.15 )

paper first before proceeding to drawing to-scale drawings on graph paper. (Figure 1.16 & Figure 1.17)

Figure 1.16: Butter paper (Lim, 2016)

Figure 1.15: Mounting board (Lim, 2016)

Figure 1.17: Butter paper (Lim, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 8

CHAPTER 1: INTRODUCTION

A3 Mounting Board

CHAPTER 1: INTRODUCTION

1.4 LIMITATIONS Multiple limitations were faced by us throughout this project. First and foremost, information about Li Yuan is scarce due to The Great Firewall of China. It is a censorship and surveillance project that blocks potentially unfavourable incoming data from foreign countries and is operated by China’s government. Hence, extensive research were halted when we arrived in China. Moreover, information available online about Li Yuan is insufficient. The Chinese museum authorities were also reluctant to share much detailed information about our site due to relatively conservative culture. Information about Li Yuan’s original site and full documentation of its restoration and renovation are not accessible by public.

Figure 1.18: Museum tour guide briefing us on information regarding Li Yuan in Mandarin (Lim, 2016)

Language also serves as a barrier as most of the information we received are in Mandarin, adding additional translation work for members who are fluent in Mandarin. MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 9

CHAPTER 1: INTRODUCTION

When we arrived in China, the weather is -20 degrees Celsius at its lowest, the coldest it has been since 1992. To complete measuring the building, we have to do our work outdoors in freezing temperatures. There was a considerable distance between Li Yuan and our hostel. It took an hour to reach there by bus, albeit slower in the snowy regions, consuming valuable time. We also had limited amount of time to measure the building as daylight is shorter in winter.

Figure 1.19: The compound of the museum entirely covered by thick snow (Rozanna, 2016)

Parts of the site was covered in thick snow, making access to certain areas difficult. As Li Yuan is an ancient building, there were rules and regulations to be taken consideration when measuring the building. We were not allowed to climb and reach higher parts of the building. Some parts of Li Yuan were inaccessible due to it being owned by Guanzhong Folk Custom Art Museum. Figure 1.20: Snow coverage on parts of the buildings make it harder for us to observe the details (Rozanna, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 10

CHAPTER 1: INTRODUCTION

Our team only consists of thirteen students and among us, there is only one senior student as a guide. Time given to measure Li Yuan is limited. With only three days given to measure the building, we had to get the measurements of every single detail with the highest accuracy possible. We were overwhelmed by the amount of elaborate ornamental carvings in Li Yuan, driving us to only focus more on the Audience Block and draw it on higher detail due to its architectural significance. Hundreds of years of ornaments had been added to the buildings and it is too much for thirteen of us to comprehend the drawings. Figure 1.21: Ameer digging through snow to get measurements (Lim, 2016)

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Multiple tasks were conducted in order to complete this project.

In the method of photogrammetry with measurements,

Theories on photogrammetry were studied, aiding us on the

perspective distortion is eliminated through measurements taken

eventual field work. Literature research was done to gather

on the object of photogrammetry. This is the commonest kind of

information about the building and its context. These jobs were

photogrammetry in todayâ&#x20AC;&#x2122;s programs (Agostini, n.d.). This is an

distributed among ourselves.

efficient way to get measurements of our building.

1.5.1 Photogrammetry

The mathematical calculation requires four fixed points of known measurements, through which it is possible to determine all the

Photogrammetry is the use of photography in surveying to

other points on the same level (Agostini, n.d.).

measure distance. It is a science based technology with more than a century of history and development. During this time, the techniques used to get information about objects represented in photos have changed dramatically from pure optic-mechanical equipment to a fully digital workflow (Linder, 2006) From a single photo (two-dimensional plane) you can only get two-dimensional coordinates. Therefore, if we need threedimensional coordinates, we have to find a way how to get the third dimension (Linder, 2006).

Figure 1.22: Illustration demonstrating perspective transformation. The diagonals now meet exactly in the centre of rectangle (Agostini, n.d.)

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CHAPTER 1: INTRODUCTION

1.5 METHODOLOGY

CHAPTER 1: INTRODUCTION

By using more than the four minimum control points and through the statistical standard deviation of the produced rectified image. Adjustment is providing the optimal solution of the rectified image (Tsioukas, 2007) In the case where it is not possible to measure points on the building’s façade, vanishing point geometry is applied. The definition of the vanishing points on the image, through the collection of parallel horizontal or vertical lines, can determine the position of the camera in relation to the building’s façade locus

Figure 1.23: Example of a rectified image produced using controlpoints measurements (Tsioukas, 2007)

(Karras, 1992).The measurements that are used are horizontal and vertical distances that provide the correct scale of the rectified image (Karras, 1992; Fangi, 2001). It is often impossible to take the entire façade of a building in just one photograph. You have to take several photos then mount them together in a mosaic to form the picture (Agostini, n.d.). These rectified pictures together as a mosaic are created having

Figure 1.24: Example of mosaicking. 6 photos round the edge have been mounted into one single photo-mosaic in the center (Agostini, n.d.)

on-site measurements as reference. MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 13

CHAPTER 1: INTRODUCTION

The method of superimposed mosaicking is applied. In this type of mosaicking, general views are taken of the faĂ§ade as well as photos of certain details. These are then superimposed on the main image for greater detail and precision where necessary (Agostini, n.d.). This technique utilizes the transparency function as it needs to be able to use all shapes of cut-outs in order to obtain the exact outline of architectural details. As Li Yuan is full of elaborate manually-done ornaments (Figure 1.25), it was deemed highly time-consuming to measure and draw them each individually. Hence, photos play a vital role as a

Figure 1.25: facades of Li Yuan are heavily ornamented with many carvings placed at heights that are impossible tor reach (Lim, 2016)

reference for drawings. A tripod and a DSLR camera is used when we applied this process (Figure 1.26). Photos taken of the facades are distorted due to perspective. Thus, perspective distortion elimination is done using Photoshop via alignment. Grids were drawn and the edges of the photo were stretched or compressed to straighten up the photographs. Perspective distortion is eliminated through measurements taken on the object of photogrammetry (Agostini, n.d.).

Figure 1.26: Ameer taking pictures (Lim, 2016)

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CHAPTER 1: INTRODUCTION

Photos of whole facades and every single ornamentation were taken and aligned using Photoshop so that the all angles are perpendicular to the ground line. The aligned photos are then inserted into AutoCAD to be scaled. PVC pipes with an exact length of 1 meter were placed vertically or horizontally on parts of the wall when photos of whole facades are taken. These pipes serve as scale references while drawing on AutoCAD. All photos of the same façade taken from different angles are then compiled and mounted together in a single high-resolution photo. These photos are then amended using AutoCAD based on the measurements taken using other methods (using traditional measuring tapes and laser measuring devices). The combination of photogrammetry and other measuring methods enables accurate and precise drawings to be created using AutoCAD.

Figure 1.27: Samantha holding a 1-metre long PVC pipe when Ameer’s taking pictures (Lim, 2016)

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CHAPTER 1: INTRODUCTION

Figure 1.28: Photo of pipes and part of the front façade taken by Ameer. (Ameer, 2016)

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CHAPTER 1: INTRODUCTION

Figure 1.29: Photo of pipes and part of the North façade taken by Ameer. (Ameer, 2016)

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CHAPTER 1: INTRODUCTION

Figure 1.30: Photo of façade taken from camera on a tripod (Lim, 2016)

Figure(s) 1.32: The tripod is then moved to different positions to capture other parts of the façade (Rozanna, 2016)

Figure 1.31: Photo taken (Ameer, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 18

CHAPTER 1: INTRODUCTION

Figure 1.33: Labelling of measurements marked on photo digitally based measurements documented. (Chia, 2015)

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CHAPTER 1: INTRODUCTION

Figure 1.34: All photos taken of the North façade are stitched together using Photoshop. (Chua, 2016)

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CHAPTER 1: INTRODUCTION

Before adjustment

After adjustment

Figure(s) 1.35: Diagrams showing a comparison of photos before and after adjustment in Photoshop. (Lim, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 21

Before the trip to Xiâ&#x20AC;&#x2122;an, China, team members went to Kwanimm Temple, Klang for a test measurement to get use to the methods and equipment. (Figures 1.36 and 1.37)

The most prominent instruments used to collect measurements of Li Yuan are measuring tapes and digital laser measuring device. Laser measuring devices are used together with a piece of A3 mounting board as a surface for the laser to shoot on.

Instruments

Measuring Tape

Digital Laser Measuring Device

Parts to Measure

Smaller, accessible

Longer lengths

parts (columns,

(ceiling heights,

ornament details,

floor plan)

railings etc) Figure 1.36: Ridzwan and Hong Bin recording the readings (Lim, 2016)

Figure 1.38: Instruments classified into their specific parts to measure (Measured Drawing Team Li Yuan, 2016)

Figure 1.39: Ellen and Hong Bin using laser measuring device and mounting board (Lim, 2016) Figure 1.37: Philia tracing the ornaments(Lim, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 22

CHAPTER 1: INTRODUCTION

1.5.3 Traditional Measuring Methods

the elevation drawings, the Pythagoras theorem is applied. Using a laser measuring device and an app in a smartphone as a leveller, two measurements of distances are collected. The

wall

measurin g device

height on a façade can be obtained by using a formula.

2 2 x= b – a

a Figure 1.41: Diagram of the two measurements taken (a) and b) and the designated measurement (x)

Figure 1.42:Formula to obtain x

Figure 1.43 (above) and Figure 1.44 (right): Pablo getting the two measurements (Lim, 2016)

To measure details at a height, two elongated PVC pipes, one with a pencil at the higher end, the other with a stretched Figure 1.40: Yu Xuan and Ridzwan using a measuring tape (Lim, 2016)

measuring tape attached to it were used. Two team members are involved in MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 23

CHAPTER 1: INTRODUCTION

To measure vertical heights beyond human reach on facades for

CHAPTER 1: INTRODUCTION

Figure 1.45: Measurements taken by Pablo recorded on a photo taken by Ameer. (Chia, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 24

CHAPTER 1: INTRODUCTION

the device operation. The pipe with the measuring tape is put vertically beside the designated high object (for instance, beam). Next, the pipe with the pencil draws a mark beside the designated object on the measuring tape. The pipe with the measuring tape is then taken down. After observing the readings on the pencil mark, the measurement is obtained.

Figure 1.47: Team memberas using the two pipes to get measurements of higher parts (Lim, 2016)

Figure 1.46: The tips of the PVC pipes, one with a measuring tape, the other with a pencil. (Lim, 2016)

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CHAPTER 1: INTRODUCTION

1.5.4 Production of Drawings After surveying the overall massing of Li Yuan, team members were assigned on which part to draw.

The measurements obtained on site were recorded onto drafts on butter paper first. The drafts are then translated into scaled manual drawings before proceeding to AutoCAD. Further meetings were done to standardize line weights, make sure all drawings are coherent to one another and give final touches to drawings. AutoCAD features such as SPLINE and Array are used

Figure 1.49: Hong Bin draws the scaled drawing based on the drafts drawn (Lim, 2016)

the most sue to the buildingâ&#x20AC;&#x2122;s ornamental yet geometrically repetitive characteristics.

Figure 1.48: Samantha drafting the measurements (Lim, 2016)

Figure 1.50: Screenshot of a stitched photograph used as reference during AutoCAD drawings (Lim, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 26

CHAPTER 1: INTRODUCTION

1.5.5 Literature Research Before the trip to China, research was done by visiting University of Malayaâ&#x20AC;&#x2122;s East Asia Studies Department and library in order to search for information regarding buildings of similar typology to our site and architectural influences of different dynasties.

Personal communication were conducted with members of

Figure 1.51: Mr Gong Tian, a representative from ICOMOS giving his presentation about heritage site conservation efforts (Lim, 2016)

ICOMOS and Guanzhong Folk Custom Art Museum to obtain more facts about Li Yuan. These information include its relocation process, material, cultural aspects and stories behind the ornaments. Extra information were obtained by referring to online journals and reliable websites.

However, due to the fact that most information found were written in Mandarin and is unintelligible to many of our team members, some members were assigned to do the translating

Figure 1.52: One of the presentation slides by ICOMOS (Ridzwan, 2016)

work. MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 27

CHAPTER 1: INTRODUCTION

1.5.6 Model Making Process AutoCAD drawings are amended

AutoCAD drawings are printed to scale

Laser cutting is conducted at the workshop

Measurements are taken from the printed drawings

Lines drafted on balsa wood

Figure 1.54: The roofing details done by Nurina (Lim, 2016)

Balsa wood are cut and pasted together using glue

Final product Figure 1.53: Diagram showing process of completing the model

Figure 1.55: Ameer working on the model (Lim, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 28

1.5.1 Job Distribution

Group

Video

Leaders

•  Ameer Farhan Ramlan

Members Involved

Report

Physical Model

Measured Drawings

•  Lim Joe Onn

•  Ameer Farhan Ramlan •  Ng Hong Bin

•  Chia Sue Hwa •  Philia Chua Yi Sian

•  Mohamad Ridzwan Rosman •  Nurin Abdullah

•  Chong Yu Xuan •  Nurina Aida Ghizan •  Pablo Idris Bin Badrul Ilahan •  Ellen Gowiko

•  Lee Czen Shing •  Rozanna Farah Ibram

Figure 1.56: Table of job distribution among members of the team (Measured Drawings Team Li Yuan, 2016)

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CHAPTER 1: INTRODUCTION

1.5 METHODOLOGY

Measured By

Drawn By

Roof and Site Plan

YX, EG, HB, PC

EG, HB, NA, PC RF

Ground Floor Plan

SH, CS, MR, NG, NA, PC, PI

NA, MR, PC

First Floor Plan

CS, PI

MR, PC

Members

Initials

Ameer

Sue Hwa

Yu Xuan

Reflected Ceiling Plan - GF

SH, CS, MR, NG, NA, PI

CS, MR, PC

Ellen

Roof Structure Plan -FF

CS, YX, EG, HB, PI

CS, PC

Czen Shing

Audience Block South Elevation (Front Façade)

AF, SH, CS, JO, NA, RF, PI

SH, YX, MR, NG, NA, PC, RF

Joe Onn

AF, SH, CS, JO, NA, RF, PI

PC, RF

Ridzwan

Audience Block North Elevation (North Façade)

Hong Bin

Audience Block East Elevation

AF, SH, CS, JO, NA, RF, PI

SH, JO, PC

Nurina

Teahouse East Elevation

AF, CS, MR, NG, RF, PI

SH, YX, PC

Nurin

Stage South Elevation

AF, CS, MR, NG, RF, PI

SH, PC

Pablo

Philia

Sections A-A, B-B, C-C, D-D

All members

SH, CS, PC, RF

Rozanna

Detailed and Construction Drawings

All members

AH, CS , PC, RF

Axonometric

All members

Figure 1.57: Table of job distribution among members of the team on site work and AutoCAD drawings (Measured Drawings Li Yuan Report Group, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 30

CHAPTER 1: INTRODUCTION

Drawing

The purpose of this project is to have a better understanding of

By documenting the overall information and history of the building,

the significance of the historical heritage and cultural values,

it creates a different perspective view for us since the building

while relating it back to the architectural style along with the

holds a lot of historical values in it that influence the architectural

social, economic, political and other influences to the design and

styles, technology and the essential elements of the building.

concept of Li Yuan in the past as well as the site context.

Overall, these methods of documenting provide us a greater

The measurements, photography and videography evidence were the methods of documentation of the heritage building on site

understanding in every aspects and as well as learning to appreciate the importance of conserving architectural heritage.

which also supports our understanding of Li Yuanâ&#x20AC;&#x2122;s Audience Block. Furthermore, it motivates a sense of appreciation towards the cultural heritage and architectural style of the building. This building was built over a century ago and today, it allows our team to see a glimpse of its past although it was relocated from its original place.

MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 31

CHAPTER 1: INTRODUCTION

1.6 SIGNIFICANCE OF STUDY

CHAPTER 1: INTRODUCTION

Accurate methods of measurements for the documentation is one of the main tasks of our study. However, the cultural and archaeological value of the site should not be neglected as they have to be explored. To ensure that the essence of this architectural wonder is expressed through the findings of our project, intensive studies were implemented to further document the building in relation to its long and rich history.

Figure 1.58: Sketch of the Audience Block of Li Yuan (Lim, 2016)

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CHAPTER 2:! HISTORICAL BACKGROUND !

2.1.1 Insight

China, one of the countries that can boast of an ancient civilization, has a long and mysterious history of almost 5000 years. Like most other great civilizations of the world, China can trace her culture back to a blend of small original tribes which

Primitive Society Slave Society Feudal Society Semi-Feudal and Semi-Colonial Society

have expanded till they became the 4th largest and most populous country with 1.2 billion inhabitants (Travel China Guide, 2014)

It is recorded that Yuanmou man is the oldest hominoid in China

Socialist Society Figure 2.1: Table showing 5 major stages of Chinese society since the dawn of Chinese society

and the oldest dynasty is Xia Dynasty. From the long history of China, there emerge many eminent people that have contributed a lot to the development of the whole country and to the enrichment of her history. Among them, there are emperors like Li Shimin (emperor Taizong of the Tang), philosophers like Confucius, great patriotic poets like Qu Yuan and so on (Travel China Guide, 2014). Figure 2.2: The Great Wall of China, an amazing architectural feat. (Sophie, 2015) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 33

CHAPTER 2: HISTORICAL BACKGROUND

2.1 CHINA

CHAPTER 2: HISTORICAL BACKGROUND

2.1.2 Social Economy As one of the oldest civilizations in the world, the early period of China developed fairly well in agriculture, handicraft industry, commerce and foreign trade. Interaction with other cultures introduced new ideas and technology such as religion and nomadic animal husbandry to China. Cotton planting is popular in Southern China while new inventions such as compass, paper and gunpowder were invented in China, changing the course of

Figure 2.3: Illustration of Chinese gunpowder rocket. Gunpowder is one of the Four Great Inventions of China alongside with paper, printing and compass (All Empires, 2012)

global history. Convenient water transport through China’s rivers and tributaries stimulates economic growth. China’s long coastline enables many ports to be built for trade. Foreign goods were welcomed to enter the domestic market. Thus, great amounts of spices and medical materials were imported from Arabia, Persia and India while large numbers of China’s silk and porcelain were exported to Europe. Currently, China is the world’s second largest economy (Yu, 2015).

Figure 2.4: Image of a porcelain set (Skinner, 2014)

MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 34

List of Iconic Chinese Architectural Miracles Great Wall of China

China possesses a long continuous architectural history, and architecture plays a distinctive role in Chinese civilization itself (Guo, 2005). During its long development, it gradually formed into

Forbidden City Mausoleum of the First Qin Emperor

a style which featured timberwork combining stone carving, rammed earth construction, bucket arch buildings and many other techniques (Travel China Guide, 2014)

Figure 2.6: Forbidden City in Beijing (Jetbay, 2014)

Figure 2.5: Eaves on a traditional Chinese building (Top China Travel, 2013)

Figure 2.7: Temple of Heaven in Beijing (Beijing Half Day Tour, 2014) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 35

CHAPTER 2: HISTORICAL BACKGROUND

2.1.3 Architecture

make it more attractive. Ancient Chinese architecture is mainly

Main structure at central axis of court

timberwork. Wooden posts, beams, lintels and joists make up the

Less-important structures located to the left and right

framework of a house (Travel China Guide, 2014).

Roof

Dougong structure bearing weight Walls serve as separation of rooms without bearing weight (unique to China)

Symmetrical layout

Figure 2.9: Layout of a Chinese courtyard

The layout of a courtyard complex is also unique to China. A Figure 2.8: Simple diagram of a typical Chinese building

Due to the fact that walls do not carry weight, the saying goes, 'Chinese houses will still stand when their walls collapse.' The specialty of wood requires antisepsis methods to be adopted, thus develops into architectural painting decorations (Travel China Guide, 2014)

courtyard is like a hand scroll of painting which should be unfolded little by little. The scenery is different in each courtyard. Even in moving several steps within the court yard, visitors will be surprised at the changing of prospects. Likewise from the interior of the buildings the view from no two windows are the same. (Travel China Guide, 2014). MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 36

CHAPTER 2: HISTORICAL BACKGROUND

Paintings and carvings were added to the architectural work to

CHAPTER 2: HISTORICAL BACKGROUND

2.1.4 Historical Timeline 2717 BC The Yellow Emperor founded the Huaxia culture, marking the birth of the Chinese race.

2000 BC The oldest recorded dynasty, Xia, was established by Qi, the son of Yu The Great. Figure 2.11: Potrait of the Yellow Emperor (Baike, 2015)

770 BC -476 BC Spring and Autumn Period. The Zhou Dynasty was divided into hundreds of warring states. Hundreds of schools of thoughts preached new ideas of Mencius and Confucianism.

476 BC -221 BC Warring States Era. Conflict occurs between seven vassal states.

221 BC -207 BC Qin Dynasty unifies China however was later destroyed due to tyranny.

Figure 2.12: Potrait of Confucius, or Kong Fu Zi, an influential Chinese philosopher (Wikimedia, 2015)

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CHAPTER 2: HISTORICAL BACKGROUND

206 BC – 220 AD Han Dynasty. Silk Road opened trade with Western societies. Buddhism introduced to China from India.

220 AD – 280 AD China’s Han Dynasty separates into three kingdoms, Shu, Wu and Wei.

304 AD -439 AD Turbulent time with the coexistence of many dividing regimes.

Figure 2.13: Artifacts of musical figures from the Han Dynasty (Cultural China, 2007)

581-618 AD Sui Dynasty. Foundation of the Imperial Examination System.

618-907 AD Tang Dynasty. The golden age of China.

960-1279 AD Song Dynasty took over China.

Figure 2.14: Painting of ladies and horsemen from the Tang Dynasty (Cultural China, 2007)

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CHAPTER 2: HISTORICAL BACKGROUND

1271-1368 AD Mongolians conquered China and founded the Yuan Dynasty

1368-1644 AD Ming Dynasty. Maritime trade prospered. First official diplomatic relations with Southeast Asian countries.

1644 -1911 AD Qing Dynasty. China falls under the rule of Manchurian people.

Figure 2.15: Potrait of Kublai Khan, founder of the Yuan Dynasty (BBC, 2012)

1911-1949 AD The Nationalist Republic of China ruled China.

1949 AD The Communist Party of China won the Chinese Civil War and established the People’s Republic of China. Figure 2.10: Timeline of China’s history (Measured Drawings Team Li Yuan, 2016)

Figure 2.16: National flag of Qing Dynasty China (Cultural China, 2007) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 39

These two characters together means ‘the closely arranged hills at the Northwest’ and was first recorded when Zhou Gong and

Since the Zhou Dynasty (1046-256 BC), the two characters of Shan ( ) and Yuan ( ) were used to represent that area. The characters of Shaanxi:

Zhao Gong, two leaders of the Zhou Dynasty were dividing the empire’s territory. However, the character Qin ( ), the name of China’s historical fourth dynasty was used to represent Shaanxi

Shaan

Descibe mountains,

Means ‘west’, showing

showing two people on

that it is in the western

each side of a logogram

territories of China at

that means ‘big’ ( )

ancient times

for most of its history. In modern times, the characters ‘Shaan’ and ‘Xi’ that meant ‘the West of Shaan’ (

) were used.

Due to the fact that Mandarin is a tonal language, Shaanxi is often confused with Shanxi (

), another Chinese province.

Thus, other alternatives of Romanized Mandarin such as Shensi, Shen Hsi and Chengsi were used earlier on in the 19th and 20th centuries. The Romanization of Shaanxi was then selected when the Pinyin system of Romanization was invented.

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CHAPTER 2: HISTORICAL BACKGROUND

2.2 SHAANXI PROVINCE 2.2.1 Insight

CHAPTER 2: HISTORICAL BACKGROUND

Shaanxi Province is also known as Qin or Sanqin is a province located at Northwestern part of the People’s Republic of China. It has a population of 37.32 million and its capital city, Xi’an has a population of 8.46 million (as of 2010). Currently, it is one of the most industrially and agriculturally advance provinces in Northwestern China.

Figure 2.18: The Yellow River, symbol of the birth of Chinese civilization (Tricycle, 2012)

It includes portions of the Loess Plateau on the middle reaches of the Yellow River in addition to the Qin Mountains across the southern part of this province.

Figure 2.17: Postion of Shaanxi Province in the centre of China (Wikimaps, 2015) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 41

CHAPTER 2: HISTORICAL BACKGROUND

This province is considered one of the cradles of Chinese civilization due to its situation on the Yellow River and holds historical significance as thirteen feudal dynasties established their capitals in the province during a span of more than 1100 years. The final resting place of Huang Di (2717-2599 BC) and Yan Di, the founding father of the Huaxia civilization is in this province. Figure 2.19: Map of Silk Road in China (China Highlights, 2012)

This province is also the eastern terminus of the Silk Road, which leads to the Arabian Peninsula and Europe, making this province geographically strategic. The Silk Road is an ancient network of trade routes that were prominent in cultural interaction throughout regions of the Eurasian continent. Exchange of ideas and technology as well as interaction between multiple cultures occurred here. Shaanxi province was also the starting point where Chinese inventions and valuables such as compasses, gunpowder and silk were transported to Europe and the

Figure 2.20: Map of Silk Road (500.co, 2012)

destination of influences and goods from places to the west of China. For instance, Buddhist relics and Islamic knowledge. MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 42

Approximately 90% of Shaanxi is mountainous, with hills ranging from 500 m to 2000 m above sea level. Famous mountains in this province include Hua Shan (2154 m above sea level), one of China’s Five Great Mountains due to its physical grandeur and

Beishan Mountains

through.

Loess Plateau (also known as Huangtu Plateau due to its yellow soil)

This province is seismically active. The deadliest earthquake in its

Guanzhong region

religious significance. The topography of Shaanxi Province shows that its Northern and Southern parts have higher terrain, leaving a low arable valley in the central regions for the Yellow River to flow

history occurred at 1556, killing 830,000 people. Casualties mainly occurred due to the fact that most of the citizens of Shaanxi lived in yaodongs, artificial caves, which collapsed during

Qin Mountains

the quake. Shaanxi Province sits on the Loess Plateau. Loess is the name for the silty sediment that has been deposited by wind storms on

Figure 2.21: Topography map of Shaanxi (China’s government webpage)

the plateau over the ages. It is a highly erosion-prone soil that is susceptible to the forces of wind and water. (Huang, 2013) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 43

CHAPTER 2: HISTORICAL BACKGROUND

2.2.2 Geography

CHAPTER 2: HISTORICAL BACKGROUND

2.2.3 Climate Shaanxi’s weather is mild with four distinct seasons. The annual average temperature is 13.5 degrees Celsius. The province has a moderate rainfall rate caused by the frequent summer storms and a succession of overcast and rainy days in autumn. Annual precipitation is 576.9 mm on average. Southern regions receive more rainfall than northern areas in Shaanxi. Hazards of flash floods occur during summer and autumn in lower-lying areas.

Figure 2.22: Winter in Shaanxi Province (Lim, 2016)

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CHAPTER 2: HISTORICAL BACKGROUND

2.2.4 Economy Shaanxi is blessed with rich natural resources, providing ample

GDP of Shaanxi

supplies for its thriving industrialization. Reserves of natural gas, petroleum, rare earth and gold are abundant. The mining reserves of Shaanxi are estimated to be one-third of the whole China, contributing much to the world’s second largest economy.

10%

Other reserves in Shaanxi include salt, coal, molybdenum,

10%

mercury, limestone, glass quartzite, kaolin and asbestos. Shaanxi is also a major tourism area in China due to its

25%

abundance of UNESCO World Heritage Sites and rich history. Xi’an’s glorious past as the starting point of the Silk Road and

47%

home to emperors for more than 1100 years has left the place

Construction

sumptuous legacies. However, tourism income only takes up

Agriculture

9.8% of Shaanxi’s Gross Domestic Product. Most of the

Manufacturing

province’s GDP comes from the manufacturing, services and

Services

agriculture sector. (Shaanxi People’s Government, 2011)

Tourism Figure 2.23: Pie chart of GDP distribution in Shaanxi province. (Shaanxi People’s Government, 2011) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 45

CHAPTER 2: HISTORICAL BACKGROUND

2.2.5 Architecture Danpo Roofs Danpo roofs are roofs with only a single slope inclined at an angle. It is unique to the Shaanxi province and neighbouring Shanxi province. Many roofs in Shaanxi tend to have greater emphasis on one side more than the other. This type of roof is more commonly found among houses of peasants in rural areas of Shaanxi (Wang, 2006).

Figure 2.24: Illustration of a house with a Danpo roof (Wang, 2006)

Yaodong Cave Dwellings At least 30 million people in China currently live in caves, which are energy efficient and have a low environmental impact. Because they use natural materials and take advantage of the existing landscape existing landscape, yaodongs required fewer materials when they were originally built. Digging a cave dwelling in Shaanxi’s Loess Plateau’s porous, yellow soil is relatively easy (Boyer, 2012). Farmers can also save arable land for planting if

Figure 2.25: Image of Yaodong cave dwellings (Asia Cultural Travel, 2012)

they build their houses on slopes (Yu, 2015). MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 46

2.3.1 Insight

The city’s name has been changed over the years as subsequent

The characters of Xi’an:

emperors overtook the previous empires.

Means ‘west’

Means ‘peace’

Together, Xi’an means ‘Western Peace’.

1066 BC The first emperor of the Zhou Empire made ‘Fenghao’ the capital. The name was acquired from the river in the west bank called the Feng River.

221 BC Emperor Qin Shihuang renamed ‘Fenghao’ to ‘Xianyang’.

201 BC Emperor Liu Bang of the Han Dynasty named the capital ‘Chang’an’, which means ‘Perpetual Peace’.

582 AD The name of the capital was changed to ‘Daxing’ when the Sui Empire rose.

618 AD During the Tang Dynasty, the city was ‘Chang’an’ again. Figure 2.26: The Bell Tower in Xi’an (Lim, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 47

CHAPTER 2: HISTORICAL BACKGROUND

2.3 XI’AN

CHAPTER 2: HISTORICAL BACKGROUND

1200 AD After Chang’an was destroyed, the city’s name was changed to ‘Fengyuan’, ‘Anxi’ and ‘Jingzhao’ subsequently during the Yuan Dynasty.

1369 AD During the Ming Dynasty, the city is named ‘Xi’an’.

1930 AD The city was briefly changed to ‘Xijing’ that meant ‘Western Capital’

Figure 2.28: The Southern City Wall of Xi’an Ancient City (Lim, 2016)

1943 AD The name was changed back to ‘Xi’an’ in 1943. Figure 2.27: Timeline of changes in Xi’an’s name (Measured Drawings Team Li Yuan, 2016)

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CHAPTER 2: HISTORICAL BACKGROUND

A vast majority of Xi’an citizens are Han Chinese while minority ethnics include the Hui, who practice Islam.

Demography of Xi'an

Figure 2.30: Hui Chinese in the Muslim Quarters of Xi’an (Chia, 2016)

Han Chinese

Hui Minority

Figure 2.29: Pie chart of demography of Xi’an (Shaanxi People’s Government, 2011)

Figure 2.31: Han Chinese (Joshua, 2016)

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CHAPTER 2: HISTORICAL BACKGROUND

2.3.2 Geography Xi’an is situated in the Northwest of China with an altitude of 397 metres above sea level.

Loess Plateau Figure 2.33: Picture of the Loess Plateau. (Gao, 2013)

Wei River valley Xi’an City situated on alluvial plains (vast area of flat lands resulting from sediments that flow down from rivers)

Figure 2.32: Topography map of Shaanxi (China’s government webpage)

Figure 2.34: Map of Xi’an. The city of Xi’an follows a square grid due to its flat terrain. (Baidu Maps, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 50

Xi’an city’s climate is temperate influenced by the continental

Average annual temperature

13.68 °C

monsoon and has four distinct seasons. It is classified under the

Coldest recorded temperature

-20.6°C

Hottest recorded temperature

41.8°C

Köppen climate classification situating on borderline a semi-arid climate and humid subtropical climate. The city experiences hot and humid summers, cold and dry winters, dry spring and autumns.

Figure 2.35: Table of temperatures recorded in Xi’an (Travel China Guide, 2016)

The annual precipitation occurs between July and October. Little snow settles during winter and as the city rapidly warms up in March and April causing occasional dust storms and frequent brief thunderstorms. The average annual temperature of Xi’an city is 13.68 C.. The coldest recorded temperature in Xi’an is -20.6 C in January 1955 while the hottest is 41.8 C in June 1998. The annual precipitation is 554 mm.

Figure 2.36: Dust storm in Xi’an (Cool Blue Ice, 2013)

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CHAPTER 2: HISTORICAL BACKGROUND

2.3.3 Climate

"Go to Shanghai and you will find a 100-year-old China; Go to Beijing and you will find a 1000-year-old China;

582 AD The Sui Dynasty built the new capital Daxing which consists of the Imperial City, the palace, and the civilian section. The new capital covered and area of 84 km2.

Go to Xi’an and then you will find a 3000-year-old China.“ (Wang, 2013) Xi’an is said to be the birthplace of ancient Chinese civilization in

650 AD Xuanzang, a Buddhist monk returning from his pilgrimage to India established a Sanskrit scripture translation centre in Xi’an, marking China’s significant Buddhist influence.

the Yellow River basin. The city was the capital to 13 empires and 73 emperors. 202 BC Founder of the Han dynasty, Emperor Liu Bang declared Chang’an as the capital and built his first palace. 194 BC Xi’an city’s original wall began construction and took four years to complete, measuring at 25.7 km in length with 12 to 16 m base thickness. Enclosing an area up to 36 km2. 190 AD Dong Zhuo, a powerful warlord moved the court from Luoyang to Chang’an in order to avoid coalition with other warlords against him.

651 AD Emperor of the Tang dynasty allowed the practice of Islam in Chang’an.

652 AD Construction of Great Wild Goose Pagoda began. A 64 m high structure constructed to preserve translations of Buddhist sutra gathered by Xuanzang from India. 707 AD Construction of the Small Wild Goose Pagoda began. The structure measured 45 m in height, built to store the sutras translations by Yijing.

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CHAPTER 2: HISTORICAL BACKGROUND

2.3.4 Historical Timeline

CHAPTER 2: HISTORICAL BACKGROUND

904 AD End of Tang dynasty, Chang’an was overwhelmed. The population evacuated to a new capital city in Luoyang.

740 AD The Great Mosque was built in the city.

1370 AD The Ming dynasty built a wall to protect the city. Figure 2.38: Great Mosque of Xi’an (Nurin, 2016)

1556 AD A massive earthquake rocked Xi’an, devastating the city. The Small Wild Goose Pagoda’s height reduced to 43.4 m. 1936 AD During the Chinese Civil War, Chiang Kai-shek was held hostage in Xi’an and forced to agree to unite the Nationalist-Communist Chinese front against the Japanese. 1949 AD Kuomintang force lost their power over the city of Xi’an to the Communist-controlled People’s Liberation Army. The People’s Government of Xi’an City was launched.

Figure 2.39 Small Wild Goose Pagoda in Xi’an (INSNA, 2013)

Figure 2.37: Timeline of historical events in Xi’an (Measured Drawings Team Li Yuan, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 53

CHAPTER 2: HISTORICAL BACKGROUND

2.4 GUANZHONG FOLK CUSTOM ART MUSEUM 2.4.1 Insight

Guanzhong Folk Custom Art Museum is located in the Qinling Mountain World Geological Park. It covers an area of 493.88 acre sand cost a total of 570 million yuan to build. It is a leading centre for studying Shaanxi folk culture due to its extensive folk art collection, restoration and research. A total of 52 ancient buildings in Shaanxi Province were relocated into this museum.. It exhibits the architecture, social interaction and cultural life of people who lived in Shaanxi province from about 300 AD to 1930 AD (China Tours, 2014).

N N Figure(s) 2.41: Scenes in the museum (Lim, 2013) Figure 2.40: Satellite image of the museum (Wang, 2013) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 54

CHAPTER 2: HISTORICAL BACKGROUND

Downtown Xi’an

Guanzhong Folk Custom Art Museum

Figure 2.42: Satellite image showing the location of Guanzhong Folk Art Museum in Xi’an (Google Maps, 2016)

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CHAPTER 2: HISTORICAL BACKGROUND

The museum was founded by Mr. Wang Yongchao, a representative of the People’s Congress of China. It has taken Mr. Wang more than 20 years and 230 million Yuan to establish the museum since 1980. Regarded as one of the most important projects of Chang’an District, Xi’an City. It was when Wang participated in an ancient building maintenance project in 1985 that he began to collect cultural relics. For instance, delicate stone engravings, sculptures, stone carvings, wood prints et cetera. With joint efforts of Mr. Wang and government officials, the museum was finally opened in 2008, providing the public an institution to appreciate traditional Chinese culture (China Tours, 2014).

There are over 33,600 pieces of folk relics in the museum. Intangible cultural heritage including local opera, rites and customs were also exhibited in the museum. Due to its historical

Human circulation

significance, the museum is regarded by locals as ‘The Terracotta Warriors Above-Ground’ (China Tours, 2014). The museum is also divided into several parts, namely exhibition

Figure 2.43: Its layout refers to Ming and Qing era town-planning systems, where the grid is perpendicular to four points of the compass (Wang, 2013.)

areas, deposit centres, galleries and convention centre.

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CHAPTER 2: HISTORICAL BACKGROUND

Figure 2.44: 3D digital model of Guanzhong Folk Custom Art Museum (Measured Drawings Team Li Yuan, 2016)

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As one of the birthplaces of Chinese culture, the Guanzhong area of Shaanxi has a rich cultural heritage, making the location of the museum in this area relevant.

Guanzhong Folk Custom Art Museum

The Qin Mountain Range is to the south

The metropolitan area of Xi’an and the Wei River that flows into the Yellow River is to the north Diagram 2.45: 3D model of the museum’s position and surrounding terrain (Measured Drawing Team Li Yuan, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 58

CHAPTER 2: HISTORICAL BACKGROUND

2.4.2 Geography

CHAPTER 2: HISTORICAL BACKGROUND

2.5 LI YUAN 2.5.1 Insight

The characters of Li Yuan:

Li Means ‘pear’

Yuan

Means ‘garden’ or ‘orchard’

Figure 2.46: Front façade of Li Yuan (Chua, 2016)

The Li Yuan is a theatrical body. The characters of ‘Li Yuan’ literally means ‘Pear Orchard’. However, no pear trees exist in its compound. The definition of the characters refer to plays, dances and musical performances. MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 59

CHAPTER 2: HISTORICAL BACKGROUND

The origin of the name dates back to the 8th century AD during the Tang Dynasty. Emperor Xuan Zong of Tang requested ladies of court to perform their musical and dance talents in a pear orchard. Activities that were carried out there include tug-of-war, polo and many more. It was not long before plays and acts that were similar were widely known as “Li Yuan”, and the actors and performers formally introduced as the disciples of Li Yuan (Lu, 2013) However, the Li Yuan we studied is merely a part of a noble person’s residence where he would organize plays and invite all villagers to enjoy and be entertained. All performance and entertainment areas in the Guanzhong region were simply

Figure 2.47: The inner compound of Li Yuan (Ng, 2016)

referred as ‘Li Yuan’.

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CHAPTER 2: HISTORICAL BACKGROUND

The Li Yuan was relocated from its original site in Heyang County 250 km northeast of Xi’an to the museum in 2004.

Heyang County

Guanzhong Folk Custom Art Museum

Figure 2.48: Map showing the distance between Heyang County, Li Yuan’s original site to Guanzhong Folk Custom Art Museum (Google Maps, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 61

CHAPTER 2: HISTORICAL BACKGROUND

Figure 2.49: 3D model with the red circle indicating the position of Li Yuan in Guanzhong Folk Custom Art Museum (Measured Drawings Team Li Yuan, 2016)

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-Holds the stage where people perform. Audience Block Tea House

-The building where people view the plays on the stage of the Performance Block.

-Has an indoor space for shadow play performances and refreshment.

More emphasis is given on this block for this project in terms of content and drawings due to the fact that most of the user experience of Li Yuan is from this building.

Figure 2.50: 3D model of Li Yuan (Measured Drawings Team Li Yuan, 2016)

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CHAPTER 2: HISTORICAL BACKGROUND

Performance Block

CHAPTER 2: HISTORICAL BACKGROUND

2.5.2 Tradition Origin of the Name

Originally, the term Li Yuan refers to the entertainment venue for the royal family during the Tang Dynasty, which is a pear orchard within the palace compound. Slowly but surely, the musical masterpieces that were born in the royal setting of Li Yuan soon spread among the people. It can be said that the plays produced by Li Yuan bear great influence to the plays produced by the following dynasties, including the Yuan Dynasty and the Ming Dynasty. Emperor Xuan Zong frequently took up the role of the comedian or funnyman in the written plays and it was due to this habit, people started regarding the comedian of the play as a respectable role, or even the leading role during any play of Li Yuan, and Emperor Xuan Zong was

Figure 2.51: Potrait of Emperor Xuan Zong of Tang (Chinatours, 2011)

deemed as the founder of Li Yuan (Lu, 2013). Presently, countless performers and formidable actors are still proud to regard themselves as the disciples of Li Yuan (Lu, 2013). MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 64

CHAPTER 2: HISTORICAL BACKGROUND

Emperor Xuan Zong loved to take up the role as the comedian in any play of Li Yuan and was extremely passionate and talented, regardless of how big or small the role of the comedian was in each particular play. However, as he is the emperor, being the funnyman of the show was seen as something odd as it degrades the majestic image of how an emperor should be. Therefore, every time Emperor Xuan Zong plays the role of a comedian, he would mask his face with a white layer, and this was soon practiced by all the future comedians. Needless to say that it was because of Emperor Xuan Zong, comedians in any play became well respected in the theatrical industry (Lu, 2013).

Figure 2.52: The instruments played by the figurines above include the harp, clappers, flute, pan flute, pipa and sheng, instruments widely used by musicians during the Tang Dynasty (National Museum of China, n.d.)

MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 65

Originating from the northwest of the Shaanxi province,

It is sang in the Shaanxi folk proverb as a reflection of the traditional customs of its people.

Qinqiang also known as Luantan remains a significant folk

Half-sided dwellings built with one slopping plain

opera in Xi’an. Qinqiang is the oldest tune amongst China’s

Old and young women adorns a kerchief on their heads.

national opera arts. Deriving from folk songs and dances from

The noodle mimics waist-belt from its thickness, width and

the Shaanxi, Gansu and Ningxia lands in ancient times. The opera includes over a dozen different characters: four “Sheng”,

length. 4.

six “Dan”, two “Jing”, and one “Chou”. Over 700 plays have

Guokui, Shaanxi leaven flatbread resembles the pan cover according to its shape, size and thickness.

been preserved with several theatres actively performing every

Pepper poured with hot oil, a common dish in Shaanxi.

week.

Instead of singing the local opera is performed by roaring.

People opting to squat instead of sitting on stools.

Using large porcelain bowls, as large as basins to eat from.

Figure 2.53: Qinqiang performance in Xi’an (Lotour, 2013)

Figure 2.54: Biangbiang noodles of Shaanxi (Lim, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 66

CHAPTER 2: HISTORICAL BACKGROUND

Qinqiang (

CHAPTER 2: HISTORICAL BACKGROUND

Diagram 2.55: Qinqiang performance in Li Yuan (ICOMOS, 2015) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 67

Li Yuan is preserved under China ICOMOS and authorized by the State Administration of Culture Heritage. China ICOMOS is

The Li Yuan was originally a complex of ruins in Heyang County. Despite that it holds historical significance, the villagers near the original site wanted to get rid of it for urban development.

obligated to interpret the Conservation Principles, which can be used as a guidance in conserving heritage sites. The main focus of conservation is to preserve the genuine

A meeting was held between the villagers and stakeholders such as the Xi’an City Council, museum officials and ICOMOS.

elements of the entire heritage site and for the historical information to be kept for the future with all it's values.

The Li Yuan was intensively studied and measured.

The conservation requires practice that involves treatment of damage that is caused by natural or man made damages, by using both technical and management measures. The

Larger stone blocks were cut. Existing parts were stored. Missing bricks were replaced using traditional methods.

measures must attain to the principles of not changing or deforming the historic conditions (ICOMOS, 2008)

Remnants of the ruins and new materials are transported to the museum.

The building in itself sustained damage when the building was left exposed in nature and time. Earthquakes, wind and the change of seasons had been one of the many factors that had

The Li Yuan was rebuilt with a 1:1 scale using a mix of original and new materials. Eroded ornaments were repaired.

contributed to the building’s decay. Figure 2.56: Process of Li Yuan’s restoration (Gong, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 68

CHAPTER 2: HISTORICAL BACKGROUND

2.5.3: Relocation and Conservation

to be taken in sequential order.

First, large-scaled surveys are done to take into inventory of what lies around the heritage site in Heyang County. ICOMOS and museum authorities conducted investigation to examine all historic indication and relevant documentation.

Identification and investigation

Assessment

Formal proclamation as a formally protected site and determination of its categorization

Assessment is made based on the evidence surrounding the heritage site. The assessment determines the value of a site, the state of preservation, and it's management context. The evidence also includes the historical records and on-site inspection of the current conditions. This step marks the site as an official declaration as a protected entity and classification is done by the government of China.

Preparation of a conservation master plan

Implementation of master plan

Periodic review of master plan

Figure 2.57: Conservation process of heritage sites (ICOMOS, 2011)

Strategies for master plan include: act of conservation, appropriate use, exhibition and interpretation, as well as management. Site managers are responsible in day-to day management, improving the quality of exhibition and archiving relevant documents. The plan is reviewed according to the timeline to evaluate its overall effectiveness. MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 69

CHAPTER 2: HISTORICAL BACKGROUND

The conservation process of Li Yuan involved six steps that has

CHAPTER 2: HISTORICAL BACKGROUND

Evidences of the relocation process is evident in Li Yuan. Due to the buildingâ&#x20AC;&#x2122;s long history, many ornaments were eroded. Hence, during the restoration, the eroded parts were replaced using new materials such as stucco and clay. These parts have a lighter tone compared to original parts. (Figure 2.58) Large pieces were sliced to ease transportation. These cut marks can still be obviously seen. (Figure 2.59)

Figure 2.58: The faces of these human carvings on the Performance Block were added on during restoration. (Lim, 2016)

Figure 2.59: Cut marks are evident on a huge ornament at the Tea House. (Lim, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 70

collapsed and is destroyed beyond restoration. Thus, its current

scale in the museum, the orientation of the whole complex of Li

building does not have a wall on its eastern side to surround the

Yuan was flipped (North becomes south, south becomes north)

courtyard.

Also, The originally Western (now Eastern) wall of Li Yuan had

N Figure 2.60: Comparison of building orientation before and after relocation and restoration. (Lim, 2016)

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CHAPTER 2: HISTORICAL BACKGROUND

Despite the fact that Li Yuan was relocated and restored in a 1:1

1368 AD The Mongol Yuan Dynasty was overthrown.

Yuan

1324 AD Li Yuan was built in Heyang County during Emperor Taiding (Yisutemur Qayan)’s reign. It was initially a very simple building with no ornaments.

1556 AD An earthquake hit Shaanxi Province, causing damage to Li Yuan.

Ming

1644 AD Manchurians successfully conquered China, establishing their influence on Chinese culture and architecture.

Qing 1791 AD Drama performances based on the Chinese classic ‘Dream of the Red Chamber ’ were widely played. Ornaments about this novel were carved on the Audience Block’s North façade.

1522 AD The classic Chinese novel ‘Romance of the Three Kingdoms’ is written. Dramas based on the novel influenced Li Yuan in terms of ornaments depicting scenes in the novel.

1966 AD Artifacts were ruined during Mao Zedong’s attempt to exterminate old culture and customs.

Qing

2004 AD Li Yuan is successfully relocated into the museum.

Modern 1927 AD Chinese Civil War erupts, causing Li Yuan to be abandoned.

1985 AD M r W a n g Yo n g c h a o established the Guanzhong Folk Custom Art Museum.

2000 AD Li Yuan was removed from its site and stored in a warehouse. Reconstruction and restoration efforts were done.

Figure 2.61: Historical timeline of Li Yuan (ICOMOS, 2011) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 72

CHAPTER 2: HISTORICAL BACKGROUND

2.5.4: Historical Timeline

CHAPTER 2: HISTORICAL BACKGROUND

With every part of history, there will be an architectural mark. Countless at times, history has shaped the world and influenced architecture. The Audience Block requires to be analyzed deeper to further understand the extent of knowledge and design thought that brought Li Yuan to life.

Figure 2.62: Sketch of the whole complex of Li Yuan by Joe Onn (Lim, 2016)

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CHAPTER 3:! ARCHITECTURAL DEVELOPMENT!

3.1.1: Historical Significance Theatres are places that provide entertainment to people by having performances. It is a very common form of Chinese architecture as

Before 618 AD Before the Tang Dynasty, theatres were merely an exposed piece of land where people would gather to enjoy performances. Only simple kiosks were built for the performers.

theatres for all classes of society from laymen to royalty, were built countrywide (Wang, 2006). Traditional folk lacked the materialistic needs of the modern world, so a simple play served as excellent entertainment back in those days. Ancient theatres play a key role in representing Chinese culture and can be perceived as museums

618 AD – 907 AD During the Tang Dynasty, China had developed greatly in economy, literature and performing arts. More investment is given to popularize theatre performances. Larger specialized buildings for performances were built.

as they enable us to visualize life centuries ago. 960 AD – 1270 AD Theatres that comprise of a balcony to maximize audience capacity were introduced during the Song Dynasty.

1368 – 1644 AD During the Ming Dynasty, theatres often have a teahouse within for people to relax. Figure 3.2: Timeline of development of Chinese theatre design (Wang, 2006) Figure 3.1: Opera performance in Shaanxi Province (Arts Cultural China, 2011) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 74

CHAPTER 3: ARCHITECTURAL DEVELOPMENT

3.1 THEATRES

CHAPTER 3: ARCHITECTURAL DEVELOPMENT

Figure 3.3: Sketch of a qinqiang folk art performance on Li Yuan’s stage by Hong Bin (Ng, 2016)

Figure 3.4: Sketch explaining the spatial arrangement of the courtyard, the stage and backstage by Joe Onn (Lim, 2016)

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Each dynasty has its own architecture style. The following table compares the architecture style of dynasties related to Li Yuan.

Era

Tang Dynasty

Yuan Dynasty

Qing Dynasty

Timeline’s relation with Li Yuan

The term ‘Li Yuan’ was established during Tang Emperor Xuan Zong’s reign.

Li Yuan was built in Heyang County, Shaanxi Province.

Copious amounts of ornaments added onto Li Yuan’s facades.

Architecture style

Simple yet elegant with minimal ornamentation.

Greater prominence given on massing rather than detailing.

High emphasis on detailing and ornamentation. Huge amount of carvings on facades.

Example of buildings

Figure: Big Wild Goose Pagoda built in 652 AD. (INSNA, 2011)

Figure: Azure Clouds Temple built in 1331 AD. (McBride, 2015)

Figure: Yang Family Ancestral Temple built in 1797 AD. (QDNRM, 2010)

Figure 3.5: Table comparing architecture styles of different dynasties. (Measured Drawings Team Li Yuan, 2016)

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CHAPTER 3: ARCHITECTURAL DEVELOPMENT

3.1.2: Architecture Style

Minimal ornaments

Simple and elegant

Figure 3.6: Image of a replica of a Tang Dynasty building in China (Xi, n.d.)

Elaborate ornaments

Glamorous and extravagant

Figure 3.7: Image of the Yonghe Lamasery in Beijing built in 1694 during the Qing Dynasty (Paul, 2015)

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CHAPTER 3: ARCHITECTURAL DEVELOPMENT

Comparison between Tang Dynasty architecture style (left, Figure 3.6) and Qing Dynasty architecture style (right, Figure 3.7):

Li Yuan had greater influences from Ming and Qing dynasty architecture. This is evident due to the copious amount of ornaments on its facades. Figure 3.8: Image of ornaments on the Audience Block of Li Yuan (Chia, 2016)

Dynasties Time period Influences on Li Yuan

Yuan Dynasty

Ming Dynasty

Qing Dynasty

1271 AD -1368 AD

1368 AD -1644 AD

1644 AD – 1911 AD

Li Yuan was built in 1324 AD and had spent 44 years under the Mongol rule over China.

Han Chinese regained control over China. Literature and maritime trade flourished. The novel ‘Romance of the Three Kingdoms’ was written in 1522, adding ornaments to the building.

Trade and interaction with the West influenced the building design. Rococo and late Baroque influences immersed into China, making the ornaments of Li Yuan highly extravagant to show the owner’s status.

The teahouse is added due to its popularity during the Ming Dynasty.

The Chinese classic ‘Dream of the Red Chamber’ was written in 1791, adding up ornaments of the Audience Block due to its popularity and relevance to drama performances.

The field of architecture did not develop much during this period. Regional theatres such as Li Yuan were not given emphasis. Thus, the building was fairly simple during this time era without ornaments.

Figure 3.9: Table of each dynasty and its influences on Li Yuan (Measured Drawings Team Li Yuan, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 78

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3.1.3: Cultural Influences

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Chinese Literature Influences During the Ming and Qing dynasties, the novels ‘Romance of the Three Kingdoms’ and ‘Dream of the Red Chamber’ were written by Luo Guanzhong and Cao Xueqin respectively. These novels gained nationwide popularity. Drama plays based on these two novels were often organized, influencing Li Yuan to carve ornaments based on these two classics. (Figures 3.11 & 3.12)

Figure 3.10: Illustration of Romance of the Three Kingdoms (Jin, 1644)

Figure 3.11: Colourful ornaments depicting scenes in ‘Dream of the Red Chamber’ (Lim, 2016)

Figure 3.12: Brick carving that potrays a scene in ‘Romance of the Three Kingdoms’ (Lim, 2016)

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Rococo Influences

Due to frequent interaction of China and the West during the early Qing dynasty (Figure 3.13), late Baroque and Rococo styles gave an impact on Li Yuan’s architecture. Elaborate, colourful, and extravagant ornaments of flora and fauna were added onto both Li Yuan’s exterior and interior parts (Figures 3.14 & 3.15). Figure 3.14: Colourful curvy ornaments of mythical beasts and flowers above the stage (Lim, 2016)

Figure 3.13: Painting documenting the bustling trade between Qing China and Western seafarers at the port of Suzhou (Xu, 1772)

Figure 3.15: Floral and geometrical elements carved on the front façade (Lim, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 80

Wannian Style Theatre Consists of an elevated central stage flanked with ornaments and calligraphy with a roof on top. The stage is usually placed at the southern part of a courtyard. Audiences stand in the courtyard to view the performances on the stage. Carved calligraphy called ‘Yinglian’ are added to the two columns on the stage. Stage

Figure 3.16: Image of Leping Theatre in Jiangxi Province (ALXW, n.d.)

Columns with ‘Yinglian’ Matouqiang wall

Large piece of land for audiences

Figure 3.18: Diagram of layout for Wannian style theatres (Measured Drawings Team Li Yuan, 2016) Figure 3.17: Image of a theatre in Bowang District, Anhui Province (Ahxinshi, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 81

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3.1.4: Typology

This type of theatre has a rectangular layout with balconies and sets of chairs and tables surrounding a central courtyard. The stage is placed at one end of the courtyard, enabling audiences to view performances from most angles. This type of theatre also serve as a center of activity for a noble family (Wang, 2006).

Figure 3.19: Image of Lin’s Residence Shrine Theatre, Wufeng, Taiwan (Chen, 2010)

Elevated stage Double-storey blocks with balconies for audiences Central courtyard

Ground floor with tables and chairs Figure 3.20: Image of Pu’s Family Shrine Theatre in Sichuan Province (Li & Feng, 2015)

Figure 3.21: Diagram of layout for Shrine style theatres (Measured Drawings Team Li Yuan, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 82

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Shrine Style Theatre

The structure of these theatres are completely wooden. It is completely covered with walls and a tall ceiling, leaving only a small door as its entrance. Audiences either view performances on a tall balcony at the direct opposite side of the stage, view from balconies beside, or sit on chairs provided on the hall below. The table and chairs closest to the stage are reserved for royalty or nobility (Baike, 2015).

Figure 3.22: Image of Hangzhou Teahouse Theatre (Hangzhou Daily, 2014)

Columns support ceiling

Stage

Guimendao (Entrance to backstage)

Figure 3.23: Image of Temple Theatre Beijing Opera House (Mask9, n.d.)

Wall

Balcony for audiences

Hall for audiences

Main entrance

Figure 3.24: Diagram of a Goulan Style Theatre (Measured Drawings Team Li Yuan, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 83

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Goulan Indoor Style Theatre

Theatre

Li Yuan

Leping Theatre

Lin’s Residence Shrine Theatre

Figure : Image of Li Yuan’s Performance Block (Lim, 2016)

Figure : Image of Leping Theatre (ALXW, n.d.)

Figure : Image of Lin’s Residence Shrine Theatre (Chen, 2010)

A courtyard is surrounded by the Audience Block, the Performance Block and a teahouse. The Performance Block for nobility is directly opposite of the Audience Block.

A main stage building faces a flat piece of land where audiences view it from. All audiences sit together without classification of social class.

A two-floor building surrounds a central courtyard. The stage is placed at a closed proximity to one edge.

Presence of matouqiang

Present

Absent

Presence of viewing balcony

Present

Absent

Present

Designated audiences

All members of the community regardless of social strata.

Only members of the Lin family are allowed to use the space.

Image of building

Layout

Figure 3.25: Table of comparison between Li Yuan, Leping Theatre and Lin’s Residence Shrine Theatre (Measured Drawings Team Li Yuan, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 84

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3.1.5: Comparison

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3.2 SITE CONTEXT 3.2.1: Site Analysis

Urban areas with high population density are to the north of the museum while natural, ecological terrain are to the south.

A0127 Petrol Station

Wheat field

Xigancun Donggancun

Wheat field

Wutai Residential District (Densely populated)

Guanzhong Ring Road

Qinming Nongjiale Ci’enyuan Cemetery Restaurant Dayuan Temple 500 m (10 minute walking distance)

1000 m (20 minute walking distance)

1500 m (30 minute walking distance)

Zhaojiapo

Guanzhong Folk Custom Art Museum

Mituogu Temple

Xingguangcun

Xi’an Translation University

G65 Baomao Expressway

Xinghuocun Qinling Mountains

Apricot Forest

Forest

Figure 3.26: Site analysis based on the surrounding context of Guanzhong Folk Custom Art Museum (Measured Drawings Team Li Yuan, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 85

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Li Yuan is situated relatively close to the entrance compared to most buildings in the museum.

Car park

238 Country Road

Drama Gallery

Convention Centre

Entrance Yan’s Residence Li Yuan

Cui’s Residence

Geng’s Residence

Art Gallery Temple

50 m

Mao’s Residence

100 m 150 m

Sun’s Residence

Sun Futang’s Residence

Lake

N Figure 3.27: Site analysis based on the surrounding context of Li Yuan (Measured Drawings Team Li Yuan, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 86

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3.2.2: Hardscape Built structures are erected at a higher tendency to the western side of Li Yuan’s complex. These structures include the Tea House and the Audience Block itself. The Performance Block and the courtyard it oversees are also part of Li Yuan’s hardscape as these parts completely cover the natural soil beneath. Li Yuan is hardscape dominant, evoking a sense of firmness and solidity to viewers.

Figure 3.28: Image of the Performance Block and courtyard. (Lim, 2016)

Figure 3.29: Diagram indicating parts of Li Yuan covered in hardscape (Measured Drawings Team Li Yuan, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 87

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Figure 3.30: Image of the man-made Audience Block (Lim, 2016)

Figure 3.31: Image of part of the hand-carved front façade (Lim, 2016)

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3.2.3: Softscape Softscape refers to elements of a landscape that comprise live, horticultural elements. They are elements that are fluid and changing as they mature (Himmelwright, 2014). In Li Yuan, softscape is found mostly at the eastern part of the courtyard, where pine trees (Pinus sylvestris) and sycamore trees (platanus orientalis) grow on soil on top of an elevated garden.

Pine trees Figure 3.32: Image of a small tree in the courtyard supported by an external structure (Lim, 2016)

Figure 3.33: Diagram indicating parts of Li Yuan covered in softscape (Measured Drawings Team Li Yuan, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 89

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Figure 3.34: Pine trees in an elevated garden within Li Yuan (Rozanna, 2016)

Figure 3.35: A sycamore tree that shed its leaves during winter. (Chong, 2016)

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Figure 3.36: Image showing a tiled walkway surrounded by trees. The balance of softscape and hardscape is a key principle in Chinese landscape design (Lim, 2016)

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3.3 FENG SHUI Feng shui is a Chinese system for positioning a building and the objects within a building in a way that is thought to agree with spiritual forces and to bring health and happiness (MerriamWebster, n.d.). Other than bringing positive change in life, it is also associated that feng shui can bring wealth or fortune.

In Li Yuan, feng shui can be determined through its main entrance. A good feng shui design has been implemented on this building as it is considered as the primary place of Li Yuan where good chi enters.

Figure 3.37: The door at the entrance of Li Yuan opens inwards for feng shui purposes (Lim, 2016)

For instance, the front door at the main entrance of Li Yuan is opened inwards (Figure 3.37). The motion of the door swinging open draws the good chi inside, while a door that opens out repels the chi and pushes it away (Crawford, n.d.). This door’s orientation is vital to the ‘overall energy’ of Li Yuan. Figure 3.38: Indication of the entrance door through elevation drawing (Measured Drawing Team Li Yuan, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 92

in its original position, are oriented to the south as the Chinese saying goes ‘Zuo Bei Chao Nan’ (sit at the North, face the South). This is strategic due to the fact that China is located in the

Full-brick façade blocking northern winds Sunlight penetratres the windows

Northern hemisphere. Thus, the sun normally rises from a southern angle. More windows and openings are placed at the southern façade to trap more heat from sunlight (so is the Audience Block in its initial position, Figure 3,39), especially during winter as the sun is at a lower angle throughout the day.

The front façade does not have any openings, blocking cold wind

Figure 3.39: The master plan of Li Yuan in its original orientation at Heyang County before relocation (Measured Drawings Team Li Yuan, 2016)

that was blown from Siberia during winter, keeping the interior of the building warm. However, the overall orientation of Li Yuan has been flipped completely from North to South after the relocation, turning the windows of the Audience Block northwards and its front façade southwards. This new orientation allows sunlight to shine more on the front façade, allowing visitors to admire its grandeur. As the restored Li Yuan is merely for visiting purposes, the new orientation did not affect much on its users.

Figure 3.40: In its new position after relocation, more sunlight shines on its front façade (Lee, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 93

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Chinese buildings in general, including Li Yuan’s Audience Block

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Buddhists believed that curves could ward off evil spirits, which only move in straight lines. The curved roof corners ensured that when an evil spirit fell from the sky, it would shoot back up into the sky (Tenn, 2014). Therefore, Chinese roofs have a tendency to be slightly curved. The Audience Block, together with most ancient Chinese buildings, suit feng shui principles where softly curved roofs are highly recommended to ensure smooth flow of chi in the building (Figure 3.42). Lions are deemed as divine animals that protect the truth and keep off evils in Chinese culture. Therefore, stone lions were placed at both sides of a door to protect the owner’s property (Figure 3.43). In Chinese folklore, dragons have absolute power and according to feng shui, placing dragons enhance fame and career prospects in order to guard wealth and health (Figure

Figure 3.42 (Above): Gently curved roof on top of the Audience Block (Lee, 2016) Figure 3.43 (Right): Stone lion placed at the entrance of Li Yuan (Lee, 2016)

3.41 ).

Figure 3.41: A pair of dragons placed on a wooden beam in the Audience Block (Chia, 2016)

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3.4 DESIGN CONCEPT Li Yuan’s design concept revolves around the core function of a theatre, which is to enhance the audience’s experience of being entertained. It is designed based on the intention to be a form of therapy to people of all levels of society during ancient times, where sources of entertainment was deemed scarce. It is particularly designed to make historical events or fictional scenes come alive by presenting them right in front of their eyes. Visitors are first greeted by the massive front façade that dwarfs their presence, leaving a strong impression due to its

Figure 3.44: Sketch of Li Yuan’s front façade by Hong Bin (Ng, 2016)

resplendence. The highly detailed ornaments omit a preliminary taste of literature and performing art ambience intentionally given out by the building itself (Figure 3.44). The user experience becomes more captivating as visitors enter the courtyard, a theatrical world within. As users get entertained, the aesthetic pleasure of the Performance Block’s splendour and cultural dynamism on stage fills their eyes with pleasure (Figure 3.45).

Figure 3.45: Massing diagram showing the view of audiences from the Audience block and courtyard towards the stage (Measured Drawings Team Li Yuan, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 95

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The Audience Block and central courtyard are the main locations where most user architectural experience occurs, highlighting its importance as audiences view the stage from these areas. Good architecture is not just good to be seen at, it is good to be seen from. Only audiences of aristocratic class are privileged to view performances from an optimum view at the upper floor of the Audience Block. Together with elaborate ornaments at the balcony, nobles are able to be intrigued by viewing the stage from an

Figure 3.46: View of stage from the Audience Block’s first floor (Lim, 2016)

alternate perspective. Moreover, every detail of the vibrantly coloured North façade coveys a story. Tales of historical battles and family sagas feast the eyes of viewers. Hence, the North façade can be perceived as grandiloquent in nature. Mother nature is versatile and never rigid. Curved carvings on the Audience Block proves that its design emulates traits of nature and be harmonious with it.

Figure 3.47: Image of floral ornaments adorned in natural colours at the first floor (Lim, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 96

tradition, where important spaces are arranged at the east, the

VIP room

direction where the sun rises. Therefore, the VIP room and Teahouse was placed at the eastern part of the entrance at its initial site (Figure 3.48). The points of a compass proves to be influential

Room in Teahouse

in terms of spatial hierarchy, adding reasoning to the placement of rooms in Li Yuan. Spatial segregation of the ground and first floors of the Audience Block reflects the feudal society centuries ago when social class difference between people were evident. The upper and lower floors symbolize the social hierarchy that exist in China throughout most of

Figure 3.48: Master plan of Li Yuan in its initial orientation, where the VIP room and Teahouse were placed at the East (Measured Drawings Team Li Yuan, 2016)

the building’s historical timeline. Also, the highly-ornamented architecture style is relevant to its timeline during the Ming and Qing dynasties, where Chinese architecture became increasingly complex. Hundreds of years of carvings on bricks, wood and stone serve as historical reminders of the past.

Figure 3.49: Image of carved ornaments depicting historical events above the main entrance (Lim, 2016)

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The design of Li Yuan’s layout is based on Chinese building

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3.5 SPATIAL TYPOLOGY & PLANNING This topic discusses five different content that co-relates

within the context of type of space and arrangement of spaces which includes spatial planning, activities, culture of the spaces, spatial organization, and circulation. 3.5.1 Spatial Planning

Li Yuan is technically an entertainment theatre, with different zones that is predetermined by China's feudal system and classification of social strata that is rooted deep into old Chinese culture. Thus, lines between nobility and commoner are clear. The theatre is separated into two major zones by their level in society. Even so, the theatre is an entertainment ground that belongs to a nobleman and most of the viewers are commoners and other noblemen.

Normal audiences

Noble audiences

Figure 3.50: The master plan of Li Yuan (Measured Drawing Team Li Yuan, 2016)

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Figure 3.51: Shows the audience balcony can be seen at the first floor of the ground floor (Measured Drawing Team Li Yuan, 2016)

The audience balcony, which is where the audience of the

Since it looks much like a courtyard but because of how this

play or show are either stood or sit.

building is used, the living type of courtyard cannot be applied to this building.

The Audience Block is not a traditional type of building due to its nature. This building is where the noblemen and family

The layout of this building is built for the specific requirement set

relax but not their residence. The top floors are only open to

by the founder. Ergo, it does not match with any other type of

family members and close friends only, with the exception of

buildings in China, making the whole complex of Li Yuan

theatre performances being conducted.

distinctive.

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stairs to the second floor is placed on both sides of the Audience Block. The stairway at the west is placed in a room that leads to

Stage

the corridor porch of the Teahouse. Teahouse

The composition of such placement is well thought due to the easy access to the Teahouse from the First Floor. This composition of interlocking spaces is meant for people to access the facilities with ease as well as to connect between different parts of the complex. V. I. P. Room

Store room

The stage is placed on the opposite direction facing the audience block. This alignment is quite pragmatic as it allows the user to feel connected with the courtyard, creating different perspectives towards the stage.

Figure 3.52: Master plan of Li Yuan showing the interlocking space (Measured Drawing Team Li Yuan, 2016)

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The Audience Block interlocks with the Teahouse due to how the

The overall massing of the building is simple and traditional. Yet, alteration of the form makes it suitable for its function and give a lasting impression to one who perceives. Front FaĂ§ade is larger than the wall area it covers, making the building appear massive to viewers

Matouqiang added to both sides of the subtracted area, enhancing viewer focus on the central part

Subtracted area becomes the entrance and the viewing platform Addition of fire prevention wall on the East Facade Figure 3.53: Massing diagram of the Audience Block (Measured Drawing Team Li Yuan, 2016)

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3.5.2 : Massing

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3.5.3 : Classification of Spaces

Entrance Corridor and Doorway This area is where audiences enter the compound of Li Yuan and serves as a transitional space between the outside and inside of Li Yuan. It is located at the Ground Floor, directly at the centre of the Audience Block.

Figure 3.55: Entrance corridor and doorway at the Ground Floor (Ng, 2016) Figure 3.54: Indication of the entrance corridor and doorway through elevation drawing (Measured Drawing Team Li Yuan, 2016)

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Storeroom Situated at the ground floor, it functions as a place where props for performances are stored. The entrance to this room is at the Eastern staircase. This room is fairly simple with cemented walls and a bare concrete floor.

Figure 3.57: Interior view of the storeroom (Ng, 2016) Figure 3.56: Indication of the store room from the ground floor plan of the audience block (Measured Drawing Team Li Yuan, 2016)

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VIP Room This room is decorated with glazed tiles and intricately carved wooden furniture. The entrance to this room is situated at the Western staircase at a close proximity to the Teahouse. Users can sit down, take a break and enjoy the ambience of glamour within.

Figure 3.58: Indication of the VIP Room from the ground floor plan of the audience block (Measured Drawing Team Li Yuan, 2016)

Figure 3.59: Interior view of the VIP room (Rozanna, 2016)

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Stairways Two stairways connect between the Ground Floor and the First Floor. Each stairway has a door situated near its lower end, each leading to different rooms, namely the Storeroom and VIP Room. Figure 3.61: Image of the stairway at the eastern part of the Audience Block (Lim, 2016)

Figure 3.60: Indication of the stairways from the ground floor plan of the audience block (Measured Drawing Team Li Yuan, 2016)

Figure 3.62 Image of the stairway at the western part of the Audience Block (Chua, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 105

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Viewing Platform The First Floor of the Audience Block is mostly occupied by this space. It consists of an empty space and a wooden balcony with Western-influenced balustrades. The southern part of the room is completely covered by a wall without openings while the part facing north is open, providing an optimum view of the stage. Wooden beams and stone arches that support the walls and roof are visible in this space.

Figure 3.64: Image of the wooden balcony and the Performance Block behind (Lee, 2016)

Figure 3.63: Indication of the viewing platform from the first floor plan of the audience block (Measured Drawing Team Li Yuan, 2016) Figure 3.65: Image of the empty space and exposed wooden beams (Chong, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 106

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3.5.4 Activities Li Yuan is an entertainment complex where a variety of interactive activities were done asides from performances on stage. With the approval of the owner, residents of the neighbouring community can join in the fun.

During windy and sunny days, kites can be seen gliding in the huge central courtyard. Sometimes, traditional Chinese games

Figure 3.66: Image of Qinqiang performances during summer ( ICOMOS, 2015)

such as a ball game called ‘cuju’ is played all thanks to its sufficient flat surface. When the weather is fine, people enjoy tea at the porch of the Teahouse, viewing the beautiful scenery of the garden at the opposite side. During performance events, the courtyard becomes a concentrated ground for a crowd to get entertained. Qinqiang performances that tell tales and drama performances based on Chinese classics such as ‘Romance of The Three Kingdoms’ and ‘The Story of the Western Wing’ were played.

Figure 3.67: Sketch of audiences viewing performances and their view of the stage from the Audience Block (Lim, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 107

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After its relocation into the museum, the qinqiang performances are still continued, enabling visitors to reminisce life centuries ago in Li Yuan. The performances are played by a group of elderly people, eager to pass down the tradition to future generations, keeping this unique culture alive. The museum is open during daytime on all seasons, welcoming visitors from all over the world to come in and

Figure 3.68: Two tour guides dressed in red in Li Yuan (Chia, 2016)

admire its collection of ancient Chinese architecture and among them, Li Yuan is a popular destination. Tour guides dressed in red provide their services in introducing and explaining historical facts of Li Yuan to tourists. China is home to more than one billion people who are generally passionate about their country’s history, making this museum situated in Xi’an’s suburb a popular tourist destination. It is not surprising to see hundreds of people flocking into Li Yuan during warmer weathers. Figure 3.69: Image of Chinese tourists visiting Li Yuan during winter ( Lim, 2015) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 108

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3.5.5 Culture of the Spaces The facades of the building are filled with ornaments that allows the user to feel the depth of its long history. These elaborate carvings tell stories, often based on classic Chinese novels and plays, in a pictorial way. This creates a sense of connection that has long been lost in the passage of time. Facades serve as a screen where stories are conveyed to viewers and eventually, intrigue them.

Due to its historical value and frequent use of literature elements, Li Yuan is highly regarded to be a building of high cultural value. The sense of magnificent display of unfathomable art and mysterious yet alluring details makes Li Yuan one of a kind. It speaks of old novels and culture that is literally being carved in

Figure 3.70: Sketch of ornaments of the building, “Dreams of the Red Chamber”(Chia, 2016)

stone. These spaces are meant to be shown as a theatrical composition of status and connecting, while not withstanding with the passage of time.

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The Audience Block of Li Yuan is a long record of history written in architectural form. Carvings showing historical events during the Xiongnu invasion and the Three Kingdoms Period after the fall of the Han Dynasty reflects the hardship and life of Chinese people centuries ago. It reminds viewers on appreciating peace as well as a modest, natural way of life due to the fact that most of China’s history is turbulent with internal conflicts and foreign invasions. It evokes to be peaceful and in harmony with our natural environment through its ornaments that imitate flora and fauna. The materiality, ornamentation and form of Li Yuan play an unimaginable role that changes with the time and seasons. With each season, comes in with a different setting. The weather and daylight transformations can effect the overall

Figure 3.71: Sketch of a battle scene in the Chinese classic ‘Romance of the Three Kingdoms’ (Ameer, 2016)

experience within Li Yuan’s compound.

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Initial circulation Back then, the circulation within the courtyard depends on the relation with the owner and the event of a performance. The

VIP Room

Store room

noblemen and his family occupy the higher level and one of the interior rooms in the audience block.

Ground floor of audience block

On the other hand, during a performance, the whole courtyard will be open to public. The nobleman and his family has a linear pattern of movement in the Audience Block before a performance. From the entrance, the nobles will either go directly to the First floor or mingle with the commoners below. Viewing Platform

First floor of audience block

The two flight of stairs at each side of the Viewing Platform play vital roles in terms of circulation within the building. The pattern of human circulation is not entirely free and random despite its wide

Figure 3.72: Circulation from the ground floor to first floor and back to the ground floor (Measured Drawing Team Li Yuan, 2016)

courtyard. Most human circulation in the Audience Block is linear, either vertically and horizontally MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 111

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3.5.6 Circulation

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Performers use the side entrance of the courtyard for entrance and exit. From there, they will pass through the central plaza, walk on a pathway within the small garden and continue to the stairs, which will take them to the backstage. During the day, the courtyard is free roaming for the users to experience if the owner allows, except for the upper floors that were reserved for the noblemenâ&#x20AC;&#x2122;s resting room or the backstage. They may participate in the activities that is available in the courtyard if they wish.

Figure 3.73: Circulation of performers (Measured Drawing Team Li Yuan, 2016)

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By understanding the current circulation paths of people in a building, we are able to explore where is the buildings activities usually take place. In which, this also help us in comprehend the hierarchy of spaces in the audience block. The VIP Room on the Western side of the audience block is only accessible to people if they get permission from the museum coordinator which hence, semi-private. On the other Figure 3.74: Ground Floor of Audience Block (Measured Drawing Team Li Yuan, 2016)

side however, the storeroom is only permissible to museum authorities and performers as they store their belongings here. The First Floor was initially reserved for ranked individuals back then during feudal China. However, it is now open as a public space for audiences to enjoy performances. The viewing platform provides an interesting perspective towards

Figure 3.75 : First Floor of Audience Block (Measured Drawing Team Li Yuan, 2016)

the stage. The audience is able to get a better panoramic view of the whole performance from that angle.

Public

Semi-Private

Private

Inaccessible

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Average Human Density With a reference of the master plan (Figure ), it can be seen that the Audience Block and courtyard have greater human density compared to the stage. It is evident that the Audience Block had been utilized more, since it is open to public compared to the stage which is on the opposite direction. This shows that the Audience Block plays an important role in Li Yuan, hence the hierarchy of the spaces identified.

Figure 3.76: Average human density in Li Yuan (Measured Drawing Team Li Yuan, 2016)

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With the aid from the floor plans, we are able to see the pattern of human circulation within the two floors of the Audience Block (Figure 3.78 & 3.79). The frequent use of linear human circulations perpendicular to one another and aligned with the four points of a compass is very typical of ancient Chinese architectural layout. The two staircases are vital to the building’s circulation

Figure 3.78: Ground floor of audience block (Measured Drawing Team Li Yuan, 2016)

Figure 3.79: First Floor of audience block (Measured Drawing Team Li Yuan, 2016) Figure 3.77: One of the staircases connecting the ground and first floors (Chong, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN |115

Li Yuan combined a variety of design principles into its comprehensive design. These principles include emphasis, balance and symmetry, asymmetry, repetition and harmony. The application of these fundamental principles complements both the aesthetic and functional value of Li Yuan as a venue for visual enjoyment.

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3.6 DESIGN PRINCIPLES

The emphasis of Li Yuan can be found at the front elevation. Both

Meanwhile, entrance B is designed differently compared to the

entrance doors create focal points in design as these functional

rest of the façade. The height of the entrance B is slightly shorter

elements bring attention to people. Entrance A has the grandest

and the width of the door is wider. It appears special compared to

entrance as the door is heavily surrounded with a vast variety of

the other parts of the façade.

ornaments and carvings. This emphasizes a significance and guides viewers to focus on it.

A B

Figure 3.81: Front Elevation of Audience Block (Measured Drawing Team Li Yuan, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN |117

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3.6.1 Emphasis

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3.6.2 : Datum

The entrance serves as a point of reference in terms of both visual perception and circulation, with the focus diverging away from the entrance to other parts of the building.

Figure 3.82: Ground Floor of Audience Block, showing the circulation diverging from the entrance (Measured Drawing Team Li Yuan, 2016)

Figure 3.83: Front Elevation of Audience Block showing the entrance as a reference point (Measured Drawing Team Li Yuan, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN |118

Both of the Front facade (Figure 3.84) and North elevation

Whilst, on the North facade (Figure 3.85), it is obvious that the left

(Figure 3.85) feature a symmetrical face whereby if an axis of

side of the building protrudes slightly eastwards.

symmetry is drawn vertically at the middle of the entrance.

However, there is slight asymmetry when it comes to the overall

Protrusion line

view of the whole elevation of the Audience Block. With a reference of the front facade (Figure 3.84), it can be seen that the right side slightly protrudes to accommodate another entrance door.

P P

Figure 3.84: Front Elevation of Audience Block (Measured Drawing Team Li Yuan, 2016)

Figure 3.85: North Elevation of Audience Block (Measured Drawing Team Li Yuan, 2016)

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3.6.3 Balance & Symmetry

is indeed symmetrical and this can be proven through the floor plans of the Audience Block (Figure 3.86 & Figure 3.87).

Figure 3.86: Ground floor of audience block (Measured Drawing Team Li Yuan, 2016)

The design principle of symmetry is commonly used in traditional buildings, and it is considered a desirable characteristic of composition. In which, the volume of space given to both sides of the axis of symmetry are similar, imitating a desired perfection of form.

Figure 3.87: First floor of audience block (Measured Drawing Team Li Yuan, 2016)

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However, if the slight profusion is to be disregarded, the building

Repeated architectural elements help create harmony and unity. It synchronizes different parts of a building. Repeated use of a shape, colour or design can help unity

A B

different parts into a whole. The repetition might be limited to only an instance or two, not enough to create a rhythmic pattern but enough to cause a visual echo.

Despite the fact that the ornaments, carvings and paintings may

C Figure 3.88: Front elevation of audience block (Measured Drawing Team Li Yuan, 2016)

be different when comparing two different sides of the building, the repeated use of method, size and material creates the effect of rhythmic motif on the building.

With a reference of both elevations (Figure 3.88 & Figure 3.89),

F G

the bounded area that is indicated by colour & alphabets are the repetition elements that can be found on the building. The

Figure 3.89: North elevation of audience block (Measured Drawing Team Li Yuan, 2016)

repetition creates points of interest on the faĂ§ade.

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3.6.4 Repetition, Harmony & Unity

Climate adaptation is an important element to put an attention since it affects the context, fenestration and orientation of the audience block in Li Yuan. 3.7.1 Seasons Li Yuan is located at the southern part of Guanzhong plain in Shaanxi province which has a continental monsoon climate with four distinct seasons: summer, autumn, winter and spring.

WINTER

SPRING

SUMMER

AUTUMN

MONTH

Nov – Feb

March – May

June – August

Sept – Nov

CONDITION

Dry and cold

Warm

Torrid and wet

Cool and rainy

TEMPERAT URE

10°C or lower

10° - 22° C

22°C and above

10° - 22° C

RAINFALL

Very little

Average

Heavy

Gradually lessen up

HUMIDITY

Gradually lessen 70% to 60%

60%

70%

AIR QUALITY

Heavily polluted

Lightly polluted

Good

Lightly polluted

Figure 3.90 : Temperate table (China Weather Forecast, 2016)

The climate situated at Li Yuan fluctuate very often among the 4 seasons. The following information (Figure 3.90) summarize the duration, condition, temperature, rainfall, humidity and air quality in Li Yuan. Whereas, the following graphs (Figure 3.91 until Figure 3.95) will unfold the specific annual average temperature, average high and low temperatures, average rainfall, average humidity and average air quality index thoughout the whole year in Li

Figure 3.91: The average temperatures graph (China Weather Forecast, 2016)

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3.7 CLIMATE ADAPTATION

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Figure 3.92: The average high and low temperatures graph (China Weather Forecast, 2016)

Figure 3.93: The average humidity graph (China Weather Forecast, 2016)

Figure 3.94: The average rainfall graph (China Weather Forecast, 2016)

Figure 3.95: The average air quality index (AQI) graph (China Weather Forecast, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN | 123

SPRING

SUMMER

AUTUMN

WEATHER

The coldest season

Flowers are typically bloom

Unpredictable

Weather gets cooler

SUITABILITY

Not suitable to visit

Suitable to visit

a)  During this season, the weather has invested with a ton of mythological and culturally symbolic importance that naturally creates Li Yuan as a beautiful place to visit. People can also enjoy the performances happily.

a)  The summer holiday encourages Chinese citizens to go sightseeing, which includes visiting the museum.

REASONS

a)  Courtyard are mostly covered by snow. b)  Relatively, the cold reduces the number of visitors. Performers generally take this opportunity to get a break/ practice for their upcoming performances instead.

a)  During this season, the weather is moderate, making it suitable for sightseeing.

b)  No natural physical obstructions (snow, ice) when visiting Li Yuan.

Figure 3.96: Climate response of Li Yuan (Measured Drawing Team Li Yuan, 2016)

Figure (left) 3.97: The courtyard covered in snow (Nurin Abdullah, 2016) Despite the changes in weather, Li Yuan is still a good example of the classical chinese architecture planning. This is because, the making of the entire Li Yuan has been considerably carefully thought. Either esthetically or structurally, it has involves in considering the role of environmental circumstance of natural phenomenon or disasters, and human experiences.

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WINTER

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3.7.2 Fenestration Fenestration that refers to the arrangement, proportioning and design of windows and doors in a building will strongly influence the use of the building and the productivity and comfort of its occupants. (Desjarlais, 2016)

Openings in VIP room and storage room are located in

Figure 3.99: The window openings at the VIP Room, A (Ng, 2016)

adjacent walls. This allows airflow to enter the room and wind directions oblique to the window encourage both turbulence and air mixing, thus a more even velocity distribution and cooling effect throughout the room. (Dekay & Brown, 2013)

A B

Figure 3.98: Indicating the location of window opening at ground floor of the audience block (Measured Drawing Team Li Yuan, 2016)

Figure 3.100: The window openings at the storage room, B (Chong, 2016)

Figure 3.101: The close-up figure which explains the flow of natural wind direction enters the space in the room (Wiley, 2014) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XIâ&#x20AC;&#x2122;AN |125

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On the First floor however, the viewing balcony are not covered by any openings except railings. It is totally open where the space will be directly exposed into open air at all time. During winter, this area will be exceptionally cold.

Figure 3.102: Indicating the location of viewing balcony at First floor of the audience block (Measured Drawing Team Li Yuan, 2016)

Figure 3.103: The viewing platform openings (Ng, 2016)

Figure 3.104: Natural wind received at the VIP room and viewing platfrom in Cross Section B-B’ (Measured Drawing Team Li Yuan, 2016)

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On the other note, the position of the sun in summer travels a high North

path through the sky and is at its highest angle during the summer East

solstice. Whilst, the sun during winter is at the lowest arch across WINTER

the sky (Figure 3.105).

The figures (Figure 3.106 & Figure 3.07) shows the results how the position of the sun are resulting to different exposure of West South

natural lighting received in the audience block, Li Yuan. The overhanging Chinese roofs and trees create sufficient shading especially during summer for semi-open spaces where the audience can enjoy the performance comfortably (next page,

Figure 3.105: Sun path direction in Li Yuan (Measured Drawing Team Li Yuan, 2016)

Figures 3.106 & 3.107).

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SUMMER

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WINTER

SUMMER

Figure 3.106: Natural lighting received at the entrance pathway and viewing platform in Cross Section A-A’ (Measured Drawing Team Li Yuan, 2016)

WINTER

SUMMER

Figure 3.107: Natural lighting received at the VIP room in Cross Section B-B’ (Measured Drawing Team Li Yuan, 2016)

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FACADE

THERMAL COMFORT

WIND QUALITY

LIGHT QUALITY

SOUND QUALITY

Audience façade (A)

SUMMER – Moderate; the trees at the courtyard and overhanging roof provide shade

SUMMER – Less windy and warm; Trees at the courtyard blocks the wind

SUMMER – Moderate; not greatly affected by afternoon sun because of the trees in the courtyard acts as shade

High; since the building is facing the opposite of the stage

WINTER – Less windy and cold; The trees at the courtyard blocks the wind

WINTER – Low; not affected by the afternoon sun since the sun is focused on side B

SUMMER – Moderately windy

SUMMER – Low; not affected by the afternoon sun since the tall façade acts as a shade

WINTER – Moderately windy and cold; does not provide much shade

WINTER – High; direct sunlight

WINTER – Moderate; the trees at the courtyard and overhanging roof provide shade Front façade (B)

SUMMER – Moderate; not affected by the afternoon sun since the tall façade acts as a shade WINTER – Low; since the front façade is not shaded

Low; this side of the building is facing away from the stage

Figure 3.108 (above): Analysis studies of the audience block’s orientation in Li Yuan based on Figure (below, left) during solar noon (Measured Drawing Team Li Yuan, 2016) Figure 3.109 (left): Orientation of the audience block in Li Yuan (Measured Drawing Team Li Yuan, 2016)

SUMMER

The design for the Audience Block’s orientation is a fundamental WINTER

step in ensuring that the building works with the passage of the sun across the sky especially during solar noon. The features around the Audience Block are capable of modifying and delivering a correspondingly sufficient thermal performance to achieve comfort throughout the whole year.

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3.7.3 Analysis

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3.8 ORNAMENTATION AND HISTORY Li Yuan is a building with heavy influences of Ming and Qing Dynasty architecture due to its adherence to this timeline. Ornaments are highly intricate and given huge emphasis in these dynasties.

3.8.1 Carvings Front Façade Two smiling stone lions are placed on both sides of the entrance at the main façade (Figures 3.110 & 3.111) The function of the stone lion is to serve as a guardian to Li Yuan’s compound. They are believed to prevent evil spirits from getting near the entrance. The stone lions of Li Yuan were purposely made to look less fierce

Figure 3.110: Side view of a stone lion (Lim, 2016)

Figure 3.111: Front view of a stone lion (Lim, 2016)

so that they appear clever and lively (Shaanxi Art Museum, 2014).

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Highly valued stone sculptures of Li Yuan, dunshi are placed at the entrance as guardians behind the stone lions. These rocks give a grotesque appeal and date back to 1324 during Emperor Taiding’s reign over China in the Yuan Dynasty. Due to its long history of being exposed to the forces of nature, many details of these dunshi had been eroded. Moreover, these dunshi are known to be priced artifacts.

Figure 3.113: A dunshi placed at Li Yuan’s entrance (Chua, 2016)

Figure 3.112: Indication of the lion statues from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

Figure 3.114: Sketches of dunshi by Philia (Chua, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN |131

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Above each row of calligraphy on both sides of the entrance, a mythical dragon head can be seen (Figure). They were positioned in a way that the calligraphy scroll appears to be coming out of their mouths. It is a very old form of ancient Chinese handcraft.

Figure 3.115: Indication of the mythical dragon head from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

Figure 3.116: Ornamentation of a mythical dragon head (Lim, 2016)

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All sides of the entrance are ornamented. None of the ornaments are perfectly mirrored or similar to one another. Some ornaments depict historical events and literature. The carving of clouds at the middle above the entrance represents longetivity.

Figure 3.117: Indication of the mythical dragon head from elevation of the front faĂ§ade (Measured Drawing Team Li Yuan, 2016)

Figure 3.118: Picture of the entrance (Lim, 2016)

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Figure 3.119: Ornaments on top of the door (Lim, 2016)

The ornamentations on the left create a scene of mountains and

The ornamentations on the right is named ‘Su Wu (a person’s

forests during the three kingdoms period (220-280 AD) Below the

name) rearing sheep’. This event happens during the year 100

old pine tree, there are two deers facing one another. In between

BC during the Xiongnu invasion. Between the mountains and

the deers are five warriors. The warrior up front holds a sword

rocks, there is a tree. Below the tree, there is an old man holding

while sitting while the others have bows, arrows and horses. This

a stick, observing the herd of sheep grazing grass on the

ornamentation depicts a scene where a battle is lost and is taken

meadows. Two warriors from the Western territories were

from the Chinese classic ‘Romance of the Three

advising Su Wu to surrender but he refused and ignored them,

Kingdoms’ (Guanzhong Folk Custom Art Museum, 2013).

evoking a sense of patriotism (Guanzhong Folk Custom Art Museum, 2013).

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On both sides of the door, ornaments depicting integration and harmony between human and nature were carved. Two vertical ornaments on each side shows 8 lions having fun or resting below trees (Figure 3.121). Each lion is different on its own, making the artwork interesting.

Other ornaments depict human figures coexisting peacefully with nature (Figure 3.122).

Figure 3.120: Indication of the 2 vertical ornaments with 8 lions and carvings of humans and nature from elevation of the front faĂ§ade (Measured Drawing Team Li Yuan, 2016)

Figure 3.121: Vertical ornament with 8 lions (Lim, 2016)

Figure(s) 3.122: Carvings of humans and nature (Lim, 2016)

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Figure 2.123: Wooden carvings above the door (Lim, 2016)

Above a smaller timber door within the entrance, there are a pair of wooden blocks carved into organic shapes depicting flowers and birds, enhancing aesthetic value to the otherwise dull and bulky wooden door (Figure 2.123) Figure 3.124: Indication of the wooden carvings from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

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Figure 3.125: Zoom-in image of a wooden carving (Lim, 2016)

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Figure: 3.126 Ornamentation of 8 humans (Lim, 2016)

Higher above the door, there are carvings of 8 humans. (Figure 3.126) By judging their clothes, we know that this carving depicts life during the Ming Dynasty before the Manchu invasion. 10 repetitive organic ornaments were placed above the human carvings. Both numbers 8 and 10 are auspicious according to Figure 3.127: Indication of the ornamentation of 8 humans from elevation of the front faĂ§ade (Measured Drawing Team Li Yuan, 2016)

Chinese belief (Bramble, 2003).

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Figure 3.128: Zoom-in of the ornamentation of 8 humans (Lim, 2016)

Carving depicting a government officer in his uniform

The youth on the most right is dressed in rags, pulling

next to a cart.

a herd of cattle loaded with supplies.

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On both sides of the calligraphy of ‘Li Yuan’, there are depictions of men under a pine tree. The one on the left holds both hands up and stands together with a buffalo, signifying diligence and hard work (Figure ); the one on the right is smiling, playing an instrument in a relaxed posture, symbolizing entertainment (Figure ). Both ornaments show the balance of work and play.

Figure 3.129: Indication of depictions of men under a pine tree from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

Figure 3.130: Carving of an old man and a buffalo. (Lim, 2016)

Figure 3.131: Carving of a smiling man playing an instrument. (Lim, 2016)

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Figure 3.132: Ornamentation of many men (Lim, 2016)

The left and right carvings each contain two warriors on horses holding weapons and seven footmen. The carving in the middle shows two elderly men, two young children and six men walking to the center of the carving, signifying the continuation from the old to the new, generation by generation. Figure 3.134: Ornamentation of two warriors and seven footmen (Lim, 2016)

Figure 3.133: Indication of the human carvingsfrom elevation of the front faĂ§ade (Measured Drawing Team Li Yuan, 2016)

Figure 3.135: Ornamentation of two elderly men, two young children and six men (Lim, 2016)

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This carving (Figure 3.132) can be divided into three parts, left, middle and right.

Human figures

Ornaments of a pair of phoenixes

The 6 dougongs below the roof are merely ornaments and do not serve any structural purpose.

Geometrical patterns

Floral carvings

Figure 3.136: Image of the highest part of the front façade (Lim, 2016)

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The roof is purposely curved as it is believed that it will get rid of evil spirits that only move in straight lines.

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Both eastern and western sides of the wall has a ‘Mirror-Opened Light’ (

) brick carving, each with a perfectly

symmetrical circle is in the middle. (Figure 3.138)

Figure 3.137: Indication of the mirror-opened lightfrom elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

Figure 3.138: Image of a ‘Mirror-Opened Light’ brick carving on the left side of the front façade (Lim, 2016)

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In the middle of the circle, an old pine tree with abundant leaves is shown growing between rocks and mountains. (Figure ) Two horses are seen near the tree, one grazing, the other looking back. This carving expresses harmony and freedom (Guanzhong Folk Custom Art Museum, 2013).

Figure 3.139: Indication of the mirror-opened lightfrom elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

Figure 3.140: Carving of two horses in a natural setting (Lim, 2016)

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Floral pattern at the corner

Mountains and pine trees. Geographical depictions of Shaanxi province.

Repetitive elements

Dragons, the key symbol of Chinese culture and also the most highly respected mythical beast.

Figure 3.141: Ornaments at a corner of the ‘Mirror-Opened Light’ carving (Lim, 2016)

Figure 3.142: Indication of the mirror-opened light’s corner from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

Figure 3.143: Zoom-in of the floral pattern at the corner

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Combination of floral carvings and geometrical patterns

Empty area

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Smiling lion ornaments at the edge of the roof

Geometrical pattern consisting of squares and octagons

Floral pattern

Intervals

Figure 3.144: Ornaments at the top part of the upper left façade (Lim, 2016)

These ornaments exist throughout the upper part of both sides of the front façade.

Figure 3.145: Indication of the mirror-opened light’s corner from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

Figure 3.146: Zoom-in image of the miling lion ornaments at the edge of the roof (Lim, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN |146

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Another ‘Mirror-Opened Light’ brick carving is situated at the right side of the front façade. It is an exact mirror of the brick carving on the left side of the façade. However, the carving in the circle is different. In the circle, it shows a carving of a paddy field surrounded by pine trees and mountains. It expresses the owner’s desire towards farm life (Guanzhong Folk Custom Art Museum, 2013).

Figure 3.147: Indication of the mirror-opened light’s circle from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

Figure 3.148: Carving of a paddy field surrounded by pine trees and mountains (Lim, 2016)

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a protruding wall with a ‘Matouqiang’ at its top is exhibited..

Matouqiang

The function of the protruding wall is to make the corner between two walls appear complete. This protruding wall also function as a barrier if a fire occurs.

Protruding wall

Figure 3.149: Indication of the matouqiang from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

Figure 3.150: Image of a protruding wall and matouqiang (Lim, 2016)

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On the right side of the ‘Mirror-Opened Light’ carving on the right,

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Figure 3.151: Zoom-in of the matouqiang. Elements of horns, beasts and flowers are carved. (Lim, 2016)

Figure 3.152: Upper part of the protruding wall. All parts are symmetrical except for the part where a human is riding a beast. (Lim, 2016)

Figure 3.153: Carvings of a vase, furniture and flowers. (Lim, 2016)

Figure 3.154: Carving of two humans standing on a platform. (Lim, 2016)

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from other parts of the front façade. Stone carving above the door

Floral patterns in a symmetrical circle and square Figure 3.155: Image of the small door at the rightmost part (Lim, 2016)

Figure 3.156: Indication of the matouqiang from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

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The small door at the rightmost part possess details different

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Figure 3.157: Image of one of the two wheels (Rozanna, 2016)

Figure 3.158: Image of one of the two wheels sketching (Ameer, 2016)

On each of the pair of wheels, carvings related to wildlife are carved. These carvings include a heron, a lotus and a frog. It exhibits water elements to create give a natural ambience. Figure 3.159: Indication of the matouqiang from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

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Dougong structure Floral ornaments

Carvings of Chinese literature Dragon and phoenix wooden carvings

Stone lion (Similar to the front façade) Figure 3.160: Image of the north elevation. (Lim, 2016)

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Smiling lion ornaments (similar to the front façade)

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Figure 3.161: Colourful ornaments near the roof (Lim, 2016)

Ornaments frame the columns and dougong structure, creating the perception as if flowers and branches grow naturally on the building. Figure 3.162: Indication of the colourful ornaments from elevation of north façade of audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.163: Carvings of dragons and phoenixes on wooden beams (Lim, 2016)

Beams are decorated with dragons and phoenixes, sacred mythical beasts in Chinese legends.

Figure 3.164: Indication of the dragons and pheonix carvings from elevation of north façade of audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.165 : Carvings at the North façade (Chia, 2016)

Chinese characters of ‘prosperity’ and ‘good fortune’ were carved above the row of ornaments. These characters are highly

Figure 3.166: Character of ‘prosperity’. (Chia, 2016)

symbolic in Chinese culture due to their positivity. Figure 3.167: Character of ‘good fortune’. (Chia, 2016)

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Figure 3.170: Image of the north elevation (Lim, 2016) Figure 3.168: Carving of a warrior on a horse preparing for battle (Lim, 2016)

The outer beams have depictions of the Chinese classic ‘Hong Lou Meng’, also known as ‘Dream of the Red Chamber’ (Figure 3.170). The widely popular Chinese novel was published in 1791. Drama based on the novel were played in Li Yuan, making these ornaments suitable to the literature of its timeline.

Figure 3.169: Indication of ornaments carvings from elevation of north façade of audience block (Measured Drawing Team Li Yuan, 2016)

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A protruding wall with a matouqiang on top is positioned on both sides of the central opening. (Figures 3.171) Figure 3.171 (left): Stitched image of the protruding wall (Lim, 2016)

Figure 3.172: Indication of ornaments carvings from elevation of north façade of audience block (Measured Drawing Team Li Yuan, 2016)

Figure 3.173: A matouqiang above one of the protruding walls (Lim, 2016)

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Figure 3.175: Zoom-in image of floral ornaments below supportive wooden beams (Lim, 2016)

As according to Feng Shui principles, places below support beams accumulate bad energy. Thus, floral ornaments are added to neutralize the bad ‘chi’. Lotus flowers, the symbol of purity in Buddhism is selected in this scenario due to significant Buddhist Figure 3.174: Indication of ornaments carvings from section of the audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.176: Floral ornaments painted in natural colours below wooden beams (Lim, 2016)

Figure 3.177: Dragon carvings below wooden beams (Lim, 2016)

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Figure 3.178: Carvings of mythical beings, geometrical patterns and lotus flowers below wooden beams (Lim, 2016)

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Figure 3.179: Carved paintings of lotus flowers, geometrical patterns and mythical beings above the balcony (Lim, 2016)

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As most of China’s history is turbulent with wars raging from time to time, battle scenes are common in ornaments. A battle scene with four armed warriors holding weapons is carved in a perfect circle. (Figure 3.181)

Figure 3.180: Indication of ornaments carvings from section of the audience block (Measured Drawing Team Li Yuan, 2016)

Figure 3.181: Battle scene with four armed warriors holding weapons (Lim, 2016)

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Hexagonal ornament

Symmetrical ornament

Corbel bracket

Figure 3.182: Ornamented wooden beam that supports the roof (Lim, 2016)

Vibrantly coloured ornaments were added to supportive beams to enhance their aesthetic appeal. This ornaments also exhibit the wealth and status of the owner of Li Yuan. (Figure 3.182) Figure 3.183: Indication of ornaments carvings from section of the audience block (Measured Drawing Team Li Yuan, 2016)

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Figure 3.184: Hexagonal ornament on the middle of a wooden beam (Chua, 2016)

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Figure 3.185: Wooden dragon carving on a corbel bracket below a wooden beam (Lim, 2016)

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Figure 3.186: Wooden carving with organic elements placed above the middle part of a wooden beam (Lim, 2016)

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3.8.2 Calligraphy

Figure 3.187: Carved calligraphy of the characters of ‘Li Yuan’ (Lim, 2016)

The characters ‘Li Yuan’ were carved at the centre part above the entrance. It is written from right to left, a traditional standard way of Chinese writing. Also, it is flanked by an ornament of a beast on each side. Figure 3.188 Indication of the characters calligraphy from elevation of the front façade (Measured Drawing Team Li Yuan, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 167

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Two stone scrolls on each side of the entrance tells us that the owner was previously involved in the country’s scholarly historical compilations. He even wined and dined with the king. It expresses the hope that this glorious reputations will be inherited by future generations. From the contents of both scrolls, we can observe that the owner was a minstrel scholar with high social standing.

The font used for this script is ‘Kai Shu’ (

Figure 3.189: Indication of the vertical calligraphy from elevation of the front façade (Measured Drawing Team Li Yuan, 2016)

Figures 3.190: Vertical calligraphy pair at two sides of the main entrance (Lim, 2016)

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The calligraphy on the right side of the front façade mentions that the owner yearns to ‘have a dwelling with a heart’. It shows that he hopes that the bond between members of his family will remain strong for generations to come. The font used for this script is ‘Cao Shu’ (

), a curvier, slightly

abstract and continuous way of writing Chinese characters, making it more difficult to decipher the characters carved.

Figure 3.191: Indication of the calligraphy from side elevation of the audience block (Measured Drawing Team Li Yuan, 2016)

Figure 3.192: Calligraphy carved in ‘Cao Shu’ font (Lim, 2016)

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Figure 3.193: Carved calligraphy above the door viewed from the southern direction (Lim, 2016)

Written in Kai Shu font, this carved calligraphy (Figure 3.193) written from right to left means ‘The sun and the moon compete their brightness’. It’s hidden meaning is to praise the contributions of the family of Li Yuan’s owner. Figure 3.194: Indication of the carved calligraphy above the door from elevation of the front façade (Measured Drawing Team Li Yuan, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN | 170

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Figure 3.195: Carved calligraphy above the door viewed from the northern direction (Lim, 2016)

This calligraphy (Figure 3.195) is at the other side of the door is also written in Kai Shu font. In a metamorphic way, it compares ice and frost to one’s character. It praises the flawless pureness in character Figure 3.196: Indication of carved calligraphy above the door from elevation of north façade of audience block (Measured Drawing Team Li Yuan, 2016)

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3.8.3 Murals The murals show scenes of performing arts, where actors were involved in a play (Figure 3.198) and a martial art performance (Figure 3.199). Each mural is framed by a 2448mm x 1769mm border. These murals show three people each as three is one of the lucky numbers of Chinese culture (Travel China Guide, 2014)

Figure 3.198: Mural showing three actors involved in a play (Lim, 2016)

Figure 3.197: Indication of ornaments carvings from section of the audience block (Measured Drawing Team Li Yuan, 2016)

Figure 3.199: Mural showing three actors performing martial arts (Lim, 2016)

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The front façade is uniform in colour. The light brown pigment of the masonry and ornaments correspond with its natural material, which is soil taken from the Huangtu Plateau.

Figure 3.200: Image of parts of the front façade (Lim, 2016)

Compared to the front façade, the north façade is vibrant in colour. Pink paint is applied on lotus flowers, representing sensitivity and romance, suiting the architecture’s literature value. Red is an auspicious colour in Chinese culture, symbolizing prosperity. Green and blue are used to depict nature, representing tranquillity and harmony with nature.

Figure 3.201: Image of parts of the North façade (Lim, 2016)

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3.8.4 Colour Analysis

Stone Lion

Li Yuan’s Shaanxi Style Stone Lion

Cheng Hoon Teng Temple (Melaka) Stone Lion

Beijing Summer Palace Stone Lion

Figure : Image of stone lion in Li Yuan (Lee, 2016)

Figure : Image of stone lion in Cheng Hoon Teng Temple, Melaka (Koh, 2014)

Figure : Image of stone lion in Beijing Summer Palace (Hawke, 2013)

Lion portrayed to be adorable, friendly, and lively. Thus, does not have sharp teeth. Smiling and small-sized.

Twisted body figure with eyes tilted towards the heavens. More intricate carvings if compared to Li Yuan’s stone lion.

Upright with head facing forward. Holds a ball on its right paw. Very fierce looking and possesses sharp fangs.

Image of Stone Lion

Characteristics

Figure 202: Table comparing stone lions of Li Yuan, Cheng Hoon Teng Temple and Beijing Summer Palace (Measured Drawings Team Li Yuan, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN |174

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3.8.5 Comparison

Li Yuan’s Audience Block

Kwanimm Temple, Klang, Malaysia

Yang Family Ancestral Temple, Guizhou, China

Image of Ornaments

Figure: Ornaments on Li Yuan’s Audience Block (Lim, 2016)

Traits

Floral and geometrical elements. Frequent use of natural colours such as green and blue. Depiction of scenes in Chinese classics.

Figure: Ornaments on the front façade of Kwanimm Temple (Lim, 2016)

Dragon carvings were given greater emphasis. Religion-related ornaments of deities cover the facades. More frequent use of gold colour.

Figure: Ornaments on Yang Family Ancestral Temple in Guizhou Province, China. (QDNRM, 2010)

Less vibrant colour scheme. Carvings were done in designated grids, each conveying stories as well as depictions of daily life and natural landscapes.

Figure 3.203: Table comparing ornaments on Li Yuan, Kwanimm Temple and Yang Family Ancestral Temple (Measured Drawings Team Li Yuan, 2016)

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Ornaments

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The architecture of Li Yuan allows us to reminisce the dynasties it had been through. Ornaments on its façade presents shards of clues to the real story of the building. Structural components, one of the fundamentals of architectural elements could shed some light as we extract the remnants of the past.

Figure 3.204: Sketch of the garden in Li Yuan’s courtyard by Sue Hwa (Chia, 2016)

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This subject discusses the details that is included within the architectural context, which entails the necessary aspects of a building, such as doors, windows, beams, walls, ceilings, staircase, roofs, arches and other installments. 4.1 Doors

Timber doors are present on both floors. They function as

Figure 4.1: Front Door (Ridzwan, 2016)

Figure 4.2: Side Door (Ridzwan, 2016)

Figure 4.3: Interior Door (Ridzwan, 2016)

moveable structures that allow access to or block off an entrance to an enclosed space. All the doors were replaced as the actual doors are damaged beyond repair. 1st floor plan Ground floor plan

Interior Door

Front Door

Side Door

Figure(s) 4.4: Indication of the doors at the audience block floor plans (Measured Drawing Team Li Yuan, 2016)

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Front Door The entrance door of Li Yuan made out of timber is lifted from the floor and onto slabs. This relates to the belief of good chi going into the area.

Figure 4.5: Indication of the front door from ground floor plan of the audience block (Measured Drawing Team Li Yuan, 2016)

Figure 4.6: Image of the timber front door (Rozanna, 2016)

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Side Entrance Door This door allows easier transportation of props into Li Yuan. This door is recently added with two ramps in different directions adjecent to the slab, making it disabled-friendly by making the courtyard accessible to them.

Figure 4.8: Image of the Side Entrance Door (Rozanna, 2016)

Figure 4.7: Indication of the side entrance door from ground floor plan of the audience block (Measured Drawing Team Li Yuan, 2016)

Figure 4.9: Detailed metal works on the wooden door (Chua, 2016)

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Interior Door Most of the doors in the interior were replaced. It is reported that when the building was found, it was in the state of ruins. Ergo, the door here was fixed into the wall during the relocation and reconstruction.

Figure 4.10: Indicating the interior door at ground floor plan of audience block (Measured Drawing Team Li Yuan, 2016)

Figure 4.11: Image of the door of the Storeroom (Ridzwan, 2016)

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4.2 Windows The windows are mostly located on the Ground Floor, where the VIP room and Storeroom is. The niche on the windows are geometrical patterns with ornaments, displaying a sense of culture and wealth (Figure 4.13).

The window in itself was placed facing inwards to the compound of Li Yuan. This is to allow airflow through the room in hot seasons and keep out winds from the exterior during cold seasons. The

Figure 4.13: Windows at the Audience Block (Lim, 2016)

placement of the window with a tight grid is also particularly important to not allow the break in of theft (Guo, 2005).

Figure 4.12: Indicating the windows at the North façade (Measured Drawing Team Li Yuan, 2016)

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4.3 Column Overview The columns that are placed in the Audience Block is placed in a grid arrangement, each adjacent to one another.

First ﬂoor plan column

Figure 4.15: Shows the known location of the column on the ground floor (Measured Drawing Team Li Yuan, 2016)

Figure 4.16: Shows the known location of the column on the first floor. (Measured Drawing Team Li Yuan, 2016)

Figure 4.17: Image showing the column fitted adjacently to the walls (Ridzwan, 2016)

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These Cylindrical columns are known as ‘yanzhu’ in China. Often used in traditional Chinese architecture, it is usually used to set the grid line of the houses as one of the main supporting structure that holds the dougong above it. The columns are layered with a wooden layering around the column to increase the strength and lifetime of the column. The columns stretch from the ground to the roof.

Figure 4.19: Image of a column, also known as ‘yanzhu’ (Ng, 2016)

Figure 4.18: columns on the Ground floor (Measured Drawing Team Li Yuan, 2016)

Figure 4.20: Shows the column placed within the gridline (Measured Drawing Team Li Yuan, 2016)

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Yundun

The column is made up of four parts; first is the top column which includes the yundun (the part where the ornaments are junting out of the column); Second is the red column itself; third is the chin,

Red column

which is a strip around the column; the forth is the base, which comprises of three parts, which are the lip (where the chin meets the base), the pan (the stone part of the column) and the plinth (the square stone that makes the foundation of the column) (Wang, 2007).

First ďŹ&#x201A;oor plan indicator?

Figure 4.21: Columns on the Ground floor (Measured Drawing Team Li Yuan, 2016)

Figure 4.22: Measured drawing of one of the columns (Measured Drawing Team Li Yuan, 2016)

Chin Base

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Components of a Column

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4.4. Beams

The beams of the Audience Block are cylindrical shaped structures that connect between columns. They are decorated with floral ornaments that are painted or carved on a set of extra planks connected to them. The beam’s core function is to distribute weight evenly across the

Figure 4.23: Shows the beams with ornaments (Ridzwan, 2016)

structure and are generally connected to the columns and not to the walls, liberating the walls from load. It has a similar shape to the columns but smaller in comparison.

The “Dove-tail” system allows the users to use less metal and more wood, which intertwines with their belief of using wood and earth as building materials that are within the belief of feng shui. Not only does it acts parellel to their believe, this production can save cost of using metal in their buildings.

Figure 4.24: Illustration of a dove-tail system that was used during the Yuan Dynasty (Guo,2005)

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dwarf-sized pillar known as a guazhu connects between the beam

Guazhu

structure and the roof rafters above.

Figure 4.26: Image of one of the massive beams supporting the roof (Lim, 2016) Figure 4.25: Indication of the guazhu from section of the audience block (Measured Drawing Team Li Yuan, 2016)

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Above the First Floor, two massive beams support the roof. A

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4.5 Walls Most parts of the wall at the North faĂ§ade.are not ornamented or painted, left bare in its original form. The walls are built to be boundaries, instead of actual structural support. However, the walls are necessary for this structure to act as a private establishment. It also allows the occupants to be protected by the cold winds and harsh weather, keeping heat within its interiors. Figure 4.28: shows the connection of the wall to the whole structure (Ridzwan, 2016)

Figure 4.27: shows the lhighlights of the walls (Measured Drawing Team Li Yuan, 2016)

Figure 4.29: shows the wall at of the audience block in Li Yuan, the bricks arranged in an evenly manner (Ridzwan, 2016)

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4.6 Ceiling Viewing Platform The ceiling of the compund for public places are quite minimalistic. The ceilings at the First floor are not covered and exhibit a bare structure, where the plinths and insulation tiles can be clearly seen from below.

In the center of the ceiling, a beautifully shaped hexagonal

Figure: 4.30: Shows the ceiling with bare construction details (Ridzwan, 2016)

ornament is placed, adding flavor to the otherwise dull and repetitive elements of the bare ceiling.

Figure 4.31: Shows the ornament on the ceiling (Chua, 2016)

Figure 4.32: shows the ceiling (Chua, 2016)

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VIP Room The ceiling of the VIP room has a ceiling covered by a grid of was framed by wooden paneling. The lavish design comes from the Qing dynasty that traded frequently with Western civilizations during the earlier years of the dynasty.

Asides from evoking a glamorous ambience, these ceramic tiles have the purpose of preventing dust from accumulating on plane surfaces and corners (Wang, 2007).

Figure 4.34: shows the ornament on the ceiling in the VIP room (Nurin, 2016)

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4.7 Staircase Overview There are two types of staircase that is being used in the audience block. One is the leading towards the plaza of Li Yuan, and the others leads towards the second level of the audience block (Figure ).

Figure 4.35: shows the location of the exterior stairs (Measured Drawing Team Li Yuan, 2016)

Figure 4.37: Interior Stairs (Chua, 2016) Figure 4.36: shows the location of the interior stairs (Measured Drawing Team Li Yuan, 2016)

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The stairs leading to the plaza is made out of carved stone and with the stairs is placed with two smiling lion siting on each corner of the stairs. These stairs connect the Ground Floor to the courtyard. The smiling lions are believed to scare away bad chi and protect the Audience Block.

Figure 4.38: Shows the stairs heading leading down to the plaza and two smiling lion siting on each side of the stairs (Measured Drawing Team Li Yuan, 2016)

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4.8 Railings The railings in the Audience Block are located on the First floor at the viewing platform. The railings of Li Yuan are classified as ‘Bottle-styled railings’ due to the shape of its Western influenced balustrade design, relevant to its timeline during the Qing Dynasty when Western influence becomes more prevalent. Figure 4.40: Illustration of Bottle-styled railings popular during the Qing Dynasty (Wang, 2007)

Figure 4.41: Location of the First floor railings (Measured Drawing Team Li Yuan, 2016) Figure 4.39: Image of the railings of the First floor during the Ming and Qing dynasties (Wang, 2007)

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4.9 Roofs The roof of the Audience Block is built using ceramic tiles to create insulation, protecting the interior spaces from weathering and harsh weather conditions. It is slightly curved due to Chinese superstitions. The roof of this building did not display unique Shaanxi single-slope danpo roof formations, but a more mainstream two-slope pitch roof design.

Figure 4.43: shows the roof of Li Yuan covered in snow (Ng, 2016)

Figure 4.42: Illustration of the elevation showing the roof (Measured Drawing Team Li Yuan, 2016)

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Figure 4.44: Wen ornaments on the far end of the roof (Chong, 2016)

Figure 4.45: Wadang ornaments on the edge of the roof (Lim, 2016)

Wen and wadang ornaments adorn the roof, these ornaments are inspired by mythical beasts and reached their peak complexity during the Qing Dynasty (Wang, 2007).

Figure 4.46: Indication of the ornaments from north elevation of the audience block (Measured Drawing Team Li Yuan, 2016)

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4.10 Arches The arches of the Audience Block do not serve any practical purpose, but a more poetic one. They serve as a permeable segregator for different spaces in the building. The arches are made from bricks and mortar, the same materials as the walls. The arches are mostly decorted with floral carvings lining the cornice that lies above the aches.

Figure 4.47: Indication of the arches from north elevation of the audience block (Measured Drawing Team Li Yuan, 2016)

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4.11 Furniture The original furniture of Li Yuan did not survive the sands of time. Ergo, new furniture that replicates the furniture during the Qing dynasty replaced the original ones. These chairs and tables are made of red timber with a tung oil finishing. However, one of the furniture are temporarily placed there for the sake of storage (Figure 4.5) Figure 4.50: Shows the furniture are place on the exterior (Ridzwan, 2016)

Figure 4.49: Shows the location of the furnitures (Measured Drawing Team Li Yuan, 2016)

Figure 4.51: Shows the furniture are place in the VIP Room (Ridzwan, 2016)

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4.12 Special Features

Matouqiang The most prominent special feature about the buildings in Li Yuan are their elaborately carved matouqiangs. Literally meaning ‘Horse head Wall’ (Figure 4.52), it is a profound object with multiple functions.

The function of the matouqiang is to keep out thieves from

Figure 4.52: Shows the furniture are place on the exterior (Lee, 2016)

entering the building from other roofs. It is usually heavily ornamented to represent the wealth and status of the family that owns the building. The bigger and lavish the matouqiang, the higher the status. It is also supposedly to be able to block incoming strong winds and possess fire prevention purposes.

Figure 4.53: Illustration shows the “Ma Tou Qiang” on the audience facade (Measured Drawing Team Li Yuan, 2016) MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN |197

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Fire Prevention Brick Wall Walls on the eastern side of the Audience Block have a thicker layer of masonry for fire prevention purposes. Bricks have high resistance towards fire, thus protecting the building if any fire breaks out from nearby buildings.

Figure 4.54: Illustration of the elevation showing the position of the thicker brick wall (Measured Drawing Team Li Yuan, 2016) Figure 4.55: The image of the fire prevention brick wall (Measured Drawing Team Li Yuan, 2016)

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Qieti Initially, qietis merely function as a extra support on structures by diverting vertical stresses diagonally to the columns. During the later Qing dynasty, qietis develop into highly elaborate painted ornaments. The qieti on the right is covered by an ornament of an armoured warrior with a spear riding a horse.

QieI

Figure 4.57: An ornamented qieti at the North faĂ§ade (Lim, 2016) Figure 4.56: 3D diagram of a simple qieti (Measured Drawings Team Li Yuan, 2016)

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Dougong The dougong is a Chinese invention of a cap and block bracket system that supports building structures. The purpose of dougong is to provide added support for the weight of the horizontal beams that span the vertical columns or pillars by transferring the weight of the horizontal beams over a larger area to the vertical columns (Guo, 2005). Adding multiple sets of interlocking brackets reduces the amount of strain on the horizontal beams when transferring

Figure 4.58: Image of dougongs on the North façade (Lim, 2016)

their weight to a column (Wang, 2007). It is designed to stand seismic activities, whereby, the dougong allows the roof to be static when an earthquake strikes. The type of dou (cap) and gong (block) used in the Audience Block are classified as ‘zuodou’ and ‘wangong’. Figure 4.59: Diagram of the ‘wangong’ (above) being fit into the ’zuodou’ (below) (Measured Drawings Team Li Yuan, 2016)

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Air Ventilation Holes A total of five air ventilation holes can be found at the North façade of Li Yuan’s Audience Block. These holes function as points of exchange of air between the exterior and interior parts of the building. This ensures smooth air ventilation.

These holes can serve as viewing points for users in the building to peek on other parts of Li Yuan’s compound (Figure 4.62)

Figure 4.60: Indicating the portholes at the north elevation of audience block (Measured Drawing Team Li Yuan, 2016)

Figure 4.61: Image of an air ventilation hole Chua, 2016)

Figure 4.62: View through an air ventilation hole (Nurin, 2016)

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4.13 User-Friendly Features Li Yuan has a few user friendly features for optimum user experience. Safety Ramp The side gate has a safety features that allows the building to be user-friendly. This is according to the principles of conservation, where safety and the easy access of the visitors must be secured. Therefore, the side gate has a disability ramp to allow easy

Figure 4.63: Safety ramp at the side door. (Chua, 2016)

access. Staircase Railings The staircase railing was installed after the relocation of Li Yuan to meet modern architectural safety requirements. It allows extra precaution for users, making the staircase conducive for user experience.

Figure 4.64: Staircase railing at a stairway (Chia, 2016)

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Structural components play a vital role as it is the skeleton that contributes to the buildingâ&#x20AC;&#x2122;s existence. These components can be broken down into its core materials, , each modestly possessing individual qualities that are useful in the efforts of conserving the historical value of the building.

Figure 4.65: Sketch of an ornament above a beam by Ameer (Ameer, 2016)

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CHAPTER 5:! MATERIALS !

Masonry

5.1 Types of Materials Used

Due to the high availability of bricks in Shaanxi, masonry is one of the best materials to be used in Li Yuan. Uses of masonry can be found at the exterior wall of Li Yuan’s main façade. The material toughness of masonry is shown by its resistance to fire, water and impacts such as heavy storms, blistering heat and sub-zero temperatures. The durability is an advantage as it means less maintenance cost is required.

Figure 5.1: Collage of different materials used at the audience building (Measured Drawings Team Li Yuan, 2016)

Figure 5.2: Figure shows the bond pattern of façade wall - running bond (Chua, 2016)

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5.0 MATERIALS

CHAPTER 5: MATERIALS

Timber Timber is one of the dominant materials that has been used in Li Yuan. It is a good heat insulator that helps to keep the interior at optimum temperatures. It is used in support systems such as joists, lintels and dougongs due to its high strength. Timber floors can also be found on the First floor of the Audience Block. Apart from that, timber is easy to work with as most of the ornaments are directly carved and shaped onto it.

Figure 5.3: Timber floor tiles at audience block (Chua, 2016)

Figure 5.4: Timber structure – framing, trusses, beams, lintels (Lim, 2016)

Figure 5.5: Timber structure – columns, carved ornaments (Lim, 2016)

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Figure 5.6: Timber structure –railings (Chua, 2016)

Figure 5.7: Timber structure – side entrance door (Chua, 2016)

Figure 5.8: Timber structure – dougongs and ornamental carvings (Lim, 2016)

Figure 5.9: Timber structure – decorative partition (Rozanna, 2016)

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Basalt Tiles

Ceramic tiles are tough and difficult to crack. They have high

Most of the floor area in the Audience Block are covered by

strength and excellent wear resistance. It is also easily

basalt tiles. Basalt tiles can bear heavy loads and withstand

maintained as dirt, stains and water could be easily mopped

weathering. The maintenance cost is less since basalt tiles

away on its surface

doesnâ&#x20AC;&#x2122;t need to be replaced as often as other types of tiles.

Figure 5.10: The use of ceramic floor tiles can be found at the stairs (Lim, 2016)

Figure 5.11: Basalt tile floor at the Audience Block (Lim, 2016)

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CHAPTER 5: MATERIALS

Ceramic Tiles

CHAPTER 5: MATERIALS

Metal Most door knockers are usually made of metal; made of bronze, brass, cast iron, pewter or steel. Li Yuan chose to use bronze since it can hold up better in different weather. Apart from that, it is more corrosion resistant than brass and richer looking due to its slightly redder colouring. Figure 5.13: Door knocker(Chua, 2016)

Figure 5.12: Door rivets (Chua, 2016)

Figure 5.14: Door knocker (Lim, 2016)

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Stone Stone is a durable material that has a good resistance against weather, either in hot or cold temperature, and can last long in natural surroundings. Stone is mostly used as a carving material in Li Yuan’s ornamentations and statues.

Figure(s) 5.15: Stone carvings (Ng, 2016)

Figure(s) 5.16: Carved stone bricks for the front façade Ornaments (Lim, 2016)

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Clay Tiles

Together with stone and bricks, stucco is used as decorative

The roof tiles used in Li Yuan are clay tiles. It was used since

coating for walls and ceilings as a sculptural and artistic

this material can last for centuries and help increase the

material. Most of the exterior ornaments found in Li Yuan use

efficiency of both heating and cooling systems within the

stucco since the material associated with harsh winds, snow

building. Besides that, it can withstand hurricane-force winds

and rain.

and does not shrink and expand with the temperature like wood.

Figure 5.17: The use of stucco, glutinous rice & cement for Ornaments (Nurin, 2016)

Figure 5.18: The clay roof tiles (Ng, 2016)

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Stucco

CHAPTER 5: MATERIALS

5.2 Finishing Cement Plaster Cement plaster is a type of material that is usually applied to interior walls of the Audience Block to achieve a visually-pleasing smooth surface. Interior walls of Li Yuan constructed with stock of bricks are plastered as shown in figures below. It further fireproof the building and gives the visual impression that the interior is brightened.

Figure 5.19: Cement plaster at stairs area (Chua, 2016)

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The paint applied on ornaments are extracted from sumac trees that are native to China. The original function of painting was to prevent insect infestation, decay and cracking, but after the Song dynasty, it was used as a decoration technique. Chinese lacquer is used to make the painted colours last longer. An adhesive fluid

Most of the wood structures in Li Yuan are coated with layers of drying oil called Tung Oil extracted from Tung trees. The function is to act as wood finishing and provide protection against water vapour exchange and scratches (Pan, 2012).

extracted from Anacardiaceae trees is used as a mordant for red paint (Pan, 2012).

Figure 5.21: Ornaments (Lim, 2016) Figure 5.22: Wood coated with layers of drying oil (Lim, 2016)

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Wood finishing

Paint

Decorative partition Decorative Shelf Situated in the VIP room, it is a large frame wall which is made of The decorative shelf found in VIP Room is made of wood and

wood. The decorations based on floral and geometrical elements

crafted with a stylish geometrical style. The quality of the shelf is

are carved intricately onto it, enhancing the sense of

fantastic due to its tung oil coating. A variety of antique items are

sophistication of one who enjoys his or her refreshments in the

displayed on the shelf.

VIP room.

Figure 5.23: Image of the wood shelf (Nurin, 2016)

Figure 5.24: Image of the decorative partition (Lim, 2016)

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5.3 Furnishing

CHAPTER 5: MATERIALS

Furniture The original furniture of Li Yuan did not survive the sands of time. Ergo, new furniture that replicates the furniture during the Qing dynasty replaced the original ones, heightening the user experience of Li Yuan. These chairs and tables are made of red timber with a tung oil finishing.

Figure 5.26: Furniture placed at the exterior (Ridzwan, 2016)

Figure 5.25: Shows the location of the furnitures (Measured Drawing Team Li Yuan, 2016) Figure 5.27: Furniture placed in the VIP Room (Ridzwan, 2016)

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Materials are engineered together to be functional elements, choreographed into the space and void of Li Yuan as a theatrical venue. Details are fundamental. Keen observation must be practiced towards all details existent disregarding its complexity. Ergo, the details of such construction serves as a platform to understand the siteâ&#x20AC;&#x2122;s living content.

Figure 5.28: Sketch of details on the side of the roof by Nurin (Nurin, 2016)

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CHAPTER 6:! CONSTRUCTION DETAILS!

CHAPTER 6: CONSTRUCTION DETAILS

6.1 Insight Together with the theatrical complex of Li Yuan, the Audience Block’s construction started during the Yuan Dynasty. During the following Ming and Qing dynasties, more and more features were added to the building. Moreover, the Audience Block witnessed intensive construction efforts during its relocation and restoration stages in recent times. Most of the construction of the buildings in Li Yuan do not require the use of nails. The “Dove-tail System” method is highly popular among ancient architecture in China. The following construction details focuses on few aspects, including walls, floor and roof.

Figure 6.1: Image showing the worn-out part of the structure where no usage of nails can be seen (Ridzwan, 2016)

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The building itself had sustained a quite a high level of damage when the building was left exposed in nature and time. Earthquakes, wind, war and the change of seasons had been one of the many factors that had contributed to the buildingâ&#x20AC;&#x2122;s decay. After the building is relocated and reconstructed, there were many additional construction that had been done to restore the building back to its former glory. However, traditional methods of construction were referred to replace the damaged parts to ensure that the restored building remains historically accurate.

Figure 6.2: Illustration of Audience Block by Hong Bin (Ng, 2016)

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6.1 Wall

The construction of a wall in a temperate province in China requires the appropriate techniques to be used during different seasons so that it will allow the materials to set. Since the wall uses “rammed earth” system to make the brick. The production of bricks requires time to set during its production.

Figure 6.3: Tools to make rammed earth wall in West China (Ren, Lu & Cao, 1986)

China has a long history of brick building and has numerous historical records about various construction methods. In Ying Zao Fa Shi, an official building standard of Song Dynasty, there is the provision of “the order of rammed earth wall is to enhance the height of wall nine inch when the thickness raises three”. The earth building in Fujian, which represents the technics summit of rammed earth wall, has a ratio of height to thickness that reaches the striking level of 25:1 (Zhou & Liang, 2011).

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mortar, that is made out of lime mortar and sticky-rice juice. (Guo,

Rammed Earth Bricks Production

2005). The wall itself is a non-loadbearing wall and is liberated from structural constraints thanks to the presence of columns.

The clay is mixed chopped straw

Since the wall itself is not hold by the structure, the wall can be easily replaced. Additional construction can be added to the

The mix is pressed into a rectangular mould

building. The mould is then pre-dusted with ash to prevent the clay from sticking to the mould

The mould is placed in the fire and left to harden

The bricks is then applied to the building.

Figure 6.5: Sticky-rice juice, one of the components of making the mortar (American Chemical Society,2010)

Figure 6.6: Process of rammed earth bricks production (Guo, 2005)

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The bricks of the walls are joint with the use of a special mix of

CHAPTER 6: CONSTRUCTION DETAILS

Walls After Relocation Exterior walls are left bare without any coating, making it accurate to its original form in Heyang County. Interior walls, however, were coated either with layers of tiles or cement plastering. This lowers the maintenance efforts yet preserve the building.

Figure 6.7: Image of masonry wall left bare without any coating (Lim, 2016)

Figure 6.8: Image of painted cement plaster walls. (Chong, 2016)

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6.2 Floor: Ceramic The use of ceramics are most logical in a sense where, when the seasons change, the use of ceramic helps avoid the structure from cracking internally, thus providing the building a longer lifespan. All ceramics installed in the Audience Block are new and is selected based on its weather-resisting quality.

Figure 6.12: Image showing the stairs are made with the same finishing (Lim, 2016)

Figure 6.11: Shows the placement of the ceramic tiles. (Measured Drawing Team Li Yuan, 2016)

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Components that derives the floor requires a foundation, which

After relocation, the building had to be reconstructed, through modern practices. The construction details are as follows:

uses the earth as the medium. The target relocation ground is excavated.

The soil is excavated for the foundation.

Foundation footing is placed

The excavated site is then refilled and rammed layer by layer

Hardfill and then damp-proof membrane is placed over the entire floor area.

Stone plinth is added for the column plinth at an appropriate height.

Pipes are placed precisely where it was planned and further tested the functionality.

The foundation is completed.

Concrete slab is placed, compacted, floated, then mechanically steel trowelled to a level, smooth finish.

Figure 6.9: Construction details of earthworks (Ren, Lu & Cao, 1986)

Concrete is left to dry. Figure 6.10: the construction details of the floor foundation (ICOMOS, 2010)

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Floor Construction Details

CHAPTER 6: CONSTRUCTION DETAILS

Floor Ceramic Tiles Production Mix fine sandless clay, water

Left to dry overnight

The clay is worked until it is thoroughly homogenised

The clay is then poured into a adjustable tub mould

The clay sheet is then stripped off the mould

The clay sheet is dry in the sun Figure 6.13: Shows the process of ceramic tiles production (Guo,2005)

Figure 6.14: Process of the clay sheet being stripped (Guo,2005)

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Floor: Wood One part of the floor in the audience building is made out of wood, a popular choice in traditional Chinese architecture. The materiality of the wood allows the surrounding to standout as being part of Li Yuan’s golden days.

Figure 6.15: Illustration highlights the location of the floor(Measured Drawing Team Li Yuan, 2016)

Figure 6.16: picture shows the wooden floor in relation to its surroundings (Lim, 2016)

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After the relocation, the basalt tiles is added as the floor finishing for parts of the Ground floor. A foundation layer of cement is applied before adding basalt tiles on top as a finishing.

The subfloor is stiffened by gluing and screwing a layer of sheathing. An uncoupling membrane is installed to isolate the rigid basalt stone from the subfloorâ&#x20AC;&#x2122;s seasonal movements.

Once the membrane is cemented in place, the tiles are added on top. Figure 6.18: Process of Basalt installment in Li Yuan (Lim, 2016)

Figure 6.17: shows the area of the basalt tiles in audience block (Measured Drawings Team Li Yuan, 2016)

Figure 6.19: shows the basalt tiles that has been added to the building (Lim, 2016)

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Floor: Basalt

CHAPTER 6: CONSTRUCTION DETAILS

6.3 Roof The construction of the roof consist of four main focus which are; structural support of the roof; water proof layer; tiles that makes up the roof; and stone carvings.

Figure 6.20: Indication of the roof construction from site plan (Lim, 2016)

Figures 6.21: Images of the roof of the Audience Block (Chong, 2016)

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Roof Support The roof has a support system that allows the building to be protected from seismic activities at its original site(Ren, Luo & Cao, 1986). The structural support of the building is the beam, which holds the roof. Length and thickness is confirmed. The beams are manufactured according to the working drawings. The beams are then marked with the use of plumblinw and ink-box on the surface of the beam. Holes are then cut on the top and the underside of the beams for the queen posts.

The beam end is thinned out. Figure 6.23: Beams and Tenon (Source: Ren,Lu & Cao, 1986)

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CHAPTER 6: CONSTRUCTION DETAILS

Water Proof Layer This part of the roof has different layers that makes the roof inpenetrable. The technology of Ming and Qing has brought Green Powder Paste that replaces the primitive mud with fiber (Ren, Lu & Cao, 1986)

Glazed tile Layer of lime Layer of green powder paste Layer of hemp-fiber plaster Hemp-fibered mortar Figure 6.24: Shows the roof section with different layers. (Measured Drawing Team Li Yuan,2016)

Root boarding Figure 6.25: Shows the components of the water proof and tile placement (Ren, Lu & Cao, 1986)

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Roof tiles are one of the puzzle pieces that completes the whole structure and significantly increase the roof’s capability to be impenetrable. (Ren, Lu & Cao, 1986)

Figure 6.27: Ming and Qing dynasty tiles (Ren, Lu & Cao, 1986)

The roof tiles of Li Yuan have a rhythm of protruding and sinking, creating a repetition of long sunken areas where rainwater are guided to the roof eaves, where a row of special dripping tiles called ‘dishui’ are placed.

Figure 6.28: Schematic water prevention capacity of a round caves-tile (Ren, Lu & Cao, 1986)

Figure 6.29: Schematic Water prevention capacity of a dripping tile ‘dishui’ (Ren, Lu & Cao, 1986)

Figure 6.26: Illustration of a Chinese roof (Wang, 2007)

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Roof Tiles

CHAPTER 6: CONSTRUCTION DETAILS

The Roof Ridge The roof ridge functions to prevent water from entering the weakest part of the roof. The hollow-core pre-manufactured carving are a particular remnants of the past that adorns the building. In the midst of the rule of Ming and all the way to Qing, they used a common method in constructing ridges and form the mouldings by amalgamating bricks (Ren, Lu & Cao, 1986).

Figure 6.31: Roof ridge and ornaments (Ridzwan, 2016)

Figure 6.30: Shows the location of the roof ridge (Measured Drawing Team Li Yuan, 2016)

Figure 6.32: Roof ridge on top of a matouqiang (Chong, 2016)

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Li Yuan is highly meticulous about its details as the core essence and spirit of the building are engraved in its facades. The hard work of the people that contributed to Li Yuan’s resurrection should be applauded as their collective effort its restoration and reconstruction preserved something special that might be otherwise lost.

Figure 6.33: Sketch of details of the roof eaves by Philia (Chua, 2016)

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CHAPTER 7:! CONCLUSION !

This project is an eye opening yet intensive experience for all of us.

Moreover, we learnt a lot by completing this project and gained

Lots of memories were shared as we rediscover ancient

extra insight in terms of architecture and methods in measured

architectural wisdom. Besides that, the short and intensive

drawing. This practicum and trip to Xiâ&#x20AC;&#x2122;an, China has been an

practicum has been a demanding task to us in terms of time

unforgettable and enriching experience that we will cherish as we

management and teamwork. Human and time resources are

proceed in our architecture studies.

limited, challenging our problem-solving skills as we are forced to juggle our manpower in separate tasks, which consist of completing the AutoCAD drawings, report and model. As many information interlink between separate sub-teams, there is an interdependency between each member. Thus, good communication and collaboration is required for maximum efficiency and our determination and cooperation managed to get us through this challenge.

Figure 7.1:Group Photo (Pablo Idris,2016)

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CHAPTER 7: CONCLUSION

7.1 REFLECTIONS

To conclude the research conducted in Xi’an, Li Yuan is a very

Culture

traditional and valuable Chinese structure. As one of the oldest civilizations on this planet, there is a lot to learn from Chinese culture, history, as well as architecture. Looking through the history and details of Li Yuan, we can see the development in China’s history, architecture and literature. Studying this ancient entertainment venue gave us a glimpse on the lives of people

ARCHITECTURE

centuries ago and how it plays a role in enriching Chinese culture.

Asides from that, the Guanzhong Folk Custom Art Museum is

History

highly known for its restoration and conservation efforts. As one of the buildings in the museum, it must be given more attention and proper management for years to come so that it is available for future generations to appreciate its grandeur and historical value. Figure 7.2:Culture and history creates architecture.

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CHAPTER 7: CONCLUSION

7.2 SUMMARY

CHAPTER 7: CONCLUSION

Figure 7.3: Group photo (Ellen Gowiko,2016)

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CHAPTER 8:! REFERENCES & APPENDICES !

Books Agostini, S. (n.d.). Architectural Photogrammetry: Software and Methods. Bramble, C. (2003). Architect's Guide to Feng Shui. Burlington, MA: Architectural Press. Dekay, M., & Brown, G. Z. (2013). Sun, Wind, and Light: Architectural Design Strategies (3rd ed.). John Wiley & Sons. Guo, Q. (2005). Chinese Architecture and Planning Ideas, Methods, Techniques. Sungnam, Korea: Daehan Printing and Publishing. Hanke, K. & Grussenmeyer, P. (2002) Architectural Photogrammetry: Basic Theory, Procedures, Tools. Corfu, Greece: ISPRS Commission. Huang, Y. (2013) Study Guide for China’s Geography. Crams 101 Publishing. Linder, W. (2006). Digital Photogrammetry: A Practical Course. Dusseldorf, Germany: University of Dusseldorf’s Department of Geography. Ren, J., Lu, S., Cao, C., Yang, H., Huang, J., Wang, Y., Chen, M., Chen, C., Lu, H., Jin, D., Hou, Y., Zhang, Y., Xiao, M. Zhou, W., Zhang, Y., Guo, H., Qi, Y., Jin, D., Li, J., Wan, Z., Ye, Q., Jiang, B., Liu, J., Tao, Y., Shi, Y., Shan, S., Luo, X., Meng, Z., Lin, X., Long, F., Wang, P., Shan, S., & Ma, R. (1986) History and Development of Ancient Chinese Architecture. Beijing: Science Press.

Tsioukas, V. (2007). Simple Tools For Architectural Photogrammetry. Athens: Department of Architectural Engineering, The Democritos University of Thrace. Wang, Q. (2007). Pictorial Dictionary for Chinese Architecture. China Machine Press. Wang, R. (2013). China. Timelife Publications. Zhou C. & Liang, Y. (2011). Review on Techniques of Rammed Earth Wall. Xiamen, China: School of Architecture, Fuzhou University.

Websites Boyer, M. (2012 March 23), More Than 30 Million People in China Live in Eco-Friendly Caves. Retrieved 14 February, 2016 from http://inhabitat.com/more-than-30-million-people-in-china-live-ineco-friendly-caves/ Chinese Culture (2014). Retrieved 20 February 2016 from http:// www.travelchinaguide.com Chinese History (2014). Retrieved 20 February 2016 from http:// www.travelchinaguide.com Crawford, B. (n.d.) Feng Shui Rules for Front Doors. Retrieved 29 February, 2016 from http://homeguides.sfgate.com/feng-shuirules-front-door-103578.html MEASURED DRAWING 2016 (ARC60305) | LI YUAN, XI’AN |235

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8.1 REFERENCES

Desjarlais, A. (2016). BTES&M Fenestration Research. Web.ornl.gov. Retrieved 29 February 2016, from http:// web.ornl.gov/sci/roofs+walls/research/fenestration.htm Du, Y. (2011) Li Yuan, Guanzhong Folk Custom Art Museum, Xi’an. Retrieved 29 February 2016 from http://tieba.baidu.com/p/ 1314987670 Guanzhong Folk Art Museum (n.d.), Chinatours. Retrieved 14 February, 2016 from http://www.chinatours.com/travel-guide/xian/ guanzhong-folk-art-museum.html Himmelwright, J. (2014, January 23), The Difference Between Hardscape and Softscape. Retrieved 3 March, 2016 from http:// www.pahls.com/landscaping/difference-hardscape-softscape/ Lu, S. (n.d.) Epoch Times. The Origins of Li Yuan. Retrieved 13 February 2016 from http://cn.epochtimes.com/b5/1/9/6/c5240.htm Pan, J. (2012, August 7) Paint Trees and Tung Oil. Retrieved 29 February 2016 from http://www.ndwww.cn/news/ndxw/ 201208/271579.html

Renovate.org.nz (n.d.) Concrete Slab Floor Construction. Retrieved 27 February, 2016 from http://www.renovate.org.nz/ 1970s/foundations-and-subfloors/foundations-original-details/ concrete-slab-floor-construction/ Shaanxi People’s Government. (2011), Shaanxi Demographic and Economic Overview. Retrieved 18 February 2016 from http:// www.china-marketresearch.com/market-review/provincialoverview/shaanxi-demographic-economy.htm Sophie, S. (2015, August 5). Exploring the Great Wall of China. Retrieved 15 February, 2016 from http://blog.contexttravel.com/ exploring-the-great-wall-of-china Tenn R. (2014) Feng Shui – Chinese Roofs. Retrieved 27 February, 2016 from http://www.lushome.com/feng-shui-homedesign-roof-style/13055 Tourschina.com. (2016). China Climate, China Weather Forecast, The best visiting times to China. Retrieved 29 February 2016, from http://www.tourschina.com/china-weather/ Travelchinaguide.com. (2016). Xian Weather: Climate with Weather Forecast, Best Time to Visit. Retrieved 29 February 2016, from http://www.travelchinaguide.com/climate/xian.htm

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Description Script of Guanzhong Folk Custom Art Museum (2013, July 4). Retrieved 12 February, 2016 from http://ai163.cn/xa/news/ daoyou/20130704/209.html

CHAPTER 8: REFERENCES & APPENDICES

Viewf.com (2012, March 8) The Yuan Dynasty Theatre Scene. Retrieved 22 February, 2016 from http://www.viewf.com/ vSubitem.asp?sid=4094&part=cont Wang W. (2013), Information About Guanzhong Folk Custom Art Museum. Retrieved 15 February, 2016 from http:// www6.cityu.edu.hk/construction_archive/ major_reference_pdf.aspx?id=353 Washington.edu (n.d.) Chinese Wooden Framing Retrieved 2 March, 2016 from https://depts.washington.edu/chinaciv/ 3hframe.htm Wei, Z. (2015, October 18) Why Do The Chinese Love Crabs? Retrieved 1 March, 2016 from http://www.thepaper.cn/ newsDetail_forward_1380920 Yu, V. (2015, August 31) AFP: China’s Cave Dwellers. Retrieved 24 February 2016 from http://factsanddetails.com/china/cat11/ sub71/entry-4468.html

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8.2 ON-SITE MEASUREMENT SKETCHES

Figure 8.1: Sketches of the section of the front façade. (Measured Drawings Team Li Yuan, 2016)

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Figure 8.2: Sketches of Li Yuan (Lim Joe Onn, 2016)

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8.4 COMPUTER MODELLING

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TEAM LI YUAN MEETING #1 Date: 15 January 2016 Venue: E-Quarium MEETING AGENDA: 1.  Assign leaders for each department. 2.  Approach towards video and report. 3.  Discuss about measurement, models etc. LEADERS: 1.  Video and photo: AMEER FARHAN (work with Hiren and Oscar). But everyone take some please and thank you, HD quality. 2.  3DsMAX: ELLEN GOWIKO- Nurin, Sue, Phi and Hong Bin (Utilize Shen, Francis, Oscar) 3.  Balsa Model: HONG BIN- Everyone be involved 4.  Measurement: The four leaders previously assigned (Hong Bin, Ameer, Joe and Yu Xuan) 5.  Report: JOE ONN

MEASUREMENTS: 1.  Major sketchers are: Hong Bin, Joe Onn, Sue and Philia 2.  Go to Kwanimm Temple on Monday to practice sketching the building and come up with a system to synchronize our sketching style and technique REMINDERS: 1.  Remind Pablo about his drone. For him to test it out. 2.  To refer on other works related to our project 3.  Other people that are not going to the temple on Monday will be going to libraries (UM and Arkib Neaara) to find info for report. Joe Onn please list down some highlighted topics for them to look out for. 4.  Joe Onn to ask Ms. Norhayati about the perimeter of what we’re supposed to measure and propose that we only measure one building out of the two. 5.  Joe Onn to ask if there’s a library in Xi’an for us to visit and find information.

VIDEO AND REPORT: 1.  REPORT: - Team agrees on APPROACH A-Research on History and Architecture - Chinese peeps translate the heck out of researched materials (Utilize Francis) 1.  VIDEO: - Team agrees on APRROACH- History and Architecture - Documentary style

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8.5 MEETING MINUTES

MEETING AGENDA: 1.  List of equipment and accessories to bring to China. 2.  Final preparations before the trip.

Approximately 60 Yuan per day Student ID 30 Yuan per museum entry

REPORT ASPECTS: 1.  Construction Tech, Ornaments (Ameer, Philia, Nurina) 2.  Culture, People, Architectural Significance, Interview and Surrounding, Elevation (Yu Xuan, Sue, Nurin) 3.  History, How it affects architecture (Joe Onn, Czen Shing, Ellen) 4.  Conservation process, Plan (Hong Bin, Ridzwan, Pablo) Diagrams and annotations – Report Team Appendix – Report Team Scanning – Philia APA (In-text citation) and Referencing – Done by each person DRONE: Not using due to high risk, Requires professional care TO BRING: Long johns, warm clothes Adapter + Extension Hand-carry – batteries, laptop, electronic devices

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TEAM LI YUAN MEETING #2 Date: 18 January 2016 Venue: Library

Accuracy - The degree to which the result of a measurement, calculation, or specification conforms to the correct value or a standard Adjacent - Next to or adjoining something else Amalgamate - Combine or unite to form one organization or structure Arch - A curved symmetrical structure spanning an opening and typically supporting the weight of a bridge, roof, or wall above it Architecture - The art or practice of designing and constructing buildings

Bagua - A Chinese religious motif incorporating the eight trigrams of the I Ching, typically arranged octagonally around a symbol denoting the balance of yin and yang, or around a mirror Beam - A long, sturdy piece of squared timber or metal spanning an opening or part of a building, usually to support the roof or floor above Carving â&#x20AC;&#x201C; An object or design cut from a hard material as an artistic work Ceiling - The upper interior surface of a room or other similar compartment Cement - A powdery substance made with calcined lime and clay.

AutoCAD - A commercial software application for 2D and 3D

It is mixed with water to form mortar or mixed with sand, gravel,

computer-aided design (CAD) and drafting

and water to make concrete

Basalt - A dark, fine-grained volcanic rock that sometimes

Ceramic - Made of clay and hardened by heat

displays a columnar structure. It is typically composed largely of plagioclase with pyroxene and olivine

Chi - Vital energy that is held to animate the body internally and is of central importance in some Eastern systems

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8.6 GLOSSARY

figure, or combination. Contour Gauge - A measuring tool used to record the cross-

Feng shui - A system of laws considered to govern spatial arrangement and orientation in relation to the flow of energy Floor - The lower surface of a room, on which one may walk.

sectional shape of a surface. Guazhu - Dwarf-sized pillar that connects between beam Corbel bracket - A structural piece of stone, wood or metal jutting

structure and roof rafters.

from a wall to carry a weight Interlocking - Engage with each other by overlapping or by the Courtyard - An unroofed area that is completely or mostly

fitting together of projections and recesses

enclosed by the walls of a large building Dishui - A row of special dripping tiles at the roof eaves

Joist - A length of timber or steel supporting part of the structure of a building, typically arranged in parallel series to support a floor

Dougong - A unique structural element of interlocking wooden

or ceiling.

brackets Knocker - A metal or wooden instrument hinged to a door and Dunshi - Chinese stone carvings

rapped by visitors to attract attention and gain entry.

Ergo - Therefore, hence

Laser - A device that generates an intense beam of coherent

FaĂ§ade - The face of a building, especially the principal front that

monochromatic light

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Configurations - An arrangement of elements in a particular form,

PVC (Polyvinyl Chloride) – A synthetic plastic polymer with high

across the top of the door or window

chemical and weathering stability

Masonry - The parts of a building that are made of stone

Qieti - Extra support structures connecting beams and columns

Matouqiang - Protruding walls at both sides of a Chinese building

diagonally

that are higher than the building’s wall height for fire and theft

Rivet - A short metal pin or bolt for holding together two plates of

prevention purposes

metal, its headless end being beaten out or pressed down when

Ornament - A thing used to make something look more attractive

in place.

but usually having no practical purpose

Tripod - A three-legged stand for supporting a camera or other

Photogrammetry - The use of photography in surveying and

apparatus.

mapping to measure distances between objects.

Truss - A framework, typically consisting of rafters, posts, and

Prerequisite - A thing that is required as a prior condition for something else to happen or exist. Photoshop - A photo editing software Plaster - A soft mixture of lime with sand or cement and water for

struts, supporting a roof, bridge, or other structure. Tung Oil - An oil used as a drying agent in inks, paints, and varnishes. Unfathomable - Incapable of being fully explored or understood.

spreading on walls, ceilings, or other structures to form a smooth

Seismic - Of or relating to earthquakes or other vibrations of the

hard surface when dried.

earth and its crust.

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Lintel - A horizontal support of timber, stone, concrete, or steel

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Wen – Ornaments at the far ends of the roof ridge Wadang – Ornaments at the eaves of the roof Yanzhu – Tall vertical cylindrical columns supporting weight from the roof Yinglian - Chinese calligraphy carved on surfaces of a pair of columns Yundun - The top part of the columns where the ornaments are junting out of the column

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8.7 MISCELLANEOUS Museum Ticket

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Figure: Book Cover of ‘Pictorial Dictionary for Chinese Architecture’ by Wang Qijun

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Cover of Books Referred

Figure: Book Cover of ‘History and Development of Ancient Chinese Architecture’ by Beijing Science Press

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Figure: Book cover of “Chinese Architecture and Planning Ideas, Methods, Techniques by Qinghua Guo.

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Panorama Shots

Figure: Panorama shot of the front façade (Lin, 2016)

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Progress Photos

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METHODS OF DOCUMENTATION AND MEASURED DRAWING 2016 (ARC60305) PHOTOBOOK LI YUAN, XI’AN, CHINA

Photo 1: Front faรงade, well maintained, faded, and stable; giving off the scenic rustic effect that fades with the sleeping trees. (Ameer Farhan, 2016)

Photo 2: Lion Statue, Front Facade, faded yet visible; The old guardian keeping a lookout at the front gate, smiling with glee for the good chi to pass among the wind. (Rozanna Farah Ibram, 2016)

Photo 3: Front Facade, well-maintained, ornaments still visible; When the ornaments wither beautifully, even the shadows seeps into the art. (Philia Chua, 2016)

Photo 4: Front Facade, front door, worn and rusted; Worn gates that holds the surfaces of a different friction, defining the time as it slips. (Rozanna Farah Ibram, 2016)

Photo 5: Front Gate, worn out, rusted; The gates that holds the shards of a memory that belongs to a past life. Worn down by the surrounding elements. (Lee Czen Shing, 2016)

Photo 6: Front Gate, wornout; The shade that looms behind the lion represents the nostalgic effect that had began to take shape. (Rozanna Farah Ibram, 2016)

Photo 7: Lion Statue, Front Gate, worn out and eroded; Bathed with the warmth of the sun, the guarding lion waits eagerly for the next day. (Rozanna Farah Ibram, 2016)

Photo 8: Lion Statue, Infront of the Front Facade, deteriorated, partially visible; The rough surface of the lion depicts the fur, while the smooth surface of the wall depicts ethereality of the â&#x20AC;&#x153;Pear Gardenâ&#x20AC;? (Ameer Farhan, 2016)

Photo 9: Top Ornament, Front Facade, worn out but visible; Ornaments that illustrate two phoenix above the three scene depicting the advancement of civilization of men. (Ameer Farhan, 2016)

Photo 10: Left Wall, Front Facade, ornaments faded, partially visible; The properties of nature and harmony derived from the spirit within the stallions deteriorated by the element, time and space. (Lim Joe Onn, 2016)

Photo 11: Right Wall, Front Facade, ornaments faded, partially visible; Dreaming and longing for the simple reclusive life, away from the unremitting polluted sounds of civilization. This ornaments depicts the wishes of a life that the owner desires. (Lim Joe Onn, 2016)

Photo 12: Wall, Front Facade, well-maintained; With the influence of a western touch, the frame amalgamates the repetitive solid geometrical form and ornamented with au natural theme that brings (Lim Joe Onn, 2016)

Photo 13: Ornaments On the Front Facade, Well-maintain, eroded, visible; The illustration depicts the aspects of life that the previous keeper admires, growth, fertility and appreciation. (Ameer Farhan, 2016)

Photo 14: Side Gate, Front Facade, rusted yet well maintained; The derivation of the depictions, shows the gate being accessible to enter without vice for the users to experience without difficulties. (Lim Joe Onn, 2016)

Photo 15: Ornaments, Side Gate, Partially faded, well maintained; The curious pictorial aquatic scene within the embellishment that represent serenity. (Rozanna Farah Ibram, 2016)

Photo 16: Interior Side Gate, eroded well maintained; This side gate portrays the mark of time, scarred by the essence of presence from the past. (Lee Czen Shing, 2016)

Photo 17: Audience Block, well maintained; The sun glows takes a special presence that put the setting in a different vibe. The audience looks more flourished even when it is covered in snow. (Ng Hong Bin, 2016)

Photo 18: Audience Block, ornaments still visible, well maintained; The colours of the audience block manifest itself in a very enlighten and festive ethos. The colours perfectly shows the life that it once was. (Ellen Gowiko, 2016)

Photo 19: Audience Block, structure well-maintained; Green pictorial ornaments glows with contrast against the red which contrives with peace and tranquility in green, and prosperity in red. (Lee Czen Shing, 2016)

Photo 20: Audience Block, ornaments eroded, paints degraded, wood worn out; The quality of such carvings reveal the advancement of skills and cultures that was enriched by the craftsmen of old. (Ameer Farhan, 2016)

Photo 21: Audience Block, well-maintained struucture; This column shows the development of skills and quality of production in their trades as well as their handiwork. (Ameer Farhan, 2016)

Photo 22: Arches, Audience Block, First Floor, Well maintained; The western culture has an effect after they pass through the silk road, which in turn allow for this integration to occur. (Lim Joe Onn, 2016)

Photo 23: Wooden structure, Audience Block, First Floor, structural integrity wellmaintained; The advancement of wooden construction allows this part of the building to exist without impurities. (Lee Czen Shing, 2016)

Photo 24: First Floor, the walls and structure, conserved well; The space within the first floor enable the viewers to have a direct sight of the stage to be seen from the railings and the space in the void allows placement of furniture for the user. (Ameer Farhan, 2016)

Photo 25: Beam Structure, wood and ornaments erroded yet well maintained; The ornaments are shown to be connected with the beam and column which shows the technology of those days as not only as a requirement but also a thirst for beautification of materiality. (Lim Joe Onn, 2016)

Photo 26: Front Facade, Paints worn out but still in good condition; The scene is depicting the “Cap and Block” painted with a shade of blue and green, giving off the tranquil impression. Inadvertly, finds it’s place among the ornaments (Ameer Farhan, 2016)

Photo 27: Ornaments on the ceiling, paint faded yet still in good condition;This depiction shows a decoration that display the wealth of the Li Yuanâ&#x20AC;&#x2122;s keeper. (Rozanna Farah Ibram, 2016)

Photo 28: Dou-Gong, Audience Block, decaying, still in good condition and well maintained; The depiction shows the “Dou-gong” acts as a support for the roof. (Lim Joe Onn, 2016)

Photo 29: Ornaments,Front Facade, Faded stille visible; Grotesque and ferocious mythical beast that was invertedly looking straight into the eyes of the onlooker. It has some similairity to a gothic style ornaments. (Rozanna Farah Ibram, 2016)

Photo 30: Ornament, Teahouse, rusted, still in good condition; Ornamented lamp surrounded by red threads, to protect the keeper of Li Yuan from bad chi, as well as, being the taken for prosperity. (Ameer Farhan, 2016)

Photo 31: Oranment, well maintained; wood structure,wornout; Lotus are one of the most generic motif of the aquatic life, that represents purity. (Lim Joe Onn, 2016)

Photo 32: Ornaments, Stage, Good Condition; This illustration depicts the carving of â&#x20AC;&#x153;The Story of the Western Wingâ&#x20AC;?, The Phoenix is interpretted as abundance of welfare, and the peacock represents dignity and beauty. (Lim Joe Onn, 2016)

Photo 33: Porthole Audience Block Staircase, well conserved;The central focus of this picture denotes the phoenix nestled at itâ&#x20AC;&#x2122;s ridge. (Philia Chua, 2016)

Photo 34: Windows, Audience Block, Well-maintained; Paint, Satisfactory Condition; The windows expresses it’s rythme within it’s geometrical patterns, while it’s colours connects and yet divide it’s formation. (Lim Joe Onn, 2016)

Photo 35: Audience Block, eroded yet still in good condtion.This ornaments that has a western influencse, this part of the ornament has a similarity to the ornaments in the western culture. (Rozanna Farah Ibram, 2016)

Photo 36: Audience Block, eroded and yet still in good condition; This ornament named “qieti” supporting the beams, represent the rich essence of it’s purpose, whereby the vivid image of the past remains to be reminded of it’s glory. (Lim Joe Onn, 2016)

Photo 37: Ornaments, Audience Block, well preserved, good condition; The photo focuses on the masonry carving being one of the finest advancement of beautification of a building. (Rozanna Farah Ibram, 2016)

Photo 38: Shrine, Teahouse, eroded. A shrine for the spirits that resides within the land where homage is due for act of respect. (Nurin Abdullah, 2016)

Photo 39: V.I.P. room, Well Maintained; Lavishly decorated yet, cold in comparison. The presence of the furnishings are as silent as the walls surrounding it, hiding the beauty from view. (Rozanna Farah Ibram, 2016)

Photo 40: V.I.P. room, well maintained, Better Condtion; Ornate with intrinsic design, that complement the geometrical form, function of such object is bounded, by which acts as a dividing instrument that connects and seperate the single void, into different spaces. (Nurina Aida, 2016)

Photo 41: Courtyard, Well Maintained; The view from the stage seemed give of rather quaint and reminesce sensation. This (Lim Joe Onn, 2016)

Photo 42: Perfromance Block, well-maintained and structurally stable; The Performance Block letâ&#x20AC;&#x2122;s itâ&#x20AC;&#x2122;s wings remain wide open for the viewers to see from different persepctive. (Philia Chua, 2016)

Photo 43: Blackstage, Performance Block, well-maintain and still used by the workers of the museum. Backstage is flooded with lights, while the folded door, sits patiently waiting for the day it would be open again. (Ameer Farhan, 2016)

Photo 44: Teahouse, well preserved; The teahouse design to be symmetrical due to the placement of columns that is mostly in grid like form. (Ng Hong Bin, 2016)

Photo 45: Teahouse, deteriorated wood, well-maintained paint. Flora design on the door, shows the influence of western culture where the design seemed to be more intricate and geometrical. (Nurina Aida, 2016)

Photo 46: Window, Audience Block, Paint and carved wood worn out, still in good condition; Parrot that sits on the plum flower; Parrot represents opportunities and the bearer of good news, while the plum flower represent the strong in character and bravery. (Rozanna Farah Ibram, 2016)

Photo 47: Roof Ridge, Audience Block, worn out surface, good condition; The advancement of technology in masonry architecture lead to this detailed roof ridge ornamented with a floral design. (Lim Joe Onn, 2016)

Photo 48: Front Facade, Good condition, ornaments wornout but visible; The datum of the “Dou-gong”. (Lee Czen Shing, 2016)

Photo 49: Ma Tou Qiang, Performance Block, Well- maintained and in good condition; One wonders of the worlds, is their ability to create a curved roof without nails and yet can withstand against the wind and natural disaster that surrounds oould occur, especially the earthquake. (Ameer Farhan, 2016)

Photo 50: Roof of Stage, structural intergrity still in good shape, eventhough the surface is worn out; The roof of Li Yuan are blending in with the background. Coincedentally, they were made to be a replica of a mountain to which they relocated to. It is as if the Li Yuan was made to among mountains. (Ameer Farhan, 2016)