Heritage conservation in Asia-Pacific by UNESCO

Lessons Learned from the UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation (2000-2004)

Through colour photographs, architectural illustrations and detailed narratives, profiles of the Award-winning projects guide the reader in the approaches taken to resolve challenging technical, economic, social and political issues. Technical briefs, contributed by the conservators themselves, provide in-depth solutions to critical conservation problems. Bridging theory and practice, essays authored by the distinguished jury members provide a cross-cutting analysis of the body of conservation knowledge emerging from the UNESCO Asia-Pacific Heritage Awards programme. Aimed at a broad audience of conservation architects, heritage professionals, decision-makers, heritage homeowners, scholars, students and the concerned general public, the publication will serve as an invaluable reference for safeguarding the monumental and vernacular heritage of the Asia-Pacific region and contributing to its sustainable future.

Back cover images from top to bottom: St. Ascension Cathedral, Kazakhstan Dorje Chenmo Temple, India Gong’zi’ting, China

Supported by the Lord Wilson Heritage Trust 衞奕信勳爵文物信託資助

Lessons Learned from the UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation (2000-2004)

Asia Conserved Lessons Learned from the UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation (2000-2004)

Supported by the Lord Wilson Heritage Trust

衞奕信勳爵文物信託資助

Library Catalogue ISBN 92-9223-117-0

Editor-in-Chief

Contributors

Richard A. Engelhardt

The publication of this volume was supported by Lord Wilson Heritage Trust UNESCO Beijing UNESCO Islamabad UNESCO Jakarta UNESCO Phnom Penh

Editor

Aga Khan Cultural Service Pakistan Fanny Ang Susan Balderstone Salman Beg William Chapman Chiba University Paromita Desarkar Sanjay Dhar Lynne DiStefano Sher Ghazi Godden Mackay Logan Hoi An Centre for Monuments Management and Preservation Minakshi Jain Sheila Kamunyori Lee Ho Yin Mandy Lee Spencer Leineweber Budi Lim Laurence Loh Lin Lee Loh-Lim David P. Y. Lung Nimish Patel Gurmeet Rai Ruan Yisan Pat Seeumpornroj Showa Womenâ&#x20AC;&#x2122;s University Tanner & Associates Eric Tilbury Natalia Turekulova Timur Turekulov Johannes Widodo Debbie Wong

Published in August 2007 by UNESCO Bangkok 920 Sukhumvit Road Bangkok 10110 Thailand Tel: (66) 2 391 0577 x509 Fax: (66) 2 391 0866 Email: culture@unescobkk.org www.unescobkk.org/culture All rights reserved. No part of this publication may be copied, stored in a retrieval system, or transmitted in any form by any means, electronic, mechanical, recording or otherwise, except brief extracts for the purpose of review, and no part of this publication, including photographs and drawings, may be sold without the written permission of the publisher. The designations employed and the presentation of material throughout the publication do not imply the expression of any opinion whatsoever on the part of UNESCO concerning the legal status of any country, city or area or of its authorities, or concerning its frontiers or boundaries. The views expressed by the authors, the selection of facts presented and the opinions stated with regard to the facts are the responsibility of the authors and do not necessarily represent the views of UNESCO. ÂŠ UNESCO 2007 Printed by Clung Wicha Press Co., Ltd. Email: cwpress@loxinfo.co.th

Montira Horayangura Unakul

Assistant Editor Ernesto Endrina

Editorial Coordinator Caroline Swartling

Copy Editors Kim Chai Ellie Meleisea

Art Director Wee Viraporn

Layout Supamas Adulpat Chanya Anupasanant Chatnarong Jingsuphatada Taweesak Pathungwong Parisa Ratanaprichavej Ravin Vichien

Illustrators Fanny Ang Sorasith Bootsingkhon Kachain Chanjaroen Ernesto Endrina Siyanee Hirunsalee Thananart Kornmaneeroj Chonthicha Thamasith Attakit Uthaikarn Akekaraj Werunit Pongsakorn Yimsawat

As the only UN agency with a mandate in the culture sector, UNESCO is charged with promoting the conservation of both tangible and intangible cultural heritage, in particular, the built environment and associated social practices. Cultural heritage constitutes a significant aspect of our resource endowment and its stewardship has become increasingly critical as sustainable development advances to the forefront of political concerns.

Foreword

A broader understanding of cultural heritage has developed in the past decade, with heightened recognition for the importance of cultural diversity. Accordingly, the representation of diverse interests has become critical for the sustainability of any conservation effort. In addition to the public sector, the private sector, including local residents, commercial establishments, corporations, traditional caretakers and homeowners, has emerged as an important stakeholder in the conservation and utilization of cultural heritage in all its diverse manifestations. In response to this paradigm shift, UNESCO has set standards and developed strategies for the preservation of cultural heritage through legal frameworks, including the 1972 Convention Concerning the Protection of the World Cultural and Natural Heritage, the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage and the 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions, which are used in conjunction with a growing array of professional guidelines and charters in the conservation field. The UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation programme was founded in 2000 to recognize outstanding conservation efforts that have been undertaken through public-private initiatives in the region. Pathbreaking in their scope and rigour, the Award-winning projects have not only consolidated significant structures, but have also raised awareness of the value of local building traditions and the viability of giving a range of types of historic structures a renewed lease on life through restoration and creative adaptive reuse. The projects are a testament to concerted community efforts: they have galvanized both local and professional communities alike, resuscitating lost craft guilds, reviving traditional social practices and reinvigorating neighbourhoods. As a compilation of lessons learned from the programme, this publication investigates both the technical aspects and the social process of conservation, reflecting on successes and challenges encountered. Representing a range of cultural and socio-economic contexts, the projects provide worthy models for emulation that operate within the UNESCO framework of linking cultural heritage conservation to local development, which emphasizes sustainability through grass-roots capacitybuilding. It is hoped that the publication of these best practices will be a positive step towards creating a self-educating community of conservation specialists and advocates in the Asia-Pacific region.

Sheldon Shaeffer Director UNESCO Asia and Pacific Regional Bureau for Education

Foreword

Table of Contents

Part I

First Principles

Part II

UNESCO Asia-Pacific Heritage Awards Criteria Essays

Conveying the Spirit of Place

Determining Appropriate Use

Interpreting the Significance of Heritage Sites

Understanding Technical Issues of Conservation

Using Appropriate Techniques and Materials

Adding New Elements

Contributing to the Community’s Cultural Continuum

Influencing Conservation Practice and Policy

Ensuring Ongoing Viability

Outstanding Project • Hotel de l’Orient, India • Hung Shing Old Temple, Hong Kong SAR, China • Ohel Leah Synagogue, Hong Kong SAR, China • Residence of Dr Zhang Yunpen, China • St. Patrick’s College, Australia Honourable Mention • Harischandra Building in Maha Vihara Monastery, Sri Lanka • Mawson’s Huts Historic Site, Australian Antarctic Territory • Residence of Charles Prosper Wolff Schoemaker, Indonesia • Rumah Penghulu, Malaysia

89 93 97 103 107

111 115 119 123

2001 UNESCO Asia-Pacific Heritage Award Winners

Part III Five Years of the UNESCO Asia-Pacific Heritage Awards: Case Studies of Best Conservation Practice 2000 UNESCO Asia-Pacific Heritage Award Winners Most Excellent Project • Cheong Fatt Tze Mansion, Malaysia Excellent Project • Chanwar Palkhiwalon-ki-Haveli, India • Hoi An Town Preservation Cooperation Project, Viet Nam

77 83

Award of Excellence • National Archives Building, Indonesia

129

Award of Distinction • Bushell’s Tea Warehouse, Australia • Krishan Temple, India

135 141

Award of Merit • DBS House, India • King Law Ka Shuk Temple, Hong Kong SAR, China • Tea Factory Hotel, Sri Lanka • Xijin Ferry Project, China • Zhongshan Road, China

147 151 155 159 163

Honourable Mention • Jin Lan Tea House, China • University of Mumbai Library Building, India • Nielson Tower, Philippines • St. Joseph’s Seminary Church, Macao SAR, China • Thian Hock Keng Temple, Singapore

167 171 175 179 183

2002 UNESCO Asia-Pacific Heritage Award Winners

Honourable Mention Catholic Cathedral of the Immaculate Conception, 293 Hong Kong SAR, China • Dalongdong Baoan Temple, China 299 • Gota de Leche, Philippines 303

Part VII Glossary

412

Part VIII International and Regional Charters

418

Part IX Profiles of Jury Members (2000-2006)

420

Part X

425

•

Award of Excellence • Ahhichatragarh Fort, India Award of Distinction • Australian Hall, Australia • Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques, Pakistan Award of Merit • Cheng Hoon Teng Main Temple, Malaysia • Convent of the Holy Infant Jesus (CHIJMES), Singapore • Polsheer House, Iran • Sydney Conservatorium of Music, Australia • Wat Sratong, Thailand Honourable Mention • No. 125 Huajue Alley, China • Broken Hill Heritage and Cultural Tourism Programme, Australia • Centre for Khmer Studies, Cambodia • Jaisalmer Streetscape Revitalization Project (Phase I), India • Kow Plains Homestead, Australia

189

199 205

211 217 221 225 229

233 237 241 247 251

2003 UNESCO Asia-Pacific Heritage Award Winners Award of Excellence • Guangyu Ancestral Hall, China

257

Award of Distinction • Astana of Syed Mir Muhammad, Pakistan • Water Towns of the Yangtze River, China

265 273

Award of Merit • Cangqiao Historical Street, China • The Medina Grand Adelaide Treasury, Australia • The Virtuous Bridge, Indonesia

281 285 289

2004 UNESCO Asia-Pacific Heritage Award Winners Award of Excellence • Baltit Fort, Pakistan

309

Award of Distinction • Church of Our Lady of Mount Carmel, Australia • Lakhpat Gurudwara, India • St. Ascension Cathedral, Kazakhstan

317 323 331

Award of Merit • Dadabhai Naoroji Road Streetscape, India • Dorje Chenmo Temple, India • Phra Racha Wang Derm Palace, Thailand • St. Thomas Cathedral, India • Vietnamese Traditional Folk Houses, Viet Nam

339 343 349 355 359

Honourable Mention • Elphinstone College, India • Female Orphan School, Australia • Gong’zi’ting, China • Namuna Ghar, Nepal • Suzhou River Warehouse, China • Tak Seng On Pawnshop, Macao SAR, China • Zargar-e-Yazdi House, Iran • Zhangzhou City Historic Streets, China

365 369 373 377 381 385 389 393

Part IV Conclusion: Sources of Knowledge and Sources of Continuity

397

Part V

398

Regional Map of Winning Projects

Part VI Regional Directory Heritage Architects/Designers Contractors

400

Award Regulations

Index

429

Photographic and Illustration Credits

438

References

439

First Principles

First Principles for Conserving Built Heritage Best Practices from the UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation (2000-2004)

UNESCO leads efforts worldwide to safeguard the continuity of diverse cultural values represented in both tangible and intangible heritage. The 1972 Convention Concerning the Protection of the World Cultural and Natural Heritage (popularly known as the World Heritage Convention) forms the framework for international action in the conservation of immovable tangible cultural heritage, which encompasses built structures, sites and landscapes. The principles enshrined in the Convention and its Operational Guidelines extend not only to properties inscribed on the World Heritage List, but also, by example, to other heritage sites. The World Heritage Convention calls on each State Party to ensure effective measures for the “protection, conservation and presentation of the cultural and natural heritage situated on its territory”, especially in the context of growing pressures stemming from both natural and human causes. In particular, the Convention encourages States Parties to “adopt a general policy which aims to give the cultural and natural heritage a function in the life of the community…”, thus linking heritage conservation to living traditions and sustainable development. UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation Throughout the Asia-Pacific region, the role of private individuals and institutions in safeguarding built heritage is paramount, as buildings and sites are largely in private or civic ownership. The UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation programme, launched in the year 2000, is a flagship strategy to recognize private sector achievements and public-private initiatives in successfully restoring structures of heritage value. The UNESCO Asia-Pacific Heritage Awards programme was established as a means of identifying and showcasing the most successful best practices in built heritage conservation and adaptive reuse in the region. Through the programme, UNESCO encourages policies and practices which result in the preservation of the unique heritage values and historic significance of our communities, thereby paving the way for future projects both within the same communities and beyond. Since its establishment, the programme has brought to public attention a noteworthy body of work in the field of heritage conservation. In the first five cycles from 2000-2004, 181 entries were received from 23 countries, of which 64 projects were recognized with UNESCO Asia-Pacific Heritage Awards. Winners represent a broad spectrum of the region’s built heritage, serving as a testament to how buildings can be successfully preserved in their traditional settings and also to how conservation principles can be integrated into various local development strategies. The range of religious architecture that has been awarded is extensive, encompassing Chinese ancestral temples, Buddhist monasteries, Hindu shrines, Sikh gurudwaras, Muslim mosques, Christian churches and Jewish synagogues. These buildings collectively bear testament to the diverse living traditions of the region. Secular buildings receiving awards include monumental structures such as forts and palaces; non-monumental buildings such as houses, factories, schools, shops and other commercial buildings; and public infrastructure such as bridges. Awards have also gone to large-scale projects involving the protection and rehabilitation of gardens, streetscapes, canal and waterfront districts, in situ archaeological sites and historic urban quarters.

UNESCO Asia-Paciﬁc Heritage Awards

Since the award-winning projects are mostly drawn from the private realm, they include a representative slice of the vernacular built legacy of the Asia-Pacific region. This focus on the everyday landscape underscores the broad mandate of UNESCO and the World Heritage Convention to foster an inclusive interpretation of heritage and nurture an ethic of conservation that extends beyond the hallmarks of high architecture to the living, and now threatened, traditions of vernacular building. UNESCO receives entries from countries and administrative areas across the Asia-Pacific region—from Antarctica to Uzbekistan—revealing the universal concern for conserving the unique sense of our cultural places. The entries highlight the various challenges facing the conservation profession in the Asia-Pacific region today, ranging from the disappearance of traditional materials, skills and techniques to the economic and political forces driving urban redevelopment. In recognition of the ever-evolving nature of built form and cultural expression, a special award category, the Jury Commendation for Innovation, was inaugurated in 2005 to recognize innovative new buildings which are integrated into historic districts in a way that complements and enhances the historic character and contributes to the cultural continuum of the area. Assessing Conservation Excellence: the Criteria of the UNESCO Asia-Pacific Heritage Awards The selection process for the Awards programme is rigorous and is conducted annually by a panel of international experts in conservation architecture, urban planning, landscape design and heritage conservation, all of whom practice professionally in the Asia-Pacific region. To qualify for the UNESCO Asia-Pacific Heritage Awards, buildings must be more than 50 years old, the restoration must have been completed within the last 10 years and buildings must have been in viable use for at least one year. Residential, commercial, cultural, religious, industrial and institutional buildings; historic towns; gardens and bridges are all eligible for consideration. The project must have been carried out with private sector input in the form of ownership, funding or other support. Public-private partnership projects are especially encouraged to apply for the Awards. Entries to the UNESCO Asia-Pacific Heritage Awards are examined in terms of the extent to which they demonstrate excellence in the following criteria:

• • • • • • •

Criterion A: The articulation of the structure’s heritage values in order to convey the spirit of place through the conservation work. Criterion B: The appropriate use or adaptation of the structure. Criterion C: The interpretation of the cultural, social, historical and architectural significance of the structure(s) in the conservation work. Criterion D: The understanding of the technical issues of conservation/restoration in interpreting the structure’s significance. Criterion E: The use and quality control of appropriate building, artisan and conservation techniques. Criterion F: The use of appropriate materials. Criterion G: How well any added elements or creative technical solutions respect the character and inherent spatial quality of the structure(s).

First Principles

• • • •

Criterion H: The manner in which the process and the final product contribute to the surrounding environment and the local community’s cultural and historical continuum. Criterion I: The influence of the project on conservation practice and policy locally, nationally, regionally or internationally. Criterion J: The ongoing socio-economic viability and relevance of the project, and provision for its future use and maintenance. Criterion K: The complexity, sensitivity and technical consistency of the project methodology.

The UNESCO Asia-Pacific Heritage Award winners consistently demonstrate that technical achievement in conservation should be underpinned by a profound understanding of conservation as a social process. As such, the Award-winning projects not only set standards of technical excellence, but also make a significant impact by contributing to the local cultural and historical continuum. All winning entries serve as best practice models in their understanding of the issues of conservation in relation to the cultural, social, historical and architectural significance of the building. They foster community involvement and capacity-building, and have a catalytic effect on local restoration and conservation efforts. The process of conservation consolidates important structures while at the same time returning the buildings, which are significant either by themselves or as part of an urban ensemble, to their place of pride within local communities. First Principles for Conserving Historic Built Heritage The Award-winning projects reflect a consensus around a set of powerful “first principles” guiding the conservation of the historic built heritage in the Asia-Pacific region, which have evolved and been validated through professional practice over the past two decades. They are: • • • • •

Principle 1: Collective mapping of cultural space, its hierarchies, symbolic language and associations is a prerequisite for appropriate and successful conservation. Principle 2: Tangible cultural expressions derive their origin, value and continuing significance from intangible cultural practices. Principle 3: Authenticity, the defining characteristic of heritage, is a culturally-relative attribute to be found in continuity, but not necessarily in the continuity of material only. Principle 4: The conservation process succeeds when histories are revealed, traditions revived and meanings recovered in a palimpsest of knowledge. Principle 5: Appropriate use of heritage is arrived at through a negotiation process, resulting in a lifeenhancing space.

Together, the first principles affirm a set of professional norms which have arisen out of a distinctive Asia-Pacific physical and socio-cultural space, but which have universality in application.

UNESCO Asia-Paciﬁc Heritage Awards

Principle 1: Collective mapping of cultural space, its hierarchies, symbolic language and associations is a pre-requisite for appropriate and successful conservation. Conservation professionals and students are taught that conservation work should begin with a thorough investigation of the building. By studying historical documentary evidence and in situ physical evidence in the building fabric itself, it is possible to come to an understanding of the evolved significance of the place and to identify character-defining elements of the site which must be conserved in the ensuing work. Developing an understanding of the true spirit of place, and reflecting this understanding in the conservation process and product, is central to the mission of re-animating the heritage through conservation work. Only a truly participatory process, which is predicated on a broad-based cultural mapping exercise, can ensure a full understanding of a place. The mapping process reveals “which heritage is important”, “to whom” and “why”. It may identify heritage which was heretofore overlooked, or it may uncover other aspects or alternative readings of already-identified heritage. This socio-cultural mapping process brings to light the heritage values which are inherent and often unspoken in a community, notably, social and spiritual values. On this basis, conservation work can be undertaken in an appropriate manner, with full cognizance of the issues at hand, adding a “how” dimension to the mapping exercise. Beyond a purely technical approach to the research process, often dominated by the voice of the conservation expert, the UNESCO Asia-Pacific Heritage Awards winners bring in multiple voices, resulting in a collective mapping of cultural space, its hierarchies, symbolic language and associations. This allows for actualization of the principles espoused in the 2001 Universal Declaration on Cultural Diversity. Principle 2: Tangible cultural expressions derive their origin, value and continuing significance from intangible cultural practices. Tangible and intangible cultural expressions are interdependent. Any conservation project which privileges tangible over intangible values of a building risks stripping away the significance of the place, leaving only an empty shell. Manifestations of intangible cultural heritage include oral traditions, performing arts, social practices, rituals, knowledge about nature, traditional craftsmanship and associations acquired through use. This living heritage provides not only the wellspring of cultural diversity, but in fact guarantees continuing expressions of creativity. Indeed, the 2003 Convention for the Safeguarding of the Intangible Heritage makes provisions for the protection of tangible artefacts and cultural spaces which are associated with the manifestations of intangible cultural heritage. This allows for effective harmonization between the 2003 Convention and other international legal instruments, such as the World Heritage Convention. Principle 3: Authenticity, the defining characteristic of heritage, is a culturally relative characteristic to be found in continuity, but not necessarily in only the continuity of material. The Heritage Awards have shown that the conservationist’s mantra of “do as much as necessary and as little as possible” is subject to interpretation in the context of cultural norms of the Asia-Pacific region. Anecdotal evidence illustrates that tensions can arise between conservation professionals who hold material authenticity sacrosanct and local stakeholders who call for renewing the material fabric to ensure the spiritual intactness of the place.

First Principles

The Nara Document on Authenticity, adopted in 1994, has articulated a middle ground which reflects a way of balancing the varying definitions of authenticity, reflecting diverse underlying values in the conservation process and product. The Nara Documents states that “It is thus not possible to base judgements of value and authenticity on fixed criteria. On the contrary, the respect due to all cultures requires that cultural heritage must be considered and judged within the cultural contexts to which it belongs.” The Nara Document further states that, “Depending on the nature of the cultural heritage, its cultural context, and its evolution through time, authenticity judgements may be linked to the worth of a great variety of sources of information. Aspects of these sources may include form and design, materials and substance, use and function, traditions and techniques, location and setting, spirit and feeling and other internal and external factors. The use of these sources permits elaboration of the specific artistic, historic, social and scientific dimensions of the cultural heritage being examined.” The Nara Document does not provide a license for cultural relativity, but rather, reaffirms the validity of a rational system for evaluating and consequently safeguarding various heritage values, one that is consistent within its own socio-cultural system. In so doing, social, cultural and spiritual values may gain a foothold alongside artistic and historic values in the conservation process. Principle 4: The conservation process succeeds when histories are revealed, traditions revived and meanings recovered in a palimpsest of knowledge. In extreme, but increasingly more common circumstances, the thread of continuity of a historic place has been frayed to the point that it is barely distinguishable. Left to the course of economic renewal and the tides of social change, the heritage and the values it embodies is often vulnerable to being erased or subsumed into newer narratives which may not be selfreflexive, thus failing to incorporate the richness of a place’s past into its present regimes of creating and re-creating identity and knowledge. The judicious intervention in these cases through a conservation activity can result in revealing unique histories, reviving local traditions and recovering the meanings of the place. The UNESCO Asia-Pacific Heritage Awards have recognized projects which have excelled not only in technical merit but also in the dramatic impact that they have effected, especially in the revival of traditions that are dying or have faded away. These projects do so in a way which does not impose one solitary reading of the place, freezing one particular narrative at a point in time, but rather by revealing a renewed understanding of the place in the context of other historical layers of meaning embodied in the building. In some projects, this remembrance of meanings past is accomplished in a quite literal yet effective manner—by physically juxtaposing the layers of the building history over each other until the present day. In other projects, this recovery is a social process, which reaches back into historical traditions and revives the living core of the community by renewing social practices associated with place. Principle 5: Appropriate use of heritage is negotiated, resulting in a life-enhancing space. The projects which have won the UNESCO Asia-Pacific Heritage Awards have often been conducted by conservationists who also play an advocacy or activist role. With heritage conservation unfortunately being a relatively low priority on most political agendas in the Asia-Pacific region, the conservationist-activists have had to shoulder the task not only of

UNESCO Asia-Paciﬁc Heritage Awards

ensuring professional excellence, but also of raising awareness of the multiple benefits of conserving heritage. The essential messages conveyed by these change agents include: heritage as a fundamental cultural right, heritage as a building block for sustainable development and heritage as a shared resource for local stakeholders. The success of such advocacy efforts is usually the result of a process of negotiation—revisiting the fundamental questions of “which heritage is important”, “to whom”, “why” and “how” it should be conserved. The cultural diversity of the AsiaPacific region, embodied in multicultural influences dating back to its earliest periods of history, belies easy answers to these questions. Add to the debate, at the local level, the complication of state-mandated histories and definitions of heritage, and the process becomes very complicated indeed. Seeing value in the process of negotiation, however, means recognizing the value in this cultural diversity and according respect to the full range of stakeholders. The projects that have been undertaken through this negotiation process in identifying the heritage, its values, its conservation and adaptive reuse have emerged all the stronger, ensuring greater social and political sustainability. Building on Best Practices The UNESCO Asia-Pacific Heritage Awards winners bring to light best practices in conservation of tangible heritage as inextricably linked to intangible heritage. As a whole, they add to the global scope of our understanding of the role of heritage conservation as a social development process. They demonstrate that good conservation practice needs to be grounded in an understanding of the place and its many values. These values of place, identified through a participatory cultural mapping process, should inform the conservation decision-making and process. The values-based approach to conservation practice yields a richly-nuanced end result—where tangible and intangible heritage are authentically conserved, and historic layers of meaning are revealed. Through the application of these “first principles”, we can ensure the long-term safeguarding of our cultural heritage, which form the core resources for sustainable development.

UNESCO Asia-Pacific Heritage Awards Criteria Essays

Award Criteria Essays

Conveying the Spirit of Place

Spirit of place conveys the cultural essence of a site. In historic sites it encompasses the meanings of a place accrued through time and through its past and present uses. Expressed through the tangible built heritage, these intangible heritage values give the place its distinctive character, an aura that draws people to the place, speaks to them, engages their emotions and, often, gives them a sublime experience of their surroundings.

Laurence Loh

The concept may be better understood if one alludes to the notion of “body and soul”. The body is the physical fabric of the heritage site in its original state and setting. The soul, the spirit of place, is the sum of the site’s history, traditions, memories, myths, associations and continuity of meanings connected with people and use over time. Collectively, these tell the story of the place, generate its identity and give it emotional impact.

UNESCO Asia-Pacific Heritage Awards Jury Member

How does conservation of a physical structure articulate its spirit of place? Primarily, the place has to be true to its history. This truth must be conveyed in the very process of conservation itself, in a heritage site’s physical form, in its contemporary use, and in its interpretation and presentation. Authenticity, East and West Most fundamentally, the spirit of a place resides in its authenticity, retention of which is an essential condition of heritage conservation, as reflected in many international charters, especially the Nara Document on Authenticity. The challenge, therefore, is first to identify the authentic elements that define the character of a place and convey its spirit, and, secondly, to ensure that through the conservation process these elements are maintained, safeguarded and celebrated. As the Nara Document asserts, judgments of authenticity must be culture-specific. This emerged in the conservation of the Cheng Hoon Teng Main Temple (2002 Award of Merit) in Melaka, Malaysia, for which I was the heritage architect. The seventeenth century temple, the oldest formal site of worship of Malaysia’s Chinese community, was restored to a high standard, using traditional materials and techniques wherever possible. At the insistence of the congregation, many of the temple’s frescoes or chai hui, which had succumbed to the tropical climate, were repainted by specialist Chinese artisans with the traditional tempera paints and organic dyes. Since time immemorial such frescoes, with their relatively impermanent inks and paints, have been periodically renewed, often by different artists, to honour the deities.

Criteria A. The articulation of the structure’s heritage values in order to convey the spirit of place through the conservation work.

But renewal in the conservation of traditional Asian architecture raises the question of authenticity. To Western eyes, accustomed to the preservation of frescoes in their found fragmentary form, not only would the new painting look too bright, fresh and intact, but also it would be deemed poor conservation practice, resulting in the loss of material authenticity. From the Chinese viewpoint, however, renewal of the frescoes conforms to traditional religious beliefs and promotes continuity through artisanship and apprenticeship. There is authenticity in form and function as well as meaning, helping to preserve the temple’s cultural essence, enhancing its spirit of place.

UNESCO Asia-Paciﬁc Heritage Awards

Histories revealed Since heritage is by definition a legacy of the past, revealing the history of a heritage site is vital to manifesting its spirit of place. Visual evidence of the march of time, and clear interpretation of that evidence, makes people feel they have direct access to the history of the place. This can be achieved by displaying a site’s accretions over its lifetime, rather than restoring it to a state at a chosen moment in time. Exhibiting a site’s historical timeline often enlarges its significance and amplifies its spirit of place. The conservation of the Guangyu Ancestral Hall (2003 Award of Excellence) in Guangdong province, China sensitively exposes its layers of meaning. Not only was the building’s original structure, dating from the Song dynasty (960-1279) retained and repaired, but also many traces of its 600-year history were preserved. These include political slogans painted onto its walls and gables during the Cultural Revolution (1966-1976). Moreover, the replacement of original components, mainly for reasons of safety, was guided by the principle of making the new distinguishable from the old. This juxtaposition is apparent, for instance, in the replacement of the hall’s original, severely weathered red sandstone column bases. The new bases, fashioned in the same style and material, are placed next to the old ones, giving a sense of their age. The meticulous preservation of these historical layers means that the Lu clan’s ancestral hall is not only a record of Qiangang village’s history, but also of China’s as well. Traditions revived, meanings recovered Spirit of place comes alive not just in the ways a site is conserved and presented, but in the ways it is used and valued by people. How a place is animated by its community gives it meaning, just as a place has meaning for its community, be it historic, social, spiritual or aesthetic. The best conservation brings out the values implicit in the heritage site and integrates them into the life of the community. By taking part in the conservation work, and then using and maintaining the building after it is conserved, the community breathes life into the site, invigorating its spirit of place. An exemplary case is the rehabilitation of a quartet of 300-year-old, wooden mosques in Ganish, an historic mountain village in northern Pakistan’s Hunza valley. The village elders initiated the project to restore the disused Yarikutz, Rupikutz, Kuyokutz and Mamorukutz Mosques (2002 Award of Distinction) to a structurally sound condition, and Ganish’s 30-plus households freely contributed labour, materials and organizational skills. Under professional guidance, the small mosques were stabilized with minimum intervention that retained their original fabric and intricate decoration. The long abandoned chataq, a paved courtyard that the mosques enclose, was returned to its traditional use for village gatherings. The work strengthened community spirit and cohesion in a village that had experienced in recent decades disastrous flooding, substantial demolition and major socio-economic change. After the project’s completion in 2001, the villagers set up their own heritage body to manage their cultural resources. Here, Ganish’s spirit of place is amplified by villagers’ wholehearted participation in reviving local tradition and commitment to sustaining it. Involving the local community from the outset in the conservation of their heritage is more likely to ensure the sustainability of the project and the living traditions. An equally powerful project which rebuilt social meaning through the process of recovery is the Krishan Temple (2001 Award of Distinction) at the heart of Kishankot village in Punjab, India. The temple, built in the 1830s and containing fine murals depicting Hindu and Sikh themes, represents inter-faith harmony in a region of religious and sectarian strife. These

Award Criteria Essays

divisions had also afflicted Kishankot, a community of Sikhs, Hindus and Christians, compounding its high unemployment rate and social problems. Restoration of the dilapidated temple was not only a technical job but also a social process. It mobilized the community to work together, empowered them to offer ideas and make decisions, and equipped them with skills to assume responsibility for the building once it was conserved. Villagers became deeply involved in the project through paid labour as well as unpaid seva (service for the community by the community), demonstrating the temple’s message of communal cooperation. The conservation project was linked to long term community development schemes to improve the quality of health and education in the village, especially involving its women, children and elderly. Conservation of the Krishan Temple was a contemporary expression of what the building stood for, both symbolically and materially. Painful memories found a healing ground through the process of restoration, resulting in the “recovered selves” of the people. The temple’s spirit of place was revived as it became again a common social, spiritual and educational space for a multicultural community. Appropriate use The appropriate use of a heritage site is often the key to revealing the cultural values embedded within its original design and purpose, which is, in turn, a first step towards enshrining its spirit of place. The concept is particularly evident in Cheong Fatt Tze Mansion (2000 Most Excellent Project) in George Town in the Malaysian state of Penang, for which I had to privilege to serve as the conservation architect. Once a neglected ruin, the building has been meticulously restored to its former glory, revealing its many layers of meaning, the philosophy of its maker and the genius of its artisans.

Krishan Temple, India

Cheong Fatt Tze personified the immigrant success story, rising from humble origins to social and financial prominence as head of a business empire at the turn of the last century. He built and decorated his magnificent 38 room mansion with the finest materials from Europe, yet based the design on Chinese principles of geomancy and feng shui, and imported master craftsmen from China to do traditional decorative work. Today, the sumptuous restored mansion reflects his cosmopolitan outlook and eclectic tastes. As an architectural statement, given its beauty and originality, conservation of the building alone would have carried the day. However, its spirit of place has been further enhanced by its adaptive reuse as a heritage homestay. The creation of 16 guestrooms enables residents to experience life in the mansion as it was in its heyday, when entry was a privilege, thus maintaining its aura as a private sanctuary. The presence of residents also ensures that the mansion is always animated with a human presence, in keeping with the conservation principle that the most sustainable use for a heritage structure is one which is closest to the use for which it was originally intended. Interpretation of the house is crucial to evoking its spirit of place. During daily guided tours, the mansion’s stories are retold, myths reborn, memories aroused, adding to the intangible quality of the experience for visitors. They start to form an association in their minds between the place and its creator, and they never fail to be moved by the beauty of the architecture and interior décor. Visitors are also introduced to the concepts of geomancy and feng shui observable throughout the mansion—in particular the chi point (energy vortex) in the middle of the central courtyard. Visitors with extra sensory abilities have perceived its

UNESCO Asia-Paciﬁc Heritage Awards

existence. Real or imagined, the chi point and its explanation contribute to embedding the mansion’s spirit of place in the psyche of visitors. The vision of Cheong Fatt Tze Mansion’s current owners is to attain the right balance between conservation and change, the ambience of a home and the exigencies of a boutique hotel, a sense of privacy versus a public role, a mood of informality as well as a sense of etiquette, and most of all, to retain the spirit of place that draws people back to where it resides again and again. Life enhancing architecture These regional examples carry within them abstract and metaphysical concepts that are as important as the authentic, physical substance of the sites. Expressions of intangible heritage are “spiritual assets” that are unquantifiable and impossible to label, but nevertheless are central to the Asian approach to heritage conservation—both in how heritage is perceived and how it is conserved.

Cheong Fatt Tze Mansion, Malaysia

It is the totality of these tangible and intangible values, recognized and recovered, or created in addition to original themes, which reveal the spirit of place within the architecture. It is an architecture that is life enhancing, that forces us to engage with the site through the use of all our senses, and that allows us to be touched by a place where our sense of self and well being is strengthened and revitalised. The message that buildings with a strong spirit of place convey is that the answers are not to be found in a purely rigorous analytical approach. A system of evaluation is only a starting point for conservation practice. Looking beyond, it is about allowing what is living to stay alive and true to the place. It is about letting the architecture, the traditions and the cultural essence live on with minimal intervention. Often it is also about the recovery of meaning that has been lost through attrition. If change is necessary, the change must be so seamless that very quickly it becomes absorbed into the original value system. Before long, it attains its own meaning and becomes part of the collective memory, as if it has always been there as part of the place.

Award Criteria Essays

Determining Appropriate Use William Chapman UNESCO Asia-Pacific Heritage Awards Jury Member

“Appropriate use” is a key factor in evaluating the quality of heritage conservation projects. Whether the original property is a palace or a fort, a factory or a house, a church or a mosque, an archaeological site or a cultural landscape, how such a place was used and continues to be used is critical to its heritage value and character. Use relates to the physical and architectural character of a building or site, and also to its history and its cultural significance. How it functioned historically, its original (as well as later) purpose, its symbolic importance in the community, and its continuing social or spiritual values. Use is concerned with design, materials, layout and decoration, but also involves many intangible factors. These might include the movements of people into, out of, and within the building or site; the periods of occupancy—whether seasonal, monthly, weekly or daily; and especially variations or specializations in use within or around the site. Even from an architectural point of view the concept of use might include the effects of voices and sounds, relative temperature and humidity, and countless other, often minute factors that together combine—along with cultural memory and historical association—to give a building or site its “spirit of place”. Use then, is a determining aspect of a building’s or site’s identity—an aspect perhaps not conveyed fully by photographs or drawings but one that can best be gained through direct access to the place itself. Evaluating a project for its “use value” becomes a task of careful understanding and extrapolation from past experience by anyone undertaking a conservation project, or anyone assessing the results of it afterwards. They must “visit” the site in their imagination. Comparisons with other buildings or sites may be made. But in the end pictures and written descriptions can only begin to determine whether an appropriate use has indeed been found, or whether the new use fails to convey the heritage values implicit in the building or site. The final test is the experience of the place itself. Questions of use and reuse

Criteria B. Appropriate use or adaptation of the structure.

Probably the most important question of appropriate use is whether the primary concern is the retention of distinctive architectural or other physical forms, or whether considerations of use pertain more to cultural, social and symbolic values. To give an example: a historic church might well be adapted to another kind of use. The immediate impulse is to assume it should become, say, a community centre if it no longer is needed as a church. But what about a potential commercial use? Can a church become a restaurant? A discothèque? Such new uses may best preserve architectural and decorative elements that distinguish the building. But do such new uses adequately address the less tangible aspects of a building and its significance? Alternatively, were the church to become housing for homeless people or a clinic, these functions might well preserve the social or community-oriented qualities of the original church, but may require more radical changes in the building’s configuration or appearance. What if, for example, a historic public housing project requires partition walls and a new interior circulation pattern? Do these new elements threaten the physical character of the structure and therefore its greater significance?

UNESCO Asia-Paciﬁc Heritage Awards

The choice of an appropriate use becomes, as a result of these considerations, a complex intellectual and experiential balancing act. Critical factors in evaluation must include how far the original and historic design qualities and materials have been retained, whether the property is still used to the same degree or manner as before, and to what extent community, spiritual and symbolic values continue. Factories turned into housing? Maybe, since few formal architectural features, meaning designed features, are affected. A house made into a hotel? Perhaps an easier transition and one more readily justified. Other aspects of appropriate use are the “intensity of use” and the “degree of intervention” involved in the conservation project. “Intensity of use” refers to how many new elements are introduced and correspondingly how many new requirements have been imposed on a site or building. An example may be a large private house turned into an apartment building or group of flats. Three units may well preserve the original character of the residence; five may be too many. If the project requires changes to the roof to accommodate even more units in order to meet the client’s needs, this may further bring into question the appropriateness of the choice of reuse. “Degree of intervention” introduces other concerns. How much must a structure be altered in order to allow a new use or uses? Will a steel frame be needed? Will walls be required to divide open spaces into offices or rooms? Will an important component of the structure need to be rebuilt? These questions underscore the larger question of whether a planned new use is a good one or whether it will undermine the very values that are to be preserved. But what about changes in the less tangible qualities of a place as a result of a new use? Can a mosque become a school? Does this shift in use interrupt the quietude and spiritual values once associated with the mosque? What about an office building converted into housing? Does this change the overall character of the property? Again, what if the question is just the degree of new use? If, for example, too many rooms are required to make a hotel project economically viable (from the owner, client or developer’s point of view), would this tip the balance toward a negative appraisal? Finally, what about common or utilitarian spaces versus more designed buildings or sites? Are highly decorated buildings representing elite culture of greater value than spaces once occupied by goods or by factory workers? Or do highly designed and decorated spaces also embody workmanship and crafts skills associated with ordinary people? Is the elite structure less adaptable owing to its higher “instrinsic value”? Does a factory or warehouse open itself to a wider range of uses? All of these are difficult questions that need careful consideration of each context. “Appropriate use” in charters and resolutions Since the time of the Athens Charter for the Restoration of Historic Monuments, promulgated in 1931, “appropriate use” has entered into the language of conservation. Resolution 2 from this first international congress of conservation specialists seems to inherently refer to issues of appropriate use: “Proposed restoration projects are to be subjected to knowledgeable criticism to prevent mistakes which will cause loss of character and historical values to the structures”. Under “Doctrines [and] General Principles” this same early document states: “The Conference recommends that the occupation of buildings, which insures the continuity of their life, should be maintained but that they should be used for a purpose which respects their historic or artistic character [my emphasis]”.

Award Criteria Essays

The 1964 Venice Charter, the first comprehensive post-World War II statement of international conservation principles, considered the issue of appropriate use with even greater clarity. Article 5 explains: “The conservation of monuments is always facilitated by making use of them for some socially useful purpose. Such use is therefore desirable but it must not change the layout or decoration of the building. It is within these limits only that modifications demanded by a change of function should be envisioned and may be permitted.” The 1972 Convention Concerning the Protection of the World Cultural and Natural Heritage, referred to as the World Heritage Convention, states a similar priority: “These components of the cultural and natural heritage should, in addition, be restored, whenever appropriate, to their former use or given a new and more suitable function, provided that the cultural value is not thereby diminished” (Article 22). During the closing decades of the twentieth century, concerns over appropriate use increasingly emphasized intangible cultural values. Australia’s Burra Charter, first promulgated in 1979, with significant revisions in 1981, 1988 and 1999, puts considerable emphasis on the notion of cultural significance and value. The preamble of the present document “advocates a cautious approach to change: do as little as necessary to care for the place and to make it useable, but otherwise change it as little as possible so that its cultural significance is retained [my emphasis]”. To further clarify, the charter states that “cultural significance is embodied in the place itself, its fabric, setting, use, associations, meaning, records, related places, and related objects [original emphasis].” Under the section on “definitions” the document explains that “Compatible use means a use which respects the cultural significance of a place. Such a use involves no, or minimal, impact on cultural significance [original emphasis].”

Dalongdong Baoan Temple, China

The 1994 Nara Document on Authenticity similarly emphasizes the consideration of “tangible and intangible expression[s]” of cultural value. As with the Burra Charter, the Nara Document emphasizes “spirit” and “feeling” as implicit aspects of the significance of a place. More recent resolutions and conventions have reinforced this trend toward recognition of cultural significance. The Principles for the Conservation of Heritage Sites in China (2002), adopted by the Chinese national committee of the International Council on Monuments and Sites (ICOMOS) calls for “minimal intervention” (Article 11), recognizing that a building or site combines “historical, artistic, and scientific values” (Article 3). The Principles also stress that a site “should be used in a rational manner for the benefit of society,” recognizing too that its inherent cultural and symbolic values must in no way be compromised for “short-term gain” (Article 4). The Hoi An Protocols for Best Conservation Practice in Asia, drafted in November 2003 under the guidance of UNESCO’s Regional Advisor for Culture in Asia and the Pacific, consistently underscore the retention of “integrity” and prevention of “dismemberment” in the reuse of historic sites, as well the need to preserve the historic character in the broadest sense when undertaking new use projects. In the case of historic residential properties, the document emphasizes the importance both of retaining original use and avoiding displacement of historic populations.

UNESCO Asia-Paciﬁc Heritage Awards

Historic context of “reuse” projects These conventions, charters and documents were promulgated against a backdrop of increasing acceptance of conservation ideals worldwide. Once limited to sites of great national and international interest, the concept of conservation began to be adopted more widely, especially by the 1970s. Coupled with the birth of the international environmental movement and a growing scepticism of “progressive” planning policies, the conservation of historic places became a common cause for many of the post-World War II generation. The assumption that “modern” was better and that highways, skyscrapers and clusters of bland public housing were preferable to traditional urban neighbourhoods and older buildings came deeply into question. Old buildings offered opportunities for places of continuing cultural value; old neighbourhoods provided an alternative to planned housing and suburban migration from inner cities. The redevelopment of older buildings and sites became an important aspect of this revolution in thinking. “Adaptive use” became a popular term to describe the revitalization of older buildings through new use. The United States played a significant part in this new trend. Commercial developments such as Ghirardelli Square in San Francisco and Quincy Market in Boston, rehabilitated in the 1960s and 1970s, respectively, celebrated the “reuse” of older buildings. Features such as Victorian towers, classical columns, ornate entrances and strong articulated cornices became part of the vocabulary of reuse projects—as did fenestration openings fitted with modern plate-glass, stripped interior wall surfaces and other features to remind the user that this was an old space made new. Through a tax credit programme administered by the United States National Park Service, “adaptive use” became a significant expression of United States policy, especially in the period between 1979 and 1984 when the tax incentives were at their highest. Thousands of historic buildings were redeveloped, from factories through to warehouses and industrial lofts, many of which become upscale apartments. Other older buildings served as banks, retail spaces and offices. European nations, long committed to the conservation of their historic urban cores, also experienced a surge of “reuse” projects, such as London’s Covent Garden Market and the adaptation of the Gare d’Orsay in Paris for the Louvre’s collection of nineteenth century art. Similar projects occurred in Sydney, Adelaide and other cities in Australia and New Zealand. These prestige projects, combined with billions of dollars of private and public investment in historic buildings, brought sophistication to the “reuse” industry. Standards for new mechanical systems, laws to regulate new components such as rooftop additions, and new zoning ordinances that recognized changes in use followed in the wake of this trend. Luckily for the historic and architectural values of older properties, the fashion for glibly contrasting old and new gradually fell out of favour. A greater appreciation of original components, stronger governmental oversight, the growing influence of architectural conservation specialists and, especially, the increasing availability of good quality materials and building components—such as historically compatible replacement windows and electrical fixtures—all contributed to the improvement of reuse-type projects. By the 1990s most projects of this kind were far more advanced in their understanding of conservation principles and showed greater respect for original materials and design, as well as for intangible factors such as historical association and traditional use. It is rare now to see a project celebrating the contrast of old and new by simply changing windows and sand-blasting brick walls (although such projects lamentably do still occur). More recently, say in the last five years, the issues around reuse of historic places have fallen into two primary areas. One is

Award Criteria Essays

an increasing emphasis on “appropriateness” in reuse, meaning the consideration of cultural and historical values as part of what constitutes an acceptable project. The other is a growing sophistication in ways to introduce new components, such as elevators, stairs, mechanical systems and built additions. Two distinct approaches appear to have evolved in the area of introducing new elements. One is to “embed” modern facilities so that they are not visible, such as hidden air-conditioning ducts and vents. The second trend is to call attention to changes by way of contrast. This latter approach is not the same as that of the 1980s when modern components were used to substitute for historic ones, such as the use of plate glass windows. It is, rather, an approach where original features are respected and newer elements are meant to be “read” at a different level, almost on a different plane or dimension, from their historic context. Such an approach is in keeping with longstanding prescriptions on the need to preserve the original and historic features of a place and to make new features distinguishable from old ones. As a result of these developments, approaches to adaptive and even continuing use have grown increasingly sophisticated. Recent projects more clearly defer to the history and cultural values of the property than they might have twenty years ago. Some defer to traditional crafts and skills to ensure the continuity of both technical and community values. Others reintroduce original uses back into buildings. In terms of new features, many projects now use up-to-date components sensitively: high-tech elevators attached to the less visible rears of buildings, consolidated electrical conduits and hubs that obviate the need to install systems in walls, and modern metal stairs that seem to float in unaltered historic spaces. Overall, the issues stemming from the concepts of continued use and reuse have been subjected to greater scrutiny in almost all contexts. The result has been a gradual and significant improvement in the quality of the projects themselves and the ways in which heritage places convey a sense of their cultural and historic value.

Sydney Conservatorium of Music, Australia

The UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation The projects submitted for the UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation demonstrate a diversity of approaches to the appropriate use and adaptive reuse of historic properties. These approaches may be usefully grouped in four categories: continuing original use, return to original use, minimal change of use and completely new use. All involve varying levels of (often reversible) intervention as part of the conservation process. Continuity of use A large number of Award-winning projects represent continuity of use. Most of these are historic religious buildings. Those that required a relatively high degree of intervention to repair their fabric and modernize their facilities include: the Ohel Leah Synagogue in Hong Kong SAR, China (2000 Outstanding Project), a 1901 landmark fitted with new mechanical systems and a contemporary external staircase and lift; the Hung Shing Old Temple in Hong Kong SAR, China (2000 Outstanding Project), a small, rural temple that needed reroofing and refurbishment of decorative elements; the Church of Our Lady of Mount Carmel in Mullewa, Western Australia (2004 Award of Distinction), which had its stained-glass windows repaired and cement render removed; and St. Thomas Cathedral in Mumbai, India (2004 Award of Merit), which had a roof replaced and an ancillary building reconstructed.

UNESCO Asia-Paciﬁc Heritage Awards

Those that involved a lower level of intervention to continue existing uses include: the Yarikutz, Rupikutz, Kuyokutz and Mamorukutz Mosques (2002 Award of Distinction) and the Astana of Syed Mir Muhammad (2003 Award of Distinction), both in northern Pakistan, which were stabilized and repaired; the Catholic Cathedral of the Immaculate Conception in Hong Kong SAR, China (2003 Honourable Mention) whose roof was waterproofed and lighting and accoustics redesigned; and Dorje Chenmo Temple in Ladakh, India (2004 Award of Merit) a project centering on restoring the small Buddhist shrine’s deteriorated murals. Apart from religious buildings, the conservation of several historic streetscapes and townscapes also restored their fabric and improved their infrastructure, but largely left their commercial or residential uses unchanged. Several of these are in China: the Zhongshan Road Project in Quanzhou, Fujian province (2001 Award of Merit); the Cangqiao Historical Street in Shaoxing, Zhejiang province (2003 Award of Merit); the Zhangzhou City Historic Streets in Fujian (2004 Honourable Mention); and the Water Towns of the Yangtze River (2003 Award of Distinction). In India, the Jaisalmer Streetscape Revitalization Project (2002 Honourable Mention) in the medieval Rajasthani fort city of Jaisalmer restored sandstone facades and installed modern amenities in a traditional neighbourhood. Mumbai’s Dadabhai Naoroji Road Streetscape Project (2004 Award of Merit) restored shopfronts and signage to reflect the area’s Victorian-era commercial character. In Australia, the Broken Hill Heritage and Cultural Tourism Programme (2002 Honourable Mention) revitalized an historic, New South Wales mining town. Return to original use Projects that restored historic buildings to their original use are far fewer in number, but again, religious buildings predominate. Perhaps the most dramatic reversion of a spiritual sanctuary to its original purpose was that of St. Ascension Cathedral in Almaty, Kazakhstan (2004 Award of Distinction). Built in 1907, the extraordinary timber building fell into disrepair after the 1930s, when it was used as a museum and radio station. After substantial structural repairs and repainting of the exterior and interior surfaces, the cathedral was returned to its former glory and intended function as a place of worship for the Russian Orthodox community of Almaty. Less dramatic but equally impressive was the restoration of a disused sim (Buddhist ordination hall) to an active role in Wat Sratong (2002 Award of Merit), a village temple near Khon Kaen in Thailand, and the stabilization of the mid-eighteenth century St. Joseph’s Seminary Church (2001 Honourable Mention) in Macao SAR, China. So structurally unstable that it was closed in 1995, the Baroquestyle church had to be given a new dome, pillars and foundations before it could be reopened to the faithful in 1999. Minimal change of use A very wide range of conservation projects that involved a minimal or moderate change to the site’s traditional use have won Awards. A sampling: St. Patrick’s College, an Australian parochial school becoming a tourism training institute in Sydney (2000 Outstanding Project); DBS House, a commercial office building in Mumbai converted for use as a bank (2001 Award of Merit); the Harischandra Building, a colonial building adapted as a monks’ residence in Sri Lanka (2000 Honourable Mention); and the Centre for Khmer Studies, a temple complex used as a library and meeting space (2002 Honourable Mention). There has also been the conversion of a house into a bank in the Residence of Charles Prosper Wolff Schoemaker (2000 Honourable Mention) and an architects’ office at the Polsheer House (2002 Award of Merit). These were all conservation projects of the best type—where the use was little changed, and therefore less intervention was required.

Award Criteria Essays

Some Award winning properties were restored simply as heritage sites before an appropriate use was found for them. Two projects in Rajasthan, India—Chanwar Palkhiwalon-ki-Haveli in Amber (2000 Excellent Project) and Ahhichatragarh Fort in Nagaur (2002 Award of Excellence)—employed or revived traditional artisan skills in massive efforts to stabilize and restore the abandoned sites. Although the work was done without a specific use planned, the haveli (mansion) has since become a textile museum and the fort a venue for local festivals and performing arts. The restoration of Mawson’s Huts Historical Site (2000 Honourable Mention), an early twentieth century explorer’s campsite in Antarctica, was undertaken primarily to preserve a historic chapter in the nation’s history, in a remote site with very little visitation. These were restorations of the purest kind—reuse and economic gain played no part in their rationalization. They remind us that some sites and buildings require no economic justification for their survival if they can have the support of their community. Completely new use Award-winning projects that involved change to a completely different use are less numerous, but perhaps more striking because of the contrast between the old site and its new incarnation. Among them: the adaptation of a seventeenth century colonial mansion in Jakarta, Indonesia into the National Archives Building (2001 Award of Excellence), a straightforward restoration with few high-tech frills but excellent workmanship; the reinvention of a rural tea factory as the upscale Tea Factory Hotel (2001 Award of Merit) retaining much of the utilitarian building’s open spaces and tea-processing machinery, in the central highlands of Sri Lanka; and the conversion in Singapore of the Convent of the Holy Infant Jesus (2002 Award of Merit) into CHIJMES, a “lifestyle” complex of shops and restaurants, with its 1903 Gothic Revival-style church now used for weddings. Australian projects are well represented in the new-use category, with three in and around Sydney alone: the once derelict Bushell’s Tea Warehouse (2001 Award of Distinction) transformed into office space—probably the most technically advanced of the Award winners; an historic armory and stables converted into the Sydney Conservatorium of Music (2002 Award of Merit), and the Female Orphan School, an abandoned orphanage and mental hospital made into a campus building at the University of Western Sydney (2004 Honourable Mention). In Adelaide, the old Treasury Building was reborn as the Medina Grand Adelaide Treasury Hotel (2003 Award of Merit). Many of these reuse projects have involved the sensitive insertion of mechanical systems, modern utilities, elevators and other contemporary features, while the original buildings continued to be legible as historic sites. To take just one example, the reuse of Bushell’s Tea Warehouse in downtown Sydney demonstrates the harmonious merger of high-tech adaptation and conscientious preservation. The project introduced mechanical systems, an elevator and other services to convert the building to office use. State-of-the-art electrical and communication hubs were installed and all workstations were organised around centralized power, cable and telephone lines. Lighting was also provided from the central hub. This choice allowed for the retention of the original open plan of the warehouse and even its industrial equipment. Original wall surfaces, down to flaking paint and graffiti, were also preserved.

Top: Polsheer House, Iran Above: Bushell’s Tea Warehouse, Australia

Noteworthy is the number of projects involving adaptive reuse as museums—the most conventional approach to conservation, but one that clearly has public and educational benefits. Significant museum projects include the Phra Racha Wang Derm palace in the old naval headquarters in Bangkok, Thailand (2004 Award of Merit); the Kow Plains Homestead in Victoria, Australia, a late nineteenth-century log cabin (2002 Honourable Mention); Rumah Penghulu, a vernacular

UNESCO Asia-Paciﬁc Heritage Awards

timber house that is now a space for folk life exhibits in Kuala Lumpur (2000 Honourable Mention); and the Tak Seng On Pawnshop, reused as a museum and teashop in Macao SAR, China (2004 Honourable Mention). Intensity of use Apart from change of use, “intensity of use” is an important factor in evaluating the effectiveness of conservation projects. But often it is a factor overlooked by owners, architects or developers when making key decisions early in the planning stage. A project that got it right was the Hotel de l’Orient in Pondicherry, India (2000 Outstanding Project), where existing walls, rooms and hallways were repaired to convert a large private house into a small hotel. It demonstrated a consensus by the parties involved that the number of rooms would be limited by the existing space. The Tea Factory Hotel also limited reuse to the original structure, when it might have been tempted to expand the number of rooms beyond this limit. Similarly, commercial reuse projects, such as the DBS House, the residence of Charles Prosper Wolff Schoemaker, and Polsheer House showed admirable restraint in deciding on the number of services, offices and other uses needed for new purposes. Some projects, such as the National Archives Building, necessarily experienced a change in “intensity”, but that change was done with respect to the original character of the building. The same can be said of the far more “high-tech” transformation of Bushell’s Tea Warehouse into an office building. In both examples, the need for new uses overrode the general preference for minimal change of both use and intensity. Nevertheless the results are a satisfactory accommodation to both the historic significance of the building and the modern requirements of its new role. But even when there is continued use or minimal change of use and intensity, some degree of intervention is often necessary. The degree is determined by the condition of the property as much as the desire to introduce changes of use or intensity of use. St. Patrick’s College remained an educational institution but required the insertion of new mechanical systems and services, in addition to the restoration of its historic elements. The dilapidated St. Ascension Cathedral required a high level of intervention, though the final product looked little different from the original. Similarly, the seemingly modest restoration of Mawson’s Huts in Antarctica by an Australian team of architects and conservators showed little apparent change, but was in fact a substantial rebuilding of a severely deteriorated structure. The UNESCO Asia-Pacific Heritage Awards have recognized a diverse range of approaches to conservation practice and use and reuse of historic buildings and sites. These have included traditional, almost pure, restorations and stabilizations of sites, through to museum projects centred on historic buildings, to more dramatic reuse projects involving the injection of advanced technology into historic structures. The best projects have often been those where intervention was least visible, where old buildings in a state of disrepair have been returned to their original use or given uses that minimally alter their historic character and “feeling”. The Award-winning projects demonstrate the possibilities open to owners and communities to ensure that the region’s rich heritage may be preserved for the future.

Award Criteria Essays

Interpreting the Significance of Heritage Sites David Lung UNESCO Asia-Pacific Heritage Awards Jury Member with contributions by

Lynne DiStefano Lee Ho Yin Debbie Wong

The conservation of built heritage begins with finding out the facts and understanding the meaning of a place. Interpretation, or telling the story of a place, moves beyond a straightforward narration of the facts to celebrate the stories associated with the place in either historical or legendary form. These stories exist in the minds of local people or may be discovered through research by interested scholars. As such, interpretation may be seen as the retelling of a known story. Good interpretation not only draws upon specific facts and stories but sensitively relates to the cultural values of the present community. These requirements for good interpretation—facts, sensitivity and relevance—may seem obvious, but in practice, interpretation is only as good as the people doing it, and it is very easy to do it badly. Insufficient research is one of the most common problems affecting the quality of interpretation, and this is often due to blind faith in the published word and to time constraints. The consequence can be the perpetuation of assumptions rather than accurate facts, leading to flawed interpretation. In addition, many cases of interpretation are indifferent to the interests and needs of the community, or, worse, insensitive to the underlying significance of the place. This is often the case when there is lack of community involvement in the interpretative process, and failure to understand the complexity of the place or to present interpretative materials in a way that stimulates and sustains interest in a broad cross-section of visitors. Moreover, there are often conflicting views on which version(s) of a story truly expresses the significance of a heritage place. This is probably more apparent in Asia, where many places have experienced a colonial past. The complex multicultural layers of history of heritage places in these former colonies pose particular difficulties for telling stories that reflect multiple heritage values. Hence, frequently, the stories of these Asian places are only interpreted truths, almost inevitably tinted by different understandings of the main storyline. To complicate matters further, there can be differences in the storytelling between professionals (trained conservators and interpreters) and residents, who probably perceive themselves as having greater ownership of these stories. Over time, the values of a place may change. After all, values reflect the judgement of a particular person or group at a particular point in time. Different people have different perspectives on the importance of any given place, so its significance may grow, diminish or evolve as ideas change about what constitutes significance. As such, good interpretation entails presentation of information that will not become outdated in a short period of time.

Criteria C. The interpretation of the cultural, social, historical and architectural significance of the structure(s) in the conservation work.

The elements of a story: defining and assessing significance The story of a place lies in its significance or its “values”. Significance not only refers to the physical fabric or physical context of a place, but also to the character-defining elements that contribute to its values. Defining significance is about

UNESCO Asia-Paciﬁc Heritage Awards

identifying these values and their contribution to the meaning of a place. To establish the significance of a place, we must first understand the place, its character and its story. Only then can we tell an engaging story to an audience. The first step entails gathering evidence, both physical and documentary, on the place. Physical evidence comprises information that can be retrieved from the physical fabric of a place, which often includes a site survey and on-site photographs. Documentary evidence covers a broad range of resource materials, including writings, drawings and photographs, as well as oral information. Next comes analysis of both the physical and documentary evidence in order to arrive at a balanced assessment of the place. After analysis, a set of criteria should be used to establish the significance of a place. Different international charters for heritage conservation have adopted slightly different terminology to define the significance of a place. Table 1 provides a comparison of such terminological differences. Table 1: Definitions of Significance and Assessment Criteria in International Charters

Rumah Penghulu, Malaysia

Charters

Definition of Significance/Assessment Criteria

Venice Charter (1964)

Referred to as cultural significance and encompasses architectural, historical, social and scientific values.

Washington Charter (1987)

Referred to as qualities, with the following definition: “Qualities to be preserved include the historic character of the town or urban area and all those material and spiritual elements that express this character, especially: urban patterns defined by lots and streets; relationships between buildings and green and open spaces; the formal appearance, interior and exterior, of buildings defined by scale, size, style, construction, materials, colour and decoration; the relationship between the town or urban area and its surrounding setting, both natural and man-made; and the various functions that the town or urban area has acquired over time.”

ICOMOS New Zealand Charter (1992)

Referred to as cultural heritage value and cultural meaning. These refer to places which: “have lasting values and can be appreciated in their own right; teach us about the culture of those who came before us; provide the context for community identity whereby people relate to the land and to those who have gone before; provide variety and contrast in the modern world and a measure against which we can compare the achievements of today; and provide visible evidence of continuity between the past, present and future.”

Award Criteria Essays

Charters

Definition of Significance/Assessment Criteria

Burra Charter (1979, with revisions in 1981, 1988 and 1999)

Referred to as cultural significance and value. “Cultural significance means aesthetic, historic, scientific, social or spiritual value for past, present or future generations. It is embodied in a place itself, its fabric, setting, use, association, meanings, records, related places and related objects.”

Principles for the Conservation of Heritage Sites in China (commonly referred to as China Principles) (2002)

Referred to as heritage values, and comprising historical, artistic and scientific values.

A comprehensive approach should be used to define a set of criteria (values) for assessing significance. Consistency in the criteria allows for a more accurate assessment and better interpretation in relation to other heritage places. Of course, it is not always possible to find evidence for all criteria; a place may be deemed significant if only one or two criteria are applicable. As it meets the assessment needs of many countries, the set of criteria (values) listed in Australia’s Burra Charter have become widely used in Asia and the Pacific, although sometimes in modified form. According to the Burra Charter, “cultural significance means aesthetic, historic, scientific, social or spiritual values for past present or future generations”. The values are defined in Table 2. Table 2: Types of Heritage Values Historic Value

What the site has to tell us about the course of human history, or the history of a group or culture. The site may conserve important physical fabric or other evidence of the past. It may be associated with important events and developments of people.

Aesthetic and Artistic Value

The intellectual or emotional impact of a place. This may be the emotional association or mood of a site. It may also be a demonstration of a particular design, style, artistic development or high level of craftsmanship.

Scientific and Research Value

The capacity of a place to provide significant knowledge of value to humanity.

Social Value

The degree and the way in which a place is now or was in the past a focus of spiritual, political, national or other cultural activity to majority or minority groups.

Adapted from “Proceedings of the International Conference on Cultural Heritage Management and Urban Development: Challenge and Opportunity”, Beijing, 2000

Female Orphan School, Australia

UNESCO Asia-Paciﬁc Heritage Awards

Broadening the heritage horizon: value-added alternatives Taking a step back, let us examine how the understanding of heritage value has evolved through time. Alois Riegl, a pioneer in the field, clearly distinguishes the difference between modern and traditional meanings of value. In the traditional usage, the value of a place lies in keeping the story of a place unchanged, while in modern usage, value is perceived as changing in response by different generations to a specific cultural context, and hence allowing the story to evolve. Jukka Jokilehto, in A History of Architectural Conservation (1999), states clearly that “modern conservation is principally characterized by the fundamental change of values in contemporary society”. Based upon Riegl’s earlier work, Jokilehto poses the concept of “universal value”, which is not simply a “best model”, but rather, it is the “sharing of a particular creative quality, a uniqueness, and the quality of being ‘true’, original, authentic, as a constituent part of the common, universal heritage of humanity”. While there are some values that have universal acceptance (such as historic, aesthetic and scientific), the necessity for fine-tuning the categories of heritage value to adequately reflect a particular local context has gradually been recognized. Further to the mentioned charters and evaluation criteria, alternatives for establishing the significance of a place have been put forward. One example is the work of renowned conservationist Bernard Feilden. In Conservation of Historic Buildings (1994), he suggests, “use values” and “emotional values” are as important as “cultural values” in establishing significance. While this may not be a set of criteria that all countries would choose to follow, Feilden has indeed expanded on how we look at heritage values. He shows us that the significance of a place may extend beyond its cultural factors, and that emotional and use values can also be seen as important determinants of the value of a heritage place. A heritage hierarchy: comparing and ranking significance The different criteria adopted in different charters and by different experts seem to suggest that there is no fixed, standard set of criteria (values) for assessing significance. How, then, can we compare the level of significance of places? While each place may be significant in its own right, what processes are available for comparing the level of significance of different places? Assessing levels of significance can be done using a qualitative or quantitative approach, or both. The qualitative approach focuses on the description and analysis of a place without necessarily comparing it to other heritage places. In other words, a place is understood and evaluated on its own terms. The quantitative approach provides a basis for comparing one place with another, generally using a fixed set of criteria. Such comparisons can use a simple rating scale, such as the one proposed by James Kerr in The Conservation Plan (2000), which includes: A = exceptional significance, B = considerable significance, C = some significance, D = little significance. Similarly, in The Evaluation of Historic Buildings (1980), Harold Kalman presents a quantitative system for grading significance, on the basis of five basic criteria: architecture, history, environment, usability and integrity. He then subdivides these five into detailed criteria. For example, “architecture” is subdivided into style, construction, age, architect, design and interior, each of which is scored numerically. By adding up the separate scores for each criterion, a numerical score can be obtained for a particular place. This score allows for the classification of heritage buildings in four grades which can then

Award Criteria Essays

be used for making comparisons with similar buildings: excellent (of major significance), very good (of importance), good (of value as part of the environment) and fair/poor (of no importance). Yet, understanding the significance of a heritage place on its own is not sufficient to generate interest on the part of the community. It is how the story is told that gives meaning to the place. This important relationship between determining significance and interpreting it is demonstrated in the UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation. The role of the storyteller: the importance of interpreting significance The interpretation of the significance of a place is about presenting its values in a way that the public can appreciate them. Winning projects of the UNESCO Asia-Pacific Heritage Awards exemplify best conservation practice in the region by successfully revealing the values of historic places and offering valuable lessons from which we can learn. Since their establishment in 2000, the selection criteria have evolved, with more emphasis being placed on the assessment and understanding of the significance of a place. Not only has this encouraged applicants to clearly define the heritage values of projects, it has led to a fuller interpretation of the places through conservation work, thus helping to generate greater awareness of the importance of heritage management in the Asia-Pacific region. Although no reference is made to any single charter, the selection criteria are based upon the establishment of the cultural significance of the heritage place, with specific reference to historical, architectural, aesthetic and social values. The emphasis on these values is clearly evident in the winning entries, as shown in Table 3. Table 3: Significance of Selected Winners of the UNESCO Asia-Pacific Heritage Awards Winning Project

Significance Historical

Architectural/Aesthetic

Social

Ohel Leah Synagogue, Hong Kong SAR, China (2000 Outstanding Project)

One of the few remaining synagogues in Asia. Built in the early twentieth century.

Significant representative of Edwardian Free Baroque architecture.

A longstanding place of Jewish worship associated with a wealthy group of non-British immigrants and pioneering families of the colony, such as the Sassoons and the Kadoories.

Tea Factory Hotel, Kandapola, Sri Lanka (2001 Award of Merit)

Original home to the Hethersett Tea Factory.

Predominant building type of the hill country of Ceylon.

Employment for the local community as a tea factory.

Tea Factory Hotel, Sri Lanka

UNESCO Asia-Paciﬁc Heritage Awards

Cheng Hoon Teng Main Temple, Melaka, Malaysia (2002 Award of Merit)

An important spiritual and One of the oldest edifices of Malaysia’s earliest formal worship for Chinese example of Hokkien temple social centre for Chinese architecture, reflecting the immigrants. immigrants in Malaysia. skills of artisans from Fujian and Guangdong provinces in China.

Guangyu Ancestral Hall, Conghua, Guangdong, China (2003 Award of Excellence)

An ancestral place of worship and an integral part of a 600-year-old village.

A detailed record of the different styles and craftsmanship of Lingnan, which combines the architectural styles of ancestral halls from both the north and south parts of the Pearl River delta region.

The practice of ancestor worship and sense of community spirit in Chinese villages.

The rise of social significance: leveraging conservation for development The UNESCO Asia-Pacific Heritage Awards show a clear trend of increasing emphasis on social value—how heritage places were or continue to be a focus of spiritual, political, national or other cultural meaning for their communities. And social value has expanded to include voluntary community involvement in the place and the contribution of the conservation project to community development. Now, projects no longer simply conserve existing social value. Rather, projects become the means by which greater social value is generated, through reinforcing civic pride, enhancing local identity and strengthening the community’s sustainability. This shift is reflected in many of the winners. The Hung Shing Old Temple (2000 Outstanding Project) on the island of Kau Sai Chau in Hong Kong SAR, China, is a good example. The temple’s conservation took into account its profound value to the local community as a place of worship and social interaction. Before restoration work started, the advice of a fengshui (Chinese geomancy) master was sought and auspicious dates chosen. Completion of the work was celebrated with lavish festivities in which the local villagers and thousands of Hong Kong residents took part. Throughout the project, community input was encouraged, with villagers inspecting the temple and attending site meetings. The project reinforced community pride, revived the traditional skills of craftspeople and generated public appreciation of the fishing village’s heritage with its extensive media coverage. The conservation of Astana of Syed Mir Muhammad (2003 Award of Distinction), a 300-year-old Islamic tomb in a historic village in Baltistan, Pakistan, was also discussed in detail with the elders of the community. A woodcraft workshop was set up to train apprentices, helping to revive handicraft traditions while generating income for villagers. The pilot project nurtured in the community a sense of ownership and pride in its heritage, triggering a locally-driven process to upgrade buildings in nearby settlements.

Krishan Temple, India

The conservation of the Krishan Temple (2001 Award of Distinction), a Hindu temple in Kishankot Village, Punjab, India, aimed to highlight the tradition of exchange among the region’s different religious communities. Rather than the conventional

Award Criteria Essays

emphasis on physical fabric, the project treated restoration of the temple as a social process, a tool for recovering the values of the place and healing scars within the community. The villagers participated in restoring the temple through voluntary and waged labour, while benefiting from development and learning programmes that enhanced their sense of unity and built their capacity to sustain the place after the project ended. A vocational training centre has since been built to impart livelihood skills and other cultural heritage programmes. In the Australian outback, the Broken Hill Heritage and Cultural Tourism Programme (2002 Honourable Mention) created many dynamic partnerships between residents, businesses and authorities to preserve and present a historic mining settlement. Visitors experience Broken Hillâ&#x20AC;&#x2122;s past and present as a living museum by means of booklets, guides, walks and trails. The project encouraged community participation and increased the sustainability of the town through such measures as free heritage advisory services, heritage assistance funding, a residential paint assistance scheme, a verandah restoration programme, and heritage training workshops for residents. Sustainable cultural tourism was seen as an important growth opportunity for the community, and has since generated local pride and economic viability. As social significance has become more and more important in assessing heritage places, social development has accordingly become more prominent as a goal. The conservation project is now seen as a means to an end rather than an end in itself. In the Asia-Pacific region, where heritage is often sacrificed to economics, this is an encouraging development. The broadening of cultural heritage values has resulted in the social significance of a place being leveraged as a bridge to unite people and conservation. This is particularly demonstrated in two projects: the Virtuous Bridge in Medan, Indonesia (2003 Award of Merit) and the Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques in Ganish, Pakistan (2002 Award of Distinction). The first project is a simple bridge, built in 1916, which symbolizes the multicultural identity of the city of Medan. The project coordinator, the Sumatra Heritage Trust, encouraged voluntary participation from all walks of life to restore and interpret the bridge. The project is a reminder that the success of a conservation project is not based on budget, but on support from the community. In this project, not only was the spirit of interracial cooperation reignited, the community gained a stronger sense of belonging through their joint efforts. The four mosques, among the best examples of family mosques typical of northern Pakistanâ&#x20AC;&#x2122;s Hunza Valley, were restored with assistance from the Aga Khan Cultural Service Pakistan. But the project was initiated by the elders of Ganish and executed by the villagers, generating a strong sense of cultural identity and ownership. The villagers are now better equipped to take care of the mosques in a sustainable manner, and have formed new institutions to manage their heritage assets. Emphasizing social significance and ensuring community involvement in heritage projects is an effective way to unite conservation and people. More than evoking awareness of the need to conserve heritage, this approach can generate civic pride, making a community stronger and more sustainable. The future of cultural heritage does not just depend on conserving historic buildings, or implementing heritage protection policies, it relies above all on the peopleâ&#x20AC;&#x2122;s passion and pride in their communities, their history and their traditions. Common pool area at Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques, Pakistan

UNESCO Asia-Paciﬁc Heritage Awards

Understanding Technical Issues of Conservation Spencer Leineweber UNESCO Asia-Pacific Heritage Awards Jury Member

A major criterion of the UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation programme is the approach to the technical aspects of the conservation work. This technical approach must respect and protect the qualities that underlie a site or building’s heritage significance. This significance can be derived from historical events that have happened at a particular time and place. Other sources can be socio-cultural values, special relationships from the community, including religious traditions, socio-economic movements, or governmental policies. These are often manifested in a specific design or spatial relationships, function, and aesthetic qualities of the site. Usually, special construction techniques unique to a region are reflected in the craftsmanship or quality of how the building has been put together. Despite the wide variety of projects and locations throughout the Asia-Pacific region, there was a very consistent conservation philosophy in the technical approach of the Award winning projects. This conservation philosophy included: • A careful evaluation of the site, its history and cultural values to determine the elements that contribute to the site’s significance and their condition; • A selection of appropriate functions for a site which allows for continued use of the resource without compromising any of the historic qualities; • An appropriate conservation strategy which responds to the reasons for renewal and maintains the historic materials and craftsmanship with minimal intervention from the conservation work; and • Involvement of the community which is essential to value the resource, assist in the technical work and maintain the site in the future. Careful evaluation of the site and cultural values A meticulous investigation of the history and conditions of the site is critical to understanding how to approach the conservation work. This process contains four essential steps: recording existing conditions, undertaking written research and oral histories, identifying character-defining elements, and documenting physical damage. Sometimes portions of these steps may be repeated as information is gathered that requires more research or field evaluation to verify.

Criteria D. The understanding of the technical issues of conservation/restoration in interpreting the structure’s significance.

Recording existing conditions often involves detailed measurements of the site and buildings and producing drawings that show these relationships and details. The site is also photographed so that the building can be recorded and understood before any work begins. This evaluation work results in understanding the evolution of the building including original construction and materials and how the building may have changed through time. Frequently, original materials are buried by later finishes. Documenting these layers may tell the story of the building’s use or changes in material supply or construction technology. All of these items are recorded before restoration work begins on a site. Historical research involves reviewing written and visual records and interviewing people familiar with the site. The written records may be archival government sources, documents belonging to the owner of the building, journals, newspapers, and

Award Criteria Essays

organization records. Oral histories of those familiar with the building often provide essential information for changes to the building or about special uses important to the socio-cultural understanding of the site. Analysis of the building documentation and the research must include identification of the features that define the historic character. These character-defining elements often include special materials or specific craftsmanship. These elements should be protected during the conservation work. Typically, archival research and oral history information are corroborated by the physical evidence at the building site. For example, a wood beam in a structural system must be evaluated not only for its structural capacity but also wood type, tool marks of its manufacture and shaping, joinery, and any decorative or protective finishes that are applied. All these elements contribute to the character of the wood element and should be defined first in the evaluation phase so that the repair may be approached in the most respectful manner. It is also important to understand the current physical condition of the building and record it in a systematic way before any work is undertaken. This documentation is accomplished at several different levels, beginning with an overall reconnaissance view that evaluates verticality and alignments, all the way down to a detailed investigation of materials and finishes. The detailed evaluation calls for looking at the exterior skin of the building including roof, walls and foundation, as well as the systems of the building including structural, lighting, plumbing and heating. In addition to surface investigation, a more detailed analysis of conditions is undertaken when more information about a system is required. Often a careful physical dismantling of a small portion produces information to better understand construction systems. Microscopic analysis can provide detail on the composition of mortars, the distinct colours of paint layers, and specific wood species. When an element is missing, shadow lines, colour changes, or research on buildings from a similar period can also be investigated. From this condition assessment a conservation strategy begins to develop in concert with a proposed plan for building use.

Vietnamese Traditional Folk Houses, Viet Nam

In the first year of the Awards in 2000, the Most Excellent Project was awarded to the Cheong Fatt Tze Mansion in Penang, Malaysia. The architect and developers of this project thought of themselves as “caretakers of the building, treading lightly and touching softly”. This careful approach allowed a thorough evaluation of the building to better understand the architectural character and the condition of the eighteenth and nineteenth century Chinese style and eclectic architectural elements. This “unhurried discovery” approach provided information that was not initially evident, including geomantic principles about wealth and harmony. Gold was found buried at the auspicious corners of the building to bring continuous wealth to the owners of the building. Analysis of the rain gutter drainage system indicated that water, an element of harmony in feng shui principles, ran through floors and ceilings to cool the structure and facilitate amicable social relations for its occupants. Careful study of decorative works over doorways provided information about Chinese gods and myths associated with the building that had been buried by dirt and time. Propitious sayings marked the entry to rooms. Further analysis revealed that an historic finish made from tree sap (ta cik or da qi) used to coat the beams provided termite protection for the exposed structural elements, and that the roof tiles were set in a bed of lime mortar with animal hair binder. All this information

UNESCO Asia-Paciﬁc Heritage Awards

went into formulating the approach to the future conservation work. The stabilization of the Astana of Syed Mir Muhammad in Khaplu, in the Ghanche district of Pakistan (2003 Award of Distinction) also approached the required work in a measured and analytical way. The conservation strategy relied heavily on detailed drawings of the simple structure. The significance of this community tomb was the vernacular construction techniques of the wood frame and the hand cut nature of the decorative elements. Minimal intervention and maximum retention was the strategy of the conservation in order to protect these indigenous construction techniques.

Astana of Syed Mir Muhammad, Pakistan

Analysis of the existing condition drawings indicated that the structure was leaning about 30 centimetres off-centre. Two options were considered for the stabilization: one was disassembly, the other realignment. The chosen alternative was to pull the skewed structure slowly back into alignment while carefully monitoring any stresses caused to the individual pieces. This decision was based on an examination of the structure, which revealed not only a cribbage joinery system for the inner shrine but a mortise and tenon system for the outer supports. Analysing the detailed drawings showed that the building could be moved upright by pulling at certain points using turnbuckles and cable. Disassembly was not selected because there were concerns that the multi- joinery nature of the pieces might be difficult to fit back together. Traditional techniques such as protecting the wood using linseed oil and tamping the mud roof by foot were processes repeated in the repair of the building. The conservation strategy developed in these Award winning projects was a direct result of research, documentation, and analysis. Understanding the building first before beginning the conservation work was critical to the success of these two projects. Selection of appropriate functions for the site Maintaining the historic materials, form and spatial qualities that are identified as significant to the site are important considerations in investigating new uses for a building. There must be a commitment to protect all the character-defining elements as well as an ability to continue the use of the site within the community. This requires careful choices in the technical approach to the conservation work. Several Award winning projects removed later additions that were not contributing to the understanding of the historic character of the structure. The desire to remove later additions must always first consider that the use of a structure may change through time, and often those changes become significant in their own way in telling the history of the structure. Consequently, it is important to identify in the evaluation phase the specific elements that contribute to the significance and use of the building. Deciding how and what to remove while still protecting the building’s history was accomplished with particular skill at the Guangyu Ancestral Hall in Guangdong province, China (2003 Award of Excellence). After a detailed study of the building, certain elements were identified as providing authenticity to certain historical periods in the building’s life. The conservation plan indicated how to best preserve the building’s original historical aspects and still respect subsequent and important changes to its form and design. Changes that recorded important events during the 600 years of its history were retained. The work of the previous restorations was also integrated to continue the narrative of past alterations. New

Award Criteria Essays

pieces were spliced together with old and the new portions were marked with a contemporary notation to distinguish old from new. The repair of the roof structure was also done in a traditional way: by numbering the pieces of the middle bay, removing them, restoring each piece while preserving the original materials as much as possible, and then reassembling them before proceeding on with the next bay. While the Guangyu Ancestral Hall continued with a similar use, the integration of new uses into historic buildings needs a careful design hand to add the new requirements without negatively impacting the integrity of the historic materials. The Baltit Fort in the Hunza Valley, Pakistan (2004 Award of Excellence) approached the need for balancing new uses with retaining the old fabric by phasing the repair work and approaching the work progressively. Each of thirteen different work stations recorded and analyzed the materials and then engaged in individualized repair to improve structural integrity and conserve finishes. Since each part of the large fort could be looked at as an independent unit, it allowed lessons learned in one area to improve the succeeding work. The new functions at the Baltit Fort included the incorporation of a museum and cultural centre. The new uses were integrated without damaging the historic portions. Improved safety features including fire exits, rest facilities, and new electrical and plumbing were installed in areas that allowed the new elements to be removed if necessary in the future without damaging the integrity of the original materials. Appropriate conservation strategy The best projects developed a detailed conservation plan to define the scope of work and determine how it would be accomplished. Maintaining the original materials and replacing only what is damaged is often central to the conservation philosophy. The evidence presented in the condition documentation and the demands of potential uses shape the conservation plan. It is important to undertake a critical analysis of what has caused the deterioration, in order to determine a strategy for correction. For instance, when a crack has been recorded as part of an evaluation of surface conditions, an essential component is to understand why that crack has occurred before it is repaired. The Mawsonâ&#x20AC;&#x2122;s Huts in Cape Denison, Antarctica (2000 Honorable Mention), was recognized for its careful development of a conservation plan to integrate all the unique circumstances in this very isolated and challenging site. The conservation plan outlined how to accomplish the work, acquire all the necessary materials beforehand, especially for unknown conditions, and still defer to the camp-like atmosphere of the structures. Most of the deteriorated conditions were related to the extremely high winds bearing ice and snow most of the year. Not only did the materials require attention but the conditions of construction posed challenges as well, and these were comprehensively addressed in the conservation plan. The National Archives Building (2001 Award of Excellence) was notable for its perceptive grasp of the circumstances leading to the deterioration of the building and for devising a solution to prevent future damage. The culprit of most of the damage to the walls was found to be an inadequate rainwater drainage system, which deposited water at the base of the building, leading to decay. An underground drainage system was incorporated to correct roof and surface water problems. This required careful analysis and cooperation between conservation and engineering consultants to protect the historic integrity of the resource in the routing of the new underground drainage lines and finding a solution that minimized impact on materials significant to the structure.

UNESCO Asia-Paciﬁc Heritage Awards

The conservation work also respected the integrity of the existing materials as essential to defining the character and feeling of the building. Consequently, rather than replace damaged pieces with new materials, recycled roof tiles and teak flooring from previously demolished buildings from the same historic period were used to accomplish the necessary repairs. Where millwork was damaged by termites, new pieces were spliced in to replace the damaged parts. The conservation work for materials unique to Indonesia, such as Balinese painting, relied upon local craftspeople skilled in traditional techniques. Materials should be obtained locally in conservation work if at all possible. However, sometimes techniques or materials are no longer available due to changes in the economy of an area or a loss of specific construction skills. The conservation approach of the Award winners specifically addressed the training of craftspeople in these vulnerable specialized techniques so that the buildings could be maintained in the future and similar buildings could be repaired with the new technical expertise. The Vietnamese Traditional Folkhouses project (2004 Award of Merit) was specifically conceived as a training ground for the wood craftsmanship found in vernacular residences. The training programme was a partnership between the Vietnamese Ministry of Culture and Information, the Japan International Cooperation Agency (JICA) and Showa Women’s University in Japan. Specific technical knowledge was transferred from Vietnamese and Japanese conservation specialists to local artisans. The restoration of the six houses, each using distinctive regional building crafts, developed artisans throughout the country in the necessary skills for additional conservation work. Involvement of the community

Top and above: Krishan Temple, India

Involvement of the community is essential in any conservation project and was a distinctive element in all of the Heritage Award winners. With involvement there is an understanding of the building’s importance to the history of the region and a sense of ownership for the building’s future protection. As noted earlier, in many projects training programmes in lost construction techniques were initiated to promote a sustainable economic base for these skills in future projects. Younger workmen from the community were trained by those who had skills in specialized crafts, including woodwork and stone building, as well as fresco painting and the techniques of lime plaster and mortar. Not only were these craftspeople able to repair the designated site but also gained a specialized skill to be used in future heritage projects. The benefit financially to the community was also realized as employment was provided for economically challenged areas. Community members began to value the qualities of these historic materials and specific techniques when experiencing the construction process. This had the added benefit of pulling the community members together as a purposeful group to address other issues in the community. The Krishan Temple, in Kishankot Village in Punjab, India (2001 Award of Distinction) and Lakhpat Gurudwara in the Kuchchh District of Gujarat, India (2004 Distinction) are both excellent examples of community support for historic conservation work. The restoration projects acknowledged the common social history of the region and identified the importance of the specialized construction techniques originally used in the building. One of the main objectives was to involve the community, both skilled and unskilled workers, in training in these now abandoned skills of construction. For instance, the knowledge of lime work was revived. As a consequence, the community was able to understand the importance of the building to their local identity and of using appropriate materials such as lime in future conservation work on other local heritage sites.

Award Criteria Essays

There were a number of common lessons learned in the projects that won UNESCO Asia-Pacific Heritage Awards. This was typical for the small as well as very large and complex projects. The first lesson was the importance of a careful plan before construction began and an evaluation of the process as the project progressed. Understanding the conservation issues in a project was essential in defining the work to be done. Many projects undertook evaluation and testing of special techniques in the conservation process, and made adjustments when necessary to provide the best final product. Asking for assistance from specialists when unknowns were encountered was also critical. The second was that the involvement of the community is essential for long term success of every conservation project. Strategies for this involvement included employing local workers to accomplish the tasks of conservation and developing with community input an appropriate and viable economic use of the building. Often the conservation of a building involved reviving nearly-lost technical skills specific to an area. The continued or new use of a building was the most successful when the needs of the local area were met in the conserved project. The final lesson was the importance that the conservation work of one building had on focusing the community on the value that all the heritage buildings had to the future livelihood of the community. The initiative of one project often led to the consideration that work should be accomplished on other heritage projects and to the larger realization that the conservation of heritage buildings is critical to the future of the community.

UNESCO Asia-Paciﬁc Heritage Awards

Using Appropriate Techniques and Materials Nimish Patel UNESCO Asia-Pacific Heritage Awards Jury Member

Construction and finishing materials are an integral part of the culture of any society. They play a significant role in determining the nature of a society’s built environment which, as decades become centuries, begins to be seen as its cultural heritage. The choice and use of materials reflect local environmental factors and also help to give a region its distinctive identity. They contribute to the continuity of a region’s aesthetic language which, in turn, reinforces the unique character of its built heritage. Local sources, local skills Traditionally the selection of materials was restricted to those available in relatively close proximity to the site of construction. Lack of infrastructure made it difficult to transport materials from distant sources. The manner of use became increasingly refined and articulated as knowledge grew about a given material’s characteristics, its strengths and weaknesses, the ways it could be exploited and the technologies that could be applied to it. The result—whether a fort, a bridge or a house— represented an accumulation of understanding gained through the use of materials over a long period of time. Yet it is the quality of timelessness which makes us admire structures made from traditional materials—a quality exemplified in the majestic Ahhichatragarh Fort complex at Nagaur in Rajasthan, India (2002 Award of Excellence). Built in the twelfth century and modified over the next 600 years, the site’s palaces, temples, shrines and two-tier defence wall display an increasingly sophisticated employment of local materials, including red sandstone, off-white limestone, gypsum and teak, as well as jaggery, natural gum and fenugreek which were used as binding and waterproofing agents in the lime mortar. …And local context Availability was not the sole determinant in the choice of materials. The local geographical context was important, including climate, landforms, soil types and seismic conditions. All of these factors influenced decisions about which material was right for a given building, space, or landscape. Arid regions with scant rainfall, for example, allowed for stone masonry construction without the use of binding materials. In the hot, humid climates of South-East Asia, split-bamboo matting screens were used as wall infill, allowing internal air movement while offering protection from heavy rains. Thick mud walls found in the south of China and India provided thermal mass, which reduced heat ingress and achieved desired comfort levels. In many earthquake-prone zones, the same mud walls were effectively combined with wood-framed construction to give flexibility against seismic shocks. Collective responsibility

Criteria E. The use and quality control of appropriate building, artisan and conservation techniques.

In addition, the selection of materials and technologies reflected the purpose of the buildings, the attitudes of their designers, builders and craftspeople, and their sense of responsibility towards the place. Traditional wisdom lay in making the most appropriate choice from among the options at hand. It was a decision-making process often guided by collective

Award Criteria Essays

responsibility regarding consumption of finite resources and adherence to traditional practices. These common sense principles provide the template for conservation projects today. The judicious use of materials and techniques appropriate to the heritage site contributes to the continuity of local traditions and the sustainability of the sites themselves. The longevity of traditional materials, often over centuries, is proof of their appropriateness. They were not only durable but also renewable, resulting in the creation of settlements which present a coherent whole, despite the fact that their growth was often piecemeal. This is evident in many of the cultural landscapes that have won UNESCO Asia-Pacific Heritage Awards, as well as in the streetscapes, precincts or villages that surround Award winning projects. The conservation of the Baltit Fort (2004 Award of Excellence) in northern Pakistan’s Hunza Valley demonstrates the eminent applicability of traditional materials and artisanship in the context of a 700 year-old historic settlement. For this monumental project, the building materials—stone, mud and timber—were sourced locally. They were cheap, earthquake resistant, durable and good for thermal comfort. The artisans, well versed in their use, were drawn from the nearby community. Subsequent to the restoration of the Fort, the newly revived skills have been applied in other vernacular structures in the immediate neighbourhood and also in other historic villages facing similar concerns. This in turn has generated demand for traditional crafts and re-established their relevance in the contemporary context. A natural evolution Almost all the built environment in the Asia-Pacific region has evolved using the primary materials of mud, brick, stone, wood, bamboo, cane or grass, bound with various applications of mud and lime. Where one of these materials was in abundance, it was used throughout the building, from the foundations, walls, columns and beams to decorative elements such as screens and brackets. Such buildings demonstrate a highly creative mastery of the characteristics of the dominant material. An impressive example is Rumah Penghulu (2000 Honourable Mention), originally a village headman’s home in the Malaysian state of Kedah, now restored and relocated to Kuala Lumpur, Malaysia. Built in the 1920s and 30s, the elegant residential ensemble was made entirely of local timber, except for the clay-tile roof. Structural components were hewn from hardwoods and non-structural elements, such as fretwork archways, carved from a softer wood. Another example is the Kow Plains Homestead (2002 Honourable Mention) in the pastoral Mallee region of Victoria, Australia. The homestead is mainly made of unsawn pine logs slotted horizontally between saplings attached to load-bearing posts—a simple but effective technique known as drop-log construction.

UNESCO Asia-PaciďŹ c Heritage Awards

Timber: a material for all seasons The extensive use of wood in the region is not surprising: Historically it was the most accessible natural material other than mud and stone, and remains the most regenerative of the primary building materials. The appropriateness of timber as a construction and finishing material is not questioned as much as its volume of use. Alarmed by deforestation, inadequate replanting and the unabated demand for timber, concerned citizens are calling for a reduction in its use worldwide. But in architectural conservation, the use of timber is essential for authenticity and appropriateness. Perhaps we should look again to tradition for possible solutions. In times past, the southern Indian states of Kerala and Goa had a custom whereby a few teak trees would be planted at the birth of a child, so that when both reached maturity 25 years later, the trees would provide timber for a new home, or to renew an ancestral home.

Jin Lan Tea House, China

Wood has been used for almost all the components of the built environment, of any nature, scale or complexity. In China for example, the variety of methods and elements, from simple joinery to complex woodwork, in any historic settlement reflect the ingenuity of the local craftspeople and their understanding of the properties and potential of wood. The Jin Lan Tea House (2001 Honourable Mention) in Kunming displays the full panoply of wooden elements. Its timber frame bears the weight of the roof and floor in the two storey courtyard house, and is flexible enough to be dismantled for structural changes; wooden panels divide the interior space into rooms; and fine latticework, richly carved lintels and fascia panels decorate the wooden faĂ§ade. South-East Asians, too, have demonstrated highly imaginative and effective ways of using timber, and combining it with bamboo, cane and grass in their built environment. This multiplicity of styles and uses is illustrated by an ambitious project that restored six Vietnamese Traditional Folkhouses (2004 Award of Merit) in six villages across the country. The loadbearing structural frames of the six houses, ranging in age from 100 to about 270 years, were predominantly made of local timber. But the conservation project revealed that the assembly and joinery of the wooden members were significantly different among northern, central and southern Viet Nam structures, requiring different restoration techniques. Masonry: stone, mud, brick and lime Stone, mud and brick have been used as primary building materials for centuries throughout the Asia-Pacific region. The composition and properties of different stone types determine their potential for different uses. Granite, for instance, is primarily used for floor and wall finishing, limestone for floor and wall finishing as well as for masonry works, and sandstone for floor and wall finishing, masonry, intricate carving and sculptural works. Brick has produced a variety of built forms, from load-bearing walls to articulated fenestrations, while mud has been used widely to make bricks and adobe, combined with wattle, or simply used as rammed earth. Mud has also been used extensively as mortar in masonry constructions in hot and dry climates. But the universal binding material in traditional structures was limeâ&#x20AC;&#x201D;made from limestone converted to quicklime and then to hydrated or slaked lime. Thanks to its widespread availability and versatility, lime has been used as mortar, plaster and floor finish. In the past, builders soaked quicklime in water in metal troughs made at the job site. The slaking process could take a few hours to several days. To make aged lime putty used for plaster coatings, it could even take a number of years.

Award Criteria Essays

Used in combination, stone and lime complement and support each other in the totality of the building fabric. Masonry construction using lime mortar, lime plaster and an annual application of lime wash results in structural homogeneity, and thus great strength and durability. Of the numerous examples to be found in the Asia-Pacific, especially in India and Pakistan, the Lakhpat Gurudwara (2004 Award of Distinction) stands out. The Sikh pilgrimage site, in Lakhpat Village, Kuchchh district, Gujarat, houses relics sacred to the Udasi sect. The courtyard complex was built with local limestone and red sandstone bound with lime mortar and overlaid with a fine coat of lime plaster. Carved stone balconies protrude from the external walls and stone decorative features are built into the masonry. The conservation project rigorously used locally sourced limestone and sandstone, ensuring that the work would be easily replicated in the event of future repairs. Local people were trained in the techniques of making lime mortar with slaked lime, sand and small shell aggregate, as well as lime plaster and grouting. Industrial materials: a challenge for conservation The age of industrialization brought rapid technological advances which drastically changed attitudes towards time-tested traditional materials. The emergence of new materials greatly widened the range available for construction. New modes of transportation and means of communication spread these products across the globe. An ever faster pace of life and pressure of time popularized their use. This reality has posed one of the biggest challenges to heritage conservation everywhere. As the choices have continued to multiply, so has the use of new and inappropriate materials in conservation projects. The selection of appropriate materials separates a good conservation project from a not-so-good one, and makes the former more sustainable than the latter. Three factors determine the appropriateness of materials in any conservation work: their being local and natural; their continued use over time and their longevity; and their chemical congruence. The last factor basically means how well the different materials work together. For example in many of the winning Indian projects, a traditional method of waterproofing the roof was applied, which uses a 300 millimetre layer of lime, jaggery and fenugreek over flat stone slabs, with inverted earthen pots for insulation. This combination of materials has lasted decades if not centuries. Contemporary waterproofing techniques, in comparison, use several layers of bitumen-based and other polymerised chemicals that have less affinity with each other. This technique carries a maximum 10-year guaranteeâ&#x20AC;&#x201D;and even that is questionable in many cases. Cement vs lime: inherent differences One of the most significant turning points in the evolution of the built environment is the introduction of cement as an effective binding material and reinforced concrete as a readily available technology. Both have helped reduce the construction period dramatically. Consequently, they have gained huge popularity in contemporary construction, virtually replacing lime mortar and plaster as a binding material almost everywhere. However, cement and lime have differing characteristics. Cement-based technology helps in gaining structural strength early and saves time, but has little inherent congruence and thus less longevity. Lime-based buildings reach their strength gradually until it acquires an almost rock-like quality in its composite construction time, and are known to last centuries. Unfortunately, cement-based technology is used in many conservation projects, even in lime-based historic structures.

UNESCO Asia-Paciﬁc Heritage Awards

This practice brings to the conservation process an inherent incongruence that ends up adversely affecting the life of the building. The water needed for mixing and applying cement, for example, leads to corrosion of the steel bars in reinforced concrete, limiting the longevity of the intervention. Lime-based intervention, on the other hand, integrates itself more cohesively with the historic structure, prolonging its life rather than truncating it. Take, for instance, the Jaisalmer Streetscape Revitalization Project (2002 Honourable Mention) within the 800-year-old fort of Jaisalmer in Rajasthan, India. In the two residential streets under conservation, the prevalent use of cement to repair the traditional sandstone houses had led to cracks in the stone walls and the need for yet more repairs. Replacement of the cement with traditional lime mortar helped to deal with thermal stresses and prevented the stone from cracking, leading to greater structural stability. Additionally, lime mortar was more aesthetically compatible with the distinctive golden-hued sandstone of Jaisalmer, and the making of the lime locally led to the revival of a lost skill. Similarly, only lime was used in the restoration of the Chanwar Palkhiwalon-ki-Haveli (2000 Excellent Project), for which my partner and I served as the lead heritage architects. To retain the chemical compatibility of this ornate, centuries-old mansion in Amber, Rajasthan, the craftspeople used lime in the rendering, the plastering and the finishing. Preparation of aged lime putty for the araish decorative plaster wall-finish took as long as a year. In the words of one of the master craftsmen who worked on the haveli, “the life of cement-based building ends at 90 years, and the life of lime-based building begins at 70 years”. In their experience, limestone, lime mortar, lime plaster and many layers of lime wash over decades become a homogeneous entity, surviving for centuries with minimum maintenance. The rediscovery of traditional materials at the haveli provided the much-needed impetus for the revival of traditional building trades in Amber. The project’s original five craftsmen have all become contractors, employing about 100 people among them, ten years after they started working on the haveli. Vanishing skills Top and above: Chanwar Palkhiwalon-ki-Haveli, India

Indeed, many UNESCO Heritage Award-winning projects have stimulated a revival of the traditional crafts necessary to restore the buildings with the authenticity they deserve. An admirable case is the conservation of the University of Mumbai Library Building (2001 Honourable Mention), which involved the training of local glaziers to repair its beautiful Victorianera stained glass windows. The craft of stained glass, imported to India during British colonial rule and adopted in local buildings of the Victorian Raj, was gradually lost after independence. Three British experts trained seven local artisans to clean, cut, repaint, re-solder and treat the stained glass panels. With their new skills, the Indian glaziers have since worked on stained glass repairs in other parts of the country. Such craftspeople, however, represent a rare renaissance of a form of intangible heritage that is elsewhere under threat. The vast body of knowledge about traditional materials and techniques is carried by a rapidly diminishing number of craftspeople. Over many generations, these skilled communities have developed a mastery of local materials and the most effective methods of using them. In many countries of the Asia-Pacific, such skills still survive, although there is little demand for them, heightening the risk of their extinction.

Award Criteria Essays

Local wisdom about the use of traditional materials and technologies is not fully documented. Nor is it possible to formally document a knowledge acquired through years of apprenticeship and other hands-on learning processes, normally passed on from one generation to the next. In the past half century, lack of familiarity with traditional practices among professionals emerging from the modern education system has sharply decreased demand for time honoured artisanal skills, which are likely to disappear eventually. If and when that happens, we will lose a significant part of our cultural heritage. The losses would include: • A holistic understanding of local natural materials, their mutual compatibility, their strengths and weaknesses and ways to overcome the weaknesses. • The ability to differentiate between usable and non-usable materials through sight, smell, touch and sound, without the aid of “scientific” evaluation techniques. • A time-tested knowledge of the longevity of different materials, and methods of further prolonging their life by selecting the most appropriate ingredients and their use in correct proportions. • The attitude of balancing the consumption of the materials with their availability, so crucial for the conservation of scarce resources. • The ability to evolve simple solutions for most situations, often more desirable in the long term. • A creative approach to finding solutions within the overall aesthetic paradigm that gave historic settlements both their coherence and their distinctive identity. • The sequencing of decision-making and execution that is conducive to the characteristics of the materials used. • The pursuit of quality and pride in work over cost-cutting, time-saving and other economically expedient measures. Conserving built heritage is important, but conserving the knowledge, the crafts and the skills that made the buildings worthy of being deemed heritage is even more important. While their revitalization in conservation projects is to be applauded, such skills will only be retained if architects and other professionals increase their familiarity with them and their use, even for newer projects. It is evident from the UNESCO Asia-Pacific Heritage Award winners that materials and technologies are inherent to the unique language and enduring significance of each locality’s built cultural heritage. It would augur well for the continuity of this rich heritage if the present generation of architects, engineers, designers and conservators would respect and emulate these important lessons from tradition.

UNESCO Asia-Paciﬁc Heritage Awards

Adding New Elements

Spaces enclosed by buildings inevitably evoke some kind of response. Whether it is the simple intimacy of a vernacular dwelling or the soaring grandeur of a religious monument, the inherent spatial quality has the power to engage people in some way through their feelings or memories. It is not surprising then that the general view of the success or failure of a building’s conservation is coloured by how well that spatial quality is maintained.

Susan Balderstone

“How well any added elements or creative technical solutions respect the character and inherent spatial quality of the structure(s)” is one of the criteria for the UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation. The criterion is probably most difficult to satisfy when the project involves a major change of use, such as from a factory or warehouse to a hotel, office or apartment building, or from a public building to a private use. In such cases retention of the structure’s internal fabric and artefacts is not always easy to achieve, and retention of major industrial or public spaces can be difficult to argue on economic grounds.

UNESCO Asia-Pacific Heritage Awards Jury Member

Character and inherent spatial quality as components of cultural significance In establishing this criterion it was accepted that character and inherent spatial quality are part of the cultural significance of a structure. They may have aesthetic and architectural value, but in particular they relate to the function for which the building was designed and are an expression of the historic and social values of the place. Religious buildings In the case of religious buildings the interior spatial quality of the structure is usually a major part of its significance as a religious meeting hall and place of worship. The interior may also be of architectural value in itself, by virtue of its design and decoration. At the Award-winning Ohel Leah Synagogue in Hong Kong SAR, China (2000 Outstanding Project), the high, barrel-vaulted space, with its public area and gallery focusing on the location of the ark and Torah, is key to understanding the communal and spiritual use of the building. The social value component of the cultural significance of this building resides in these aspects. It was not difficult to respect the spatial organization in this particular conservation project as the building was to continue in its existing use as a synagogue. The design and decoration of the interior contributes to the architectural significance of the building as an expression of the Edwardian Baroque style of the period, and this was conserved through repair of leadlight windows, plaster mouldings and timber joinery. Criteria G. How well any added elements or creative technical solutions respect the character and inherent spatial quality of the structure(s).

Public and institutional buildings Public and institutional buildings such as government office buildings, law courts, prisons, schools or mental health hospitals can often present greater problems. These have usually been altered considerably over time due to changing occupation standards and the introduction of modern services. Law courts, prisons and hospitals will most likely retain at least some

Award Criteria Essays

of the spatial definition that relates to their function, for instance courtrooms with their judge’s bench, witness box and public gallery, and prisons with open double or triple height corridors leading to banks of cells. However, government office buildings are often a rabbit warren of rooms off corridors and may present only a public foyer and staircase, and possibly some vaulted basement storage rooms full of archived files, to indicate public use. The public foyer may be quite grand in scale and elaborately decorated, as for instance in the Award-winning Medina Grand Adelaide Treasury (2003 Award of Merit), indicating the importance of its public function. This project converted the former Adelaide Treasury Building, once an important government building for the state of South Australia, into a hotel and serviced apartments. The works revealed the quality of the public spaces such as foyers, stair halls and corridors by removing false ceilings and redundant services. The former cabinet room was retained as a significant space, a place where important decisions affecting the state of South Australia were made. The character of the former Treasury as a public building on one of South Australia’s most important colonial sites was captured through exposure and conservation in situ of the section of sandstone wall remaining from the original 1839 building. This archaeological remnant in what is now the main entry lounge is an immediate connection to the site’s colonial past, and a feature of considerable public interest.

Medina Grand Adelaide Treasury, Australia

Industrial structures Industrial structures are likely to present the biggest challenge in relation to this criterion. In general they are not only being conserved but also recycled, usually for a use which is very different from their original purpose. Industrial places represent production processes. They need to be analysed in terms of four kinds of historical context: chronological, typological, social and geographical. The chronological and typological context both relate to function, in that the place needs to be analysed in relation to scientific and technological developments in the particular function over the relevant time scale. The social context includes the economic value of the process to the community, region, or nation, and also covers power structures and worker-employer relationships. The latter may extend to the provision of workers’ housing or other provision such medical care for workers and their families, recreational or child care facilities. The geographical context includes proximity to raw materials, other similar or associated industries, transport and labour force. The current context of the place may of course be considerably different. The buildings may already be used for other purposes than those for which they were originally designed, or they may have been modified over time to accommodate new technology, or they may have become obsolete and no longer be in use. The topographical context may have changed due to the industrial processes themselves, such as open cut mining. In the case of obsolescence, the people who once worked there may have moved away. The place may now be a remnant associated with a “ghost town”.

UNESCO Asia-Paciﬁc Heritage Awards

Redundant industrial structure may therefore be difficult to understand and need careful analysis. It is not only the physical fabric of industrial structures that is important but also the information they give about the processes they accommodated. In the case of the Award-winning industrial structures, such as the Bushell’s Tea Warehouse in Sydney, Australia (2001 Award of Distinction) and the Tea Factory Hotel in Kandapola, Sri Lanka (2001 Award of Merit), the character of the interior spaces related directly to the industrial processes carried out there. The character of the Bushell’s Tea Warehouse derived from the exposed structural members and from the in situ tea handling equipment including hoppers, spiral chutes and lift shafts within a well-lit, open space. These demonstrated the function of the building and are thus part of its historic value. Similarly, the character and spatial quality of the Sri Lankan Tea Factory derived from the internal open air shaft essential for the movement of hot air which dried or “withered” the tea leaves and the large fans on either side of this space which drew the heated air from the basement furnace. These features enable understanding of how the building operated historically and are part of its significance. In both these projects these culturally significant aspects of the place were respected and retained. Suzhou River Warehouse, China

Another Award winner, the Suzhou River Warehouse project in Shanghai, China (2004 Honourable Mention), retained an open spatial character and exposed structure that demonstrated its historic function as a warehouse, but lacked the industrial artefacts that would more clearly have identified it as a grain store. Reuse issues The recycling of historic structures needs to be based on the results of investigations into their cultural significance and their structural condition. The economics of any reuse proposal will be of prime importance, so accurate estimates of the required works are required. In many cases such estimates will have to include not only the capital costs of the building works, but also the future running costs of the proposed use, including maintenance of the facilities, in order to demonstrate that the proposal is economically viable. This is particularly the case where a museum, recreational or community use is proposed. It is of great importance to understand the significance of the place, and the relative technological value of the structure before making decisions about use. It is necessary to consider functional adequacy, strength adequacy, serviceability, fire and accident safety as well as financial return. Many industrial buildings used innovative structural techniques developed in the late nineteenth and early twentieth centuries. However, any new use has to conform to current relevant statutory requirements and this may not be possible without structural modification. For example in the Tea Factory Hotel project, the original steel structure was not designed to accommodate the greater loads imposed by the new hotel use and needed to be augmented. Steering committee When the proposed recycling of a heritage building generates considerable public interest, a useful approach can be to set up a steering committee to oversee the project. This is most often done where a government agency has assumed control of the site and buildings, rather than in the case of a private owner or development company. Committee members are not usually paid for their time and the success of this approach depends on the interest and commitment of the steering committee members. The committee will usually include representatives from the relevant heritage agency, local council and

Award Criteria Essays

local interest groups. Ideally it should include someone with financial skills, someone with legal knowledge and someone in business. In order to collect local views on possible uses for the place, it can be helpful to run an Open Day at the site and issue a questionnaire to visitors, asking them to complete it and hand it in to the organizers at the end of their visit. Adjacent property owners and neighbours should be specifically invited. The steering committee members can make use of the opportunity to canvass ideas either formally through a presentation or informally through talking to visitors. Ideas generated in this way need to be followed up through investigating the market for them. Local council staff, local businesses and real estate agents can be helpful in this regard. Many of the winning projects have relied upon an active steering committee to carry forward the momentum of the restoration work. In the case of religious buildings, members have been typically drawn from the existing temple or church committees. For instance, for the Catholic Cathedral of the Immaculate Conception in Hong Kong SAR, China (2003 Honourable Mention), the steering committee was composed of devoted parishioners, engaged not only in key decision making but also in mobilizing the wider congregation to provide input and comments at all stages of the project, even in technical matters such as selecting the building’s lighting schemes. Feasibility study A feasibility study can be a useful tool when adapting a heritage building for new uses, provided it follows a logical process. Ideally, the feasibility study should: • Summarise the heritage assessment, conservation policy and action plan for the place. If a Conservation Plan has not been done already, this work will have to be commissioned prior to commencement of the feasibility study. • Set out the various reuse options proposed by the steering committee, following community consultation. • Assess these options against the conservation policy for the place and propose a preferred option or options. • Assess the preferred option(s) against financial, business and market criteria. This is where a realistic estimate of the capital works involved in refurbishment and additions must be made, together with realistic projections of financial return against investment. • Recommend the preferred proposal and set out the financial objectives for a Business Plan. • Propose a programme for implementation, covering access to grants and other funding sources, in relation to the construction programme and cash flow requirements. The feasibility report should include the plans, existing condition schedules and design images of the proposal on which the estimates are based, together with descriptions of site information, contextual framework, any proposed new installations, building additions, proposed rental schedules, market study, financial plan or other relevant concept designs used as a basis for costing the overall project. For the Bushell’s Tea Warehouse project, the real estate developer relied upon the feasibility study to determine the commercial viability of the proposed restoration project. The building’s industrial typology appeared to be an unusual choice for commercial adaptation at the outset. In fact, the feasibility study revealed that it had the potential to attract a certain niche of tenants seeking precisely that unique character, and indeed, would be willing to pay a premium for such a space. This allowed the project to proceed and to realize a steady stream of revenue which has funded not only the initial investment, but also the ongoing maintenance of the property.

UNESCO Asia-Paciﬁc Heritage Awards

Added elements and creative technical solutions Reuse and recycling projects often require the addition of new buildings. Even in cases where a monument or museum use is proposed, a new building may be required to accommodate a visitors’ centre, shop and toilets. The need to provide access for disabled people may require the insertion of ramps or lifts. There can be a difference in opinion between how architects want to approach the design of new buildings on heritage sites and the views of the general public. The former may want to use new forms and materials, while the public may be happier with an historicist approach. However, what is important is not that new buildings should directly imitate past styles, but that they should be well designed with respect to their context. Special regard should be had for such matters as scale, height, form, massing, the traditional pattern of frontages, vertical or horizontal emphasis, and detailed design. One approach is that the addition or annex should not dominate the heritage structure. Another approach is to separate the new building or annex from the original. This was done successfully with the new lift tower and foyers for the Bushell’s Tea Warehouse, and the small new building at the Ohel Leah Synagogue. The latter was needed to house additional facilities and was constructed in granite, steel and glass, connected by a bridge to the synagogue through an existing opening. Similarly, at the Tea Factory project in Sri Lanka, the second stage proposes a separate, glass-domed structure away from the existing building but connected by a basement tunnel.

Ohel Leah Synagogue, Hong Kong SAR, China

With large industrial structures it may be possible to add smaller elements such as new stairs, access ramps or lifts required for disabled access unobtrusively within the structure. Sometimes they must be placed on the exterior of the building, as in the case of the new lift and stair added to the exterior of the Ohel Leah Synagogue. There the approach was to create a minimalist structure which sat well against the blank wall of the building. However, in a more traditional or vernacular building, a new stair could be constructed as a continuation of the existing traditional or vernacular style. In either case it can be done in such a way that the element may be readily dismantled in the future, without damage to the existing building should the element no longer be required. This principle of reversibility applies to all such insertions and additions, external or internal. A common issue in adapting large warehouse spaces is the introduction of internal partitions. The design needs to suit the new use but not detract from the character and integrity of the space. At the Suzhou River Warehouse, which was converted into a design office, the use of screens with an almost sculptural quality created innovative work spaces without detracting from the quality of the overall space or impeding views of the structure. The screens can easily be removed without change to the structure if and when they are no longer required. Reuse and recycling will almost always require the installation of new services, and possibly structural modification. Respect for the character and spatial quality of a heritage building will mean dealing with these in ways that have minimal impact. The approach demonstrated in the Award-winning projects was that in high quality architectural interiors, services should be concealed. The Ohel Leah Synagogue and the Medina Grand Adelaide Treasury projects took this approach. However in the industrial buildings the inserted services and structural modifications were often exposed as a continuing expression of industrial character, although clearly evident as new work. There were a number of different creative technical solutions to the problem of inserting new services in Award-winning projects. At the Bushell’s Tea Warehouse, raised access floors were provided to accommodate new cabling and give flexibility for office use. This was a less obtrusive solution than the more usual overhead cable trays or false ceilings.

Award Criteria Essays

Pipes for hot and cold water, and ducts for heated or cooled air have usually been accommodated in false ceilings. However in order to retain the integrity of the architectural interiors at the Ohel Leah Synagogue and the Medina Grand Adelaide Treasury Hotel, piping was located in the floor space and individual air-handling units were used to avoid the need for ducting. In the former project, the individual air-handling units were floor mounted as unobtrusive joinery items. At the Medina Grand Adelaide Treasury Hotel, they were installed in the false ceilings of subsidiary spaces such as bathrooms and utility rooms. New lighting and fire services were suspended and exposed under the ceiling at the Bushell’s Tea Warehouse in such a way as to allow clear views of the structure. In architectural spaces where this is not acceptable new electrical wiring can sometimes be fed through existing concealed gas piping which supplied the original gas lighting fixtures. In multi-storey buildings a location for the main service riser is often difficult to find. At the Bushell’s Tea Warehouse, an existing light well was used. In public buildings such as the Medina Grand Treasury, old ventilation shafts concealed in the existing structure can often be used. Chimneys are another possibility. External service elements can sometimes be innovatively concealed as demonstrated by the Bushell’s Tea Warehouse project and the Tea Factory Hotel. At the former, use was made of an existing architectural feature—the “temple tower”, which once housed a water tank, for the new cooling tower. Meanwhile, the new kitchen of the Tea Factory Hotel replaced the original boiler room and the existing chimney now accommodates the kitchen fume exhaust pipes. “New work should be readily identifiable as such” The approach taken in the Award-winning projects involving additional buildings or new insertions is essentially in accord with the philosophy of the Australian Burra Charter, Article 22, which states: “Newwork work such as additions to the may bewhere acceptable where it or does notthe distort orsignifi obscure “New such as additions to the place mayplace be acceptable it does not distort obscure cultural cancethe of cultural cance ofitsthe place, or and detract from itsNew interpretation appreciation. Newbulk, work may be the place, signifi or detract from interpretation appreciation. work may beand sympathetic if its siting, form, scale, sympatheticcolour if itstexture siting,and bulk, form,are scale, character, colour texture and material areavoided.” similar to the existing character, material similar to the existing fabric, but imitation should be fabric, but imitation should be avoided.” The general principle followed is that new additions should be well designed but treated as a separate structure where space allows. They should be distinguishable from the heritage building, but not dominate it. New services and structural modifications should be able to be identified as new work but designed to have a minimal impact on the character and spatial integrity of the interior. For example, structural modifications required for the Sri Lankan Tea Factory Hotel were clearly designated by painting the new steel a different colour from the original steel structure. However, while colour designation of the new steel in the Tea Factory Hotel worked in that particular case because of the way in which the bracing pattern fitted the overall design, it is not necessarily a preferred approach. The principle is that new insertions should not dominate the interior. Of course it is never possible to remove subjective appreciation of design from the evaluation process. It is not intended to prevent the opportunity to propose innovative and creative solutions to the problems of adding new elements to heritage places. The approaches and principles described above are intended as a guide and, bearing this in mind, sensitive designers will find their own successful solutions.

UNESCO Asia-Paciﬁc Heritage Awards

Contributing to the Community’s Cultural Continuum Johannes Widodo UNESCO Asia-Pacific Heritage Awards Jury Member

Why give awards for the conservation of cultural heritage? Simply because conserving, restoring and sustaining our heritage is the best way to ensure the continuation of the diversity of our cultures. Built heritage is a tangible expression of that diversity and is also the environment that keeps alive the range of identities, practices, customs, histories, traditions and memories that make up our intangible heritage. Cultural continuity is possible only through the preservation and passing on of local heritage, in all its diversity, from generation to generation. This diversity faces serious challenges in the age of relentless globalization and mass consumerism. Contemporary urban landscapes featuring look-alike high-rises, identical fast food franchises, uniform chain stores and other homogenizing forms of modernity have led to the loss of local character and the erosion of cultural identity. Often, this is done in the name of economic development. But policy makers and planners have tended to take a top-down approach, treating people as the object of development and giving them little say in decision-making. In the field of conservation, this is manifested in the process of urban “redevelopment”: large swathes of historic urban fabric being taken over by government or property developers, with the original inhabitants evicted and the building shells turned over to commercial uses—or even worse, the entire structure razed to make way for shiny new buildings. Fortunately these negative trends have triggered a reaction from local communities and civic organizations, which are emerging in many countries to regain control over their environment, to rebuild community ties and to protect their own heritage. To increase their leverage, various heritage bodies and non-governmental organizations are cooperating in alliances and networks, and even with government institutions. International organizations such as UNESCO actively support them as individual groups or through the networks. This has resulted in a movement towards more equal partnerships among all stakeholders. While top-down decision-making and commercial exploitation remain threats to heritage conservation, more and more people are uniting in their desire to rediscover their unique history and restore their distinctive architecture—and, in the process, to strengthen their sense of community. The UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation programme seeks to encourage this positive trend. Winners have to excel in 11 criteria, one of which is “the manner in which the process and the final product contribute to the surrounding environment and the local community’s cultural and historical continuum”—in other words, a project’s method and outcome must not only conserve the physical structure, but must also help to sustain, or even enhance, the local community’s ways of life.

Criteria H. The manner in which the process and the final product contribute to the surrounding environment and the local community’s cultural and historical continuum.

A project can further a community’s cultural and historical continuity in many ways: as a backdrop for intangible cultural and social practices, as a repository of local history, as a heritage educational facility, as an expression of artistic and craft traditions, as a space of traditional socio-economic modes of production or consumption, or as a focus of community identity. Exemplars of any combination of these qualities can be found among the Award winners; some projects embody all of them. Such an holistic approach, for example, is epitomised by the Jaisalmer Streetscape Revitalization Project in Rajasthan, India (2002 Honourable Mention), which perpetuated the unique character of two traditional residential streets within the 800 year-old fort. The project sought not only to repair physical fabric, but to maintain the totality of a traditional community’s ways

Award Criteria Essays

of life—from modernizing drainage and sanitation systems to replacing unsightly cement on houses with traditional lime mortar; from reviving the fading skills of local artisans to educating owners about how to conserve their properties, and strengthening the residents’ role in the maintenance of their living environment. This kind of a multifaceted approach is also demonstrated in the conservation of a single building, Cheong Fatt Tze Mansion (2000 Most Excellent Project), built by and named for the self-made tycoon who personified Penang’s commercial ascent and cosmopolitan lifestyle in the late nineteenth century. Through rigorous historical research followed by the use of traditional materials, skills (with artisans imported from China) and construction techniques, the mansion was able to express again the richness of its cultural symbolism and historical layers. The site interpretation, through publications and guided tours, relates the story of the house and its owner to the larger history of Malaysia’s immigrant Chinese community. Its celebration of the Penang story brings the past into the present, and its reuse as a small hotel restores its historical function as a residence. While many Award winning projects have had multiple effects on their community and its capacity to sustain its collective memory, some illustrate the successful implementation of one aspect particularly well. Reinforcing community identity Historic places of worship have provided a focus of identity and continuity in many communities. Often, a community group’s passion for preserving its religious heritage has helped to sustain its “cultural and historical continuum”, strengthening its sense of identity amid frenetic development all around it. Such was the case with the century-old Ohel Leah Synagogue (2000 Outstanding Project), whose painstaking restoration to its original state was driven by the small Jewish community in Hong Kong. The high standard of the work done there, with modern services integrated harmoniously into historic fabric, ensures that the building will continue to serve as a Jewish spiritual and social centre far into the future, even as high–rise condominiums tower around it. The restoration of wall paintings at the Dorje Chenmo Temple (2004 Award of Merit) in Ladakh, northern India, was a project of a much smaller scale and completely different nature, but served the same goals—to maintain a community’s distinctive traditions that give it confidence and cohesion. The traditions of the devoutly Buddhist villagers of Shey include an annual ritual in which the spirit of the temple deity, Dorje Chenmo, is believed to enter the body of the village oracle. The deity obviously appreciated the work done on her shrine by the villagers, under professional guidance. After the dirt encrusted and partly damaged wall paintings were stabilized, cleaned and touched up, plus minor structural repairs undertaken, the deity, through the oracle, expressed great satisfaction with the villagers’ efforts. This not only reinforced the Buddhist practice of merit making but validated the “new” practice of conservation among the local community, strengthening their commitment to preserving their heritage.

UNESCO Asia-Paciﬁc Heritage Awards

A moving non-religious project that brought together a fractured Indonesian community was the relatively simple restoration of the Virtuous Bridge (2003 Award of Merit), built in 1916, in Medan, Sumatra. Completely undertaken by local residents, conservation of the bridge’s lamps, pillars, railings and inscriptions allowed the community to share in rediscovering the multicultural legacy of the city. The final product, interpreted in a bilingual narrative of that legacy on a plaque beside the bridge, contributes to this historic continuity and hopefully to better intercultural understanding. Keeping the past for the future

Gota de Leche, Philippines

The outstanding work on the Guangyu Ancestral Hall (2003 Award of Excellence) in Guangdong province, China, shows how local history can be revealed in the process of conservation and retained in the final product. During the process, significant traces of periods and renovations in the building’s life, from the Ming dynasty to the Cultural Revolution, were discovered and preserved through traditional craftsmanship or thoughtful restoration methods. In the final product, these historical layers are displayed like an open book—from ancient murals to revolutionary slogans—presenting a three dimensional, living record of the history of Qiangang village and its founding clan. The once abandoned hall has been returned to its traditional uses—by the clan to worship its ancestors, and by villagers for festivals and gatherings. In Australia, a highly symbolic moment in Aboriginal history lives on, thanks to the restoration of the Australian Hall (2002 Award of Distinction) to its state in 1938—the year in which the indigenous community held the Day of Mourning conference in the hall to mark the 150th anniversary of the arrival of British settlers. The red-brick building, saved from demolition by the Aboriginal community, has been sensitively restored as a physical reminder of the Aboriginal civil rights movement. By commemorating the community’s long struggle against persecution and inequality, the Australian Hall also has renewed Aboriginal awareness of and pride in their history. Intangible cultural and social practices Tangible heritage needs to be preserved because it provides the place in which intangible heritage happens. Historic places are, literally, irreplaceable once lost and their loss often leads to the diminishing of practices associated with the place. These include artistic traditions and craft skills expressed in the construction and decoration of buildings and passed on for generations through apprenticeship. No more inspiring backdrop for intangible cultural practices can be found than Ahhichatragarh Fort in Rajasthan, India (2002 Award of Excellence). After 30 years of neglect, the restoration of the sprawling twelfth century fort complex bequeathed a huge public venue to the community of Nagaur. The conserved palaces and grounds now host traditional festivals, cultural and religious events. And the conservation work resurrected historical activities—for example, a new generation of craftspeople were trained in traditional construction methods, such as the hitherto forgotten art of carving jallie (stone lattices). But intangible heritage encompasses less obvious traditions than arts and crafts—social practices, for example. The conservation of the Gota de Leche building in Manila (2003 Honourable Mention), not only protected a beautiful tropically adapted Italian Renaissance building, but also allowed for the continuation of its community service use. The restoration of the building to its former architectural distinction put the building back in the public limelight, attracting generous sponsorship for its community programmes.

Award Criteria Essays

Continuity of crafts and skills Conservation is a virtuous circle. The prerequisite for sustaining intangible heritage is the faithful restoration of the tangible, built heritage. And the prerequisite for restoring built heritage is the continuation or recovery of traditional building and decorative skills, which are part of the intangible heritage of the local community. In conserving tangible heritage, dying arts and crafts therefore need to be revived, through the training of the local people. Commmunities should be aided to discover, respect and care for their own cultural resources and empowered with the technical skills that enable them to do so. Only in this way will the long term survival of our heritage be assured. Several UNESCO Asia-Pacific Heritage Award winners exemplify grassroots training efforts to enable local communities to undertake local conservation. Take the restoration of Wat Sratong in Ban Bua village, Khon Kaen, Thailand (2002 Award of Merit). Work on the temple’s ordination hall was entirely and voluntarily undertaken by the villagers after on-site technical training by the local university. In the process, they learned traditional construction and finishing techniques that they will be able to use for future repairs, besides gaining a strong sense of ownership over the project.

Dadabhai Naoroji Road, India

A similar example is the restoration of the centuries old Chanwar Palkhiwalon-ki-Haveli in Amber, Rajasthan, India (2000 Excellent Project). During conservation work on this grand and intricately decorated mansion, a large number of local artisans were recruited and trained, especially in the making and application of decorative lime plaster, a traditional skill that had been lost. The training enabled several master craftspeople to subsequently set up their own businesses specializing in historic conservation. The Hoi An Town Preservation Cooperation Project (2000 Excellent Project), in which Japanese and Vietnamese experts and local artisans restored several traditional homes and shops in the Hoi An World Heritage Site in Viet Nam, was another model of skills transfer which enabled the project to be sustained by the local community after the experts left. Old economic spaces in the new economy Modes of buying and selling, trading and manufacturing are as culturally distinct as they are varied. The marketplace is often a microcosm of local life. Historic spaces of commerce and industry are eminently worthy of conserving, and several have won Awards for doing it. Old commercial streets that successfully implemented conservation plans include Zhongshan Road (2001 Award of Merit), a mile long vista of 1920s and 1930s shophouses in the southern Chinese port city of Quanzhou, and Dadabhai Naoroji Road (2004 Award of Merit), a bustling streetscape of nineteenth century bazaars, pedestrian arcades and Neo-Classical buildings in Mumbai. In both cases, structural stabilization, façade repairs and removal of incongruous additions, restored their historical character and enhanced their commercial vitality. In the Mumbai case, the street’s shopkeepers, residents and other stakeholders have voluntarily formed a non-profit association to maintain the area’s heritage values, through such means as installing cast iron street furniture and redesigning shop signage to be compatible with the street’s Victorian-era urban character. Other projects recycled derelict industrial buildings and breathed new life into them. Two tea-processing facilities—Bushell’s Tea Warehouse in Sydney, Australia (2001 Award of Distinction) and the Tea Factory Hotel in Kandapola, Sri Lanka (2001 Award of Merit)—successfully used as an office block and a deluxe hotel, respectively, while maintaining their historical

UNESCO Asia-Paciﬁc Heritage Awards

significance through imaginative integration of the original industrial spaces and machinery into the renewed structure. By the Suzhou River in Shanghai, an architect’s minimalist adaptation of a dilapidated grain warehouse into his chic design studio saved the building—and started a trend. An artists’ colony has sprung up around Suzhou River Warehouse (2004 Honorable Mention) leading to the rehabilitation of surrounding warehouses, thus preserving a remnant of Shanghai’s industrial history and regenerating an entire riverside district with lively new commercial activity. Learning from heritage Heroic conservation efforts have allowed many historic sites to serve their community as continuous sources of knowledge in the form of heritage educational facilities—as cultural centres, museums and libraries. For example, despite political and economic turbulence in post-Suharto Indonesia, work went ahead on the vacant, flood-prone, termite-infested National Archives Building (2001 Award of Excellence), built in Jakarta in 1760 as a residential villa by a senior official of the Dutch East India Company. The installation of drainage and other modern utilities gave it a useful new role as a cultural centre, while careful restoration of the compound has preserved a piece of Dutch colonial history, open to the public as a popular venue for exhibitions, performances and social events. In Malaysia, a traditional northern Malay village house has been transformed into a heritage centre. Rescued from ruin in the state of Kedah, Rumah Penghulu (2000 Honourable Mention) was carefully relocated to the capital, Kuala Lumpur, where it was reassembled as an example of vernacular Malay architecture in which educational workshops and cultural activities are now held by the Heritage Trust of Malaysia. A typical Newari farmhouse in Bhaktapur, Nepal, was conserved for a similarly didactic purpose. After a decade of neglect, the Namuna Ghar (2004 Honourable Mention), meaning “model house”, was restored, to demonstrate the modern reuse of a 150 year-old building compatible with its heritage values. As a residence, museum and events space, the house not only showcases vernacular architecture, but also blazes a trail for the conservation of other historic houses in the Kathmandu Valley. Top: National Archives Building, Indonesia Above: Namura Ghar, Nepal

A more radical change was the adaptation of the Nielson Tower (2001 Honourable Mention), a pre-war airport terminal in Manila, Philippines, into the Filipinas Heritage Library—a fitting reuse for one of Asia’s earliest airports. Its high-tech functions were moulded around the existing fabric, rather than the other way around, with even the airport signage being retained. The eight year project in Bangkok, Thailand to restore the Phra Racha Wang Derm palace complex (2004 Award of Merit) renewed public interest in a previously eclipsed period of Siamese history. The project illuminated the seminal reign of King Taksin the Great (1733-82), who moved the capital to Thonburi on the west bank of the Chao Phraya River, and built his palace there. The restored buildings, comprising royal residences, Chinese pavilions, a fort and a throne hall, now house museums on the Thonburi era and a research library. A future for heritage In a world habituated to rapid change, instant gratification and detachment from the past, we are more than ever obliged to prolong the lifecycle of our heritage for the sake of future generations. How else will they connect with their roots amid societies in flux? How else will the collective memory be transmitted? It is essential for communities to find a balance between conservation and development, but to do so they must first know the sources of their history and culture.

Award Criteria Essays

Influencing Conservation Practice and Policy

The UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation programme has provided impetus to the region’s emerging civic conservation movement by reinforcing technical know-how, social momentum and political support. By recognizing outstanding efforts in the conservation of structures of heritage value, UNESCO aims to catalyze conservation at all levels—from the community sphere to national heritage policy. The influence of the Award-winning projects on both conservation practice and policy is therefore an important consideration in the programme. Each of the winning projects has demonstrated exemplary fulfillment of the awards criteria concerning the “influence of the project on conservation practice and policy locally, nationally, regionally and internationally”.

Richard A. Engelhardt

Setting technical benchmarks

UNESCO Asia-Pacific Heritage Awards Jury Chairperson with contributions by

Montira Horayangura Unakul

Solid technical achievement is the cornerstone of the UNESCO Asia-Pacific Heritage Awards programme. The mere act of conservation, while laudable, is not an end in itself and can in fact be detrimental to the authenticity of the building if carried out using inappropriate materials and techniques. Hasty or inappropriate conservation jeopardizes the future of many heritage properties in the region. The Award-winning projects have been undertaken with systematic conservation methodology, using a combination of traditional techniques and modern conservation technologies. The projects have also led to setting standards in the conservation profession and in many cases have led to policy reform. Systematic conservation methodology The winning projects serve as valuable models in the development and application of rigorous conservation methodology. This systematic approach is particularly significant in the Asia-Pacific region where conservation is a relatively new profession, international norms are not widely understood or practiced and localized modes of operation are still evolving. The methodology exemplified by the projects rests on a values-based approach to conservation, which entails establishing a thorough understanding of the values inherent in a heritage property—artistic, architectural, social, historical and economic. These values are thoroughly documented, and then form the basis for decision-making regarding how to safeguard the building’s physical fabric together with its social and cultural meaning.

Criteria I. The influence of the project on conservation practice and policy locally, nationally, regionally or internationally.

Forming a thorough understanding of the building’s multi-faceted significance before commencing work results in a comprehensive conservation approach, which ensures the authenticity and integrity of the whole building fabric. As such, conservation travesties such as “façadism”—the retention of only the building façade while the rest of the building is demolished—can be avoided. Furthermore, the values-based approach also allows for the defining spirit of place to be understood as a historical continuum of change, with many layers of meaning preserved in the building. Finally, by

UNESCO Asia-Paciﬁc Heritage Awards

factoring in intangible values such as historic, cultural and social values alongside the architectural and artistic values of a property, the holistic significance of a site is safeguarded. The Australian Award-winning projects, undertaken within the guiding framework of the Burra Charter, have consistently demonstrated excellence in this regard. In determining the significance of the place, each Award-winning Australian project has undertaken extensive research into archival sources and a detailed survey of the structure itself to determine its historical development and its present-day condition. In addition, consultation with local residents, users and caretakers has played an important role in framing a process informed by viewpoints which were grounded in local historical associations and beliefs, which may be different from the purely professional vantage point. This rich understanding of the building is then borne out in the physical conservation works. For instance, in the transformation of the abandoned Female Orphan School in Sydney (2004 Honourable Mention), the building’s past stages of adaptation were determined to be a valuable part of its historical value, and were showcased by carefully preserving the various paint layers. This literal display of its earlier repairs creates a visual metaphor for the social history of the building. Highest level of technical achievement and workmanship Grounded in conservation processes which meet the highest international standards, the winning projects have demonstrated a commendable pursuit of excellence in the execution of works. They have addressed complex technical issues caused in many cases by years of neglect, compounded by urban encroachment, natural disasters and ill-informed conservation and repair works. While many of the projects have benefited from the latest in conservation technology and ample budgets, others have been carried out under conditions of extreme remoteness, lack of skilled workers, limited access to appropriate materials, and shortage of funds.

Top: Female Orphan School, Australia Bottom: Gong’zi’ting, China

The projects employed a range of approaches to halt material deterioration, reinforce weakened structures and address causes of decay. The firm principle, cutting across geographic lines and project types, has been the need for the least intervention possible, insofar as warranted by social and cultural circumstances. Innovative technical solutions have been devised to preserve the original building fabric as much as possible, while at the same time ensuring its sustained longevity. These have extended not only to structure and finishes, but also to the artefacts found in situ. Original materials have been salvaged and reused when determined to be still sound. Modern engineering techniques, especially where required to meet present-day building codes, have been applied in non-invasive and unobtrusive ways. The outstanding workmanship deployed by the projects shines through in the restored decorative works. The conservation of Chinese temples, clan halls and mansions in China, Malaysia and Singapore, for instance, has placed an emphasis on sourcing only the most expert artisans in the arts of porcelain mosaic, tempera painting and wood carving. In most projects, experts are sourced from the local region, fostering the continuity of indigenous skills and knowledge. However, in some cases where the knowledge is no longer locally available, the projects have brought artisans from other provinces or even from overseas. These specialists have worked alongside local artisans to painstakingly repair or re-create weathered and missing decorative elements essential to the significance of the buildings, producing contemporary works on par with the historical ornamentation. This attention to detail has allowed the buildings to regain their original grandeur, gaining favour with residents, devotees and visitors alike.

Award Criteria Essays

Balanced combination of traditional and modern techniques In recent years, age-old and time-tested building technologies have been largely eclipsed by modern construction materials and techniques. However, the Award–winning projects have demonstrated the wisdom of reviving indigenous knowledge in the building trades and using it in combination with contemporary construction and conservation techniques. Vernacular methods have evolved over centuries to adapt to local climatic, geo-technical, environmental, social and economic conditions. This body of knowledge includes not only building techniques, but also sophisticated practices and rituals associated with maintenance or periodic renewal of the building. This knowledge is reflected in the construction process as well as the final material form of the building and its associated social meanings. Bringing this traditional knowledge into the conservation process allows for continuity in the use of materials and techniques that are best suited for the buildings and their context—both from the point of view of structural and chemical compatibility as well as aesthetic and social appropriateness. Especially in the Asian context where renewal of the physical fabric is often a cultural requirement for reasons of spiritual or social belief, and thus rebuilding or replacement of damaged parts is often necessary, the use of traditional crafts allows for the restoration to be undertaken in the most culturally appropriate manner. At the same time, the Award winners have also played an important role in introducing modern conservation science to complement traditional regimes of building and re-building. In many cases, the projects have convincingly demonstrated to homeowners and local community members how strict restoration can serve as a judicious alternative to the more familiar modes of total renewal. These techniques range from the use of gentle chemical solvents and techniques in the cleaning of decorative works to the careful insertion of damp-proof courses to protect buildings from rising damp—which have proven to be highly effective yet respectful of the context. This careful balance between traditional building crafts and modern conservation techniques has been achieved in the projects undertaken by the Aga Khan Culture Service Pakistan. These projects include the Baltit Fort (2004 Award of Excellence), the Yarikutz, Rupikutz, Kuyokutz and Mamorukutz Mosques (2002 Award of Distinction) and the Astana of Syed Mir Muhammad (2003 Award of Distinction). The stabilization and structural repair of the buildings were carried out using local materials and simple traditional hand tools. Teams of skilled local carpenters were mobilized to repair wooden structures. Where local materials or techniques proved inadequate, sophisticated modern technologies were introduced; for instance, the application of geo-mesh in the stabilization of the foundation of Baltit Fort. Consolidation of conservation knowledge The projects have contributed in important ways to advancing the state of conservation education in the region—both within the profession and within academia. The rigorous documentation of the conservation process in many of the projects has provided invaluable references for future works, adding to the repertoire of conservation knowledge within the region and globally. For instance, in the conservation of the Church of Our Lady of Mount Carmel (2004 Award of Distinction), the composition of the original lime-based mortar was determined through the analysis of historic samples by a materials chemist and subsequently lodged with the local conservation authority as a matter of public record, in order to aid in other conservation projects in the township.

Baltit Fort, Pakistan

UNESCO Asia-Paciﬁc Heritage Awards

Many projects have been carried out through collaboration between local builders, traditional artisans, municipal authorities, professional conservators, conservation students and scholars. This has allowed for a rich cross-fertilization of ideas and approaches that have been mutually enriching. In particular, the exchange between local builders and artisans and conservation professionals has often been a valuable one. This has taken on a cross-cultural dimension in cases where foreign conservation experts were invited to take part in projects. For instance, in the restoration of six Vietnamese Traditional Folk Houses (2004 Award of Merit), undertaken through collaboration between Vietnamese builders and a team of Vietnamese and Japanese conservators, local craftspeople learned about less intrusive conservation approaches to retaining original fabric and finishes. At the same time, the conservators learned about the properties and beliefs associated with local materials and building techniques, and adapted their conservation practices accordingly. The professional exchange of knowledge can be systematized into conservation practice through official adoption by public authorities. The restoration of the façade of Elphinstone College (2004 Honourable Mention) was notable for the formal collaboration between professional conservators and engineers from Mumbai’s Public Works Department (PWD), leading to heightened sensitivity to conservation approaches and the transfer of low-impact methodologies and technical approaches which respect the historic fabric. Following the success of this project, PWD officials now apply these conservation principles to other projects in the city.

Vietnamese Traditional Folk Houses, Viet Nam

The participation of academics in conservation projects has a direct impact on conservation education. Many of the winning projects have benefited from the guidance and involvement of universities, and at the same time, students and professors alike have gained valuable exposure to conservation practice in the field. This improved state of knowledge has helped to expand the boundaries of conservation as it is taught in the classroom and practiced at historic sites. The active involvement of architecture faculties in the UNESCO-ICCROM Asian Academy for Heritage Management network is notable in this regard, with members in India and China taking a widely-acknowledged leadership role in the field. Codification of appropriate techniques into conservation guidelines or policies In optimal circumstances, the technical standards developed by Award-winning projects have been codified either into professional guidelines or, in some cases, formal legislation, thereby greatly facilitating their long-term replicability and sustainability. For instance, the design guidelines created for the Dadabhai Naoroji Road Streetscape (2004 Award of Merit), one of the first sets of such guidelines to be commissioned and disseminated in India, provide measures for the coordination of signage and street furniture within the context of the historic street. However, instead of being implemented under the force of municipal legislation, these guidelines were first applied through the co-operation of local shopkeepers along the road, who came together in the name of their common interest in reviving the commercial corridor. With the positive impact of their efforts, the guidelines were subsequently adopted by the municipality. In a more straightforward process, urban design guidelines were also formally adopted in the conservation of the historic streetscapes in the Australian town of Broken Hill (2002 Honourable Mention) and the Zhangzhou City Historic Streets, China (2004 Honourable Mention). Upon adoption, the Broken Hill guidelines were put into place with a wide-ranging set of municipal incentives which provided grants, loans and professional technical advice to homeowners. Likewise, the guidelines in Zhangzhou were ensured of success by municipal support to upgrade public infrastructure, source traditional materials and subsidize façade restorations.

Award Criteria Essays

The winning projects show that technical conservation guidelines should not be instituted as a separate set of legislation, but are most effective when integrated holistically into urban planning and development schemes. For instance, the conservation recommendations developed for the traditional Water Towns of the Yangtze River (2003 Award of Distinction) were implemented as part of the town’s long-term physical and socio-economic growth plan. Likewise, in the case of Broken Hill, the heritage revitalization measures were at the heart of a comprehensive strategy for the town’s renaissance. Engendering social benefits The winning projects have proven, however, that outstanding technical achievement on its own is insufficient to ensure the long-term sustainability of the conserved heritage. The social component of the projects—both in their planning and execution—has an important bearing on their long-term impact within the local community and the nation as a whole. Capacity-building and community strengthening In the most direct sense, many of the Award winners have contributed to improving the well-being of the communities in which the projects are initiated. The projects have proved that conservation projects can become a vehicle for delivering both tangible and intangible benefits through building livelihoods, restoring a sense of local pride and fostering social cohesion. Many projects have placed an emphasis on reviving local livelihoods, particularly in the traditional building sector. Local masters have been encouraged through the projects to take on an active mentoring role, ensuring a transfer of knowledge to a younger generation as an integral part of the project outcomes. In some cases, where the knowledge of lost and dying crafts is no longer locally available, master craftspersons have been located and brought in to train local artisans. For instance, in the restoration of the University of Mumbai Library Building (2001 Honourable Mention), the lost art of stained-glass window making was resuscitated by inviting two master glaziers from England. Over the course of the project, a team of Indian glaziers was trained in the intricacies of the craft, and has since formed a guild which now undertakes the restoration of the city’s collection of magnificent Victorian stained-glass windows, turning a craft which had disappeared locally into a viable modern profession. The restoration of shared heritage—especially in fragmented or multicultural communities—has been an excellent opportunity for the re-establishment of historic relationships and local pride. The restoration of Wat Sratong (2002 Award of Merit) became the common focal point for a small community in northeastern Thailand, where young and old worked side by side on their previously-derelict Buddhist chapel, creating a common bond increasingly rare in a rural area decimated by the emigration of youth to the cities. Likewise in Medan, Indonesia, the restoration of the Virtuous Bridge (2003 Award of Merit), through a joint civic effort from the city’s Malay, Chinese and Indian community, has strengthened the sense of mutual goodwill and has become the basis for renewed co-operation.

Top: Zhangzhou City Historic Streets, China Bottom: Wat Sratong, Thailand

Mobilization of conservation movements At another level of impact, the winning projects have invested a tremendous effort in raising public awareness of heritage and conservation, as a way of ensuring long-term sustainability. The projects have achieved spin-off effects by rekindling other forms of cultural expression, encouraging other restoration efforts and mobilizing conservation movements.

UNESCO Asia-Paciﬁc Heritage Awards

The conservation of a physical heritage structure has often led to the revival of other forms of local heritage and traditional practices linked to communities of faith, ethnicity or clan ties. During the restoration of Dorje Chenmo Temple (2004 Award of Merit), for example, the professional conservators undertook a dramatic transformation in the abandoned sootcovered temple through the careful cleaning of the obscured wall paintings, which revealed—to the delight of the resident lamas and villagers—a pantheon of Buddhist deities rendered in vibrant pigments that led to the eventual renewal of sacred rituals associated with the temple. It has also raised awareness of the value of other historic buildings in the area, encouraging the local community and authorities to identify and safeguard other structures of heritage value. Close consultations with the local community have enabled the projects to be grounded in the local context and sensitively address local concerns, thereby laying the groundwork for sustained long-term involvement, enthusiasm and support for conservation efforts. In the restoration of the Catholic Cathedral of the Immaculate Conception in Hong Kong SAR, China (2003 Honourable Mention), for example, detailed consultations were carried out at every stage—from initial identification of the project scope to the selection of the acoustic and lighting equipment. The subsequent sense of ownership for the project has fostered an ethic of conservation amongst parish members which continues to this day in the ongoing maintenance of the cathedral. Indeed, the success of the project has inspired the larger Catholic community in Hong Kong SAR, leading to the conservation of many other properties by the Catholic Diocese in close co-operation with local parishes. Indeed, it has also encouraged other communities of faith in Hong Kong SAR to take a renewed interest in their heritage, encouraging a surge in the restoration of clan halls, synagogues and churches of other congregations. Catalyzing political action Acting in concert with broad-based social mobilization, the catalytic impact of the successful projects has in many cases resulted in increased political commitment and action. Embedding outstanding conservation practice into actual conservation policy has secured the most stable framework for long-term sustainability, providing the basis for channelling political goodwill and regulating commercial interests. Heritage redefined and protected The successful conservation and adaptation of previously-overlooked and neglected heritage properties have demonstrated the potential and viability of reuse of these resources, not only to community members but also to private developers and official authorities. Indeed, in some cases, conservation works have been carried out, seemingly against all odds, on buildings which were previously thought to have negligible heritage value. The pioneering conservation of such buildings resulted in strengthening the understanding of the value of such vulnerable heritage and has help put in place the right policy environment for the institution of protective measures. This is especially true of neglected heritage, in particular industrial heritage, which in many parts of the Asia-Pacific has not yet been officially recognized as heritage per se—to say nothing of being protected. As regional trendsetters, three industrial heritage projects have been recognized with Awards: the Bushell’s Tea Warehouse (2001 Award of Distinction), the Tea Factory Hotel (2001 Award of Merit) and the Suzhou River Warehouse (2004 Honourable Mention). The latter is particularly noteworthy in that it effected a policy shift in Shanghai. The conversion of the once run-down Art Deco grain warehouse into an architect’s office was much chronicled in the local press, and gave rise to a trend which saw the

Award Criteria Essays

transformation of neighbouring and similar buildings into popular restaurants and cutting-edge creative industries. This commercial success, combined with continuous advocacy in the media, led to the declaration of a protection zone for the city’s industrial heritage by the municipal authorities—a remarkable accomplishment due in part to this project. Its success demonstrates the potential of a single conservation effort in effecting a transformation of the policy environment at the local, and eventually, national level. Linkage of conservation with urban and socio-economic revitalization Long-lasting comprehensive benefits from conservation can be achieved through the deliberate linkage of conservation with urban and socio-economic revitalization policies. This has been seen in the projects which have been linked to a district-wide strategy for urban upgrade. For instance, the revitalization of the National Archives Building (2001 Award of Excellence), located at the gateway to the old district of Jakarta Kota, has marked a turning point for this historic but run-down area. The colonial landmark has now been transformed into a cultural centre hosting events and exhibits under the management of a private foundation. Consequently, this revitalization strategy has been adopted for nearby properties in Jakarta Kota, which also remain in state hands, but have the potential for private sector investment. In particular, the strategy calls for the revitalization of the district through the adaptive reuse of the now-abandoned buildings to showcase traditional and modern cultural industries (museums, crafts workshops, training schools and galleries). It is foreseen that rehabilitation and adaptive reuse of these historic buildings will draw creative entrepreneurs and visitors, fostering a new productive lease of life for the once-bustling commercial core of historic Batavia. The restoration of landmarks in the historic Fort Precinct of Mumbai has also contributed to a multi-pronged urban revitalization movement spearheaded by various civic groups. The efforts of the Kala Ghoda Arts Association have seen the restoration of historic street façades of major institutional buildings in the precinct, such as Elphinstone College, linked to a revival of artistic activity and public outreach. Meanwhile, the concerted efforts of shopkeepers and local corporations in the renewal of the commercial corridor of Dadabhai Naoroji Road have effected an improvement not only in the heritage streetscape but also in the stimulation of local business. The restoration of local landmarks such as St. Thomas Cathedral (2004 Award of Merit) and the University of Mumbai Library Building has also returned some of the city’s venerable social institutions to their place of pride. Collectively, the projects have engendered a high awareness and concern for historic heritage in Mumbai, spurring an increasing commitment to protecting the area’s distinct identity. Many winning projects involving residential rehabilitation were undertaken as pilot projects for the larger-scale upgrade of historic neighbourhoods which have undergone a physical and social decline. In addition, these pilot projects have placed an emphasis on retaining the local residents in order to allow for social continuity. The Sino-Norwegian co-operation project in restoring No. 125 Huajue Alley (2002 Honourable Mention) was a successful first step in the eventual conservation of the ancient Muslim Drum Tower district of Xi’an, China, and the house is still used today as a family residence, thus retaining its original social significance. International cooperation has been important in the success of many projects. For example, the restoration of Jin Lan Teahouse in Kunming, China (2001 Honourable Mention) was undertaken under similar terms to that of No. 125 Huajue Alley, through cooperation with the city of Zurich, Switzerland.

St. Thomas Cathedral, India

UNESCO Asia-Paciﬁc Heritage Awards

The restoration of residential and commercial properties in the historic water towns in Fujian and Zhejiang provinces of China have seen the added benefit of increased tourism to the restored sites, which has resulted in increased revenue generation and growth. Indeed, cultural tourism has been a powerful engine driving the replication of successful conservation projects either through private or public initiative. The successful conversion of Cheong Fatt Tze Mansion (2000 Most Excellent Project) into one of Malaysia’s first heritage homestays has provided an attractive redevelopment alternative for other properties in historic George Town. Especially after the repeal of rent control measures in the city, such self-supporting forms of adaptive reuse, which are compatible with the historic nature of the buildings, allow them to be conserved and given a meaningful new life. Similarly, the private initiative taken by the owner of the defunct Tak Seng On Pawnshop (2004 Honourable Mention) presents another response to this opportunity. Located along the route of Macao SAR’s World Heritage trail, the property has been converted into a cultural showcase, run by the Cultural Institute of Macao, about the historic pawnshop industry. The role of public-private partnerships

Tak Seng On Pawnshop, Macao SAR, China

The successful partnership between public and private entities in undertaking many of the winning projects has provided a strong endorsement for the benefits of this joint approach in funding, directing and implementing heritage conservation. Heritage trusts have often played an important role in brokering these partnership arrangements. In some cases, private initiatives have been critical in spurring the public sector into taking action, as in the case with the Suzhou River Warehouse. Early successes by projects spearheaded by private businesses, shop owners and architects have provided convincing proof of the viability of protecting historic buildings and even the potential of investing in the conservation of individual structures and entire urban precincts. In other cases, success has been predicated upon a clear delineation of roles and responsibilities from the beginning. These projects show that investment in public infrastructure spurs private investment, leading to an overall improvement in the urban environment. For instance, the conservation of Cangqiao Street (2003 Award of Merit) was supported by public funds in the form of infrastructure upgrades and subsidies to private homeowners for building repairs. The project has seen a revival of the neighbourhood, located in the heart of historic Shaoxing, allowing old residents to stay while at the same time attracting visitors from outside. Another form of partnership was developed in the conservation of Phra Racha Wang Derm (2004 Award of Merit). The private initiative of a foundation to raise funds and source private conservation expertise was accompanied by technical oversight provided by the Thai government’s Fine Arts Department. This allowed the project to be executed with efficiency and to high technical standards, offering an alternative to the usual lengthy model of state intervention in rescuing significant buildings that have become vulnerable. Drawing on the respective strengths and potential of the public and private sectors, the winning projects have demonstrated the role for co-operation in various ways—technical, financial and social. The precedents set by these public-private initiatives herald an important step forward in ensuring the sustainability of conserving the cultural heritage of the AsiaPacific region.

Award Criteria Essays

Ensuring Ongoing Viability Budi Lim UNESCO Asia-Pacific Heritage Awards Jury Member with contributions by

Caroline Swartling

Our cultural heritage is handed down to us from our forebears and we are responsible for finding viable ways to conserve and sustain it into the future. The process of conservation seeks to preserve our built environment and find new functions where old ones are no longer applicable, and in doing so, it guarantees the continued relevance of both our built heritage and traditional indigenous know-how. Heritage conservation should therefore be integrated into the larger concept of sustainability, as a way of using the earth’s finite resources wisely and managing the crucial impact of human development on the global environment. Successful conservation of our built heritage lies in reusing and adapting older buildings to modern standards and requirements. It concerns not only saving the physical fabric of the building but also finding appropriate new functions that are socio-economically feasible, culturally appropriate and self sustaining. To be reused, historical buildings often have to change roles to serve different users with their particular needs and requirements. Likewise, cultural heritage itself has to have a changing role, adapting over time to remain relevant. The challenge for sustaining our cultural heritage is how to find a viable solution to adapt to these changes. The UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation call our attention to conservation projects that are not just technically proficient and socially engaged, but also demonstrate the potential for “socio-economic viability and relevance” in the long run. Viability refers to the continued survival of a project after it has been completed through sustainable use and maintenance. The viability and sustainability of conservation projects depend on economic, social and legal factors, and on political circumstances. Understanding the economics of conservation Many of the Award winning projects have managed to find a financial solution—usually through a commercial use—that will justify the conservation investment and ensure the longevity of the heritage. From the range of actors and partnerships in the Award winners, it is clear that there are many models for success. Funding may be potentially sourced from the private sector, the state, foundations and heritage trusts, or from the income generated by the building itself. The most straightforward channel of mobilizing financial support is setting up a dedicated conservation and building maintenance fund, as in the case of restoring Guangyu Ancestral Hall in China (2003 Award of Excellence). The villagers took an active role in establishing and managing the “Guangyu Ancestral Hall Restoration and Management Fund”, using donations from the villagers themselves. The fund is used for ongoing repair and maintenance of the Hall.

Criteria J. The ongoing socio-economic viability and relevance of the project, and provision for its future use and maintenance.

The most successful projects in the Awards programme are typically projects where new, economically viable solutions have been found for the cultural property. Usually, they stem from a public-private partnership where both sides have an interest in the redevelopment of the property. While the interest in the protection of local cultural heritage provides the impetus for the project, the conservation objectives can only be achieved through sound financial planning. Quite often

UNESCO Asia-Paciﬁc Heritage Awards

potential investors are reluctant to fund conservation because of uncertainty regarding costs, time and actual benefits. Understanding the potential of cultural heritage as investment assets, mixed with a creative and viable solution, is the key to successful adaptive reuse. In large scale projects, it may be preferable for the work to be managed by professionals to achieve better efficiency regarding time and money. It is telling that the majority of the winning projects are commercially self-sustaining. Out of the winners, two major groups involving commercial uses can be discerned: offices and hotels. Offices that convey a sense of history and local culture create a certain atmosphere that attracts many companies with a representative function. DBS House in Mumbai, India (2001 Award of Merit) is a fine example of a private residence being restored to serve as a business centre. The professional conservators adopted the minimal intervention approach and restored the building as close to the original appearance as possible. This demonstrates how a large adaptive reuse restoration project can be carried out by the private sector for a modern business purpose and be economically viable. Now the building is a well known landmark, giving extra publicity and prestige to the company. For conversion into hotels, the explosion of cultural tourism is a vital ingredient for a sustainable outcome. People’s appreciation of other cultures provides an audience for authentic restorations that give visitors a uniquely local experience. Today, the tourism industry is by far the most important catalyst for economic development in the heritage sector. When carefully managed, tourism can have an important impact on improving and developing the community, by creating job opportunities, attracting business investors and so forth. Attracting visitors can help in preserving traditional crafts and raise awareness among the local community, where traditional cultural values are sometimes taken for granted. However, if not managed properly, tourism can also be an immensely destructive force and cause a negative impact on the authenticity of the environment. Therefore, measures need to be taken to balance heritage conservation needs and development objectives. An illustrative example of a conservation project which achieved an economically viable solution is the formerly dilapidated Ceylon tea factory, which was converted into the deluxe Tea Factory Hotel. The factory, owned by the British, was abandoned in 1973 when tea plantations in Sri Lanka were nationalized. The building was left to deteriorate until 1992, when a hotel management company realized its potential for redevelopment. The company purchased the building with a vision to create a boutique hotel that still reflected its industrial character. The existing building fabric was retained as much as possible, contributing to the unique ambience of the interior. Most of the existing tea processing equipment was also reused for hotel service needs. Completed within twelve months, the new hotel helped boost the local economy by providing a variety of employment opportunities in the community. Likewise, transforming industrial heritage into a tourism magnet at an urban scale was the key objective when the local mines closed down in Broken Hill, New South Wales, Australia. The town struggled to survive economically and the community had lost its confidence. To be able to sustain and revive the town, a viable role for heritage resources was found by turning the whole town into a “living museum”. The main aim was to use heritage and culture tourism as an economic engine. The Broken Hill Heritage and Cultural Tourism Programme (2002 Honourable Mention) demonstrates how local governments can inspire and stimulate conservation works on a very broad scale. Two funds were set up to support the conservation work, with one fund for the restoration of key heritage buildings and the second for the restoration of private houses. In addition to this, the City Council provided the owners with free conservation advice. The extensive programme set up by the City Council has greatly increased the number of visitors to Broken Hill over the years.

Award Criteria Essays

Drawing on the strength of the community Conservation efforts need to pay special attention to the contextual aspect of the place and should benefit the community and future generations as a whole. Good conservation calls for community participation in order to generate awareness, support, a feeling of belonging and, as a result, community pride. Connecting people emotionally to the heritage property will help to protect the building in an ongoing way. Conservation of heritage should not be merely a technical process but a social one. Indeed, conserving heritage can provide a common platform for social interaction and enhanced cohesion. In the Lakhpat Gurudwara project in Gujarat, India (2004 Award of Distinction), the conservation process was to foster greater cohesion in the townâ&#x20AC;&#x2122;s multiâ&#x20AC;&#x201C;ethnic community by involving everyone in the conservation of the sacred site. Through active participation by all villagers and on-the-job training in traditional construction trades, the project reinforced the sense of joint ownership of the Gurudwara while entrusting the community with responsibility and practical skills to maintain it into the future. Together the community can now safeguard their common heritage. Broken Hill, Australia

Turning heritage restoration and maintenance into a viable vocation allows local residents and homeowners to continue to upkeep the historic structures in their towns and cities. Conservation processes can serve as engines to revive and keep traditional crafts alive. Skills that are virtually extinct in the community can be consciously rebuilt during the conservation project through workshops and training. Several Award-winning projects in Pakistan and India are good examples of this, notably Baltit Fort in Karimabad, Pakistan (2004 Award of Excellence), which trained young villagers in traditional crafts, especially in the culturally significant woodcarving tradition. With their new skills, they are able to seek local employment in refurbishing other heritage structures in the traditional way. Furthermore, they can pass on the acquired knowledge and skills to future generations, reviving a lost trade and system of knowledge transfer. Maintaining the social viability of a heritage settlement requires that the needs of the local residents are addressed, so they can continue to function and carry on their customary ways of life, thereby preserving the intangible heritage and alleviating development pressures on the built heritage. In order to sustain historic living communities in their traditional built contexts, we need to accommodate modern standards of living in older buildings that do not easily respond to these requirements. Conservation works can help to upgrade living quarters and urban services in a way which is sensitive to both the place and the people. In the revitalization of two landmark streets in the twelfth century Jaisalmer Fort (2002 Honourable Mention), the Indian National Trust for Art and Cultural Heritage (INTACH) and the charity Jaisalmerin-Jeopardy worked very closely with the residents to understand and respond to their needs for modern facilities such as plumbing in their houses and upgraded public infrastructure, particularly sewerage and street paving. With these pressing issues resolved, ad hoc building extensions and the use of inappropriate modern building materials by local residents which were damaging the authenticity of the fortified city have decreased. The daily lives of the inhabitants have improved, allowing for a new chapter in the ongoing life of the Fort. Community involvement can be sustained in the long run through formal consultation with local stakeholders at all stages of the conservation project. In some cases, especially in religious buildings, the decision-making regarding conservation options is entrusted to a committee already charged with overseeing building works or established during the course of the project. In the restoration of the Centre for Khmer Studies (2002 Honourable Mention), a ten year lease was taken

UNESCO Asia-PaciďŹ c Heritage Awards

with Wat Damnak the monastery in return for restoring two derelict buildings as a conference hall and library. Before any decisions were taken during the course of work, the Pagoda Committee had to be consulted. Composed of local elders and the laymen of the monastery, the Committee serves as the traditional social and administrative body in the community. The Committee provided insights into the templeâ&#x20AC;&#x2122;s history and communityâ&#x20AC;&#x2122;s needs, and helped to raise awareness and support for the restoration project both during and after the conservation works. Putting in place a long term legal framework In addition to social or community-based mechanisms, the long term sustainability of the historic property can be ensured only if there is a clear legal framework for protecting its heritage value. A fundamental legal concern is the security of land tenure. It is sometimes the case that old buildings were built on land with an unclear title or in communal grounds with contested ownership. Checking and regularizing the legal status of the land and building should be considered as the first step in the conservation process. Clear title will also allow the owner to collateralize the property to access funds to support the restoration and ongoing maintenance of the building. Strong conservation legislation which protects the property from being altered, added onto or torn down is often necessary. Examples from countries such as Australia demonstrate the importance of comprehensive legal mechanisms at the national and municipal level for the designation, protection and sensitive redevelopment of heritage properties. If a heritage property is included in a national or local register for historic properties, it will be governed by laws which will regulate the changes that are permissible within the scope of the heritage protection act. In some cases, the laws may protect both the tangible heritage associated with the physical building fabric, as well as the intangible heritage which enlivens the building. Moreover, the legislation framework may not only govern the final conservation product, but might also guide a sustainable conservation process, one which calls for consultation with stakeholders at all steps of the restoration work. Legal protection was fundamental to the conservation of the Australian Hall, located in downtown Sydney, Australia (2002 Award of Distinction). The building is most significant for its Aboriginal heritage, having hosted the first Aboriginal Day of Mourning Conference in 1938. During the 1990s urban plans for redeveloping the area included the demolition of the Australian Hall. The Metropolitan Local Aboriginal Land Council and the National Aboriginal History and Heritage Council launched a campaign to save the building, and as a result a Permanent Conservation Order was placed on the entire Australian Hall in 1998, which entitles the building to protection under the New South Wales Heritage Act. Having successfully managed to get the building under heritage legislation, it was then purchased, with funding from the Indigenous Land Fund, by the Metropolitan Aboriginal Association and the conservation project was initiated later in 1998. In spite of some success stories, heritage legislation throughout the Asia-Pacific region is still relatively weak. Existing laws may be inadequate in effecting an actual impact on conservation in the larger context of urban development. Often, conservation laws are easily overlooked as governments and owners lack the political will and economic means to undertake heritage conservation. The scope of the legislation in some countries is often still focused on monuments, to the exclusion of less spectacular vernacular buildings, more recent buildings, historic precincts or cultural landscapes. As such, buildings such as simple houses or examples of modern architecture may sometimes not be eligible for protection under these laws. Heritage protection laws are often designed to ensure that urban redevelopment does not occur at the expense of razing heritage properties by listing and protecting significant buildings. However, they often stop at the designation of a building

Award Criteria Essays

as a landmark, with weak measures to protect the surrounding site context adequately. As a result, new developments in adjacent areas often have a visual and physical impact on the heritage property. A number of Heritage Awards winners demonstrate the long term value of designating not just a single building, but a district with clear regulations for restoration and construction activities. Tak Seng On Pawnshop (2004 Honourable Mention) is located near “The Historic Centre of Macao World Heritage Site”, China, and its conservation was carried out within the framework of conservation guidelines governing the buffer zone which are intended to preserve the larger urban context of the World Heritage sites. In the case of the Hoi An Town Preservation Cooperation Project (2000 Outstanding Project), the restoration works were also conducted in accordance with regulations for the protection of the World Heritage site as an intact ancient town. Urban conservation guidelines can be applied with success even without being enacted as formal legislation, with the willing cooperation of the local municipality, homeowners and shopkeepers—as demonstrated in the urban upgrade of several historic Chinese neighbourhoods such as Cangqiao Historic Street in Shaoxing (2003 Award of Merit) and the revival of the Victorian streetscape of Dadabai Naoroji Road in Mumbai, India (2004 Award of Merit). Building strong partnerships As the definition of cultural heritage broadens to include many local voices, reflecting the importance of cultural diversity, a larger number of stakeholders are becoming more involved in the heritage conservation process. In particular, the private sector has emerged as an important stakeholder—including everyone from villagers and residents, local businesses and even large corporations. By being involved, they help to ensure that local interests are represented in the planning and implementation for the conservation project. Most importantly, they can also advocate for all dimensions of local heritage to be included in conservation efforts—ranging from small community shrines to old factories. The UNESCO Heritage Awards have shown that partnerships between the private sector and the public sector can prove critical for the success and sustainability of any conservation intervention. The conservation of the Water Towns of the Yangtze River (2003 Award of Distinction) was enacted through a privatepublic partnership that was established to save the six dying historic towns, which had become unpopular places to live as residents abandoned their traditional houses to move to buildings with modern public services. A coordinated urban development and conservation plan for each town was developed that aimed to conserve the historical environment, improve living conditions and develop the cultural tourism market. The division of work and responsibility was clearly indicated from the start of the project. The responsibility of the local government was to regulate and direct the conservation process by establishing relevant management plans and regulatory bodies. Meanwhile, private businesses and homeowners were charged with implementing the plans, in accordance with the government regulations. Funds for the work came from two sources: government investment for public facilities and investment from each property owner for the conservation of privately held buildings. The public-private partnership enacted during the project implementation has established an ongoing working modality not only for these six towns, but also for other towns with similar conditions. In some cases, a civic partnership can be formed to save shared heritage within a community, which then becomes a forum for harmonious dialogue and co-existence. The restoration of the Virtuous Bridge (2003 Award of Merit) not only upgraded a vital connecting thoroughfare in the heart of Medan, but also served to strengthen the ties between the different communities of the rich multicultural city. The bridge was built to commemorate a mayor known for encouraging

Top and above: Tak Seng On Pawnshop, Macao SAR, China

UNESCO Asia-Paciﬁc Heritage Awards

peaceful cross-cultural exchange between the city’s Malay, Chinese, Indian, Arab and European residents. As part of their anniversary celebrations, the Sumatra Heritage Trust decided to initiate the restoration of the dilapidated bridge to create a “spirit of harmony” between the various groups. Local businesses generously donated to the project, which resulted in the refurbishment of the bridge’s decorative rails and street lights and the installation of an interpretation board celebrating the unique history of the city. As a result, the town has seen a revival of its historic intercultural civic spirit, which will support the maintenance of the bridge and other similar public works. In light of the Asia-Pacific region’s complex historical layers, especially in the post-colonial era, renewed partnerships can provide a way to revisit and reposition shared heritage in its modern context. The National Archives Building in Jakarta, Indonesia (2001 Award of Excellence) sets a precedent in this regard. Owned by the Indonesian government, the building was restored by the private sector with funding from the local Dutch business community. The Indonesian alumni of Dutch schools and the Indonesian Heritage Society were approached as the local counterparts. An Indonesian-Dutch architect team was formed, in which I took part, along with Han Awal & Partners and Cor Passchier. The Gedung Arsip National Foundation was launched in October 1998 to manage the restored building. Its committee members are prominent local Indonesians and expatriates, including the initiator of the project, a Dutch lawyer working in Jakarta, Mr Erick Hemerstein. Today the National Archives Building sustains itself on donations and fundraising activities. Organizing public cultural events and leasing the building for social events not only raise the building’s profile in the country, but also help to cover maintenance costs. Ensuring long-term viability A common dilemma in conservation works is that even when people share good intentions for conservation, they often have different conservation values, approaches and technical know-how, which can produce different outcomes and even conflicting results. Good intentions alone do not guarantee success—in any conservation project, stamina is needed to manage and to nurture relationships, so that trust among all stakeholders can be built up and suspicion can be cleared away. Yet, while being inclusive is important, the more people who get involved, the more ideas will emerge. So it is not only vital to nourish a good collaborative spirit, but it is also crucial for the project to have clear visions and objectives, with well-established guidelines for undertaking the work. This will ensure that the project meets high standards and will make managing the process easier. The restoration work is a short term goal; and the ultimate goal should be to achieve sustainable reuse for the future.

Five Years of the UNESCO Asia-Pacific Heritage Awards Case Studies of Best Conservation Practice

Most Excellent Project • Cheong Fatt Tze Mansion, Penang, Malaysia

Excellent Project • Chanwar Palkhiwalon-ki-Haveli, Rajasthan, India • Hoi An Town Preservation Cooperation Project, Hoi An, Vietnam

Outstanding Project • Hotel de l’Orient, Pondicherry, India • Hung Shing Old Temple, Hong Kong SAR, China • Ohel Leah Synagogue, Hong Kong SAR, China • Residence of Dr Zhang Yunpen, Zhenjiang, Jiangsu Province, China • St. Patrick’s College, Sydney, Australia

Honourable Mention • Harischandra Building in Maha Vihara Monastery,

Anuradhapura, Sri Lanka • Mawson’s Huts Historic Site, Cape Denison, Commonwealth Bay, Australian Antarctic Territory • Residence of Charles Prosper Wolff Schoemaker, Bandung, Indonesia • Rumah Penghulu, Kuala Lumpur, Malaysia

Cheong Fatt Tze Mansion

UNESCO Asia-Paciﬁc Heritage Awards

City map

Location 14 Leith Street, George Town Penang, Malaysia

Size 3,250 square metres

Cost Approximately US$2,000,000

Responsible Party

Context

Gothic louvered windows, Stoke-on-Trent geometric floor tiles and Scottish cast-iron elements.

Cheong Fatt Tze Mansion is the late nineteenth-century architectural legacy of the man dubbed the “Rockfeller of the East”. Originally a penniless boy from China, Cheong Fatt Tze had a remarkable rags-to-riches life in which he rose from poverty and obscurity by creating a multinational conglomerate and subsequently gained high standing in Penang society.

Cheong Fatt Tze lived in the mansion until his death in 1916, with three of his eight wives, his six sons and numerous daughters. In his will he stipulated that the house could not be sold until the death of his last son but because his sons had insufficient funds to maintain the house, it fell into ruin.

Surrounded by modern structures, Cheong Fatt Tze Mansion is one of the few remaining historic buildings in Penang and could well have been demolished had it not been for a group of determined citizens and a privately-funded operation which rescued the mansion from redevelopment.

When Cheong Fatt Tze’s last son died in 1989, the house was put on the market. By this time it was in an extremely dilapidated state and faced the prospect of either demolition or eventual collapse. In 1990 it was sold to a small group of conservation-minded buyers, who, despite the derelict appearance of the building, recognized its heritage value and were charmed by its unique character.

It is still challenging to effectively implement legal protection for historic buildings in Malaysia. Until recently, heritage architecture in Penang was not widely recognized as having significant value and the focus was on the construction of modern structures rather than renovation of historic buildings. This restoration project was therefore a milestone and a turning point in terms of heritage protection in Penang.

Building history Constructed over a seven-year period between 1896 and 1904 by teams of master craftsmen from China, the majestic mansion of 38 rooms, five granite-paved courtyards, seven staircases and 220 windows was designed to reflect Cheong Fatt Tze’s stature and eclectic approach to life.

Cheong Fatt Tze Mansion Ltd.

Heritage Architect Laurence Loh Lin Lee Loh-Lim

Contractor Individual sub-contractors, artisans and conservators

Date of Completion April 1999

The mansion is one of three remaining stately Chinese-style dwellings of its kind outside of China, and is the only one in Southeast Asia. This building is particularly unusual, however. While it represents the best of eighteenth and nineteenth-century Chinese architecture, and it is laid out according to Chinese geomantic principles and decorated with intricate carvings, chien nien and Chinese lattice-work, the courtyard house also reflects an array of other influences. These can be seen in Art Nouveau stained glass,

Project history The new owners of the building believed there was a need for a change in the community’s outlook towards historic buildings and the values ascribed to them. In the Cheong Fatt Tze Mansion project, they hoped to undertake a project with integrity and raise restoration practices in Penang. Indeed, it was Penang’s first high-profile renovation venture. The project began in 1991 and most major works were finished by 1996. With the installation of electrical wiring and plumbing in 1999, the restoration works were completed.

Project scope and framework The main objective was to preserve and restore as much of the original fabric of the building as possible and to secure the future of the exceptional building for future generations. Faced with the absence of sympathetic statutory laws and the lack of financial incentives, local expertise and awareness, the conservation team started from scratch. Picturing themselves as

Cheong Fatt Tze Mansion / 2000

simply “caretakers of the building, treading lightly and touching softly”, the philosophy of the project was embodied in five key approaches: unhurried discovery, restrained repair, reuse and recycling of materials, practicality and attention to detail, and lastly, research, consultation and networking between consultants. The restoration was a process of discovery, during which the secrets of the mansion were slowly revealed. These included the feng shui principles, numerology and spiritual emanations woven within its architecture. For example, in keeping with geomantic beliefs that nature’s wealth should be drawn into the building, rainwater gutters take circuitous routes and air flow is cleverly directed through the building, cooling both floors and ceiling spaces. Also, gold had been buried in auspicious corners of the courtyard to ensure continuous wealth. Propitious sayings were found inscribed over doorways while examinations revealed that the detailed decorative works were scenes of gods and myths.

Conservation methodology and materials The conservation approach was to retain the integrity of the mansion by applying traditional methods and making only minor modifications. Local Penang artisans were employed and local materials were utilized wherever possible, while artists and materials were brought in from China for restoration of the Chinese decorative arts. The roof was restored with imported Chinese roof tiles and a traditional lime mortar reinforced with fibres and animal hair. The tiling system, typical of temples, palaces and large mansions, is composed of large flat tiles laid on the timber battens which are over-laid with half-cylindrical tiles which taper at the top end to allow for overlapping. A decorative green ceramic drip edge tile caps the end. Samples of the various original wall plasters were sent for laboratory analysis to determine the exact proportion of lime, river sand and additives such as papier mache, horse hair and other fibres. The lime plasters were then reproduced by hand in order to match

Top: The restored mansion is now a much sought-after boutique hotel and a prominent stop on the Penang tourist trail. Above: The mansion’s cultural significance was slowly revealed during the restoration.

UNESCO Asia-Paciﬁc Heritage Awards

the original specifications. In restoring the wall finishes, the building was returned to its original landmark colour of indigo blue, produced by extracting a blue dye from the local clitorea ternate flower, which was added to the lime wash in combination with tung oil and a fixative obtained from boiled cartilage. Local Cantonese carpenters were brought in to repair the timber works using traditional hand tools. Elaborate timber filigree carvings, paneled doors, louvred windows, balusters and timber strip ceilings were refurbished over a three-year period, along with decorative works on furniture and ceilings. All timber works were repaired with original teak or chengal tropical hardwoods and finished with seven layers of ta cik, a tree sap used to prevent termite infestation, providing a hardened finish guaranteed to last a century.

Above: The interior courtyard highlights the juxtaposition of Chinese cultural influences and the original owner’s eclectic taste. Right: The floor plan shows the rooms arranged around the courtyard. Opposite: Section through the building.

Local iron casting was done to replace missing cast iron pieces that had originally been imported from Glasgow, Scotland. The intricate Victorian cast iron elements include spiral staircases, columns with Corinthian capitals in the main courtyard, external fence grills, fanlights and lamp stands. All ironworks were carefully sanded down to remove rust and treated with an anti-rust undercoat and metal paint. Gilded works were meticulously cleaned in lieu of total re-gilding. Cotton earbuds were dipped in an extremely dilute solution of acid in order to remove a century’s worth of dirt and grease, revealing the original brilliance and retaining the original craftsmanship. In cleaning the elaborate timber filigree screens in the entry foyer and the ground floor sitting room, an average of 26 hours was spent on each panel alone. The mansion’s original collection of 48 magnificent stained glass panels, believed to have been imported from England in the nineteenth century, had deteriorated badly over the years, with brittle lead lining, twisted frames, missing and broken pieces. A local restorer undertook the repair of the remaining panels, using handmade restoration glass sheets imported from the United States and Germany. Artisan flesh, ripple and rolled glass were replaced, lead lining was changed and missing panels were recreated.

Cheong Fatt Tze Mansion / 2000

In the repair of the impressive chien nien works, almost 10,000 coloured pottery bowls were specially fabricated in Fujian province. Broken with pliers by Chinese artisans, the resulting shards were then pasted in situ to form decorative displays depicting gods, scenery and other images from Chinese mythology. Egg white mixed with organic powdered paint, topped by a protective coat of tung oil, was used to restore tempera paintings on the gables of the buildings. The massive trompe lâ&#x20AC;&#x2122;oeil beams framing the main courtyard, composed of iron I-beams encased in lime plaster and painted convincingly to resemble wood grain, were also refreshed. Likewise, the internal wall dado panels, which had been painted to resemble polished grey granite, were carefully restored with a special lime plaster and Chinese ink.

Award Citation The restoration of the Cheong Fatt Tze Mansion is an exceptional achievement for the conservation movement in Penang. It served as a model for restoration projects in the George Town community and its impact prompted stronger heritage measures in the city and, indeed, the broader region. A meticulous application of research coupled with scientific analysis, traditional artisan skills, and when necessary, imported materials and workmanship, ensured the authenticity and methodology of its reconstruction.

The original Stoke-on-Trent decorative encaustic floor tiles in the central halls were carefully cleaned, while the annexes and terraces were retiled with replica terracotta tiles imported from China.

UNESCO Asia-PaciďŹ c Heritage Awards

No sealant was applied to the floor surfaces, to allow moisture to ventilate naturally. Granite slabs salvaged from other demolished traditional houses were used to pave the front driveway. New plumbing and electrical works were the only modern additions to the main building during the project. The annex wings have been equipped with air-conditioning and en-suite bathrooms to allow them to function as comfortable guest quarters.

Important issues Because Cheong Fatt Tze had filled his mansion with life and vitality, the new owners felt the mansion should continue to be used and enjoyed by people. Following the restoration works, the owners decided that rather than retaining the mansion as a private residence, the building should be adapted for use as a boutique hotel. It was realized during the restoration works that some of the workmen were unfamiliar with old techniques and materials and had to be persuaded to use them. It became clear, therefore, that in order to encourage such use, these workmen also needed to learn about the value of these materials and methods and why their use is important.

Project sustainability and viability This project has encouraged greater community appreciation of heritage buildings such that other owners began to restore their historic properties. It fostered an appreciation for the value of their built heritage, a good sign that such buildings have a future in Penang.

Project impact This impressive structure, which is an extraordinary testament to the construction techniques and craftsmanship of the past, has helped revive traditional building methods which are now acknowledged as widely applicable throughout the historic city.

Cheong Fatt Tze Mansion / 2000

The project returned a nearly lost landmark to the community, which is now regarded as a cultural icon in Penang. Since its restoration, the central ensemble of rooms and courtyards has served as a public space for exhibitions, tours, concerts, weddings and other public activities, and the annexes have been converted into 16 themed apartments, decorated in nineteenthcentury style. This new use has opened the mansion to a broader audience, demonstrating the value and viability of restoring heritage building and serving as a model for conservation projects throughout the region. Technical Brief

Chinese decorative works The features of a traditional Chinese building can include structural, architectural or ornamental elements and Chinese decorative arts can be expressed through any of these features. These decorative works and ornamentation are filled with symbolism and are a direct portrayal of the richness and variety of the culture. The traditional Chinese buildings submitted to the Heritage Awards programme included Cheong Fatt Tze Mansion (2000 Most Excellent Project) in Penang and Cheng Hoon Teng Main Temple (2002 Award of Merit) in Melaka, Malaysia; Dalongdong Baoan Temple (2003 Honourable Mention) in Taipei, China; Guangyu Ancestral Hall (2003 Award of Excellence) in Guangdong, China; Hung Shing Temple (2000 Outstanding Project) and King Law Ka Shuk Study Hall (2001 Award of Merit) in Hong Kong SAR, China; and Thian Hock Keng Temple (2001 Honourable Mention) in Singapore. In these projects, when the differing forms of art works are viewed in the context of symbolism, their corresponding meanings can be seen to arise from Chinese mythology and legends. Sometimes what is portrayed is actually a wish or a desire–for long life, good health, wealth or many children. These ideas or aspirations are simple and basic, and the artisan elevates them to a higher plane by injecting into them his craftsmanship and creativity. By repeat-

The Cheong Fatt Tze Mansion (now also known as the Blue Mansion) acts as a focus of local heritage regeneration and the embodiment of the marriage between conservation theory and practice. The project also demonstrates the concept of an historic grouping by subsequently extending the conservation work to five shophouses opposite the mansion which were formerly the servants’ quarters. These have been adapted for reuse as restaurants and bars. The project has also prompted owners of neighbouring mansions to undertake refurbishments, thus setting in motion a shared commitment to the improvement of their surroundings.

ing them in various architectural components over and over again in various parts of the building, the artisan is in fact seeking to increase the chances that the gods may be watching or listening and the hopes and wishes of the people may be fulfilled. The Chinese approach is simple–if you surround yourself constantly with outstanding and magnificent portrayals, somehow life as you know it becomes a little better. And if the artisan skills, techniques and materials are of the highest quality, then the eventual effect and product are exquisite and the desirable outcome becomes more probable. The main decorative works in Chinese traditional buildings which figure in the projects include chien nien (porcelain art works), chai hui (Chinese decorative paintwork), timber carving and gilding, and the use of colour. Chien nien (porcelain mosaic work) Chien nien is a mosaic style of ornamentation in which coloured rice bowls, specifically produced for this work, are carefully clipped with pliers into shards–which are fixed onto lime plaster basrelief to form colourful portrayals of mythology and symbols, and scenes of the gods and heaven. It is a craft practiced exclusively by the Fujianese and Teochew and is used extensively in Cheong Fatt Tze Mansion, Thian Hock Keng Temple and Cheng Hoon Teng Main Temple. Chien nien works of the highest grade, for example, those in Cheong Fatt Tze Mansion, use lime plaster that, after curing, is specially prepared by vigorous beating with wooden mallets to improve its quality, making the plaster fine and smooth. The bowls

Top, middle, and bottom: The art of chien nien involves the creation of decorative works using small shards of colourful glazed pottery joined with mortar. Previous page Top: The central hall features carved and gilded wooden screens and encaustic floor tiles. Far left: A skilled wood craftsman repairs one of the door panels. Left: One of the themed guest rooms.

UNESCO Asia-Paciﬁc Heritage Awards

that are used in chien nien come in seven basic colours and the most desirable ones to work with are the thinnest with the inner side unglazed. Chai hui (Chinese decorative paintwork) Chai hui involves the use of tempera paint mixtures of egg white and organic powdered paint, coloured oil paints as well as Chinese black ink. In Cheong Fatt Tze Mansion, the chai hui was expertly combined with the chien nien on gable ends and decorative panels. A final coat of tung oil was applied on all the decorative paintings upon completion to act as a protective layer. At Cheng Hoon Teng Main Temple in Melaka, the process of restoring the chai hui involved research into Chinese mythology and styles of painting that were popular at the time that the temple was first embellished with these decorative works. The traditional Chinese artisan approach to the restoration of chai hui has rarely involved retention of the original painting or paint stabilization and light touching-up. It has always been one of repainting and complete renewal. From this point of view, the restoration of decorative paintings conducted in both the Cheong Fatt Tze Mansion as well as the Cheng Hoon Teng Main Temple may be said to depart from tradition, towards a more international standard of conservation, since they were not repainted but were instead repaired and conserved. At the Cheong Fatt Tze Mansion, for example, dado wall panels, decorated with trompe l’oeil frescoes resembling polished grey granite, had entirely de-bonded from the brickwork and the frescoes had faded. The initial approach of the artisans was to completely remove the old plaster panels and create new plaster panels on which new frescoes would be painted. Eventually the artisans were persuaded to retain the original panels and to push those panels back into position using a liquid lime drip-method together with pressure, and then to lightly retouch any damaged frescoes. New panels were only created in areas where the original panels were missing. These panels were created with an unusual lime plaster, especially prepared with the use of papier-mache to produce a smooth and distinctive plaster, on which unique Chinese black ink was then decoratively applied.

Timber carving and gilding The Cantonese are particularly adept at creating elaborate timber filigree carvings and screens, massive carved beams, embellished paneled doors, windows and architraves. Dou gong, ornate, layered carved timber brackets, are a distinctive feature of many temple buildings. The quality of the carvings raises the aesthetic value of the building. Carvings incorporate motifs of dragons, phoenixes, bats (which all represent good luck), pomegranates (representing abundance of seed), mythical animals, scenes from legends and the artisan carver’s perceptions of what heaven should look like. These carvings are then often further enhanced with gold gilding. Before gilding, the timber is primed with a layer of ta chik, a tree sap, and is sometimes stained or painted red. As the final finish, gold leaf is then applied in thin sheets and rubbed into place. The use of colour Colours are themselves decorative and are also symbolic. For the Hokkien and Teochew, the colours red and gold are essential in decorative works and used in abundance for decorations in celebrations, festivities and rejoicing. Temples, in particular, are often predominantly red, for example, Cheng Hoon Teng and Thian Hock Keng temples. Traditional Cantonese buildings, in contrast, are generally grey and decorations are less flamboyant. Unlike Hokkien temples, for example, the ridges of Cantonese temples are straight and motifs are more subdued. In conclusion, it can be inferred that Chinese decorative works are not simply reflective of the creativity of the artisan. There is a symbolic basis for what one sees, regardless of its particular form. The fundamental, elementary ideas are translated by the artisans using their skill and originality in a particular decorative art form. These are then meant to be admired and valued because the viewer understands the symbols and the meaning behind what he sees, beyond simple beauty and magnificence. Lin Lee Loh-Lim

Quote from the project team For us, the project has been an evolutionary journey–an appreciation for time, recognition of the need for change, change itself, and the need to be an agent of change. It also set a benchmark in a milieu not notable for the quality of its restoration work and opened doors for subsequent heritage incentives. It has bought time for George Town and put Penang on the world conservation map, imparting a memorable experience to all who enter its portals and share its past glories and current revelations.

Chanwar Palkhiwalonki-Haveli

UNESCO Asia-PaciďŹ c Heritage Awards

Town map

Context

Project history

The Chanwar Palkhiwalon-ki-Haveli is located in the ancient township of Amber. Founded in 1036, Amber was once the seat of power in Rajasthan, containing many temples and numerous grand haveli (mansions) with ornamental gardens. But when Raja Jai Singh II, who ruled from 1699 to 1743, chose to shift the capital to the newly-founded city of Jaipur, Amber was abandoned, leaving the impressive buildings to fall into a state of ruin.

In 1987, the members of the Jaipur Chapter of the Indian National Trust for Art and Cultural Heritage (INTACH) began a process to revive Amber through heritage conservation and restoration. The members of INTACH wanted to protect the ancient township and its historic ruins but at the same time believed that conservation could only be effective if the heritage fabric was relevant in the day-to-day lives of residents. They therefore sought to initiate actions which would enable built heritage to play a part in the communityâ&#x20AC;&#x2122;s life and in the townâ&#x20AC;&#x2122;s economic development. A masterplan was prepared for the conservation of the historic township of Amber in 1988. Within the framework of the plan, it was decided to restore one monument as a pilot project.

By the 1980s the historic buildings had been long neglected and many were crumbling. They faced further destruction as people were using the ancient structures as a source of building materials for new houses. Meanwhile the infrastructure and resources of Amber were also under pressure as a result of an influx of people. In addition, uncontrolled development was destroying the layout and beauty of the town. While India has legislation to protect historic structures, such as the Ancient Monuments and Archeological Sites and Remains Act (1958) and the Ancient Monuments Preservation Act (1904), the ancient haveli and other built heritage in Amber are insufficiently protected by these laws. Until recently, many of the decaying buildings in Amber lacked owners and few people paid attention to ensuring their preservation.

Location Amber, Rajasthan, India

Building history

Size 830 square metres

Cost US$65,000

Responsible Party J.P. Singh and Faith Singh

Heritage Architect Nimish Patel and Parul Zaveri

Contractor Premchand Saini

Date of Completion December 1994

The Chanwar Palkhiwalon-ki-Haveli is centuries old and was originally the home of a family of palanquin bearers. A stone and lime-plaster structure in a mixture of Rajput and Mughal styles, the building has ornate balconies and intricately carved decorative features. When Amber was abandoned in the eighteenth century, the Chanwar Palkhiwalon-ki-Haveli was, like the other mansions, left to decay. By the time the restoration project began in 1990, the building was almost in ruins.

INTACH at first planned to restore and convert a haveli for use as a School for Building Conservation, with the view to eventually making the town of Amber a centre for heritage preservation. Complications arose, however, when the plans for the school were abandoned and the original building chosen for the project was instead donated to a leprosy hospital. The convenor of the Jaipur Chapter of INTACH, J.P. (John) Singh, then purchased another building, the Chanwar Palkhiwalonki-Haveli, and restoration work began in 1990. The majority of conservation works was completed in December 1994.

Project scope and framework The restoration project set out to return the Chanwar Palkhiwalonki-Haveli to a usable state. The project was envisaged as a means of generating employment opportunities for local craftsmen with traditional skills and emphasis was placed on ensuring community and craftsmen participation in design and construction decisions. The project was also seen as a catalyst for reestablishing civic pride and appreciation of heritage by the Amber community. It was hoped that the project would demonstrate the relevance and establish the cost of using traditional techniques and materials in a contemporary context.

Chanwar Palkhiwalon-ki-Haveli / 2000

Conservation methodology and materials Because the project sought to demonstrate the restoration of a haveli using only traditional materials and techniques, contemporary materials such as cement were not permitted. Furthermore, to privilege traditional ways of working by the local builders themselves, it was decided that no drawings were to be made in the process of conservation and that all conservation decisions were to be undertaken with the input of the traditional craftsmen. This emphasis on traditional materials, technologies and skills led to a vigorous interchange of ideas between the tradespeople involved in the project and to the revival of many forgotten designs and vernacular techniques. Stone carvers, for example, carefully recreated elaborate pillars, canopies and eaves with details that cannot be found in modern buildings. The longabandoned process of making araish (refined lime plaster used as decorative wall finish) was re-introduced. The traditional builders, led by the chief mason, Premchand Saini, took the lead in reconstructing the masonry structure, replastering the walls and reconstructing the roof of the haveli. The roof was recreated with slabs of local stone and the ceiling was rendered with lime plaster. The walls were colour-washed in what was believed to be the original shade of the building, soft terracotta, with white detailing. Design input was provided by the project architects, and suggestions from visitors to the work site were even incorporated if found appropriate.

Left and above: The haveli has been transformed from a ruin into a museum of traditional textile crafts.

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team The strength of Indian architecture lies in the anonymity of its architect and in the act of providing buildings rather than in the act of designing buildings. In the final analysis, new buildings in historic areas must attempt continuity with the past (without fossilizing it) and a change for the future (without being incongruent with its surroundings). The conservation process continues, and so does our learning.

Important issues

Above: Floor plan. Top left: Traditional plaster work is one of the hallmarks of this type of building. Top right: The interior spaces were adapted for the display of textile collections. Opposite: Section through the building.

Determining appropriate reuse Restoration work began without any particular reuse in mind for the building. After its restoration the owners of the mansion made a conscious decision not to put it to any commercial use until a conservation-oriented set of by-laws for the development of Amber was accepted and implemented by the government. These by-laws were not implemented, however, so after over four years of waiting the owners decided to convert the haveli into a museum of block printing and traditional textiles. Lessons learned As work progressed, it became apparent that the ruins were structurally much stronger than they had appeared to be and that even the most dilapidated-looking buildings could be restored.

In addition, the project managers realized that most traditional materials were much more durable than contemporary materials and simple, time-tested methods are often better in the long term than fashionable new innovations. Using vernacular materials in restoration strengthened the ruins more effectively, since they were more sympathetic with the original building fabric in both chemical and aesthetic terms. It also became clear that the traditional craftsmen have a much better understanding of the local materials and technology than architectural professionals, who gained their knowledge through the education system without the benefit of hands-on experience. This demonstrated the importance of including and encouraging the input of local, traditional artists and craftspeople in such projects.

Chanwar Palkhiwalon-ki-Haveli / 2000

Project sustainability and viability The restoration project led to a greater interest in protecting and restoring the ancient structures of Amber. With the revival of traditional skills, there is now increased capacity among local people and craftsmen to bring these buildings back to life, ensuring the sustainability and viability of the heritage fabric of this historic town.

Project impact Since the restoration of the Chanwar Palkhiwalon-ki-Haveli the townâ&#x20AC;&#x2122;s heritage buildings are no longer seen merely as sources of construction materials for new structures, but rather as tangible cultural elements that deserve stewardship. It has encouraged other haveli owners in Amber to attempt the restoration of their own properties as well. Citizens now voluntarily report encroachments on ruins to the INTACH office and local authorities. Such cooperation is integral to the conservation of not just one building, but the whole ancient township. The project was a learning opportunity for all involved. For the professionally-trained architects, it proved to be a chance to reevaluate their skills and to gain a deeper understanding of heritage buildings and traditional techniques. At the same time, the project enabled craftsmen to develop their skills and strengthen their confidence and pride in their work. One tangible result was the creation of employment opportunities for local craftsmen. One has become an independent contractor with his own team while another, a traditional plasterer, has been contracted to work for the Oberoi Group of Hotels. Also, a team of trained masons from the project is now employed by the Rajasthan Housing Board and some were invited by the Department of Tourism to work on their properties.

Award Citation The rehabilitation of the Chanwar Palkhiwalon-ki-haveli ruins demonstrates that even severely deteriorated historic structures can be saved, restored to near their original condition and given a prolonged life in an economically practical way. Utilizing local artisans and materials resulted in economic revitalization among participants, with several eventually establishing their own construction firms specializing in historic rehabilitation. The high visibility project became a catalyst for master plan conservation of the 800-year-old historic town of Amber.

UNESCO Asia-PaciďŹ c Heritage Awards

Technical Brief

Araish Araish is a technique of producing an extremely smooth, glossy and crack-free surface in the final coat of lime plaster or floor finish. In India, it was developed and flourished in Rajasthan, and is said to have reached its peak during the reign of Maharaja Pratap Singh (1779-1803), the ruler of Amber and Jaipur. This technique has been applied on a wide range of surfaces, external as well as internal, in the form of plaster, floor finish, borders and painted frescoes on elements of local architecture. It has withstood extreme climatic conditions of arid and semiarid regions for centuries. The technique undergoes regional variations in terms of proportions of the ingredients and in the methods and lengths of processes, largely depending on the quality of lime available. For araish plaster, the process begins with the preparation of its primary ingredients, which are quick lime, marble dust, gur (jaggery) and methi (fenugreek). The longest lead time is required for the preparation of lime. Lime has to be purified in water for a year or two prior to its application. The lime and water are stored in earthen pots, preferably in dark rooms, or below the ground in constantly shaded areas, to ensure minimal variation in the temperatures over this length of time. The water is replaced almost every day and the mixture churned. Curd (yogurt) is added to it to absorb the impurities of the lime. Over this period the required fusion in the lime is achieved along with the release of heat. The lime paste is then taken out and ground with marble powder, gur (jaggery), methi (fenugreek) along with other ingredients, and converted into a coarse paste, which is applied to the previous coats of lime plaster with appropriate tools. The prepared surface is kept moist to allow the settlement of the lime for two to three weeks.

Hoi An Town Preservation Cooperation Project

UNESCO Asia-PaciďŹ c Heritage Awards

City map

Location Tran Phu Street, Nguyen Thi Minh Khai Street Nguyen Thai Hoc Street, Hoi An Quang Nam Province, Viet Nam

Responsible Party Sponsorship Association of the Hoi An Cultural and Architectural Heritage

Heritage Architect Hoang Dao Kinh Nobuo Kamei Nguyen Ba Dung Kiyoshi Hirai

Contractor Kim An Construction Enterprise

Date of Completion December 1999

Hoi An Town Preservation Cooperation Project / 2000

Left and above: The restoration maximized retention of the building fabric.

UNESCO Asia-Paciﬁc Heritage Awards

Top: Consultative meeting with local stakeholders. Middle: Hoi An’s buildings reflect a blend of various architectural traditions. Above: Floor plan of a shophouse. Top left: Hoi An streetscape. Top right: A residence being restored. Opposite Page Left: The first case study house, at 80 Tran Phu Street, is now a museum. Right: The section drawing shows the building’s layout, centred on a courtyard.

Hoi An Town Preservation Cooperation Project / 2000

Award Citation Restoration of the historic vernacular structures in Hoi An Town exemplifies a holistic conservation strategy within a community. The collaborative efforts of international experts and local artisans followed a well-defined plan of survey, selection and restoration, integrated with skills training and knowledge transfer during the reconstruction. The inclusion of structures housing a variety of private and commercial uses promotes long-term viability of the community through continuation of its historic tradition of productive commercial and domestic diversity.

UNESCO Asia-Paciﬁc Heritage Awards

Technical Brief

Repairing timber components Termites and rot were the major problems affecting timber components. The presence of termites was determined by a termite trail at the base of the pillar. If there was a hollow sound when the wood was tapped, this was also an indication that there was a termite problem. Termite infestation led to the deterioration of the joints between the pillars, beams and rafters, and to the decay of the pillar bases. Eventually, this caused the subsidence of the pillars and the supported beams, which made the whole structure lean. The crucial rule in the repair of the historic buildings was to save old materials. Therefore, replacements with new materials were limited to a minimum. Termite damage to pillars and beams was repaired by removing the damaged part and replacing it with new wood. Hoi An is known for its decorative carved beams, especially the inclined beams. In repairing these beams, the exterior flanks of the beam were conserved to retain the original carvings. Only the central portion of the beam was replaced with new wood, and the carved sides were affixed to this new core with an adhesive agent.

roof or a leaking exterior wall. For pillars, damage tends to be most prevalent around the base and in pillars situated along the walls. Rot is also commonly found on the edge of rafters, purlins, floor beams and joists along the external wall. Timber members affected by rot were repaired in a similar manner to termite-infected pieces through the removal and replacement of damaged areas. This included in particular damaged rafters located at the valleys of roofs where rainwater had accumulated and infiltrated through leaks. In finishing the wood members, they were first sanded with sandpaper to prepare the surface, then a resin coating was applied. The use of mineral colorant was avoided even though it has a high degree of resistance against water since it was found to harmonize badly with the colour of the existing wood. In painting the new timber parts, a slightly lighter shade was used in order to distinguish the new parts from the original old parts. Wooden doors and windows were also carefully restored. Many of them had suffered decay in the pivot section, which led to difficulty in opening and closing them. The damaged parts were thus repaired with the same material and carpentry techniques, and coated to match the existing historic ones.

Termite damage was often not visible externally, but in some instances, the core section was damaged to the point of becoming hollow. In cases where the core had been eaten away by termites, the hollow part was filled in with new wood, leaving the exterior part intact. In order to do this, the existing wood member was split into two halves and the damaged part scooped out, before the new wood was inserted and fixed securely with epoxy resin. The wood was treated with insecticide, which was handled with utmost care to prevent adverse effects to people and the environment.

In order to reduce the incidence of termite infestation or rot, it was recommended that maintenance measures be undertaken on a regular basis. For instance, the roof should be maintained periodically in order to prevent the leakage of rainwater. Metal sheets should be added to line the valley gutters. Good ventilation should be ensured in order to allow wooden members to stay dry. Interior water pipes and drainpipes should be maintained to prevent water leakage on wooden members. Eaves should be installed to prevent rain from striking the external wall. These measures will help maintain the condition of the wooden parts in Hoi An buildings.

Rot on the timber members was identified by a whitish smear detected on the surface of the wood. Similar to termite damage, a hollow sound could be heard if the wood member was tapped. Rot is caused by rising damp or water infiltration, often from the

Adapted from the “UNESCO Heritage Homeowner’s Preservation Manual for Hoi An World Heritage Site”, Showa Women’s University, Chiba University and the Hoi An Centre for Monuments Management and Preservation

Quote from the project team The main objective of the cooperative project is to reach a level where the town preservation effort can be self sustained by the Vietnamese people.

Hotel de lâ&#x20AC;&#x2122;Orient

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis The Hotel de l’Orient is located in Pondicherry, a former French colony with a mixture of European buildings and vernacular Tamil architecture. With its elegant classical style and red lime stucco façade, the building is one of the few remaining structures built in the French colonial style. The building was originally constructed as a residential property. However, the construction date was not known until the discovery of a bricked-up niche during restoration work, which uncovered evidence of the date of 1809. City map Opposite left: The courtyard was repaved with new stones and turned into a dining area. Opposite middle and far right: A modified mixture of traditional lime, cement and coloured oxides were used to repair and give fresh life to the deteriorated façade.

Initially slated for demolition to make way for a high-rise apartment complex, the house was purchased by Francis Wacziarg, who set out to convert the building into a small boutique hotel. The brief was to create 10 guest rooms with modern bathrooms and air-conditioning. Eight of these rooms were designed within the existing structure while the remaining two rooms were new additions, but constructed in harmony with the existing architectural design. The initial three months of the project were dedicated to investigations of the existing fabric to evaluate the building condition and determine the works which would need to be undertaken. The building was restored over a period of 18 months.

Location 17 Rue Romain Rolland, Pondicherry, India

Size 700 square metres (before restoration) 880 square metres (after restoration)

Cost US$125,000 (including interior fittings)

Responsible Party Francis Wacziarg

Heritage Architect Ajit Koujalgi and Renate Hach

Contractor C. Guedjabady

Date of Completion March 2000

Conservation approach The guiding approach throughout the restoration was to retain all the parts of the building which were in good condition and specify materials as close as possible to the original for the damaged ones. As an example, parts of the building’s interior lime plaster were badly damaged by poorly-nailed electrical conduits, pictures and partitions. It was decided to repair the damaged portions while the undamaged areas were left in situ. The old and new sections can therefore be distinguished by their different colours. Since there were difficulties in finding artisans capable of the original plastering technique, a modern version was devised, using a mix of marble dust, white cement, shell lime powder and colour oxides. The mixture was applied in a thin coating of three millimetres on a base of cement mortar, then the surface was

trowel finished and polished with river pebbles before it fully set. After curing, it was sanded with emery paper and waxed smooth. This technique was used for the bathroom walls in different colours and is one of the most admired features of the project. The lime stucco street façade was treated in a similar manner. In cases where the original materials could not be found or replicated, alternative materials had to be substituted. For example, good quality lime was not available to match the original pure lime mortar of the building, so a composite mortar consisting of pug-milled lime mortar plus cement was used instead. The doors and windows were repaired and missing elements were replaced with exact replicas by skilled local carpenters using recycled wood bought locally from recycled-wood dealers. The original roof structure, known as the Madras terrace, consisted of closely-spaced timber joists and beams supporting a brick slab made of flat-formed bricks set in lime mortar at a 45-degree angle to the joists. Termite infestation of the timber joists was rectified with a thorough anti-termite treatment applied at the plinth level. All the damaged timber members were replaced with recycled timber beams and joists. The leaking roof terrace was also repaired in a traditional way using a lime-cement mortar and terracotta tiles. Vegetation growing in the masonry was removed and the walls were treated with a natural herbicide known as asafetida. Unsympathetic additions such as sheds in the courtyards and partitions in the rooms were removed. New additions to the building were created using modern materials to differentiate the old from the new. For example, the new spiral staircase was constructed in form-finished concrete and the new roof slab for two of the rooms was constructed with reinforced concrete. Existing bathrooms were upgraded and modern bathrooms were created in three guest rooms, with low partitions in order to retain the quality of space.

Hotel de l’Orient / 2000

Conservation and the community In recent times, many old buildings in Pondicherry have been demolished to make way for new developments. Often, these contemporary buildings have clashed with the existing historic context and have compromised the value of its heritage townscape. Through the conservation of Hotel de l’Orient, the community has been alerted to the possibility of countering the rapid deterioration of the town’s cultural legacy. This project has demonstrated to the local government, heritage homeowners and the general public that heritage buildings can be revitalized for modern commercial use.

Award Citation Restoration of the Hotel de l’Orient proves that successful heritage conservation does not require massive intervention or rebuilding. This inspiring project was completed with minimal intervention, done relatively inexpensively, and maintained the integrity of both the original exterior and the interior architecture. The care and attention given to original design elements in the interior restoration give the Hotel de l’Orient admirable charm and historic authenticity. The addition of two guestrooms and a staircase in order to make the project economically viable illustrates the creative approach to the structure’s adaptive conservation. In addition to contributing to the cultural enhancement of the community, the popularity of the hotel has validated the decision to restore the building rather than demolish it.

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team The clientâ&#x20AC;&#x2122;s intention was to show that old buildings should be saved, restored, extended and put to remunerative use, and this project is helping to get this message across.

Above and top right: Ground floor plan and section. Right and far right: The rooms were appropriately adapted into guest rooms, with upgraded services and fittings.

Hung Shing Old Temple

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis Thought to date from 1889, Hung Shing Temple on Kau Sai Island is a Grade III listed heritage building dedicated to Hung Shing, the god of the sea. A typical rural temple, it consists of a main hall with altars in between two smaller side halls. It is constructed in grey brick with a timber-framed roof, and features intricately crafted eave boards, painted friezes and decorative plaster work.

City map Opposite: The Shanghai plaster and paint that obscured the original brick fabric were removed during the conservation process.

Location Kau Sai Chau, Sai Kung, New Territories Hong Kong SAR, China

Cost Approximately US$300,000

Responsible Party Hung Shing Temple Restoration Committee

Heritage Architect Trevor J. Holmes

Contractor Ding Hsung Construction Company

Date of Completion February 2000

Records indicate that the temple has been renovated several times, first in 1949, then during the 1970s and most recently in 1988. Although structurally sound and well-managed by the villagers, the roof was in a state of decay due to termite infestation and the historic features of the temple were hidden behind the many inappropriate additions and repairs made in previous renovations. The original brick façade had been rendered in white Shanghai plaster and the granite stone supporting the brickwork had been painted green. In addition, modern glazed tiles had been used for the roof and the granite paving in front of the temple had been covered with cement. In the interior, the walls had been covered in pink glazed tiles and the floor given a modern terrazzo finish. Managed by Hong Kong’s Antiquities and Monuments Office, the restoration of the Hung Shing Temple began in August 1999. Financed by the Hong Kong Jockey Club, the objective was to restore the temple’s original appearance by removing inappropriate modern materials and to aid in the preservation of the culture and way of life of the fishing community of Kau Sai Island. In accordance with temple traditions, all major works and the opening ceremony were undertaken on auspicious dates decided upon by the village geomancer. Works were completed within six months in February 2000.

Conservation approach In order to revert the building to its original design, one of the major tasks undertaken was the removal of the Shanghai plaster applied on the front and side walls in order to expose the historic brickwork. Unfortunately, the brickwork had been damaged during previous

restoration and could not be reinstated, so the front and side walls had to be rebuilt with reclaimed bricks. The new bricks were matched exactly with original ones in order to be laid “tooth-in” at the corners. Because traditional bricklaying methods had died out, bricklayers were trained in the old techniques and they practised by constructing sample panels before actual rebuilding began. The terrazzo flooring in the interior was removed and replaced with traditional Canton tiles, laid on a damp-proof membrane base. Geomantic advice was given on the tiling pattern, with the main hall tiles set in a diamond pattern, in contrast to the square pattern with borders used in other areas of the temple. After the removal of the tiles, the interior wall finish was restored to a traditional grey painted plaster, with the exception of the rear wall behind the altar where the mural was conserved. Regarding the decorative plaster mouldings on the gable and ridges, which were an integral part of the temple, the objective was not to recreate new versions but to clean and restore the originals. Samples of existing paint pigments were studied and various techniques were investigated before any decisions were made about decayed parts. Skilled mainland Chinese artists were employed to repair and repaint the broken and weathered plaster decorations. Generally, the original motifs of auspicious creatures and scenes were retained but executed in a more crisp fashion as the mouldings created in the previous restoration were quite rough. In some cases, slight adaptations were made to create a livelier effect. Eave boards over the front entrance were repainted and re-gilded, while the pair of rare Shekwan ceramic panels flanking the main entrance was cleaned. The main entrance doors were painted with new door gods. A conservation specialist was brought in for the first time to restore internal artefacts and relics, such as the four guardian figurines, the altar, the weapons, the bell and cloud gong and the honorific boards, all dating to the late Qing dynasty. Missing pieces of the artifacts were replaced, cracks filled and modern gloss paint painstakingly removed to restore the original colours. A new lighting system was installed in order to upgrade the 15-year-old electrical system, with wiring unobtrusively placed in conduits or under the plaster.

Hung Shing Old Temple / 2000

The entire timber roof structure was termite-ridden, necessitating the replacement of the main roof beam and batten rafters with Chinese fir beams which had been treated with pesticides to prevent further termite infestation. Traditional bamboo nails were used to secure the framing. Termite treatment was also applied to all new furniture inside the temple.

Conservation and the community Pride in the heritage of the fishing community intensified as the project progressed, with the village elders participating actively during the weekly meetings. Since the villagers are the main users of the temple, their requests were accommodated as much as possible. Some residents inspected the temple each day after the workers had left. Upon its completion, an elaborate opening ceremony was held with lavish celebrations including a lion dance, puppet show, and a traditional meal for about 4,000 people. The finale of the ceremony was a traditional dragon boat race, befitting the templeâ&#x20AC;&#x2122;s special significance for seafarers.

Award Citation Restoration of the Hung Shing Old Temple was a community preservation project with full involvement of not only local villagers but far-flung members of the extended clan. The restoration was bold enough to remove inappropriate modern accretions, thus evoking an earlier phase of the buildingâ&#x20AC;&#x2122;s history when the community was at its most cohesive and prosperous, taking the traditional regional approach to preservation but also calling upon conservation experts as appropriate.

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team The appreciation for the project by the population of Kau Sai, and indeed many visitors returning from the rest of Hong Kong and abroad, was clear, and has helped greatly with the promotion of Hong Kongâ&#x20AC;&#x2122;s heritage.

Above: Ground floor plan. Top: The gaily decorated temple during the opening ceremony. Right: The damaged bricks on the front wall were repaired using reclaimed pieces. Far right: Skilled artisans from China restored the broken plaster decorations.

Ohel Leah Synagogue

UNESCO Asia-Paciﬁc Heritage Awards

City map Opposite left: During the restoration, inappropriate accretions and obtrusive service units were removed, thus reinstating the elegance of the main façade.

Location 70 Robinson Road, Hong Kong SAR, China

Cost US$4,000,000

Responsible Party Incorporated Trustees of the Jewish Community of Hong Kong

Project synopsis

Conservation approach

Constructed in 1901, the Ohel Leah Synagogue has served as a place of Orthodox Jewish worship in Hong Kong for over one hundred years. Designed by Leigh and Orange, the building is a significant example of the Edwardian Free Baroque style and is one of few synagogues in Asia constructed during the nineteenth and early twentieth centuries that is still being used for its original purpose.

The conservation team followed the philosophy and approach set out in the Burra Charter. Conservation policies were determined subsequent to detailed historical research and careful inspection of the fabric of the building, which enabled the preparation of the Conservation Plan and a detailed dilapidation study.

The internal layout, with a central bimah on a longitudinal axis with the ark, is typical of Sephardic synagogues, reflecting the fact that most of Hong Kong’s early Jewish settlers were Sephardic merchants from Baghdad and Iran engaged in the tea and opium trade. Meanwhile, the location of the seats backed up against the bimah shows the later Ashkenazi influence of the congregation. The red brick, stucco-rendered synagogue building and site had been subject to a range of inappropriate additions and alterations over time. Encroachment of new developments within its boundaries had greatly affected its physical integrity. In recognition of this state of affairs, the Board of Trustees of the Jewish Community of Hong Kong requested improvements to the building in October 1996. These works were designed to meet the current needs of the Jewish community as well as the requirements of authorities. In addition to conservation works, a small structure was built to house additional facilities requested by the Jewish community. The new structure is a simple modern building, constructed with contemporary materials such as glass and painted steelwork. The new structure is connected by a bridge which links into the synagogue tower through an existing fire escape doorway. This allowed for minimal impact on the historic building.

Heritage Architect Bruce Pettman (SACON International) Katrina McDougall (McDougall & Vines) Geoffrey Rex (Hassell)

Contractor Progress Constructions Ltd.

Date of Completion September 1998

The project was carried out over two years. The major stages were: analysis and investigation, preparation of the conservation plan, design and documentation, calling of tenders and, finally, construction works, which began in December 1997 and were completed on schedule in September 1998. Each stage involved detailed discussions with the Board of Trustees and the wardens of the synagogue.

The guiding conservation principle was “do as much as necessary and as little as possible”, emphasizing the architectural integrity of the building and retaining as much original fabric as possible. Where replacements were required, matching materials were sourced, mainly from China, including lime for the render, traditional terracotta roof tiles and balcony paving tiles. Materials were installed using the original methods by local tradesmen. For the exterior, works undertaken included the detailed repair of joinery, the rationalization of the roof drainage system and the installation of a damp-proof course into the brickwork of the external walls. The modern cement stucco render on the walls was removed to allow the original brick construction to breathe and replaced with softer lime render. It was deemed impossible to reinstate the original open face brickwork due to damage to the brick surfaces when applying the early render. Internally, works included the careful removal, repair and refinishing of the original wooden joinery in the bimah, pews, leadlight windows and doors. The fine white lime plaster of the wall surface was retained but plaster destabilized due to penetrating damp was re-adhered where necessary. Damaged plaster mouldings were repaired, with particular attention to the detailed elements around the ark. The internal colour scheme was chosen from the original colour palette which was revealed during careful investigation of wall surfaces and detailing. In addition, obtrusive air-conditioning units and inappropriate lighting fixtures were removed. New services were installed as discreetly as possible and intervention in the building fabric was kept to a minimum by using existing recesses in the walls of the synagogue. A special, separate museum-standard air-conditioning system was created for the ark to ensure the conservation of

Ohel Leah Synagogue / 2000

valuable religious artifacts, such as early embroidered fabrics and vellum Torah scrolls. It was deemed structurally unwise to interfere with the current roof form so a decision was made to retain the existing concrete barrel roof rather than reinstate the original timber framed roof. The roof was, however, retiled in the traditional manner with the original system of double layer terracotta tiles. A membrane system was installed on the concrete barrel substructure. The work was carried out through the collaboration between Australian conservation specialists and local craftsmen. This allowed for the introduction of international conservation principles and methods such as plaster stabilization, rising damp mitigation, paint removal, lead light restoration, decorative painting and restoration of joinery and furniture.

Conservation and the community The synagogue has immense value to the users, members of the Jewish community and the neighborhood as a spiritual centre and an area of visual relief from the intensive development which encircles it. This value is reflected in the continuing use of the facilities over the past century. As a measure of the enthusiasm of the community and their satisfaction with the restoration process, the Trustees of the Jewish Community commissioned a substantial publication on the history and the restoration of Ohel Leah Synagogue, which has contributed to promoting architectural conservation in Hong Kong. The Ohel Leah Synagogue building is considered a significant example of conservation by Hong Kongâ&#x20AC;&#x2122;s Antiquities and Monuments Office. Advancing the conservation cause in Hong Kong, the restored synagogue is now a source of inspiration and encouragement for other private and public heritage buildings.

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team The outcome of the project has provided the community with a range of functionally flexible spaces around the conserved synagogue and allowed the building to retain its historic and spiritual qualities. With a maintenance plan and budgetary programme in place, this will ensure the careful stewardship of the building well into the next century.

100

Ohel Leah Synagogue / 2000

Technical Brief

Masonry restoration Brickwork The building is constructed in red brickwork and it is presumed that the original building was face brick, a material finish typical of buildings designed by Leigh and Orange. The later stucco render did not involve raking out the joints of the bricks and the removal of the render damaged only the face surface of the brick. The brickwork at lower levels of the building was very damp and this was a result of the absence of a damp-proof course (not inserted at the time of construction), the raising of the ground level by 100 millimetres and the encasing of the walls in cement render. In order to ensure the ongoing physical integrity and strength of the structural brickwork of the building and minimize the level of moisture in the bricks, the installation of an appropriate damp-proof course system was recommended. The hard render of the brick walls was removed, after consolidation of the decorative moldings to prevent any dislocation of the moldings during render removal, and then necessary brickwork repairs were undertaken. Damp-proofing The building had moisture and air damp problems which were an inevitable consequence of the lack of a damp-proof course near the base of the walls, inadequate and damaged stormwater drainage, and the raised ground level. Above: Front elevation. Opposite page Top: The interior restoration works included plasterwork, joinery repair and painting conservation. Bottom from left to right: Floor plan. Repair of furniture and fixtures was part of the integrated conservation project. The roof was treated with a new waterproofing layer prior to retiling.

The walls of the building were treated to ensure that they were secure from further rising damp. It was recommended that a gravity feed chemical injection system be used (rather than the insertion of a physical barrier or a pressure injection system) as this would require the least physical disruption to the building.

101

UNESCO Asia-Paciﬁc Heritage Awards

The damp-proof course was installed to the external walls of the building by insertion of oligometric siloxane, a low-odour, nontoxic, isoparaffin-based damp-proofing course fluid, by gravity feed method. A suitably experienced contractor was selected for this work. The adjacent ground level was lowered by 100 millimetres to the original level. Render The building was rendered in two types of render finish–a smooth early lime render finish and a later cement stucco render (with stone aggregate) which replaced the early render to the majority of the building. It is presumed that the building was originally face brickwork with lime dressings as all the extant Leigh and Orange buildings were constructed with these finishing materials. It is possible that the building was rendered soon after construction to conceal cracking of the building which was inevitable given its position on the side of a steep hill and the lack of footings to accommodate this. The stucco render comprised an 18 millimetre thick strong grey cement stucco render finished with a 3-5 millimetre light coloured skim coat finished in lime wash. The stucco render was certainly installed prior to the installation of the concrete roof (circa 1935). This render was extremely hard and well-bonded to the base brickwork and was stronger in composition than the red bricks of the walls. The encasing of the building in cement render dramatically increased the problem of rising damp as the porous brick walls were no longer able to breathe and any damp was forced further up the building. The surviving original render to the capital was in many cases broken down and cracked, causing water penetration and associated deterioration of the building fabric. It was not possible to return the Synagogue to face brick finish due to the damage done to the brick work when keying in the early render. Therefore the walls were returned to a smooth rendered finish. All render detailing was also returned to its original configuration through the use of a render mix which closely matched the original. Retention of a section of the original render was recommended as an example of the early render and the position of this sample was well-documented. An appropriate

102

location was under the eaves where weathering is minimal. All repair work to render and plaster was undertaken by experienced plasterers. It was recommended that decorative mouldings should be conserved where possible by stabilization (or re-adhering) rather than re-running of mouldings. All render was finished in a surface paint which simulated the texture of early limewash finish used on this building. No acrylic-based paint (emulsion paint) was used on any external render. The later cement stucco render was removed to allow the original brick construction to breathe. The smooth finished lime render was removed where this was failing. The original render mouldings were re-run only where they were deteriorated beyond repair. Decorative mouldings were consolidated (using appropriate adhesive repair methods) to retain original fabric and to reduce costs of total re-rendering. Mouldings were consolidated before the removal of the paint to the building areas where the plaster was not stripped off. The tops of all stringcourses and capital moulds were re-rendered, as these were generally drummy. The render was finished with a mineral-based paint. Adapted from the “Conservation Plan for Ohel Leah Synagogue”, McDougall and Vines

Residence of Dr Zhang Yunpen

UNESCO Asia-PaciďŹ c Heritage Awards

Project synopsis Once home to a famous doctor of Chinese medicine, Dr Zhang Yunpen, this century-old residence is representative of traditional residential architecture in the southern Yangtze region of China. Located in downtown Zhenjiang, a city renowned for its rich cultural heritage and picturesque scenery, this private residence consists of four one-storey buildings with a total of 10 rooms separated by four courts and a garden.

City map Opposite left: The roofâ&#x20AC;&#x2122;s timber structure had to be dismantled and repaired before relaying the roof tiles. Opposite right: The restored residence is a unique heritage sanctuary among a mass of high-rise buildings.

Location 69 Cangxiang Daxi Rd, Zhenjiang City Jiangsu Province, China

Size 200 square metres (built up area) 550 square metres (total area)

Cost Approximately US$25,000

Responsible Party Zhang Songben and Zhang Songxing

The main building has three rooms and is supported by timber columns, covered by a tiled overhanging roof. The front of the building is decorated with carved wooden panels and is surrounded by a balustrade. The garden features stone carvings and a 100year-old well and is paved with large square bricks, some of which derive from the Ming dynasty. Declared by the city government of Zhenjiang as a culturally significant site, the residence has been under municipal protection since 1993, and was thus spared demolition, unlike many of the surrounding buildings. The typical one-storey wooden private houses had been largely replaced by new six-storey apartment buildings when the whole neighborhood was redeveloped in 1994. However, exposure to climatic elements had resulted in major deterioration of the building and its physical integrity. As a result, a project to restore the building to its original condition was initiated in October 1994. Funds were raised by the owners of the house, the two sons of Dr Zhang Yunpen, and the project was completed in six months. Dr Zhangâ&#x20AC;&#x2122;s two sons and their families still occupy the compound and aim to continue their traditional way of life in spite of the changes and demolition occurring around them.

Heritage Architect Cao Rushen

Contractor Zhenjiang Traditional Architecture Construction Team

Date of Completion March 1995

104

Conservation approach The project began with the sourcing of appropriate building materials. These included blue bricks and traditional small tiles. All materials were salvaged from old traditional houses being

demolished within the district, thus providing components as similar to the original fabric as possible. In addition, skilled bricklayers and carpenters with experience in restoring old buildings were employed, ensuring that traditional techniques were used in the conservation works. The wooden roof structure was partially dismantled and reassembled, and the roof tiles relaid. The interior of the halls was restored. The main hall, which serves as the drawing room, contains fine traditional Chinese-style furniture, scrolls of Chinese ink paintings, calligraphy by renowned artists, ancestral portraits and an altar table. The traditional landscaping in the courtyards has also been conserved, adding to the historic character of the compound. Circular moon gates frame views of the garden from inside the house while elaborately carved wooden screens create walkways mediating between the exterior and interior. Old shade trees, a rockery and a bamboo grove capture the essence of Chinese landscaping. Discreet stone plaques provide on-site interpretation and help to educate visitors about the features of the house. Both the interior and exterior works have allowed for the harmonious conservation of not only the physical fabric of the building, but also the living history and intangible heritage of its inhabitants. Although the owners actively participated in the restoration process, they were not building professionals and an external senior civil engineer was engaged as a technical advisor to provide advice on the structural works. The building was surveyed by the Department of Architecture from Southeast University, which produced detailed architectural drawings, documenting both its traditional structure as well as decorative details. After the conclusion of the project, the owners realized that their residence had become an exemplar in the preservation of cultural and historical sites. At the same time, they noted that there were still a number of existing issues which needed to be resolved. Notably, the plot to the north of the residence which belongs to the premises was still occupied by other residents and had not yet been integrated into the compound. Accordingly, the boundaries of the residence have been prevented from being clearly demarcated.

Residence of Dr Zhang Yunpen / 2000

Conservation and the community A modest project, the restoration has offered the community an example of a successful private conservation effort. The project has been featured on several local and cable television programmes and periodicals, thereby educating the public about the renovation of the residence. Not only has it paved the way for private individuals to undertake conservation of residences, the restoration project has also reinvigorated, within the broader community, the value and beauty of heritage architecture. Nestled amidst tall apartment buildings, the restored residence is a tangible reminder of the importance of ancestry and the need to remember cultural roots and traditional ways of life in our rapidly changing and developing cities.

Award Citation Restoration of the residence of the late Dr Zhang Yunpen shows what can be achieved when a single individual chooses heritage conservation and restores his property to the state intended by his ancestors. This project is an example of determined preservation in a situation of ongoing demolition and reconstruction and attendant loss of heritage. The restoration is an endeavour to properly maintain an ancestral residence using traditional materials and techniques and to single-handedly promote, by example, the culture of maintenance in the surrounding community.

105

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team After the renovation, the residence stands elegantly among the high-rise modern buildings, presenting a striking contrast between tradition and modernity.

Top: The courtyard garden is a significant feature of Chinese residential architecture. Above: Ground floor plan. Top right: Section through the complex. Right: The restoration has safeguarded the connection between the interior and the tranquil landscaped setting.

106

St. Patrickâ&#x20AC;&#x2122;s College

UNESCO Asia-Paciﬁc Heritage Awards

City map Opposite left: The main building enclosed in scaffolding during conservation work. Opposite right: The restored Moran House commands a sweeping view of both Sydney Harbour and Manly Beach.

Project synopsis

Conservation approach

Originally a seminary educating Catholic priests, St. Patrick’s College now houses the Australian Tourism Group’s International College of Tourism and Hotel Management. The complex is located on a spectacular site occupying 24 hectares stretching from Spring Cove on the harbor side to Shelley Beach on the ocean side. Constructed between 1885 and 1935, the four main buildings on the campus are recognized nationally and regionally for their heritage significance.

Works on the exterior included changing the cast iron gutters and downpipes to match the originals, replacing damaged slate roofs and repairing marble and slate tiled colonnades. The sandstone facades were extensively re-pointed using mortar to match the original. Chipped stones were repaired with a mix of epoxy and sand, while the badly damaged parts were replaced with hand-carved ones. A template was made of the original stone and the new piece carefully carved with tungsten-tipped chisels and a nylon mallet.

Moran House, the main building, was formerly the main seminary building and was built between 1885 and 1889. A four-storey Gothic building constructed of superior quality sandstone, it was modeled on St. Patrick’s College in Ireland. The Cardinal Freeman Pastoral Centre, built in 1910, is a single-storey building of rusticated coursed sandstone with a slate roof and bull-nosed corrugated verandah in Federation style. The other two buildings are the Cardinal Cerretti Memorial Chapel and the Kelly House, which were constructed in the 1930s and 1950s, respectively.

In the interior, works were undertaken in a similarly attentive manner. All new joinery work, particularly doors and windows, were detailed to match the existing ones. New glazed smoke screens were introduced to smoke-isolate the existing stone staircases; they were designed to fit exactly against the stone archways without causing any damage and to harmonize with the existing joinery.

Sourcing a suitable tenant for the buildings, the Church finally found a suitable candidate in the College, providing an opportunity to undertake a commercially-viable adaptive reuse of this ensemble of heritage buildings. Though structurally sound, the buildings had suffered from ad hoc alterations and lack of maintenance. Location Darley Road, Manly, Sydney, Australia

Size 24 hectares

Cost US$12,000,000

Responsible Party Trusts of the Roman Catholic Church Archdiocese of Sydney

Heritage Architect Howard Tanner and Associates

Contractor Lend Lease Development

Date of Completion May 1996

108

Over the course of five months, the buildings were restored and refurbished for their new function, which included the repair of the historic building fabric, the upgrade of the interiors to comply with building code requirements and the restoration of the landscape to complement the buildings and reflect the site’s original character. A conservation plan was prepared prior to the restoration by the heritage architect to guide the project. The principle behind the process was to preserve and enhance this ensemble within it current setting, hence paying tribute to its unique place in the history of the Catholic Church and Australia. The work was accomplished from the roof down, so whole floors were completed sequentially. Incorporating many specialist tradesmen and consultants, different works were carried out simultaneously, with a peak of 200 workers at one time, to meet the tight deadline of the project.

The addition of new building services was a significant intrusion in the buildings, yet necessary for their new use. The services included fire equipment, smoke detectors, emergency lighting, alarms, communication systems, electrical services and domestic hot and cold water. Generally, the services were surface mounted to avoid damage to the building fabric. To comply with the building codes, a full fire-sprinkler system was introduced in Moran House, which has timber flooring, to compensate for its lack of fire rating. A system using copper tubing with side action heads was selected, which allowed for easy installation with minimum penetration of the walls and ceilings. It is also visually unobtrusive adjacent to the timber panelled ceilings. The new hotel school required the refurbishment of functional working areas, such as the upgrade of a commercial kitchen and the installation of a new training kitchen, which proved to be a challenge. Careful design and detailing ensured that this was done in full compliance with building codes while avoiding damage to the historic building. The use of false walls and false doors allowed for the preservation and maintenance of existing paneled ceilings and plastered walls.

Another authority requirement was to provide disabled access throughout the complex. In the case of Moran House, a hydraulic passenger lift was installed to access all floors of the four-storey building. The new lift was positioned in the original goods hoist shaft at the eastern end of the building, but extensive structural alterations were required to increase the size of the shaft and to ensure structural adequacy for the new lift.

Conservation and the community The restoration of St. Patrickâ&#x20AC;&#x2122;s College has effectively shown the community that adaptive reuse of heritage buildings can be economically viable without being destructive. Not only has the project revived a set of deteriorating buildings, it has preserved an architectural and cultural icon as well as an important historical chapter. The rehabilitation of St. Patrickâ&#x20AC;&#x2122;s College has achieved self-sustainability with income generated from the lease allowing for the future maintenance of the building, making certain that its heritage will be retained for future generations to enjoy.

Award Citation Restoration of the structures of St. Patrickâ&#x20AC;&#x2122;s College gave a new, yet congruent, adaptive reuse as a tourism training institute, preserving the dignity and scholarly character of these buildings. The project successfully incorporated all required services in the face of tough integration issues. The high quality of workmanship is evidenced by the meticulous work and careful attention to every interior and exterior detail. In illustrating the benefits of heritage preservation to students involved in the tourism industry, the project can be expected to have a far-reaching impact upon the heritage conservation movement.

109

UNESCO Asia-Paciﬁc Heritage Awards

Quote from the project team Throughout Australasia, major historic buildings lie dormant. St. Patrick’s College demonstrates the virtues of adaptive reuse – of finding a new on-going role for such landmarks.

Above: Ground floor plan. Top right: Section through the main building. Right: Marble and slate tiles being laid along the exterior gallery. Far right: The same tile scheme is applied in the elegant grand entry foyer.

110

Harischandra Building

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis

Site plan Opposite left: The building was once used as a post office. Opposite right: View from the north-west of the restored building.

Location Ruwanveliseya Temple of the Mahavihara Monastery, Anuradhapura, Sri Lanka

Size 360 square metres

Cost US$62,739

Responsible Party Venerable Pallegama Hemarathana Thero

Heritage Architect Heritage Conservation Unit of the Central Cultural Fund

Contractor Abhayagiriya Vihara Project of the Central Cultural Fund

Date of Completion February 1999

112

Constructed during British colonial rule at the turn of the twentieth century, the Harischandra Building is located in the ancient capital of Anuradhapura. Originally a rest house, after independence in 1948 it was converted for use as a public library and was given the name of “Harischandra” in honour of one of the eminent leaders of the Buddhist revival movement. While the majority of the colonial-era buildings were removed in order to preserve the sacred character of the city, a number of buildings with special characteristics were spared. During the 1960s the building was used as a post office and later as the headquarters of the Urban Council of Anuradhapura, before it was handed over to the Ruwanveliseya Temple for their use in the 1980s. Located 200 metres northwest of the great stupa of Ruwanveli, the building now houses part of the Mahavihara Parivena (monk’s teaching institution). Embodying the fusion of colonial and local architecture, this brick and lime plaster structure with its wide verandah and grand interior spaces is one of the few remaining colonial-era buildings in Anuradhapura. Over its history the building has undergone a number of construction phases, with additions and alterations made to the original structure, some of which were unsuited to the building’s style and spatial layout. By the 1990s, due to neglect and these inappropriate alterations, the building’s integrity and beauty had greatly diminished; it was in a dilapidated state with roof leakages, structural cracks and decaying timber elements. However, the brick foundation was still solid, without any cracks or settlements, and most of the interior doors were well preserved. In 1998 the building was no longer in use and the chief priest of the temple decided to restore it and convert it into residential quarters for three resident and three visiting scholar monks, meeting spaces, a reading room and a refectory. As the original spatial configuration of the building accommodated the requirements harmoniously, it was agreed that the restoration would revive the character of the historic design and at the same time illustrate the different construction phases of Anuradhapura as reflected in the building.

Restoration work commenced in August 1998 and works were accelerated in order to be complete by the auspicious full moon Poya day on 1 March 1999 (ahead of the initially programmed construction time frame of 12 months).

Conservation approach As the structural cracks suggested inadequate bonding of masonry during different periods of construction, the project began with a series of investigations to determine the construction phases of the building and to make detailed documentation of these phases. The investigation involved studying the cracks and different textures of the wall plaster, examining the brickwork and bonding patterns by removing the plaster in sample areas, and undertaking test excavations as necessary. It was discovered that the building had started as a four roomed structure, which grew over six phases into a larger structure with toilets, bay windows and a side verandah. At its peak, the building had high arched doors, low windowsills and a front verandah offering a 180-degree view of the surrounding landscape. Over time, however, many of the openings were partially infilled with brick, which obstructed the free spatial flow and visual connections. As a result of the findings, steps were taken to restore the original spatial layout. For example, brick walls that had been installed during a later construction phase were removed. Areas of arches and bay windows which had been infilled were taken out to reveal their original shape and design. Similarly, the front door was removed and a new door was introduced which matched the dimensions of the original arch. To reveal the construction history of the building over time, the areas where changes had been made in earlier phases were marked and differentiated, for instance indicating the outlines of historic doors by recessing the internal wall surface. To ensure structural stability, a reinforced concrete tie beam was introduced at the wall plate level to stabilize walls. Reinforced concrete pads were added to the walls to accommodate the point load of the timber purlins. Cracked walls were stitched with reinforced concrete blocks cast in situ. All the loose plaster was

Harischandra Building / 2000

removed and walls were re-plastered with materials matching the originals. In addition, all decayed timber elements and frames were recreated with new materials and the deteriorating modern plain valance board was replaced with a new decorative one, based on the design found on remnants of the original carved board. The cracked and sunken interior floor was revamped with terracotta tiles on a new base of concrete, and the verandah was laid with granite slabs. These new materials were used to give these floor surfaces a more refined appearance. Other modern materials were introduced to improve the buildingâ&#x20AC;&#x2122;s function and amenities. The two existing bathrooms, for example, were upgraded with new sanitary fittings. Similarly, an improved lighting system was introduced to enhance functionality and ambience. The original roofing tiles were subject to frequent dislocation by monkeys and had led to leakages. Corrugated sheets were introduced over the timber roof framing to ensure that any breakage of the tiles in the future would not cause rainwater infiltration. The original semi-circular clay tiles were then laid over the sheets in accordance with the roofâ&#x20AC;&#x2122;s original appearance.

Award Citation Restoration and conservation of the Harischandra Building demonstrates the successful adaptation of an existing structure for a new contemporary use. The building is now a residence for monks teaching at the Mahavihara Parivena (monksâ&#x20AC;&#x2122; teaching institution). Located in the World Heritage city of Anuradhapura, this project is a remarkable step towards the involvement of the community in the pursuit of conservation of local cultural heritage and the promotion of adaptive reuse of historic structures.

113

UNESCO Asia-PaciďŹ c Heritage Awards

In order to clarify the layout of the compound, a landscaping plan was prepared, leading to the removal of young fruit trees and mounds of dirt. This has enhanced the hierarchical structure of the space, creating an axis anchored by the historic building and a large mango tree.

Conservation and the community The project has revived one of the few remaining buildings constructed under British rule. The restoration project has reopened to the public an important chapter of Sri Lankaâ&#x20AC;&#x2122;s history and now showcases the building materials and techniques used during colonial times. The success of the project has prompted the chief priest to request the preparation of plans to conserve the rear block of the building, which upon its completion could serve as a residence, allowing the Harischandra Building to perhaps be converted into a museum of the temple complex for the benefit of the community.

Above: Ground floor plan. Top left: Section through the building. Far left: The verandah roof was saved from collapse. Left: Interior view along the main hallway, revealing the original arched openings.

114

Mawsonâ&#x20AC;&#x2122;s Huts Historic Site

UNESCO Asia-Paciﬁc Heritage Awards

Site map Opposite: The abraded wood boards were a major focus of the restoration.

Location Cape Denison, Commonwealth Bay Antarctica

Size 150 square metres

Cost US$2,420,000

Responsible Party Australian Antarctic Division

Heritage Architect Godden Mackay Logan (Richard Mackay and Geoff Ashley)

Contractor AAP Mawson’s Huts Foundation

Date of Completion February 1998

116

Project synopsis

Conservation approach

Located at Cape Denison in Commonwealth Bay, the Mawson’s Huts site is one of the most important historic places in Antarctica. Consisting of prefabricated timber huts and a memorial cross, it served as the base of the Australasian Antarctic Expedition (AAE) between 1911 and 1914, led by of one of Australia’s greatest explorers, Sir Douglas Mawson. As evidence of the Heroic Era of Antarctic explorations, the rare, intact complex of buildings is of international and national significance. The main hut and memorial cross are included on the Antarctic Treaty List of Historic Sites and Monuments.

Implemented in accordance with the Burra Charter, the project emphasized the stabilization of the site and its structures, rather than the full restoration of the historic site. The conservation team aimed to retain the maximum amount of fabric and to undertake repairs only where structural stability or further deterioration through snow ingress was threatened. Where fabric had completely failed, the same or similar material and construction techniques were used to repair and replace the fabric. In many cases, small amounts of new timber fabric were scarfed or spliced into existing members.

Since the 1914 expedition, the site had been largely neglected, with only sporadic investigation and minor works undertaken until the AAP Mawson’s Huts Foundation was established in 1996 and efforts began to develop and carry out a conservation plan for the site. The overall objective of the conservation project was to stabilize the huts so that their existence could be ensured well past their centenary in 2012. The plans for the conservation works were based upon those identified in the 1991 Conservation Plan for Mawson’s Huts, which in turn drew upon earlier expeditions in the mid-1980s. The project consisted of three main components: the conservation works on the structures and relics; an associated conservation programme, including detailed building archival recording and condition survey project; and a full archaeological programme of the huts and Cape Denison as a whole. Eleven specialists with a broad range of experience and skills were chosen for the conservation expedition. Conservation works were carried out over seven weeks between December 1997 and February 1998.

Given the limited time frame, harsh climatic conditions and the uncertainty as to when a future expedition could be planned, clear work methodologies were formulated prior to the expedition’s departure from Australia. This included having a range of approaches in order to respond flexibly to on-site conditions. For example, an archaeological methodology was devised to use ice cores and rapid excavation techniques which could be completed prior to commencement of building conservation works. In certain circumstances outside of the anticipated scope, additional approval was sought from Australia via satellite phones. As part of the site documentation, detailed measured drawings of each of the huts was prepared, showing true elevations of roofs and batten fabric. Photogrammatic recording of the Main Hut was undertaken, along with building structure surveys, which revealed that the structure was sound and level. The most significant conservation intervention was over-cladding the roof of the main hut. The roof was in a critical condition as a result of 85 years of ice abrasion in the windiest place on earth. Baltic pine boards of the same size and profile as the existing were selected to match the original timber. Skylights, ridge capping, apron flashes and gutters were also restored, minimizing further ingress by snow and summer melt-water into the building. Inside the hut, forty-one cubic meters of ice were removed to repair collapsed beams and the structure of a storage platform.

Mawson’s Huts Historic Site / 2000

In addition, several buildings from recent expeditions, considered to be intrusive elements of the setting, were removed along with the explosives left on the site by the AAE. In an act of great symbolism, the memorial cross was also restored, with the cross arm recovered from the ice and re-attached with a stainless steel bracket.

Conservation and the community By retaining and stabilizing this complex of structures, the conservation of the Mawson’s Huts Historic Site has enabled the site’s long-term preservation and has raised community awareness of Australia’s important role in the early exploration of Antarctica. Furthermore, through substantial media coverage, including a film documentary, the project has brought to light another typology of heritage assets worthy of conservation, and allowed meaningful interpretation of a remote place otherwise not accessible to many people.

Award Citation The conservation of Mawson’s Huts Historic Site demonstrates that even simple buildings, and those of recent vintage, have distinctive character and are part of the heritage of our built environment and should be saved. Conservation of the Mawson’s Huts, humble quarters of the Australasian Antarctic Expedition (AAE) 1911-1914, preserves the memory of our community’s aspirations and accomplishments. The restoration project itself is a good example for the professional community of how to conduct an extremely complex project with a lot of inherent unknowns.

117

UNESCO Asia-Paciﬁc Heritage Awards

Technical Brief

Conservation in an extreme environment The expedition in the summer of 1997 to carry out the conservation work of Mawson’s Hut found the structures and internal living areas relatively intact and square, but unstable because of ice ingress. The Baltic pine wall and roof cladding for both the hut’s living and workshop sections had survived because severe cold limits normal timber deterioration. However, wind gusts with ice would continue to abrade the fabric until it finally disintegrated. The roof cladding had worn down to a dangerous 8 milimetres thick and thus became the conservation priority. Originally, it was planned to carefully remove the original cladding and metal flashings, made from biscuit tins, fix a new layer of roof boards and re-install the original ones with new metal flashings over them. Tests showed potential damage to both the biscuit tin caps and the brittle cladding with this method. The duration of calm days was also shorter than the two weeks needed to undertake this work. The alternative approach was to install the new 20 millimetre tongue and groove pine cladding over the existing fabric. The

118

three hip rafters supporting the roof were broken, and were troweled with low-temperature epoxy where they had split (3 millimetres wide) and held together by screws, discreetly installed from the underside. The new Baltic pine cladding was installed in place with 62 millimetre stainless steel screws. They were previously pre-coated with primer on one side, and a transparent coating on the other to resist ultra-violet (UV) radiation. The honey-colored anti-UV coating will eventually fade into the same weathered patina as the existing wood surfaces. The roof flashing at the junction of the living and workshop roof sections of the hut had failed and was allowing melt-water to the interior. A new zincalume (aluminum-zinc coated steel) valley “gutter” flashing, 600 milimetres wide, was laid over the new boards and a mild steel over-flash laid on top, to reduce the visual impact of the zincalume sheets. The mild steel overflash was carefully fitted to lead water over the verandahs of the east and west sides of the hut. Finally, the existing roof battens found on the ridges were removed, recorded, and then carefully re-installed over the new roof in the same positions they were originally found. Adapted from the “Mawson’s Huts Conservation Report”, Godden Mackay Logan

Above: Floor plan of the main hut. Above left: The section drawing depicts the main hut’s living section on the left and workshop area on the right.

Residence of Charles Prosper Wolff Schoemaker

UNESCO Asia-Paciﬁc Heritage Awards

City map Opposite left: A considerable part of the building was gutted. Opposite right: The restored building in its current use as a bank office.

Location Jalan Sawunggaling 2, Bandung Jawa Barat Indonesia

Cost US$40,000

Responsible Party Pramana Surjaudaja

Heritage Architect Dibyo Hartono

Contractor PT. Aneka Intimulya

Date of Completion May 1999

120

Project synopsis

Conservation approach

Constructed in 1930 as the residence of the Indonesian-born architect Charles Prosper Wolff Schoemaker, this house is a cultural landmark. Considered one of the best architects practicing in Indonesia during that time, Schoemaker rigorously explored the relationship between European design and vernacular expression, blending traditional features and decorative elements with modern architectural vocabulary that was influenced by the Art Deco movement and the Amsterdam school of post-World War I. Located in a northern residential district of Bandung, the house epitomizes Schoemaker’s architectural vision.

The restoration commenced with thorough photographic and architectural documentation of the house. Research papers on Schoemaker and his numerous design projects provided insight into the design of the residence and assisted in the reconstruction of the parts of the house that had already been demolished.

In later years, the house had been used as student housing and a police station. The building’s decline paralleled the decline of the neighborhood and other historic zones of the city. Although the house was registered as being of special historical and architectural value, the owners made plans to replace it with a modern structure with commercial spaces for lease and began demolition of the building in 1995. The intervention of the Bandung Society for Heritage Conservation led to the building’s rescue. An agreement was reached with the owners to reconstruct the part of the house already demolished, restore the remaining portions of the building and adapt it for use as a commercial building. With a tight budget and a construction time frame of only five months, a conservation team was formed in January 1996, including young architects and students from the local design institutes. After restoration works were completed, a schedule of maintenance and suggestions for conservation were provided to the owners in order to ensure its ongoing upkeep. The restored property now houses a commercial bank branch and the offices of a local airline.

The objective of the project was to restore the building to its original appearance as much as possible. As a result, original material and features were retained and restored wherever possible. The interior and exterior woodwork was stripped of paint, cleaned, sealed and varnished, while original brass fixtures were likewise repaired and polished. There was difficulty, however, in obtaining some of the original materials. When they were not available, sympathetic replacements were installed instead. In the investigation stage it was discovered, for example, that the original roofing was sirap tiles, which had been replaced with terracotta tiles in the 1950s. Although the restoration team wanted to restore the building to its original appearance, sirap tiles were expensive and difficult to obtain. As a result, the terracotta tiles installed during the 1950s were retained. The team also encountered difficulty in colour matching modern glass to replace the missing panels of the beautiful curved glass ceiling in the central interior passageway. Similarly, in restoring the decorative wrought zinc ceilings, a popular feature of the 1920s, some parts, notably the triangular and circular floral medallions, could not be re-installed because sections which complemented the design were missing. The reconstruction of the demolished section (40 percent) of the house proved to be a major challenge. For instance, 35 of the original 37 columns lining the open corridor surrounding the house had to be rebuilt according to the original specifications. Interior detailing had to be reproduced from historic photographs. New sheetrock ceilings were finished in a neutral tone. Interior windows and doors which had been removed prior to demolition were restored and re-installed.

Residence of Charles Prosper WolďŹ&#x20AC; Schoemaker / 2000

Conservation and the community Restoration has offered a new lease of life to the building and conserved a significant landmark that now has been appropriately reintegrated into the local community. Furthermore, the restored building is now featured as a stop on cultural tours of the city, thus highlighting the viability of heritage conservation as an anchor in boosting Bandungâ&#x20AC;&#x2122;s tourism industry. The pride exhibited by the owners and the effective adaptive reuse of the residence has provided encouragement in preserving the built heritage of Bandung among the wider community. In the process of conserving the historical landmark, the project also served as practical training in conservation skills for architecture and design students, who had a chance to work on a real project. It has instilled in the younger generation the culture of conservation for Bandungâ&#x20AC;&#x2122;s other heritage buildings.

Award Citation The restoration and reconstruction of the Residence of Charles Prosper Wolff Schoemaker is the result of the heroic effort of the Bandung Society for Heritage Conservation to rescue the residence of an influential Bandung architect from demolition. The project, of adapting a residence for reuse as a bank, demonstrates to the business community the viability of reusing historic structures for commercial purposes. It also proves that perseverance and activism in support of cultural heritage conservation is indeed worth the effort.

121

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team When it was realized that the building was being demolished, I wrote a frantic letter to the local newspaper, and based on the prestige of the heritage society in the community, the government intervened and asked members of the heritage society to meet and work with the owners. The building encapsulates the design and spatial order which Schoemaker created for his clients, but specifically reflected his taste alone. It was for this reason that the Bandung Society for Heritage Conservation was anxious to save the monument. Far left: Ground floor plan. Above: Shoemaker strove to combine modern building form and traditional decorative vocabulary, as exemplified in the buildingâ&#x20AC;&#x2122;s elevation. Bottom left, middle, right: The severely deteriorated hallway was restored and its false skylight re-introduced. The interior spatial layout was also re-instated.

122

Rumah Penghulu

UNESCO Asia-PaciďŹ c Heritage Awards

City map Opposite: The dilapidated house was transformed into a heritage centre.

Location 2 Jalan Stonor, Kuala Lumpur, Malaysia

Cost Approximately US$80,000

Responsible Party Badan Warisan Malaysia

Heritage Architect Yahaya Ahmad

Contractor Badan Warisan Malaysia

Date of Completion November 1997

124

Rumah Penghulu / 2000

Award Citation Relocation and restoration of the Rumah Penghulu, undertaken by Badan Warisan Malaysia, saved for posterity and opened to the public a significant historic structure that illustrates the beauty of vernacular Malaysian architecture and is at the same time associated with important events in local history. Though relocation is generally not the preferred means of preserving ancestral homes, in this instance relocation was an appropriate solution, for it saved a unique building that would have been lost in a few years.

125

UNESCO Asia-Paciﬁc Heritage Awards

Quote from the project team The relocated house serves as a reminder to residents and visitors in the nation’s capital of the value of Malaysia’s vernacular architecture. As the country is still in the learning curve of conservation techniques, a key contribution of the restoration process was the education of all those involved in the project team.

Above: Floor plan. Top right: Elevation drawing Bottom left: A traditional house is built as a pre-assembled kit of parts. Bottom right: Exhibit of a typical Malay household.

126

Excellent Project • National Archives Building, Jakarta, Indonesia

Award of Distinction • Bushell’s Tea Warehouse, Sydney, Australia • Krishan Temple, Punjab, India

Award of Merit • DBS House, Mumbai, India • King Law Ka Shuk, Hong Kong SAR, China • Tea Factory Hotel, Kandapola, Sri Lanka • Xijin Ferry Project, Zhenjiang, Jiangsu Province, China • Zhongshan Road, Quanzhou, Fujian Province, China

Honourable Mention • Jin Lan Tea House, Kunming, Yunnan Province, China • University of Mumbai Library Building, India • Nielson Tower, Manila, Philippines • St. Joseph’s Seminary Church, Macao SAR, China • Thian Hock Keng Temple, Singapore

National Archives Building

UNESCO Asia-Paciﬁc Heritage Awards

Context The restoration of the 300-year-old National Archives Building was initiated by a Dutch lawyer working in Jakarta, Erick Hemerstein, who launched a project to restore one of Jakarta’s historic buildings as a gift to the Indonesian people from the Dutch business community on the occasion of Indonesia’s fiftieth anniversary of independence in 1995.

City map

When the National Archives Building was constructed in the eighteenth century, the area in which the structure was built was a pleasant suburb some distance from malaria-infested Batavia. Today the neighborhood is part of inner, modern Jakarta and contains many contemporary buildings, with the National Archives Building one of the few remaining villas of its era. Although Indonesia has national laws for the preservation of cultural heritage, it has proven difficult to protect privatelyowned heritage buildings, and thus many have been lost to development pressures. In the meantime, some governmentowned structures, such as the National Archives Building, have so far been spared demolition, but have required private funding to enable restoration efforts to proceed.

Location 100 Jalan Gajah Mada, Jakarta Indonesia

Size 9,350 square metres

Cost Approximately US$2,000,000

Responsible Party Stichting National Cadeau (National Gift Foundation)

Heritage Architect Han Awal & Partners Budi Lim Architects, Cor Passchier

Contractor Decorient - Ballast Indonesia

Date of Completion October 1998

130

Building history The National Archives Building was built as a residence in 1760 by Reiner de Klerk, who became the governor general of the Verenigde Oost-Indische Compagnie (VOC), or the Dutch East India Company, in 1777. The residence was constructed as a compound of five buildings on a plot adjoining the Krukut River, which was historically a busy and popular inland waterway. The buildings are arranged along a main east-west axis. The main building is a stately, two-storey, brick structure with a high pitched roof, and features a grand entrance hall and a beautifully decorated light vent above the main doors. The ground floor was used for entertaining guests, while the upper storey was used for private quarters. The other buildings in the complex are smaller but similar in style and were built as administrative offices, storage and slaves’ housing.

Over time the complex has changed hands a number of times. After the death of Reiner de Klerk the buildings were sold and later became an orphanage. The complex was subsequently abandoned and left to deteriorate until the Dutch colonial government converted it for use by the Mining Department. In 1925 the main building was renovated and became the landsarchief (national archives). When the Indonesian Government took over the building upon Independence in 1945, it continued to function as an archive and has since been known as “Gedung Arsip Nasional Republik Indonesia” (the National Archive Building of the Republic of Indonesia). The Indonesian Government expanded the compound with the addition of a two-storey U-shaped building, joined to the rear auxiliary building. The building’s function continued until the mid-1980s when the archives were relocated to a more modern building. The complex then became vacant and steadily deteriorated until restoration work began in 1997. Prior to the conservation project the building was suffering from weathering and neglect. Because much of the site was below the surrounding ground level, with the area behind the main building being 1.7 meters lower than the adjacent road, the buildings had been badly affected by flooding over the years. There was no natural surface drainage and drainage pumps were broken. During the annual rainy season, the whole back garden and auxiliary buildings were submerged in the floodwaters collected from surrounding areas. Rising damp had damaged the walls, the plaster and the paint work. The roof was leaking. Furthermore, much of the timber in the buildings was infested with termites, including the roof beams. The door and window panels were damaged. The wiring was old and dangerous. Finally, a transformer building belonging to the National Power Company had been erected in the front garden, damaging the historic garden landscape.

Project history Together with Christine Paauwe-Meyer, Erick Hemerstein established a fundraising and management organization, the Stichting National Cadeau (National Gift Foundation). They approached Pia Alisyahbana, representing the Indonesian Dutch alumni and the Indonesian Heritage Society, to become involved

National Archives Building / 2001

in the project as the local counterpart. Funds were raised through donations from over 60 Dutch businesses operating in both Indonesia and the Netherlands. In choosing which building to focus their restoration efforts on, the Stichting considered many potential sites. After careful deliberation, the National Archives Building was selected to be restored, as it represents a valuable architectural legacy of the Indo-Dutch history. The project managers engaged in a four-year process of networking, building trust, understanding and cooperation with public and private stakeholders. The central and local government was lobbied for their endorsement of the project which ultimately resulted in establishing a successful public-private partnership. The Stichting appointed the professional team, managed the funds and oversaw the implementation of the project. Han Awal & Partners was appointed as the conservation architect and subsequently invited PT Budi Lim Architects and Cor Passchier to join the team. Shortly after works commenced in 1997, the Asian currency crisis erupted, plunging the country into economic and social turmoil. The sharp devaluation of the Indonesian rupiah turned out to be a blessing in disguise as the project funds had been raised in Dutch guilder, and therefore yielded enough local currency to undertake the entire project. However, riots in the neighborhood threatened the historic building. The site was well-protected by the workers, however, and the project was smoothly continued to completion.

Above: The restored faรงade lit at dusk. Left: Before restoration.

Project scope and framework The project centered on the restoration of the buildings and grounds and the prevention of flooding, which was found to be the major culprit precipitating the decay of the structures. The installation of modern drainage systems was given high priority in the conservation plan. Due to funding limitations at the start of the project, the drainage work and the restoration of the main

131

UNESCO Asia-PaciďŹ c Heritage Awards

building commenced first, with the remaining works phased in when the additional funds were secured.

Top: The entry foyer reflects Dutch-Indonesian hybrid architecture. Top right: Original materials underwent laboratory analysis. Above and opposite: Ground floor plan and rear elevation of the building.

132

The restoration aimed to restore the buildings to their original appearance in an authentic and historically accurate manner, bearing in mind the importance of retaining the original form and ambiance. It was discussed how far back in history the project should go. It was decided that the restoration works would concentrate on the buildings built before 1945, with the restoration work on the auxiliary building based on 1925 photographic documentation. In addition to restoring the structural elements of the buildings, the project managers sought to re-capture the spirit of the eighteenth century by refurbishing the interiors with furnishings in the prevalent styles of the Dutch East India Company era. For the gardens, the Foundation decided to adopt the grand formal garden design of the eighteenth century, with a Dutch landscape architect brought in to undertake the conceptual design.

National Archives Building / 2001

Conservation methodology and materials In accordance with international conservation standards, the project team developed conservation guidelines with minimal intervention being the underlying principle. Consequently, as much of the historic building fabric was retained as possible. For example, for teak timber elements which had partial termite damage, instead of replacing the entire piece, only the decayed part was repaired or replaced. Furthermore, wherever possible, replacements were made with old, recycled building materials. Broken roof tiles were replaced with roof tiles from other buildings of the same era. Similarly, despite initial resentment, the building contractor was proud to locate replacement teak members from other old buildings. Materials originally used in the building were replaced with the same variety whenever possible practically. Terracotta tiles were manufactured especially for the project in Central Java. Missing and broken iron hardware was produced or repaired in East Java.

Award Citation The exceptional restoration of the National Archives Building was realized through the joint efforts of private sector restoration professionals, archaeologists, government conservation experts, and local craftsmen. The 300-year old colonial-era mansion was given, with the restoration, a new livelihood as a local cultural centre with a strong educational mission. With an exemplary integrity of materials and conservation methods, the conservation of the building has been carried out successfully despite political uncertainty. The revitalized National Archive Building has not only safeguarded a vital landmark of Indonesiaâ&#x20AC;&#x2122;s living heritage, it has also stimulated the rebirth of the surrounding area of historic Jakarta. Its well-received success has sparked a new awareness of the opportunities inherent in historic conservation and an appreciation of the roles of private citizens and public entities alike, opening the path to future collaborations in heritage preservation.

133

UNESCO Asia-Paciﬁc Heritage Awards

Quote from the project team We have added one more jewel to the old part of Jakarta. The National Archives Building project is a public-private partnership that operated on an international scale to meet the needs of the local people. The project had the luxury of having sufficient funds, being run by professionals, using the right materials, without having to make hardly any compromises. It has been a good training ground for us all. Our wish is that the building will survive another 300 years and be used and enjoyed by the public.

The introduction of new materials was only considered as a last resort, and had to be approved in advance. In certain conditions, the project team made use of modern materials where necessary to enhance structural durability. For instance, instead of wooden beading, linseed oil-based putty was formulated experimentally and manufactured on-site in order to provide a strong and waterproof sealant for the original glass panes. Waterproofing paint was used on the external walls to minimize water penetration, but allow the walls to breathe at the same time. In addition, the team endeavored to employ not only local materials, but also local craftsmen. Traditional building techniques were combined with modern ones whenever appropriate. A special paint and varnish specialist based in Bali was invited to team up with the site architect to retouch the original doorframe and decorative vent light. The site was protected from future flooding by installing large underground drainage pipes, one metre in diameter, running through the entire site and a huge underground tank in order to collect rainwater before pumping it out to the canal in front of the compound. Meanwhile, the unsightly transformer building in the front garden was removed by the National Power Company and an underground transformer house was built instead—the first in Jakarta. Indeed, this model is now being considered by the Jakarta municipality for areas where land is scarce. Before the works commenced, archaeological investigations were undertaken which helped to determine the characteristics of the original building materials and decide on the most appropriate restoration methods and materials. Samples from the plasterwork and paint were analyzed for their material composition. This allowed, for example, for the identification of the historic colour palette. The archaeological finds and entire restoration process was well-documented and displayed in a permanent exhibit in the building.

Important issues The restoration project was a gift from the Dutch business community to the people of Indonesia, so it was important that the building would be of value and use to the local community. While the original focus was on simply restoring the structure and on

134

emphasizing the educational value of the building’s architecture and historical features, the focus shifted as the project progressed towards adapting the building for modern reuse. Based on government and public inputs, the project managers concluded that the complex should be converted into a public centre for social and cultural activities.

Project sustainability and viability After the completion of the restoration work in 1998, an independent foundation known as the National Archive Building Foundation was formed with the remaining project funds. Composed of both Indonesian citizens and expatriates, the Foundation’s committee members are responsible for the operation and management of the building. The existence of this organization will ensure the ongoing protection, maintenance and use of the structure.

Project impact As a result of the project the National Archives Building has become a case study for heritage conservationists as well as an attraction for visitors from educational institutions. It has generated a greater appreciation for heritage from the public and government sectors. With its intact eighteenth-century style and period furniture, the building embodies the charm of Old Jakarta and gives the public a tangible insight into Indonesia’s colonial past. Since its restoration, with effective management by the National Archives Building Foundation, the building has become a popular venue for social and cultural activities, such as weddings and exhibitions. This project has therefore shown that heritage buildings can be viably rehabilitated and reused in modern Jakarta. Furthermore, as a successful collaboration between the private and public sectors, the project sets a precedent for future heritage conservation partnerships. It is hoped that the success of this project will set the stage for future heritage restoration undertakings.

Bushellâ&#x20AC;&#x2122;s Tea Warehouse

UNESCO Asia-Paciﬁc Heritage Awards

Context The Bushell’s Tea Warehouse is located in the historic area known as “The Rocks” on the edge of the central business district in Sydney. Designed in the early 1920s by the architectural firm of H.E. Ross & Rowe, the warehouse has a classical facade and a utilitarian interior of masonry walls and exposed timber ceiling beams. Notable for its industrial character as well as its long historical association with Bushell’s Tea Company, the building is a local landmark. It also represents the development of industry in Sydney and is rare evidence that manufacturing and food production once occurred in the area. City map

The Bushell’s building is under the protection of the Sydney Cove Authority (SCA) which has placed restrictions on the building’s use and has limited modifications to the building and its contents. In addition, the building is listed on the Register of the National Trust of Australia and by the Australian Heritage Commission in the Register of the National Estate and is protected under New South Wales (NSW) heritage legislation.

Building history Location 121 – 127 Harrington Street, The Rocks Sydney, New South Wales, Australia

Size 7,000 square metres

Cost US$7,000,000

Responsible Party

Built in 1923, the warehouse building was commissioned by Bushell’s Tea Company, a company synonymous with Australian cultural identity. Bushell’s utilized the building for tea sorting, storing and packaging until 1975, after which the building was vacant until 1999. When the restoration project was proposed by the project developers, Charter Hall, the building had been long neglected and was in a state of decay.

Charter Hall Holdings Pty. Ltd.

Heritage Architect Tanner & Associates

Project history

Contractor A.W. Edwards Pty. Ltd.

Date of Completion January 2001

136

Any restoration plans for the warehouse had to conform with SCA restrictions, which called for existing manufacturing and storage equipment in the building to be retained in situ. Therefore any

redevelopment or reuse of the building had to be compatible with the retention of these features. The developers undertook extensive research to determine the viability of redeveloping the historic structure for use as an office building. Given the restrictions on the restoration plans, it was important that tenants could be found who would appreciate the building’s features, including industrial equipment such as tea silos and spiral steel chutes. After some investigation it became apparent that there was strong demand from a certain sector of tenants which preferred to lease space in a building with special characteristics and identity instead of standard office space. Charter Hall concluded that the Bushell’s building had the potential to offer tenants an unusual work environment with excellent building services while still maintaining proximity to the city’s business core. Having established the viability of the project, a feasibility study was carried out in order to determine the level of rental revenue required in order to make the project financially practicable. The tenant eventually found for the building was an information technology firm, Comtech (now Dimension Data Australia), which not only embraced the unique aspects of the Bushell’s warehouse but actively participated in its refurbishment. The firm has occupied the property since the completion of restoration works in January 2001.

Project scope and framework The project managers sought to redevelop the site by introducing a sophisticated contemporary office fit-out while retaining the character and historic values of the Bushell’s warehouse building. The restoration and adaptation project was guided by the principle of maximum conservation and minimal intervention. The project’s scope of works involved two main objectives: the conservation of important existing industrial building fabric, and the careful and sympathetic insertion of new services and transformation of the building’s function.

Bushell’s Tea Warehouse / 2001

Conservation methodology and materials Both the exterior and interior of the building were overhauled. On the exterior, the facade was carefully restored, which involved repairing brickwork and repainting rendered elements. Pressurized water jet cleaning was undertaken in conjunction with manual scrubbing to avoid significant deterioration of the brick surface. The historic Bushell’s signage was reinstated. Windows frames were repainted and existing windows were reglazed for acoustic and smoke sealing purposes. The addition of a glass awning identifies a new point of entry. In the interior, the walls were repainted and the timber structural elements were repaired and restored where necessary. Office fittings were installed around existing tea handling equipment and much of the original signage was retained. The project team sought to conserve and adapt the building artefacts in a manner that would allow for an interpretation of the building’s history. Industrial features, including tea hoppers and lift enclosures, were transformed into small meeting or storage rooms, thus integrating historic elements into the building’s modern functions. Graffiti left from workers in the Bushell’s factory was retained as a form of artwork and a window to the past. The works on the industrial artefacts were undertaken under the supervision of an industrial archaeologist who worked alongside the conservation expert. The architects ensured that any new additions were reversible, so as to allow for alternative future redevelopment possibilities. The sensitive incorporation of modern services, such as airconditioning, into the existing building fabric was an important aspect of the project. In order to prevent alteration of the building layout, the new lifts, fresh-air ducts and the core of the electrical services were installed within the existing southern light well instead of building new structures to accommodate them. The roofscape was retained with minor modifications to allow the introduction of modern plant. For instance, a new air-conditioning system was housed within the roof “temple tower”, the location of the original water tank, and vented through a new louvred roof. Similarly, a raised floor was installed to conceal wiring and to accommodate flexible cable reticulation. This raised floor avoided the need for obtrusive false

Above and left: The warehouse before and after restoration, showing the original advertising signage which was reinstated.

137

UNESCO Asia-PaciďŹ c Heritage Awards

ceilings or cable trays, thus allowing the original exposed timber ceiling to be retained as a feature and remain uncluttered. Rather than altering the original entrance area, a dramatic atrium was created on the southern side of the building. Bridges span the atrium, connecting each floor to the newly-installed lift tower. The lightweight glass and steel structure of the bridges maximize natural light penetration while providing a distinct visual connection between old and new.

Above: Ground floor plan. Top left and right: The original chutes were retained, conveying the industrial history of the building, and becoming features in the new offices. Opposite: This section shows the new lift insertion in the south (left) wing of the building.

138

Important issues Prior to the redevelopment of the building into office space, the Bushellâ&#x20AC;&#x2122;s building was proposed to be transformed into a hotel or convention centre. But each proposal languished as a consequence of the strict requirement for the remarkable collection of

manufacturing equipment be retained in its current location. Previous redevelopers believed that accommodating the heritage requirements would make remodeling the building too difficult or expensive. From a developerâ&#x20AC;&#x2122;s point of view, the antique industrial equipment simply took up valuable space. Rather than allowing this to be a hindrance, however, the developers used this to their advantage by transforming the building to suit a certain niche market of tenants. Growing appreciation of industrial archaeology meant that people became increasingly aware in the late twentieth century of the unique potential of the building. As a result, when the building was converted into office space, the industrial remnants were not only retained as symbols of the previous function of the building, but many were adapted for contemporary use in original and innovative ways.

Bushell’s Tea Warehouse / 2001

Project sustainability and viability The extensive feasibility studies undertaken prior to implementing the project ensured that the revenue stream from the commercial use of building would be financially sustainable. An interpretation plan was developed to guide the development of exhibition spaces to convey the significance of the building and explain the restoration works to future occupants and visitors. A management plan was submitted to the authorities to regulate tenancy fitouts and provide procedures for the general maintenance of significant building fabric, including the on-going use of the industrial artefacts.

Project impact The project has injected vitality into a building which had previously ceased to have a contemporary function. It has not only provided additional office space in a prime location in inner Sydney, but has done so in a technically proficient manner which enhances the building’s cultural and historical significance and sets new conservation standards. By proudly showcasing the industrial character of the warehouse, the project has drawn renewed attention to the role of the manufacturing industry in Sydney’s history and the value of industrial architecture. It has become a notable model demonstrating the adaptive reuse potential of this type of historic building, leading to greater interest in preserving and converting other historic industrial buildings. Such trends have created an environment which will ensure that the Bushell’s Warehouse will continue to be retained for the foreseeable future.

Award Citation The exemplary conversion of Bushell’s Tea Warehouse into a prime commercial office building marks a major accomplishment in the redevelopment of historic industrial architecture. Innovative treatment of added service infrastructure allows for the old and the new to be read separately, while maintaining the spatial integrity of the existing building. By expressing the existing warehouse timber structure and incorporating in situ tea factory equipment, the new office spaces gain a rich character reminiscent of Sydney’s industrial heritage. The impact of the building extends beyond the historic Rocks area of the city, as the pioneering methods and techniques present a noteworthy illustration of successful industrial adaptive reuse.

139

UNESCO Asia-PaciďŹ c Heritage Awards

Technical Brief

Modern insertions to heritage buildings A dramatic new introduction is the entry atrium which occupies a former light well. As is the case throughout the building, the new elements are strikingly contemporary. The lift shafts are flanked by walls clad in a double-curved fibre cement sheets, steel and glass bridges span the atrium to connect the lifts to the historic building, and light pours into the seven-level space through a glass roof and through the glass floors of the bridges. The painted masonry walls, timber columns and exposed timber beams and joists have been retained as have the in situ tea handling artefactsâ&#x20AC;&#x201D;spiral chutes, hoppers and various lift types. These surviving industrial artefacts provide an intriguing insight into the past processes of tea manufacture and have been interpreted with explanatory signs. Some tea hoppers and the former lift enclosures have been inventively reused as storage areas and small meeting rooms. A fire management solution was required, involving sprinklers throughout the building and a new fully-complying fire stair with egress onto Gloucester Street. An impervious floor topping was installed over the existing timber floors to provide both smoke and acoustic separation. A membrane between the new concrete topping and the timber floor optimizes the reversibility of the work. The construction of a dropped central ceiling zone at the centre of the floor plate facilitated the reticulation of services without the need of a suspended ceiling across the entire floor area. The central services spine feeds into the ceiling from the existing light well within the building, which is reused as the main services riser. Joinery units housing services were constructed under windows along the eastern and western perimeters. They are fed via small risers located in each corner of the floor plate which minimize damage to the existing fabric and do not affect the quality of the space. Air-conditioning outlets are located above the central access spine and around the perimeter of the building to provide effective air distribution and minimize

140

the impact on the interiors. Computer flooring and carpet tiles allow full flexibility for cabling, with the timber ceilings remaining exposed throughout the building. Overall, the fit-out design by Geyer complemented and developed the architectâ&#x20AC;&#x2122;s intent. The reuse of the building as contemporary offices has been greatly assisted by the positive attitude of the tenant towards the robust nature of the interiors and the special character provided by the hardwood framing and the retained historic tea-manufacturing artefacts. Tanner & Associates

Krishan Temple

UNESCO Asia-Paciﬁc Heritage Awards

Context Located in the village of Kishankot, in the northern Indian state of Punjab, the Krishan mandir (Krishna’s temple) is a Hindu shrine housing fine wall paintings depicting both Hindu and Sikh themes from the Kangra tradition and the Sikh school of art.

Village map

Location Kishankot village, Gurdaspur, Punjab, India

The community of Kishankot is a multicultural one, including Sikhs, Mahashas (Arya Samajist Hindus) and Christians. The town has around 109 households and a population of approximately 650. The village is fragmented as a result of the social and political unrest in Punjab in the late 1970s and 1980s. Most households are landless and therefore rely on several jobs as sources of income. However, due to high unemployment in the region most of the male segment of the population has to leave the area to find work. The men are able to earn relatively high wages during the harvest season, but many end up frittering away the income on alcohol and gambling, neglecting the nutritional and educational needs of their families. Two pieces of legislation serve to protect ancient structures in India: the Ancient Monuments and Archaeological Sites and Remains Act (1958) and the Ancient Monuments Preservation Act (1904). Such legislation is often not effective, however, as few are penalized for flouting it. The rights of the community over sacred or historic sites are often not recognized by law. Therefore, unless communities actively guard against encroachment to historic structures and vigorously defend them, such buildings can easily be lost.

Size 302 square metres

Cost

Building history

US$35,000

Responsible Party Krishan Mandir Temple Trust

Heritage Architect Gurmeet S. Rai, Munish Pandit

Contractor Undertaken by community members

Date of Completion September 2000

142

The Krishan mandir was built in the 1830s by the grandson of Chaju Mal, a general who settled the village of Kishankot. The temple is a rectangular single-storey building with a central courtyard and is composed of burnt bricks laid in lime mortar, covered with a fine coat of lime plaster. The courtyard walls have foliated arches and the interior is decorated with elaborate frescoes. In contrast, the external façade is simple and not decorated. The temple is flatroofed but has an elaborate brick and masonry shikhara (spire) built over the garbha griha (inner sanctum).

A number of alterations were made to the temple over its history. For example, the mud and brick floors had been cemented and the external walls had been painted with a green limewash. Significantly, a drain had been laid along the northern external façade, which was causing rising damp in the walls. Before restoration work began on the temple, the structure was in a serious state of deterioration. The temple’s roof was on the verge of collapse, vegetation in the walls was causing structural cracks and the external plaster was being eaten away by extensive algal growth. This state of affairs was of great concern to many people in the community. The temple had belonged to a thakur (land-owning, feudal class) family which sold their land and left Kishankot in 1984. The temple was then used inappropriately during the 1980s as a police post. Later a rich local landlord, who had purchased the land from the thakur family, announced plans to demolish the temple. In response, members of the local community set up an organization, the Krishan Mandir Temple Trust (KMTT), to protect the building. Conflict between the landlord and the KMTT divided the community greatly in the 1990s but a community-initiated court case eventually led to the prevention of the demolition.

Project history The project began with the recognition that the only way to ensure the protection of the temple was through a skilled and unified community. Conservation work on the Krishan mandir was seen as a means of building capacity, enabling community members to address their social problems and ultimately enhance collective unity. In this way, restoration of the villagers’ shared heritage was viewed as a social process, as a means of bringing the multicultural community together. The restoration project was also seen as a way of reviving interest and pride in the community’s history and culture. Furthermore, the project aimed to restore the social functions of the temple rather than to simply preserve the building as an artefact. In contrast to conventional conservation methodology in India, where the

Krishan Temple / 2001

emphasis is placed on the preservation of the physical fabric, this project opted for an interpretative and social methodology. That is, the project aimed to recover and restore the role of the building in its social context and emphasized the pivotal role of the community’s participation in the process. In the absence of funds and government conservation programmes, the KMTT approached the Cultural Resource Conservation Initiative (CRCI) for assistance. The CRCI, an organization which aims to preserve Punjab’s built and living heritage, protects built heritage because such structures are symbols of past traditions and are the anchors of a community’s secure future. The CRCI selected Krishan temple as one of three religious historic sites to be restored as part of a project to highlight the tradition of exchange and understanding between different communities of Punjab. While it is a Hindu shrine, it is also valuable to the resident Sikh community. The other two historic sites included in the programme also embody this spirit of intercultural harmony. Supported by the CRCI, the Archaeological Survey of India, UNESCO and the UN Development Programme– UN Volunteers programme, the Krishan Mandir restoration project commenced in October 1999 and was completed almost one year later, in September 2000.

Project scope and framework The project aimed to repair water damage and prevent further damage from occurring, restore the roof and the original flooring, and protect and preserve the valuable interior wall paintings. Physical restoration works were carefully planned. Before work commenced on the temple, the building, and particularly the wall paintings, were extensively documented by conservation architects and art conservators through measured drawings, photographs and condition assessments. In addition, the materials were tested for their chemical composition.

Above: The restored temple has been returned to the community. Left: The condition of the temple prior to restoration.

In keeping with the project’s social goals, project managers decided that all restoration work would be carried out by local residents, with the exception of repair work to the wall paintings, which would be undertaken by experts.

143

UNESCO Asia-Paciﬁc Heritage Awards

Quote from the project team Restoration is a science for the future. It has three aspects: recovery, preservation and conservation. The first aspect concerns the memories of the past and healing injuries from them. The second aspect concerns the preservation of the “recovered selves” of the people. It requires measures that prevent the dissipation of skills and cultural reserves that have been recovered with memories. The third concerns sustainability.

Above: Ground floor plan. Top left and right: Villagers contributed to the works by helping to clean the wall paintings and make lime plaster. Opposite: Section through the building.

144

The project plans stipulated that materials would be sourced locally wherever possible in order to ensure the community would be able to access the appropriate materials in the future. A work yard was established beside the temple using traditional materials and machinery such as khaka (ash), surkhi (burnt brick dust), river sand, lime kilns, a slaking pit and a lime mortar machine to make slaked lime.

Conservation methodology and materials

Limestone is one of the key traditional building materials not available in Punjab. It was historically obtained from the Himalayas or Rajasthan. Because cement is relatively cheap compared to limestone, use of lime plaster had become rare in Kishankot and the skills of making lime and lime plaster had been lost. In order to revive these skills, various workshops taught lime making and lime plaster application to members of the local community who were involved as builders.

As with most historic buildings in the region, one of the main threats to the structure was water damage. The first item of work therefore was the relocation of the village drain away from the external façade of the building. A rainwater drainage system was introduced which would carry water from the roof down into the courtyard and then into the village drains.

The guiding philosophy in the restoration process was that interventions were to be made only in order to strengthen the fragile structure of the building and only if they did not cause damage to the valuable wall paintings.

Krishan Temple / 2001

Vegetation was carefully removed from the structure, including trees growing out of the walls and algae covering the floor. Inappropriate recent additions to the building were also removed. The concrete floor of the central courtyard, for example, was replaced with the original brick-on-edge type of flooring, laid in lime mortar. The roof was reconstructed in the traditional manner, with timber purlins laid with planks and covered with two layers of brick tiles. The roof tiles were laid in lime mortar and finished with traditional lime plaster, which is vital for waterproofing. Lime plaster was also applied to all the external walls, both in the courtyard and the street faรงades. The lime mortar used on the walls was stronger in composition (1 part lime to 4 parts aggregate) than that used in the flooring (1 part to 6 parts) so that moisture on the ground would evaporate at the floor level and not rise into the walls. Repairs to the exquisite wall paintings were undertaken by experienced art conservators. At the same time, these experts trained some of the young men in the village in the technique of removing lime wash from the wall paintings.

Important issues Beyond the positive support for the restoration project by the Kishankot residents, the KMTT members felt it was necessary to encourage practical and hands-on community participation in the project. The local community provided input not only in the form of seva (service without payment) and waged labour, but also, very importantly, in the form of ideas and feedback. While the restoration works were being undertaken, community development programmes were developed in the areas of health, education and horticulture, with the aim of providing the residents with valuable knowledge and enhancing cooperation in other aspects of village life.

Award Citation The restoration of the historic Krishan Temple in a multicultural village in the Punjab validates the important role that the conservation of shared heritage has in generating community involvement. The leading role of the NGO, especially in consolidating the efforts of the local community, is particularly commendable. The restoration was approached not just as a conservation project, but as a community-strengthening endeavour, demonstrating the success possible by conservation embedded in community. By reintroducing traditional construction techniques and materials, and transferring this technical knowledge and appreciation to the local villagers, the project conservators ensured the future sustainability of the temple and the continued life of the building after restoration.

145

UNESCO Asia-PaciďŹ c Heritage Awards

Project sustainability and viability Due to the active participation of community members in the restoration, they gained a strong sense of ownership and stewardship of the Krishan Mandir, and have assumed responsibility for the building. The fact that the villagers were not simply used as a source of labour increased community pride. By obliging them to work together, the project led to a sense of unity and greater social cohesiveness. The project was a mutual learning exercise for both the visiting professionals and the local community. The architects and other experts learned about local architecture while the community gained an understanding of the technical problems in caring for the temple. They re-established the skills in traditional building techniques needed for on-going maintenance of the building and other heritage structures. The workshops held during the project were especially effective in raising capacity among marginalized members of society. Youth, for example, now have useful skills which will improve their prospects for employment in the future. Since the projectâ&#x20AC;&#x2122;s completion, an institutional framework has been developed to sustain common spaces and group activities, and to draw upon and renew the cultural capital of the historic building for the overall development of the village. To this end, a learning curriculum has been created to enrich restoration skills. The KMTT is working towards the establishment of a vocational training centre in the temple grounds to address education, livelihood skills and cultural heritage conservation.

146

DBS House

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis Located in the Fort Precinct, DBS House is a noteworthy example of Victorian architecture in Mumbai. Built in 1895 as the residence for a prominent Jewish family, the house was converted for commercial use during the 1950s, involving substantial alterations which diminished the character and significance of the threestorey building. The exterior was marred by the installation of services such as plumbing and air-conditioning, while the original façade of exposed red brick with white limestone ornamentation had been covered in grey cement wash. The interior was altered by the addition of mezzanine floors and a reinforced concrete staircase in the original courtyard located between the two wings of the house. City map Opposite: Service conduits, air-conditioning units and cement render were removed during the conservation, uncovering the red brick walls.

The building was acquired by DBS Financial Services in 1988 and has since been used as an office centre. When the building was listed as a Grade III building by the Mumbai Municipal Corporation in 1995, DBS Financial Services initiated a project to restore the building to its former elegance. The restoration project was envisioned as a comprehensive improvement process to enable the building to function efficiently in the future while enhancing its heritage significance. A survey of the building revealed that the building had great potential and the property would appreciate if the restoration works were undertaken. Works began in April 1998 and were completed in September 2000.

Location 31 Adi Murzban Road, Fort Precinct Mumbai, India

Size 15,000 square metres

Cost US$400,000

Responsible Party DBS Financial Services PVT Ltd.

Heritage Architect Sandhya Savant

Contractor Sewri Construction PVT Ltd.

Date of Completion September 2000

148

Conservation approach From the outset, the project managers aimed to keep new additions to a minimum, use reversible methodologies and make repairs and replacements that retained the original architectural character of the building. New additions would be made in a discreet but modern architectural language while fake historic detailing would be avoided. The main task of the project was to restore the original red brick façade by removing the grey cement wash which had been applied during the early 1960s, without stripping off the impervious brick

face. A small section of the façade was sandblasted but this caused too much damage to the glazed brick facing so this method was discontinued. Therefore, to minimize damage, a combination of handtools and techniques were used, such as brushes, sandpaper and air brushing. The cleaned brick surface was then given a silicone finish in order to withstand the heavy monsoon rains. Great care was also taken in the removal of the cement from the limestone decorative features, such as the Gujarati trefoil arches. The limestone was particularly fragile and care had to be taken to avoid marking the stone. The damaged and weathered portions were repaired with lime putty and the limestone features were painted with a thin layer of lime wash as protection. Façade details such as cornices were also restored and missing elements were replicated using the original types of materials. The building services visible on the exterior were relocated to improve the appearance of the façade. Electrical wiring was rerouted carefully and bathrooms were relocated so that wires and plumbing pipes would no longer disfigure the building’s façade. A catwalk was constructed at the rear of the building to house the new air-conditioning system. At the same time, it also provided the building with an easily-accessible fire escape. The sloping roof was leaking extensively prior to restoration, causing the timber roof support structure to rot. All damaged timber elements were replaced with the original material, old Burma teak, and the leaks were resolved by re-lining the valleys with lead and adding a layer of waterproofing felt. For the interior, substantial repairs were undertaken to restore the structural integrity and improve the functionality of the building. The damaged wooden posts, joists and beam structure on the southwestern side were repaired. New internal services were installed in such a way as to minimize their aesthetic impact, while allowing for the greatest flexibility in adapting the space to suit various tenants with different spatial requirements. Electrical wiring in surfacemounted tracks at the skirting level was designed to be rerouted in minimal time. In the reconfiguration of the spatial layout, new mezzanine floors were added to maximize usable space within the existing shell. These included suspended slabs and thin 40 millimetre

DBS House / 2001

plate glass floors. A modular partition system was also introduced to allow greater flexibility in the division of space without overloading the structure. In order to accommodate modern needs, the crudely constructed concrete staircase was removed and a new hydraulic lift was inserted. In addition, an atrium was created in the stairwell to facilitate the entry of natural light into the building.

Conservation and the community As this was a large-scale restoration project undertaken by an individual owner, its successful completion is testimony to the fact that major conservation works can be successfully carried out by the private sector, in this case, a corporate entity. Furthermore, this project demonstrates to the community that the sensitive adaptation of a heritage building for a new use can inject vitality into a building and be economically viable. Since its restoration, the building has become a well-known landmark and the success of the project has catalyzed similar restoration projects on nearby heritage buildings in the historic district.

Award Citation The restoration of DBS House demonstrates how close collaboration between the corporate property owner and local conservation experts has resulted in an exemplary adaptive reuse project that preserves local heritage while accommodating the requirements of a state-of-the-art business centre. A legacy of inappropriate and sub-standard architectural additions presented a host of structural and technical challenges, which have been resolved with commendable creativity and restraint, respecting the integrity and quality of the original structure. The minimalist approach has allowed new interventions to stand alongside existing structures with equal integrity. Leading by example, the restoration of DBS House has been a catalyst in inciting further conservation efforts in the Fort Precinct of Mumbai.

149

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team The cleaning and restoration was a unique undertaking as it highlighted this fusion of English brick architecture and Indian-style ornamentation that is so distinctive in the Fort Precinct. It also encouraged owners of other brick buildings to embark on the restoration of their properties.

Above: Ground floor plan. Top right: Section through the building. Right and far right: The interior was successfully adapted for use as business suites.

150

King Law Ka Shuk Temple

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis

City map Opposite: The conservation work re-established the temple’s original appearance and function.

Location Tai Po Tau Village, Tai Po, New Territories Hong Kong SAR, China

Size 349 square metres

Cost US$335,000

Responsible Party Clan of Lau Kwong Tong of Tai Po Tau

Heritage Architect Antiquities and Monuments Office Architectural Services Department Guangdong Provincial Institute of Cultural Relics and Archaeology

Contractor Ding Hsung Construction Company

Date of Completion January 2001

152

Situated in Tai Po Tau village in rural Hong Kong, the King Law Ka Shuk temple is a traditional grey brick, three-hall, two-courtyard building. Named after Tang King Law, an ancestor of the clan, the temple was built in a functional design with elegant ornamental features. Its roof ridges and wall friezes are patterned with geometric motifs and the internal eave boards are decorated with leaf and floral patterns. Two drum terraces are located in front of the hall. The main chamber houses a beautifully carved six-level altar, which was specially made in Guangzhou in the 1930s to hold the soul tablets of the ancestors. The temple was constructed in the early 1700s as a place for ancestral worship and as a shuk (study hall) to prepare clan members for important imperial examinations. With the launch of government education programmes in 1948, the teaching function of the building ceased, but it continued to be used as a ceremonial hall to honour ancestors and as a venue for village meetings. While still a significant building, its heritage value had diminished due to a 1932 renovation project which added a considerable amount of inappropriate modern material to the structure. In 1998, with roof leakages, rotting timber beams, walls damaged by rising damp, and limited lighting, the need for repair was urgent. The conservation team debated whether to retain the 1932 additions as part of the continuing history of the building. However, strong pressure from the community called for restoring the building to its architecturally harmonious and traditionally accurate state, in a way which would showcase the limited remaining historic fabric. Therefore, the project sought to return the hall to its 1851 Qing Dynasty condition and to upgrade the building’s services to accommodate modern requirements for a village community centre. Declared a monument in 1998, the hall is under the full legal protection of the Hong Kong SAR government. The building’s restoration was implemented with government funding and was monitored by the Antiquities and Monuments Office (AMO) and the Architectural Services Department.

A detailed cartographic survey, historical analysis and measured drawings were undertaken prior to the commencement of the restoration by the AMO and a specialist team from the Guangdong Provincial Institute of Cultural Relics and Archaeology. The detailed drawings proved to be indispensable during the course of the project. Since the project’s completion in 2001, the once-neglected hall has become a central celebration venue for traditional village functions.

Conservation approach The main challenge was to remove the modern materials introduced in the previous restoration, in particular, reinforced concrete which was deemed inappropriate both for reasons of inauthenticity and feng shui, as metal is deemed incompatible with traditional religious buildings. Meanwhile, all evidence of nineteenth century building fabric was carefully preserved and enhanced, such as the rare red sandstone facings, which were associated exclusively with high officials in the Qing dynasty. Grey bricks were used as a replacement for the concrete loadbearing walls, and traditional timber brackets and roof beams made of Chinese fir were installed in lieu of the concrete roof beams. A traditional tiled and pitched timber roof was constructed to replace the concrete slabs covering the two side chambers. Four concrete columns in the main hall, later additions which were not sympathetic to the original granite columns, were taken out to make way for new grey granite columns with a natural handtooled finish. The hard cement mortar rendering on the main external walls was scraped off, exposing the fair-faced brickwork underneath. In addition, the Shanghai plaster covering the drum terraces was replaced with granite and the later iron windows on the façade were removed and filled in with grey bricks. Traditional artisans were employed to repair paintings of door gods and other motifs. They prepared full-sized drawings on paper for approval, before sketching the outlines on the timber doors and applying paint.

King Law Ka Shuk Temple / 2001

The project architect and building owners strongly favoured an approach in which visual significance was emphasized while the Guangdong Provincial Institute of Cultural Relics and Archaeology and AMO preferred an emphasis on historical significance. There was some debate, for example, over whether the 1930s-era tiles on the altar base should be retained as part of the living history of the building or be replaced with more authentic materials. The issue was resolved with the replacement of the tiles with local grey granite after consultation with the feng shui master who ruled that the use of foreign materials was not appropriate in a Chinese religious building. The restoration of the wooden main altar itself was also debated, as the villagers were anxious for the altar to look fresh and bright to show respect to the ancestors and to impress other clans in the neighbourhood, to the extent that some villagers suggested that it be replaced entirely with a new one. Instead, the meticulous repair and restoration of the altar by an experienced conservator, at the urging of the AMO, yielded results which impressed both the villagers as well as other clan members.

Award Citation The outstanding restoration and preservation of the King Law Ka Shuk temple sets an example in the application of best practice methodology of renovation and in demonstrating the value of restoration and conservation of an historic building for community use. Carried out with a balanced conservation approach and strong community involvement, the restoration was an ambitious attempt to bring the temple back to its original state while also integrating some more modern elements from the 1930s.

153

UNESCO Asia-PaciďŹ c Heritage Awards

Conservation and the community Since opening to the public after restoration, the building has generated much interest. While in its dilapidated state the hall was underutilized and its significance un-appreciated, the restored building is now in regular use. With the provision of lighting and power supply for night-time functions, improved kitchen facilities and a relaid front courtyard, it now serves as a popular local meeting place. Ancestral worship and rituals have recommenced and a long programme of events is planned each year. The project has injected into the community a new sense of pride in their traditional way of life and has revitalized many customs. With the restoration of the temple the community has gained greater appreciation of the villageâ&#x20AC;&#x2122;s heritage value. Furthermore, the success of the project has increased the communityâ&#x20AC;&#x2122;s interest in restoring the remaining traditional Qing Dynasty buildings of the Tang clan in the village.

Above and top left: Plan and section through the hall. Far left: Celebrating the completion of restoration works. Left: Conservators discuss treatment methods for the decorative wood planks.

154

Tea Factory Hotel

UNESCO Asia-Paciﬁc Heritage Awards

Area map Opposite: Abandoned after the closure of the tea company in the 1970s, the factory complex is now a heritage hotel.

Location Kandapola, Nuwara Eliya, Sri Lanka

Size 3,052 square metres

Cost US$2,150,000

Responsible Party Aitken Spence Hotel Management (Private) Ltd.

Heritage Architect Nihal Bodhinayake Associates

Project synopsis

Conservation approach

The Tea Factory Hotel was originally the Hethersett Tea Factory, famous for processing some of the finest tea in Sri Lanka. Located at an altitude of 2,072 metres in Kandapola, the building was constructed by the British in 1935 and functioned as a factory until it was abandoned in 1973 as a result of the nationalization of tea plantations.

The industrial character of the building was highlighted in the design of the hotel’s public spaces while the private spaces, such as the bedrooms, were designed to be comfortable retreats.

A building type common in the hill country, the steel-framed factory had four upper lofts with pine floor boards supported by jarrah wood joists, and featured evenly-spaced windows framed with Burma teak. Installed on either side of the atrium, timber bladed fans ten feet in diameter sucked and distributed the hot air produced by a furnace at the ground level. When it ceased to be used as a tea factory, the building was put to use as a storehouse for fertilizer and lime. Prior to restoration works the building was in a state of complete neglect. Its steel columns were corroded, most of the window panes were shattered and sections were missing from the roof, accelerating the decay of the structure. Two engines, pulleys, galvanized iron pipe switches and some of the original electric lamp shades were intact. By chance, in 1992, the building was seen by the director of Aitken Spence Hotel Management who recognized its heritage value and potential for redevelopment. His company purchased the building, envisioning a themed boutique hotel which would accentuate the building’s historical significance. The architectural challenge was to transform the existing industrial fabric into a luxurious and comfortable environment with modern amenities. As a guiding approach, it was decided that the exterior of the building would be restored to its original 1930s state, and after much consideration, it was decided to retain most of the teamaking machinery as integral parts of the interior décor.

Contractor Link Engineering Ltd.

Date of Completion April 1996

156

Within a restoration project time frame of just 12 months, the hotel opened its doors to the public in November 1996.

An understanding of the existing fabric resulted in different sections of the buildings being converted for necessary uses in an appropriate manner, such as the transformation of the original boiler room into the new kitchen. Once used to expel smoke from the boiler room, the original 70-foot high masonry chimney now exhausts cooking fumes. Similarly, the original steel sprinkler tank has been converted to serve as the tank for the newly-installed sprinkler system. Fifty-seven rooms, complete with en-suite bathrooms, were carved from spacious lofts that used to serve as tea withering spaces. The extra loading of the lofts was accommodated by reinforcing the existing structure. The steel columns were reinforced at the ground floor level with hollow steel box sections, and additional steel lateral bracing was concealed between the new partitions and the galvanized iron exterior cladding. The weight of the lofts is transferred through new two-foot deep latticed beams that connect to the existing columns. The old steel was painted green and the new in red to differentiate between the original fabric and new additions. The continuous vertical open space, which once facilitated the flow of hot air required in the drying process of tea-making, still connects the four upper lofts. This space was extended to the ground floor, where it now forms the atrium-lobby that greets visitors upon their entrance, and continued down to the new basement. Much attention was paid to enhancing the industrial character of the hotel through the retention of historic artifacts as well as the compatible design of new interior elements. One of the salvaged engines was relocated to the atrium-lobby and operates as a gong to notify hotel guests of mealtimes. The 100-year old open cage lift of British make was salvaged and repaired. All services ducts were left exposed in accordance with typical factory fit-outs. The ground floor was cement-rendered and laid with jarrah planks

Tea Factory Hotel / 2001

which were screwed into the floor with oversized brass screws, giving the lobby a utilitarian ambience. The restaurant houses a buffet table constructed from recycled tea chests with a canopy of hand-beaten copper sheets fixed with copper studs to two giant steel wheels from the engine room. Similarly, in the lobby, etched glass panels are used as a directory while the lighting consists of industrial glass lamp shades hanging from an exposed network of conduit pipes.

Conservation and the community The conservation project has given new life and meaning to an abandoned building, while sensitively respecting its historic character and form. In addition, the new use as a hotel has provided the local community of predominantly Tamil ethnicity with supplementary sources of income. For example, local farmers now have the opportunity to sell their produce to the hotel and the younger generation now has a range of employment options. A sense of community pride has flourished with these new opportunities and livelihoods.

Award Citation The impressive conversion of a tea factory into a luxury hotel complex demonstrates a challenging adaptive reuse project executed with commendable skill and vision. The project showcases the industrial heritage of the Sri Lankan hill country, where tea factories are the predominant building type, and suggests how this legacy can be adapted to future uses. The respectful treatment of the exterior allowed the project to maintain its contextual integrity, while bolder interior interventions allowed the building to assume its new role in the hospitality sector.

157

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team The challenge was to dramatize the transition of a building from a silent, abandoned, industrial structure into a livelier, much sought-after tea factory hotel. At the same time, it has nurtured a workforce created from a different employment base, and supported an environment that has been neglected for nearly three decades.

Above and top right: Ground floor plan and section, showing the planned indoor pool. Right: The former tea sifting room, now a restaurant. Far right: The wooden fan, previously used to exhaust air from the tea drying area, was retained.

158

Xijin Ferry Area Project

UNESCO Asia-PaciďŹ c Heritage Awards

City map Opposite: Inappropriate concrete additions were removed from the pagoda.

Location 4 Xiaomatou Street, Zhenjiang Jiangsu Province, China

Size 914 square metres

Cost US$458,600

Responsible Party Zhenjiang Xijin Ferry Area Conservation and Restoration Co. Ltd.

Heritage Architect Dong Wei, Yang Xin and Ding Hongwei

Contractor Zhenjiang Ancient Construction Company Suzhou Xiangshan Traditional Architecture

Date of Completion October 2000

160

Xijin Ferry Area Project / 2001

Award Citation The recognition and subsequent restoration of three key structures in the Xijin Ferry area demonstrate how a strategic preservation project can anchor and give impetus to a widerreaching intervention affecting the larger urban fabric. Appropriate new use of the buildings in accordance with the original use is an expression of a commendable effort in preserving authenticity. Architecturally sophisticated and restrained, the conservation project was successfully carried out with minimal intervention and has acted as an important catalyst, opening up an enormous residential area for future restoration.

161

UNESCO Asia-Paciﬁc Heritage Awards

Quote from the project team The restoration programme was planned according to the rule “to restore heritage as it was and retain its original spirit”. Through restoration, the structure’s hidden perils were removed and the building’s functions were resumed and improved.

Above and top right: Ground floor plan and section through the pagoda and Buddha Hall. Right: Stone lintels being removed prior to the stabilization of the pagoda structure. Far right: The Buddha Hall after restoration.

162

Zhongshan Road

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis Zhongshan Road is the main historical street of the ancient city of Quanzhou, a major port town between the ninth and sixteenth centuries which was the starting point of the Maritime Silk Route. Redeveloped in the 1920s and 1930s, Zhongshan Road is now a busy commercial street featuring 984 traditional shophouses. Due to the variety of influences from foreign trade, these shophouses portray a mixture of South—East Asian styles, such as the street level arcade, but were constructed using local materials and traditional building techniques.

City map Opposite: A typical retail building in the commercial district before and after restoration.

By the mid-1990s these buildings were in a dilapidated state, and had poor and outdated services. Damaged internal structural members caused visible damage on the exterior facades and uneven pavements. Furthermore, many modern additions had been made to the buildings, most of which were against regulations, and had diminished the aesthetic appeal and heritage value of the historic street. New signage and commercial shop frontage had been installed by individual shopkeepers, creating a cacophony of textures and colors, many of which were not compatible with the historic buildings. To restore the street to its former appearance and charm, a conservation project was implemented by the Quanzhou Government in early 1998, with an emphasis on restoring the original ambience, revitalizing the traditional buildings and improving the residents’ quality of life and the local economy. The residents were responsible for the cost of the repairs with subsidies from the government, depending on the state of the premises. The municipal administration paid for the cost of installing the infrastructure and services (water supply, cable television, electric power, telecommunications). The government financed the necessary restoration works for those who did not have the ability to pay for the repairs, dividing the cost evenly between the municipal and district offices. Of the total cost, over half was paid for by the homeowners themselves, with the remaining balance divided between the government and the municipal administration.

164

Throughout the project, emphasis was placed on the unity of the street’s appearance. Not only were the architectural styles of the buildings to conform to established guidelines, all the street fixtures, signage and paving were carefully coordinated in order to achieve a cohesive streetscape character. The project was also considered to be an academic exploration into the methods and process of heritage conservation for the district. Works were completed in November 1999.

Conservation approach The main aim of the project was to restore the original condition and form of the buildings, with a focus on the street facades. Restoration works used traditional construction materials and techniques. Building parts which exceeded the height limit were removed and inappropriate modern construction was rebuilt in a more compatible manner. The extent of repair work on the buildings depended on their condition. Works ranged from simple cleaning and repairs for those buildings which had retained their original facades and were structurally sound, to major reconstruction for buildings which had been significantly altered or were structurally unsound. Buildings with structural damage were reinforced in the interior. In addition, modern services were installed in the buildings in order to improve the quality of life of residents and prevent further degradation of the surrounding area. The street was divided into units, comprising about 10 shophouses per unit. By completing the units, in a logical sequence, the team was able to discover problems and rectify issues before proceeding onto the next unit, thereby correcting mistakes and enhancing the team’s restoration expertise along the way. Every shophouse facade was documented and the drawings were used to guide the restoration process, and retained as part of the city’s permanent record. Participation by the local residents played an important role in the project. They provided feedback to the designers and the government, and also helped to monitor the construction accounts. The heritage architect was required not only to coordinate and guide the restoration effort between several parties (community

Zhongshan Road / 2001

members, government and construction team) but was also tasked with assisting the local government in drawing up conservation regulations and design guidelines for the future safeguarding of Zhongshan Road.

Conservation and the community The restoration project has preserved the historical character and features of the street and at the same time improved the quality of life for its residents. The commercial value of the area was boosted and provided opportunities for tourism-related businesses to develop. In addition, the project has served as an excellent model in the application of techniques and processes to protect historical streets in the region. It has also demonstrated that any heritage conservation project depends on the successful cooperative efforts from both the community and government sectors. The active community participation, including their feedback and suggestions, was a key factor bringing the project to completion. It demonstrated the value of inclusion of the community in both the planning and implementation phases of such projects.

Award Citation The impressive conservation effort of a one-mile stretch of Zhongshan Road in the historic port town of Quanzhou sets a new model: a comprehensive urban conservation plan that creates a guideline by which individual buildings can gradually be adapted and unsympathetic concrete additions can be removed. The initiative of the local government and the active support of the private sector exemplify collective responsibility for heritage conservation. The authentic choice of materials coupled with a sensitive introduction of modern elements ensures the feasibility of the conservation plan.

165

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team The restoration reversed private construction that had got out of control, while it also revitalized and enriched the experience of those living in the community. The project has perfected the environment of the street, improved the commercial value and protected the historical style and features of the street. By adopting a set of special and effective measures, such as participation by the masses, reasonable cost sharing and scientific construction, this beneficial experience can be applied in protecting other historical areas.

Above: A typical shophouse ground floor plan. Top right: The elevation depicts the blending of eastern and western architectural styles in the shop faĂ§ades. Right and far right: Shop frontages were renovated in keeping with the traditional character of the street.

166

Jin Lan Tea House

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis Located on Wen Ming Street, in the remaining section of the historic city centre of Kunming, the Jin Lan Tea House is a timberframed courtyard house with brick and adobe walls and a tiled roof. Constructed in 1927, the house is one of the biggest in the district and was originally the residence of an important local politician and general, Ma Zheng. Oriented along the traditional north-south axis, it features a richly adorned façade and carved wooden lattice work.

City map Opposite: Once slated for demolition, the building was restored and converted into a tea house.

In 1996, in recognition of the area’s heritage value, Wen Ming Street was selected as the subject for a study and preservation programme undertaken by local authorities, Chinese architects and Swiss experts. In the following year the “Wen Ming Protection Area” was established and in 1998 the Kunming city government approved a Protection Plan for the area drawn up by the Kunming Urban Planning and Design Institute. The plan called for three levels of implementation: at the overall district level, the block level, and at the building level. The restoration of Jin Lan Tea House was undertaken as part of the third level of implementation. When the house was sold by its original owners to Jin Sha Company in 1997, the new owners had planned to demolish the house and replace it with a high-rise building. However the Protection Plan ruled out such development and saved the building from destruction. Instead, the Jin Sha Company was convinced of the viability and value of preserving the house and converting it for use as a tea house. Although considered in relatively good condition compared to the other houses in the district, the building was still in need of repair. While structurally sound, problems such as rising damp had resulted in significant decay of parts of the walls and roof, which adversely affected the quality of life of the occupants. Furthermore, the building lacked modern sewage and water supply systems, making it an undesirable living space. The house was regarded by the city planners and architects as an example of one of the important building typologies in the area. It embodies the classic Chinese courtyard house form, which is

168

enveloped by walls outside but open and transparent inside. They undertook conservation of the structure as a pilot project and model for further restoration projects. Work began in 1999 and the restoration process took place over a period of four months, with completion in early 2000. The building has now been transformed into a popular tea house.

Conservation approach Prior to conservation works, thorough documentation of the house was undertaken by Southeast University in conjunction with the Kunming Urban Planning and Design Institute as part of the pilot renovation project. Over the course of 11 intensive days the team produced detailed plans and drawings, a 3D computer model showing the structural composition of the house, and a photographic record of the most vulnerable structural elements. The drawings included framing details and an inventory of different architectural components such as column bases. While the major timber structural frame of the buildings was sound, quite a few of the wooden columns and beams along the open corridors surrounding the courtyard were decayed due to water penetration from the roof and water used by the residents. The most heavily damaged were the four inner corners of the corridor. This wooden corridor sub-structure was disassembled and examined for its condition. Decayed sections were replaced with new timber elements. In order to allow efficient drainage of rainwater away from the house, repairs were made to the eaves and rainwater drains along the corridors, while new downpipes were installed. Water pipes and valves were removed from the corridors to lower the risk of leakage. Exposed timber elements in other parts of the house were also repaired, which involved the careful removal of old layers of paint and the application of new paint. The heavy walls, as thick as 68 centimetres, were built with adobe on a stone base with brick corners. They had been damaged from rising damp, especially along the south wall. They were repaired with new adobe and then rendered with plaster. In addition, the stone pavement and the timber floor were also repaired and polished.

Jin Lan Tea House / 2001

The roof consists of two layers of tiles resting on timber rafters, in a manner typical to Yunnan but heavier than other vernacular houses in China. Many of the tiles along the eaves were broken. To address water leakage through the roof, the roof tiles were removed, with good pieces kept for reuse. The wood rafters and brackets were first repaired before a waterproofing layer was put in place. New, compatible tiles were installed in combination with the original tiles over the waterproofing membrane.

Award Citation Conservation and the community The restoration project has revitalized the Wen Ming Street area by attracting local and foreign visitors to the tea house and the surrounding streets. The project has demonstrated good conservation practice to the community and has educated the public on the value and meaning of heritage buildings. Following the completion of the pilot restoration project, conservation guidelines were drawn up through the Sino-Swiss cooperation which provided simple recommendations for identifying and protecting other heritage buildings in Kunmingâ&#x20AC;&#x2122;s historic core.

The commendable restoration of this traditional Chinese courtyard house in Kunming Old Town is the successful result of thorough research, community involvement and preservation planning. As a sample house for a conservation manual intended to guide the restoration of a large area of Kunming Old Town, the restoration of the Jin Lan Tea House has important implications for the whole community and advances the efforts of the local conservation movement. The restoration of the courtyard house exemplifies heritage conservation through the enhancement of community culture and through the illustration of the traditional Kunming lifestyle to local inhabitants and visitors.

169

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team A lively historic town can be interesting to visitors, but just as important, it allows younger generations of our citizens to understand their past and their culture.

Above and top right: Experts from Kunming and Zurich produced detailed typological drawings. Right and middle: Sections of the adobe walls were repaired and replastered. Far right: The project is a model for restoring the rest of the historic neighborhood.

170

University of Mumbai Library Building

UNESCO Asia-PaciďŹ c Heritage Awards

City map Opposite: The 260-foot clock tower before and after restoration.

Project synopsis

Conservation approach

The University of Mumbai Library Building and Rajabai Clock Tower building is one of the finest historic structures still in use in Mumbai. Designed by Sir George Gilbert Scott, the building was constructed over a period of 10 years between 1869 and 1878, in Gothic Revival style. It is notable for its superb features, including friezes with exquisite animal and foliage motifs, wooden coffered ceilings and magnificent stained glass windows. The 85-metre clock tower is a landmark in the panorama of the city.

The project sought to establish a benchmark for conservation in Mumbai which drew on both scientific conservation techniques and methodology as well as local building crafts. At the outset, an inspection report was undertaken in which the defects were analyzed and recommendations were made. It was discovered that the stained glass windows had suffered the most, on account of bad original panel fixing details; improper supports from saddle bars and excessive heat, resulting in buckling; corrosion of iron hardware holding the glass panels; combined with vandalism, neglect and poor maintenance. Totaling 213 square metres in area, the Victorian windows were designed in the 1870s in London by the glaziers Heaton, Butler and Bayne and shipped in panels to Mumbai. Popular in India in the nineteenth century, the art of stained glass slowly faded away after independence and along with it, the local guilds who had the knowledge to create and maintain the works.

In 1996, although the building was in fair structural condition, certain elements such as the stained glass windows, limeplastered ceiling, Milton flooring tiles and timber window frames were in a poor state. Recognizing the need to preserve the unique features of this landmark building, restoration plans were drafted and with the joint collaboration of the University of Mumbai, the British Council and the Department of Trade and Industry (UK), a restoration project was launched in February 1997. The project aimed to restore this listed Grade I national landmark and to provide impetus for the development of conservation skills. It involved training of local glaziers, masons and metal workers in a hands-on environment. In addition, the project was seen as an opportunity to create awareness in the community of the need for heritage conservation. Works were conducted over a period of 28 months and were completed in July 1999. The library building is one of the first public buildings in the country to be restored completely while still in use. Prior to this project, conservation of this type was still a relatively new practice in India. While the Archaeological Survey of India (ASI) was responsible for conservation of heritage, preservation works were previously limited to buildings no longer in use which were over 100 years old. Moreover, convincing clients to use traditional skilled artisans and traditional construction materials in a modern urban context proved to be a great challenge.

172

Supervised by two British expert glaziers, the team of local trainees undertook extremely careful repairs over the course of 37 weeks. Depending on the extent of the damage, the stained glass was either dismantled or repaired in situ. Cleaning was done very gently using water, non-ionic detergent such as Teepol, wire brushes and a scalpel to remove layers of dirt from the unpainted outside surfaces. The painted surfaces were cleaned with special glass fibre brushes. Buckling was repaired by shoring up the saddle bars. Broken pieces of glass were replaced by cutting new glass to match the shape of broken pieces and repainting them. Painting was done using the appropriate brushes and glass paint before firing in a special kiln, a process known as tracing. The other restoration works were also carried out using traditional methods and original materials wherever possible. For example, the ornate gilded lime plaster ceiling, characteristic of the Gothic Revival style, needed substantial repairs due to water ingress. It was restored in the traditional manner using an inch-thick layer of lime plaster, mixed with jute fibres, applied on bamboo laths. Similarly, the delicately ornamented rosewood windows, which were partly decayed, were repaired using the original methods and materials. The glass was removed and the windows numbered before in situ timber repairs were made. In the case of the Minton floor tiles, many tiles

University of Mumbai Library Building / 2001

had de-bonded, so were reaffixed after properly consolidating the base with the original type of lime mortar. When necessary, new materials were introduced. For example, panels of the still pristine 930 square metre coffered Burma teak ceiling had fallen off due to corrosion of the fastening screws. The ceiling was reinforced with new, non-corrosive stainless steel screws to prevent other sections from falling.

Conservation and the community Not only has the project prolonged the lifespan of this historical landmark, it has revived the use of traditional materials such as lime mortar, providing a much-needed boost for encouraging traditional masonry works. Through this project, a team of Indian glaziers and painters have revived specialist skills and are now being approached for repairs on other heritage projects in the country. In addition, the project has increased general awareness of the importance of heritage conservation within the community and has inspired owners of other heritage buildings to restore entire buildings or significant elements such as stained-glass windows. Buildings which have had conservation works carried out as a result of the library building project include the Wesley Methodist Church in Colaba and St. Peterâ&#x20AC;&#x2122;s Church in Bheemnupatnam.

Award Citation The state-of-the-art restoration of the Library Building at the University of Mumbai exhibits exemplary technical accomplishment and returns one of the cityâ&#x20AC;&#x2122;s landmark buildings to its original splendor. Commendable attention to methodology of restoration and authenticity of the new elements is evident in the meticulous conservation project. Reintroducing some lost arts by training local craftsmen to accomplish an authentically accurate restoration has revived these art forms for use in the community and in future conservation projects.

173

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team The project has been a success in its objectives, such as transferring stained glass skills to Indian craftsmen and reinventing the use of lime mortar for heritage structure repairs. It has been a trendsetter in introducing scientific conservation methodologies in the city of Mumbai, and has made the library ready to face a new millennium.

Above and far right: Floor plan and elevation. Top, right and far right: Stained glass windows and rose windows being restored.

174

Nielson Tower

UNESCO Asia-Paciﬁc Heritage Awards

Project Synopsis Built in the 1930s, Nielson Tower was the passenger terminal and control tower of Nielson Airport, one of biggest and best-equipped airports in Asia at the time. Cleverly designed to resemble an airplane from a bird’s eye view, the two-storey reinforced concrete structure is the only remaining pre-war structure in what is now the bustling Makati financial and commercial district.

City map Opposite left: The former air terminal before restoration. Opposite right: Now a library with significant archival collections.

Location Makati Avenue, Makati, Metro Manila Philippines

Size 859 square metres

When the airport ceased operations in 1948, the Nielson Tower was utilized as a police department and later as offices. From the late 1970s until 1994, the building was converted into a premium club and restaurant. Over this period the surrounding area was increasingly built up, with new buildings constructed in what was previously the airfield. When the lease of the club and restaurant ended in 1994, the owners, Ayala Land, proposed to integrate the tower into a plan for a cultural centre by redeveloping the building to serve as a specialized research library of Philippine culture. The building was ideal for such a conversion because of its heritage value and its central location, allowing for easy access by the public yet remaining insulated from the bustle of the surrounding area. The overriding objective of the conservation project was to enhance the Nielson Tower as a historical and cultural landmark while innovatively adapting it for reuse. The building’s exterior has been largely retained but substantial interior renovation work was undertaken to meet the library’s requirements. The construction project began in May 1995 and works were completed in nine months.

Cost US$1,700,000

Responsible Party Ayala Land Inc.

Heritage Architect Leandro V. Locsin & Partners

Contractor D. M. Consunji Inc.

Date of Completion January 1996

176

Conservation approach The guiding principle of the project was to weave function around structure, respecting the existing fabric rather than forcing the fabric to adapt to its new use. As a result, the major issue was in striking a balance between conserving the original fabric and building style, and implementing changes to facilitate the new use as a library with efficiency and effectiveness.

With the aid of old photos, the project managers were able to establish the original appearance of the building. Apart from some damage received during the Second World War, it was clear that the tower’s structure and appearance have remained virtually unchanged since the 1930s. Minimal work was therefore required in the restoration of the exterior. The roof, walls and original window frames were refurbished with a fresh coat of paint, window glass panels were replaced and the Manila International Air Terminal signage on the rear of the building was restored. The only major modification on the exterior was the removal of the 1970s-era canvas canopy at the front entrance, which was replaced with a permanent circular canopy, designed in conformity with the building’s architectural style. Landscaping was also integrated in the restoration scheme, with the bordering gardens filled with plants that were mainstays of Philippine gardens in the 1930s and 1940s. The interior layout of most rooms in the building was also retained to respect the original spatial organization of the building, in spite of the initial intent to enlarge some of the spaces. Original features, such as hardwood doors, trims and floors, were retained although some major alterations were made to the interior. The central staircase, which provided access to the basement and the tower, had to be replaced to meet safety standards, so a new spiral staircase was installed at the back of the building which used to serve as the check-in area. The relocation of the stairs changed the access to the tower room, but the room’s 360-degree view was retained. The dumbwaiter and its shaft were dismantled to clear the central area on the main floor and an elevator was installed to facilitate access by handicapped visitors. In order to meet the space requirements of a library, the building had to be expanded. Since it was important to maintain the original external appearance of the building, this enlargement was implemented underground in the basement. Effects on the foundations were minimized by limiting the direction of the expansion towards the rear of the building. The basement was constructed with an extremely tight envelope and an efficient new water drainage system to prevent flooding or water infiltration. In order to ensure the preservation of rare collections, the new section was provided with special environmental controls regulating temperature, humidity, dust,

Nielson Tower / 2001

insects and light. Modern network wiring allowed for the library to function as an online gateway, linked to other major libraries and databases in the country.

Conservation and the community Now home to the Filipinas Heritage Library, the Nielson Tower offers traditional library services as well as access to a realm of Filipino national heritage information on the Internet. Not only has it launched a new era in library development, it has contributed to raising the community’s awareness of and interest in studying and preserving the country’s heritage. By increasing creative interaction, the restored Nielson Tower has also become a source of inspiration and national pride to those who witnessed its transformation. In 1996, the National Historical Institute, the government body tasked to promote and preserve Philippine heritage, recognized Nielsen Tower as a national landmark. Since its restoration, the building has also become a popular venue for community activities such as book launches, lectures, conferences, poetry readings, concerts and social functions, including weddings. The income generated from the book store and room rentals helps to support the library’s operations, while the major cost of maintenance is shouldered by the building owner through the Ayala Foundation.

Award Citation The impressive conversion of one of Asia’s earliest airports into a heritage library represents a major achievement in preserving an important era of Manila’s history. Historical events and architecture are exemplified in the legacy of the structure and in the choice to continue its livelihood as an educational facility. In a time of rapid urban development and expansion, the Nielson Tower is an excellent model for others to follow on how to appropriately re-adapt historic structures in the community.

177

UNESCO Asia-Paciﬁc Heritage Awards

Quote from the project team In the Philippines, historical and architectural landmarks have been sacrificed in the name of urban development and expansion. Some have been simply abandoned and left to rot because there are just not enough resources to support conservation and restoration projects. Given this context, the success of the Nielson Tower project – the result of a combination of creativity, planning, vision, pragmatism and the solid support of the project’s primary stakeholders – has taken on added significance.

Above and above right: Ground floor plan and elevation. Right and middle: The spiral stairs were demolished to make way for an art exhibition hall. Far right: The former ticketing counter is now a reading area.

178

St. Josephâ&#x20AC;&#x2122;s Seminary Church

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis Constructed over a span of 12 years between 1746 and 1758, St. Joseph’s Seminary Church is an important heritage building and testimony to the missionary history of Macao SAR. The building is an excellent example of Baroque architecture but also displays local influences in its structure and ornamentation. In the past, the church served as a private chapel for the seminary, a university-level educational institution considered to be one of the most prestigious learning facilities of the region during the eighteenth century.

City map Opposite: The Baroque façade before and after restoration.

Although classified as a monument in the ensemble of St. Agostinho and the Protection Zone of S. Lourenco, the building had suffered many alterations during past renovation works which modified its original appearance, especially during the earlier half of this century. Although the Ecclesiastic Chamber of Macao has supported more recent conservation and maintenance works, the church building was in a state of disrepair, leading to its closure in 1996 out of safety concerns. The brick dome faced imminent collapse and serious termite problems had damaged major wood elements, including the high chorus. Ground movement had caused cracks on the wall façade to appear and the granite pavements to subside unevenly. In addition, water ingress had resulted in water stains and disintegration of the plaster and decorative stucco work.

Location Macao SAR, China

Size 2,981 square metres

Cost US$1,125,000

Responsible Party St. Joseph’s Seminary

Heritage Architect Chan Chak Seng, Lei Man Fong Paula Figueiredo, Lipari Pinto Cheong Cheok Kio, Chan Kin Seng Carla Figueiredo

Contractor Companhia de Fomento Predial Tak Fat Ltd.

Date of Completion December 1999

180

At the request of the seminary, conservation works were implemented in 1999 after geological tests and preliminary inspections of the church’s condition and structural stability. The works were funded by the government and technical support was provided by the Cultural Institute. Emphasis was placed on reinstating the structural stability of the church dome and returning the façade to its historic condition, using the same materials and construction techniques wherever possible. The project team referred to archive drawings and research studies to ensure accuracy in the restoration works. The Seminary, represented by Father Luis Lei Xavier, was involved throughout all phases of the project, providing useful information as well as advice relating to the original appearance of the building.

Completed in nine months, the official ceremony to reopen the Church took place on 3 December 1999. Continual maintenance works and surveillance were also taken into consideration in the project. More than simply restoring the building’s original appearance and ambience, the project has ensured that the church will receive ongoing maintenance and continue to serve the seminary community and the general public.

Conservation approach Prior to commencement of works, all existing elements were first documented through drawings, photos and moulds to ensure that exact replicas could be made for any necessary replacements. The most urgent task in the restoration project was to repair the roof. Taking into account the complexity of the structural problems and the lack of cohesion of the existing materials, the project managers decided that repairs to the existing dome would only be a short-term solution. Therefore, a new concrete dome for the building was built, replicating the architectural details of the original one. Before the new dome was erected, supporting pillars and arches were steel-reinforced. Decorative stucco mouldings on the arches were recorded to enable faithful reconstruction in case they sustained damage during reinforcement. The rooftop was waterproofed to prevent water leakage. Other major structural works included strengthening the walls with the integration of new pillars and foundations. In addition, jet-grouting, a cement injection technique for soil stabilization, which had been successfully applied in another church restoration project, was used around the foundations and external walls of the building in order to prevent further damage caused by subsidence. In order to restore the façade of the church, the Shanghai plaster which had been applied during an earlier restoration was completely removed and replaced with the original type of plaster. The building was also repainted in its original colour scheme of yellow with white detailing.

St. Josephâ&#x20AC;&#x2122;s Seminary Church / 2001

The interior of the church was carefully refurbished to attain its historic splendour. All timber elements were carefully examined and any pieces which showed signs of termite decay were replaced, such as the teak balustrades. Damaged decorative stucco works were recreated based on the project documentation. Relics and art objects inside the church, including sculptures, oil paintings, silverware and ceramics, were cleaned and restored.

Conservation and the community Since the completion of the restoration works, the church has reopened to the public and has been accessed by locals and visitors every day. Although no regular public religious services are held, a Te Deum ceremony is organized once every year, fostering the interaction between the church and community. On some occasions, the church is also the venue for cultural activities such as chamber music orchestras and choral sessions. The project demonstrates the success of a joint endeavour in rescuing one of the communityâ&#x20AC;&#x2122;s most valuable historical sites, which has allowed for the rediscovery of another cultural dimension in Macao.

Award Citation Restoration of St. Josephâ&#x20AC;&#x2122;s Church exemplifies the heroic rescue of a severely dilapidated structure, which is testimony to, and one of the most important vestiges of, the missionary history in Macao. In order to consolidate the decaying architecture, balanced decisions were taken to introduce new structural elements to the building. The co-operative effort that went into the revitalization of the structure made a notable impact in the community.

181

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team The design and integrity of the building have been respected, in accordance with the original concept of the building. All technical solutions adopted in this work were widely debated and were proven to be the best possible way to ensure the quality of the work and the preservation of this monument for many generations to come. The modern structure has been well-integrated into the existing building, restoring the original ambience of this magnificent church.

Above and above right: Ground floor plan and section through the sanctuary. Right and far right: The unstable dome was demolished and rebuilt.

182

Thian Hock Keng Temple

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis

City map Opposite: The temple in the 1960s and after restoration works.

Location 158 Telok Ayer Street, Singapore

Thian Hock Keng Temple was established in 1842 by Melaka-born immigrant Tan Tok Seng on the site of one of Singapore’s oldest temples. Dedicated to Ma Zu Po, the goddess of the sea, who was worshipped by immigrants for a safe passage, the temple is a three-hall complex with multiple courtyards and exemplifies typical Minnan forms and other architectural styles of southern Fujian province in China. The temple is richly decorated with intricate artwork throughout and houses a calligraphy plaque from the Qing Dynasty emperor, Guang Xu, which was presented in 1907 in recognition of the stature of the temple. The temple was renovated in 1906 and many European features were added, such as a wrought-iron gate from Glasgow and dado tiling. In this restoration project these additions were considered historically significant, so were retained along with Peranakan (local Chinese-Malay hybrid culture) elements, notably those found in the rear hall. Today the Thian Hock Keng Temple (Heavenly Fortune Temple) operates under the management of the Singapore Hokkien Huay Kuan (Hokkien Association) as a place of worship for devotees. Gazetted as a National Monument in 1973, the temple’s conservation, undertaken in 1998, was subject to guidelines prepared by the Preservation of Monuments Board and the Urban Redevelopment Authority of Singapore. It was also the first fullscale restoration programme undertaken for the temple complex.

Size 979 square metres

Cost US$2,200,000

Responsible Party Singapore Hokkien Huay Kuan

Heritage Architect Alisdair John Ferrie

Contractor East Art Design and Engineering Pte. Ltd.

Date of Completion May 2000

Conservation approach The general aim was to restore the temple as authentically as possible, with reference to its original architectural order, structure, building techniques and materials. Where replacement was necessary, original material from authentic sources was required. In addition, all new introductions of materials or techniques to enhance the use or longevity of the structure were to be non-intrusive to the original fabric. Thorough historical research and appraisal of the building condition

184

was carried out, with the preparation of measured drawings, site study and photographic records of the building and all its parts. The structural inspection revealed that the building had suffered from settlement on the stone footing, widespread termite infestation, and weathering and corrosion of the structural elements, which had badly weakened the structural bearing capacity of the temple. “Top-down” dismantling and restoration, the traditional method for Chinese temple conservation, was applied. This meant that work began with the roof and proceeded down to the foundations. Roof tiles were removed first, and undamaged tiles were kept and cleaned up for reuse. Damaged timber boards and battens were removed and replaced. Timber columns and beams were disassembled and hoisted to the ground for inspection of termite damage. Those deemed to be repairable were injected with chemical fillers or partially replaced with similar timber sections. All new and reused timber members were cleaned and treated against termites. The sub-base of the stone footing was well-compacted and the stone footing was relaid. After the consolidation of the foundation, the timber elements were reassembled in reverse order, ending with the laying of the roof tiles. As the decay of the original roof structural members was caused by water penetration followed by termite infestation, it was necessary to improve the roof’s water resistance. The traditional tiling method was slightly porous. To compensate for this, a stainless steel membrane was inserted between the tiles and the roof frame. The intricately carved carpentry work of the roof structure was decaying and had been badly repainted in previous restoration efforts. Some elements had also been blackened by incense soot over the years. The decayed parts were removed and repaired by skilled craftsmen using scarfing techniques or replaced with new timber. During cleaning, it was revealed that the original embellishments had been made with a rich combination of gold leaf and a variety of colourful paints. Restoration of the timber finish was accomplished with traditional methods in which a primer was used to harden the surfaces before reapplication of gold leaf and paint. For repairs to the severely weathered roof spirals and the dancing dragon motifs adorning the ridges and hips, traditional methods involving the application of chien nien (decorative porcelain works)

Thian Hock Keng Temple / 2001

were proposed. However, research in China and close inspection of surviving spirals showed that the correct method for the spirals should involve the use of a lacquer paste made of minerals and glazes. Meanwhile, the dragon embellishments were repaired with a combination of lacquer and chien nien. Lightning conductors, which were necessary to meet building codes, were mounted in line with the swallowtail profiles of the ridges. Replacements were not available for all the different designs of the broken tiles in the courtyard. In order to maintain a consistent appearance, original tiles were salvaged from the wings and relaid only in the main courtyard. New handmade tiles of a similar design were used for the wings and distinguished from the original tiles by the change in levels of the courtyards.

Conservation and the community Today, Thian Hock Keng Temple continues to serve, as it has for the last 150 years, as a significant place of worship and as a place of interest to people from all faiths. Tourists, photographers and researchers frequent the place and the restoration project has drawn interest worldwide, with requests to film documentaries about the conservation works. Since the completion of project, the temple has become a valuable model for future conservation projects of similar nature in the region.

Award Citation The restoration of one of Singaporeâ&#x20AC;&#x2122;s oldest temples exemplifies the successful result of a collaborative effort of a team of conservation experts and skilled artisans. The use of traditional methods and materials, coupled with the introduction of innovative technical solutions to protect the structure, were successfully implemented without interfering with the original aesthetics of the temple. This also demonstrates the understanding of cultural and social significance to devotees and tourists alike.

185

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team The philosophy for the restoration was to restore as authentically as possible to status quo ante (as was before). The traditional crafts for Chinese temple refurbishment were applied to the Thian Hock Keng restoration project. In the process of construction, the judgement from architects and engineers, plus traditional crafts, was the key to realizing the successful conservation of the historical building.

Above and above right: Ground floor plan and section. Right: Detail of gilded and painted brackets. Far right: The temple features carved granite columns from China and floor tiles from England. The beams are lacquered and gilded.

186

Excellent Project • Ahhichatragarh Fort, Nagaur, Rajasthan, India

Award of Distinction • The Australian Hall, Sydney, Australia • Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques,

Ganish, Hunza, Pakistan

Award of Merit • Cheng Hoon Teng Main Temple, Melaka, Malaysia • Convent of the Holy Infant Jesus (CHIJMES), Singapore • Polsheer House, Isfahan, Iran • Sydney Conservatorium of Music, Australia • Wat Sratong Temple, Ban Bua, Khon Kaen, Thailand

Honourable Mention • Broken Hill Heritage and Cultural Tourism Programme,

Broken Hill, Australia • Centre for Khmer Studies, Siem Riep, Cambodia • Jaisalmer Streetscape Revitalisation Project (Phase I), Rajasthan, India • Kow Plains Homestead, Cowangie, Victoria, Australia • No. 125 Huajue Alley, Xi’an City, Shaanxi Province, China

Ahhichatragarh Fort

UNESCO Asia-PaciďŹ c Heritage Awards

Context Located in Nagaur, 135 kilometres northeast of Jodhpur in central Rajasthan, the Ahhichatragarh Fort and palace complex embodies the townâ&#x20AC;&#x2122;s long history of shifting power struggles. Constructed in the twelfth century, the complex displays a variety of building styles and includes fine examples of Rajput and Mughal architecture.

Town map

Location Nagaur, Rajasthan, India

Contractor Ghewar Chand, Poonam Chand Abdul Kadir, Safi Khan, Hema Ram Ashok Makad, Jagdish Prasad Latur Ram, Mool Chand Sadakat Khan, Dilawar Khan Keshu Ram, Lakha Ram Suresh Bhakar, Birma Ram Arjun Prajapati, Pappu Ram Chawwar Lal, Teja Ram Emamuddin, Bhiya Ram Manish Mathur M/s Ruchi Meeta Electronics

Size 147,882 square metres

Cost US$513,645

Responsible Party His Highness Maharaja Hanwat Singhji Charitable Trust

The arid region, once predominantly the site of pastoral activities has seen increasing desertification in recent years that has led to a decline in the traditional livelihood and an increase in unemployment. As a result, lifestyles have been altered and community cohesion and customs weakened. In 1998, the Mehrangarh Museum Trust (MMT), a charitable trust established by His Highness Maharaja Gaj Singh II, undertook to restore Ahhichatragarh. The MMT is dedicated to preserving local culture and heritage and also seeks to reduce local unemployment levels and poverty. It does so by supporting the training of artisans and by promoting traditional building skills, handicrafts and local performing arts.

Building history The Nagaur kingdom is believed to have been established by the Nagvanshi kings who built the original mud fort in the fourth century. Ahhichatragarh was built on the site of the mud fort between 1119 and 1121 by a Muslim ruler. In 1154 a number of major modifications and additions were made to the fort complex but few further changes were made until 1540. The fort was a coveted prize and Nagaurâ&#x20AC;&#x2122;s strategic location and importance as a trade centre meant that the town was the setting of a number of conflicts as a series of Hindu and Muslim rulers battled to retain control. After 1540 successive additions were made to the fort complex until 1752, when the last building was constructed.

Heritage Architect Minakshi Jain

Date of Completion June 2001

190

The fort complex was occupied by the Rathors of Jodhpur from the late eighteenth century until 1947 when the state government began renting the complex. One of the government departments,

the Border Security Force, adapted the buildings to create barracks and other facilities and occupied the site for over a decade. When the Force vacated the complex in 1970 it remained unused for a further 30 years. The imposing site consists of four palaces, 56 smaller ancillary buildings including a mosque, temples and highly ornamented gates. The complex is surrounded by a two-tier defence wall punctuated at regular intervals by 30 bastions and a now-defunct moat. The construction system of the buildings is a composite one, in which internal spaces are enclosed by load-bearing sandstone walls, while bracket arches are used to span pillared halls. The overall juxtaposition of architectural styles, building heights and visual axes creates a physical layering that is central to its aesthetic appeal. Ahhichatragarh has a hierarchical system of open spaces ranging from spacious grounds to fully landscaped gardens to internal courts between buildings. The landscape is organized in a formal manner, with the cross-axial Mughal char bagh being the most common layout. Such an arrangement of open spaces created a spacious uncluttered setting for the many buildings and palaces. Due to the hot dry climate, a large number of water fountains, channels, step-wells, pools and tanks were created within the fort structure. The placement of buildings around these features created a pleasant microclimate, with hilltop breezes that flowed through the site being cooled as they passed over the water. Over its long history the fort has been subject to weathering. In the past century it suffered more from neglect than damage from conflicts. Since it was vacated by the Border Security Force, the fort deteriorated dramatically from natural causes and vandalism. Encroachments to the moat area by residences and shops have detracted from the overall attractiveness of the outer walls, while incompatible structures built adjacent to the main gate had compromised its original use. Pilfering of stones from the wall for off-site usage has led to structural instability. The historic water system was completely abandoned. Roofs leaked badly and were overgrown with vegetation. Beautiful mural paintings had been damaged by water or whitewashed over. Iron clamps holding arch brackets together had failed due to formation of rust. Stone

Ahhichatragarh Fort / 2002

elements and plaster were cracked, projecting architectural features were missing and the flooring was damaged. The external fort walls suffered massive damage. However, owing to the solid stone construction, none of the buildings had collapsed totally, a testament to traditional building technology. Most of the structural damage was partial, being limited to the domed and large span roofs, foundations, columns, slabs and bracket arches.

Project history Due to the experience of the MMT in managing and restoring important heritage sites, including the Mehrangarh Fort, the owner of Ahhichatragarh handed management of the complex over to the MMT in 1985. Because of financial constraints, initial conservation efforts were minor, concentrating on preventing further damage, particularly to important wall paintings in the main palaces. These repair measures were undertaken by Shri Gokulram, a highly skilled artisan, who used traditional methods and materials in his restoration work. In 1996, the MMT was awarded a grant for $250,000 for a period of two years by the Getty Foundation and then raised funds to match this amount. Conservation work began in June 1998, beginning with the Krishna Temple, one of the most auspicious buildings on the site, which proved to be a testing ground for material quality and construction methods. In June 2001, the planned works, focusing mostly on structural stabilization and major buildings conservation, were completed. However, conservation works are ongoing and funding continues to be sought for further research, restoration and repair to lesser structures and water systems in the complex.

Left and above: The condition of the fort before and after restoration.

Project scope and framework The main aim of the project was to conserve the entire complex as a physical ensemble, emphasizing historic authenticity and minimum intervention. Given the limited funds, however, careful planning was undertaken to ensure maximum impact in critical

191

UNESCO Asia-PaciďŹ c Heritage Awards

areas. The buildings were restored to be made suitable for modern uses. The fort wall was stabilized to check further damage while it awaited more comprehensive treatment. In addition, the grounds and open spaces of the complex were returned to their former condition, in order to encourage the use of the complex by the local people as a gathering place for festivals, meetings and seminars. A related objective was to increase public awareness of the heritage value of the Ahhichatragarh Fort and appreciation of and pride in cultural heritage in order to revive local rituals and enhance community cohesion. By emphasizing the use of traditional methods and materials in its restoration, the project also aimed to re-establish customary skills and create new opportunities and livelihoods for local people. Finally, the ultimate goal was for the complex to become an architectural museum and a living laboratory for students of traditional architecture.

Conservation methodology and materials Above: This aerial view shows the scale and spatial axes within the twelfth-century citadel. Right: The fort was surrounded by a ring of defensive walls, bastions and gates. Opposite: Elevation showing the rich spatial hierarchy of the buildings

The project involved a number of stages, beginning with a thorough assessment of the damage to understand the causes of failure and deterioration. After an appraisal of the complex, the buildings and fortifications were then documented in detail, showing the site condition and allowing conservation measures to be drawn up. Vegetation on the roofs and courts was cleared to prevent further damage by the penetration of roots into the structure. Inappropriate additions such as partition walls were removed in order to restore the original layout and ambience. An investigation of the water system was carried out at the same time with a view to eventually restoring the buildingsâ&#x20AC;&#x2122; original water-cooling and distribution system. Following this, the stone roofs were repaired by strengthening the sub-structure, repairing cracks and refinishing the surfaces with lime concrete. The wooden ceilings, damaged by water ingress and

192

Ahhichatragarh Fort / 2002

subsequent termite attacks, were repaired, resealed and treated against termites. The ornate ceiling paintings were saved. It was suspected that uneven settlement of the foundations had led to the formation of wall cracks and the displacement of arch brackets. In some cases, the walls were dismantled, and the foundations were given a proper base after removing loose soil and underlying vegetation and roots. In other cases, the ground was dug up in alternating 70 centimetre sections, and the foundation base and trenches were filled in with lime concrete. Cracks were then filled, grouted, pointed and plastered. The arch brackets were repaired through the insertion of new stainless steel U-shaped rods at the apex. All exterior plastered surfaces were merely stabilized; new plaster was applied only in the interiors. In addition, the lime flooring was repaired and doors, screens, and windows in the original style and materials were installed.

Award Citation The ambitious large-scale restoration of the Ahhichatragarh Fort complex in Rajasthan has checked its advanced dilapidation through a comprehensive, multi-faceted and standardsetting conservation programme. Neglect had led to widespread structural instability of the buildings and grounds.The minimalist restoration resulted in varying levels of intervention which responded to the range of damage. The conservation combined the application of modern scientific techniques with the revival of traditional crafts and materials. Removing unsympathetic additions and introducing new infrastructural services allow the complex to accommodate modern use while preserving the sense of place in the exquisite architecture and landscaping.The siteâ&#x20AC;&#x2122;s historic evolution has been captured by respecting its various periods during conservation.The ongoing work has created a live research laboratory, valuable for field education of conservation professionals and students.The preservation returns the largest open grounds in the region to the local public, as a venue for festivals, cultural performances and religious events, thereby allowing for the continuity of the fortâ&#x20AC;&#x2122;s rich history.

193

UNESCO Asia-PaciďŹ c Heritage Awards

The massive fort walls were stabilized by shoring up the foundation, adding buttresses and reconstructing severely damaged areas. The broad restoration approach was one of minimum intervention and maximum retention of original fabric. The huge size of the complex and variation in building styles and extent of damage meant that individual buildings required different treatment and the range of conservation work was therefore extensive and varied. As a result, no specific conservation theory was adhered to and project managers instead opted for a multi-faceted approach, drawing on a number of models and on guidelines provided by several international charters. Enormous efforts were made to conserve as much as possible of the original building materials and form. When realigning the outer screen wall of the Deepak Mahal building, for example, the wall was dismantled piece by piece, the stones and bricks were numbered, then the wall was reconstructed in the exact original form. Similarly, in removing vegetation from the west corner wall, the wall was dismantled, then rebuilt using the original materials.

Above: View from within one of the restored ramparts. Right: The foundation of the twoâ&#x20AC;&#x201C;tier defensive walls was reinforced and repaired. Opposite: To accommodate heavy usage, stone paving replaced traditional lime-based finishes in the restored colonnades.

Most materials used in repairs and replacements were identical to those used in the original construction. Well-matured ochre Khatu stone and the red sandstone of Jodhpur were used extensively and care was taken to test material quality and match colours. Offwhite limestone was used to produce traditional lime, as it is a pure source of lime and of the standard required for use in plastering, masonry and terracing. Other traditional materials included shell plaster, known as kody, special lime mortar mixes containing binding agents such as gud (jaggery) and guggal (natural gum), and waterproofing agents such as methi (fenugreek). Because many customary artwork, craft and construction techniques had been lost, a new generation of artisans and craftsmen were trained in traditional methods and in using the original materials. Stonemasons, for example, were employed from as far away as Karauli in Rajasthan to recreate carved stone elements such as jallie (lattices) and takiya (railings). When training artisans and craftsmen, it was discovered that considerable explanation of the projectâ&#x20AC;&#x2122;s purpose was required

194

Ahhichatragarh Fort / 2002

in order for the trainees to understand the reasons for using old materials and techniques. Certain walls were built, for example, with new coursed stone masonry, of which the craftsmen were very proud. Unfortunately the new style and materials did not meet the authenticity requirements of the project and did not match the original fabric, and thus these new walls had to be dismantled. However, once the craftsmen understood the philosophy behind the value of traditional skills and the use of local materials, work progressed more smoothly. Modern techniques and materials were employed sparingly and only to enhance structural stability, resilience and to speed up construction. Manual rollers, for example, were used instead of traditional bamboo sticks in order to expedite the compaction of the sandla (lime surfacing) layer of floors. Other modern techniques included grouting, anti-termite treatments, steel scaffolding for faster set up and to avoid scraping the walls, and stone cutting machines. When additional strength was essential, cement was added to the traditional lime mortar mixture. Contemporary designs were introduced in a few cases for the sake of enhanced functionality, such as the glass panel doors installed in the large archways of the Abha Mahal building to protect the painted interiors from dust, light and birds. Likewise, stone flooring was laid in lieu of the lime flooring in the two semi-open baradaris, which were expected to be heavily used. Modern services such as electrical lighting were incorporated sensitively into the ancient structure, with elements such as cabling installed underground to minimize visual disturbance. The water supply and drainage systems were upgraded with new water pipes and additional storm water drains.

Important issues Careful planning and management were required in order to ensure that the most vulnerable sites in the fort had sufficient resources, while at the same time supporting the overall conservation of the fort complex. One lesson learned was that it was better to employ several contractors rather than just one. While originally only one contractor was employed, it was soon

discovered that the works would be expedited and made cheaper and more efficient if a number of competing contractors worked simultaneously. Each contractor was assigned a separate part of the site which enabled managers to ascertain the abilities of the contractors, evaluate their work and recognize lapses. The MMT arranged for students from various schools of architecture to participate in the documentation processes, in investigative work and in fieldwork in 1993 and again between 1998 and 2001. The training of local craftsmen and artisans was also organized and coordinated by the MMT. These trainees received on-site instruction and supervision by experienced artisans. A number of seminars and workshops were organized in order to increase awareness of the project among architects, students and the general public. These seminars also generated valuable feedback and suggestions which were incorporated into the conservation works. A special awareness-raising workshop was held for 50 children in order to initiate the children into appreciating their built and cultural heritage.

Project sustainability and viability While the major restoration project is complete, conservation of the complex will be an ongoing process of continuous research and maintenance. This has enabled the fort to become a laboratory in which both experts and students can study its remarkable architectural history and artwork. Because of this increased awareness of Ahhichatragarhâ&#x20AC;&#x2122;s value as a source of historical and architectural information, efforts to preserve the complex are more likely to be sustainable and viable. Likewise, the increased level of appreciation for Ahhichatragarhâ&#x20AC;&#x2122;s heritage value among local people and the usefulness of the fortâ&#x20AC;&#x2122;s open spaces for community gatherings will ensure the community retains an interest in protecting and preserving the fort complex in the future. Ahhichatragarh has also become an attraction for visitors from different regions since its restoration, and revenue earned from visitor entrance fees is assisting in the ongoing repairs and maintenance of the fort.

195

UNESCO Asia-PaciďŹ c Heritage Awards

Project impact The project has restored a sense of unity and identity in the local community and has led to greater levels of participation in celebrating traditional festivals and religious occasions. As a point of convergence for various aspects of the local social fabric, the fort has become the venue for fading traditions of performing arts, thus revitalizing those arts and enriching the community. Enabling the rediscovery of materials and construction methods of a bygone era, the project also generated a new team of artisans who will be able to pass on their knowledge to future generations.

Top and above: Stainless steel rods are inserted to support arch brackets, a typical feature in the buildingâ&#x20AC;&#x2122;s openings. Above left and right: The sentry gates were carefully restored. Opposite: Restored palace and baradaris (pavilions).

196

Ahhichatragarh is one of few heritage sites in the country to have experienced such a comprehensive conservation programme. Completed in just over three years, the project is a testament to the dedication of the owner and project team to raising awareness of the fortâ&#x20AC;&#x2122;s history and preserving its heritage values.

Ahhichatragarh Fort / 2002

Quote from the project team The last three years have dramatically changed the face of the Ahhichatragarh Fort complex. It has reverted to its historic, authentic and participatory status. Finally, once again, it is emerging in its historic role as a centre of culture and patronage, and an anchor for the communityâ&#x20AC;&#x2122;s aspirations.

Technical Brief

Repairing roofs and ceilings Most of the roofs in the fort complex had deteriorated, being under stress from the environment for long periods. In 1998, after proper investigation, decisions were taken to replace stone pattis and refinish surfaces after repairing cracks in the roof. Deteriorated and broken stone pattis were replaced in all buildings to strengthen the sub-structure. Cracks were found in the roofs but no broken stone pattis were found in the main palaces. Once the stone pattis were in place, thin stone pieces were spread on the uneven roof and lime aggregate mortar was poured on it to level it out. This layer is called a rasthal. Stone aggregate (30-35 millimetres) was then spread evenly on top of this layer. Lime mortar (1 part slaked lime to 2 parts fine aggregate) was poured onto the stone aggregate until all the cavities were filled and thoroughly rammed. Ramming continued for about three to four days. A lot of water was poured on the surface during ramming and compacting.

A layer of lime mortar (1 part lime to 2 parts fine aggregate to 2 parts coarse aggregate) was applied as the final surface (25-38 millimetres thick) to fill up and level the uneven surface of the last layer. This layer was also rammed, albeit gently, with the help of rollers, and the surface made smooth. This surface was cured by sprinkling water three to four times for about 15 days. The rooftops were waterproofed with proper gradients and edging. Repairing cracks on the rooftop The main causes of cracking were: deteriorated terracing layers, choking of roof drainage, unequal settlement of load bearing members and vegetative growth on the roof. First, all the cracks were opened up to the base. Shallow cracks were cleaned in the shape of a â&#x20AC;&#x153;v-grooveâ&#x20AC;?. After proper cleaning and curing, cracks were filled with lime concrete, with a chicken mesh base for reinforcement, and cured properly.

197

UNESCO Asia-Paciﬁc Heritage Awards

In some places, deep cracks had formed across the ceiling and continued on walls, as in the Hadi Rani Mahal first floor terrace. These cracks were opened up, in the form of trenches, for treatment. The cracks were opened up to the base. After proper cleaning, the cracks in stone pattis were filled with small stone pieces and gypsum, using chicken mesh to hold the fillings. After this process, one 10 centimetre thick lime concrete layer was laid over the cracked portion having a 30 centimetre flange on both sides of the crack. Then loose filling of the trench commenced in layers for proper compaction. Moreover, the 15 centimetre thick top sandla layer was placed on the whole terrace with rounded waterproofing edges to make the whole surface waterproof. Saving painted ceilings Painted ceilings are an important element of this palace complex. These had started to deteriorate due to the cracks in the roofs. At Akbari Mahal, conservation work was done very carefully. Only minimal and controlled pressure was exerted to break open the rooftop and curing was done with a slow but steady flow of water, to avoid penetration of moisture.

198

Restoration of wooden ceilings Due to leakage in the roof of Bakht Singh Mahal, the wooden ceiling over the first floor had deteriorated and was infested with termites. Some of the members, such as joist and purlins, had been damaged and they were replaced by new ones. Anti-termite treatment was given to the ceiling from the rooftop after drilling holes in the terrace. Complete resurfacing of the terrace sandla was then undertaken. In the Deepak Mahal, cracks were found over the wooden joists. At first, the crack was grouted with an adhesive sealant. Then a steel U-clamp was bolted across the width of the beam. Adapted from “Ahhichatragarh Conservation Project Report“, Minakshi Jain

Australian Hall

UNESCO Asia-Paciﬁc Heritage Awards

Context The Australian Hall is noteworthy as a fine Federation Free Style building, with an architecturally significant façade and interior spaces considered representative of the early twentieth century. The building has high historic and social heritage value from its continued use as a social club for various associations and ethnic groups, a theatre and, most recently, a cinema. Most significantly, the Australian Hall was the venue for the first Aboriginal Day of Mourning Conference, held on 26 January 1938.

City map

Held on the 150th anniversary of the landing of the First Fleet (the ships that brought British settlers and convicts to Australia in 1788), the Day of Mourning Conference aimed to draw attention to the suffering of Australia’s indigenous population and was a protest against oppressive legislation, inequality and injustice. Today, as a memorial to the conference and a commemoration of the Aboriginal civil rights movement, the Australian Hall is the most important post-contact Aboriginal historic place in New South Wales (NSW). Situated in downtown Sydney, today the building is surrounded by modern structures which have replaced nineteenth-century houses and shops.

Location 150-152 Elizabeth Street, Sydney, New South Wales, Australia

Size 2,500 square metres

Cost US$3,000,000

Responsible Party Metropolitan Aboriginal Association Inc.

Heritage Architect

Building history The Australian Hall building was originally named after the organization which built it, the Concordia Club. Since its construction in 1912 the three-storey red-brick structure has had a series of owners. In the 1920s the building was owned by the Knights of the Southern Cross (KSC), a Catholic fraternal society. The main hall in the building was known as the Australian Hall and from the 1920s until the 1950s this hall was leased out for a wide range of functions, including dances and meetings.

Graham Brooks and Associates Pty. Ltd.

Contractor St. Hillers Interiors Pty. Ltd.

Date of Completion 9 February 2001

200

During the 1960s considerable alterations were made to the hall and other parts of the building in order to convert it first into a theatre and later into a cinema. In 1979 the building was purchased by the Greek Cypriot community and re-named the Cyprus Hellene Club.

It was when the site was scheduled for demolition in the early 1990s, to make way for extensive high-rise redevelopment, that the importance of the Australian Hall for the Aboriginal community was revealed and a drive to save the building from redevelopment began. The Australian Hall physically represents a period in Aboriginal post-colonial history and the struggle to preserve the hall was concerned not only with saving the structure itself, but also with changing the notion that Aboriginal history ended with colonization. The struggle was also about gaining recognition of the fact that the sacred sites of Aboriginal people are not limited to pieces of land and other natural places, but that the Aboriginal community also has an interest in heritage buildings. A lengthy campaign was undertaken by the Aboriginal community, led by the Metropolitan Local Aboriginal Land Council (MLALC) and the National Aboriginal History and Heritage Council (NAHHC). As a result, a Permanent Conservation Order (PCO) was placed on the entire building in 1998, which entitles the site to protection under the NSW Heritage Act (1977). The building has been classified by the National Trust (NSW) and listed on the Register of the National Estate and Schedule 1 of the Central Sydney Local Environmental Plan 2000. In 1998, the building was purchased by the Metropolitan Aboriginal Association (MAA) with funding from the Indigenous Land Fund. The building’s restoration costs were funded entirely through the MLALC after a submission to the Federal Government for funding was rejected. The entire structure is now known as the Australian Hall.

Project history The restoration project began in late 1998 when a survey and study of the existing structure was undertaken. In 1999 a comprehensive Conservation Management Plan was prepared which provided a management framework for the project. The Plan called for the retention of all elements of high significance, while elements of intrusive nature were generally to be removed. Construction works began in May 2000 and were completed in just over eight months in February 2001, a few days after the anniversary of the Day of Mourning conference.

Australian Hall / 2002

Project scope and framework Since the spiritual and symbolic significance of the building to the Aboriginal community is in the building’s public areas, especially the hall itself and the street façade, the focus of the project was primarily on the restoring these important parts of the building to their 1938 state. The project also aimed to adapt the remaining fabric of the building for a variety of uses related to the needs of the Aboriginal community. The project sought to sensitively introduce modern services and facilities and make the building comply with contemporary standards for safety and access.

Conservation methodology and materials Works carried out on the exterior included removing new elements which had been added in the 1960s and restoration of the brickwork, render and openings. The remarkable transformation of the façade was carried out by removing the intrusive theatre awning and the 1960s marble chip cladding panels. The underlying historic brick banding was found to be in poor condition. Removing, turning and reusing abraded bricks proved to be impossible due to the damage sustained to the bricks. Similarly, using second-hand bricks as infill was found to be problematic because of the resulting “patchy” effect. Therefore, new bricks were laid. Although it was not the most “honest” approach, it was considered the most suitable for such a prominent street façade. A number of options were also considered for the reconstruction of the rusticated render, including precasting panels moulded from the extant render. In the end, the render was applied directly to the façade using the original technique.

Left: Incompatible awnings and pilaster cladding on the façade before restoration. Above: The restored building.

Interior works included the removal of the cinema fit-outs installed in 1961, reconstruction of the timber floor and the rear stairs, and the reinstatement of the coffered ceiling, proscenium arch and decorative plasterwork. While the restoration focused on restoring as much of the 1938 character as possible, at the same time extreme care was taken not to damage other intact historical layers and significant elements. As such, some features

201

UNESCO Asia-PaciďŹ c Heritage Awards

Above: Ground floor plan. Top left and right: The hall was returned to its historic configuration. Opposite: Section through the building.

were replaced with 1938-era replicas, but in other cases the original historic details were recovered and preserved, such as an intact frieze which has been retained in situ with the original paint finish. Similarly, timber joinery was repainted but the dents were retained to illustrate the age and history of the timber. The 1920sera ground floor entry hall, with terrazzo flooring bearing the word Concordia, was restored to its original state in recognition of the historical layers of the building. An attempt was made to distinguish the restoration and new works from the historic fabric. In the main hall, for example, when the projection box was removed, new floorboards were installed to match with the existing flooring in the rest of the hall. The outline of the box was marked with a timber border to distinguish the new materials and to illustrate where it had been when the hall was used as a cinema. Key new elements were marked with the date of construction, such as the replica proscenium arch bearing

202

the date 2001. Another important aspect of the project was the integration of modern services within the buildingâ&#x20AC;&#x2122;s historic fabric, reinforcing the structural stability of the existing fabric and the provision of equitable access to the main spaces. Rather than alter the structure, most of the added building services were incorporated unobtrusively within architectural features. For instance, air vents found in the original coffered ceiling of the hall were replicated in the reconstructed ceiling in order to function as air-conditioning vents. Likewise, the supports for the new exhaust fan, required to meet fire safety codes, were built into the new proscenium structure in the hall ceiling.

Australian Hall / 2002

Project sustainability and viability The awareness generated among both the general public and the Aboriginal community about the history and importance of the Australian Hall has ensured that it will continue to be a place of interest and significance. As a result, its upkeep is unlikely to be neglected in the future. The Hall has been used by the Aboriginal community for meetings and to house offices of community organizations. Furthermore, the revenue earned through leasing the hall for functions, in keeping with its historic use, provides a reliable source of funds for the maintenance of the building.

Project impact By establishing an urban centre for the Aboriginal community, the restoration project has recaptured the physical essence of the 1938 conference venue and the restored building is now a tangible reminder of the historic struggle for equal rights. These reminders have strengthened pride among the Aboriginal community in their recent past. In addition, as a celebration of cultural heritage, the project has enhanced awareness of Aboriginal heritage among the younger generation of the now multi-cultural Australia and provides a lesson about important events in Australian history. The project has also benefited the Australian community as a whole by conserving a significant site in Sydney’s urban and social history and restoring an important part of the early twentiethcentury urban streetscape.

Award Citation The Aboriginal community recognizes Australian Hall, the venue of the 1938 “Day of Mourning” conference, as the only “European” building of significance to Aboriginal heritage. The conservation of the building to its state at the time of the conference has taken an innovative and standard-setting approach in restoring a building to a significant historical event. Detailed survey of the building and archival evidence allowed for a restoration which permits the reading of various historic layers of the building. With careful craftsmanship, the historic building fabric was restored, in conjunction with necessary infrastructure upgrades and structural consolidation. Today, the Hall serves as an Aboriginal community centre and living memorial to the Civil Rights movement. The technically-sophisticated restoration project has saved a social and architectural landmark from commercial redevelopment, thereby securing and preserving an important landmark in the history of the Australian Aboriginal community.

203

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team The project was undertaken to the highest level of professional conservation practice, as recognized by its support from both the NSW Heritage Council and the Sydney City Council. It fully responds to the expressed needs of the Metropolitan Aboriginal Association, as owners and occupiers of the completed project. By integrating the conservation of the cultural heritage of both communities, the project meets the requirements of conservation and client objectives, providing a link to the past and opportunities for the journey forward.

Above: Workers restore the rusticated plaster work. Top and bottom right: Restored hallway.

204

Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques

UNESCO Asia-Paciﬁc Heritage Awards

Village map

Context

Building history

Approximately 300 years old, the four wooden mosques, Yarikutz, Rupikutz, Kuyokutz and Mamorukutz, are considered some of the finest in the Hunza region of northern Pakistan and together constitute a highly significant cultural ensemble. Located in the small mountain khun (village) of Ganish, the four mosques surround the village chataq (common public space), an open courtyard area paved with stones.

With the advent of Islam in the Hunza region, seven private mosques were constructed in Ganish khun and were named after the families that built them. According to oral histories and architectural evidence, the four mosques surrounding the village chataq are estimated to have been built in the early 1700s, probably around 1715.

Dating back nearly 1,000 years, Ganish is 110 kilometres north of Gilgit and is located on the branch of the Silk Road that crossed the Karakoram mountains and extended as far as Xinjiang in China. Only one third of the original village remains today, after a disastrous flood in the 1960s and the completion of the Karakoram Highway in the 1970s which was constructed right through the village. Providing a modern link to the rest of the world, this connection has led to fundamental changes and challenges, altering the traditional lifestyles and customs of Ganish community members. By the 1990s the four historic mosques and chataq of Ganish had fallen into disuse, and a new congregational mosque was constructed outside the village. Coupled with the fact that the buildings were not protected under national or international heritage legislation to prevent their deterioration, they were practically in a state of collapse prior to restoration.

Location Ganish village, Hunza, Pakistan

Cost US$13,000

Responsible Party Shah Gul Haya, Haji Sikadar Khan Haji Ali Madad, Altaf Hussain

Heritage Architect Essa Khan, Masood Khan

Contractor Aga Khan Cultural Service Pakistan

Date of Completion January 2000

206

In the interest of promoting social development and heritage conservation, the Aga Khan Trust for Culture (AKTC) has initiated a number of projects in Pakistan through its Historic Cities Support Programme (HCSP) under the coordination of the Aga Khan Cultural Service Pakistan (AKCSP). These have resulted in the restoration of traditional buildings and the upgrade of urban services in a number of villages and settlements in the Hunza region, such as Karimabad village, which included sanitation improvements and the restoration of its major landmark, Baltit Fort.

The mosques share the same architectural scheme and are of a similar size, ranging between five and nine metres wide. Built on a square platform of rough boulders, each mosque has a portico on two sides and an inner prayer chamber. The mosques are constructed in the traditional Hunza manner with a rudimentary cribbage (cage made of timber beams) filled with rubble or adobe blocks laid in earth mortar, and an inner exposed timber frame. This type of construction makes them resistant to earthquake forces. In two of the mosques the exposed timber elements, doors and windows are intricately carved. The roof structure is the typical “rotated square within a square” form of timber bracing common to the region, finished with a thick earthen roof held in place with wooden fascia boards.

Project history Inspired by the Karimabad village rehabilitation project, the elders of Ganish approached the AKCSP in 1996 and requested that they initiate a similar project in Ganish. Together with the AKCSP, the Ganish community developed a plan to upgrade services and generally restore the historic built environment in Ganish khun. As part of the wider village conservation plan, a project was proposed which specifically aimed to restore the four mosques and chataq area.

Project scope and framework Meetings within the community identified an improved sewerage system, electrification, clean drinking water and re-paving of pathways as priority endeavors for the integrated conservation project. At the same time, village elders were aware of the socio-

Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques / 2002

cultural significance of their site, and the positive impact that restoring their historic structures would create for both their local users and outside visitors. The mosque restoration set out to restore the buildings to a usable and structurally-sound state and to improve the chataq. The main aim was to enable reutilization of the mosques, strengthen community cohesion and to revive the function of the chataq as a gathering place for community meetings and festivals. The restoration project sought to stabilize the mosques while retaining the traditional style, historic fabric and decorative details of the buildings. In addition, the project aimed to make necessary alterations to a number of residential buildings around the courtyard in order to reinstate the original layout and ambience of the chataq. Discussions were held with owners of buildings bordering the chataq to explain why any further renovations and additions to their buildings should be made in keeping with the style of the ancient chataq area and to make certain that views of the valley from the courtyard would not be disturbed by inappropriate structures.

Conservation methodology and materials Conservation activities in the village began with the upgrade of sanitation and services in 1996. A storm water drainage system, an underground electricity distribution network and a new piped water system were installed and the entire street network was repaved with the original type of stone.

Left: The mosques leaned precariously before restoration. Above: The mosques after restoration.

In the chataq area, restoration activities began in 1999 with the pilot restoration of Rupikutz Mosque. Based on the experience gained in the first project, the remaining three mosques were then restored one-by-one. In addition, electric cables were put underground in the courtyard and the chataq was repaved, and a number of modifications were made to surrounding residential buildings. The mosques were leaning and structurally unsound. In realigning the mosques, the heavy earth-covered roofs were removed to lighten the load on the timber structure and the mosques were carefully

207

UNESCO Asia-Paciﬁc Heritage Awards

Quote from the project team This restoration was carried out in remembrance and consideration for those who lived, who live and who will live in the Ganish khun, and of those who planted the now giant chinar trees to surround and keep alive the community’s well, its source of life. The project was performed with dedication and care, revealing the “greatness of small things”. As a result, Ganish, like a blossom in spring, has reemerged from under layers of earth, dust and decay.

shifted into a vertical position and pegged with timber dowels to ensure structural stability. The traditional roofs were then replaced using new soil, compacted by foot in the traditional manner.

Above: Typical floor plan. Top left and right: The restored Rupikutz mosque and watchtower. Opposite: Section through Mamorukutz mosque.

208

In general, original building materials and construction methods were used. All timber surfaces in the buildings were treated using the traditional wood preservation technique of applying walnut rind followed by linseed oil. Some modern materials were incorporated in the restoration works in a sensitive manner. For instance, using the techniques developed during the restoration of Baltit Fort, cement and sand were added to stabilize the adobe blocks and earth mortar. In the interest of improving the function of the mosques, the packed-earth floors of the mosques were removed and replaced with timber flooring in deodar wood. Inappropriate additions and structures were taken out in the chataq area and mosques, such as the electricity pole that had been

constructed in the centre of the verandah of Mamorukutz mosque. Negotiations were conducted with private homeowners about to embark on new additions to prevent obtrusive accretions that might impact both the built and natural landscape. A documentation process was undertaken in several stages along with the conservation activities, progressing from the mapping of greater Ganish to surveying the historic village to the detailed documentation of individual houses, the latter in cooperation with the National College of Arts in Lahore. This documentation has helped to inform conservation interventions, monitor the condition of conserved elements and plan for future changes.

Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques / 2002

Important issues This restoration project was initiated by the elders of Ganish and supported by the entire community. The Ganish community contributed physical labour, materials, ideas and determination, while technical and financial resources were sourced externally from the AKTC, the Norwegian Agency for Development Cooperation (NORAD) and the Spanish government. Once the mosques were restored, they were reconsecrated for religious use and the chataq has also resumed its function as a public gathering space. By congregating in the chataq, the community become more conscious and proud of the beauty and value of their ancient heritage. Ancillary areas that were also restored, such as the pharee (water pond), are again busy with community life.

Project sustainability and viability Community spirit and cohesiveness grew and in the spring of 2001, the 30-odd households of Ganish met in the chataq and resolved to establish the Ganish Khun Heritage, Social and Welfare Society (GKHSWS) in order to manage the conservation and ongoing maintenance of the village’s heritage resources. Since its establishment, GKHSWS has shown impressive progress in the organization and management of the village as a tourist attraction, thus providing a source of revenue to ensure the project’s sustainability.

Project impact The project has preserved the built heritage of this small mountainous village, improved living conditions and has transformed the community by strengthening community pride and giving Ganish a strong cultural identity. As a result, the residents are also now better equipped to sustainably conserve their heritage. With initiation and very active participation by the villagers, this project has now catalyzed the establishment and consolidation of communitywide institutions and serves as a role model for managing other community assets in the area.

Award Citation The restoration of four 300-year old wooden mosques in Pakistan’s Hunza Valley has successfully revitalized the village “chataq”, the traditional public heart of the Ganish historic settlement. Initiated and undertaken by the villagers, with professional guidance, the project has rebuilt community spirit in a rural village which has undergone major socioeconomic change and natural disasters over the years. The restrained conservation approach has stabilized the buildings which were in danger of collapse, while retaining the rich historic patina and showcasing the intricate detailing of the structures. Modern materials were selectively incorporated alongside the use of traditional materials and techniques. The preservation of the surrounding buildings and infrastructural improvements were sensitively executed, consequently strengthening the traditional town fabric while upgrading the quality of life of residents. The project presents an outstanding example of a community-led initiative strategically facilitated by outside support.

209

UNESCO Asia-PaciďŹ c Heritage Awards

Technical Brief

Institution building in Ganish The development and implementation of a project such as the conservation of Ganish cannot be conceived without backing by an organized community effort. An effective and representative community organization can provide the much needed convergence of opinion, based on which decisions can be taken, collective energies harnessed and commonly agreed upon goals achieved. The Ganish project was driven by community demand. Meetings between the community and the AKCSP support group led to the commencement of the project and consultations with the community were held throughout its implementation. Essential to the project was the physical participation of the people in the actual conservation work. The community contributed about twenty percent of the project in the form of unskilled volunteer labour and substantive management inputs. The project developed as a series of interactions between the community of Ganish and AKCSP. These interactions were often intense and charged, particularly when issues were at stake that related to participation and the setting aside of individual interests in favour of the common good. In the beginning, AKCSP applied a community-wide model of development through institution building (similar in concept to the town management institution established in Karimabad), embracing the population and territory of greater Ganish. This led to the Ganish Sanitary Sewerage Project, serving a large part of greater Ganish. Yet, the community-wide management model did little to foster a better understanding of the problems of cultural survival and environmental threat faced by the larger community and failed to generate a sense of common purpose. As a result, the institutional basis for development at the scale of greater Ganish remained at best informal and could not be consolidated and shaped to lend its strength to the conservation

210

of heritage assets in historic Ganish. However, community leaders with strong ties to the old village appeared to appreciate the value of the heritage assets of Ganish Khun and how heritage and economic well-being could be linked. It was at the level of the historic village, therefore, that the most progress was made in demonstrating this link. Conservation in Ganish Khun happened in spite of the institutional dysfunction at the scale of larger Ganish. It happened because of informal, small-scale and intimate organizational structures that emerged within Ganish Khun. What has been achieved in this way has helped in returning to an emphasis on institution building. In the spring of 2001, the thirty-odd households of Ganish met in the Ganish chataq and resolved to establish the Ganish Khun Heritage Care and Social Welfare Society, registered under the Societies Act. For its aims the Society has the management of the conservation, rehabilitation and maintenance of the village as a continuous process, in addition to a wide range of social aims. Visits to the village are henceforth regulated and the Society has already shown impressive progress in the organization and management of the village as a source of revenues. This small institutional foundation at the level of the historic village is now leading the process of the establishment and consolidation of community-wide institutions, by increasingly being looked upon by the people of Ganish as the appropriate model for managing their community assets. Adapted from â&#x20AC;&#x153;Ganish Village Integrated Conservation and Rehabilitation Projectâ&#x20AC;?, Aga Khan Cultural Service Pakistan Above: The community participated actively in the restoration process. Top: Villagers gather on the Kuyokutz mosque balcony, overlooking the communal square.

Cheng Hoon Teng Main Temple

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis Constructed in the early seventeenth century and acknowledged as one of the oldest formal sites of worship for the immigrant Chinese community in Malaysia and Singapore, the Cheng Hoon Teng Temple in Melaka is of great historical significance. The temple is also of high social importance, as evidenced by its daily use and the fact that it is has maintained a viable existence for four centuries. Furthermore, the main temple building has enormous architectural value. Constructed of brick and timber with terracotta roof tiles, this exceptional building is Malaysia’s earliest example of Hokkien temple architecture and exhibits the high quality workmanship and skills of immigrant craftsmen from China’s southern provinces of Fujian and Guangdong. City map

The building is gazetted and protected under three acts of legislation: the Federal Antiquities Act of 1976, the Melaka Preservation and Conservation of Cultural Heritage Enactment of 1988 and the special Cheng Hoon Teng Ordinance passed by Parliament in 1949.

Location Melaka, Malaysia

Size 342 square metres

Cost

Since its construction the temple complex has undergone a number of alterations and has evolved in appearance, attaining its current form in 1801. In the subsequent 161 years a variety of ad hoc repairs and ill-advised modifications were undertaken on the main building, culminating in the latest major renovation in 1963. In recent years it had become clear that the temple was in great need of conservation work, but it was not until the collapse of a main beam in one of the side bays in 1997 that the temple trustees and religious community were galvanized into action.

US$400,000

Responsible Party The Board of Trustees of the Cheng Hoon Teng Temple

Heritage Architect Laurence Loh Lim Huck Chin

Contractor Syarikat Success Construction S/B

Date of Completion

Prior to restoration, the characteristic qualities of the temple had been greatly diminished. Flat modern mosaics had Termites and ceramic water had damaged replaced the traditional three-dimensional chienleading nien (decorative wooden members, including the roof battens, to cracks porcelain works). structural timbers had in the roof ridges.Roof Limeand plaster had debonded an been gold painted gilding with brightaway. red Inappropriate gloss polymerpaints paints.had Terracotta and roof had worn been usedfloor on walls and tiles had been replaced with bathroom tiles.such The as delicate artisan timber elements. The delicate artisan works, the frescoes, works, such as the painted gods, had simplifi been removed, painted had been removed, painted door over or naively ed with modern over or naively simplified with modern motifs. motifs.

December 2000

The restoration project focused on the main temple building and

212

began with a process of research and documentation. First, a study of the current state of the building and the extent of the building’s dilapidation was undertaken, along with a full inventory of all moveable fittings and artifacts. Completed by the end of 1997, both steps were pioneering in the context of Melaka. Actual construction works did not commence until April 1999 because works could not begin before the deities were moved from the main hall to ancillary buildings, and this could only occur on certain auspicious dates. As part of the documentation process, architecture students assisted in carrying out measured drawings of the structure. During the restoration process, the investigative and recordkeeping work continued with every aspect of work carefully filmed and photographed. Furthermore, instructive signboards were put up so as to provide the public with information on the project’s restoration methodology and progress. The Cheng Hoon Teng Temple restoration process was successfully accomplished with the understanding and support of its trustees, highlighting the necessity of foresight among owners of heritage structures. As a result of its success, this restoration project has ignited a passion and a consciousness for historic integrity never before witnessed in the city.

Conservation approach The guiding principle of the restoration project was to ensure authenticity, to retain its original function and spatial arrangement, and to use original materials and traditional methodology wherever possible. Since it is a fully functioning temple, conservation works needed to be accomplished around the daily activities of the monks and of the devotees who work at the shrine. Conservation works included repair of the timber roof beams and roof retiling and the restoration of the lime plaster mouldings, chien nien, gilding and frescoes. The project also involved the incorporation of modern electric wiring into the building, carefully installed to minimize the aesthetic impact.

Cheng Hoon Teng Main Temple 2002 Tea Factory Hotel // 2001

In the repair of the roof, approximately 75 percent of the timber had to be replaced in order to ensure structural stability. Ridges were lifted with a custom-made steel hoisting frame to allow for the replacement of damaged purlins. These were hand-carved by local carpenters and capped at the ends with copper sleeves. All the new timber members were certified by the Forest Research Institute of Malaysia and treated against termites. The roofs were then retiled, with special attention paid to maximizing efficient water run-off. To this end, an ingenious architectural solution in the form of a smaller â&#x20AC;&#x153;turtle humpâ&#x20AC;? roof with dual sloping gutters was discovered between the two roofs and restored during the construction. In the conservation of decorative features, particular attention was paid to restoring their original appearance, which required the use of traditional materials and methods. For example, in the restoration of chien nien works, Chinese artisans used imported porcelain bowls specifically made for the purpose, which they broke into shards. They then carefully interspersed the new shards with old ones. Similarly, a traditional organic laquer paint, ta chik, was used on wooden elements as a protective layer against termites and as a base for gold leaf application. Likewise, in the restoration of the chai hui (murals), specialist Chinese artisans were employed to retouch and repaint the frescoes with original tempera paints and organic dyes. The original type of lime wash was imported from China for repainting the building. All the deities, ritual artefacts and fittings were re-installed according to auspicious timing.

Far left: Corrugated iron patch on the roof prior to restoration. Left: The temple after restoration.

213

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team A single restoration project can touch the hearts and minds of so many people, it can fill a vacuum created by uninspiring real estate, it can lead the way in the vision of promoting conservation awareness. Its presence, when fully revealed, would be bigger than any person, especially when it has a life of its own, a life ensured by careful conservation. The Cheng Hoon Teng restoration was approached with the question of how to make the past serve the future in this historically important centre. The single most important value this project has promoted in the context of Malaysia and its culture of conservation is the value of authenticity.

Conservation and the community By ensuring the continued existence and viability of this culturally significant building, the restoration project has ensured that the temple continues to serve the community in their daily lives, reinforcing the traditions established four centuries ago. At the same time, members of the community have been made aware of the heritage value and significance of the Cheng Hoon Teng Temple and are motivated to continue to maintain the building through ongoing donations.

Above: Floor plan. Top left: The main worship chamber after restoration. Top right: Artisans apply protective treatment prior to gilding.

214

In addition, the project has promoted awareness of best practice conservation methodology within the community. The consultative manner of directing and accomplishing the project supported a healthy, communal spirit for all stakeholders. It has also sparked further preservation and restoration endeavours. In this regard, the project has encouraged the temple board to proceed with future restoration for the whole complex, comprising the temple gate, perimeter wall, and an auditorium across the street.

Cheng Hoon Teng Main Temple / 2002

Technical Brief

Chinese temple construction As places of worship, Chinese temples are repositories of both tangible and intangible heritage. Whether the deities being worshipped are Buddhist, Taoist, Confucian, animist spirits, clan ancestors or a combination of the above, Chinese temple architecture has adhered to a consistent form derived from Chinese domestic architecture. The traditional Chinese temple is typically a rectangular, singlestorey, timber-framed structure with a tiled roof and brick walls enclosing three, five or more jian (the Chinese spatial unit usually translated as â&#x20AC;&#x153;baysâ&#x20AC;?). A central or main bay is flanked by two or more side bays. Where the temple comprises more than one structure, the buildings are arranged in a courtyard form, with symmetry always underpinning the design. These basic structural principles have survived with little variation in temples built in China and by Chinese communities outside the mainland. While there are regional and sub-regional differences in decorative detail and choice of materials and finishes, the traditional template can be seen in all the projects conserving Chinese temple architecture that have been submitted for the UNESCO Heritage Awards. The typologies of the Asia-Pacific Award-winning temples mainly originate from two provinces: Guangdong and Fujian. The Cantonese form can be distinguished by a straight, horizontal roof ridge that is embellished with three-dimensional stucco work and ceramic works. The ceramic works of humans, animals and natural features are complete, homogeneous figurines, usually glazed. The height of the building is taller in comparison to the Fujian form. The Cantonese-type temples are mostly found in southern China, namely the Guangyu Ancestral Hall near Guangdong, China (2003 Award of Excellence), the Hung Shing Temple (2000 Outstanding Project) and King Law Ka Shuk Study Hall (2001 Award of Merit) in Hong Kong SAR.

Award Citation The restoration of the seventeenth-century temple, the oldest edifice of formal worship for the Chinese immigrant community of the Malay peninsula, demonstrates high standards of technical execution and sets a worthy precedent for other conservation work in Malaysia and the region. The detailed documentation of the historic building and the restoration process is commendable, resulting in a clear understanding of the projectâ&#x20AC;&#x2122;s sound methodology and best conservation practices. The project successfully illustrates faithful use of original materials and integrity of artisan techniques, and has revived the historic building for the community as a centre of worship.

215

UNESCO Asia-Paciﬁc Heritage Awards

The Hokkien (Fujianese) temples are predominant in Fujian itself, along with other areas of Hokkien settlement—for example, the Dalongdong Baoan Temple in Taipei, China (2003 Honourable Mention), the Cheng Hoon Teng in Melaka, Malaysia (2002 Award of Merit), and the Thian Hock Keng Temple in Singapore (2001 Honourable Mention). The roof of the Hokkien temple is characterized by a curved, sweeping roof ridge and the decorative features are composed of ceramic shards of various colours. In its layout, the Hung Shing Temple (2000 Outstanding Project), on the island of Kau Sai Chau in Hong Kong SAR, typifies the traditional, three-bay plan of a simple, rural place of worship. The main room, housing altars to local deities, is flanked by a room on either side—one where the temple caretaker lives and another which used to serve as a school. Thian Hock Keng Temple (2001 Honourable Mention), built by Singapore’s Hokkien community in 1842 to honour the sea goddess Mazu, demonstrates the grander, multiple-courtyard plan. There are three halls—the Entrance Hall, Middle Hall (housing the main altar to Mazu) and Rear Hall (housing an altar to the Goddess of Mercy, Guanyin)—from three to five bays wide, positioned along a central north-south axis and separated by open-air courtyards. Facing the three halls on both sides are low buildings also separated by a series of open courtyards. The halls are linked by covered passageways that separate the main courtyards from the side courtyards. It is worth noting that this rigidly symmetrical courtyard form also governs the layout of many residential buildings built by overseas Chinese in SouthEast Asia, such as the Cheong Fatt Tze Mansion (2000 Most Excellent Project) in Penang, Malaysia. The construction of Chinese temples rests on the load-bearing timber frame, in contrast to Western construction in which the walls bear the weight. The wooden frame in traditional Chinese architecture supports the heavy tiled roof and distributes gravitational forces downwards and outwards. It also provides flexibility in the use of space and the placement of walls, doors and windows. The post and beam construction system employed

216

in the temple structures, called tailiang shi (literally, raised beam), consists of vertical posts or pillars, raised horizontal beams and purlins braced to the beams. The triangular stepped beam system, supported on columns set into the ground or onto decorative granite bases above ground, is erected transversely, at ninety degrees to the front and back facades of the building. The purlins run in the longitudinal direction along the length of the building. The lowest beam in the central bay is placed on top of the inner columns. A shorter beam is placed on top of the struts on the lower, longer beam. Where wider spans are desired, additional shorter beams in diminishing sizes and purlins are introduced, thus creating the triangular timber framework. The number of columns remains the same. However, a bracket system of dougong is introduced to help increase the integral strength of the system and transfer the weight of the horizontal members to the vertical ones below. Dougong comprise of two different elements. The first is a block that is placed on top of a column, called dou (similar to a capital). Above it, gong (bow-shaped elements), are placed in the longitudinal direction. They are assembled together employing mortice and tenon joints. Nails or glue are not used, which allows for flexibility in accommodating movement, for example expansion and contraction due to changes in temperatures. Thian Hock Keng Temple complex, for example, uses the tailiang shi system enclosed by brick walls and masonry gables. The timber frames in the main temple halls have pillars made of entire tree trunks set into carved granite bases, as well as intricately carved granite columns. The pillars are connected to the main beams with mortised joints and dougong, which allow for deep overhanging tiled roofs, with their upturned eaves and decorated ridges, the hallmark of Chinese architecture. Laurence Loh Top: Section of tailiang shi framing system. Above: Detail of dougong bracket system.

Convent of the Holy Infant Jesus

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis The Convent of the Holy Infant Jesus was established in 1854 by Reverend Jean Marie Beurel. It consists of Caldwell House, the chapel and three other historic buildings which together form a culturally significant architectural ensemble and represent a noteworthy chapter in Singapore’s colonial history.

City map Opposite left and right: The chapel building before and after restoration.

Used to house the nuns, Caldwell House dates back to 1841 and is the oldest surviving residential building in Singapore. The neo-Gothic chapel was built at the turn of the century and was consecrated in 1904. Inspired by the churches of France, it features finely carved column capitals and magnificent stained glass windows crafted by the leading stained-glass artisan in Europe at the time. The Sisters of the Convent of the Holy Infant Jesus operated a school and orphanage on the site for 129 years until it closed down in 1983. The buildings, already in a state of disrepair, were then left vacant until the chapel and Caldwell House were gazetted for conservation in 1990. Conservation works began shortly thereafter. The years of neglect had resulted in the decay of many structural timber and floor members due to rainwater leakage and moisture penetration. The subterranean construction of the Mass Rapid Transit (MRT) also destabilized the columns and walls.

Location 30 Victoria Street, Singapore

Size 4 acres

Cost US$65 million

Responsible Party CHIJMES Investment Pty. Ltd.

Heritage Architect Ong & Ong Architect Pty. Ltd. Didier Repellin Architects

Contractor Low Keng Huat (S) Ltd.

Date of Completion 1996

218

The project sought to demonstrate the possibility of combining heritage conservation with modern recreation as a tool for urban regeneration and tourist attraction, thereby increasing awareness of Singapore’s history while adding to its national cultural infrastructure. In specific terms, the conservation objectives included the preservation and restoration of the chapel and Caldwell House, the restoration of all stained glass windows and joinery works and the preservation of all capital columns. The restoration process was completed within approximately five and a half years, in 1996. The site has been converted into a retail, fine dining and entertainment complex known today as CHIJMES. Caldwell House was converted for use as an art gallery, while the chapel, now called CHIJMES Hall, is a venue for a range of functions, including recitals and weddings. The entire convent

complex was revamped during the course of the project, with relandscaping to accommodate the addition of a sunken courtyard ringed by an ambulatory and shops.

Conservation approach The overall conservation approach was one of maximum retention, sensitive restoration and careful repair, in compliance with the regulations of the national planning body, the Urban Redevelopment Authority (URA). Immediate works were undertaken to protect the structures from further decay, such as water penetration from rainwater ingress through the roof and rising damp from the high water table. A temporary drain was constructed to divert surface water, before chemicals were injected to act as a permanent dampproof membrane at the ground level. An inspection of structural works was carried out to determine discernable defects, missing parts, reduction in volume, moisture content and internal decay, especially of timber members. Columns and arches damaged from the subway works were temporarily reinforced. In keeping with the principle of maximum retention, original structural and architectural elements were preserved wherever possible. In the restoration of the 30,000 pieces of stained glass, for example, most broken pieces were repaired rather than replaced. Likewise, the timber doors were replaced with new wood only when absolutely necessary, with the exception of the deteriorated Gate of Hope, where unwanted infants were once deposited. It was retained intact, even though it is no longer used. One special case was when the new floor tiles could not be integrated because of the difficulty in sourcing replacements that matched the original color. The new ones were then dispersed in different spots on the floor, producing a new floor pattern effect while reusing the existing tiles. When elements were replaced this was done with care and special efforts were made to replicate the original form, using the original methods and materials. For chipped capitols, silicon moulds cast from intact existing capitols were used to exactly replicate the intricate carvings. Roof tiles of a matching specification were

Convent of the Holy Infant Jesus / 2002

unavailable on the market and especially commissioned for the project. Furthermore, only the most highly skilled artisans were invited to tender for repair of the masonry, sculpture and decorative works. The stained glass panels, for example, were shipped to France for restoration by specialists. Similarly, experienced craftsmen were employed to manually clean and restore the faรงade and the 660 column capitals under the supervision of Italian experts. A team of expert French roofers was called in to reinforce and re-clad the rusted spire of the chapel. Sensitivity to the historic building fabric was exercised while introducing new structures and amenities. All the new additions (the sunken courtyard, commercial space and basement car park) were built below ground level to avoid disrupting the composition of the complex. To sufficiently support new floor loads from the commercial activities, steel I-beams were inserted at every third timber joist to reinforce the structure. Efforts were made to ensure new elements were unobtrusive or consistent with the original fabric and character of the buildings.

Award Citation The adaptive reuse of a historic convent as a lifestyle and recreational complex represents an innovative and laudable effort in urban conservation. By choosing to retain the existing structures, the project makes a major contribution to the public life of urban Singapore by opening up valuable downtown space, while respecting the historic continuity of the physical site. The overall conservation work resolves complex architectural and planning issues with sophistication, and the level of technical execution is high. The success of the project as a lively urban hub underscores the valuable potential from both a commercial and heritage point of view in revitalizing, rather than abandoning or replacing, historic buildings.

Inappropriate additions were demolished to maintain the consistent architectural language of the complex. These included the 1950s dormitory and the two front flanges of the orphanage.

219

UNESCO Asia-PaciďŹ c Heritage Awards

Conservation and the community Located in the busy commercial hub of downtown Singapore, the restored buildings and grounds of the Convent, with its majestic ambiance and rich historical associations, now host corporate and public events, thus perpetuating its function as a community gathering space. Since the restoration, CHJIMES has conducted tours to the site and educated visitors about the heritage story behind its edifices. Furthermore, not only has the restoration brought about a sense of appreciation for historic buildings, it has demonstrated the viability of innovative adaptive reuse of structures and the sound economic investment and potential returns of this approach.

Above: Floor and site plan. Top: Side elevation of the chapel. Far left: The chapel was restored as a function hall. Left: Rising damp in the chapel prior to works.

220

Polsheer House

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis The 300-year-old Zovelian House, registered on the Iranian cultural heritage list, was purchased by Polsheer Consultant Engineers in the late 1990s and renamed Polsheer House. Located in the Tabriziha neighbourhood in the ancient town of Isfahan, next to the Armenian Church of St. Minas, Polsheer House was thought to have been the home of an Armenian district headman.

City map

With its distinctive spatial arrangement, elaborate decorative motifs and intricate details, the house is a prominent example of Iranian historic residential architecture. The southern wing is the oldest part, dating to the Safavid Era, while the northern and eastern wings date back to the Zand and Qajar Eras, respectively. At the time of purchase, due to age, neglect, and the expenses involved in maintenance, the two-storey courtyard building was in a state of decay. Much of the structure was in need of stabilization and repair as evidenced by cracks in the walls and ceilings. Also, a number of inappropriate additions had been made to the structure over its history, diminishing its aesthetic and heritage value. Furthermore, the prominent and characterdefining elements of the house, namely the decorative frescoes and other artworks, were faded or covered with grime.

Location Djolfa, Isfahan, Iran

Size 711 square metres

Cost US$100,000

Responsible Party

The restoration project aimed to repair the existing fabric and to integrate contemporary services within the elegant but delicate structure. Since it was no longer possible to retain the house in its original function, the new owners planned to “breathe new life” into the building by restoring it into a working space, thereby transforming the private spaces into a public domain. The project took about three years to complete, although maintenance and upgrades will be ongoing.

Mohammad Reza Ghanei

Heritage Architect Polsheer Consultant Engineers

Conservation approach

Contractor Polsheer Consultant Engineers

Date of Completion June 2001

222

Commencing in 1998, the conservation process involved the following stages: stabilization, “diagnosis” (identification of conservation problems) and treatment. The works called for eliminating inappropriate additions made during the last 50 years,

strengthening the building’s structure, repairing cracks in surfaces, eliminating destructive factors such as rising damp, restoring frescoes and decorative details and sensitively incorporating modern services and facilities. The roof of the house had been covered with a heavy layer of earth, which had led to overloading and cracks in the walls. In order to stabilize the structure, the soil was removed, uncovering the vaulted roof structure while steel reinforcements were inserted. The roof was recoated with the traditional materials of mud mixed with straw. The cracks of the walls and ceilings were repaired. The foundations, which were bulging out from the interior towards the courtyard, were consolidated. During the process, a basement vault was discovered and excavated, with the entrance located on the northern side of the court. Rising damp, which had been detrimental to the building’s fabric, was rectified with the creation of drainage channels around the building and the court, which directed water away from the walls and foundations. An important task was to restore the original layout of the complex. Parts of the house which had been demolished earlier were reconstructed in a way which clearly distinguishes the recent work. The water features in the courtyard were rebuilt and the neglected garden replanted. Thus the integrated, climaticallyresponsive design of the complex can be more thoroughly appreciated. Meanwhile, intrusive newer elements were removed, such as a bathroom on the eastern side of the courtyard. Inappropriate partitions and infill walls were removed, along with dropped ceilings which had deadened the soaring interior spaces, revealing the original spatial configuration more fully. Inappropriate materials were replaced with traditional materials. To this end, several layers of plaster were removed, and original renders were re-applied. Cement tiles in the central courtyard and floors were replaced with traditional brick pavers. The most prominent feature of the house, its ornate interior, was carefully restored to its original splendor. The ornamentation, a combination of Armenian, Iranian and European motifs, were faded or covered with grease and dust. In areas where frescoes or motifs had been plastered over, the plaster layers were removed and the

Polsheer House / 2002

decorative artwork recovered. Experts from the Cultural Heritage Organization were invited to assist in the cleaning and restoration of the buildingâ&#x20AC;&#x2122;s decorative works, notably wall paintings, which took a period of over two years. The vernacular design of the house, with thick walls and natural ventilation, functioned as an in-built passive heating and cooling system with well-modulated interior temperatures. In order to serve its new functions, modern water, electricity, gas and sewage systems were sensitively installed.

Conservation and the community Financed entirely by the Polsheer company, the project has received praise from visiting academics and both local and foreign architects. Moreover, there is no doubt that the restoration of the Polsheer House has served as the first step in raising awareness in the community of the heritage value of historic buildings and their viability for modern uses. Indeed, the project has led to a rise in the price of real estate in the neighborhood. More importantly, the young architects and engineers in the firm experienced first-hand the legacy of Iranian architectural traditions, which they had previously come across only through reading books or watching period films.

Far left and left: The residential complex before and after restoration.

Award Citation The restoration of the 300-year-old traditional Iranian courtyard house demonstrates an exemplary conservation approach by remaining faithful to the original building. The project adhered to all aspects of best conservation practice, with the result that the existing historic building fabric is scrupulously maintained while the exquisite jewel-like interiors are restored to their original vibrancy. By choosing to adapt an old building for modern use, the project team is to be highly commended as their efforts set a technical benchmark for conservation and give momentum to private-sector conservation in Iran.

223

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team We conduct a modern business using modern tools within a structure that exemplifies traditional Iranian architecture. This proves that conserved buildings should not necessarily be regarded as museum showcases but instead could be turned into modern use. We never get tired of working in this building, something we hope to share with our professional colleagues.

Far left: Ground floor plan. Left: Coloured glass windows and frescoes animate the rooms. Top: View of the restored courtyard. Above: Workers repair one of the masonry arches.

224

Sydney Conservatorium of Music

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis Located by the harbour within the Sydney Botanic Gardens, the building that houses the Sydney Conservatorium of Music was originally constructed in 1821 as the Government Stables. One of the few surviving works of the convict architect, Francis Greenway, the dramatic Gothic structure with turrets was described as a “palace for horses”. Reflecting the romantic vision of Governor Lachlan Macquarie and British architectural trends of the time, it exhibits the building techniques, materials and skills employed during the early settlement era. City map Opposite left and right: The building before and after restoration.

Location Sydney, New South Wales, Australia

Size 30,000 square metres

Cost US$118 million

Responsible Party NSW Department of Education & Training

Heritage Architect Megan & Jones, Scott Macarthur Tanner Associates Pty. Ltd. Richard Jackson, MaryDyke Casey, Tony Daryl Jackson, Robin Pty. Ltd.Lowe Barry Department McGregor, Alex Kibble, Chrisand Johnson NSW of Public Works Services

Contractor Walter Construction

The Sydney Conservatorium of Music has inhabited the Stables building since 1915. A number of alterations were made to the original structure to accommodate the music school. Most significant was the construction of a music auditorium, Verbruggen Hall, in the courtyard in 1913. This made a striking impact on the appearance of the original structure, with the new hall’s roof rising above the surrounding turrets. Further major additions and modifications were made to the building during the 1960s. By the mid-1990s, the needs of the Conservatorium had outgrown the building. After investigating relocation options, attention was focused on redeveloping the site by designing a new building, connected to the original, which would house most of the music school’s requirements. At first the intention was to simply repaint the Stables building but it was soon decided that the need to upgrade the music school provided a unique opportunity to conserve and restore the historic structure. Because of the building’s prominent location and the long history of the site, the redevelopment and conservation project was a controversial one. Concern was expressed about the visual impact of the new buildings on the surrounding gardens and about the management of the site’s archaeological features that were discovered during initial works. The final design for the new building is terraced into the grounds and covered with gardens to maintain the prominence of the adjacent Stables building.

Date of Completion August 2001

226

Taking over five years from planning to completion, the project has been received with positive acclaim. The restored historic building

and the new music school and conservatory have been functional since the re-opening of the Conservatorium in August 2001. Now providing an excellent facility for learning and performances, it has since been a great source of enjoyment to students, staff and the public.

Conservation approach In 1996, after over 150 years of ad hoc alterations and additions, the historic Stables building was barely recognizable. The west and south wing were altered extensively, the east wing became an organ chamber, turrets were converted into toilets, doors and windows were inserted and awnings added. The conservation approach taken was to retain key additions, such as the auditorium, but to view the original Greenway fabric as the most significant layer and to restore as much of the 1821 form of the building as possible. A rigorous process of determining the extent of the remaining original fabric was undertaken. The research team examined historical plans, drawings, records and photos to gain an understanding of the building in its earliest form. In situ investigations were then conducted to establish how much of the original building fabric still existed. This process formed the basis of comprehensive plans to guide the project. Conservation of the Stables building began with the removal of inappropriate additions and modern accretions such as the 191315 concrete awnings, fire doors and the enlarged windows on the south side. The original features were then restored. For example, after the removal of awnings and infill panels, the grand arched doorways to the central courtyard were reinstated to their original design. During the conservation works a substantial amount of original fabric was uncovered hidden behind new fabric, such as the original Greenway windows which were revealed underneath twentieth-century plaster. These windows were restored to their original appearance, incorporating the original sandstone reveals and timber frames. Similarly, the southern arcade of the Stables building which had led to the horse stalls was discovered. This

Sydney Conservatorium of Music / 2002

arcade was left visible, displaying the original brickwork and flagstones, thereby providing visitors to the building with an insight into the buildingâ&#x20AC;&#x2122;s early history. Within the interior, the works focused on the conservation of the Stables building fabric and the interpretation of its former function. To improve the open feeling of the original stable courtyard, skylights and glazed floor blocks were installed in the adjacent built-up areas, to allow light to flood into the ground level. Archaeological remnants from the stables period, including roads, drains and building parts, were retained in situ, where possible, or in special exhibition areas and highlighted through interpretive signage. The historic features of Verbruggen Hall were retained and restored, such as the decorative ceiling, decorative plasterwork and leadlight clerestory windows. The brief called for upgrading the hall into a world-class performance space. The proscenium stage was enlarged and is now able to accommodate a full symphony orchestra. A new horseshoe-shaped gallery was inserted in the second level, unobtrusively replacing the essential number of seats lost in the stage enlargement. Acoustics, accessibility and other important functional features of the building were discreetly improved.

Award Citation The ambitious conservation and adaptive reuse of the landmark nineteenth-century Gothic complex provides a new focal point for downtown Sydney while raising the standards for conservation in the region. The excellent documentation of the historic structures has been translated with great clarity in the conservation process, resulting in the rigorous restoration of the historic building fabric, the removal of unsympathetic additions and the careful distinction between the new and the old. The conservation project has negotiated the considerable technical and structural challenges posed by 150 years of changes to the buildings with high technical accomplishment and great sensitivity, particularly in terms of material treatment. The project balances attention to detail with urbanscale flair, showcasing archaeological finds on the one hand, while smoothly integrating the restored structures and contemporary buildings into the Botanic Gardens on the other.

227

UNESCO Asia-PaciďŹ c Heritage Awards

Conservation and the community Since its restoration and the reinstatement of its Gothic picturesque character, the public can once again appreciate the fine proportions and rich contrasts of the Stables building. Together with the other outstanding public buildings along Macquarie Street, such as the Sydney Opera House and the State Library, the restored Conservatorium in its dramatic setting now completes the grand procession of cultural institutions and reinstates a once forgotten chapter of Sydneyâ&#x20AC;&#x2122;s early colonial settlement.

Top left: This section shows Verbruggen Hall positioned in the courtyard of the stable building. Left: The refurbished Verbruggen Hall. Above: Ground floor plan.

228

Wat Sratong

UNESCO Asia-PaciďŹ c Heritage Awards

Project synopsis Wat Sratong in Ban Bua village was constructed when the village was first settled in 1832. The old style sim (ordination hall) within the complex is one of the few remaining vernacular buildings of its type in the Khon Kaen region. It was designed to only be big enough for monks to gather during the ordination ceremony. Laymen were restricted to the outside, where they could learn Buddhist teaching from exterior wall decorations. While the ordination hall is no longer used for its original purpose, this simple brick and lime plaster building enshrines a culturally significant sandstone Buddha image, believed to be over 200 years old. Site plan Opposite left: Villagers prepare the wat for restoration. Opposite right: After restoration.

Location Ban Bua, Khon Kaen, Thailand

Size 37 square metres

Cost US$10,700

Responsible Party Phra Prayut Attakamo

Heritage Architect Thada Sutthitham

Contractor Residents of the local community

Date of Completion October 2000

230

Despite buildings over a hundred years old being protected by law, under the aegis of the Fine Arts Department, over the past few decades many similar examples of local Thai religious architecture have been lost. Their plain and unadorned nature is not considered prestigious for the local community, and such buildings are often demolished and replaced with larger, more ornate structures. This sim was first renovated about 100 years ago with the original wood shingles on the roof replaced with unglazed tiles and the walls replastered and decorated with bas-relief figures and glass mirrors. The second renovation took place about 50 years ago, when the unglazed roof tiles were replaced with cement tiles. Used as an ordination hall until the construction of a new and larger hall in 1971, it then fell out of use and began to deteriorate. Bricks were spalling and lime plaster, especially near the base, was flaking off. Roof tiles were missing, termites had eaten through the timber roof frame and the decorative wood carvings on the roof were gone. The naga (mythical serpent) stair rails had disappeared, while the decorative paintings and glass mirror work on the exterior walls had deteriorated. In 1999, Khon Kaen University selected the old sim at Ban Bua village as the site in which to deliver a training programme in the conservation of heritage buildings. The purpose of the programme was to equip a community with the skills needed to maintain and repair their own unique buildings, combining both traditional and modern techniques. The project also aimed to demonstrate that by working together on a project of value such as this, a community

could revive its appreciation for vernacular design, as well as a sense of solidarity in safeguarding local monuments. Beginning in March 2000, conservation works were undertaken on the sim, starting with a one-month session during which the villagers of Ban Bua were trained in restoration techniques under the supervision of conservation architects, engineers and registered contractors. Community members learned how to dismantle termite-decayed timber pieces of the structure, lay bricks, plaster walls and gained skills in traditional techniques of wood joining. The residents were also made aware of a number of Buddhist rules and ceremonies related to construction. Thereafter, they worked in groups to carry out the conservation works under the guidance of the conservation specialists. In October 2000, a religious ceremony was conducted to celebrate the completion of the project.

Conservation approach The aim of the conservation process was to preserve the ordination hall and its heritage value and revive the function of the building. The building was not restored to its original 1832 state, but to a condition which best suited the communityâ&#x20AC;&#x2122;s needs. For example, when restoring the roof of the sim, the existing 50year-old cement roof tiles were favoured by the community over the original wood shingles. New tiles, in the same shape and size as the missing ones, were ordered from the only remaining manufacturer in Thailand. However, as they contrasted highly with the older, thinner tiles, the whole roof was re-painted in yellow, the sacred colour associated with Buddhism, both for protection and to help resanctify the long-neglected building. Likewise, in an act of veneration, the villagers preferred to refresh the wall paintings with bright colors, instead of retaining the faded tones. Care was taken in other instances to retain as much of the existing fabric as possible. For example, instead of introducing entire new timber beams, only the damaged components of the old beams were replaced. Similarly, only the areas where plaster had debonded were re-plastered with the original type of lime plaster.

Wat Sratong / 2002

Efforts were also made to ensure that new materials matched the old. For example, baked clay bricks of a similar type were used to replace missing ones. Unfortunately since bricks, tiles and lime plaster are no longer produced in the village, these materials had to be sourced externally. The naga stair rails were reconstructed by local masons in the vernacular style, in accordance with the memories of the village elders. Some of the buildingâ&#x20AC;&#x2122;s elements could not be replicated. In the case of the decorative wan kaew (jewel glass), for example, the type of galvanized iron can lids that had been used as backing for the small, irregular glass mirrors in the previous restoration, 50 years ago, was no longer available. Therefore, while salvaging and reapplying as many of the old iron lids as possible, glass mirrors were pasted onto new aluminium can lids instead. Likewise, as there are no longer any timber craftsmen available in the village for the repair or creation of timber decorations, such as the finials, missing pieces were instead replaced with fibreglass resin replicas moulded from a similar ordination hall in a neighbouring province.

Award Citation The outstanding restoration of the 1832 ordination hall of Wat Sratong demonstrates the high standard of conservation work which can be achieved through a grassroots approach. With the guidance of the community conservation training programme at Khon Kaen University and the partial sponsorship of the Thai Fine Arts Department, the local villagers of Ban Bua undertook all aspects of restoring the historic building after in situ technical training. In keeping with the Buddhist tradition of merit-making, the villagers donated their labour and materials to return the abandoned ordination hall to its central role in the monastery and the community. Well-considered conservation decisions were made to retain as much of the original building fabric as possible. The cooperative approach taken by the project sets a model of local conservation initiative which is worthy of emulation throughout the region.

231

UNESCO Asia-PaciďŹ c Heritage Awards

Conservation and the community The project aimed to be as inclusive as possible and to encourage cooperation between residents of the village. For example, meetings were held to discuss issues and options so that every step was approved by the community before action was taken. In addition, all residents were encouraged to actively participate in whatever way they could. Timber was donated by the villagers themselves. Elderly members of the community volunteered to clean and paint tiles before the re-roofing took place, while youth repainted the walls. Drawing in women and even the handicapped villagers, the project brought the community together. The building now functions as a viharn, a hall used to enshrine a Buddha image. Importantly, the training programme has also provided the villagers with valuable conservation skills which will enable them to undertake similar projects in the future. The project instilled a sense of self-respect, as many participants felt that the end result is better than what could have been achieved by a professional hired contractor. They are applying their newly-learned skills by undertaking annual repairs during the Thai New Year, using donated funds.

Above: Floor plan. Top: Section of the building. Far left, middle and left: Community members were engaged to carry out the conservation work, such as repainting of walls and decorations.

232

No. 125 Huajue Alley

UNESCO Asia-Paciﬁc Heritage Awards

Site map Opposite left and right: The residence, in the narrow alley, before and after restoration.

Location Huajue Alley, Xi’an, Shanxi Province, China

Size 192 square metres

Cost US$48,000

Responsible Party An Shouxin

Heritage Architect Yang Mingrui, Gao Xiaoji, Tong Zhongren Mao Zhongan, Shi Xiaocheng, Jing Bin Li Hongyan, Che Ying, Eir Grytli Kjell-Harvard Braten, Bo-Terje Kalsaas Hallvard Odegaard, Sveinn Thorolfsson

Contractor Department of Construction, Xi’an Cultural Relics and Landscapes Administration Bureau

Date of Completion May 2000

234

Project synopsis

Conservation approach

Located in the Drum Tower conservation district in central Xi’an, the house at No. 125 Huajue Alley is a compact grey-brick courtyard building with intricate wooden panels and brick carvings depicting motifs from Chinese legends. The house is organized along an east-west axis, with the front building opening onto the alley, two rear buildings flanking the central courtyard and the main building at the back.

The project’s scope of works included ensuring the structural safety of the house and providing modern services, while retaining as much of the building’s original fabric as possible and removing inappropriate additions and materials.

Six generations of the An family have lived in the house, which was constructed in the early 1800s by An Hongzhang, who was an imam of the Great Mosque and a well-known businessman in the district. Today the neighborhood still maintains its vernacular architecture and distinctive urban layout. However, lack of maintenance and increasing population have contributed to the general deterioration of the buildings. The restoration of this Qing Dynasty house was a pilot activity of the China-Norway Project on the Protection of the Drum Tower Muslim District, undertaken through cooperation between the Xi’an municipal government and the Norwegian University of Science and Technology. The project aimed to raise awareness of the value of historic buildings and provide the community with a sound example of the techniques and process of heritage conservation. The project also sought to demonstrate that heritage structures could be adapted to incorporate modern amenities without losing their historic value. A final objective was to highlight the significance of the vernacular as an equally meaningful element in the overall historic vista of the city of Xi’an. The An family residence was selected because of its high artistic and architectural value and the family’s commitment to preservation, which resulted in the survival of carvings and façade features after the Cultural Revolution of the 1960s. Nonetheless, since the house was last restored in the early 1900s, it had been slowly deteriorating and was in need of repair. Although not listed as a cultural relic of the municipality, the project abided by standards and requirements for the conservation of built heritage. An architectural survey was conducted by the Xi’an Cultural Relics Bureau in early 1998. Restoration works began in October that year.

During the inspection stage, the timber elements of the house were found to be very decayed, thus threatening the structural soundness of the building. In order to stabilize the house, parts of the building, including the brick walls and timber roof, were dismantled and rebuilt. The whole structure was first thoroughly documented and then elements were disassembled, numbered, repaired and restored to their original positions. The damaged parts, such as termite-infested pieces of timber, were removed. New pieces were made with the original types of material and in the same form. Likewise, the leaning brick walls were also taken apart, stabilized and relaid brick by brick. The dismantling of the house also provided an opportunity to install a new water supply and sewerage system without damaging the building’s original fabric. Previously, its residents were dependent on the community toilet and outdoor taps. Inappropriate features and materials added during previous renovations were taken out and the central courtyard, a vital element in the spatial orientation of the site, was returned to its original layout. For example, poor concrete repair work was removed while wooden columns were reinstated in place of incompatible modern columns. Skilled craftsmen were employed to make repairs and, where necessary, create replacement pieces using traditional materials and techniques. For example, the carved brick panels over the middle gate entrance were restored by artisans from Changan county where traditional stone-carving skills are still practised. The project was realised using combined funds contributed by the local government, the Norwegian Agency for Development Cooperation (NORAD) and theowner, who were responsible for financing the conservation works, public water supply and sewerage, and indoor sanitation and services, respectively. Multi-source financing, rather than reliance on owner-sourced funds, was found to be the best model to extend the reach of conservation efforts in the district.

125 Huajue Alley / 2002

Conservation and the community Public involvement and participation was an important part of the project. Questionnaires were distributed to local residents to seek their initial input about the overall project. All levels of the community, including professionals, academics, local government officials and the general public were involved in the planning, decision-making and implementation stages. This community involvement fostered cooperation among the various social groups and strengthened community bonds. The An family has particularly benefited from the project by gaining an improved living environment while preserving their familyâ&#x20AC;&#x2122;s heritage for future generations. As the entry building faces a well-known shopping street for tourists, its use as a souvenir shop provides a steady income stream for the maintenance of the entire residential complex. The project was also an important lesson for the community in demonstrating that enjoyment of modern amenities can be compatible with preserving heritage buildings. It has sparked interest in heritage preservation from other homeowners who, having seen the successful outcome of the project, have approached the project team expressing their wish to preserve their own historic houses.

Award Citation The sound conservation approach and techniques undertaken in the restoration of No. 125 Huajue Alley serve as a model for local residents to follow in carrying out future work in Xiâ&#x20AC;&#x2122;anâ&#x20AC;&#x2122;s Drum-Tower Muslim district and in urban neighbourhoods all around China. The restoration of this traditional Qing Dynasty vernacular house placed a priority on preserving as much of the original materials as possible, while addressing modern living demands. Carefully rooted in the surrounding context, the project also contributes to an understanding of the local urban fabric. The project presents a noteworthy example for cooperation between an outside technical adviser and local residents, while setting a technical benchmark for conservation work in China.

235

UNESCO Asia-Paciﬁc Heritage Awards

Quote from the project team After the restoration, the building’s function is unchanged. The quality of the building structure has been improved. The house has been used by the An Family for the past 100 years without major repairs. With the restoration of the wood carving and brick carving, the house can now be sustained for another 100 years.

Above: Floor plan. Top right: Section through the buildings and courtyards. Right and far right: The residence featured finelycarved brickwork, with one panel depicting the past owner’s profession as a calligraphy artist.

236

Broken Hill Heritage and Cultural Tourism Programme

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis Located in outback New South Wales (NSW), with minimal rainfall and extreme summer temperatures, Broken Hill is significant for its history as a mining town and its rich cultural heritage, characterized by modest historic cottages and old commercial buildings with corrugated iron roofs and verandahs.

City map Opposite left and right: One of the establishments that benefited from the Verandah Restoration Programme.

Location Broken Hill, New South Wales, Australia

Cost Approximately US$1.04 million

Responsible Party City of Broken Hill NSW Heritage Office

Heritage Architect Elizabeth Vines

Contractor Various contractors throughout the city

Date of Completion

Reaching its mining peak in the 1960s before gradually waning with the subsequent closure of the mines, the city was struggling economically by the late 1980s and community morale had reached an all-time low. Recognizing the distinctive historic character of the town, thoughts turned to tourism as a means of revitalizing the town’s economy. In 1986, the Broken Hill City Council and the New South Wales Heritage Office initiated the “Broken Hill Heritage and Cultural Tourism Programme”. Today, this settlement has overcome the decline in mining and thrives with a strong sense of community spirit. At first, city planners considered constructing a museum as part of the heritage and tourism programme. However, because the heritage of the town is such that it could not be put on display in a single building, planners aimed instead to develop the town itself into a “living museum”. They hoped to provide visitors with a unique experience while informing them about the city’s historic houses, commercial structures and its interesting collection of mining and transport machinery. Interpretation tools in the form of booklets and guides were produced. Heritage trails and walks, with lookouts and signage, were created to tell the story of the city, its history, heritage buildings and the surrounding outback environment. A major aspect of the tourism development plan was the broadscale restoration of the town’s historic buildings and other artefacts. In order to facilitate the restoration of privately-owned buildings, the Broken Hill City Council provided conservation information, guidance and funding to local residents. For example, property owners could avail of professional conservation advice from a specially-appointed heritage adviser free of charge.

2001 (but ongoing)

Considered a model community conservation strategy in Australia,

238

the Broken Hill programme has established many dynamic and collaborative partnerships within the community, between local residents, business enterprises and the relevant statutory authorities, while presenting to visitors a mining settlement of great interest and international significance.

Conservation approach Before conservation works could begin it was important to first identify the city’s heritage assets and determine how properties be best restored. As a result, comprehensive heritage surveys were undertaken which inventoried significant buildings, mining relics, Aboriginal heritage and the city as a whole. Based on this knowledge, the resulting development controls and conservation precinct legislation have been critical in protecting the significant features of the Broken Hill landscape. Volumes of early photographs were compiled to guide the upgrading of properties in order to ensure authenticity and accuracy. The historic streetscapes were a major focal point of the project, with the restoration of original features such as historic verandahs, iron roofing sheets and traditional colour schemes. Modern signage was redesigned to fit into the historic context. Individual conservation initiatives began with a consultation between the heritage adviser and property owners. Upon agreement on a conservation proposal, drawings for restoration or adaptive reuse works were prepared, after which a contractor was recommended from a list prepared by the City Council. Efforts were made to ensure that the public was informed and that they were able to carry out restoration works in accordance with quality-control standards and using appropriate materials and techniques. This was achieved through heritage training workshops in which the correct building skills were demonstrated. The city has made financial support available on an unprecedented level to local residents. The “Broken Hill Heritage Restoration Fund”, for example, was established to provide financial support for the conservation of key heritage buildings. In recognition of the sig-

Broken Hill Heritage and Cultural Tourism Programme / 2002

nificance of the modest iron miners’ cottages, the city has provided grants through a “Residential Paint Assistance Scheme” to improve the preservation of this local form of housing. Along the historic throughfares, the “Verandah Restoration Programme” was set up to assist local business owners in restoring or rebuilding verandahs, in accordance with vernacular architectural and urban form.

Conservation and the community By combining the strengths of stakeholders and encouraging partnerships between local governments and the private sector, the city was able to manage and conserve an important piece of Australian history. Coupled with one of the most comprehensive heritage assistance programs offered in the country, the restoration works have generated a vibrant atmosphere and have strengthened sustainable cultural tourism as an important engine of economic growth, giving the residents of Broken Hill collective optimism for the future. As an ongoing project, city planners will continue to motivate residents to maintain and restore their properties through sustained assistance and various programmes. Voluntary conservation initiatives, for instance of mining machinery, are active and the Annual Heritage Awards recognize and reward efforts in property conservation.

Award Citation The integrated approach of conserving significant heritage buildings and revitalizing the public streetscapes of a historic mining town establishes an exemplary conceptual framework that can be adapted by other communities in Australia and throughout the Asia-Pacific region. The initiative of the local government in setting up associated programmes to conserve and manage the city’s built heritage is not only noteworthy, but also demonstrates how municipalities can play an effective role in stimulating the conservation process. Innovative plans that were implemented by the municipality included a free heritage advisory service, heritage assistance funding, residential paint assistance schemes and the verandah restoration programme. The cooperative efforts between local government and the community have led to shared knowledge between the stakeholders, and a renewed sense of pride in the community, reviving the local economy based on sustainable cultural heritage tourism.

239

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team The fixed life of the mining industry has led the city to focus on sustainable cultural tourism as an important area of growth with heritage as its major selling point. Most importantly, this has led to a new attitude within the population of Broken Hill.

Above: Plan of the core historic district. Top right: Elevation of an old commercial building. Right and far right: Restored features such as grillwork and awnings reinstated the streetscapeâ&#x20AC;&#x2122;s former appearance.

240

Centre for Khmer Studies

UNESCO Asia-Paciﬁc Heritage Awards

City map Opposite left and right: The conference hall before and after restoration.

Location Siem Reap, Cambodia

Size Library: 259 square metres Conference Hall: 166 square metres

Cost Library: US$27,298 Conference Hall: US$13,511

Responsible Party Wat Damnak Achars Committee

Heritage Architect Francois Tainturier, Chhim Phet Chea Phally

Contractor Chea Sarin Construction Company

Date of Completion January 2001

242

Project synopsis

Conservation approach

Established in 1999, the Centre for Khmer Studies (CKS), an academic institution that promotes Khmer cultural heritage, chose two derelict buildings within Wat Damnak, a Buddhist monastery in Siem Reap, to be their offices. The CKS resolved to restore the two buildings in return for a 10-year lease from the monastery.

The CKS sought to restore the buildings to their original condition, while sensitively incorporating modern materials and services to improve stability, functionality and comfort.

The older of the two buildings was restored and converted for use as a conference hall. Constructed between 1922 and 1923 by the French as a government department building, this rectangular structure with gingerbread ornaments and balustrades lacks verandahs or an overhanging roof, reflecting the early colonial architects’ inattention to local climatic conditions. The other building chosen for restoration was the former schoolhouse, where Pali language was taught until 1975. This building was constructed between 1941 and 1942 and is a blend of different local architectural styles, with borrowings from Khmer buildings and hints of the Vietnamese half-gabled roofing style popular among French colonial architects. The CKS converted this building for use as a library. During the Khmer Rouge era the two buildings had been damaged. They were subsequently abandoned and left vacant for 20 years. When restoration works began in February 2000, both structures were in a state of severe dilapidation, particularly the former school building. The conference hall has been operational since January 2001 and has been the venue for a number of seminars and exhibitions. This building also serves as a venue for training programmes, lectures and public debates, in keeping with the desire of the CKS to promote the monastery as a place of knowledge transmission and education. Since its completion, the library building welcomes children, monks, tourists and scholars six days a week. It is the only library of an academic level outside Phnom Penh.

Restoration of the library building began on 17 February 2000. The brick structure was in a highly dilapidated state with one end leaning outwards, due to outward thrust from the roof, and many of the timber roof beams exposed and decaying. The leaning wall had to be dismantled then reconstructed with new bricks. The decayed parts of the roof were replaced and new beams installed alongside the old roof timbers to increase stability. Works were carried out to strengthen the building, such as the compaction of the floor and insertion of a concrete slab. Drains were built around the structure, ensuring no rainwater seepage under the building and damage of the foundations. New additions included glass windows, doors and air-conditioning units. The latter were discreetly installed on the sides of the building to minimize their aesthetic impact. The interior of the building was repaired and the bullet-damaged bodhi-tree mural was restored by German conservatists. This mural restoration work proved to be an opportunity to train Khmer students from the Royal University of Fine Arts in art conservation techniques. Finally, the building facade was painted. The decision was made to paint the building a shade of red used at the National Museum and the University of Phnom Penh, in order to denote its higher education status. The main structural works on the conference hall consisted of the addition of a concrete flooring slab and the installation of a drain. An internal brick wall which had been constructed in a previous renovation was removed and replaced with a flexible wooden partition. Unlike the library building, the conference hall did not require the addition of glazing or air-conditioning, due to its effective ventilation system. In order to restore the building’s original appearance, decayed and missing shutters, roof tiles and floor tiles were replaced with locally-made replicas. Finally, the exterior of the building was painted white in keeping with the colour of the nearby prayer hall.

Centre for Khmer Studies / 2002

Conservation and the community Throughout the restoration process the achars (laymen of the monastery) who, along with the village elders, are the legitimate source of knowledge about matters of administration and history, were consulted before any important decisions were made. The achars make up the â&#x20AC;&#x153;pagoda committeeâ&#x20AC;?, one of the strongest informal social and administrative institutions in the village. This committee mobilizes the community and makes decisions on important village matters. The project managers sought the advice and input of the achars on a number of matters, ranging from the lease agreement to the choice of the exterior colour of the restored buildings. Through such discussions the achars were made aware of the importance of preserving built heritage. Their enthusiasm for the project and for the CKS demonstrated that preservation of temples and heritage buildings can be a worthwhile task. The restoration project showed that activities which raise awareness of the value of heritage can be successful in generating support for restoration efforts and that awareness-raising is possibly the first step towards the establishment of an adequate legal framework for protecting built heritage. The project has also brought benefits to the larger community by providing facilities which will nurture research and education on Khmer culture.

Award Citation The elegant and restrained restoration of two Buddhist monastery buildings to house the recently-established Centre for Khmer Studies sets an encouraging example for the preservation of non-monumental heritage in Cambodia and makes a persuasive case for the involvement of private-sector institutions in conservation activities. The conversion of the French colonial era buildings competently addressed a number of technical issues and accommodated modern service necessities without compromising the integrity of the buildings. The preservation of these heritage buildings and the ongoing cooperation with the monastery and local community ably serves the mission of the Centre to strengthen the field of Cambodian studies while promoting cooperation between Cambodian institutions and foreign ones.

243

UNESCO Asia-PaciďŹ c Heritage Awards

Right: This elevation of the library shows the hybrid Khmer-French architectural form and decorative features. Below: Circulation desk area. The floor tiles are original to the building. Below right: The restored building was painted in the same shade of red as other establishments of higher education.

244

Centre for Khmer Studies / 2002

Left: Elevation of the conference hall. Below left: Crews restoring the interior. Below right: The hall did not need additional glazing or air-conditioning, and remains naturally ventilated.

245

UNESCO Asia-Paciﬁc Heritage Awards

Quote from the project team The wat is the strongest social and administrative structure in the village, besides being the traditional place for education. By restoring the two buildings, they became “schools of heritage”, where the achars of the monastery can explain to the pupils the respect for both preservation and learning, which can be replicated throughout Cambodia.

Above: Floor plan of the conference hall. Top right: Workers during conservation work on the library’s roof members.

246

Jaisalmer Streetscape Revitalization Project

UNESCO Asia-Paciﬁc Heritage Awards

Detail of fort plan

Location Jaisalmer Fort, Rajasthan, India

Size 60 metres along Dhunda Para (29 houses) 176 metres along Kotri Para (30 houses)

Cost US$39,907

Responsible Party Dhunda Para residents Kotri Para residents

Heritage Architect Indian National Trust for Art and Cultural Heritage (INTACH), Kulbhushan Jain

Contractor ABC Contractor

Date of Completion February 2001

248

Project synopsis

Conservation approach

In the middle of the Thar desert of Rajasthan, the twelfth-century Jaisalmer Fort of golden sandstone is an architectural feat with monumental walls, intricately carved palaces, temples, haveli (mansions) and traditional adobe homes. The fort survives today as a dynamic entity, in which medieval patterns of life still prevail.

A feasibility study was commissioned to assess the potential impact of the project and to identify the long-term needs of the residents. The study revealed the extent of the hygienic and aesthetic problems, but also found that the homeowners were largely enthusiastic and were even willing, to the extent possible, to share in the cost of upgrading their sanitary system.

Although the fort has maintained its unique built and living heritage for over 800 years, the pressures of modernization have led to growing cause for concern. In particular, with changing lifestyles and the tourism boom in the 1990s, uncontrolled construction and the use of inappropriate materials, such as cement mortar, are impacting the appearance of the ancient city. At the same time, there has been an increase in precipitation and water usage, which is now piped in daily. The fort’s open drainage system was not designed for such an abundance of water; leaking drains and seepage of water into the clay, sand and rock foundations are causing subsidence. In the 1990s, the retaining wall at the base of the hillside collapsed, along with two bastions of the fort and over two hundred historic buildings. A sewerage system installed in the mid-1990s was not able to achieve the required level of efficiency, mostly due to problems in connecting individual houses to the trunklines. Moreover, it had not been designed to fit in with the historic environment, with obtrusive cement manholes and juryrigged plastic pipes extending from private homes and damaging the old streetscape. Initiated by the charity Jaisalmer in Jeopardy, and undertaken in cooperation with the local authorities and the Indian National Trust for Art and Cultural Heritage (INTACH), the pioneering Jaisalmer Streetscape Revitalization Project was designed to introduce modern amenities into the historic settlement and improve living conditions through an integrated upgrade of the traditional streetscape, encompassing façade restoration, street repaving, installation of toilets and reconstruction of collapsed houses. In addition, the project hoped to raise the awareness of local residents of the value of the heritage with which they live and to demonstrate good conservation practice in order to avoid further damage and to encourage more restoration efforts. The pilot phase focused on two landmark residential streets, Dhunda Para and Kotri Para.

Conservation works began in 2000. To prevent further water seepage, open storm water drains were lined with cement concrete and mortar to be made watertight. Uneven and broken stone paving was excavated and relaid over a bed of plain cement concrete to restrict penetration of water into the ground. Concrete manhole covers in the streets were replaced with covers crafted from local stone using a traditional design, while unsightly piping was concealed behind stone platforms. Houses without connections to the sewage system had lavatories and piping installed, with special attention paid to ensure no water leakage and to maintain the original appearance of the building. Sewer lines were extended to the main lines. With the aim of restoring the streetscape’s original appearance, the project removed modern, incompatible additions such as telephone poles in favour of more sympathetic replacements wherever possible. Furthermore, they harnessed traditional knowledge and skills that already exist in the locality regarding the use of the original materials. Despite clear regulations governing works affecting the yellow sandstone, the widespread use of cement as a convenient means of repairing the buildings was a major concern. Not only did the grey cement mortar deface the yellow buildings, by setting firmly, it causes the stone to crack in times of thermal stress, thereby compounding the problem of structural instability. In order to address this issue, a number of residents agreed to remove the cement and replace it with traditional lime mortar. Existing facades were cleaned and then limewashed in traditional colours. In other cases, however, an aesthetic compromise was achieved in which the cement was painted yellow.

Jaisalmer Streetscape Revitalization Project / 2002

Conservation and the community The most direct beneficiary of the project was the local community, with a restored public environment and improved modern services. In addition, the project created much-needed employment opportunities for local residents and raised awareness of the importance and viability of maintaining heritage architecture. Furthermore, through the projectâ&#x20AC;&#x2122;s insistence on traditional methods and materials, there has been an overall aesthetic improvement in the city, greater structural stability and a revival of the traditional skills of local craftsmen and artisans which were in danger of dying out. Overall, the restoration project has raised living standards and fortified community spirit. In addition, the project has directed international attention to the threats facing Jaisalmer and the need to protect the fort. In this way, the project has given the fort and its inhabitants the possibility of a sustainable future.

Far left and left: The project resulted in improved drains and paving.

Award Citation The first phase of the streetscape revitalization project in the historic fort city of Jaisalmer represents an exemplary holistic approach to conserving the living public realm. Starting with the basic gesture of harmoniously integrating infrastructural amenities, such as drainage systems, into the traditional streetscape, the project seeks to address a complete range of conservation issues, including faĂ§ade restoration and the provision of hygienic facilities. The integrated conservation effort will establish a mechanism for educating local property owners and upgrading the entire fort in terms of modern functioning, while maintaining Jaisalmerâ&#x20AC;&#x2122;s unique urban character and prevailing traditional ways of life. The project has the potential to create the momentum to drive a larger conservation project, serving as a best practice case study for other communities to learn from.

249

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team The contribution of the project has been vital to the community in giving them a sustainable future and vital to Jaisalmer in conserving its unique heritage. It has successfully established a framework within which the architectural heritage of the city may be protected for future generations.

Top right: The golden fortress walls rise from Trikuta Hill with commanding grandeur. Right: Artisans repairing latticed carvings on one of the haveli faĂ§ades. Far right: One of the alleyways under repair.

250

Kow Plains Homestead

UNESCO Asia-PaciďŹ c Heritage Awards

Area map Opposite left and right: The homestead before and after restoration.

Location Cowangie, Victoria, Australia

Project synopsis

Conservation approach

Built around 1879, the Kow Plains homestead is located in Cowangie township, in an area of northwest Victoria known as the Mallee. Famous for its harsh climate, the Mallee has a long history as a grazing area with a number of large stations (pastoral properties).

Due to the structureâ&#x20AC;&#x2122;s advanced state of decay, the initial conservation strategy called for building a roof over it and managing the site as a protected ruin. However, as it was recognized as the areaâ&#x20AC;&#x2122;s first occupied dwelling, the policy was revised to conserve the fabric and reinstate the form in order to interpret its value in a more holistic way and to a wider audience. In accordance with the Burra Charter, the conservation approach called for adhering as closely as possible to the original construction methods and materials, as evidenced by physical and documentary information.

Important as a rare example of a rural residential building, the Kow Plains homestead has been listed on the national and state historic building registers. It is architecturally significant in its use of local materials and drop-log construction method. This method involves placing upright posts approximately 1.2 metres apart, to which saplings are attached on each side to form a vertical slot. Unsawn pine logs with their bark intact are then dropped into the slots. Surrounded by a deep verandah, the building is a simple rectangular structure containing a lounge, kitchen, hall and bedroom. The floors and walls in the main rooms are plastered in lime cement. The roof was possibly made of thatch originally but the roofing material was replaced with corrugated iron between 1879 and 1899. The building is part of a complex which also includes the privy, cookhouse, stables, a well and a long stone water trough. A conservation analysis was completed in 1993 but because of issues over ownership of the building, it was not until 1997, after the purchase of the property by the Mildura Rural City Council, that formal conservation works were proposed. Funding was subsequently secured and works finally began in 2001.

Size 180 square metres

Cost Approximately US$50,000

Responsible Party Kow Plains Homestead Management Committee

Heritage Architect Pip Giovanelli

Contractor Terry Gibson Builders

Date of Completion September 2001

252

The restoration process was divided into two stages. The first stage involved structural stabilization, roof replacement, interior repairs and reinstatement of the verandah, while the second stage involved the reconstruction of the cookhouse, privy and the implementation of an interpretation policy. The objective of the project was to conserve the site, enable utilization of the building and to provide the public with an effective illustration of the distinctive local architecture and the unique characteristics of Mallee settler life from the past to the present. At the same time, the project sought to encourage community involvement and to foster the development of specialized construction skills.

During the restoration process all original fabric was recorded and as much was reused as possible. Any new material introduced into the building was discreetly date-stamped. The use of modern material was mainly limited to concrete footings and steel bracing and ties, which were added for structural stability. Restoration commenced with the stabilization of the structure. The building was realigned using ropes and chains, and the foundations of decaying timber were reinforced with concrete. The roof was also substantially damaged prior to restoration works, in part by blasts from the nearby quarry. In lieu of retaining the damaged iron sheets and patching the numerous holes, it was decided that a longer-term solution would be to salvage only the intact corrugated iron sheets, for reuse in the northern end of the building. Adzed roof battens and ridge capping that were still in good condition were also recycled. New roofing sheets were installed in the rest of the building. As a result of neglect and weathering, the verandah had collapsed and many of the framing elements had gone missing. The verandah was reinstated to its historic form based on remaining elements and old photographs. Deteriorated walls were also rebuilt. Missing timber posts and battens were replaced with treated hardwood members of matching size and form. To ensure authenticity, local builders had to learn traditional bush carpentry skills, such as adzing and axing, along with conservation principles. In the interior, the walls were replastered, fireplaces re-bricked and the mantlepiece restored. The entry foyer retained remnants of its

Kow Plains Homestead / 2002

original hessian-covered ceiling. A conserved sample of the original material, a type of canvas cloth, was stitched onto new pieces of hessian and reattached to the ceiling using tacks and battens which were found in situ.

Conservation and the community Without the support of the local community (represented by the Kow Plains Homestead Management Committee) and various government agencies, the project would never have commenced or been seen through to completion. Neighbouring farmers and residents volunteered over two thousand hours to the restoration project, lent various forms of construction equipment and contributed old building materials from other similar structures. Now fully restored and functioning as a museum, the homestead is an educational resource and a venue for social gatherings. Over 400 people, amounting to the total population along the Mallee Highway, attended the opening ceremony. The ongoing maintenance of the building has also been entrusted to volunteers, with funding from admission tickets, venue rental and fundraising. With the success of the project, the remaining buildings in the complex will also be conserved as well.

Award Citation The restored Kow Plains Homestead is a testament to the resilience of the small Mallee community and serves as a physical reminder of Australiaâ&#x20AC;&#x2122;s pioneering settlements. A rigorous approach of reinstating both the form and fabric of the building as faithfully as possible to the existing physical and documentary evidence was practised consistently throughout the project. Through revitalizing abandoned building techniques and careful attention to material authenticity, the project clearly demonstrated solid understanding of conservation guidelines set forth by the ICOMOS Burra Charter. The communityâ&#x20AC;&#x2122;s initiation and ownership of the project deserves praise for the collective efforts at conservation. This project clearly exemplifies how the cooperation between individuals, community and all tiers of government can contribute towards a common goal: the protection of local heritage.

253

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team The restored Kow Plains homestead has ensured that this important part of our pioneering history lives on to tell its story. This is one project where the local heritage brought a community togetherâ&#x20AC;&#x201D;literally.

Above: Floor plan. Top right: Elevation after restoration. Right: Workers salvage wooden logs for reuse. Far right: The drop-log construction technique was used.

254

Excellent Project • Guangyu Ancestral Hall, Conghua City,

Guangdong Province, China

Award of Distinction • Astana of Syed Mir Muhammad,

Baltistan, Pakistan • Water Towns of the Yangtze River (Zhouzhuang, Tongli, Luzhi, Nanxun, Wuzheng, Xitang) Jiangsu and Zhejiang Provinces, China

Award of Merit • Cangqiao Historical Street, Shaoxing City

Zhejiang Province, China • The Medina Grand Adelaide Treasury, Australia • Virtuous Bridge, Medan, Indonesia

Honourable Mention • Catholic Cathedral of the Immaculate Conception

Hong Kong SAR, China • Dalongdong Baoan Temple, Taipei, China • Gota de Leche, Manila, Philippines

Guangyu Ancestral Hall

UNESCO Asia-Paciﬁc Heritage Awards

Context The Guangyu Ancestral Hall is located in Qiangang village in Guangdong province. Established by descendants of Lu Xiufu, the famous prime minister of the Southern Song dynasty (960-1279), Qiangang village is listed by the Guangzhou government as one of 21 villages protected for their historical and cultural values.

Village map

Location Qiangang Village, Taipi Town, Conghua City, Guangdong Province, China

Size

Believed to be built in the Ming Dynasty, either in the fourth year of the Yongle period (1406) or during the Xuande era (14261435), the Guangyu Ancestral Hall has endured for almost 600 years. Although built during the Ming Dynasty, the style and construction methods come from earlier eras, including the Song Dynasty. The roof, for example, is an overhanging gable roof with raised purlins. Some features of the hall are unique in Guangdong province, such as the wing walls and the screen wall, and are a valuable source of information about historical north-south migration in China. The integrity of Guangyu Ancestral Hall is protected under the Antiques Conservation Law of the People’s Republic of China and the Law on the Protection of Cultural Relics of the People’s Republic of China (1991), as it is classified as a “special-care” building and belongs to the Lu clan. According to article five of the Law on the Protection of Cultural Relics, “the property rights of memorial buildings, ancient buildings and precious antiques, which belong to a public or private entity, are protected”. This law also specifies that the Lu clan is responsible for the usage, maintenance and repair of the building.

816 square metres

Cost Approximately US$120,000

Building history

Responsible Party The Lu Clan Committee

Heritage Architect Lu Yuanding

Contractor Guangzhou Company

Date of Completion 6 February 2002

258

Inscriptions on the building itself indicate that prior to its restoration in 2002 the hall had been renovated a total of five times, most recently in 1915. The earliest record was found engraved on a beam in the middle bay, noting that restoration took place in the 32nd year of the Jiajing period of the Ming Dynasty. The latest alterations were only superficial, not structural, and were made during the Cultural Revolution. To prevent the hall

from being destroyed by the Red Guards, villagers had covered some of the elaborate wood carvings of the hall with lime plaster, while officials painted proclamations onto the walls of the hall.

Project history During a three-month survey to identify important cultural relics in Conghua city in April 2000, Qiangang village, and the Guangyu Ancestral Hall in particular, were recognized as being extremely valuable. However, at the time, the hall was in an extremely dilapidated condition and was no longer in use by the villagers. Structural deterioration was pervasive, with part of the roof collapsed, timber beams and columns badly decayed, and some of the walls leaning precariously. Restoration of the ancestral hall was to be the first step in preserving the cultural heritage and ancestral knowledge of the Qiangang community. It was hoped that the restoration would foster a sense of community pride and unity by revitalizing cultural traditions and integrating them into the modern lifestyles of the villagers. It was intended that villagers would begin to reuse the hall for worshipping ancestors and for village gatherings. In October 2000, the restoration project was initiated under the expert guidance of the South China University of Technology. A thorough archaeological and historical study of the building was first undertaken, to provide a basis for planning the conservation works. In July 2001 the first draft of the restoration plan was completed and in September of that year the construction plan was finalized. Restoration work began in late 2001 and was completed on 6 February 2002, in time for the villagers to use the hall for the Spring Festival that year.

Guangyu Ancestral Hall / 2003

Project scope and framework The restoration of Guangyu Ancestral Hall aimed to restore and reveal its layers of architectural, social and historical significance. In order to invest the limited resources most effectively, the team went to great lengths to identify the various elements of the building with the highest significance. These were consequently restored during the actual restoration works, under strict guidelines concerning authenticity, so as to best retain the building’s structure, form and its embodied historical information. As such, the main wooden frame and walls were not altered in any significant way. Important repairs made during previous restorations were retained, along with changes made by users of the building over its 600 year history.

Conservation methodology and materials The restoration plan specified that renovations would be conducted within the framework of national laws and international conservation charters, notably the Venice Charter. In accordance with Article 9 of the Charter, the project would opt for minor repairs rather than major repairs in order to retain the structural form of the building as much as possible. Furthermore, in keeping with Article 14 of the Law on the Protection of Cultural Relics, all significant historic remains would be preserved, without unnecessary intervention, thus obeying the principle of not changing the “original state” of cultural relics. Finally, all replacements or repairs would be made to “integrate harmoniously with the whole but at the same time be distinguishable from the original so that the restoration would not falsify the artistic or historic evidence”.

Above and left: From its former deteriorated condition, the restored hall has been rejuvenated as a community space.

The conservation team felt that restoration did not necessarily equate with unity of appearance. Instead of returning the entire building to its condition at one point in time, they believed that it was more important to portray the authentic historical progression of the building. The elements added to the building over the course of various restorations, for instance, would be retained. More recent layers of the building’s history were also deemed important.

259

UNESCO Asia-Paciﬁc Heritage Awards

These included the notices marked on the gable during the Cultural Revolution which were kept intact, rather than being erased to restore the gables to their Ming Dynasty appearance. After consultations with experts from the Department of Cultural Relics and Guangzhou Culture Bureau, a number of the proclamations painted on the walls in the 1960s were also kept. Now, after restoration, the various parts of the building’s brick wall reflect the building’s evolution from its establishment to its recent history. The team endeavoured to use traditional craftsmanship, materials and construction methods in the restoration process wherever possible. In order to differentiate between original and new materials, replacement materials were indicated by subtle variations in the tone or texture in both timber and masonry elements. The urgent task in the project centred on returning the building to a structurally sound state. As a first step, the leaning sections of the walls were rectified and some areas of structure and foundation were stabilised. Blue bricks from the same historical period were salvaged from nearby sites to restore the walls of the structure, using the original type of mortar. Basic works also included the repair of the peripheral drains, since they not only comprised part of the drainage system of the whole village, but also affected the stability and vulnerability of the wall’s foundation. The roof in the main hall was in an extremely dilapidated condition and needed extensive repairs. Rather than undertake in situ repairs to the damaged wooden members, it was decided to adopt the method of luo jia (top-down repair technique) which involved disassembling the structure, recording each component, repairing damaged components, and reassembling the parts in their original positions.

Top: Floor plan. Middle, bottom: Auspicious rituals were held to celebrate the completion of restoration. Opposite: Cross section.

260

In other sections of the roof, the disassembly method was deemed inappropriate due to the potential for damage to the roof and decorative works. For these cases, the timber purlins were carefully removed and new tenon tongues was spliced on. Rotten horizontal beams in the roof truss were repaired by grafting, to preserve as much of the original fabric as possible. Similarly, broken and split rafters were replaced, while reusable members were salvaged where possible. When new materials were used, they were marked

with a contemporary stamp, indicating the material and the date, as per Article 9 of the Venice Charter. The documented ash moulds and coloured decorations on the roof ridges were restored according to their original appearance. Non-documented parts were not restored, retaining their aged appearance. Interior timber members also suffered water damage. Three wooden columns in the second and third sections had to be completely replaced in order to ensure the stability of the structure. Traditional materials were used in the construction of the new pillars and the original texture and colour were closely matched, but with visible differences. Timber columns which had split were repaired with wood chips, bamboo slices and epoxy, using customary methods. The columns were coated with Chinese wood oil as a preservative, to protect them against termites and restore the original colour. The new wood and bamboo pieces were made to integrate harmoniously into the whole but were differentiated by adding some vermilion or pollen to stain the wood oil. The red sandstone bases of the pillars were severely weathered. In order to ensure the safety and durability of the structure, these bases were replaced with new ones made with the same style and type of stone. The original bases were kept and placed beside the new columns for comparison purposes. The main gate and the screen door in the second section had long been lost. To maintain the spatial integrity of the layout it was decided to reconstruct them on the basis of historic evidence and descriptions provided by village elders. The final step was restoring the hard-rammed red sandstone soil floor using traditional techniques. Experiments were performed in getting the right ratio of red sandstone soil and lime in order to match the colour and intensity of the original red sandstone floor. The traditional man-powered “frog-type” ramming machine was used. The water content was controlled, while churning cycles and sequence of ramming were precisely timed. To test the consistency, sample mixtures were gathered into a ball by hand and pinched loose.

Guangyu Ancestral Hall / 2003

In order to ensure that the Guangyu Ancestral Hall and its surroundings were not damaged by the construction process, certain environmental factors were taken into consideration. Water was sprinkled on the construction waste and the road was paved with pebbles in order to minimize dust and air pollution. Similarly, waste water was recycled and sewage was correctly disposed of to mitigate water pollution. Measures were also taken to minimize noise pollution in accordance with the regulations of the Noise Limit for Construction Sites Law.

Important issues Mobilizing resources and people The villagers of Qiangang participated actively in the project, through the mobilization of the village headmen and the head of the Lu Clan Committee. Together they facilitated meetings, and ensured that villagers were informed, thereby enabling the villagers to express their views and provide feedback to the project managers. The two main sources of financial resources for the project were voluntary donations from villagers and government contributions. Villagers also provided useful input by augmenting historical information about the building and by giving advice in construction matters. Determining appropriate reuse The hall was traditionally a place of ancestral worship and a community gathering place during festivals but had fallen into disuse. Restoration of the building enabled the revitalization of cultural traditions and recreated a central gathering place for Qiangang villagers. The hall is now a popular community centre and is currently used for its intended purposes, such as gatherings during Lunar New Year and clan meetings. The hall has therefore been successfully integrated with the contemporary life of the villagers. Since the restoration of the hall, alterations and additions to the building have been forbidden. Painting on the walls and hanging of objects are prohibited. Also, practical adjustments in the practice of traditional ceremonies have been encouraged. For example,

Award Citation In the midst of the rapidly-changing Pearl River delta region, the restoration of Guangyu Ancestral Hall stands out as an exemplar for local heritage conservation. The cooperation of the villagers, government agencies and technical advisors has overcome the challenges of limited funding, resulting in a building which displays thoughtful choices in restoration and a high level of traditional craftsmanship. By consciously adhering to the principles of the Venice Charter and the Nara Document on Authenticity, the project team has successfully demonstrated methodical rigour and sensitivity in documenting, assessing and interpreting the buildingâ&#x20AC;&#x2122;s heritage value. The widely inclusive and transparent approach to mobilizing support for the restoration project ensures that this historic building will continue to play a key role in the community for many years to come. In carefully preserving the layers of historical change seen in the building, the Lu clan ancestral hall has not only become a living record of the history of Qiangang village, but has also captured the sweep of Chinese history from the Song dynasty to the current Peopleâ&#x20AC;&#x2122;s Republic.

261

UNESCO Asia-Paciﬁc Heritage Awards

Above: A slogan from the Cultural Revolution era was retained. Middle and far right: Severely deteriorated roof timber members were salvaged and repaired with epoxy or replaced.

the burning of candles and ignition of fireworks are only carried out in the light well and front yard and are supervised in order to ensure safety. Lessons learned Certain unique technologies and methodologies were found to assist in prolonging the lifespan of traditional materials without affecting the authenticity and original form of those materials or of the building. For example, all timber pieces and bamboo strips used in repairs were first steamed with brine in order to eradicate impurities and moisture. These materials were then aired to ensure they had elasticity comparable with existing parts. Similarly, by frying the bamboo sticks and nails in kerosene and peanut oil, enzymes were eliminated and rigidity was improved.

Project sustainability and viability The community has taken the initiative to ensure the upkeep of the hall. For ongoing repairs and maintenance, villagers established the “Guangyu Ancestral Hall Restoration and Management Fund” with community donations. Furthermore, a community representative was elected to take part in the Fund Management Committee, which ensures active input by the villagers in the financial management of the building.

262

This enthusiasm of the community and the extent of the building’s use suggest that the Guangyu Ancestral Hall will continue to remain in use and will increasingly become a central part of the villagers’ lives.

Project impact The project has fostered a keen sensitivity to the community’s cultural resources such as building techniques and traditions that are embedded in community fabric. The project has also brought opportunities to further enhance the economic potential and sustainability of the village. The success of the project has strengthened pride in the local heritage, and catalyzed interest in restoring other buildings in the village. The restoration of the ancestral hall will be followed by the restoration of the four village gateway buildings and guardhouses. The project also raised awareness in other nearby villages regarding preservation of their ancestral heritage, such as Deng village and Mulan village in Shengang town. These villages have restored the Dengshi Ancestral Hall and the Wuyue Temple, respectively.

Guangyu Ancestral Hall / 2003

Quote from the project team By restoring the Guangyu Ancestral Hall, we have successfully preserved the cultural heritage and historical information of the villagersâ&#x20AC;&#x2122; ancestors, thereby promoting a spirit of unity for the villagers.

Far left and left: Blue bricks compatible with the original were used to repair the wall. Below: Artisans restore the lime plaster decorative elements along the roof ridge.

263

UNESCO Asia-Paciﬁc Heritage Awards

Technical Brief

Top-down method of repair Only in the case where the stability of the structure is endangered do we adopt the traditional method luo jia, or the disassembly and re-assembly of timber structures, thereby reducing the potential damage to the building structure and the architectual form. To start on the roof repairs, the tiles from the roof were removed, cleaned, dried under the sun and stored. Then we deliberated on the best repair method for the roof frame after the examination of the rafters, purlins and the beam conditions. Some timber purlins between the gable wall and wood columns were very rotten on the outer ends, while the inner ends were dislodged from the tenon due to the dislocation of roof truss or the inclination of wall. We adopted the traditional method of “removing the purlin” and “grafting the beam” to protect the integrity of the overhanging gable roof, the rolling grass decoration and the vertical ridge. The purlins were carefully removed, with the rotten inner parts cut off and a new tenon tonge added. Then the rotten gable ends of the purlin were also cut off. The purlin was reinserted into place, with a new wooden section added to connect it to the gable. Stainless steel strings were used to keep the tenon in place. Some horizontal beams that connect the two middle pieces of roof truss were seriously rotten due to rain intrusion and subsequent collapse of the roof. We kept the original components and grafted new partial replacements, held in place by bolts. The position is located one third into the length of the ridgepole. Each side of the notch was at least six centimetres wide in order to receive the force from the bolts. The roof of the main hall had been very seriously damaged. Moreover, some hidden problems have emerged in the course of restoration, thus complicating the extent of work and increasing the degree of difficulty. However, due to the potential structural

264

instability and loss of authenticity, we decided to partly adopt the method of luo jia. First, the roof truss of the middle bay was disassembled, and each component was marked by a serial number. The more sound components were cleaned and strengthened, while the damaged parts were replaced with new wood. At the same time, damaged column bases were replaced, columns repaired and wood frames adjusted. After this phase in the work, the dismantled roof truss was re-assembled in the reverse order. The next step in the process was to replace the damaged rafters. Priority was given to the reuse of original salvaged materials wherever possible, with new materials used only in case of insufficient number of reusable sections. A “contemporary stamp” was placed on the new material. Then the tiles were laid and the removed roof ridge was fixed. Bamboo strips were embedded in the pantiles, running through the corrugated tiles to enhance the shear resistance of every unit of the corrugated tiles. Adapted from “Guangyu Ancestral Hall UNESCO Asia-Pacific Heritage Awards Entry Submission”

Top: The roof framing members being dismantled. Below: Original granite column bases are displayed alongside new ones to inform visitors of the relationship between old and new.

Astana of Syed Mir Muhammad

UNESCO Asia-PaciďŹ c Heritage Awards

Context The Astana (tomb) of Syed Mir Muhammad is located in Khanqah settlement, one of eight historic settlements in the town of Khaplu. Situated in northern Pakistan, Khaplu characterizes the particularly rich and diverse cultural and architectural heritage of the region.

Town map

Location Khanqah Settlement, Khaplu, Baltistan Pakistan

Size 49 square metres

Cost US$10,000

Responsible Party

Craftsmen and artisans from Kashmir and other parts of South Asia originally settled Khanqah in the fourteenth century. These settlers came with the early preachers of Islam, who built the initial mosques and other religious buildings in Baltistan. Home to 40 families, Khanqah has a well-defined community but has witnessed changing lifestyles and loss of social cohesion. This has led in turn to a decline in the popularity of compact villages and a demand for more space and modern services, with the result that historic structures and surrounding farmlands are facing increasing development pressure. In various areas of Baltistan, old wooden mosques and religious buildings are being torn down and replaced with unsightly new concrete structures. This demolition of historic buildings reflects the lack of awareness of the enormous wealth of heritage of the region, while the replacement of ancient structures with contemporary buildings, using foreign materials, disregards the accumulated traditional knowledge of the community. Although Pakistanâ&#x20AC;&#x2122;s 1975 Antiquities Act (amended in 1991) protects listed sites, land-use laws and development are under the jurisdiction of a different agency and there is little co-ordination between the two. Other ordinances and local regulations can be invoked, but indiscriminate development, lack of resources and poor implementation place sites such as the Astana at risk.

Syed Muzahir Ali

years ago by Syed Mir Muhammadâ&#x20AC;&#x2122;s descendants, the Astana of Syed Mir Muhammad is considered one of the finest in the area. Like most astanas in Baltistan it is a square building topped with a conical tower. The astana has an inner square chamber enclosed by wooden jallie (carved lattice-work screens) in the Kashmiri style, with geometrically-shaped perforations.

Project history The project was initiated by the Aga Khan Cultural Service Pakistan (AKCSP), the operating arm of the Historic Cities Support Programme of the Aga Khan Trust for Culture (AKTC). In furthering culture-based development and heritage conservation, the AKCSP promotes the upgrading of community buildings in order to foster pride in customary ways of life, thereby encouraging traditional village clusters and reducing pressure on farmlands. In such projects the AKCSP encourages use of traditional building materials and promotes customary building techniques and skills, such as wood craftsmanship, which have been dying out in the region. The AKCSP believes that revival of long-held skills in Baltistan would strengthen community pride and generate income. Due to its religious and historic significance, the Astana of Syed Mir Muhammad was one of three sites selected by the AKCSP in the late 1990s as a pilot demonstration project to preserve architectural heritage in Baltistan. The restoration was the result of a successful collaboration between the AKCSP, two international consultants and the Khanqah community. The AKCSP and consultants provided the planning and conservation expertise while the community provided local building skills, labour and materials.

Project scope and framework

Heritage Architect Masood Khan

Building history

Contractor Aga Khan Cultural Service Pakistan

Date of Completion June 2000

266

Astanas are among the most fascinating structures in Baltistan. They are places of eternal rest for saintly persons so are held in reverence and visited frequently by the public. Built around 300

In 1999 when the technical study of the astana was carried out, the building was in an advanced state of deterioration. The entire structure was fragile and out of alignment, leaning 30 centimetres to the southwest. Half the roof tower was missing and the erosion of the top layers of tamped earth on the roof had resulted in the

Astana of Syed Mir Muhammad / 2003

decay of circular roof beams, timber members and jallie pieces. The aim of the project was to restore the Astana Syed Mir Muhammad to its original condition. In the process, the structure was to be realigned and made stable and the decorative and historical elements of the building repaired and reinstated. â&#x20AC;&#x153;Minimum intervention and maximum retentionâ&#x20AC;? was the teamâ&#x20AC;&#x2122;s guiding principle throughout the project. Within this framework, original features were maintained while structural changes were minimized, except those needed to increase strength and durability. Salvaged and indigenous materials were to be used wherever possible. The restoration project was expected to take 12 months to complete, but was completed in just six months.

Conservation methodology and materials The entire structure was first documented and all the timber pieces numbered for the replacement of deteriorated members. As a precautionary measure, the structure was supported with wooden posts. Two options for realigning the building were considered. The first option involved dismantling, repairing and re-assembling the structural members, which raised the possibility that the pieces may not have fitted together again or that some would be damaged during the dismantling process, thus increasing the amount of intervention required. The second option, arrived at through consensus, was to nudge the whole structure back into proper alignment. This was feasible as no iron nails were used in the structure, only wooden pegs, which allowed for structural flexibility and for the slotted wooden pieces to move as one unit.

Left and above: The astana before and after stabilization and restoration.

First, most of the load was taken off the structure, enabling it to be realigned more easily and safely. The tower was dismantled in units to ensure the sequence of the tower details would not be disturbed. The remaining mud thatch and beams from the tower roof were also removed, leaving only the wooden dowelled frame of the building. The structure was then pulled using wire ropes tightened through turnbuckles. Plumb bobs were used to record the extent of wall deviation from vertical throughout the process.

267

UNESCO Asia-PaciďŹ c Heritage Awards

During this process it was discovered that the building lacked a firm foundation. The existing wooden base was decayed, causing the entire structure to sink. In order to upgrade the strength and durability of the building, a foundation of stone slabs was laid beneath the existing wooden base in order to distribute the load and prevent the structure from sinking further. These slabs also provided protection for the structure against water seeping up from the ground. The original filling of the cribbage walls was not firmly packed and as a result rats had been able to make holes in the structure. To repair the cribbage walls, the filling was stabilized with cement mortar, boulders and straw. The walls were then plastered with a mix of cement, soil and straw in a ratio of 1:10:2.5. Another major decision was whether or not to complete the building by constructing a new roof tower. The extent of deterioration of the existing roof tower meant that knowledge of the original design was limited so a new roof might have compromised the buildingâ&#x20AC;&#x2122;s authenticity. After extensive discussions with artisans and elder members of the community and thorough research of similar buildings in the region, a decision was made to reconstruct the tower on the basis of other astanas. Top: Delicate geometry of the wooden lattice screens. Right: The floor plan shows the lattice screen surrounding the inner chamber. Opposite: Section through the tomb.

268

Because the project aimed to revive and develop traditional skills and improve the capacity of the community to successfully manage their cultural heritage, local materials were used wherever possible and artisans were trained in traditional skills. For example, the roof was waterproofed in the vernacular method, with a layer of millet straw covered with birch. This was then overlaid with mud thatch, which was compacted by foot. Another local material, walnut rind, was applied to the wood of the new tower roof in order to help it blend in with the remaining elements of the astana. The planks of the inner roof were treated with linseed oil to preserve the wood and protect against termites. The five replacement wooden jallie were carved by local artisans. In repairing the broken jallie, artisans used traditional methods and salvaged recycled wood.

Astana of Syed Mir Muhammad / 2003

Important issues Mobilizing resources and people The astana is co-owned by the Sadaat family, comprising seven households in the community, and by followers of Syed Mir Muhammad. Once mobilized by the AKCSP, community members became enthusiastic about the restoration process. They donated materials and their labour as homage to their religious leader and also helped to collect and transport local materials to the site. By assisting in the restoration of the Astana of Syed Mir Muhammad and encouraging restoration rather than demolition and replacement, the AKCSP helped the Khanqah community learn about its wealth of heritage and traditional knowledge, thus fostering a sense of ownership. Lessons learned The project demonstrated to community members that historic structures have heritage value and that their preservation can have positive social and economic impacts. It was shown that success is more likely when the community has both tangible benefits from the project (useful skills) as well as intangible benefits (community pride). Furthermore, this project demonstrated that when heritage preservation is integrated with development policy, such efforts have a greater chance of being successful in the long term.

Project sustainability and viability Due to community involvement and subsequent communitydriven heritage conservation efforts, the project is likely to be sustainable. Community pride in the Astana of Syed Mir Muhammad will encourage upkeep of the structure while the use of local materials and the development of local artisan skills will ensure that the structure can be affordably maintained.

Award Citation The noteworthy restoration of the 300-year old mausoleum of Syed Mir Muhammad returns an important architectural and community landmark to its former prominence in the northern Pakistan highland settlement of Khaplu. The buildingâ&#x20AC;&#x2122;s aged patina and historic character have been carefully retained through skillful and sensitive conservation techniques. The meticulous documentation and low-intervention approach in stabilizing the building and repairing deteriorated parts demonstrate great respect and maximum retention of the original building fabric. A modest approach using local materials and construction techniques ensures that the restoration work is carried out in accordance with vernacular architectural practices, and can be maintained sustainably under the stewardship of the local villagers. In seeking to revive local building crafts as part of the overall conservation agenda, the project demonstrates how heritage preservation can become a catalyst for local economic development.

269

UNESCO Asia-PaciďŹ c Heritage Awards

Project impact Community participation, revitalization of original building skills and articulation of heritage values to other communities were the hallmark achievements of the project. A woodcraft workshop was established to train new apprentices on carving and jalliemaking skills. This breathed life into a dying handicraft tradition, while the additional skills increased employment prospects for local people in undertaking conservation and repair works in the future. Another profound effect resulting from the conservation project was the support given by AKCSP to repair an adjacent, larger mosque, the Khaplu Khanqah. Destined for repair using modern materials, the lessons learned while working on the astana have encouraged the community to rethink their approach and adopt a less intrusive repair method. The astana project also prompted residents in Khaplu to upgrade and improve historic buildings surrounding their traditional settlements. The Khaplu Town Management and Development Society was created to enable planning of future projects with community consensus and the input of indigenous wisdom. Region-wide, the restoration has provided a model for good practice in conservation for other towns in Baltistan.

Clockwise from top left: Reconstruction of the roof tower. Mud thatch compacted by foot over a straw layer on the roof. The rehabilitated roof.

270

Astana of Syed Mir Muhammad / 2003

Quote from the project team

Technical Brief

This project is a significant milestone in nurturing local institutional development, demonstrating rehabilitation benefits, increasing sense of ownership for significant architectural heritage and creating a resource base for continued and self-reliant management of cultural heritage.

Restoration of wooden elements The whole building is a wooden frame structure with cribbage columns on the corners. These columns are tied to the walls with wooden ring beams which, in turn, are inserted into the cribbage columns and pegged with hidden wooden dowels inserted vertically. (See drawing.) Together with the roof beams and planks, the members constitute a unified flexible structure which has the ability to move with, and during, seismic waves. Wood staining For staining wood, people traditionally used the rind of walnut cooked with water. This method has been used for centuries with remarkably effective results. These stains protect the timbers from weathering by sun rays and moisture penetration. This method is cheaper than alternatives because the outer rind of walnuts is available in the village, and can be collected easily when the walnuts ripen. For staining all exposed timber elements, the same materials and methods were applied. This method achieves matching colour for all the timber elements. It also imparts an aesthetically pleasing appearance to the members. For staining internal timbers, linseed oil mixed with 20 percent turpentine was used to protect against termites and insects. Roof repair Most of structural elements such as beams and rafters were badly decayed. Approximately 30 percent of the beams and rafters were replaced. Some 10 percent of the roof boards were spliced on the decayed portions. All these beams were pegged with wooden dowels. Millet stalks and birch bark were used as roof covering, in accordance with existing evidence.

A traditional roofing of mud thatch was applied, with some additions to prolong the soaking time and minimize erosion because of the pitched slope of the roof. The available soils in Khaplu are sandy soils which need the addition of clay content to harden the top layer of thatch. For this purpose some studies were carried out and mock-ups developed. These samples were shown to and discussed with local masons and villagers for their comment and input. The approved sample was a mix of clay, wheat straw and local soil in a ratio of 1:1:4, which was applied on the roof of the tomb. The thickness of the thatch is four inches, which is an appropriate dimension and will prevent leakage in heavy rain and snow. Finally, two coats of soil wash were applied to fill the cracks due to shrinkage of the top layer of mud thatch.

271

UNESCO Asia-PaciďŹ c Heritage Awards

Building realignment To correct the 30-centimetre misalignment, the local team decided to realign the whole structure as one unit, which allowed for the easier realignment of the tilted parts using turnbuckles and wire ropes. This is an easy and non-risky method of realigning any small size cribbage timber structure. The procedure was carried out with extreme caution and in small alignment correctional increments. About ten minutes later it was observed that the structure was moving to its original position and the team did not even hear any distorting sound. This process saved not only time but also allowed for the use of original joineries especially in the cribbage columns and ring beams. Sher Ghazi

272

Above: The realignment was undertaken using a simple method of pulling the structure using wire ropes and turnbuckles.

Water Towns of the Yangtze River

UNESCO Asia-Paciﬁc Heritage Awards

Context The six water towns, Zhouzhuang, Tongli, Luzhi, Nanxun, Wuzheng and Xitang, are located south of the Yangtze River in the Jiangnan region of China. These towns are situated along the border of two provinces, occupying the far south of Jiangsu province and the far north of Zhejiang province.

Site map

Location Zhouzhuang, Tongli and Luzhi Jiangsu Province, China Nanxun, Wuzhen and Xitang Zhejiang Province, China

Cost Approximately US$1,000 per house Responsible Party Ruan Yisan, Shao Yong, Zhang Lan, Zhou Jian Zhang Song, Li Zhen, Lu Yongyi, Lin Lin Zhang Kai, Dun Mingming, Sung Meng Miao Yang, Zhuang Chundi, Yan Pinhua Zhang Lingling, Wu Qiurong, Chen Xianghong Zhou Ping, Sun Jinggen, Sun Yongming Cao Guoliang, Wang Shengjian, Ling Gangqiang Ning Jiangren

Heritage Architect Ruan Yisan, Shao Yong, Zhang Lan, Zhou Jian Zhang Song, Li Zhen, Lu Yongyi, Lin Lin Zhang Kai, Dun Mingming, Sung Meng Miao Yang

Contractor Suzhou Construction Company of Classical Gardens

Date of Completion December 2001

274

The six towns are each surrounded by lakes and marshes and have streams and waterways branching through them. Dictated by the shape of the waterways, these towns broke the traditional rules of regularity and symmetry in their layout. Belt-shaped towns grew up along a single waterway while star-shaped towns, such as Nanxun, Luzhi, and Wuzhen, were formed around crossing waterways. Zhouzhuang, a square-shaped town, is ringed by water, while circular towns, such as Tongli and Xitang, were bounded by net-shaped waterways. The towns share the characteristic style of “houses amidst small bridges and murmuring brooks”. The commercial streets are parallel to waterways, with a width of between one and three metres. Small lanes run perpendicularly, connecting the streets to the canals. Stone arch bridges connect across watercourses. Mostly constructed between the fifteenth and early twenty century, the buildings are arranged in rows along the waterways and stonepaved roads. Usually one or two storeys high, most are courtyard buildings constructed of brick and timber. The light coloured walls and dark roofs of the buildings lend the towns their distinctive “black and white” motif. In recent times, a growing population, changing lifestyles and increased demand for modern services had put immense stress on the ancient structures and layouts of the water towns. These factors, combined with a lack of development controls and urban planning, had resulted in the deterioration of the ancient towns’ physical and social fabric, with residents moving out to more comfortable settlements. Comprehensive urban planning and management were required in order to provide a higher standard of living to residents and ensure protection of the historic structures and character of the towns.

Work was carried out in accordance with the Urban Planning Law and the Historic Heritage Law, which regulated the construction methods and materials. All rights to the properties are under the protection of the Law of Inheritance of Citizen Properties and Law of Management of Property.

Town and building history First settled over two thousand years ago in the fertile Yangtze river delta, the towns became agricultural centres during the Sui and Tang dynasties, with villagers engaged in rice cultivation, cotton and mulberry farming, fishing and husbandry. In addition, they also raised silkworms and produced silk. Yielding better profits than rice cultivation, commercial crops and cotton and silk handicrafts became dominant in the fifteenth century. The towns grew into major trading centres linked into a regional trading network, serving as conduits between big cities and rural areas. Zhouzhuang, Tongli and Luzhi, for example, were markets for rice and vegetable oil, while Nanxun and Wuzheng were silk markets. Driven by early capitalistic activity, the water towns took on a different social pattern from other Chinese towns under feudal rule, with a mix of landlords, government officials, merchants, upper class people, owners of handicraft workshops and handicraft people, and farmers. The three traditional types of building reflect the social makeup of the town. The houses of wealthy landlords and government officials are large and splendid, with spacious courtyards, painted and engraved beams, sculptures and engravings. The buildings built by wealthy merchants have shops in the front and residential houses in the rear. These buildings are more compact, typically three or four storeys high, and are not as ornately decorated as the first type of building. Ordinary residential buildings make up the third type. These buildings have one or two shop rooms at the front, with living areas at the rear. Different houses show different styles depending on their location. The prosperity of the towns enabled a rich and thriving culture to develop. Over many years people were attracted to the lifestyle of these towns. Retired officials and intellectuals sought peace and isolation and gradually the region brought together an elite

Water Towns of the Yangtze River / 2003

community, including famous writers and artists. Local customs, such as “drinking granny tea” were established and proudly preserved. Declared “historic towns” in their respective provinces in the early 1990s, the six water towns were included on China’s Tentative List in 1999, and thus have the potential to be nominated as a World Heritage site in the future.

Project history After centuries of change, by the 1980s the towns were beginning to show signs of dilapidation. The Ming and Qing dynasty era buildings were in a state of disrepair and public works were sorely lagging in comparison to neighbouring towns. The major dilemma facing the towns was the pressing need to introduce modern services and facilities while at the same time protect and restore the cultural heritage. Moreover, the requirements of the local residents and the demands of the growing tourism industry also had to be balanced. Solutions to these two issues had to be proposed bearing in mind the challenges of the existing urban management system, high conservation expenses, limited fiscal resources and the land tenure system. In response to the situation, in the mid-1980s the authorities of the six water towns commissioned a conservation and development plan for the towns in order to prevent further damage to their historic fabric and establish effective urban planning mechanisms. The plan focused on protecting the ancient towns, opening up new areas, fostering tourism and developing the economy. They sought to restore as much as possible of the towns’ valuable cultural heritage by restricting redevelopment, upgrading services and improving the standard of living of the residents. Under expert guidance, the towns have continued to implement conservation planning at various levels, spanning urban aspects as well as architectural works.

Left and above: One of the water towns, Zhouzhuang, before and after the project. Overleaf Top: One of the restored buildings in Wuzhen, reused as a community performance space. Left: The distinctive canal-side morphology has been preserved. Top and bottom right: Traditional woodworking techniques are used to create folding door screens.

275

UNESCO Asia-Paciﬁc Heritage Awards

Project scope and framework Individual restoration plans for the six towns were undertaken within a similar scope of work, but with adaptations to fit the individual situation of each town. The project addressed each town holistically as a living urban organism instead of as a series of discrete monuments, and therefore placed a priority on preserving the larger historic setting and the overall character of the town. At the same time, the project also sought to renew the intangible heritage which defined each town’s character. Especially in the context of tourism, the project placed an emphasis on ensuring that traditional crafts, festivals and customs were supported in their authentic traditional form, to avoid their empty commercialization. Built elements which were historically significant were carefully restored, while those which were completely damaged were reconstructed in a harmonious manner. This called for re-establishing the original layout of the ancient towns, while also restoring the original form and appearance of the buildings, streets and waterways. Strict urban planning regulations were established on building heights and new construction. Guidelines were also drawn up for detailed aspects such as façade colour and signage in order to preserve the original character and feel of the water towns. Finally, in order to upgrade the quality of life of the residents, services such as new electricity cables and a modern sewage system were installed in the six towns in a discreet and unobtrusive manner.

Conservation methodology and materials The conservation methodology applied to the historic buildings, structures and landscape was based on the principle of “respecting the original state”. Four aspects of authenticity were strictly preserved, namely, original context, original structure, original materials and original techniques. As such, historic fabric which was intact was maintained in its original condition, while original materials and techniques were used when restoration or repair was deemed necessary.

276

Water Towns of the Yangtze River / 2003

In order to develop a deep understanding of the historical structures and urban layout, a detailed exterior and interior inventory of all built elements was undertaken. This has proved to be an invaluable reference during the course of the restoration works and serves today as a permanent historical record. In order to preserve the environmental setting and maintain the ecological viability of the towns, a regimen has been established to dredge out canals on an annual basis. Key rivers are also being dredged for flood protection. Control of pollution in the nearby Taihu Lake, which is linked to all the interconnected waterways, has also been initiated. A wastewater system has been planned. At the urban scale, land use guidelines were drawn up to ensure that modern functions would be compatible with the historic towns. In towns where the historic core was intact, the strategy developed called for separating new development from the historic area, such as in Zhouzhuang and Luzhi. In order to accommodate changing modes of transport, such as the introduction of cars and motorcycles, the road network has been adjusted and auxiliary roads built outside the historic area. For instance, in Luzhi, a northern bypass road was constructed, where new government facilities and public buildings are located. Traffic restrictions on the entry of modern vehicles into historic areas have been enacted for the protection of ancient bridges and streets. These practical measures have allowed the towns to accommodate reasonable industrial growth and good accessibility, without damaging their unique characteristics.

Award Citation The large-scale conservation planning of the historic water towns at the mouth of the Yangtze River sets an important milestone in the protection of living cultural landscapes. The comprehensive approach adopted by the project allows for thorough understanding and interpretation of the areaâ&#x20AC;&#x2122;s natural and cultural heritage at both the local and regional levels. Operating with an overall conservation masterplan, a clear policy framework and sound methodology, the project restores the authentic significance and function of the townsâ&#x20AC;&#x2122; waterways and historic settlements, while accommodating modern needs and anticipated growth. Major investment by the government for public works and by residents for individual structures creates a commendable model of sustainable long-term public-private partnership. The ambitious scope of the project promises to have a major impact on shaping future development in the towns as well as conservation practice throughout China.

277

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team More than a decade of trials and efforts have fostered an integrated conservation ideology and developed conservation planning with Chinese characteristics, which provides a valuable reference for the conservation of cultural relics in China.

To improve the quality of life, streets were repaved and original layouts restored by removing inappropriate structures and other additions. Water, sewage and stormwater drainage pipes were installed, along with power, telecommunications, and municipal electricity lines. Public amenities were constructed. A firemanagement system was devised, with the installation of pumps and hydrants along the riverbanks in order to combat the risk of fire in the context of high density neighbourhoods with narrow streets. At the building scale, guidelines were enforced on the use of exterior materials to ensure architectural integrity, being strictly restricted to the traditional grey bricks, butterfly-shaped tiles, fir and pinewood, and slate stones. The government arranged for the production of traditional building materials and the salvage of historic materials from other areas.

Previous page: A street section showing the close relationship with the water. Above: A floor plan of a residence showing access to a waterway at far left. Opposite Top: Elevation of a restored faĂ§ade. Right and far right: An alleyway upgrade in process, and upon completion.

Individual buildings were restored in accordance with appropriate traditional Chinese architectural styles, such as the Shaoxing, Xiangshan and Anhui styles. Buildings were repaired and repainted in accordance with their historic appearance. On the exterior, the original building proportions (width and height), finishes (colours and paints) and elements (windows, doors, ridges, roofs and eaves) were closely adhered to. Decorative elements, such as carved window-shutters and balcony railings, were mended and replicated, where necessary, using traditional materials and techniques. On the other hand, in the interior more leeway was allowed, with modern alterations being permitted, to allow residents to live a modern lifestyle.

Important issues Mobilizing resources and people The projects were funded by a combination of public and private investment. The government subsidized the restoration of public works, such as infrastructure, shared facilities, roads, bridges and water courses, while local community members invested in the restoration of their own homes.

278

The government was mainly responsible for monitoring at the macro level, regulating and directing the restoration projects. For this purpose, management agencies have been established to take responsibility for the ongoing conservation of the ancient buildings. Residentsâ&#x20AC;&#x2122; committees participated throughout the conservation process, while individual homeowners were charged with the implementation of the regulations and plans. The ongoing guidance of the National Research Centre of Historic Cities at Tongji University has facilitated the conservation planning, provided guidance for renovation works, and transferred knowledge about conservation management and techniques to the local officials and residents. Determining appropriate reuse While many traditional buildings in the six towns were originally designed as shops, the economic and social changes over the past few hundred years have resulted in many buildings losing their original use. Today most of the old shop buildings serve as residences or offices. The renovated houses serve a number of different purposes (residential, commercial and cultural) according to their location, surroundings and property rights. In this way, these buildings have been integrated into the living context of each town. Some buildings are now being used as museums to illustrate the lifestyles and interior decoration of earlier times. Lessons learned In the process of restoring the towns it was discovered that in order to ensure efficiency and consistency a professional restoration team is necessary. Therefore in such projects a team must be set up and trained. Furthermore, an effective management system should be established in order to ensure the conservation plan is followed and optimal results are achieved. In addition, a longterm plan for the managing of funds should be made in order to avoid any delays and cash-flow difficulties.

Water Towns of the Yangtze River / 2003

Project sustainability and viability The project has demonstrated to residents that ancient towns are capable of comfortably accommodating modern lifestyles while retaining charm and individuality. Residents have gained awareness of the distinctiveness of their cultural and built heritage and have therefore developed greater pride in it. As a result they are now more likely to act to maintain the built fabric of their towns. Furthermore, growing tourist interest in the unique heritage values of the area, in part as a result of the restoration project, will provide economic incentives for residents to continue to protect the heritage of the water towns.

Project impact As one of the first large-scale conservation projects to integrate modern facilities into ancient townships, the project has enhanced residents’ quality of life through the provision of upgraded services together with improved housing. The project has also generated greater community appreciation of their built heritage. The plan for the “Conservation and Development of Ancient Towns South of the Yangtze River” was awarded the third prize for Science and Technology by the Ministry of Education. Some towns have received individual awards, with the “Conservation of Zhouzhuang” winning first prize and the “Conservation of Tongli” garnering second prize for “Most Outstanding Planning”. As a result of the recognition it has received, the project now serves as a valuable reference and benchmark for similar future projects in China.

279

UNESCO Asia-Paciﬁc Heritage Awards

Technical Brief

Conservation planning Since 1985, we have been undertaking conservation planning for these towns and helped them with the renovation of historic buildings and the development of tourism. Consequently, these towns have found their historic values while the local economy has been improved. The townspeople are now enjoying a much better life. The experience we gained during the course of the project is as follows. Enhance the awareness of the importance of conservation among the local people It has been made clear to the local government officials, policy-makers and residents that what they have is not ruins or curiosities, but is just as precious as underground mines or the natural environment. The key point is whether people can make good use of them and develop these towns properly. Outside influence has enhanced public awareness of the importance of conservation. Some conferences have been held in these ancient towns. Many influential government officials, scholars and foreigners have been invited to these towns. The research, visitations, comments and propaganda that have been carried out in these towns have had great influence on the local people, who have gradually built a firm belief in the importance of conservation and have come to realize the value of their towns. Thus their enthusiasm for conservation has been inspired and they have given up any idea of tearing down these historic buildings to make room for new ones. Once the general agreement on conservation has been reached, efforts will be made to specify different functions for different organizations and resolve various conflicts. Make a point of seeking conservation in the course of development Great emphasis should be placed on economic development and prosperity in these towns. Besides the general awareness of the importance of conservation and specific measures, financial strength is an indispensable factor in the implementation of

280

conservation planning—for maintenance, repair and renovation. Therefore, priority should be given to the comprehensive study of economic development in these towns. In this situation we have put forward a guiding principle for these towns: “Conserve the old towns and build new towns; develop the economy and tourism industry”. For some of the towns in which good conservation work has been carried out, the general principle is to have the new area and old area independent of each other. In the old area, priority is given to conservation and in the new area to development. Reasonable planning of the new area has guaranteed reasonable industrial layout and good transportation, which in turn favours economic development in the new area. Backed by strong financial support by the new area, the old town can be much better off with conservation and renovation. Recognize different situations and act accordingly Since there is no conservation plan that will fit all cases, we have assessed the cultural relics and scenic spots inside and outside these towns. We have assigned different values to them, on the basis of which we determine their conservation needs. Conservation is classified into three levels: top conservation, key conservation and average conservation. Conservation areas have been carefully defined and conservation regulations have been made. For some specific cultural relics and traditional buildings, conservation measures will be carried out at four levels: conservation, renovation, alteration and maintenance. Various levels of conservation are meant to distinguish different cases so that proper measures can be taken. Plan to make possible appropriate conservation and development The priceless cultural relics these towns have inherited from the past are being threatened by natural and human factors. With a view to conserving the cultural relics, firstly, great efforts

need to be made in terms of surveying and mapping old buildings and building complexes, including their exterior appearance and interior structure. Secondly, reasonable and feasible plans and implementation guidelines are needed in the management of construction and conservation. What needs to be done includes industrial adjustment, planning for transportation, planning for the construction of residential sections and planning for tourism development. Special attention should be paid to the conservation of important old buildings. The role of traditional culture should be underscored since the conservation of these old towns should be comprehensive, including not only material heritage but also spiritual or cultural heritage. We should make a point of handing down the local customs, traditional products, handicrafts, traditional food, traditional literature and art, etc. Therefore, relevant places such as tea houses, story-telling pubs, squares near bridges and piers, where traditional cultural activities can be observed, should be maintained. Co-operate with the local government and residents It takes some time to establish public awareness of the importance of conservation. We have gained approval from the higher levels of government on every conservation plan we have undertaken. We have also won support from farsighted officials and local residents. The plans we have made will function as a blueprint for the future development of these towns and they will be implemented strictly. Implementation of the plan will be a long process, where some adjustments will have to be made to keep up with any changes, requiring the planners to maintain constant concern for conservation. Ruan Yisan

Cangqiao Historical Street

UNESCO Asia-Paciﬁc Heritage Awards

City map Opposite left and right: The canal-side settlement before and after the improvements.

Location Yuedu Residential Quarter, Shaoxing City Zhejiang Province, China

Size 1.5 kilometres in length 6.4 hectares in area

Cost US$5,000,000

Responsible Party All residents of Cangqiao Street

Heritage Architect Zhong Huahua, Zhong Hai, Wu Jianrong Ruan Yisan, Que Weimin

Contractor Li Bo

Date of Completion August 2001

282

Project synopsis

Conservation approach

Located in historic, 2,500-year-old Shaoxing city, Cangqiao Street consists of a mix of residences and businesses built along a waterway. Buildings in this street were largely rebuilt during the nineteenth and early twentieth centuries and are predominantly in the traditional style with white walls and black roofs.

The project aimed to restore the original appearance of buildings and to coordinate the style of the street. Traditional construction techniques and materials were utilized wherever possible and inappropriate additions were removed.

Prior to the restoration project many buildings had fallen into disrepair and in some cases old buildings had been demolished and replaced with modern structures, inconsistent with the traditional style and character of the town. Furthermore, Shaoxing’s high population density and shortage of modern facilities was straining the capacity of the city’s fabric and infrastructure. Demand for more residential buildings meant that the spatial layout of existing structures was being altered by the addition of shacks in courtyards and other spaces. Furthermore, the lack of a central sewerage system meant waste was being improperly treated and often dumped into the river. These factors combined to create a situation which greatly threatened the city’s built heritage. Historic streetscapes were marred by a tangle of electrical cables and poles, bright signboards and a variety of door types. Seven historic streets were chosen for the Ancient City Protection Programme, a project designed to preserve and restore ancient Shaoxing city. A collaboration between the city government and local residents, the programme’s main aims were to improve the residents’ quality of life while preserving the city’s valuable architectural heritage and traditions. This called for the renovation of all houses along the street and the upgrade of services and infrastructure. Cangqiao Street was the first street in which the Ancient City Protection Programme was implemented. Completed in August 2001, in just five months, the project restored buildings and provided modern services. By restoring wharfs on the riverbanks and facilitating environmental improvements, the project has also reinstated the picturesque South-East China traditional waterfront lifestyle. As the first completed task of the Programme, the project is an example from which similar projects can learn valuable lessons and serves as a tribute to the unique heritage of Shaoxing.

Of the 43 residential compounds along the street, six were classified in terms of heritage value as first class, 13 as second class and 24 as third class. Typical vernacular buildings, they largely contain three layers of buildings grouped around a front and back courtyard. While the overall wooden structure was relatively intact in most houses, the roofs, walls, floors, doors and windows were in need of repair. In the restoration of buildings, outer walls were repaired with salvaged bricks, while traditional wood and masonry skills were utilized to repair the interiors, using recycled wood and stone. Existing roof ridges and skylights were retained and repaired while broken roof tiles were replaced with replicas of the original. Cement door and window frames were removed and replaced with the traditional materials of wood or stone. Those buildings which were severely damaged or were built during the last 50 years were demolished and rebuilt in the original style. To improve the residents’ quality of life and ensure no further damage to the built fabric, new sewage pipelines, electrical, telecommunications and television cables were buried under the streets and new public amenities were constructed. Once the services were installed, the historic streetscape and canals were restored. The streets were relaid with slabs of irregularly shaped stones. The small wharfs on the river banks of the Huanshan River were restored using the original type of stones, thus helping to “restore views” and “maintain the continuity of community life”.

Conservation and the community The focus on improving the community’s quality of life was an incentive for the local people to get involved and commit to the project. Forty-five percent of the costs of the residential renovations were paid by the residents and the House Management

Cangqiao Historical Street / 2003

Office. The remaining balance, along with the cost of public works, was funded by the city government. In order for the works to be carried out safely and efficiently, residents moved out during the restoration process and were compensated by the government. As a result of the project, living conditions, streetscape, potable and river water quality have improved. Each family now has their own electricity and water meters along with private sanitary facilities. Importantly for the community, the restoration of the street and of river access has enabled residents to continue customary activities, including the tradition of washing their clothes in the river. Although the project was not carried out to enhance tourism prospects, since its completion Cangqiao Street has generated much public interest. The street has begun attracting tourists and has even been featured as a backdrop for the filming of a local television series. Such outside interest has generated economic opportunities for residents and is a further incentive to maintain and preserve their heritage.

Award Citation The urban renewal and architectural conservation of Cangqiao Historical Street marks an important first step in protecting the unique amphibious landscape of historic Shaoxing. The conservation project sets rigorous standards in documenting and preserving the townâ&#x20AC;&#x2122;s built heritage, and pays great attention to material authenticity. The project thoroughly addresses both the public realm of streets and canals as well as the private domain of houses and shops through comprehensive infrastructure upgrades and uniform design guidelines for property owners. By providing improved urban services while respecting the historic fabric, the conservation project successfully demonstrates the viability of the historic town as a living and vibrant showcase of Chinese heritage.

283

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team Walking on the stone road or boating on the river, visitors will feel that they are in the past. By providing a series of methods and measures used for conservation policies, plans and practices, the project has a pioneering and positive impact in protecting historical and cultural cities in the future.

Above and top right: Floor plan and section of the 1927 residential compound No. 13. Right, middle, far right: Features of compound No. 133: carved window opening, Shaoxing-style furnishings and stone-framed gates.

284

The Medina Grand Adelaide Treasury

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis Built on the site of one of the earliest colonial buildings in South Australia, the Adelaide Treasury Building remains significant to the state culturally, socially and architecturally. The original building on the site, designed by George Strickland Kingston, a prominent statesman and colonial architect, was constructed in 1839, only three years after settlement of the colony. In the subsequent 70 years the site underwent eight major construction phases, which saw the almost complete demolition of the Kingston building and the construction of a number of additional buildings to accommodate the increasing need for government offices. Since 1909, however, the site has retained a consistent style and layout. City map Opposite: The Treasury building before and after being converted for use as a hotel.

Location 2 Flinders Street, Adelaide, South Australia

Size 7,400 square metres

Cost US$7,800,000

Responsible Party Department for Information and Administrative Services, Toga Group of Companies

Heritage Architect SJB Architects Danvers Schulz Holland Architects

Contractor

The complex today consists of six buildings, constructed predominantly of brick and rendered stone and connected via linking structures. Since the mid-1990s the buildings have been vacant and neglected, prompting a private developer to team up with the owner, the State Government of South Australia, to rejuvenate the site and the surrounding neighbourhood by transforming it into hotel suites for the Medina Grand chain. The owner’s aim was for the building to be converted for a use that was compatible with its historic fabric. This was consistent with the view of the developers who wanted to create a worldclass hotel that would retain the building’s historic features. Both parties realized that the greatest asset the building had to offer was its historic significance, thus no effort was spared to ensure this distinguished building was fully restored, displayed and “returned” to the public. The project was divided into three stages: research, design and physical works. Extensive research was carried out in order to determine how to best carry out the restoration project and integrate new building services into the existing fabric. Physical works commenced on-site in July 2001 and the final stage of the project was completed in August 2002.

Multiplex Construction (SA) Pty. Ltd.

Date of Completion August 2002

286

The revival of interest in the Treasury Building has raised awareness about cultural heritage and sparked interest in other heritage buildings in Adelaide. Importantly, the restoration of the building has demonstrated that it can be economically feasible to

convert heritage buildings and that heritage buildings can play an active part in modern city life.

Conservation approach The building had been marred by unsympathetic fit-out works that had resulted in the loss of much of the original building fabric and decorative features. The scope of works called for the removal of inappropriate additions, the recovery of historic features and the careful insertion of modern services and facilities needed for the building’s operation as a hotel. During the restoration works, all previous service installations were removed as they were physically intrusive. For instance, airconditioning ducts from the 1970s, which had been concealed in lowered false ceilings, were replaced with individual air-handling units. This allowed the dropped ceilings to be raised, revealing the original detailed plasterwork. Similarly, cast iron arches in one section of the building, which had been encased in plastered columns, were revealed by removing the plaster. The arched colonnade now forms a unique architectural element within one of the apartments. Delicate areas of the site were “quarantined” (separated from the surrounding construction) in order to allow for detailed investigations and cautious repair work. For example, an eight-metre fragment of the original building façade wall was revealed behind a layer of later masonry. The soft sandstone wall had been covered with a very hard dash coat which had to be manually chipped away with a 1.5 millimetre tip chisel by a specialist conservation mason. It now forms the focal point of the main entry lounge. Workers also uncovered a small area rich in old objects, such as glass bottles and ceramic plates. Some of these nineteenth-century artefacts are displayed in the hotel lounge. In the new construction works, materials were selected on the basis of their compatibility with the original materials. However, the final finishes were deliberately juxtaposed with the original fabric, with ultra-modern fittings and bold wall colours combined with period architecture to create an eclectic mix of old and new.

The Medina Grand Adelaide Treasury / 2003

Conservation and the community The conservation community was closely involved during the project. In addition to conservation architects and archaeologists, all three levels of the state Statutory Heritage Control were involved in discussions regarding proposed restoration techniques. Statutory Heritage Advisers were provided with unrestricted access to the site and were invited to participate in discussions with the architects before implementation of plans. The conversion of the building into a hotel has facilitated public access to the building, especially to areas that were previously highly restricted, such as the former State Cabinet room. Since the restoration of the building, public interest in the building has soared, with tours of the complex regularly booked out. Interest in the once neglected building is also demonstrated by the high occupancy rate since the hotelâ&#x20AC;&#x2122;s opening. The hotel has led to the revitalization of the surrounding area. As greater numbers of people are drawn to the locality, new business opportunities have arisen and shops and restaurants have opened in the neighbourhood.

Award Citation The sophisticated conversion of the historic Adelaide Treasury Building into a luxury hotel complex successfully demonstrates the commercial viability of reusing historic building stock. The project displays exemplary technical standards of conservation work, with a thorough archaeological survey that has guided the restoration and interpretation work. Modern services have been sensitively inserted, respecting the integrity of the original fabric. By opening the building to the general public, this conservation project has enabled appreciation for cultural heritage to develop and has secured an important chapter in the history of South Australia.

287

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team The sheer size and complexity of the project resulted in a wide variety of specialist conservation techniques being implemented. Once neglected, the site is now embraced by the public and has revitalised the city precinct within which it sits.

Above and top right: Floor plan and elevation. Right: The restored entry foyer. Far right: The former basement cellar now displays artefacts.

288

The Virtuous Bridge

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis Located in Medan, the third largest city in Indonesia, the Virtuous Bridge crosses the Babura River near the intersection of Zainul Arifin Street (Calcutta Street) and Gajah Mada Street (Coen Street) in an Indian neighborhood known as Kampong Madras. The city was founded as a Dutch plantation centre on Sumatra and employed workers from various local ethnic groups as well as from the island of Java. Immigrant workers were also attracted there from many other Asian countries. Today Medan has a diverse community with European, Arab, Indian, Chinese, Javanese, Batak, Malay, Acehnese, Minangkabau, Karo and Mandailing cultural influences. Built in 1916, the Virtuous Bridge reflects this diversity through the three languages inscribed on its pillars, Mandarin, Jawi and Dutch. City map Opposite: The bridge before and after refurbishment.

Location Zainul Arifin Street, Medan, Indonesia

Size 67,236 square metres

Cost US$7,028

Responsible Party Sumatra Heritage Trust

Heritage Architect Diagram Consultant

Contractor Muhammad Zaini

The bridge commemorates the legendary mayor of Medan, Tjong Yong Hian, a virtuous man of Chinese descent, who lived from 1850 to 1911. A respected member of the community, he is remembered for his cross-cultural philanthropy. Tjong Yong Hian and his younger brother, Tjong A Fie, constructed a mosque, temples, a leprosy hospital, school and even railways. Because Tjong A Fie built the bridge in memory of his brother many people knew the bridge as “Tjong A Fie Bridge”. Locals also called it “Jewellery Bridge”, because it originally had sparkling ornamentation. Later the bridge also came to be known as “Tjong Yong Hian Bridge”. With four black marble pillars, golden ornaments and 16 decorated lamps, the bridge had been beautiful and much admired when it was first constructed. However, in 2000, the bridge had become very rundown after years of neglect following its relocation due to the widening of Zainul Arifin Street. The text on the marble pillars was no longer legible, the ornaments had lost their sheen and the decorated lamps had been removed. Furthermore, the history and multicultural significance of the bridge were no longer known by many of the current residents of Medan.

Date of Completion April 2001

290

The restoration of the bridge was initiated by the Sumatra Heritage Trust as part of its third anniversary celebration and was seen as an

opportunity to revive the spirit of multiculturalism in Medan. The project’s main objective was to restore the bridge while ensuring that all those involved gained a sense of belonging, celebrating not only the bridge’s physical refurbishment but harmony among the different ethnic groups. All work was undertaken by community members using contributions from local businesses. The project was completed in three months. Upon completion, the bridge was submitted for protection under Local Regulation No. 6/1988.

Conservation approach The original condition of the bridge was established from photographic records. A crew of local volunteers was mobilized to clean up the bridge. The four marble pillars were repaired and one was repositioned. The illegible inscriptions were repainted. Based on a photo taken in 1916, the 16 lamps were reproduced and reinstalled on the pillars. The railings were restored, with missing parts reconstructed, and completely repainted. Although a simple project in technical terms, involving predominantly cleaning and repainting of inscriptions and ornaments, a major part of the project was to help the community learn more about the bridge. A temporary display board was installed during the works, until a permanent interpretation board was erected beside the bridge. Designed by a local graphic designer who volunteered his services, the board tells the history of the bridge and of Tjong Yong Hian in Bahasa Indonesia and English. It was the first public interpretation board ever in Medan and from the information provided by the board, the importance of the bridge has become clear to the younger generations of the Medan community. This board has also paved the way for public education about local heritage.

Conservation and the community This project was very much a community effort and not only were a spirit of multiculturalism and appreciation of heritage revived, those involved gained a sense of stewardship and belonging. Many sectors of the community—businesses, religious

The Virtuous Bridge / 2003

institutions, individuals and ethnic associations—contributed in some way. Consultants and contractors donated their expertise and time. Companies provided paint, steel and equipment. Cafes and restaurants hosted meals and snacks, while a hotel donated rubbish bins. Free publicity was provided by local media outlets and the Medan municipal government agreed to provide electricity for the bridge’s lamps indefinitely. The residents living around and under the bridge have volunteered to maintain the structure in the long-term and will report to the Trust for assistance when required. On 29 April 2001, upon the completion of the project, the Sumatra Heritage Trust hosted a street party to celebrate the successful joint effort. Reflecting the close cooperation of the city’s community members, the food bazaar was organized by the local neighborhood, while different ethnic groups in Medan put on cultural performances. A photo and sketch exhibition showcased the newly restored bridge. The party culminated with a Chinese dragon dance to the bridge led by the Deputy Mayor, where the new interpretation board was unveiled and the new lamps turned on.

Award Citation The successful restoration of the Virtuous Bridge stands as a moving testimony to the unprecedented cooperation between residents, businesses and government agencies in the multicultural city of Medan. Careful historical research has been translated into a thoughtful restoration and interpretation scheme that is firmly rooted in the community. In the process of restoring the historic condition of the bridge, the people of Medan have also uncovered an important chapter in their shared history and awakened a new consciousness about their local heritage. The newly restored bridge has become a unique symbol of the city’s multicultural legacy, and is a model for future community-driven efforts in conserving local heritage throughout the region.

291

UNESCO Asia-PaciďŹ c Heritage Awards

Top left and above: Elevation drawing and details of the re-created lamps. Far left, middle and left: Moving the lamp base in place. Applying decorations and inscriptions in three languages. The lamps after installation.

292

Catholic Cathedral of Immaculate Conception

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis Constructed between 1883 and 1888 and in continuous use for over 115 years, the Catholic Cathedral of the Immaculate Conception is a leading centre of religious activities in Hong Kong SAR, a source of inspiration to the community and a symbol of religious diversity.

City map Opposite: The main façade before and after conservation.

Location 16 Caine Road, Hong Kong SAR, China

Cost US$1,119,100

Responsible Party Reverend Dominic Chan

Heritage Architect Anna Kwong, SL Lam, WC Mak Bernard Hui, Charles Kung, TF Lo Peter Tsui (Audio consultant) Kevin Li, Levin Hung, Dominic Chan (Lighting consultant)

Contractor Societe Bond (HK) and Company Ltd. Wenden Engineering Service Ltd. Tai Yue Engineering Company Ltd. Pacific Construction Ltd.

Date of Completion 8 December 2002

294

Designed by Crawley and Company of London, the Cathedral is an imposing Gothic Revival style building in a cruciform shape with a tower at the intersection of the nave and transepts. The building is constructed predominantly of bricks and stone over a granite platform and is supported by external buttresses. The Cathedral’s original timber roof was replaced with a concrete roof in 1952 and the main altar was reconstructed in the early 1980s. With four main chapels, a collection of statues and relics and intricate stained glass windows, the Cathedral is a significant attraction on the Central district heritage walk. In view of its historical, architectural and cultural significance, the Cathedral was listed as a Grade I Historical Building by the Antiquities Advisory Board in 1981. The Cathedral’s conservation programme began in 1997 when major roof leakages were reported. The overall goals were to preserve the Cathedral as a living structure and ensure that the needs of the community continue to be met while enhancing the character and significance of the building. The project focused on reinforcing the structural stability of the building, restoring historic and artistic elements and improving building services. Spanning a period of five years, the project was completed in December 2002. It has revived community interest in liturgical art and architecture and has become a model for the restoration of other religious buildings.

Conservation approach Thorough research and documentation established the historical and liturgical significance of the Cathedral before any construction plans were made. Monitoring checkpoints were set up throughout the building and underground infrared scanning was carried out to monitor changes in the water level. Defects in the structure

were analysed and an array of options carefully discussed and tested before deciding on repair methods. For instance, in repairing the roof, which was the major part of the restoration project, a waterproofing liquid membrane was applied over a section of the roof and its performance was tested for two years before it was implemented for the whole roof. In conformity with the Venice Charter, the project removed incompatible elements in the name of architectural integrity. Specialists with traditional skills were appointed to undertake replacements and repairs using compatible materials and techniques. For example, the blue mosaic backdrop in the niche for the Statue of the Immaculate Conception that had been added during the 1980s was removed. Similarly, the railing previously installed in the grotto was removed and redesigned so as to be more compatible with the setting. Concrete paving in the front portico, sacristy and the side entrance was replaced with granite paving similar to the granite of the Cathedral pillars. This paving was laid by a specialist mason in the traditional manner. The Statue of Our Lady of Lourdes was repaired and redecorated by one of the few surviving local artisans with traditional skills in restoring statues. So as to acknowledge the importance of Chinese martyrs and saints, the Chapel of Our Lord’s Passion was renamed the Chapel of Our Lord’s Passion for the Chinese Martyrs. A Chinese artist was commissioned to replace the geometric design on the stained glass windows with new images depicting the Chinese martyrs. In keeping with the character of the building, the new stained glass windows were produced using traditional stained glass techniques and craftsmanship. In order to enhance the ambience of the Cathedral the lighting and acoustics of the building were redesigned to enhance liturgical functions. The Cathedral was zoned into different sections in order to achieve the desired lighting effects, with the main altar having the brightest lighting and indirect lighting used for the rest of the Church. Interior and exterior architectural features, such as arches, and liturgical art and statues were highlighted with lighting. To ensure the ongoing maintenance of the structure, the ad hoc restoration committee was given a permanent role, charged with

Catholic Cathedral of the Immaculate Conception / 2003

overseeing regular maintenance of the building in a manner which would reduce the need for expensive future repairs, while at the same time allowing the building to develop its patina of age.

Conservation and the community Project managers sought to ensure that all levels of the church community were actively involved in the project in order for the restored Cathedral to truly meet the needs of the stakeholders. Information about the renovation was publicly displayed and consultation sessions were held to enable parishioner feedback. Various age groups of the parish community were invited to evaluate such aspects as the lighting design and to test the illumination and acoustic levels. A steering group was formed to appeal for donations and to organize fundraising events such as walkathons. Donations were matched on a dollar-to-dollar basis by Cheung Kong Property Development Ltd. The systematic and sensitive approach to conservation planning and the involvement of the community has made this project a model for the restoration of other historic churches and religious buildings, as well as for the construction of new churches in Hong Kong.

Award Citation The preservation of the Cathedral of the Immaculate Conception has revitalized this religious landmark, which has a history of continuous use for 115 years. The non-intrusive investigation of the building and the systematic process of testing possible solutions displays technical competence and a keen understanding of the complexity of working with historic buildings. By undertaking necessary repair work and upgrading the services in the Cathedral, the conservation project has not only consolidated the physical historic fabric of the building, but has also renewed the spiritual life of Hong Kongâ&#x20AC;&#x2122;s Roman Catholic community.

295

UNESCO Asia-Paciﬁc Heritage Awards

Quote from the project team Responsibility for the care and upkeep of the Cathedral is passed onto each succeeding generation. Good maintenance begins with good housekeeping. The project reminded the church community that pro-active prevention and rectification of building defects should be based on the principle of “a stitch in time saves nine”.

Above: The Greek cruciform plan with 32 columns. Top right: Section through the nave. Right: Inappropriate finish was removed from the side chapels. Far right: The refurbished altar at the nave and transept intersection.

296

Catholic Cathedral of the Immaculate Conception / 2003

Above: Services continued during restoration works. Left: The new scheme provided better illumination and highlighted the interior Gothic arches.

Technical Brief

Lighting and acoustic design The Cathedral was first illuminated by candlelight, then by gas lamps and, eventually, by modern electrical fittings, which were introduced during numerous phases of subsequent refurbishments. Prior to the renovation of the Cathedral the lighting with respect to qualities such as uniformity, lighting level and glare control was not suitable for the ambience of liturgical ceremonies. Rather, the aesthetics of the lighting equipment appeared to have been chosen to merely meet the functional illumination requirement. In 2001 local lighting experts were invited to submit ideas for

improving the lighting design. The lighting improvements were as follows: • The main altar was given a dominant lux level, appropriate for the altar’s position as the focus of liturgical ceremonies. • Indirect lighting was established in the rest of the church, with a relatively low and uniform lux level. • Architectural features such as arches, roof trusses, mouldings a nd the liturgical art and statues were highlighted. After long discussion among the various stakeholders, including the parish priest, the parish community, the technical advisers and the lighting consultants, the decision was made to: • Install high colour rendition, energy saving, and warm colour metal halide lamps for the general upward floor lighting, to create a peaceful ambience. • Use 100% colour rendition tungsten halogen lamps for the accentuation of statues and arches.

297

UNESCO Asia-Paciﬁc Heritage Awards

Use different lumination, with a variety of photometrics, to achieve the lighting effect required in the celebration of the Eucharist and other liturgical ceremonies. • Ensure visual comfort, uniformity, low contrast, good glare limitation and energy efficiency as well as ease of maintenance. • Choose lumination carefully so that they blended with the architecture of the Cathedral, keeping the aesthetic disruption of the fittings to a minimum. • Arrange zoning and control to suit the various liturgical ceremonies yet put aside money for expensive and sophisticated dimming systems. The circuitry and control were arranged with the greatest care. •

In September 2002, a trip to Macao SAR was organized to study the lighting effect in St. Joseph’s Seminary, St. Domingo Church and other sites. As in many large-scale churches, the Cathedral was a huge challenge for acoustic improvement as the large volume of air and extensive reflective surfaces made the church acoustically reverberant. Echoes were a common problem for the congregation as they struggled to hear the sermon and join the choir. The most common solution, using sound absorption treatment to decrease the reverberation over five seconds (RT60 mid-band as measured), was considered inappropriate as the introduction of wall insulation panels would significantly affect the character and atmosphere of the Cathedral. This option was also expensive.

and to limit the energy spilling into the upper part of the church where large reflective wall surfaces would reflect unwanted sound energy. The two line array column speakers, each consisting of 12 small speakers, were set up at the main columns in front of the main altar at listener’s ear-height to test if the system would meet the requirements before commissioning the audio expert. The church community and priests were invited after the Sunday mass to see and listen to the test performance and evaluate its possible effects on the historic building. To devise an optimum design for the sound system, acoustic modeling computer programs were used. A complete computerized 3D model of the interior of the Cathedral acoustics was built and different audio system design approaches were tested. The sound levels and speech intelligibility of the Cathedral were recorded at all spots and inputted into the model for comparison. Parish priests and members of the repair committees were invited to the audio studio in December 2000 to speak into the microphone, hear the simulation and compare the different designs according to different speakers placements, before ordering the audio equipment. With the system installed, the results have proven consistent with the computer simulations and the effect of reverberation has been reduced dramatically, thus achieving the required speech intelligibility. Adapted from “Catholic Cathedral of the Immaculate Conception” UNESCO Asia-Pacific Heritage Awards entry submission

A specialist acoustic consultant was asked to assist in the design of a new system. The design objectives were: • Control echoes to ensure clarity of speech. • Distribute sound to ensure an even level of sound at all locations in the Cathedral. • High quality audio products of neutral character to keep the visual impact to a minimum. • Ensure the new audio equipment would cause least intrusion in the Cathedral and be reversible. The suggested solution was to use the line array principle to focus a wide but very flat energy pattern so as to concentrate the sound

298

Top, middle, above: Lighting schemes for the interior and main façade were modeled using computer programs.

Dalongdong Baoan Temple

UNESCO Asia-Paciﬁc Heritage Awards

City map Opposite: Before the restoration the main hall was obscured by a modern structure.

Location 61 Hami Street, Datong District Taipei, China

Size 10,000 square metres

Cost

Project synopsis

Conservation approach

Established in 1805, the Dalongdong Baoan Temple enshrines deities from local folk religions, the most important being Baoshen Dadi, the God of Medicine. Built to ensure the well-being of the settlers on the island, the temple was named “Baoan”, literally meaning “protection”. The land on which the temple is built was donated by the Wang clan. The temple is a timber and masonry structure with elaborate ornamentation. It faces south and consists of three main halls and two wings. Combining different architectural styles, including northern Chinese, southern Fujianese and Hakka, the temple embodies ethnic diversity.

The goal of the project was to restore the original spatial layout and structure while maintaining the highest level of authenticity. The project emphasized the recovery of original materials where possible, and incorporated the use of modern conservation technologies with traditional materials and construction methods. Teams of craftspersons were recruited for the project, including carpenters, roof specialists, painters and artisans. New materials and techniques were permitted only in special circumstances, such as for the provision of modern services, and only if compatible with the preservation of the historic fabric of the temple.

Prior to this restoration, the temple had been renovated four times, most recently in 1967. Since then few repairs were carried out and the temple had deteriorated. By the early 1990s, it was in a highly dilapidated condition. A banyan tree had sprouted up on the ridge of the main hall. Termite infestation, roof leakages and human impact, such as build-up of incense soot, all had a deleterious effect on the internal structure and the decorative works. Incompatible modern elements had also been added over time, such as a platform in front of the entrance hall and a reinforced concrete water tower.

In keeping with conservation protocols, careful documentation was undertaken throughout the project to record the building’s condition, the historic fabric and the repair works. For example, when the paint from recent renovations was removed, the original paintings underneath were photographed as a reference before the artwork was restored. The structural system of the temple was also carefully modeled with 3D software to better understand the stresses on the timber frame. The strength of the wooden members was tested using non-invasive ultrasonic techniques.

In 1994, the Baoan Temple Committee proposed a restoration plan to repair the roof and wooden structures, remove inappropriate elements and restore religious ornamentation. Work began in 1995, with the most vulnerable parts of the complex being restored first. Entirely funded by the temple’s followers, the restoration project was completed in 2002.

US$7,430,000

Responsible Party Liao Wu-Jyh

Heritage Architect Gao Er-Pan, Wang Song-Yong, Tsai MingChe, Chu Yao-Qin, Wang Huey-Jiun

Contractor Committee of Historic Relics Restoration of Dalongdong Baoan Temple

Date of Completion February 2002

300

Traditionally the temple was not only a place of worship but also a community hall. Since the renovation, its traditional function has been revived and the temple is now used as a gathering place by many community groups, for example reading groups, English conversation classes, the Baoan Temple Chinese Orchestra and the Cultural History Work Association.

Prior to the commencement of works, a protective structure was erected over the building in order to protect it during the course of the project. Boards were erected to protect significant pillars and walls, while projecting wood carvings were wrapped to avoid inadvertent damage. The first stage of the construction works included the removal of incompatible elements, such as the 1950s-era canopy in front of the main hall. The original stone paving in front of the entrance hall was uncovered, while auxiliary buildings such as the bell pavilion were restored to their original timber structure. The roof of the dilapidated main hall was disassembled to allow for the repair of rotten wooden members, which required the stabilization of the decorative roof ridges, removal of roof tiles and the step-by-step removal of the beams, rafters and purlins. Replacement timber parts were milled using hand tools and hoisted back into position, and the roof reassembled.

Dalongdong Baoan Temple / 2003

In the interior, the later use of modern paints, non-ventilating doors, cement plaster and ceramic bricks in the walls and floors had led to high levels of humidity, which exacerbated the termite problem. They were removed, either revealing the original materials, such as the intact original brick walls, or replaced with traditional materials. The replacement door panels were newly carved with the original perforated latticed designs. Modern concrete columns were removed and replaced. The temple is renowned for its elaborate decorative works. The principle of “maintaining original colour and appearance” guided the repair of the colourful frescoes, moulded plaster works, intricate wood carvings, glazed ceramic ornaments, golf leaf and lacquer appliqué, and porcelain mosaics. Previous attempts at restoring the paintings during earlier renovations had produced unsatisfactory results so experts were invited from Japan and Austria for this project. A wood-carving expert from Zhangzhou was also brought in to repair the wood carvings. Where the original pieces were beyond repair, replicas were created using camphor wood. In the restoration of the intricate chien nien (porcelain mosaic) roof ridge decorations, the glass and acrylic fragments used in a previous restoration was replaced with the traditional porcelain bowl shards. Likewise, a lime-based bonding agent was produced

Award Citation The conservation of the 1805 Dalongdong Baoan Temple represents a major technical accomplishment and is to be commended for its ambitious scope and the depth of its conservation work. The project has taken a balanced approach between using modern scientific conservation methods and traditional architectural and decorative materials and skills, in order to recover as much of the historic building fabric as possible. The meticulous attention to detail and the generous sponsorship of the project has resulted in the comprehensive conservation of the structure’s religious and architectural significance.

301

UNESCO Asia-Paciﬁc Heritage Awards

on site in lieu of cement mortar. This consists of oyster shell ash mixed with glutinous rice, black sugar, white ash and linen, which is immersed in a tank until it reaches a thick and sticky consistency. Modern facilities such as water pipes, electricity, air-conditioners and a fire control system were installed. In order to minimize visual disturbance, they were buried underground and are controlled through a centralized computer system. Efforts were also made to protect the building against termites and mildew. Termites were considered to be the most serious problem. New wood members were soaked in pesticide. Old timber was injected with pesticides and in areas where injections were not possible, such as between the rafters and beams, a spray treatment was used. Inspections for termites have become routine and reapplications of pesticides have been scheduled for every five years.

Conservation and the community During the restoration process the community gained invaluable knowledge about conservation both through their own activities and through interaction with restoration experts. In addition, a series of seminars about cultural relics was conducted in the temple grounds, creating opportunities for the exchange of knowledge between overseas and local consultants. The use of the temple grounds for community gatherings and classes has led to the revival of local traditions. Furthermore, classes such as “Traditional Puppet Show Camp” have breathed new life into once-forgotten skills and performing arts.

Top: The elevation shows the richly ornate façade. Above: Floor plan. Left: The crew hoists up a roof beam.

302

Media coverage of the restoration works and about the renewed temple has sparked tourist interest in the area, increasing the possibilities of developing tourism-related businesses and creating new economic opportunities for the local community.

Gota de Leche

UNESCO Asia-Paciﬁc Heritage Awards

City map Opposite: The fine Italianate building before and after conservation.

Location 859 S H Loyola Street, Sampaloc, Manila Philippines

Size 337 square metres

Cost US$71,201

Responsible Party La Proteccion de la infancia, Inc.

Heritage Architect Augusto Villalon Liliane Rejante Manahan (Wall finishing consultant)

Contractor Felicisimo M. Consuelo

Date of Completion September 2002

304

Project synopsis

Conservation approach

Situated in the congested “university belt” of Manila, the Gota de Leche building is an exceptional structure surrounded by modern medium-rise buildings of nondescript architecture. Completed in 1917, it is one of the few remaining buildings designed by Arcadio Arellano, one of the founding fathers of Philippine architecture. Modeled after the Ospedale degli Innocenti, an orphanage in Florence created by renowned Renaissance architect Brunelleschi, the Gota de Leche is an example of a successful adaptation of Italian Renaissance architecture to the tropics. The building incorporates an arcaded loggia with glazed terracotta spandrels, providing a wide verandah that shades the large windows of the building from the tropical sun. Since its construction in 1917, the Gota de Leche building, whose name means Drop of Milk, has been the home of La Proteccion de la Infancia, a charitable organization providing free pediatric care and milk to indigent children.

Authenticity was the main principle guiding the restoration process, so the first step was to remove additions and changes made to the building to restore it to its original appearance. In the 1950s, a new annex had been constructed on the southern end of the building, along with three other structures built to house classrooms used by the neighbouring university. These were removed, thereby re-establishing sightlines from the street to the historic building as well as providing vehicular access to the rear parking lot. The complex’s historic layout was further enhanced by the restoration of the front garden with period landscaping.

While the Gota de Leche has long been regarded as an icon in Philippine architecture, in recent years it had begun to show signs of significant decay and, due to high land values, the site was a target for real estate developers. While most heritage buildings in Manila are being demolished to make way for modern structures, the owners of Gota de Leche wanted to restore the building to its original 1917 condition, in order to continue its historic social function and to take on an expanded public role. Luckily the building had escaped damage during World War II, so the foundations and structural system of the building were still in sound condition at the time of restoration so no major structural works to the main building were required. As a result of the project, the elegance of the Gota de Leche building has been restored, with the building now sitting in stark contrast to the urban decay of the surrounding environment.

In the interior, the full mezzanine on the ground floor was replaced by one covering only half the area. Dropped ceilings installed during the 1950s for air-conditioning purposes were also removed, revealing the original wooden ceilings, with the mouldings, carving and exposed trusswork completely intact. Most of the materials used in the original construction are still available in the Philippines today, so almost all materials used in the restoration process were the same as the original. The flooring tiles, for example, were replaced with the same tiles as the originals, which were even produced by the same company. Similarly, the wooden-framed kapis (placuna placenta) shell windows, a typical vernacular feature, were also duplicated. No longer available in Manila itself, they were sourced from Albay province where the traditional skills and raw materials still exist. Local construction skills were revived and conservation knowhow was transferred to the builders as part of the process. The general contractor selected for the project was himself a skilled wood craftsman who had experience in a number of previous restoration works and was therefore familiar with the need for emphasizing authenticity in the works. For example, in the repair and replacement of broken grillwork, the project architect worked with local iron forgers. Based on an examination of the existing examples on site, they employed the traditional method of attaching steel bars with rings and riveting, along with the manufacture of cast lead decorative elements. Likewise, in order to undertake hand-finishing of wall and ceiling surfaces, local

Gota de Leche / 2003

painters were trained by the heritage consultant in classical wall finishing techniques.

Conservation and the community Open for public access, this landmark building continues to be used for a charitable function. It now also houses the first national centre for womenâ&#x20AC;&#x2122;s rights, which provides counseling services for local women. A permanent exhibition informs users and visitors about the history of the building. The re-landscaped front garden is a welcome green space in the congested and polluted innercity neighbourhood. Providing a venue for various community activities, the site continues to have social significance not only for nearby residents but also for people from around the city. The restoration project has demonstrated to the public the modern viability of heritage structures, and has thereby raised public awareness of the value and use of historic buildings, as an alternative to demolition. In March 2003, the National Historical Institute of the Philippines honoured the structure for its outstanding contribution to Philippine architecture. The building had also received earlier recognition for its historical significance in October 1977.

Award Citation The careful restoration of the 1917 Gota de Leche building provides a welcome model for preserving Manilaâ&#x20AC;&#x2122;s rich architectural and social history. The removal of unsympathetic additions, the restoration of the original landscaping, and the use of traditional crafts in repairing the dilapidated building have been undertaken within a clear and low-intervention conservation framework. Returning the building to its original appearance and prominence in the University Belt neighborhood provides a worthy and appropriate setting for the sustained operation of Gota de Lecheâ&#x20AC;&#x2122;s charitable programmes, while demonstrating a commendable commitment to advancing the local conservation agenda.

305

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team Gota de Leche demonstrates that one of the most important ways to improve the quality of Manila life is through architectural restoration. It is hoped that this project will set an example for other projects in Manila and the rest of the country.

Top: Ground floor plan. Top right: Side elevation showing the colonnade. Right, far right: Restored upper landing area, which was marred by decay and graffiti before conservation.

306

Excellent Project • Baltit Fort, Karimabad, Hunza Valley, Pakistan

Award of Distinction • Church of Our Lady of Mount Carmel, Mullewa

Western Australia, Australia • Lakhpat Gurudwara, Lakhpat Village, Kuchchh District Gujarat, India • St. Ascension Cathedral, Almaty, Kazakhstan

Award of Merit • Dadabhai Naoroji Road Streetscape, Mumbai, India • Dorje Chenmo Temple, Shey Village, Ladakh, India • Phra Racha Wang Derm, Bangkok, Thailand • St. Thomas Cathedral, Mumbai, India • Vietnamese Traditional Folk houses, Viet Nam

Honourable Mention • Elphinstone College, Mumbai, India • Female Orphan School, Sydney, Australia • Gong’zi’ting, Beijing, China • Namuna Ghar, Bhaktapur, Nepal • Suzhou River Warehouse, Shanghai, China • Tak Seng On Pawnshop, Macao SAR, China • Zargar-e-Yazdi House, Yazd, Iran • Zhangzhou City Historic Streets, Fujian Province, China

Baltit Fort

UNESCO Asia-PaciďŹ c Heritage Awards

Village map

Context

Project history

Baltit Fort is situated dramatically on an outcropping overlooking Karimabad village in the Hunza valley. Now part of the Northern Areas of Pakistan, the Hunza was once a princely state ruled by a succession of Mirs until 1974. The valley, located between China and India, is dominated by the Ultar glacier and Rakaposhi, one of the highest peaks in the world.

In 1989, the former Mir of Hunza donated the fort to the Baltit Heritage Trust (BHT), a community-based public organization which was established by the Government of Pakistan for the purpose of owning and operating the fort. This donation to a public entity enabled the Aga Khan Trust for Culture (AKTC) to sponsor the restoration project. The work was undertaken by the Aga Khan Cultural Service Pakistan (AKCSP), which is the operating arm of the Historic Cities Support Programme (HCSP) of the AKTC in northern Pakistan.

A massive stone structure with intricately carved timber details, the Fort has stood for centuries as the sentinel to the valley, protecting the traditional settlements which are gathered below it. As an architectural monument and the residence of the former ruling family of the Hunza, it forms a significant part of the cultural heritage of the valley and of Pakistan. Although still remote, the area is experiencing a rural to urban transformation which is affecting both the social and built fabric of the place. Today the restored fort anchors a revival of local culture and a rising tide of tourism in the valley, underscoring the importance of preserving the integrity of the cultural and natural heritage in the context of sustainable development.

By that point in time, the building condition had deteriorated, facing serious structural and geotechnical problems from the steep slope and lack of soil stability. The project had to overcome major logistical challenges due to the remoteness of the area and the limited access to the site. The difficulty was further compounded by the discovery of significant structural defects during the course of works. The project was undertaken over a six-year duration, and was completed in the spring of 1996.

Project scope and framework Location Hunza, Pakistan

Size 5,000 square metres

Cost US$1,034,482

Responsible Party Baltit Heritage Trust (BHT)

Heritage Architect Aga Khan Trust for Culture Aga Khan Cultural Service Pakistan

Contractor Aga Khan Housing Board for Pakistan

Date of Completion October 1996

310

Building history By local accounts, Baltit Fort is believed to date back over 700 years when it formed part of a royal dowry for the marriage of a princess of Baltistan to the reigning prince of Hunza. Radio carbon testing has confirmed this date. The earliest historic documentation was undertaken by occupying British forces in the late nineteenth century and provides valuable reference of the historic state of the fort in written and photographic form. The plan of the structure shows that it was originally built around a core of one or two fortified houses, which then evolved into a fort. Over time, a second storey and subsequently a partial third storey were added. Until 65 years ago, the fort remained the residence of the Mirs of Hunza and was only vacated when the last Mir and his family moved to a modern residence below the village.

In keeping with the mandate of the AKTC, the project aimed to promote both heritage conservation and cultural development at the same time. The project was part of a larger programme to safeguard the cultural heritage of the mountainous regions through the inventory and preservation of historic monuments and traditional settlements. The revival of cultural heritage would allow it to become an instrumental tool to improve the living standards of the local residents and revitalize community life around the fort. Proactive heritage management would enable the local community to benefit from new income and enterprise opportunities, for instance, from tourism development and handicraft promotion. The project adopted a grassroots conservation approach which allowed heritage concerns to be integrated seamlessly into the community development agenda. For example, traditional

Baltit Fort / 2004

livelihoods were revived by training local builders and woodcarvers in vernacular construction and woodworking skills. At the same time, in addition to supporting traditional construction know-how, the project also aimed to introduce and disseminate international conservation practices in the country. Architects, engineers and craftsmen benefited from on-site training, which was supplemented by additional courses overseas at York University and ICCROM. The physical shell of the fort was stabilized through strengthening bearing walls, floors and roofs. The buildingâ&#x20AC;&#x2122;s timber cage structure was reinforced to withstand seismic shocks and continued weathering. Minor interventions and the installation of modern services were required to convert the building into its new use as a museum and cultural centre.

Conservation methodology and materials The conservation of Baltit Fort was planned in stages. The most urgent task was to identify and then remedy the structural problems related to the foundations and load-bearing walls. The structural stabilization then allowed for the subsequent conservation of architectural fabric and finishes. The stabilization works were often undertaken in conjunction with repairs to the fabric. For instance, while a wall at the south end was still being underpinned with new foundations, the emergency stairs at the north end were patched and whitewashed. Finally, new elements required for the modern use and safety of the structure were inserted.

Left and above: The fort complex before and after conservation.

To enable works to be undertaken in parallel, the fort was divided into 13 workstations which operated as structurally-independent units. Each station comprised a portion of the main facade and the set of rooms located behind it. At each of the stations, work progressed through the stages of work in the same sequence, beginning with temporary and preparatory works, followed by reinforcement of the foundations. Next, wooden wall elements forming the structural cages were restored. This was followed by the consolidation, replacement or reinforcement of stone and

311

UNESCO Asia-PaciďŹ c Heritage Awards

Top left and right: The projecting balcony before and after restoration. Above: The floor plan shows the interconnected rooms and courtyards. Opposite: Cross section through the fort.

312

mud mortar used as infill in the walls. The surrounding retaining walls were also reinforced. Finally, roofs and floors were restored or replaced, and finishes were reinstated. Whenever possible, traditional construction techniques and materials were used for repairs. Samples of the original materials were taken from the walls, floors and ceilings for investigation and to be preserved for future study. Based on the studies, matching local stone, mud and timber were selected. The traditional materials have the advantage of being locally available, affordable and providing good thermal comfort. Over centuries of use, they have proven to be both earthquake resistant and long-lasting. Moreover, local builders and artisans were mostly familiar with these materials and techniques. The restored building showcases years of hard work by a dedicated group of masons and workmen from Hunza and adjoining areas. The exterior facade of the fort was maintained with its characteristic soft white render, which dates back to approximately 1900 when

Baltit Fort / 2004

Mir Mohammed Nazim Khan had the walls whitewashed, possibly under British influence. Discussions ensued about the possibility of returning the fort walls to their traditional state, exposing the timber and rubble structure, or their later finish of mud render. It was ultimately decided that the whitewashed facades, providing a dramatic contrast against the grey mountainside, had become one of the distinguishing characteristics of the fort, and should therefore be retained. In certain cases, modern techniques were required when the traditional technologies could not achieve adequate levels of safety. Following considerable research and experimentation, it was deemed necessary to use modern tie ropes, soil-reinforcement and stabilization techniques, and wood preservatives. Indeed, the use of Parafil tie ropes and Geo-mesh soil-reinforcement technology was the first application of these technologies in historic buildings anywhere in the world. None of these conservation works involved alteration of the original structure or its proven resistance to earthquakes. When new architectural elements were required, such as the metal grill floor and the emergency staircase, they were fashioned from modern materials in a contemporary design and inserted in ways sympathetic to the original structure. All modern insertions were designed to be irreversible without damaging the adjacent original fabric. A new suspended floor was added in the area planned for use as the public library, and allows occupants to inspect the underlying archaeological features uncovered during excavation works. The project also installed modern electric and plumbing services, a small pantry, toilets and an emergency exit. The fort was converted to house a museum collection illustrating the history of the region and a cultural centre consisting of a library, a research and study room, and audio-visual facilities. In addition, five old houses in the immediate vicinity of the fort were acquired and restored to accommodate an exhibition of traditional ways of living, a coffee shop and a small administrative office. The functions, exhibitions and interior fit-out were carefully designed to be compatible with the fortâ&#x20AC;&#x2122;s former use and to highlight its unique historic character.

Award Citation The restoration of the majestic 700-year-old Baltit Fort exemplifies excellence in large-scale conservation practice. This challenging project was the first of its kind in northern Hunza, reversing the trend of neglecting heritage, and becoming a model for the revitalization of other historic structures in the region. The monumental wood and masonry structure was carefully repaired using a combination of traditional local knowledge and state-of-the-art conservation techniques. The fortâ&#x20AC;&#x2122;s restoration has fostered the revival of traditional building trades, while an associated handicrafts project is providing improved livelihood opportunities in the area. In its new use as a cultural centre and museum, the fort attracts thousands of visitors to the province and has contributed to reinvigorating the local communityâ&#x20AC;&#x2122;s pride in their heritage.

313

UNESCO Asia-Paciﬁc Heritage Awards

Important issues Since this was the first conservation project of this scale to be undertaken in the Northern Areas, it was conceived as a learning process for everyone involved. To maximize the long-term benefit from the project, the site workers, masons and other craftsmen were all drawn from the local community. The range of conservation issues which emerged through the course of the project required careful consultations and innovative approaches from both the craftsmen and the professional consultants. Hunza’s distance from regional administrative and finance centres in Karachi, as well as from the AKTC’s headquarters in Geneva, added operational complications which had to be overcome by the team.

Project sustainability and viability The BHT owns and operates the Baltit Fort. A team of professionals looks after all aspects of operations and management, including repair and maintenance. Additionally, a reserve fund has been created for the fort’s upkeep and emergencies. Facilities in the museum and library are continuously enhanced and improved in order to diversify income opportunities. Meanwhile, the local community is responsible for maintaining the surrounding built environment and the road leading to the fort, organizing cultural festivals and ensuring security.

Project impact The restoration of the fort has transformed Baltit into a focus of interest in the Northern Areas, while lending local culture a renewed legitimacy in the face of powerful factors of change introduced in Hunza over the past few decades. Eventually, the fort is expected to act as a focal point for research on local traditions and as a centre for exchange between international institutions in need of a base for their fieldwork in the region.

314

Baltit Fort / 2004

The project was also seen as an opportunity for training young conservationists from Pakistan, as well as for the revival of traditional crafts. For instance, the woodcarving tradition has a long history in Northern Pakistan, but had in recent years begun to die out. The restoration of Baltit Fort provided an opportunity to revive this tradition through skill enhancement and training programmes. A reservoir of conservation expertise has thus been created which will benefit other projects in the Northern Areas and beyond. In terms of direct economic benefits, in the first eight years since completion of works over 120,000 visitors have visited the fort, with foreigners accounting for 40 percent of this group. These visits translate into income of over US$300,000. In indirect terms, the restoration of the fort has been a catalyst for associated projects, such as the Karakoram Handicrafts Development Project, which focuses on providing income-generating opportunities for local craft workers through promotion of the traditional handicrafts

of the region. Currently, this project provides additional income to more than 3,000 women and direct employment to over 70 women, while its rehabilitation centre provides work therapy to 60 disabled men.

Opposite Top: Musicians perform on the restored terrace. Bottom left and right: Ground floor entrance before the restoration.

As a result of the restoration, awareness about and respect for cultural heritage has improved. In particular, traditional settlements are now recognized for their ecologically-friendly nature and efficient land use patterns. Consequently, demand for conservation of architecturally and historically significant buildings and settlements has increased in the region. Traditional building techniques and skills are now in high demand. The most significant impact of conserving the fort on mainstream development policy is that cultural heritage has been recognized as an effective tool to achieve sustainable development.

Above left, middle: The waiting room of the former Mir before restoration. Exhibits feature displays of local crafts and clothing. Above right: Kitchen utensils and agricutural tools displayed on the ground floor.

315

UNESCO Asia-Paciﬁc Heritage Awards

Technical Brief

strength polymer mesh that helps redistribute horizontal loads as vertical forces, thereby relieving lateral pressure on the walls.

Foundation consolidation

The south façade was stabilized with the insertion of new foundations at both ends. The middle section was left to span the new foundations, easily achieved with the horizontal timber cators. The new foundations are vertical columns of cribbage, timber and stone sunk to hard moraine, six metres below ground level. The two southeast towers were found to be pulling away from the main structure, which was not surprising since they turned out to have been built with no foundations at all. The tower walls were suspended while new foundations were inserted beneath them. The new reinforced concrete bases were made as large as possible, allowing the load to be widely distributed and not, as before, only vertically downwards. The walls above were then tied to the main structure in order that they effectively act as buttresses.

One of the major restoration issues concerning Baltit Fort was the consolidation of its foundation. Early investigations showed that the most significant defects of the fort resulted from the interaction of the structure with the ground. Some of these defects are the result of the siting, since the earliest phases of the building were erected on top of the moraine, where the soils are hard in surface and feature large boulders. Deep foundations are required on slopes where in situ soils are loose, and thus the foundations were designed also to act as retaining walls. Similarly, deep foundations were required in areas where fill had been deposited to extend the size of the site, or thrown off the roofs onto the slopes during maintenance. In some instances ground works did not exist, such as in the case of later additions that were put up as minor extensions or rooms built over preexisting retaining walls of unknown foundation character. Generally, the original foundations were roughly formed with rubble stone and with longitudinal timber beams placed casually. The overall footing system is therefore fairly discontinuous from the walls above. The increased load pattern of additional rooms helps to explain the structural deformation which occurred at different times throughout the history of the fort. The greatest problems were presented by the main west façade, which showed active and old signs of severe tilting and bowing. The complex series of walls which comprise the west façade was first stabilized at the two ends, thereby helping to anchor the middle section where the problems were the greatest. The west wall, being less than 40 centimetres wide, had to be restrained with temporary Parafil ropes across to the other side of the fort. This permitted excavation of the high ground-level in the rooms behind, and the walls were dismantled as necessary and then permanently tied or slightly pushed back. The infill of the walls could then be replaced, and the inside ground levels re-established, incorporating Geo-mesh reinforcement. This is a high-

316

While it was relatively easy to detect localized soil weaknesses that had been signaled by defects, it was sometimes not possible to rectify the underlying problems. This was due to several reasons. First, some areas of loose soil were very deep, often more than five metres, and excavation to such depths would have jeopardized more stable soils in adjacent areas. Second, drilling holes for grouting to stabilize the foundations was ruled out, as water flush systems would have caused soil settlement, and air flush might possibly have moved the stones around and damaged the drill holes. Third, grouting of cavity-prone material would have risked surcharging the ground, thereby making settlement greater, not smaller; it could also have caused bowing in nearby retaining walls as the grout found its way downward into uncharted soil conditions. In cases where walls were found to be settling or where the soil was particularly loose, one technique employed was to increase foundation widths to stepped strip footings, thereby reducing bearing pressures. Another technique was to span weak areas below the foundations with timber cators, in a fashion similar to placing lintels above window openings. Salman Beg

Quote from the project team From the inception of this project, it was recognized that the new economic forces associated with development and tourism, if not properly controlled, could spoil the beauty of the natural setting and the cultural heritage which are the area’s main resources. Economic progress and wellbeing are to a certain extent dependent on Karimabad’s environmental qualities and therefore development must be guided in order to preserve these essential assets.

Church of Our Lady of Mount Carmel

UNESCO Asia-Paciﬁc Heritage Awards

Context The Church of Our Lady of Mount Carmel and its attached priesthouse are located in the township of Mullewa in rural Western Australia. The area saw a population boom in the early twentieth century with the construction of the railways, which brought new settlers who farmed wheat and raised sheep. Today the church remains a landmark for the remote communities in Mullewa and the Mid-West region.

Town map

Location Mullewa, Western Australia, Australia

Size 450 square metres

Cost US$187,500

Responsible Party Parish of the Church of Our Lady of Mount Carmel

Heritage Architect John Taylor, Katrina Chisholm

Contractor Roof and Wall Doctor Pty. Ltd. Admiration Homes

Date of Completion May 2003

318

Designed in Romanesque style and built in local stone and timber with accented hand-made concrete corners, reveals and mouldings, the church is noted for its monumental character and rustic hand-finished surfaces. Composed in simple geometric volumes, the building is adorned with stained glass windows. The Priesthouse is connected to the main building by a colonnade and shares the same stylistic attributes. Together, they are listed on the Australian Heritage Commission’s Register of the National Estate, the Heritage Council of Western Australia’s Register of Heritage Places, the Shire of Mullewa’s Municipal Inventory of Heritage Places, and the National Trust of Australia (WA) List of Significant Heritage Places.

Building history The church was designed and constructed between 1921 and 1930 by Monsignor John Cyril Hawes, who served as the first resident parish priest in Mullewa for over twenty years in the period after World War I. Trained as an architect, the British-born Hawes gained renown for his church architecture, which was characterized by recasting classical forms to suit the local context. He noted, “A proper church is no mere assembly hall, theatre or auditorium for preaching and community singing; but it is first of all a place of sacrifice… It should breathe forth an atmosphere of prayer, or religious awe and supernatural mystery.” In designing the Church of Our Lady of Mount Carmel, he was inspired by the churches of southern France during the transition period from Romanesque to Gothic architecture, in combination with the Spanish Franciscan missions of California. Hawes worked as the

builder, mason, laborer and general procurer of fittings, as well as raising funds to pay for the construction. With increasing support from the parishioners, both in terms of funds and assistance in the construction, and the additional hands of a professional mason, the works were accelerated, allowing the church to be opened in May 1927. The Priesthouse was built from 1927-1930, and a north transept was added in 1962 to meet the seating needs of the growing parish. Rising, falling and penetrating damp over time had led to maintenance problems, evidenced in efflorescence on the floors. By the 1950s, the mortar was decomposing, with sandy material falling out of the mortar joints copiously. Attempts to render and seal the walls with cement-based mortar only aggravated the problem by forcing the stone-destroying water-borne salts further up the walls, as well as altering the appearance of the buildings.

Project history In the early 1990s, the continuing deterioration of the masonry, transmission of moisture through the church floor and walls, and increasing vandalism of windows led the parish to seek advice on the ongoing care of the place. An assessment was conducted in 1994 of the building, which led to its listing on the Western Australian State Register of Heritage Places, and a conservation plan was prepared in 1995 to guide conservation works. Once the conservation plan was approved and adopted by the parish and the Heritage Council of Western Australia, the parish acted immediately to secure initial conservation funding from the Heritage Council. Works were undertaken over a decade, ending in 2003, in order to minimize disruption to the ongoing use of the church, as well as to amortize the heavy conservation costs for the parish and allow time for ongoing fundraising. It continues to serve as the local Catholic church while the Priesthouse is used as a museum displaying memorabilia relating to Hawes. A parish council assists the priest in maintaining the church, Priesthouse and grounds.

Church of Our Lady of Mount Carmel / 2004

Project scope and framework Within the framework of the Burra Charter, the project sought to preserve the original fabric in its original state and retard deterioration while removing intrusive and destructive elements. Missing elements were recovered and weathered fabric restored. The project scope included the urgent repair and protection of the stained glass windows, replacement of the floor, restoration of the external masonry faรงade, removal of cement render and mortar on the internal and external surfaces, and repairs to the dome. Other conservation-related issues included the installation of a security system and a termite control system, lighting design, boundary wall reconstruction, archiving of historic artifacts, and restoration of the choir loft organ, artwork and bellows.

Conservation methodology and materials The architect conducted extensive research of photographic archives, oral interviews and on-site investigations of the building prior to commencement of works, which were documented in video and photographs as a permanent record and a reference for the ongoing works.

Left and above: Incompatible cement renders were removed from the church.

Due to their critical condition, the stained glass windows were repaired first. In order to protect the windows from strong sunlight and vandalism, different solutions were considered. Ultimately, screens were fabricated from frameless polycarbonate sheets, which were installed using galvanized fixings with allowance for thermal expansion. The screens were designed to protect the windows from ultra-violet rays and accidental breakage, control insects and dust, and fit in with the style and character of the church. At the end of the winter of 1996, the project architect and a materials chemist carried out tests on the masonry to determine the cause of its deterioration and direct the course of the

319

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team The respect for the original architectâ&#x20AC;&#x2122;s work is expressed in faithful and meticulous interpretation of the historic and physical evidence. The work demonstrates the attention to detail and depth of courage required to bring a project of this nature to fruition.

Above: Floor plan. Top left and right: Before and after photos show the cement render removed from masonry entrance. Opposite: Side elevation.

320

restoration works. The masonry walls of the buildings had originally been constructed with a combination of randomly coursed local stone and coursed concrete blocks, bound by lime, cement and sand mortar. The walls had been laid on stone footings, on a gravel and clay combination foundation, with a bituminous damp-proof course built into the wall at approximately floor level. A portion of the cement render and intrusive concrete apron around the building was chipped off to locate the damp-proof course and footings. The samples were tested for moisture, salt and composition, along with samples of the original mortar. As suspected, rising damp, on account of these inappropriate materials, had weakened the stonework. Stone and concrete blocks that had been cosmetically destroyed by salt action were replaced. The original rock quarry and source for the mortar sand were located and used. The external cement render was removed, exposing the historic stonework underneath.

Internal cement render which had been added in the nave, choir loft, porch, baptistery and pulpit were removed, along with the restoration of the sanctuary, south transept walls, dome and sacristy. Mortar pointing was removed and the joints were repointed. New mortar was mixed by the masons to match the old mortar which was applied with a rustic finish in accordance with historic photographs. The bell tower was repointed and the dome repaired. The porous concrete floor in the nave and narthex, and the poor draining soil underneath, was removed in order to install a waterproofing membrane before reinstalling a new reinforced concrete floor. The contractors were careful to match the existing levels and reproduce details of the original floor. The works were undertaken in a total of eight stages. At each stage, the works were approved by the Heritage Council of

Church of Our Lady of Mount Carmel / 2004

Western Australia. Photographic recordings of the existing fabric were made prior to the commencement of works. All moveable objects were removed temporarily while floors and fragile church property were protected. All the completed works were inspected by representatives from the parish, along with the architect and the Heritage Council.

Important issues The church parish has been instrumentally involved in the project from the commissioning of the conservation plan to the execution of conservation works over the years. Their decade-long commitment to the project, and their support in terms of labour and funding, have allowed the project to be carried through to successful completion. They have contributed in manpower for jobs, such as shifting furniture and removing debris from the site, recalling the original days of construction, in which the architect worked alongside local parishioners. The parish was able to leverage recognition of the heritage significance of the building into funding assistance by the Australian Heritage Commission, the Heritage Council of Western Australia and the Lotteries Commission of Western Australia. The local authorities, notably the Heritage Council, have been involved in reviewing and vetting the project at each stage. Their support has allowed the work to be carried out in an otherwise economically depressed rural community.

Project sustainability and viability As a non-commercial building, there was no need to prove future commercial viability, as the value of the project is in its social and spiritual benefit to the community of Mullewa and in the conservation of the regionâ&#x20AC;&#x2122;s cultural heritage. Ongoing works will be funded by the parish and the project donors.

Award Citation The conservation of the Church of Our Lady of Mount Carmel has restored the distinct rustic character of this significant historic building, the focal point of the rural community of Mullewa. Thorough scholarship about the local context and the collected works of the buildingâ&#x20AC;&#x2122;s priest-architect has guided the sensitive conservation approach. The careful restoration of the historic building fabric, including the magnificent stained glass windows, and the removal of inappropriate newer elements, has reinstated the buildingâ&#x20AC;&#x2122;s intended spirituality. The commendable technical execution of the project, along with its detailed documentation, sets a standard for the restoration of similar buildings in the region.

321

UNESCO Asia-PaciďŹ c Heritage Awards

Project impact The restoration works have provided a more conducive environment for prayer and worship for the parish and safeguarded an important living monument of high historic and social significance. The project has provided a deeper appreciation of the oeuvre of Hawes and set a benchmark for the preservation of buildings in Western Australia, particularly religious and regional heritage sites. The project has been recognized by the Royal Australian Institute of Architects (RAIA) with the Lachlan Macquarie Award for Heritage in 2003. The conservation reports and valuable documentation such as the recipe for the historic mortar mix are accessible as public records at the Heritage Council, which could prove to be useful for other projects in the future.

Top and below left: Removal of cement render highlighted the remarkable masonry vaulting. Middle and far right: Cement renders removed and stained-glass windows restored.

322

Lakhpat Gurudwara

UNESCO Asia-PaciďŹ c Heritage Awards

Site plan

Location Lakhpat Village, Kuchchh District, Gujarat, India

Size 374 square metres

Cost US$43,200

Responsible Party Department of Archaeology, Government of Gujarat

Heritage Architect Gurmeet Rai, Paromita Desarkar, Ajaydeep Singh

Contractor

Context

Building history

The Gurudwara is a Sikh house of worship in Lakhpat, one of the historic fortified settlements of Gujaratâ&#x20AC;&#x2122;s Kuchchh district. Located near the India-Pakistan border, Kuchchh has been prone to natural disasters since ancient times, most significantly with periodic earthquakes. The town was a prosperous port and trading centre until the early nineteenth century, when the Indus River changed its course after an earthquake in 1819. Traces of palatial houses in the older parts of this settlement date back to this earlier period, before the subsequent decline of commercial and agricultural activity. Today, the arid region is extremely hot in the summer, with scarce rainfall and vegetation.

The present Gurudwara building dates back to the nineteenth century. Initially, the caretakers of the building were drawn from the Udasi sect. Later, the Sikh community from the Gurudwara Nanak Singh Sabha in nearby Gandhidham started taking care of the site. Religious functions were organized periodically to ensure the continuity of rituals and to maintain the historic importance and religious sanctity of the place.

Due to the harsh surroundings, economic conditions are poor in general and have been exacerbated by natural disasters, most recently a cyclone in 2000 and a major earthquake in 2001. A recent two-year drought curtailed farming activity and many of the villagers are hired as casual laborers in civil works. Some are lucky enough to own small plots of land, while a few families derive their livelihood from fishing. Lakhpat has a population of approximately 400, with the majority being Muslims and the rest being Hindu. The villagers are very closely-knit and form a close social support network for each other. Despite the recent increase in communal tensions in Gujarat, the village has remained peaceful throughout the escalating violence. Reflecting the multicultural composition of the town, the Gurudwara stands alongside other significant religious monuments, including the Tomb of Ghaus Muhammad and the Temple of Hatkeshwar Mahadev. Closely associated with the Udasi sect, the Gurudwara has historically been a pilgrimage site for travelers en route to Mecca, most notably the first Guru of the Sikhs, Guru Nanak Dev, who is believed to have visited in the sixteenth century.

Cultural Resources Conservation Initiative

Date of Completion September 2003

324

In recognition of its historic and architectural significance, the Lakhpat Gurudwara was listed as a protected monument in 1992 under the Gujarat Ancient Monuments and Archaeological Sites and Remains Act.

The courtyard complex is entered through a double-storey gateway with a large pointed arch, which has massive wooden doors. The main building comprises two rooms with a long continuous verandah attached to an adjacent one-room wing. Built with local limestone and red sandstone laid in lime mortar and finished with a fine coat of lime plaster, the external walls are accented by projecting carved stone balconies and perforated panels. The roofs are supported by a wooden frame covered with bamboo strips, mud mortar and traditional tiles. The walls are adorned with line paintings in floral motifs. Other features include intricately carved wooden columns along the verandahs and stone sculptures in the masonry structure. The Gurudwara houses relics such as a decoratively carved wooden cradle, wooden sandals that are believed to have belonged to Guru Nanak Dev and manuscripts of two of the important leaders of the Udasi sect. The largest room in the main building contains a wooden swing decorated with elaborate polychrome floral paintings. Over time, the monument has undergone immense physical deterioration due to its remote location, neglect and man-made interventions, compounded by adverse climatic conditions. The effects of the high salt content in the air and harsh climate damaged the wall plaster, underlying masonry and timber members. Water seepage caused extensive dampness in the building, leading to a thick external build-up of algae deposits. Many of the decorative stone elements (carved brackets, lintels, sculptures and so forth) were also broken or missing. A number of inappropriate repair works worsened the condition of the building and compromised its authenticity. These included

Lakhpat Gurudwara / 2004

the use of cement-based plaster on the walls, cement concrete in the courtyard floor, enamel paint on the woodwork, coats of limewash obscuring the wall paintings and plants along the outer walls.

Project history The 2000 cyclone and 2001 earthquake accelerated the buildingâ&#x20AC;&#x2122;s structural decay, resulting in cracks in the walls and partial dislocation of the structural members. In the wake of these disasters, the Sikh community in Gandhidham proposed the restoration of the site in 2001. With technical support from the Cultural Resources Conservation Initiative (CRCI), the project was funded by the Archaeological Survey of India (ASI) as part of a larger post-earthquake restoration programme in the district. The project was further assisted by the United Nations Volunteers Programme of the UNDP, which provided conservation architects. Conservation works commenced in February 2003 and were completed in September that year.

Project scope and framework The project sought to restore the building to its original configuration and to check its deterioration. Historic building elements were preserved to the extent possible, while inappropriate additions and alterations, especially those that had an adverse effect on the building structurally and aesthetically, were removed. In order to meet the growing demands of visitors and pilgrims, some modern amenities were put in place.

Left and above: Before and after restoration.

In undertaking the restoration, an emphasis was placed on reviving the use of traditional building materials and techniques as much possible, especially since many were on the verge of disappearance. Expert craftsmen were brought in to undertake the works and train local villagers in these ancient construction methods, as a means of empowering them to look after the building after the physical restoration had been completed.

325

UNESCO Asia-PaciďŹ c Heritage Awards

The project was intended to provide a platform for dialogue and joint action concerning the villageâ&#x20AC;&#x2122;s shared cultural heritage amongst the local residents, the caretakers, the Sikh community, the State Department of Archaeology and the Archaeological Survey of India. Through the exchanges, local community members were able to better understand the conservation guidelines protecting the site, while the government officials also developed a greater recognition of the needs of the villagers and users.

Conservation methodology and materials Before commencing conservation, the Gurudwara was extensively documented by conservation architects who made measured drawings, assessed the building condition and took photographs. Lime mortar and plaster were tested for their composition. A survey and assessment was also conducted before each phase of work. Wherever possible, deteriorated members were repaired rather than replaced. If necessary, deteriorated elements were replaced using material that matched the original in compatibility, colour, texture and other visual and physical aspects. Where the original feature was lost due to severe deterioration, the form was replicated. Most of the materials were sourced locally, making ongoing maintenance more economical and replicable by the local community in the future. Local residents supplied information about resources that could be used for the construction work. A work yard was established with a slaking pit and mortar mill to make lime mortar with slaked lime, locally-available small shell aggregate, and coarse and fine sand. A tractor was used to pull the stone-grinding wheel made of local sandstone. A stacking platform was constructed for the lime plaster and mortar. Top: Aerial view of the Gurudwara compound. Above: Floor plan. Opposite: Section through the building complex.

326

All inappropriate additions and alterations were dismantled. Vegetation on the walls and courtyards was uprooted. A platform at the base of the wooden swing was removed, along with the concrete block in-fill in the wooden door and windows. Electrical wiring and woodwork in the niches were taken down. The cement

Lakhpat Gurudwara / 2004

concrete flooring in the rooms was replaced with lime concrete to match the original floor finishes revealed during the demolition process. Likewise, cement-based plaster and mortar were also chipped away, allowing the dampness trapped in the floors and walls to evaporate. Layers of limewash were removed from external and internal walls and stone ornamentation, revealing the delicate line paintings on the wall and a painting of a richly-attired couple aboard a ship. Messages left by ancient travelers also emerged, providing first-hand historic accounts of the historic pilgrimages. They also show the evolution of the traditional gurmukhi script, used in writing the Punjabi language. Decayed soft limestone and sandstone was replaced. The exposed stone plinth was given a poultice treatment to draw out salt from the stone surface. Structural cracks were stitched and the stone surfaces were thoroughly washed and repointed. The porous masonry was then grouted with a lime-based consolidant consisting of a mixture of milk casein, filtered and slaked lime, marble powder and fly ash in a ratio of 1:3:1:1. Limewash was prepared in the traditional method and coloured with ground yellow ochre to match the original tone. Decorative carved stone elements which had decayed badly were restored. Those deemed beyond repair were replaced with matching new replicas. The carved stone in the swing base and courtyard wall was consolidated and given a protective coating of lime adhesive. Paint over the stone sculpture was removed and a coat of lime wash was applied to reduce the erosion of the stone. Likewise, a coat of lime wash was applied on all the new plaster surfaces, with instructions for reapplication in a yearâ&#x20AC;&#x2122;s time. The roof was dismantled and terracotta tiles were salvaged for resue. Decayed purlins and roof rafters were replaced. A layer of bitumen felt was installed to improve the waterproofing of the roof. The original tiles were then relaid, with lime mortar applied along the ridge and eaves.

Award Citation The restoration of this Sikh house of worship demonstrates a sophisticated holistic understanding of both the technical and social aspects of conservation process and practice. Careful attention to detail and sensitive repair work have ensured the retention of the buildingâ&#x20AC;&#x2122;s historic character. Most significantly, the emphasis on involving and empowering the community ensures the long-term survival of the historic building and its associated cultural traditions. Training given to local youth in correct conservation methods emphasizing traditional construction techniques has revitalized local craft skills and revived the use of indigenous materials. The restoration of the Gurudwara returns it to its place of pride in the Lakhpat community, showcasing the distinctiveness of their Sikh heritage both locally as well as nationally.

Missing and damaged wooden doors and windows and other wooden elements, such as the ceilings in the gateway structure

327

UNESCO Asia-PaciďŹ c Heritage Awards

and the wooden ladder to the terrace of the main building, were also restored. Enamel paint that had been applied on the wooden swing, the wooden planks on the ceiling of the verandah, carved pillars and doors in the main building, was stripped to reveal the wood surface, which was then given a protective coat of varnish. New electrical wiring was installed, along with an upgraded lighting system. The building grounds were also adjusted in order to ensure adequate drainage of rainwater away from the building. Plans were also drawn up to replace an inadequate modern community building with a new building to house community kitchens and accommodation for visitors and volunteers. In contrast to the existing building, the new one is to be built at an appropriate scale and using traditional materials, in order to conform with the regulations governing development of a historic monument.

Important issues Above: The stone plinth was regrouted and walls replastered and limewashed. Right: Severe deterioration of the masonry walls prior to restoration.

Local artisans skilled in traditional roof building and stonework were identified to participate in the project. A craftsman from the nearby village was identified to repair the woodwork. Skilled craftsmen from outside the region were also brought in, including masons from Punjab who had extensive experience in other conservation sites and played an important mentoring role. Stone carvers came from central India and plasterers from Jaipur. Throughout the course of the on-site works, local unskilled workers were trained in various building and conservation techniques. Representing different religious groups in the village, most of them were primary-school educated, without any past experience in this area. Young men were taught techniques such as raking mortar joints, cleaning masonry for pointing, removing lime wash from plain and decorated surfaces, stripping paint from woodwork using chemicals, and grouting. They were also trained in preparing lime plaster, mortar and grouting mixtures, thereby raising both awareness and practical skills in a traditional building technique, as an alternative to the use of cement in repairing old buildings.

328

Lakhpat Gurudwara / 2004

Right: Community members lend a hand. Top, middle far right: Enamel paint was removed to reveal exquisite floral paintings on woodwork. Bottom far right: A craftsperson replicates a decorative stone element.

The interaction between the local workers and the outside craftsmen and conservation specialists proved to be mutually beneficial, leading to a constructive partnership. Not only did the local residents gain practical skills, the skilled craftsmen also bolstered their self esteem in taking on a mentoring role, which proved that they were capable of replicating results in another region.

deepened their sense of belonging to the historic building and reinforced awareness of their responsibility towards safeguarding it and similar sites in the settlement. Some older members of the Muslim community recalled fond memories of past events, which helped to revitalize their sense of association with the place.

The local community participated actively in the conservation process, in particular, the Sikh kar sewak groups (volunteers for community work) who function as the caretakers of the building. Travelling to the project site from different places both near and far, they played an instrumental role in contributing both comments and inputs throughout the process of planning and implementing the project. One group also ran a community kitchen to feed the conservation team.

Project impact

Project sustainability and viability In addition to learning the techniques required for future maintenance, the local peopleâ&#x20AC;&#x2122;s effort in this conservation project

The project has demonstrated the benefits of constructive dialogue between the government, local residents and representatives from the larger Sikh community. This has set a precedent in officially recognizing the modern role of traditional institutions and the local community in safeguarding their own heritage, of which they have historically served as the caretakers. As a living sacred site, special permission has been granted by the government to the Sikh religious body to allow Sikh volunteers to upkeep the building and conduct religious rituals on-site. The restoration of the building has allowed it to be used to its full capacity, and visitors are informed about guidelines for appropriate behaviour in the historic building.

329

UNESCO Asia-PaciďŹ c Heritage Awards

Technical Brief

Lime mortar production It is commonly supposed that the function of mortar is to join masonry units together, but this is only one of its attributes. The joint between the units provides a cushion to spread the load evenly, particularly with soft bricks and stones. Lime mortar and plaster also serve as a good surface for evaporation. The basic composition of lime mortar is lime, water and aggregate. Lime mortar can be combined with the following materials: different classes of lime, aggregates, pozzolans, water, hair or other reinforcements, pigments and airentraining additives. Prior to the production of the lime mortars for this project, samples of the original mortars and plasters were taken and simple laboratory tests were carried out to determine the physical composition, colour and texture of the lime and aggregates used for the original lime work. This investigation allowed for generating the right mix for the repair, restoration and consolidation work. The simple mortar analysis involved the following steps. First, pieces of mortar and plaster (minimum 10 grams) were removed from the wall. Care was taken to ensure that the samples were of the original mortar, were in good condition and were representative of a large section of the works. Second, a close examination was made of the sample for texture, colour and bits of ash, charcoal, coal, lumps of lime, etc. A 10x magnifying glass was used. Third, the sample was lightly crushed. Fourth, the sample was mixed with water in a calibrated flask (a jam jar and a ruler would also suffice) and stirred thoroughly. Fifth, the mixture was allowed to stand for approximately twelve hours. Next, the components of the residue were measured and the proportions calculated. Finally, the aggregate sizes and colours of the components were assessed.

330

The tests revealed that the original lime mortar was a fairly uniform composition of lime and aggregates with no fibrous material. The lime used for preparing the mortar was of high quality, being ivory white in colour, and used in a ratio of 1:2 with well-graded aggregate. A suitable lime-aggregate ratio of 1:2.5 was then devised, where the aggregate was composed of fine sand (red sand), coarse sand (crushed shell normally used for cement manufacture) and shells (round disc shaped). Similarly for the lime plaster, the lime-aggregate ratio was 1:2, where one part was lime and two parts were comprised of fine sand and coarse sand. The choice of the type of lime to be used was based on the existing mortar in the historic building and the nature of the wall material, which was porous limestone. The mortar had to be made softer than the stone to allow the mortar to breathe, to stop moisture from rising in the wall and to prevent the stone from eroding. The choice of sand and other fine aggregates was determined by its suitability in terms of physical and geological characteristics, by colour and by matching with the sand in the existing mortar. The sand was freshwater sand from a dry riverbed in a nearby village. Care was taken to ensure that the sand and other materials used were hard, clean and free from vegetable and animal matter or salt. The coarse aggregate was made from finely-crushed shells found in the area around Lakhpat. Air-entraining carbonate aggregates were used to increase the durability of the lime mortar, and have historically been used in many of the buildings in Lakhpat. In producing the lime mortar, slaked lime in the form of lime putty was used. In order to ensure consistency of production, to achieve uniform performance and appearance of the lime mortar, the putty was accurately measured in one cubic foot measuring containers made with metal sheets. This guaranteed that the lime putty used was not thin or watery, which would result in the mixture having less lime and more water.

The mortar was mixed in a traditional mortar mill. While the mill was in motion the lime and aggregate mixture was turned over manually with a shovel. To check for the consistency of the mortar, a ball of the mixture was thrown from a distance at a wall. If the mixture stuck to the wall, it was considered ready. If it shattered or slid off the wall, it indicated that it needed to be worked more. The lime mortar was then stored in a stacking platform and covered with thick plastic sheets. The mortar was stacked for a minimum of six to seven days for maturing. Before use, the material was beaten vigorously to a good consistency. This was done with a shovel and by stamping on it while wearing gum boots. The mortar left over at the end of the work (most of which fell beside the wall on the floor) was stacked up separately and covered with moistened hessian cloth. This mix was later put into the mill while preparing a fresh lot of lime mortar. In applying the lime mortar, the masonry was cleaned of dust and dirt and well-dampened. Wherever damaged masonry was replaced, the stone unit was dipped in water well before use. For repair works and repointing, the background was sprayed with water several times in the hours before repointing. Agriculture spray pumps were used for judicious use of water, as fresh water is a very precious and scarce commodity in the region. The fine mist produced by the sprayer has a greater surface area than the larger drops and picks up carbon dioxide from the air, which assists in carbonation. Newly repaired masonry works were protected against the sun and strong winds with wet hessian and from heavy rains during the monsoon with plastic sheeting. Adapted from â&#x20AC;&#x153;What are Lime Mortarsâ&#x20AC;?, Gurmeet Rai and Paromita Desarkar

St. Ascension Cathedral

UNESCO Asia-Paciﬁc Heritage Awards

Context Dating back over a century, the St. Ascension Cathedral historically served as the seat of the Russian Orthodox Church in Almaty, which was once the political and cultural centre of the Turkestan region. It stands in a park in the city’s historical core and is the main urban landmark of Almaty. At 41 metres tall, it is the tallest wooden building not only in the country but also in the neighbouring region.

City map Opposite: Southern façade before and after restoration.

Location Almaty, Kazakhstan

Size 1/200 square metres

Cost US$344,000

Responsible Party State Institute for Scientific Research and Planning on Monuments of Material Culture

Heritage Architect Timur Turekulov, Natalia Turekulova

Contractor Vladyka Alexyi, Bishop of Almaty and Simipalatinsk Eparchy

Date of Completion 2000

332

The building saw revolutionary change under Soviet rule, when it was deconsecrated and converted into a radio station and later a republican historical museum. After the dissolution of the Soviet Union, the newly-independent Republic of Kazakhstan initiated the revival of traditional cultural and religious expression. The restoration of the cathedral, one of the city’s most significant religious and architectural monuments, was undertaken with an outpouring of support from private individuals and the government. It has now resumed its historic function as a place of worship and continues to draw devotees, citizens and tourists alike. St. Ascension Cathedral has been listed as a monument and is therefore protected at the highest national level.

Building history The construction of St. Ascension Cathedral began in the middle of the nineteenth century when the administration of the Russian Orthodox Church Eparchy moved to Almaty from Tashkent. However, construction was delayed for decades due to financial problems and the earthquake of 1887 that destroyed a large part of the city’s brick and stone structures. In accordance with new guidelines issued to protect important buildings from seismic damage, the cathedral was one of the first large public buildings in the region to be constructed entirely out of wood (local Tyan Shan spruce). Nonetheless, it maintains the architectural forms and features of masonry construction, with a number of innovations in design and construction. For instance, an elaborate system of internal ventilation was installed, which

drew air in from the outside to ventilate the entire building. The builders were faced with the challenge of designing a high-rise structure which required new structural solutions and the use of materials such as reinforced concrete to ensure seismic resistance. Completed in 1907, the cathedral proved to be structurally sound, emerging relatively unscathed from the strong 1911 earthquake. During the 1930s, parts of the building were damaged or destroyed as a result of anti-religious sentiment. The elaborate gilded threetiered iconostasis with carved decorations was destroyed, along with icons, church equipment and the library. The brilliant colours of the cupolas were masked with green paint and the ochre-hued interiors were repainted in revolutionary pink. The building was also substantially modified for reuse, with major reconstruction taking place inside the building and the grounds. Due to the temporary occupation of the building during this era, little maintenance was undertaken, which resulted in the decay of the historic fabric. In the 1970s efforts were made to partially restore the building as part of its conversion into a museum, but the use of inappropriate materials and methods resulted in further damage.

Project history In 1994 St. Ascension Cathedral was one of the first historic buildings returned to the Russian Orthodox Church after Kazakhstan gained independence. A restoration project began that year to restore the building as close as possible to its original condition, based on historic documents and structural analyses. Funds were allocated by the government to initiate works, which were supplemented over time by private donations. Works were completed in 2000.

Project scope and framework The project sought to return the building to its original function and appearance by restoring the external façade, internal spatial configuration, structure and setting. At the same time, it aimed to upgrade building services and establish a long-term system for maintaining the historic monument, which would involve the

St. Ascension Cathedral / 2004

occupants closely. It was also hoped that the project would have a positive impact in drawing attention from locals and visitors alike. The project was carried out in five stages. In the first stage (1994-1995), the focus was on reviving the original function of the cathedral by restoring the interior plan and appearance to facilitate worship by the public, along with undertaking emergency works to repair the roof, reduce ground water and rehabilitate the ventilation system. As part of this initial step, the management plan and monitoring system were developed and put in place. In the second stage (1995-1996), the bell tower was restored to its authentic condition and reinforced with an eye to structural stability as well as fire safety. In the third stage (1997-1998), the interiors were further enhanced through the addition of a temporary replacement iconostasis and other liturgical elements. In the fourth stage (1999-2000), the exterior appearance of the cathedral was addressed, which called for the restoration of the roof, cupola structures, facades and original paint schemes. Finally, in 2000, seismic reinforcement of the bell tower was carried out.

333

UNESCO Asia-PaciďŹ c Heritage Awards

Conservation methodology and materials Work on the monument was done in accordance with international standards of conservation methodology. Archival studies, based on historical documents and on-site structural investigations of the building structure, materials, seismic resistance and geological conditions, helped to reconstruct the original structure and appearance of the cathedral. Careful attention was paid to the preservation of the original building fabric. The project made extensive use of authentic building technologies and materials. Top left: Main faĂ§ade of the church. Middle: The top cupola was repaired with new metal sheets. Right: Restored ceiling under the dome. Opposite: Side elevation.

334

It was determined that the original reinforced concrete foundations and wooden structure of the building were generally well preserved and in good condition. However, the building had suffered lingering effects of damage from the 1911 earthquake, which had caused subsidence in the southeastern corner, leading over time to cracks in the timber framing structure. New steel

St. Ascension Cathedral / 2004

reinforcements were added to strengthen the wooden elements, while existing steel clamps and ties were also fortified. Timber repairs were undertaken in the small southwestern cupola, rafters and other roof framing members. Wooden beams in the southeastern corner of the basement of the bell tower which had deteriorated were replaced. Wood of the same type as the original was used to replace the beams. To ensure the long life of the wooden elements, efforts were made to reduce water ingress and promote improved ventilation. All later additions made to the building, such as partition walls and floors, were dismantled, and the wood was salvaged for reuse in the ongoing works. Mistakes from the 1970s-restoration were then rectified. Cement plaster, which had been accelerating the decay of the wooden structure, particularly in damp areas, was removed and replaced by lime plaster matching the historic plaster composition. Work was also carried out to fix inappropriate roof repairs which had led to major water leakage and decay of the roof. Wooden elements affected by mould were cleaned, and deteriorated members were replaced. The metal covering of the roof and cupolas was repaired, and mirror mosaics were reapplied on the metal crosses. The original system of passive ventilation had been disrupted by the closure of ventilation windows and changes to the building levels and roof. This prevented the whole wooden structure from airing out from the basement to the top and led to the build up of humidity. Ventilation holes in the basement and windows were reopened, and ventilation channels cleared out. The water supply system and the fire extinguishing system from the later renovations also proved to be problematic, with leaks causing decay in the building. For instance, the wooden joists in the basement of the bell tower, housing the water pump, had rotted, causing the entire bell tower to lean precariously. To protect against further damage and to upgrade the functionality of the cathedral, the leaking fire extinguishing system was dismantled and replaced with a modern system which was connected directly to the fire station. Interior doors, which had functioned as fire doors, were also reinstated. A new fire resistant electrical system was installed, along with a new water supply, heating system and telephone

Award Citation This project has successfully restored the sacred St. Ascension Cathedral, returning Almatyâ&#x20AC;&#x2122;s spiritual centerpiece to the Orthodox community. Thorough studies of the 1907 cathedralâ&#x20AC;&#x2122;s structure and history, undertaken before works began, have ensured the authenticity of the restoration, thereby retaining the structureâ&#x20AC;&#x2122;s tremendous architectural and historic significance. An emphasis on the use of appropriate materials and techniques and the methodical removal of incongruous additions demonstrates good conservation practice and has successfully restored the historic character of this unique timber monument.

335

UNESCO Asia-PaciďŹ c Heritage Awards

wiring. The original lightning protection was also repaired. Restoring the colours of the roof, cupolas and faĂ§ades was implemented after special research done into the original appearance of the building. The research revealed that the 1970s restoration of the exterior colours was very approximate. Deteriorated wooden surfaces were repaired and the original lime render was restored on the facade. The external paint schemes were then returned to match the original yellow and white colours. Restoration of the interior involved returning the building to its 1907 appearance and function. Structural elements which had been destroyed, such as arches, capitals, column bases, doorways, staircases and floors were reconstructed. The cathedral had originally been adorned with mosaic ceramic floors, ceiling paintings in the prayer hall, papier mache rosettes and cornettes, bronze and copper lamps, and movable religious artefacts. The mosaic floors were cleaned and some restoration was done using salvaged original tiles. The paintings on the ceilings were cleaned. The rosettes and cornices were restored. The lamps, restored in the 1970s using old photos and documents, were repaired and cleaned. The original lime plaster rendering was restored with ochre limewash on the walls. Original fragments of painted panels, imitating oak wood, which could be salvaged were cleaned. Lost parts were restored using the original materials and techniques. The wooden floors in the altar and service premises were repaired. Windows and doors were cleaned and partially restored. A new iconostasis was designed to replicate the appearance of the original one. The perimeter of the building was also consolidated. Ground levels were adjusted throughout the site to improve water drainage. In order to manage impacts from visitors, off-site parking facilities were installed, along with repairs to the drinking fountains and toilets in the surrounding park.

Important issues For the first time in the country, the construction works were planned to be carried out alongside regular church services, with

336

relatively minimal disruption to the daily function of the building. Open for public visits, the building site attracted great attention and raised awareness about conservation issues in general and about the historic cathedral in particular. The resulting support from private individuals and institutions set a new precedent in Kazakhstan for public-private cooperation in conservation.

Project sustainability and viability A long-term building management system was established for the building, including the provision of a core team of trained staff. As the project progressed, a group of workers and managers was formed within the Eparchy which took an active part in the conservation process. This trained group was incorporated into the permanent staff of the cathedral. The trained personnel now provide round-the-clock supervision the building, overseeing its maintenance and keeping an eye on any possible emergencies such as fire. Their specialized experience and knowledge about wooden monuments will become a valuable resource to be transmitted to future generations.

Project impact Since its restoration, the cathedral once again functions as a place of worship for the Russian Orthodox community of Almaty. It has provided a good example of how to undertake built heritage conservation through a public-private partnership, and has also set technical standards in terms of research and execution of work. The project has become a model for the conservation for other old churches in the country.

St. Ascension Cathedral / 2004

Quote from the project team The cathedral was restored only thanks to documents fortunately saved in the archives. The need for conservation was urgent, and was supported by the government and many people ready to make donations with the aim of returning the original appearance and glory to St. Ascension Cathedral.

Above and left: Wood panels and painted ceilings were cleaned and restored in the prayer hall. Opposite Top and above: The main altar before and after restoration.

337

UNESCO Asia-Paciﬁc Heritage Awards

Technical Brief

Colour conservation Conservation works on the facades of St. Ascension Cathedral were a major component of the project. Wide-ranging research in the archives of Almaty, Tashkent and St. Petersburg was carried out. This research was expanded to cover archives in Omsk, Orenburg and Kiev and other places where information concerning the building could be found, starting from details about its construction. At the same time, the Eparchy requested its parishes and all citizens to look in private archives for documents related to the church. As the result of these attempts, an excellent visual collection of the building’s dramatic story was gathered. Along with the written historical sources, comprehensive structural and surface studies of the building itself helped to establish a clear understanding of the original appearance of the cathedral. Studies of the paint layers on the metal-covered domes made it possible to define more precisely the original look of the multicoloured rhombic ornamentation made with oil paints. The building had been restored in the 1970s, when, after many years of reconstruction, the building was prepared for conversion into a historical museum. This partial restoration renewed the original bronze paint of the top cupolas and the design of the small domes and bell tower roof, which for about half a century had been covered under layers of green paint. However, due to the brevity of the research undertaken at that time, the restoration missed various bronze details, misinterpreted some of the patterns in the dome, coloured parts of the main dome incorrectly, and made new additions such as a belt of bronze flower images. Therefore the recent conservation project had to help correct these changes to achieve the original appearance of the building. The poor condition of the skin plating on the top cupolas forced the architects to make a decision about its replacement. We faced a choice: to make a replica with bronze paint, which would need repainting in a couple of years, or to make a new plating

338

of modern metal with an imitation gold surface. In the process of discussions and negotiations, it was agreed that the use of such new material would not contradict the original technique used on the top cupola to imitate a gold finish. Moreover, its use would correspond to the condition of reversibility. The fact that in Russian church tradition bronze paint is used as a temporary material, in anticipation of future gilding of the surface, assisted in making this decision. We undertook surface studies to examine the use of colour on the facade walls, which were wooden structures covered with lime plaster. The studies showed that in the original layers the predominant colours of the walls were ochre and yellow, contrasting with the pink paint which had been applied most recently. Original paint layers in three colours—white, blue and red—were found under later layers of white paint on the decorative moulding of the facade cornices, in the base of domes and top cupolas. In the same combination as the Russian flag, these colours originally symbolized the presence of the empire and its power over this territory in a subtle way. During the first repair works, which took place after the earthquake in 1911, the builders changed the original colour palette of the domes to the Russian flag tri-colour, in commemoration of the upcoming 300-year anniversary of Romanov dynasty in 1913. This chapter in the building’s history can be read in the second paint layers of the domes and was confirmed by old photos. However, after the 1917 revolution, the USSR began its fight with religion and all its material evidence. Most of the churches and mosques of the city were destroyed by the 1930s. Only a few of them survived, being transformed into buildings of other functional uses. This required major changes in their appearance, internal planning and structure. The cathedral was lucky to be preserved during this struggle, surviving first the threat of destruction and then major reconstruction, which totally changed its original structure and appearance. Timur Turekulov and Natalia Turekulova

Above: The original Russian flag tri-colour was discovered and retained in the cornices, domes and cupolas.

Dadabhai Naoroji Road Streetscape

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis Dadabhai Naoroji Road, a nineteenth-century streetscape characterized by arcaded bazaars and Victorian-era buildings, is one of the busiest commercial corridors in Mumbai. The road is a primary artery within the historic Fort Precinct and is anchored by the UNESCO-listed Victoria Terminus (renamed Chhatrapati Shivaji Terminus) in the north and by Flora Fountain in the south. Millions of pedestrians pass along the road every day.

City map Opposite left and right: Building façade before and after the enforcement of signage regulations.

Location Fort Precinct, Mumbai, India

Cost Approximately $10,000

Responsible Party Mumbai Metropolitan Region Development Authority Mumbai Municipal Corporation Heritage Mile Association Times of India Group

Heritage Architect Abha Narain Lambah

Contractor Street furniture – M/S Universal Designs

Date of Completion Signage regulation – May 2001 Pilot street furniture project – August 2001

340

With the demolition of the fort walls in the 1860s, large commercial plots became available along Hornby Road, as it was known at that time. By the 1890s, fashionable new commercial buildings in the Neo-Classical, Gothic Revival and Indo-Saracenic styles had been constructed. Each building was required to have a ground floor pedestrian arcade, which acted as the unifying element tying together the various building façades. Over the decades, due to fierce competition among the street’s shopkeepers, the handsome facades had been concealed by unregulated signage such as billboards and other forms of advertisement. Street furniture, too, proliferated without any form of coordination, resulting in road dividers, benches and other public amenities detracting from the ambience of the historic streetscape. The conservation project began as an initiative, in 1998, by the Mumbai Metropolitan Region Development Authority to prepare a design handbook for regulating the historic streetscape. In 1999, these urban conservation guidelines were implemented on a voluntary basis by local stakeholders, working in conjunction with the local municipal officer and the project architect. The redesign of the shop fronts and signage in a historically-appropriate manner was achieved for the entire western side of the road by May 2001. In 2001, the Times of India, a leading newspaper group whose main offices are located on the street, sponsored the implementation of a heritage-sensitive street furniture scheme for the 100-metre stretch outside its building, a pioneering project in India.

Designated as a Grade Il Heritage Streetscape by the Heritage Regulations of Greater Bombay (1995), the area has immense value as a historic urban streetscape. Since the restoration, a veritable open-air exhibition of architectural facades representing various episodes in the history of Mumbai can be witnessed along this route.

Conservation approach In the preparation of the handbook, extensive surveys were undertaken to document the existing streetscape condition. Measured drawings were made of the heritage facades, noting the location of all signage, air-conditioners and other features, while street furniture and paving were also recorded. In addition, the land use, ownership patterns and occupancy rates were also mapped. The guidelines recommended the redesign of signage to fit in existing forms such as arch openings and fascia bands, instead of obliterating the historic features with hoardings of an inappropriate size, material and colour. Individual designs were drawn up for each shopfront, proposing alternative designs, which ensured that each new sign retained the original square footage. The guidelines also provided recommendations on the design of kiosks, litter bins, telephone booths and other elements populating the sidewalks. Without waiting for government funding, the project architect began to advocate for the implementation of the guidelines. The idea was to actively involve the shopkeepers, residents, local executive bodies, service providers and potential sponsors in the improvement of the urban infrastructure and restoration of the heritage streetscape. The local municipal officers cooperated by calling all the 150 establishments to a public meeting where the entire design scheme was presented to them. Through a consensus by the stakeholders, the signage scheme was implemented. Under the framework of existing legislation, this involved removing all hoardings and signboards impairing the appearance of the heritage buildings and their architectural details. Even multinational corporations such as McDonald’s and Thomas Cook participated. With the ornate arcades and facades exposed, the architectural integrity of the Victorian streetscape has been restored.

Dadabhai Naoroji Road Streetscape / 2004

The upgrade of the street furniture also utilized the design recommendations laid out in the handbook. Iron railings, litter bins, telephone stands and tree guards were manufactured in castiron. A four-foot band of granite cobblestone paving was installed in lieu of the motley assortment of Minton tiles, basalt pavers, and marble or granite flooring which had earlier characterized the existing pavements. Set in a sand bed, the cobblestones are easily removable in case the electrical ducts and service lines underneath needed to be serviced. Granite benches, information signs and building plaques rounded out the historic ambience.

Conservation and the community Community involvement at every stage has been the key factor in the project’s success. Both the signage works and the installation of street furniture were completed with the voluntary and active participation of the local community. Each establishment shouldered the cost of relocating and redesigning their own shop sign while the Times of India group bore the expense of fabricating and installing the cast iron street furniture. Encouraged by the initial success of the signage redesign scheme, the various stakeholders of Dadabhai Naoroji Road came together to form a citizen’s association, the Heritage Mile Association. This is a non-profit group that aims to restore the heritage character

Award Citation The first of its kind in India, this ambitious streetscape project has revived the historic ambience of Dadabhai Naoroji Road of Mumbai through the restoration of shop fronts, signage and street furniture to reflect the area’s Victorian-era commercial heritage. Through a bottom-up participatory approach this project has galvanized local shop owners and residents, leading to the creation of citizen’s associations which sustain and expand conservation work in historic Mumbai. Starting with grass-roots advocacy, and continuing through stakeholder consensus, the project has succeeded in gaining commitment from the municipal government to adopt urban design guidelines for the entire historic precinct, setting an important precedent. The project’s success has generated widespread appreciation of the aesthetic, social and commercial values which have resulted from the preservation of the street’s historic character. Through its influence on urban policy and contribution to the commercial vitality of the neighbourhood, this project sets the standard for future urban streetscape revitalization throughout India.

341

UNESCO Asia-Paciﬁc Heritage Awards

of the road through continued public participation and private sponsorship. The Association has raised funds through local stakeholders and shopkeepers to install street furniture on another 500metre stretch of the road, with more people and establishments committing their financial and physical support. The long-term responsibilities in terms of maintenance, cleaning and security have also been taken up by the Association.

Top left: A sample streetscape signage scheme. Below, left to right: Billboards once obscured many of the road’s historic buildings. Signage, street furniture and paving patterns were coordinated to revive the road’s historic character.

342

Dorje Chenmo Temple

UNESCO Asia-PaciďŹ c Heritage Awards

Village map Opposite: The temple before and after restoration.

Location Shey Village, Jammu and Kashmir, India

Cost US$7,021

Responsible Party Raja Thinlas Namgyal

Heritage Architect Divay Gupta, Munish Pandit Sanjay Dhar (Painting conservator)

Contractor Sanjay Dhar

Date of Completion June 2003 (First phase of painting restoration)

344

Project synopsis

Conservation approach

The Dorje Chenmo Temple is located in the historic village of Shey in the former kingdom of Ladakh in the north of India. The temple enshrines the eponymous goddess, the protective deity of the village, and contains valuable wall paintings. Wall paintings within Buddhist temples like this one form an integral part of the sacred space, depicting deities from the vast array of the Vajrayana Buddhist pantheon. The creation of these paintings would have followed prescribed rituals and techniques, and made use of mineral and stone pigments now rarely found in Ladakh. Although no historic records exist about the temple, scholars have ascribed an age of between 250 and 300 years to these wall paintings, based on the iconographic representation, style and technique of execution, while the building itself is thought to date from an earlier period.

Built in mud brick with mud mortar, the temple was limewashed on the exterior and finished on the interior with a fine mud plaster containing sand and kaolin (white river clay) which had been burnished to create a smooth surface for painting. The temple had been abandoned with the construction of a new ritual space on top of the original structure, and had been turned into a storeroom. In the construction of the upper chamber, new beams and columns had been inserted, which damaged the ceiling plaster and some wall paintings. The ceiling was sagging from excessive loads and rainwater stagnation, due to inadequate drainage, was causing erosion at the base of the chamber.

According to Buddhist beliefs, an incomplete or damaged image of a deity is no longer sacred and should therefore be renewed. Renewal efforts elsewhere have often focused on complete repainting of old paintings rather than on refreshing through restoration methods. In many temples in Ladakh, damaged wall paintings have been repainted using new synthetic pigments which yield a vastly different effect from the original artistry. The project sought to raise awareness of the value of these ancient wall paintings and to demonstrate the potential of restoration approaches, which could then be applied in many historic structures in Ladakh. The scope of works focused on the restoration of the wall paintings within the temple, along with limited architectural conservation. Damaged sections were consolidated, painted surfaces were cleaned and badly deteriorated sections were retouched. Restoration works were completed in four months. Extensive involvement of the local residents, including members of the monastic community, the village head and the Shey Gandhuns Tsogspa, was emphasized throughout the course of the project in deciding upon conservation and reuse decisions. Upon completion, the project has shown how abandoned heritage structures can be restored and reintegrated into community life.

The paintings had also suffered from neglect, with soot, dust and grime caked across the surfaces, and extensive delamination and cracks detected in the wall surface. The cracks were thought to have been caused by the new construction works; they included structural cracks extending into the mud brick base layer, major cracks affecting the plaster and minor cracks on the paint and primer layer. The painted surfaces were primarily worn away in the lower regions due to human contact, with localized decay near the new beams, around the door and in high-stress areas like the corners. There was limited damage from water seepage, but some of the blue and vermilion pigments had oxidized. As a first step in the building conservation works, the chamber was excavated to remove rubble and to drop the floor level closer to its original depth. The exterior circumambulatory path around the structure was also lowered, leveled to enable access and proper drainage, and repaved in local stone. New storm water outlets were installed to allow the run-off to drain through the rear of the temple. Wooden columns with traditional-style capitals were installed to support the roof load, enabling the removal of the obtrusive column in the centre of the chamber. Steel purlins were introduced to reinforce the existing wooden beams. The front wall was stitched to the side wall to stabilize the structure. A false ceiling was created from twigs and local grass to contain dust and leaves dropping from the roughly-made old ceiling. Stone flooring was laid inside the chamber to reduce dust.

Dorje Chenmo Temple / 2004

Detailed documentation and photography to record the condition of the paintings and the surface was undertaken. On the basis of this, a conservation strategy was devised, which attempted to incorporate scientific conservation methodologies with local materials and techniques. Cracks in the wall surfaces were treated and areas with structural damage were replastered. Patches of the paint layer which were flaking were consolidated. The surfaces were carefully cleaned using gentle solvents. In some areas there was a complete loss of the painted surface and the sacred images were therefore damaged and incomplete. As a compromise between the Buddhist belief in renewal and modern conservation standards, it was decided to complete the images by outlining the damaged sections without repainting them completely, thereby clearly differentiating between the original painting and the repainting. In areas with substantial deterioration, the colours applied were of a different hue, clearly noticeable on close examination. The villagers were given time to get accustomed to this method of retouching the sacred images and ultimately approved of the final results.

Award Citation The restoration of Dorje Chenmo Temple and its superb wall paintings demonstrates the value of an integrated and inclusive conservation approach to preserving cultural heritage. Technical aspects of the work on the once-abandoned village prayer hall were guided by architectural and art restoration experts, while a key catalytic role in the project was played by the village oracle, who framed the project within a traditional devotional context. Working with the project management team, the oracle encouraged extensive involvement by the residents of Shey in the conservation work, resulting in the reintegration of the temple into community life and the renewal of an appreciation for traditional construction techniques and decorative arts as appropriate to the continuity of local heritage. This project sets an exemplary model for best practice in the conservation of the extensive religious heritage of Ladakh.

345

UNESCO Asia-PaciďŹ c Heritage Awards

Conservation and the community The temple of Dorje Chenmo traditionally formed an integral part of the local community life. Even today the villagers gather at the new temple for daily prayers and during festivals, rituals are performed by the resident monk. Every year between August and September, the deity enters the body of the village oracle and processes through the village from the temple to Shey Palace, where prophecies for the village are then pronounced. Upon completion of the works, the oracle conveyed the deityâ&#x20AC;&#x2122;s great satisfaction with the restoration and praised the villagers for their efforts. This endorsement has had a major impact on the communityâ&#x20AC;&#x2122;s attitude towards conservation. It was decided after the festival to re-establish the linkage of the restored chamber with the deity by displaying the ceremonial vestments and ritual paraphernalia of the oracle in the room.

346

The project has provided an opportunity for the wider community to view paintings from their past Ladakh heritage. Monks from other monasteries visited the site regularly during and after the restoration. Regular site visits were organized for school children from Shey and Leh, along with students and lecturers from the Central Institute of Buddhist Studies. The impact of the restoration on the community is evident from the increased interest in preserving other historic structures in the village. Several other villages have also shown an interest in restoring the wall paintings within their temples.

Dorje Chenmo Temple / 2004

Far left and left: The wall paintings were cleaned and restored. Above: Painting and conservation tools. Opposite Top: The ceiling sagged from excessive roof loads. Middle: New steel purlins, columns, capitals and a false ceiling were installed. Bottom: Floor plan. Top right: Workers prepare twigs to make the new ceiling.

Quote from the project team Much of Ladakhâ&#x20AC;&#x2122;s built heritage continues to be in use by the community and therefore one of the major lessons learned is the need for a flexible approach while developing the conservation strategy. Understanding the communityâ&#x20AC;&#x2122;s needs and perceptions of this heritage was critical and at the same time they were introduced to contemporary conservation approaches.

347

UNESCO Asia-PaciďŹ c Heritage Awards

348

Phra Racha Wang Derm Palace

UNESCO Asia-Paciﬁc Heritage Awards

City map Opposite: The palace complex before and after restoration.

Location Bangkok, Thailand

Size 4.8 acres

Cost US$3,000,000

Responsible Party Phra Racha Wang Derm Restoration Foundation

Heritage Architect Grittip Sirirattumrong

Contractor Cha Fa Ltd. Partnership, Preeda Construction Ltd. Partnership, Charu-Bhakara Co. Ltd. Landscape Design, Dang Shop (furniture), Union Electric and Engineering Co. Ltd., World Heritage Co. (archaeological survey)

Date of Completion October 2002

350

Project synopsis

Conservation approach

Located on the west bank of the Chao Phraya River, the Phra Racha Wang Derm Palace was the residence of King Taksin the Great of the Thonburi Dynasty, which was founded in 1767 AD. In the succeeding Rattanakosin era, the palace was still used by members of the royal family and household, notably King Rama IV, King Rama II and King Pinklao. The complex was later bestowed by King Rama V on the Royal Navy to serve as the Royal Naval Academy, and was subsequently transformed into the headquarters of the Royal Navy. Today, the historic complex includes the Throne Hall, two Chinese pavilions, the Shrine to King Taksin, King Pinklao’s residence, Wichaiprasit Fort, the palace wall and gateways, and numerous auxiliary buildings. The historical significance of the complex is indisputable, given the circumstances of its establishment and ongoing occupation and expansion over its 240-year history. The original pavilions and halls are distinguished by their later Ayutthaya style and display the refinements of royal craftsmanship, with fine building and decorative workmanship. The complex was designated a national monument by the Fine Arts Department in 1949.

The conservation project employed a two-phase approach, starting with structural stabilization, followed by architectural rehabilitation. The project sought to restore the traditional architecture of the palace complex and its setting through a combination of modern conservation techniques and traditional construction methods. The physical restoration works were planned in conjunction with an educational mission to promote historical research and information related to the palace and the Thonburi era.

Over the years, new structures and buildings had been added to the palace complex, with repairs and modifications carried out many times to serve various purposes. Its location next to the riverbank posed a serious problem to the foundations of various buildings, with rising damp, periodic flooding and siltation. Weathering and termites added to the maintenance problems. A survey undertaken in 1994 revealed the vulnerable condition of many of the buildings and the need to undertake conservation work. Many of the roofs were leaking, leading to dampness, termite infestation and structural damage. The problems were especially severe in the two Chinese pavilions and King Pinklao’s residence. The Phra Racha Wang Derm Restoration Foundation was established to oversee and undertake the restoration of the palace, with HRH Princess Maha Chakri Sirindhorn graciously presiding as the Chief Adviser to the project. Works began in 1995 and were completed in 2001. The palace complex has been transformed into a cultural and educational resource centre about a significant period of modern Thai history.

An extensive condition survey of each building was conducted in order to determine the course of work. The survey started with an archival study of historic evidence of the building’s original state and the changes over the years, making reference to annals, memoirs and old photographs. The existing condition of the exterior and interior buildings was investigated and recorded. Drilling was carried out to assess material conditions. Extensive archaeological excavations were conducted on-site. Finally, thorough analysis of all historical paint layers allowed for matching on-site samples with contemporary paints, in some cases especially commissioned to match the in situ samples. On the basis of this investigation, recommendations were made for conserving each building. The historic research formed a valuable reference for the ongoing works. In the stabilization phase, the buildings were repaired and restored to good condition. This included damp-proofing, roof repairs, structural repairs and shoring up foundations to stop subsidence. In the rehabilitation phase, the buildings were restored to their original form and to be suitable for their present-day uses. This required the removal of inappropriate accretions which had been undertaken over the years. During roof repairs, rotten wooden rafters and ceiling planks were repaired or replaced when necessary. Vapour barriers were installed to prevent moisture seepage and control rising damp. Roof tiles were replaced with exact replicas in form, material and colour. Decorative works on the gable ends and roof ridges, such as moulded stucco designs, woodwork and Chinese-style paintings,

Phra Racha Wang Derm Palace / 2004

were restored using expert traditional artisans. A 10-centimetre high damp-proof course was inserted into the base of the walls to deter rising damp. Sagging door and window lintels were corrected through the addition of reinforced concrete tie beams. Window shutters and door panels were repaired in accordance with evidence from historical photos. The project attempted to preserve as much of the authentic building fabric as possible, such as partially damaged beams. However, in many cases, the buildings had been added onto or renovated in ways which were not in keeping with their architectural integrity or which interfered with their natural functioning. Traditional materials were used to solve problems arising from these inappropriate decisions. For instance, the use of cement plaster on the walls and columns restricted moisture ventilation; this was rectified by substituting traditional lime plaster that had been slaked on-site. Flooring finishes had also been changed over time, and these were restored in line with historical evidence. In circumstances where the original structures themselves were inadequate, supplementary solutions were devised, such as the addition of vapour barriers in the roofs to control seepage from rainwater. In King Pinklaoâ&#x20AC;&#x2122;s residence, supplementary metal structures were used to replace the weakened and termite attackprone wooden columns and beams.

Award Citation The restoration of this significant royal palace complex, Phra Racha Wang Derm, sets a new precedent for conservation in Thailand and demonstrates the enormous potential of private sector-led efforts to save important parts of the communityâ&#x20AC;&#x2122;s heritage. The project has successfully preserved this valuable ensemble of structures which represent over 300 years of transformation, including the main core of palace buildings which were the centre of royal political and military power during the Thonburi Era. This multi-faceted and ambitious project has effectively incorporated the use of traditional methods and craftsmanship and has conserved important examples of royal decorative fine arts. Attention to details of the original structures and to accuracy in colours has preserved the authenticity of individual buildings within the complex, which each represent a historic period. Exposure of earlier features through archaeological excavation and the use of landscape elements to interpret those features have successfully created a palimpsest of history at the site. With the development of a historical museum and a library on-site, the complex is a center of public outreach and education into the history of the nation. The restoration of the palace complex highlights the achievements of the Thonburi Era and raises awareness of an important period in the development of Siamese statehood and foreign relations.

351

UNESCO Asia-Paciﬁc Heritage Awards

To allow the buildings to serve their modern museum and exhibition functions, upgrades in the building services were made. The new services were carefully designed in order to prevent them from detracting from the historic interiors. New wiring for electricity, telephones, lighting and security was concealed in metal conduits buried in the walls and columns, both for aesthetic and safety reasons. An underfloor air-conditioning system was installed where deemed absolutely necessary. For instance, the throne hall remains naturally ventilated, at the specific behest of the Chief Adviser.

Clockwise, from bottom: King Pinklao’s residence under restoration. Installing waterproofing membrane on the roof. Crews repair the ceiling. Before and after restoration.

352

The rehabilitation of the built structures was undertaken to allow them to harmonize with the setting. Archaeological excavation was carried out in the lawns, roads and gardens covering the complex, which had been silted up and planted with decorative trees. The excavation uncovered traces of brick foundations of pavilions, verandahs and retaining walls which have since fallen into ruin, along with numerous ceramic and metal artefacts. Fragments of roof tile and paving stones were used to inform the choice of restoration materials. The areas adjacent to the buildings were excavated 30 centimetres in depth to expose the original level of the plinths. The excavated areas were covered with a vapour barrier and the pits refilled. Hedge plantings and paving materials were designed to denote the underlying foundations, thereby interpreting historical layers of the site to visitors. To prevent further flooding, two large sumps were installed to drain floodwater to the river.

Project details The Throne Hall was constructed in 1768, comprising two adjacent buildings in a T-configuration. Once an open-air pavilion used by the king to hold court, the south building was later enclosed. The north building, which served as the King’s headquarters, is believed to have retained its original plan and tiered Thai-style roof with three gable ends. The roof structure and decorative details were repaired. Internal walls added to conceal the service areas were replaced with lightweight partition walls. Newer marble flooring tiles which did not match with the original floors were removed. The building services were modernized. King Pinklao’s residence, one of the earliest royal residences inspired by European architecture, had been built in a hybrid manner with a Thai wooden frame enclosed with brick walls, which the Navy subsequently surrounded with another layer of concrete blocks, leading to serious damp issues and recurrent termite problems. A combination of metal and reinforced concrete columns were installed to stabilize the building. Wooden wall panels were repaired and repainted in their original dark green while the teak floor planks were restored or replaced with matching boards. The entry stairs were restored to their original appearance.

Phra Racha Wang Derm Palace / 2004

Far left and middle: The two Chinese-style residences before and after restoration. Above: Replastering the walls.

The two Chinese-style pavilions, also dating back to King Pinklaoâ&#x20AC;&#x2122;s time, had been built in a mix of Thai and Chinese architecture, with Chinese decorations on the pediment but Thai carved wooden windows. They were in poor condition prior to restoration, having been used as storerooms. Their roofs were repaired with concealed rain gutters and teak ceiling planks were installed. Traditional artisans were commissioned to repair the decorative plaster moulding and Chinese-style paintings using the existing fragments as evidence of the original motifs. The floors were refinished with terracotta tiles. New air-conditioning and other systems were installed. The 26-square metre Shrine to King Taksin was built in the late 1880s in a mixture of western and Thai styles, and houses a statue of King Taksin bearing a sword. It also required repairs to the roof. Shutters were added to the basement-level doors to facilitate ventilation, the walls were replastered and iron window grills were recreated. Decorative lime plaster on the exterior and interior crown moulding were restored. The damaged ends of the wooden joists on the upper floor were repaired and supplemented with metal beams. The layers of siltation deposits in the basement floor were excavated and cement tiles were installed, leaving channels filled in with gravel to allow for ventilation. Wichaiprasit Fort had been built in the Ayutthaya period as one of a pair of forts guarding opposite banks of the river. It had suffered from

years of erosion and rising damp. The retaining walls were threatening to split apart. Over 900 concrete piles were added to shore up the foundation of the fort and a new drainage system was installed. The stabilized structure was then replastered and relandscaped. Prior to restoration, the 1906 Green Wooden House, which once served as the infirmary, was completely infested with termites. Its rear building had been used as a canteen, resulting in general decay. Moreover, its open porch had been enclosed and its historic kite tiles had been replaced since the original roof structure was not built strongly enough to support the heavy kite tiles. The porch was re-opened and the roof structure was strengthened to support the original type of tiles. Termites were treated and old wooden panels in the building were repaired or replaced as necessary.

Quote from the project team The Phra Racha Wang Derm is the linchpin of a significant historic era. This significance is revealed both through the restoration works as well as through the carefully-curated exhibits and archaeological sites located throughout the complex.

Conservation and the community This was the first project of this scale to be funded entirely by private contributions, both for restoration works and for the preparation of the museums. Relying on private conservation consultants and experts, the project set standards with rigorous documentation prior to and during the course of works, international conservation methodologies and emphasis on the use of traditional construction techniques, hand tools and original materials. During the restoration, a team of highly-

353

UNESCO Asia-PaciďŹ c Heritage Awards

skilled labourers was employed and received further training in conservation techniques. Currently, they are still involved with the ongoing maintenance of the palace complex, while also taking on other important conservation projects in the country, such as Phayathai Palace. The buildings that had ceremonial functions have retained their use, such as the Shrine to King Taksin and the Throne Hall. King Pinklaoâ&#x20AC;&#x2122;s residence and the two Chinese pavilions have been adapted for educational use as museums about King Pinklao and King Taksin, respectively. The museums focus on four collections: ceramics, arms, coins and nielloware. They have become an important destination for outside visitors, in particular school groups. Along with the museums, the buildings also include a research library and an office to house the ongoing work of the Foundation. The restoration of the Palace and extensive advocacy and public outreach work, in terms of publications and the production of visitor guides, have sparked a renewed interest in the Palace, in King Taksin and the Thonburi Era. This revival has affected the historic community surrounding the complex, the general public of both Thais and overseas visitors, as well as the local Thai-Chinese community, as King Taksin had partial Chinese ancestry.

Left: The Throne Hall after restoration. Above: Floor plan of the Throne Hall. Top: The elevation shows the original tiered roof and gable ends.

354

St. Thomas Cathedral

UNESCO Asia-PaciďŹ c Heritage Awards

City map Opposite: The masonry fabric before and after restoration.

Location Mumbai, India

Project synopsis

Conservation approach

Constructed over a 42-year period between 1676 and 1718, St. Thomas Cathedral was the first Anglican church to be built in the city of Mumbai. A charity school for Protestant children was also established at the same time in the vestry of the church, which later moved to a nearby building in the Fort Precinct. Upon its consecration as a cathedral in 1837, a clock tower was added, which dominated the skyline of Mumbai for decades. Over the next century, the building was altered several times, most significantly with a Victorian Gothic extension to the apse built to house the choir and organ room. As part of an improvement programme in 1921, the original pitched, tiled, wooden roof on the apse end was replaced with a reinforced concrete slab supported by steel beams, utilizing what was the most modern technology at the time.

Since the church has been expanded and added upon at different stages, the restoration strategy called for respecting the different stages of interventions in order to preserve the layering of history that they express. Before embarking on the reconstruction, the trustees were required to undertake detailed documentation of the church, including measured drawings of the main building and the ancillary buildings.

By the late 1990s, the slab roof had deteriorated considerably, causing leakages and flooding inside the cathedral. With the roof verging on collapse, the trustees of the church were galvanized into action. The main focus of the project was the removal of the slab roof and its replacement with the original 1865 pitched roof form in order to prevent water seepage and further damage to the building fabric. It was decided by the trustees to also undertake the conversion of the old parish hall and staff quarters into a kindergarten, which would serve local needs as well as provide revenue to help finance the restoration works. In addition to restoring the roof, conservation of the grounds and decorative elements, such as stonework and stained glass windows, was also undertaken.

The restoration of the roof proved to be challenging without any detailed historical photographs or architectural drawings. The two gable walls had to be restored to their original profile. The project team examined the old stones, many of which had been reused when the walls were dismantled and rebuilt to support the flat roof. A study of other Gothic Revival apses also furnished clues concerning detailing for the finials, cornices and coping stones, enabling an informed reconstruction design. The stone walls were diassembled down to the level of the old kneeler, which was kept intact as a visual marker. The old stones from the wall were kept and reused as much as possible. During the process, the historic finial pieces and cornice details were uncovered, which were found to closely match the proposed reconstruction designs, thus reaffirming the investigative results. The roof was reconstructed with a steel structural system, with rafters spanning the vault and a ring beam running along the apse walls. Wooden boarding, coated with a bituminous waterproofing membrane, was laid over the steel to support the clay tiles. The roof works were expedited in order to be completed before the onset of the monsoon rains in June.

Cost US$178,000

Responsible Party St. Thomas Cathedral Trust

Heritage Architect Brinda Somaya, Sandhya Savant Kairmein Deboo Swati Chandgadkar (Stained glass conservator)

Contractor Savani Construction Co.

Date of Completion October 2003

356

The project was initiated in 2001 and successfully completed in 2003. Listed as a Grade I building by the Heritage Regulations of the Mumbai Municipal Corporation (1995), the cathedral continues to serve as a major religious institution and a significant architectural landmark. The restoration works have consolidated the grounds, the buildingâ&#x20AC;&#x2122;s structural stability and its elaborate Victorian Gothic interiors containing carved marble monuments, sculpture, iron works, choir stands and pews, and stained glass windows.

In the conservation of the apse, the primary concern was repairing the masonry fabric. The apse addition had been completed in a rushed manner due to the crash of the cotton exchange in the late nineteenth century, hence the materials and craftsmanship were not of high quality. However, in order to preserve the historic fabric, only wrongly bedded or deteriorated stones were replaced. On the exterior, the Porbunder limestone faĂ§ade had been repointed in epoxy which had caused the joints to spall, thus damaging the stone. The epoxy pointing was carefully removed and replaced with lime mortar. Other works included the repair of decorative details such as the stained glass windows.

St. Thomas Cathedral / 2004

The conversion of the ancillary buildings to house a kindergarten provided an opportunity to re-establish the church grounds as an educational venue, as it had once been historically. St. Thomas Cathedral was one of the first Grade I buildings to be granted permission for adaptive reuse. The two buildings were in a poor state prior to the commencement of works. The staff quarters building was reconstructed while the parish hall was upgraded with refurbished interiors and new toilets in order to meet modern classroom needs. The grounds had been largely neglected, resulting in changing ground levels, water logging and lack of symmetry. The project undertook the correction of the ground slopes and the installation of a storm water system and French drains around the building. The haphazard landscape was re-ordered into a simple Victorian garden by transplanting trees. A low sliding bollard gate was installed to separate the kindergarten from the church during school hours. Throughout the project, traditional building materials and construction techniques were used. The badly-eroded carved cornice details were restored by remodeling details with mortar in lieu of replacing the stone. Only in areas where the erosion was extreme were replacements made. New materials were kept to a minimum and were mostly used for structural reinforcements. These were affixed to the old masonry in a way such that they could be removed at a later stage, if necessary, without damaging the older fabric.

Conservation and the community The restoration has encouraged the community to participate more actively in church activities. To educate the public about the conservation works and Victorian-era architecture, the organ room has been transformed into an interpretation centre. Many details about the stone masonry work were documented which provide an insight into Gothic Revival construction methodology. Old artefacts, providing evidence of historical construction details, were collected and displayed. The restoration and site interpretation have added a new dimension to the site’s tourist potential. The number of visitors had increased markedly, demonstrating renewed interest in this important city monument.

Award Citation The restoration of St. Thomas Cathedral, constructed between 1676 and 1718, has rescued one of Mumbai’s most important landmark buildings and has contributed to revitalizing the built heritage of the city’s historic centre. The project’s thorough documentation, the removal of incongruent elements and the restrained repair work display a sound understanding of conservation theory and methodology. By reinstating the original site plan, the project has restored the historic coherence of the complex and grounds. Furthermore, the creative adaptive reuse of some buildings within the complex has reinforced the function of the cathedral as a place of community learning, while demonstrating the modern-day socio-economic viability of historic structures.

357

UNESCO Asia-Paciﬁc Heritage Awards

Quote from the project team The restoration enhances the sense of character and romance of the city’s heritage, which is often overlooked in a commercial environment. The restoration of a Cathedral of such historic importance to the city instills a sense of pride not only to the parishioners, but also to the city at large.

Above: Site and floor plan of the cathedral. Top right and middle: The reconstructed gable roof replaced the 1921 flat roof. Right: The cathedral’s restored nave. Far right: Elevation at apse side.

358

Vietnamese Traditional Folk Houses

UNESCO Asia-Paciﬁc Heritage Awards

Opposite: House of Tran Ngoc Du Family in Dong Nai province before and after restoration.

Location, Size and Cost • House of Worship of Nguyen Thac Clan Dinh Bang Village, Bac Ninh Province 124 square metres, US$45,987 • House of Worship of Truong Clan Hoi An, Quang Nam Province 202 square metres, US$67,933 • House of Tran Ngoc Du Family Bien Hoa City, Dong Nai Province 214 square metres, US$44,316 • House of Worship of Dang Xuan Family Hanh Thien Village, Nam Dinh Province 94 square metres, US$27,747 • House of Pham Ngoc Tung Vinh Tien Village, Thanh Hoa Province 137 square metres, US$31,813 • House of Tran Van Binh Dong Hoa Hiep Commune, Tien Giang Province 312 square metres, US$83,026

Responsible Party Ministry of Culture and Information Japan International Cooperation Agency Showa Women’s University Heritage Architect Dang Van Bai, Tomoda Hiromichi, Mark Chang Nguyen Quoc Hung, Saito Hidetoshi Nguyen Hung Oanh, Tran Khang Yamada Yukimasa, Nguyen Ba Dang, Tran Thanh Masuda Senjiro, Nagumo Ichiro Contractor Cong Ty 27/7, Xi Nghiep Xay Dung Kim An Cong Ty Dong Ha, Cong Ty Xay Lap 1 Cong Ty Xay Dung Lam Kinh Co So T Nhan Cong Tien Duc Thao

Date of Completion June 2003

360

Project synopsis

Conservation approach

Due to rapid economic development and change in Viet Nam in recent years, traditional houses are being demolished and replaced by modern structures that do not reflect the rich culture and history of the country. In recognition of the vulnerability of the remaining buildings, the project sought to identify and conserve typical traditional folk houses throughout the country.

The key objective of the project was to upgrade the capacity of local artisans, construction companies and architects in restoring traditional wooden buildings, which would ensure sustainability of conservation efforts in the future. To facilitate the transfer of knowledge, one Vietnamese restoration supervisor, one Japanese restoration supervisor and one staff member from the provincial Department of Culture and Information were permanently stationed at each project site. In addition, upon the completion of work on each house, all those responsible for the conservation of cultural assets in nearby provinces were invited to attend a one-week training seminar in order to further inculcate technical expertise and conservation principles.

Through a collaborative partnership between the Vietnamese Ministry of Culture and Information, the Japan International Cooperation Agency and Showa Women’s University, comprehensive architectural surveys of traditional folk houses in each province have been conducted since 1997. In the first stage, between 300 and 900 houses in each province were documented with simple plan drawings, photographs and interviews with the residents. These were supplemented by more detailed measured drawings at the second stage. The surveys presented a valuable opportunity not only for discovering the number of existing traditional houses, but also for raising awareness among the residents about the cultural value of their properties. From this shortlist, approximately six houses in every province were selected to be designated as national cultural assets. The local communities played an active role in identifying and nominating the houses to be designated. They submitted entries for the initial list of traditional houses that were used in the preliminary survey. Further selection was carried out through consultation with the Ministry of Culture and Information, provincial Departments of Culture and Information and Showa Women’s University. Finally, six houses in six separate provinces were chosen for restoration. The houses were chosen on the basis of factors such as feasibility of training local building contractors, the educational impact of the restoration, reuse options for the restored buildings and balanced regional representation.

For each building, a preliminary survey was carried out in order to determine which parts of the building should be restored to its original form. Restoration plans were then drawn up, calling for the retention and reuse of as much of the original fabric as possible. In keeping with the standard approach to restoring traditional wooden structures, the building structures were then disassembled, with individual timber members recorded and stored. Detailed observations undertaken during this process, especially to inspect parts of wooden members that were not visible prior to dismantlement, such as joints. Modifications were made to the original restoration plan on the basis of the new information. Each wooden component was then carefully restored. Restoration supervisors worked closely with local carpenters to devise solutions to repair or replace decayed parts using a combination of traditional woodworking skills and new techniques. For instance, in Bac Ninh province, stainless steel coach-bolts were used to connect the remaining parts of the structure with the new material, thereby structurally reinforcing the frame components. Prior to reassembling the structure, the foundations of the buildings had to be stabilized. In traditional houses, the pillars usually rest on stone foundations. However, it was found that in many of the project sites, many of the pillars were set on stone bases resting directly in the soil, leading to uneven settlement. Reinforced concrete was added under the stone bases to prevent

Vietnamese Traditional Folk Houses / 2004

further settling. These additions were implemented with care so as not to affect the external appearance of the building. Once the foundations were in place, the wooden framework of the houses were reassembled. The team was mindful of the unique framing structure of Vietnamese houses, which make extensive use of the principal rafter beams and diagonal beams, unlike the vernacular wooden architecture of China and Japan. Moreover, the team was also careful to select reassembly methods appropriate to the different ways in which beams are used and timber members assembled in the three regions of Viet Nam. Through interviews with the residents of the houses and surveys of similar houses nearby, efforts were made to determine the original form of floors, walls and architectural fittings. Where the restoration to the original form would greatly hinder the modern lifestyle of the current residents, discussions were held with them and efforts were made to incorporate the requests from the residents into the restoration plan while not diminishing the cultural value of the house. Finally, in most cases, external work was also carried out to improve the appearance of the property as a whole. Careful attention was paid to make a clear distinction between the old and the new elements in refurbishing garden plantings, pavement, folding screens, water basins and other elements of the houses.

Award Citation Spanning six provinces in Viet Nam, this ambitious, innovative and outstanding project has successfully preserved several typologies of vernacular timber buildings representing a range of Vietnamese regional building crafts and architectural traditions. Methodical documentation and research prior to the commencement of the work have ensured the retention of the architectural authenticity of each building, and set a regional standard for applied research in conservation practice. The projectâ&#x20AC;&#x2122;s emphasis on the transfer of technical know-how and teaching of conservation principles has upgraded the capacity of local builders and craftsmen in undertaking similar projects in their communities, thus ensuring the long term survival of their buildings and traditions. The geographical distribution of the sites promises to have a wide ranging impact on the conservation of local heritage throughout Viet Nam.

361

UNESCO Asia-PaciďŹ c Heritage Awards

Project details Three houses were selected from northern Viet Nam, where the influence of Chinese culture is reflected in the built heritage.

Top and top right: Truong clanâ&#x20AC;&#x2122;s house of worship during and after conservation. Opposite page Top: The eave tie beams and bracketing at the house of Pham Ngoc Tung. Middle: The roof of the Nguyen Thac clan house of worship was dismembered for examination. Bottom: The house of worship of Dang Xuan during restoration.

362

The House of Worship of the Nguyen Thac clan in Bac Ninh Province was built in 1734 and considered to be the oldest existing folk house in the country. Its design is characteristic of the traditional northern Vietnamese house. Measuring 13 metres wide, it has a gabled thatch roof. The restoration work was started in December 2000, with no major alterations except for stabilizing the foundation with reinforced concrete. Upon completion, the house has been opened to the public. The House of Worship of the Family of Dang Xuan in Nam Dinh Province is composed of a large main house with detailed sculptural work, displaying the characteristics of a high status house typical to

the region. Dating back to 1866, it is considered the oldest wooden house in the province. The house measures nine metres wide, and is composed of a main hall flanked by side rooms. Works were started in November 2001. Based on a survey of original construction traces, newer brick walls and other interior architectural fittings were removed, restoring the house to its authentic historic condition. The House of Pham Ngoc Tung in Thanh Hoa Province possesses magnificent sculptured elements similar to that of the Nguyen Dynasty. In addition, due to its proximity to a Ho Dynasty palace earmarked for extensive reconstruction, it was thought that by choosing this house for the project, the skills and proficiency of the artisans and architects would be sufficiently upgraded to help with the palace project. Thought to be approximately 150 years old, the house contains a main room used to house the family altar and side rooms used for dwelling. Starting in October 2002, the restoration project removed inappropriate features such as the entrance and

Vietnamese Traditional Folk Houses / 2004

windows from the northern brick wall and reinforced the foundation with concrete. In the central region, which is the seat of the Nguyen Dynasty culture, the House of Worship of the Truong clan in Quang Nam Province was selected. Built in 1840, this house is considered to be one of the most culturally significant in the province. It possesses the charm of aristocratic-style housing and is unique compared to the other town houses in Hoi An. In addition, as it is the clan’s house of worship, kinsfolk gather here on festive occasions, thereby maintaining the traditional use of the building. Two houses were selected from southern Viet Nam; strong French influence is evident in the houses of this region. The house of the Tran Ngoc Du family in Dong Nai Province was constructed in the early nineteenth century on the Dong Nai River. The façade has Western style features. Internally, the house contains an altar and reception area in the front, and cooking and dining areas in the rear. The house is now located within a proposed riverside park, thus increasing its potential to be used and appreciated by local citizens for its traditional cultural values. Prior to restoration, the house was in a severely dilapidated state and near collapse. The roof and front brick wall were partially destroyed and wooden elements damaged due to water leakage and termites. Starting in October 2001, restoration works were undertaken, using old photographs as a guideline. Located on a canal, the house of Tran Van Binh in Tien Giang Province was specifically selected for the project because of its Western appearance, due to later additions of a brick arched entrance and windows. Built in the early twentieth century, the house was thought to have had a wooden façade originally. Based on old photographs and architectural traces, the restoration removed the brick wall and replaced it with a timber paneled wall. Traditional carpentry techniques, tools and materials were used, which were transported via the canal.

Conservation and the community The project has helped to raise the awareness of cultural heritage

conservation among owners of cultural heritage, officials responsible for cultural heritage management and the public. As part of the management of the project, the house owners agreed to entrust their houses to the Ministry of Culture and Information as a cultural asset and to undertake their continuous maintenance. In some cases there was evidence that the owner of the property has undergone a shift of awareness from simply maintenance of cultural value to enhancement of cultural value. The impact of this restoration project as an impetus to further conservation is evident. The year after the restoration of the Dang family house in Nam Dinh Province, Secretary-General Truong Chinh’s house, located in the same village, was restored with funding from the provincial government. The work was carried out by the same contractor and carpenters who were responsible for the Dang family project. Likewise, in Bac Ninh Province, since the restoration of the House of Worship of Nguyen Thac clan the number of restoration works on traditional houses in the surrounding area has increased dramatically. There is now a movement towards conservation of the whole village, centred around the Dinh Bang Assembly Hall. The awareness and involvement of the local community in cultural heritage has been greatly enhanced. Vietnamese experts responsible for heritage conservation absorbed modern conservation techniques and approaches and Vietnamese architects learned many lessons from the working methods of their Japanese counterparts. For instance, the restoration of the house in Thanh Hoa Province, which contains many important cultural assets, has provided invaluable training in conservation principles to the officials of the provincial government, local building contractors and carpenters. The tourism industry, too, has benefited from this project. After the restoration of the house in Tien Giang Province, it has became a new tourist spot and is now included as one of the main attractions in a regular canal cruise. In general, the restored traditional houses are not only seen as cultural assets, but can also become potential destinations. Through tourism development such as this, the appreciation of the cultural value of Vietnamese traditional folk housing can increase and the local economy can be stimulated.

363

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team If we can transfer the technical knowhow of restoration of traditional wooden housing, many Vietnamese traditional folk houses can be saved from vanishing, and thereby be passed on to the next generation.

Above and top right: Floor plan and elevation of Truong clanâ&#x20AC;&#x2122;s house of worship. Right and far right: Exterior and interior photos of the restored Dang Xuan residence.

364

Elphinstone College

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis Established in 1824, Elphinstone College is among the oldest colleges in Mumbai and one of the pioneering educational colleges of the British system in India. Some of its alumni are among the greatest names of the Indian nationalist movement, strongly establishing this institution’s contribution towards shaping the history of the Indian subcontinent. A Grade I heritage building, Elphinstone College is a majestic Victorian Gothic Revival building that forms part of the ensemble of cultural institutions in the Fort Precinct. Designed by James Trubshaw and Khan Bahadur Muncherjee Murzban, it was completed in 1888 by John Adams, executive engineer in the Bombay Government.

was started in January 2002 and completed in September 2003. The Association oversaw the restoration of the façade and the porch, while the PWD undertook the waterproofing of the terrace and window restoration.

Conservation approach The restoration project was driven by the principle of respect for the building’s historic, social and architectural significance. A combination of scientific conservation techniques and local building crafts was used. The architectural integrity of the building was recovered by the removal of incongruous additions such as ad hoc window awnings, sheds and service pipes that had been incrementally added to the structure.

City map Opposite: The impressive Victorian Gothic Revival building before and after rehabilitation.

Location Mumbai, India

Size 4,000 square metres (façade) 170 square metres (front porch)

The building is a distinguished architectural composition of golden basalt and limestone with a dynamic fenestration scheme, ordered by flanking stone turrets with pyramidical roofs. Finely articulated balconies, brackets and balustrades, along with intricately designed surface motifs, add to the decorative features of the building. For decades the building stood neglected, with layers of soot and grime concealing the ornate stone façade and ficus growth causing cracks in the stone masonry. The front porch was in need of structural stabilization. Years of insensitive repairs and additions had greatly compromised the building’s integrity. Added to this, some well-meaning but insensitive repair methods had taken their toll.

Stone cleaning on the 90-metre wide façade was undertaken with a gentle water misting system rather than high pressure jets or chemical surfactants. The first project in Mumbai to use this method, it helped prevent any possibility of stone abrasion or damage and kept intervention to a basic minimum. The stone was cleaned with soft nylon brushes to remove superficial dirt, before being sprayed with a fine mist of water for three seconds at three minute intervals, to ensure that encrustations would be detached without over-wetting the stone. After three days, the stone masonry was cleaned with soft brushes, revealing the underlying golden basalt base layer. In lieu of expensive imported equipment, a locally devised system was rigged up, with the sprinklers mounted on a scaffold set three feet away from the façade and a solenoid switch equipped with a timer.

Cost US$52,330

Responsible Party Government of Maharashtra

Heritage Architect Abha Narain Lambah

Contractor M/s Construction Techniques

Date of Completion September 2003 (Phase 1)

366

Through the establishment of the Kala Ghoda Association, a citizen’s initiative founded in 1998 with the objective of revitalizing this urban space as an art district, the restoration of the Elphinstone College building became possible. For the first time in India, a citizens’ group was allowed to fund, float tenders for and undertake restoration works on a government-owned building. The Association was responsible for the outer shell, while the repairs within the building were under the jurisdiction of the Public Works Department (PWD) with technical expertise provided by the Association’s consultants. The first phase of the restoration

In cleaning the sulphate encrusted decorative limestone mouldings, capitals and sculpted panels, ammoniacal paper poultices were applied to the stone for two to three days, followed by water washing. Surfaces prone to algae and lichen growth were coated with an ammoniacal solution. Ficus plants were uprooted and the stumps treated with a traditional paste of lime and asafetida. Local craftsmanship and materials were mobilized in the repair of the damaged façade elements. The stone masonry had been repaired earlier with hard cement mortar and epoxy, leading to

Elphinstone College / 2004

the delamination of the stone due to the trapped water which was unable to evaporate. The joints in the stone masonry were repointed using a traditional lime mortar mix dyed with kathha (a natural colorant) to match the basalt color, which was achieved after 50-odd trials with different combinations of various additives such as brick dust and stone powder. Damaged limestone stringer courses were replaced with new hand-carved sections, while decorative panels were either restored using lime mortar or, in cases of severe damage, new sections. Discreetly inserted stainless steel pins were used to fix the new panels, since corrosion is an issue, given the hot and humid climate of Mumbai. In the front stone porch, the ends of timber rafters set in the masonry walls were greatly damaged by wet rot. Replacement members, in old Burma teak were sourced and installed. Stainless steel C-sections were inserted as additional supports on alternate ends, which have been exposed as a contemporary intervention.

Award Citation The restoration of the façade of the Victorian landmark, Elphinstone College, was undertaken as a result of a community-led campaign and demonstrates best practice in collaborative private-public conservation. Setting the standard for conservation work on the Victorian buildings of Mumbai, the project’s cautious and methodical conservation approach and, in particular, its use of non-invasive techniques have ensured the preservation of the building’s fragile, historic fabric. The methodology used in this project serves as a model for the restoration of the many similar structures in Mumbai’s historic Fort District. The project has returned this landmark building to its former magnificence and has preserved one of the most valuable parts of the city’s history and built heritage. By illustrating the architectural splendour of the Fort District of Mumbai, this project has contributed to consolidating the district as a showcase for Mumbai’s wealth of Victorian heritage.

367

UNESCO Asia-PaciďŹ c Heritage Awards

Conservation and the community The building continues to be a vibrant educational and cultural institution housing both a college and the State Archives. As a result of the project, the College has opened up its grand entrance lobby for art exhibitions, allowing for greater public interaction with the building. In addition, a strong sense of ownership has been cultivated in the wider community with active participation in the restoration of the building by the college faculty, alumni, State Government, neighborhood residents and the citizens of Mumbai at large. As a result, the various stakeholders of the college feel a renewed sense of pride in the building. An important impact of this conservation project has been to expose the PWD engineers to restoration practices and the basic prerequisites of documentation, investigation both prior to and during the works, an approach of sensitive and minimal intervention as well as a concern for authenticity of material and design. Resulting in a set of guidelines for future use, restoration and maintenance of the building, the project has led to a new working methodology and a successful public-private partnership with the PWD, which is charged with the upkeep of many of Mumbaiâ&#x20AC;&#x2122;s historic buildings.

Above: Floor plan of the main building. Top left: The elevation shows the articulation of arcades, balconies and turrets. Far left: Deteriorated pilaster of Porbunder limestone. Middle and left: The colonnaded entry before and after restoration.

368

Female Orphan School

UNESCO Asia-PaciďŹ c Heritage Awards

Project synopsis The Female Orphan School is an architectural landmark located in the University of Western Sydneyâ&#x20AC;&#x2122;s Parramatta campus. Built in 1813, it is the oldest three-storey public building and one of the most important surviving structures from the earliest period of European settlement in Australia. With an imposing Palladian facade, the design of the colonial Georgian building was modeled upon the childhood home of the wife of Governor Lachlan Macquarie. The building was constructed in brick, using lime shell mortar, and accented with sandstone stringcourses, quoins and windowsills. The floors, roof structure and operable windows were built in wood.

City map Opposite: Before and after restoration.

Location

Historically, the building and its site have seen three significant phases of development. Built to house the Female Orphan School, it was later transformed into the Protestant Orphan School for boys and girls in 1850 and finally the Rydalmere Psychiatric Hospital in 1888. It was vacated in 1969 before the whole site was transferred to the University of Western Sydney in 1993. By the time of the handover, the building was derelict as a result of over 40 years of neglect and vandalism. Rising damp had damaged the brickwork and plaster. Timber lintels were either rotten or termite-eaten. The downpipes were leaking or missing. Window panes were smashed and glazing bars broken. Alterations made to the building over its history had, in some cases, detracted from the original design or function of the building.

Rydalmere, New South Wales, Australia

Size 750 square metres

Cost US$1,250,000

Responsible Party University of Western Sydney

The University embarked on the restoration of the building in 2001 and works were finished in 2003. The building has now entered its fourth major phase of use as part of the University of Western Sydney, taking its place in the new millennium while preserving its history from the earliest years of the colony.

Heritage Architect Tanner & Associates

Contractor

Conservation approach

St. Hillers

Date of Completion June 2003

370

In adapting the building for use by the University, the proposed functions and occupants were carefully vetted to ensure that

they would fit in with the existing spaces. The alterations deemed necessary were designed so that they would not impact the historic fabric negatively either in their installation or their on-going use. The approach of the project was to respect and enhance the architectural expression of the 190 year life of the building. As such, the building has not been conserved to a particular point in history. Rather, there has been a deliberate and purposeful approach to show all phases of its history, including the subsequent adaptations undertaken to accommodate its many uses. The conservation works focused on revealing the various layers of significant historic fabric. In some cases, this entailed the removal of obtrusive elements which had been added on. This was carried out literally in the restoration of the interior paint schemes. In order to resurrect the paint remnants from the orphanage and hospital periods, the later layers of enamel and acrylic paints were carefully removed using an organic poultice. When uncovered, the historic powdery paint layers were then stabilized with pure acrylic to protect them and prevent further deterioration. The dappled walls clearly showcase the three historic phases of the building. The building had suffered water damage from rising and falling damp and the associated problem of termites. In order to provide a long term solution, the cement render covering the fretted brickwork was removed, and the brickwork was desalinated. The moisture content of the foundation was stabilized, and a chemical damp-proof course was inserted into the solid brick walls. The roof plumbing and stormwater drainage were both repaired, and the sub-floor space was cleared out to increase sub-floor ventilation. In the repair of the historic elements, materials were selected to match the original fabric as closely as possible. The northeast wall was reconstructed using matching sandstock bricks, which were salvaged from another demolished building. However, as they were larger in size than the extant bricks, they were trimmed down to fit into the walls. The new sandstone trim and windowsills were also selected to match the extant pieces. A number of lost elements were reconstructed in order to reestablish the buildingâ&#x20AC;&#x2122;s historic spatial layout and function. Most

Female Orphan School / 2004

significantly, a new set of double stairs was inserted into the main atrium space to replace the original stairs that had been removed earlier. Likewise, the reconstruction of the demolished northern verandah has also reconnected the building to the courtyard. The new elements were designed in a modern vocabulary using contemporary materials, allowing them to be read distinctly from the earlier elements. The stairs, for instance, were built in the configuration of the colonial Georgian stairs but using a light structure of timber treads and stainless steel balusters, which had minimal impact on the historic walls. Likewise, a new concrete lift tower clad with vitrepane, steel framed lift lobbies, and glazed operable partition walls was also designed in a sympathetic contemporary manner. Modern services were installed discreetly in the interior spaces to allow the building to function comfortably.

Conservation and the community The University of Western Sydney has transformed the Female Orphan School into a centre for university and community exchange. The building is now used as an exhibition space and meeting rooms by diverse groups who are better able to appreciate the heritage significance of the building through their personal interaction with it. The rental fees contribute to the maintenance of the building, which is overseen by the University.

Award Citation The conservation and adaptation of the Female Orphan School has revitalized one of the most important surviving buildings from the early period of European settlement in Australia, and has ensured that this historic structure will continue to be utilized for years to come. This project displays a sound technical approach in the conservation of existing significant fabric, while the preservation of all phases of the buildingâ&#x20AC;&#x2122;s history captures in palimpsest its 190year history of varied use. Reintroduction of original elements, such as the paired staircase, has reinstated the original circulation patterns, restoring functionality, while the new fittings and access mechanisms such as the lighting system and lift tower have facilitated the buildingâ&#x20AC;&#x2122;s continued use in a contemporary context. Sensitive conservation of wall paintings from one period of occupation has retained the buildingâ&#x20AC;&#x2122;s historic personality even as its function in the community has changed over time. Ever mindful of its sense of place, the use of this historic, but once derelict, building as part of the University of Western Sydney campus has provided a means by which the public can access and appreciate this significant nineteenth century structure.

371

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team We were committed to conserving every trace of early construction, original flooring, windows, stencil decorations and the like, which would show the patina of history and which would enable thoughtful interpretation of the buildingâ&#x20AC;&#x2122;s story.

Above and top right: Ground floor plan and elevation. Right: The restored entry foyer retained the historic paint layers on the wall. Far right: A construction worker examines the paint surfaces.

372

Gong’zi’ting

UNESCO Asia-Paciﬁc Heritage Awards

City map Opposite: The complex before and after restoration.

Project synopsis

Conservation approach

The oldest structures on the Tsinghua University campus, the Gong’zi’ting complex comprises 25 Chinese vernacular buildings linked with covered walkways set in a formal landscape. The central axis is anchored by a three-bay entry gateway at the southern edge of the compound and by the most prominent structure, an H-shaped hall, on the northern side. The site once formed part of the early eighteenth century Tsinghua Gardens, which were created in the Qing Dynasty during the reign of Emperor Kangxi at the same time as the nearby Yuanmingyuan. The complex survived the war with the French and British armies in 1860 and was later converted, under the terms of the 1908 treaty with the United States, into a preparatory school for students heading off to study abroad. During its years as an academic institution, it was used for faculty accommodation and recreational facilities. After 1949, the complex housed the offices of the president of Tsinghua University and has also become a popular site for visitors.

The project placed primary emphasis on retaining the historical and cultural value of the complex, encompassing both the Qing Dynasty buildings as well as the gardens. Since the buildings, like many traditional Chinese structures, had been built or repaired over various periods, the challenge faced by the project team was to identify the key defining elements to be preserved in each building.

Over the years, the complex has seen a number of changes. The entry gateway, while retaining its original structure, had been patched with tiles from different periods. Some historic covered walkways had been demolished, while others had been badly repaired. The courtyards had been repaved with modern cement bricks. In the side courtyard, the original layout of the space had been overwhelmed with new buildings. The whole complex suffered from structural deterioration of the wood and brick components. The garden had been replanted over time and enclosed with modern green fences in a manner that was not in keeping with its historic Chinese garden design. In addition, large trees were found to be undermining the foundations. The project was initiated in 1998 in order to address the conservation and functional issues of the complex. A multi-disciplinary expert team of historians, architects, conservators and horticulturalists was formed. The team investigated the condition of the structures and undertook a documentary and archival survey, which formed the basis for developing a conservation strategy for the buildings and grounds. The on-site works commenced in April 2000 and were completed in one year.

374

Many of the traditional building crafts (tiling, carpentry, architectural painting, and masonry works) are still alive in China. Senior craftsmen were invited to take part in the building survey in order to determine the state of the existing structures and also to identify the materials and techniques used originally. It was found, for instance, that the wooden columns, beams and purlins were still in sound condition, and therefore new replacements were not needed. As much as possible of the existing fabric deemed historically valuable was saved. Where repair or replacements were found necessary, the appropriate traditional techniques and materials were used. For instance, in restoring the architectural paintings on wood components, the faded paintings were refreshed and missing panels were repainted. Likewise, broken stone components were restored while heavily damaged pieces were replaced with newly carved ones. Major restoration works were undertaken in the buildings along the central axis, notably the entry gateway, the central hall and the H-shaped hall. For the latter, the roof was retiled and the doors and windows restored to their historic form. The buildings flanking the central courtyard and along the façade wall were restored to their original condition as per historical drawings. For minor buildings around the perimeter, simple repair works were made to upgrade their functionality. The covered walkways had mostly been rebuilt with a historical appearance but without proper structural support. These were disassembled and reassembled after the foundations were stabilized and the column bases replaced. In order to allow the building to function within a twentyfirst century context, a number of alterations were made. New materials were added to improve the insulation of the traditional windows and doors, and ensure the waterproofing of the wall

Gong’zi’ting / 2004

finishes in the bathrooms. All modern insertions were designed to be recognizable as such and easily removable. An historical record dating from 1909 concerning the gardens was found in the archives and used to guide the landscape restoration. Box hedges and a number of trees were uprooted and replaced with peonies, magnolia, willow, elm, mulberry and the Chinese scholar tree, among other species. The Teng’ying’he’sheng courtyard at the northwest corner of the complex was relandscaped with a pond and rockery. Modern paving was removed in favour of the original stone pavers. Discreet outdoor lighting was installed to allow the garden to be lit up at night.

Conservation and the community Throughout the process, close cooperation was sought with the University community, in particular, the staff working in the complex. After long consultations, the stakeholders agreed to retain the function of Gong’zi’ting as the president’s office, as it has been for the past 50 years. All vestiges of the complex’s past have been carefully retained, including not only the Qing Dynasty structures, but also later commemorative steles and other monuments. As such, Gong’zi’ting, embodying the rich historical memories of the site, has been renewed as a symbol of the University for its student, faculty, staff and alumni.

Award Citation The restoration of Beijing’s historic Gong’zi’ting palace garden complex demonstrates a clearly articulated conservation strategy combining thorough research and minimal intervention undertaken within a well developed theoretical framework guiding landscape conservation in the Chinese context. Through judicious use of traditional materials and methods, the buildings and grounds have been restored to reflect their significant historic status and cultural value. Meticulous restoration of the historic gardens of the Gong’zi’ting complex calls attention to the importance of the conservation of historic gardens and landscapes within Chinese culture and is testimony to the project’s important contribution to cultural continuity. Reuse of this historic garden complex within the context of the Tsinghua University campus has made this valuable heritage asset available as an educational resource for community and ensures its long term survival.

375

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team The project was based on thorough investigation into the status quo, in-depth studies of historical records, and active involvement of Chinese traditional craftsmen and the administration group which is the owner as well as the user of the complex.

Above and top right: Ground floor plan and elevation of the main hall. Right: Landscaping was an integral part of the restoration project. Far right: The refurbished interior.

376

Namuna Ghar

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis Located near Dattatreya Square in the ancient town of Bhaktapur, Namuna Ghar (Model House) is a three storey brick and wood structure that typifies the traditional Newari architecture of the Kathmandu Valley. Once a farmhouse, the building is estimated to be around 150 years old and features elaborate carved wooden work and a tiled pitched roof.

City map Opposite: The residence before and after restoration.

When restoration work began in 1999 the house was in a highly dilapidated state, having been abandoned by its owners for over ten years and later used as a chicken shed. Restoration works were carried out over a period of 18 months and were completed in March 2001. The main purpose of the restoration project was to raise awareness within the community of the value of heritage buildings and to encourage their protection. The project also intended to demonstrate to the public that historical buildings can be adapted for use without sacrificing either modern comforts or their heritage value. Since restoration, the house has been used as a residence and also a venue for exhibitions and cultural events. Many old houses in the Bhaktapur area have been restored following the example of the “Model House”.

Location Bhaktapur, Nepal

Conservation approach

Size 85 square metres

Cost US$17,000

Responsible Party Rabindra Puri

Heritage Architect

Prior to restoration, the house had suffered from neglect as well as inappropriate repairs. The ground floor had been plastered with cement, along with the walls on the third floor. Windows had been covered up and some of the walls were very weak, with long cracks in the brickwork.

Rabindra Puri

Contractor Rabindra Puri

Date of Completion March 2001

378

The house was largely restored to its original design with a few changes introduced to modernize the interior. The eastern, northern and southern exterior walls were rebuilt and windows were restored. All the floors, ceilings and inner partitions were

retained. The cement paving was removed and replaced with stone pavers. During this process, an old rice husker was discovered on the ground floor, which was then restored for exhibit in the house. Extreme caution was exercised in handling the existing fabric. Eighty percent of the materials were reused, including old bricks and wooden artefacts. The old bricks were salvaged and cleaned before being relaid using traditional mortar. The mortar was produced on site, containing a mixture of brick powder and lime, which was tested many times to get the original colour and quality. Where the original material was not reusable, replacement material was sourced, largely from the architect’s own private collection that had been salvaged over the years from demolition sites. For example, the roof had been partly covered with tin sheets, ruining its original character. During restoration, the tin was removed and replaced by old tiles. Likewise, the decayed wooden columns on the second floor were substituted with old columns. The farmhouse was adapted to serve a modern function. The living quarters on the first and second floor were retained. New bathrooms were added by converting the storeroom on the ground floor and a small portion of the second floor. On the third floor the kitchen was kept, while the grain storage room was adapted into a meeting room. The patio, characteristic of Newari buildings, was enlarged slightly to allow more light into the kitchen and the adjoining room. The farmyard was re-landscaped as a garden. Traditional and local materials were used for the interior fitout. Traditional furniture and crafts displayed in the wall niches enhance the atmosphere. All wooden parts of the house were painted with linseed oil for durability and beauty. The use of modern materials was limited to the new amenities added in the bathroom and the kitchen. In addition, as Nepal is in an earthquake-prone zone, modern tie-beams were introduced for improved seismic performance.

Namuna Ghar / 2004

Conservation and the community In addition to being the architectâ&#x20AC;&#x2122;s workspace, the house is a museum open to all visitors. The house also hosts exhibitions and cultural events. The guest room is available to scholars who come to Bhaktapur to do research. The restoration of Namuna Ghar set a precedent in the municipality. The house was restored at a moment when Nepalese were slowly forgetting their traditional architecture, and the project initiated a greater awareness amongst both local residents and visitors. An influx of visitors, numbering over six thousand in the first four years after the house was restored, have come to the house. Architecture students have studied the house to learn about the Valleyâ&#x20AC;&#x2122;s vernacular architecture. Media attention was also directed at the project with almost all the newspapers in Nepal and five different documentary films featuring the house. Influenced by this project, restoration of traditional architecture is taking place more frequently, with homebuyers expressing interest in restored historic buildings as a residential alternative. In the immediate vicinity, a neighbouring home owner was pressured by the community and the municipality to rebuild in the traditional style.

Award Citation The restoration and revitalization of this archetypal Newari village farmhouse has successfully preserved a fundamental building type central to the traditional architectural vocabulary of the Kathmandu Valley. In the process, public awareness has been raised about the value of such traditional vernacular structures within a contemporary setting. The careful preservation of vernacular materials has retained the structureâ&#x20AC;&#x2122;s sense of place and original charm while modest, low-cost changes and the sensitive introduction of contemporary facilities have improved living conditions in the house and thereby enabled use of the building in a modern context. Demonstrating the feasibility and affordability of conserving and adapting vernacular houses for continued residential use, this project has paved the way for the conservation of similar traditional buildings throughout Nepal.

379

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team Many national and international organizations are spending millions of rupees on different kinds of awareness campaigns and programmes. There is no better way than restoring an old building yourself to make people aware about conservation, traditional architecture, the value of traditional knowledge and real beauty. It is so effective but costs so little money.

Above and top right: Floor plan and section of the house. Right and middle: The former upper grain storage room was transformed into a meeting room. Far right: The restored Newari balcony.

380

Suzhou River Warehouse

UNESCO Asia-PaciďŹ c Heritage Awards

Project synopsis Along the banks of the Suzhou River in Shanghai lie clusters of old warehouses and factory buildings from different eras, some dating back over a hundred years. Many of the buildings were constructed in a utilitarian manner using a combination of timber and red and grey brick. Historically called the Wushong River, the Suzhou River was once the main waterway for Shanghai, with the now-dominant Huangpu River serving as a mere tributary. When Shanghai functioned as a foreign treaty port, the river was part of an important transportation and logistics network linking into the interior of China as well as to the rest of world. After 1949, the river nurtured a major manufacturing base, with factories located within easy reach of the waterway. City map Opposite: The Suzhou River warehouse before and after restoration.

Location Shanghai, China

Cost US$120,000

Responsible Party

During the reform era, the manufacturing industries withdrew from the city and the warehouses and factories were abandoned. Reduced to a fraction of its size by the late 1980s due to siltation, the river was heavily polluted from the previous industrial activity, deterring redevelopment in the surrounding area. For many years, the warehouses remained empty and grew increasingly dilapidated. Starting in 1992, the Shanghai government began to clean up the river and their plans included a full-scale demolition of the old warehouses. The project architect proposed a different solution to revitalizing the warehouse area. In 1993, he decided to rent one of the warehouses, rehabilitate it and convert it into a design studio for his personal use. The 1930s building, previously a grain warehouse, was designed in the Art Deco style. The exterior wall is constructed with grey and red brick. The floors and columns are made from pinewood, while the roof is red tile. The restoration project was completed in three years.

Fruit Limited Company, Teng Kun-Yen

Heritage Architect Teng Kun-Yen

Conservation approach

Contractor Da Yang Environmental Design Ltd.

Date of Completion October 1996

382

The project approach was to restore everything to its original state. The restoration retained the historic materials found in situ and salvaged materials for repair from other buildings from

a similar time period that had been demolished. In this way, the historic building fabric was preserved. When it was found, the warehouse had been home to over 150 migrant workers, after having been abandoned for many years. The interior had been partitioned into small living spaces with limited facilities. Flimsy awnings had been affixed to the brick exterior of the building, sheltering a wholesale fruit vendor. The roof was leaking and has been patched with corrugated roofing sheets, the timber roof frame was damaged and the interior walls were water stained. Electrical wiring had been mounted in a careless and unsafe manner. Over 100 carts of rubbish were removed from the building. Human excrement and soot buildup from the open kitchens had to be cleaned out, with high-pressure air and water jets used to wash away the embedded dirt. The structure was leaning slightly, so the timber structure was reinforced and later constructions were removed to relieve the load on the floor. Inappropriate additions such as the front awning were removed and the exterior brickwork was restored. To transform the dim interior into a light-filled space, a skylight was installed, which provided natural light and also warmth. Three small staircases were removed to optimize the space for its function as an architectural design studio. All alterations were undertaken in a discreet manner in order to maintain the integrity of the historic structure. The skeletal structure of the cavernous space was left exposed, to fully acknowledge the industrial character of the building. Where partitions were needed, they were designed to be lightweight and removable. The exposed floorboards were retained and wall finishes were left intact, with the application of a light layer of limewash. Interior fittings like light fixtures were chosen in a modern industrial vocabulary, to enhance the ambience of the warehouse while providing a contemporary counterpoint to the historic building shell. In addition to the architecture studio, the building also houses a design publisher and bookstore.

Suzhou River Warehouse / 2004

Conservation and the community Following this pioneering initiative, the area has since become a fashionable enclave for artists, many of whom have opened studios and galleries in the abandoned buildings. Despite being hailed as Shanghai’s SoHo, in the context of the city’s booming real estate market, the area was still under the threat of imminent demolition to make way for modern high-rise buildings. However, media attention for the successful renovation project, subsequent interest by the public and sustained lobbying by the architect for the rehabilitation of the whole area contributed in part to the ultimate designation of a four-kilometre stretch of the Suzhou River as a protected modern heritage zone by the Shanghai municipal government. This extends from the elevated bridges in the west to the Waibaidu bridge to the east, adjoining the Huangpu River. A pedestrian promenade now runs in front of the warehouse, allowing local residents and visitors to appreciate both the restored river and the adjacent historic buildings.

Award Citation The conservation and adaptation of this archetypical warehouse on the Suzhou River demonstrates the large scale impact that an individual, pioneering restoration project can have in focusing public attention and policy-making on new conservation agendas, in this case, Shanghai’s industrial history. A minimalist approach and careful retention of the defining features of the structure have preserved the building’s ambience, while the innovative adaptation of the warehouse for reuse as a design studio has demonstrated the feasibility of recycling industrial buildings and the practicability of rehabilitating such heritage structures for modern use.

383

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team The warehouse was like a widow in black, whose figure remains charming but covered in dust. I wanted her to be elegant and modern. She could then be the symbol of the new Shanghai that is now in the limelight of the whole world, just like the Shanghai of 1933 when she was born, which was at its most brilliant and shining. I firmly believed that she would come to life again. Today, she stands on the grey Suzhou River bank assuming a magnificent pose.

Above: Floor plan. Right: The new loft workspace. Top and bottom right: Interior views before and after conversion for reuse.

384

Tak Seng On Pawnshop

UNESCO Asia-PaciďŹ c Heritage Awards

City map Opposite: The building before and after rehabilitation.

Location Macao SAR, China

Size 1,543 square metres

Cost US$250,054

Responsible Party Companhia de Desenvolovimento Imobiliario leng Vo, Limitada

Heritage Architect Chan Chak Seng, Cheong Cheok Kio Chan Kin Seng, Lui Chak Keong, Carla Figueiredo

Project synopsis

Conservation approach

Established in 1917, Tak Seng On Pawnshop originally belonged to a prominent local merchant, Comendador Kou Ho Neng. The adjoining tower at the rear of the pawnshop, used for the safe storage of valuables, was estimated to have been built in the 1920s. The front part of the building had delicate Art Deco architectural details mixed with Chinese elements. The tower was designed to be impenetrable, constructed on massive granite foundations from Chinese grey bricks, incorporating steel panel inlays and narrow slit windows.

The projectâ&#x20AC;&#x2122;s primary concern was to preserve the authenticity of the original construction, restore as much as possible of the historic fabric using appropriate materials and techniques, and minimize modern intrusions on the structure.

The pawnshop business in China dates back over 2,000 years and played an important economic role by functioning as early banking facilities. In Macao SAR, the industry peaked during World War II and in the 1960s, when the gambling industry was established and legalized. Located in the middle of the historic Chinese bazaar area, Tak Seng On Pawnshop was classified as a medium-level pawnshop and was an integral part of the socioeconomic development of the city. The property is included in the heritage zone of Almeida Ribeiro Avenue and the tower is listed as a building of architectural interest. With the later decline of the pawnshop industry, the property was closed down. Early proposals by the building owner, which were never implemented, called for gutting the interior in order to construct residential units. In 2001, an inspection of the building revealed that it had remained surprisingly intact, with artefacts from its pawnshop operations found in situ, such as log records, unopened safes and registration tags. The Cultural Institute entered into a partnership with the owner to develop the building into an exhibition space dedicated to the memory of the pawnshop business, as well as a private commercial enterprise, the Cultural Club.

Contractor Companhia de Decoracao San Neng (phase 1) Vo Tin Engineering (phase 2)

Date of Completion March 2003

386

The project commenced in December 2001 with structural consolidation and architectural restoration. Detailed repairs and interior fit-out were undertaken between October 2002 and March 2003, and the building opened to the public on 21 March 2003.

Prior to commencement of works, detailed documentation was undertaken, with an inventory of furniture and artifacts, complete measurements of existing architectural elements, execution of rigorous survey drawings, and archival research into the buildingâ&#x20AC;&#x2122;s background and history. The condition survey revealed that the tower was in relatively sound condition. However, the front building had suffered from settling and deterioration, with cracks in the walls and ceilings, uneven pavements, rainwater infiltration, degradation of the plaster, termite damage of wooden members, broken windows and worn decorative motifs. In the first phase of works, rubble and dirt were cleared away and structures that were not part of the original architectural concept were removed. The termite problem was addressed and decayed wooden members were repaired, using partial replacements in damaged areas wherever possible. The sidewalks were leveled and debonded plaster was stabilized. Traditional construction skills were used in all aspects of the work. Modern services were introduced to allow the building to accommodate its new functions. To meet fire safety and public accessibility codes, an auxiliary staircase was integrated into the void between the building and the neighboring property. To maintain the entry of natural light into the space, skylight panels were installed over this space and over the gap between the front building and the tower. An upgraded drainage system, water supply, toilets, electrical wiring and lighting were installed in an unobtrusive manner. In the second phase of works, the repair of wooden windows and doors, ceramic tiles and original furniture was undertaken by teams of skilled craftsmen. An air-conditioning system was added,

Tak Seng On Pawnshop / 2004

with the outage units discreetly installed out of sight on the terrace. A traditional Chinese tearoom, library, exhibit room and local souvenir shop constituting the Cultural Club were carefully inserted into the historic interior.

Conservation and the community The Pawnshop Museum now occupies the tower structure and the front building’s ground floor, once the pawnshop’s reception, accounting and storage preparation areas. The Cultural Club takes up part of the ground floor and extends over the top two floors. The property has become a popular cultural tourism destination, providing a revenue stream to sustain itself. It has also attracted visitors to nearby heritage sites such as the Street of Happiness and the inner harbour. The project has provided the private sector with a practical success story for viable development of a heritage property within the framework of Macao SAR’s heritage conservation policies. The partnership between the Cultural Institute and the private property owner has also demonstrated the potential for such joint efforts in adaptive reuse, which can balance economic and cultural interests. The long term viability of the property is governed by an agreement signed between the two parties.

Award Citation The restoration of the Tak Seng On pawnshop and tower has preserved a fine example of a unique southern-China building type and has thereby protected the cultural memory associated with the region’s commercial and financial history. Given the important historic role played by this type of financial institution to the communities of the Pearl River delta, by safeguarding this building type the project has made an important contribution to cultural and community continuity. The conservation of original features such as the main building’s interior structures as well as the tower has retained the key elements of the building’s intended functional form. The conservation approach has nevertheless acknowledged the evolved state of the building over time by preserving evidence of previous renovation work. The project captures the living practices of the pawnshop in an on-site museum, by showcasing original objects discovered during the restoration process. A pioneering adaptive reuse project, the restoration project has made the pawnshop one of the key landmarks on Macao’s heritage trail, stimulating conservation of other commercial structures in the city. 387

UNESCO Asia-Paciﬁc Heritage Awards

Quote from the project team The project has proved to be a tremendous success on various levels, enabling the conservation of one of Macao SAR’s most significant heritage buildings, preserving the history of the local pawnshop business and ensuring a viable shopping experience that offers continuum to the architectural charm of the old building.

Above: The floor plan shows the building’s narrow footprint. Top right: Side elevation. Right: The new souvenir shop has been popular with visitors. Far right: Many of the building’s elements were found intact.

388

Zargar-e-Yazdi House

UNESCO Asia-PaciďŹ c Heritage Awards

Project synopsis The Zargar-e-Yazdi House is located next to Fort Mosque in the historic city of Yazd in central Iran. The city dates back to about 3,000 BC and contains many buildings of historic and architectural significance. Commissioned by a local prince, the original building was built at the end of the Safavid Era (1502-1736). Alterations were later made during the Qajar (1794-1925) and Pahlavi (1925-1979) Eras. The oldest remaining sections, notably the small courtyard, are more than 250 years old.

City map Opposite left: The residence in ruins. Opposite right: The restoration nearly completed.

Location Daroshafa District, Yazd, Iran

Size 1,416 square metres (built-up area) 1,281 square metres (courtyard)

Cost US$7,028

Featuring stained glass windows and other artistic elements, Zargar-e-Yazdi is significant as a fine and rare example of a traditional vernacular residence, reflecting historic customs and cultural influences. The building illustrates the vernacular approach to architecture, which is well adapted to the environmental and social context. The house is internally focused, with a solid outer perimeter and open inner spaces. It is organized around two courtyards. The public area of the house, used for receiving guests, encloses the smaller front courtyard, while the private living quarters surround the larger rear courtyard. Water bodies in the courtyards create a cooling microclimate. Before restoration, the house had been abandoned for a long time and had fallen into ruin. The walls were intact but much of the roof had collapsed. The courtyards and gardens had been left untended for many years. The project managers restored the house with a view to demonstrating the value of past architectural styles. The project was completed in twelve months in March 2004, which included one month for equipping the worksite.

Responsible Party The Urban & Revitalization Organization

Heritage Architect Ali Amiri Ardakani

Contractor Maskan Sazan Corporation

Date of Completion October 2003

390

Conservation Approach The artistic and architectural value of this structure is related to its simplicity and subtle geometrical pattern. As retention of this significance was paramount, the architectural integrity of the building was carefully preserved throughout the restoration process.

The project focused on restoring much of the building to its original Safavid Era design and decoration. There are few examples of architecture from this period of Iranian history, and therefore the restoration of this part of the houseâ&#x20AC;&#x2122;s identity was considered valuable. In addition, the changes that were made in the Qajar Era were also preserved to show the transformation of the house at certain historical periods during its lifetime. Detailed research and study of the house were carried out prior to the restoration work, delving into the buildingâ&#x20AC;&#x2122;s condition and the original design and function of the water, sewage system and other services. The project then used the findings from the research to undertake the restoration. By carefully examining the different materials used in this building, the project team was able to distinguish the parts of the house constructed at different stages. For example, earlier walls were built in mud brick and clay, while later walls were formed in bricks. Likewise, it was possible to uncover the previous existence of certain design elements, for example, the chimney, by using clues in the existing structure. The removal of incongruous materials, such as paving, was undertaken first. The courtyards were excavated and repaved with bricks. The roofs were repaired using traditional materials such as brick and plaster, with special attention paid to waterproofing and adjusting the slope to allow for efficient run-off. Leaning walls were restored with the fortification of foundations and the repair of cracks. Decayed bricks were replaced with new bricks and a traditional mortar mixture was applied. In the interior, the floors were repaved and refinished, while walls and ceilings were replastered. Doors were restored and returned to their original locations. Changes to the original structure were limited as much as possible and included the installation of necessary modern facilities such as water pipes, air-conditioning, electricity and a sewage system. Much of the damage to the structure had come from rising damp and rainwater ingress. The house had an extensive system of subterranean channels under the courtyards that was not watertight and had resulted in water seepage. To address the problem in a permanent way, the channels were excavated and lined with an

Zargar-e-Yazdi House / 2004

impervious layer. In addition, drainage channels were introduced around the bases of the walls to facilitate evaporation, with different designs depending on the level of moisture in the area. Water gutters and spouts were cleared. The associated problem of termites was resolved by traditional techniques. After exterminating the termites, decayed timber members were replaced with termite-resistant varieties. Some members were encased in gypsum, while exposed surfaces were treated with oil extracted from wild rocket plants. Tobacco was mixed in with the plaster to ward off termites.

Award Citation Conservation and the community Different options for adaptive reuse were considered, including a workshop and shop for ornaments and gold, a shop for Yazd textiles or an anthropology museum. Ultimately, the house was adapted for use as a hotel and restaurant, which was found very suitable for the buildingâ&#x20AC;&#x2122;s layout and large existing kitchen. It is planned that the open areas in the lower floors will be used for fairs and other cultural activities. In addition, the house has become popular with the local community as a location to meet socially. With its new use, the restoration of the house has provided an opportunity to convey to locals and tourists alike the artistic and architectural values inherited from earlier periods in Iranian history.

Through identifying and showcasing traditional Iranian architectural techniques, this restoration project has accurately preserved and convincingly conveyed historic continuity in local vernacular built heritage. The project exemplifies how authentic use of traditional materials and craftsmanship can contribute to the continuity of both architectural and socio-cultural identity. The adaptation of the Zargar-e-Yazdi house for use as a hotel has demonstrated to the local community the viability of using vernacular structures within a modern and commercial context and has enabled the wider public to gain understanding of and appreciation for Iranian built heritage while securing the future of this handsome building.

391

UNESCO Asia-PaciďŹ c Heritage Awards

Quote from the project team We respect the past and its constructions because through it, you can see our identity. Old buildings reveal the thoughts and opinions of their builders. So during restoring, the building itself has been very important to us. We understood the hidden values of the house through research and studies, but the main goal was to explain these values to others.

Above and top right: Floor plan and section. Right: The small inner courtyard. Far right: Deteriorated archways under restoration.

392

Zhangzhou City Historic Streets

UNESCO Asia-Paciﬁc Heritage Awards

Project synopsis Settled in 686, Zhangzhou was one of China’s most active commercial harbours in the past. As a trading entrepôt, the city incorporated external cultural influences alongside its traditional culture, resulting in hybrid architectural styles seen along the streetscape. In recognition of its historic and cultural legacy, Zhangzhou was certified as an Historic City by the state in 1986. However, in the past twenty years, the city has seen modern encroachments threaten its traditional architecture and layout. In response to this trend, in 1990 the city government commissioned the Plan of Renovating the Traditional Downtown of Zhangzhou City.

City map Opposite: The streetscape before and after restoration.

Location Taiwan and Hong Kong Streets Zhangzhou City, Fujian Province, China

Size 330 metres along Taiwan Street (139 houses) 100 metres along Hong Kong street (51 houses)

Cost US$7,028

Responsible party All building owners along Taiwan and Hong Kong historical streets

Heritage Architect Li Bing, Chen Yuehong, Que Weimin Zhu Zhihong

Contractor

The junction between two historic commercial corridors, Taiwan and Hong Kong Streets, was selected as the pilot intervention for the plan, to provide an example for the eventual renovation of all the historic streets in the city. Construction work started at the end of 2001, focusing first on Hong Kong Street and then on Taiwan Street, and was completed one year later. Oriented east-west, Taiwan Street is the most prosperous commercial street located in the centre of the traditional downtown of Zhangzhou. Running north-south, Hong Kong Street intersects with Taiwan Street and provides a connection to the harbour and Jiulong River. Commercial activity naturally evolved on Hong Kong Street as goods were carried along the street. Together, the two intersecting streets have formed Zhangzhou’s main commercial core for over 1,000 years. The majority of the city’s residents still shop primarily in Taiwan and Hong Kong Streets due to the abundance of goods that can be found here. The streets are lined with narrow two to three-storey shophouses, known in the local dialect as zhutongcuo (bamboo pole house). Measuring between three and four metres wide, the buildings house a shop and workshop on the ground floor and living quarters above.

Shen Maoran

Date of Completion December 2002

394

Along Taiwan Street, the majority of houses date from the eighteenth century to the 1920s, with a small number built after the 1950s. They display a number of architectural styles, comprising

traditional, European, mixed local-European and modern styles. Most of the houses along Hong Kong Street included in the project were constructed in the eighteenth century and later renovated in the 1920s in the qilou form, with a covered street-level arcade possibly borrowed from either Guangdong or South-East Asia. The street is marked by two sixteenth-century memorial archways. The significance of Zhangzhou’s architecture is not geographically limited to the city itself, since it also took root in other parts of China, notably Hong Kong SAR and Macao SAR, with the waves of emigration from Zhangzhou. To this day, the historic quarters of these settlements still reflect the influence of this distinctive architectural style.

Conservation approach In order to conserve the living commercial environment of the streets, three main objectives governed the project, namely, to restore the authenticity of the built historic streetscape, to maintain the integrity of the tradition of shopping along the streets and to ensure the continuity of the local shophouse lifestyle. Detailed project planning entailed documenting the architectural components of the buildings to serve as a data bank, along with the design of a specific conservation proposal for each individual shophouse. Four main conservation methods were employed in restoring the buildings. For façades which had retained their historic authenticity but were weathered by the passage of time, the damaged sections were repaired and the façades cleaned. Seriously damaged building parts were replaced using a combination of traditional building techniques and materials. In a number of houses, interior and exterior parts and finishes had been replaced with modern equivalents, such as aluminum-framed sliding windows, cement render and ceramic tiles. These were removed and replaced with vernacular architectural features and finishing materials. Finally, obtrusive modern constructions which had been added in the past thirty years, such as signboards and additional floors, were also removed, in order to recover the original building form and façade. The project carefully adhered to the traditional building materials

Zhangzhou City Historic Streets / 2004

of Zhangzhou streets and houses. For instance, the local Yanzhi brick, distinctive for its red colour with brown veins, was used exclusively in all the renovation works. The original form of the brick was adapted in two new variationsâ&#x20AC;&#x201D;as a smaller size and as a thin veneer type, which was applied on faĂ§ades. Both new variations are distinguished from the original bricks by a twotone marking. Likewise, typical red tiles, carved stone lintels, timber plank doors and carved wooden window panels were consistently retained in the project in order to maintain the authentic character of the buildings. In the public realm of the street, poles and electricity and telephone wires were removed and laid underground, along with water pipes and sewage lines. The asphalt road surface was replaced with the historic type of stone pavers. Signage was regulated, with shopowners encouraged to install signs that enhanced the streetscape. The historic red-and-white colour scheme of the historic streets was enforced. For instance, the brickwork qilou passageways along Hong Kong street had been plastered and painted in blue in the 1970s, and these were restored to their original appearance. Later constructions abutting the memorial arches were also cleared, restoring their prominence as local landmarks and opening up the adjacent areas as public spaces.

Award Citation Based on a precise and well-considered plan, this project to restore and revitalize two historic streets in Zhangzhou City has holistically preserved an urban ensemble comprising a range of important architectural styles. The restoration has provided the local residents with improved facilities and conditions while stimulating a significant increase in commercial activity in the area. The emphasis on conserving original materials, the removal of inappropriate additions and the use of prudent conservation techniques has commendably restored the building faĂ§ades and revived the historic streetscape within an urban renewal context. The community support and satisfaction with the restoration work is such that the local government has formulated a policy to undertake similar works in other historic streets in Zhangzhou City, exemplifying the catalytic success such projects can have in producing conditions conducive to heritage conservation.

395

UNESCO Asia-Paciﬁc Heritage Awards

Conservation and the community The conservation project of Taiwan and Hong Kong Streets required a high level of coordination between residents and relevant government units in charge of planning and public works. The cost for renovating public installations was borne by the government, while the cost of renovating the houses was undertaken on a cost-sharing basis between the government and local homeowners, who shouldered 40 percent of the expenses. The project has widely contributed to the cultural continuity of Zhangzhou city. According to a survey done after the completion of the project a vast majority of the residents are satisfied with its outcome. Furthermore, most occupants felt that the project increased the commercial activity in downtown Zhangzhou and has therefore enhanced the ongoing social and economic life of the area.

Top: The townscape now reflects Zhangzhou’s traditional red-and-white colour scheme. Far left: New services were installed in the public right of way. Middle: Inappropriate signage and cement render were used to obscure the historic façades. Left: The restored façades now reflect the town’s historic ambience.

396

Conclusion

“Preservation of the world heritage is such a vast undertaking that, in the long run, it can only be successful if there is active participation by local communities. New approaches must be developed in the areas of conservation and site maintenance, drawing on local traditions, techniques and knowledge.” Federico Mayor, UNESCO Director-General (1987-1999)

Conclusion Sources of Knowledge and Sources of Continuity

With the majority of historic properties in the hands of private individuals and groups, the UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation programme has shown that the increased participation of civil society writ large is critical for the long-term sustainability of the region’s heritage. The outstanding projects documented in this book have countered the gradual disenfranchisement of local communities from heritage properties that has occurred over the past century. They have moved resolutely away from a centralized top-down process reliant largely on the public sector, whereby local communities were unable to continue traditional practices of maintenance and authorities were hard-pressed to step in when required due to the lack of political willpower, funding and technical input. The winning projects have successfully negotiated the return of heritage into the hands of traditional caretakers, social and cultural institutions, local businesses and homeowners. Furthermore, many of the projects have emerged from the bottom up. Private sector entities, often in co-operation with local governments, have become active stakeholders at all stages, from mapping vulnerable heritage, developing safeguarding strategies, implementing the conservation works, to identifying contemporary uses. The UNESCO Asia-Pacific Heritage Awards programme has brought to public attention historic structures that have been saved from decay and abandonment, often under heroic circumstances. New life has been breathed into old buildings in innovative and sensitive ways. The projects offer an alternative to the process of gentrification and pastiche development that have often stripped away the authentic cultural and social meanings associated with traditional architecture and sites, and refashioned them for superficial consumption. Indigenous knowledge and traditional practices regarding materials, environmental adaptations, and social rituals embedded in local spaces, have been revived. As a result of these conservation initiatives, the local communities who are the putative guardians of these tangible and intangible legacies are no longer mere actors on heritage stage sets and have been culturally, socially and politically re-empowered. The Award-winning projects have demonstrated how to capitalize on the rich potential of heritage spaces, particularly in the ongoing production of both economic value and social meaning. In lieu of tabula rasa approaches to redevelopment, private initiatives, frequently supported by appropriate public policies, have retained and adapted significant building stock and urban quarters to serve contemporary uses. Not only has this process created a physical palimpsest of each site’s historical development, it has also allowed for the accretion of meanings over time, whereby new insights of the place are deepened by old associations, and old understandings are seen in a new light. The revival of local cultural industries tied to the sites, notably building crafts and decorative arts, has provided for a way to sustain traditional livelihoods and to maintain the very buildings themselves. The conservation success stories from the region which have been recognized by the UNESCO Asia-Pacific Heritage Awards have proven to be both strong in technical achievement and visionary in social impact. These outstanding projects ensure not only the conservation of the built environment, but also the survival of living traditions which form an inalienable part of the continued cultural life and identity of local communities everywhere.

397

The designations employed and the presentation of material on this map do not imply the expression of any opinion whatsoever on the part of the UNESCO concerning the legal status of any country, territory, city, or area of its authorities, or concerning the delineation of its frontiers or boundaries. Dotted line represents approximately the Line of Control in Jammu and Kashmir agreed upon by India and Pakistan. The final status of Jammu and Kashmir has not yet been agreed upon by the parties.

398

Regional Map

Regional Map of Winning Projects Australia 1 Church of Our Lady of Mount Carmel, 2004 Award of Distinction 2 Female Orphan School, 2004 Honourable Mention 3 The Medina Grand Adelaide Treasury, 2003 Award of Merit 4 The Australian Hall, 2002 Award of Distinction 5 Sydney Conservatorium of Music, 2002 Award of Merit 6 Broken Hill Heritage and Cultural Tourism Programme. 2002 Honourable Mention 7 Kow Plains Homestead, 2002 Honourable Mention 8 Bushell’s Tea Warehouse, 2001 Award of Distinction 9 St. Patrick’s College, 2000 Outstanding Project 10 Mawson’s Huts Historic Site, 2000 Honourable Mention

27 Ohel Leah Synagogue, 2000 Outstanding Project 28 Hung Shing Old Temple, 2000 Outstanding Project 29 Residence of Zhang Yunpen, 2000 Outstanding Project

India

Nepal 51 Namuna Ghar, 2004 Honourable Mention

Pakistan 52 Baltit Fort, 2004 Award of Excellence 53 Astana of Syed Mir Muhammad, 2003 Award of Distinction 54 Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques, 2002 Award of Distinction

11 Centre for Khmer Studies, 2002 Honourable Mention

30 Lakhpat Gurudwara, 2004 Award of Distinction 31 Dorje Chenmo Temple, 2004 Award of Merit 32 Dadabhai Naoroji Road, 2004 Award of Merit 33 St. Thomas Cathedral, 2004 Award of Merit 34 Elphinstone College, 2004 Honourable Mention 35 Ahhichatragarh Fort, 2002 Award of Excellence 36 Jaisalmer Streetscape Revitalisation Project (Phase I), 2002 Honourable Mention 37 Krishan Temple, 2001 Award of Distinction 38 DBS House, 2001 Award of Merit 39 University of Mumbai Library Building, 2001 Honourable Mention 40 Chanwar Palkhiwalon-ki-Haveli, 2000 Excellent Project 41 Hotel de l’Orient, 2000 Outstanding Project

China

Indonesia

Sri Lanka

12 Gong’zi’ting, 2004 Honourable Mention 13 Suzhou River Warehouse, 2004 Honourable Mention 14 Tak Seng On Pawnshop, 2004 Honourable Mention 15 Zhangzhou City Historic Streets, 2004 Honourable Mention 16 Guangyu Ancestral Hall, 2003 Award of Excellence 17 Water Towns of the Yangtze River, 2003 Award of Distinction 18 Cangqiao Historical Street, 2003 Award of Merit 19 Catholic Cathedral of the Immaculate Conception, 2003 Honourable Mention 20 Dalongdong Baoan Temple, 2003 Honourable Mention 21 No. 125 Huajue Alley, 2002 Honourable Mention 22 King Law Ka Shuk, 2001 Award of Merit 23 Xijin Ferry Project, 2001 Award of Merit 24 Zhongshan Road, 2001 Award of Merit 25 Jin Lan Tea House, 2001 Honourable Mention 26 St. Joseph’s Seminary Church, 2001 Honourable Mention

42 Virtuous Bridge, 2003 Award of Merit 43 National Archives Building, 2001 Award of Excellence 44 Residence of Charles Prosper Wolff Schoemaker, 2000 Honourable Mention

59 Tea Factory Hotel, 2001 Award of Merit 60 Harischandra Building, 2000 Honourable Mention

Cambodia

Philippines 55 Gota de Leche, 2003 Honourable Mention 56 Nielson Tower, 2001 Honourable Mention

Singapore 57 Convent of the Holy Infant Jesus (CHIJMES), 2002 Award of Merit 58 Thian Hock Keng Temple, 2001 Honourable Mention

Thailand

Iran

61 Phra Racha Wang Derm, 2004 Award of Merit 62 Wat Sratong, 2002 Award of Merit

45 Zargar-e-Yazdi House, 2004 Honourable Mention 46 Polsheer House, 2002 Award of Merit

Viet Nam

Kazakhstan

63 Vietnamese Traditional Folk-Houses, 2004 Award of Merit 64 Hoi An Town Preservation Cooperation Project, 2000 Excellent Project

47 St. Ascension Cathedral, 2004 Award of Distinction

Malaysia 48 Cheng Hoon Teng Main Temple, 2002 Award of Merit 49 Cheong Fatt Tze Mansion, 2000 Most Excellent Project 50 Rumah Penghulu, 2000 Honourable Mention

399

UNESCO Asia-Paciﬁc Heritage Awards

Australia Architects/Designers

Regional Directory Heritage Architects Designers Contractors

Danvers Schulz Holland Architects 1 Waymouth Place, Adelaide, SA 5000, Australia Medina Grand Adelaide Treasury, 2003

Pip Giovanelli, Heritage and Conservation Consultant PO Box 570, Curtin, ACT 2605, Australia Kow Plains Homestead, 2002

Godden Mackay Logan, Heritage Consultants 78 George Street, Redfern, NSW 2016, Australia Mawson’s Huts Historic Site Conservation Project, 2000

Robyn Dyke Pty. Ltd. 64 Rose Street, Chippendale, NSW 2008, Australia Sydney Conservatorium of Music, 2002

Graham Brooks and Associates Pty. Ltd. Level 1, 71 York Street, Sydney, NSW 2000, Australia The Australian Hall, 2002

Howard Tanner & Associates 52 Albion Street, Surry Hills, NSW 2010, Australia St. Patrick’s College, 2000 Bushell’s Tea Warehouse, 2001 Sydney Conservatorium of Music, 2002 Female Orphan School, 2004

John Taylor, Katrina Chisholm PO Box 490, West Perth, WA 6872, Australia Church of Our Lady of Mount Carmel, 2004

SACON International Heritage Unit (Bruce Pettman) GPO Box 1072, Adelaide, SA 5001, Australia Ohel Leah Synagogue, 2000

SJB Architects 25 Coventry Street, Southbank, VIC 3006, Australia Medina Grand Adelaide Treasury, 2003

Contractors A.W. Edwards Pty. Ltd.

McDougall & Vines, Conservation and Heritage Consultants

131 Sailors Bay Road, Northbridge, NSW 2063, Australia Bushell’s Tea Warehouse, 2001

27 Sydenham Road, Norwood, SA 5067, Australia Ohel Leah Synagogue, 2000 Broken Hill Heritage and Cultural Tourism Programme, 2002

AAP Mawson’s Huts Foundation PO Box H76 Australia Square, NSW 1215, Australia Mawson’s Huts Historic Site Conservation Project, 2000

NSW Department of Public Works and Services

Telephone, fax and email contact details have not been included as they are frequently subject to change.

400

Level 19, McKell Building, 2-24 Rawson Place, Sydney NSW 2000, Australia Sydney Conservatorium of Music, 2002

Admiration Homes 76 Anderson Street, Webberton, WA 6530, Australia Church of Our Lady of Mount Carmel, 2004

Directory

Cambodia

China

Architects/Designers

Lend Lease Development

Francois Tainturier, Chhim Phet, Chea Phally

Australia Square, George Street, Sydney 2000, Australia St. Patrick’s College, 2000

0426 Wat Bo Street, Salakram Roek, Siem Reap, Cambodia Centre for Khmer Studies, 2002

Antiquities and Monuments Office Leisure and Cultural Services Department

Multiplex Construction (SA) Pty. Ltd. Level 22, 91 King William Street, Adelaide, SA 5000, Australia Medina Grand Adelaide Treasury, 2003

Contractors

Architecture Design and Research Institute Chea Sarin Construction Company

Roof and Wall Doctor Pty. Ltd. 16 Essex Street, Fremantle, WA 6160, Australia Church of Our Lady of Mount Carmel, 2004

St. Hilliers Ground Floor, 88 Cumberland Street, Sydney NSW 2000, Australia Female Orphan School, 2004

St. Hilliers Interiors Pty. Ltd. 830 Elizabeth Street, Waterloo, NSW 2017, Australia The Australian Hall, 2002

136 Nathan Road, Tsim Sha Tsui, Kowloon Hong Kong SAR, China King Law Ka Shuk, 2001

0320 Wat Damnak, Salakram Roek, Siem Reap, Cambodia Centre for Khmer Studies, 2002

(Lu Zhou, Wei Qing, Liu Chang, Chen Yiren, Wu Yi, Liu Jiulin) Tsinghua University, Beijing 100084, China Gong’zi’ting, 2004

Architectural Services Department 5-9/F, APB Centre, 9 Sung Ping Street, Hung Hom, Kowloon Hong Kong SAR, China King Law Ka Shuk, 2001

Bureau of Planning Urban & Rural Areas (Li Bing, Xie Hongwei, Chen Yuehong) Zhangzhou City, Fujian Province 363000, China Zhangzhou City Historic Streets, 2004

China Cultural Relics Research Institute Terry Gibson 1 Gibson Road, Cowangie, VIC 3506, Australia Kow Plains Homestead, 2002

(Yang Xin) 2 Gaoyuan Road, Beijing 100049, China Xijin Ferry Project, 2001

Walter Construction

Committee of Historic Relics Restoration of Dalongdong Baoan Temple

Level 3, 100 Pacific Hwy, St. Leonards, NSW 2065 Australia Sydney Conservatorium of Music, 2002

61 Hami Street, Datong District, Taipei 103, China Dalongdong Baoan Temple, 2003

Construction Bureau (Zhong Huahua, Zhong Hai, Wu Jianrong) Shaoxing City, Zhejiang Province 310028, China Cangqiao Historical Street, Shaoxing City, 2003

401

UNESCO Asia-Paciﬁc Heritage Awards

Cultural Heritage Department

Geoffrey Rex Hassell

(Carla Figueiredo, Chan Chak Seng, Cheong Cheok Kio, Lei Man Fong, Liu Chak Keong) Rua Pedro Coutinho, 27 Queen’s Court, 2/F, Macao SAR, China St. Joseph’s Seminary Church, 2001 Tak Seng On Pawnshop, 2004

12/F Vita Tower B, 29 Wong Chuk Hang Road, Aberdeen Hong Kong SAR, China Ohel Leah Synagogue, 2000

DaYang Environment Design Ltd.

9/F Block B, Yangyin Building, 34 Shuiyin Si Heng Road Guangzhou, China King Law Ka Shuk, 2001

(Teng Kun-Yen) 2/F 1305 Suzhou Road South, 200003, Shanghai, China Suzhou River Warehouse, 2004

Guangdong Provincial Institute of Cultural Relics and Archaeology

Lin Jingsong Ding Hongwei Department of Architecture, Southeast University, 2 Sipailou Nanjing 210096, China Xijin Ferry Project, 2001

Quanzhou City Planning Research Institute, Feng Zhe Road Quanzhou, Fujian Province, China Zhongshan Road, 2001

Liu Guiting Diocesan Building and Development Commission (Anna Kwong, SL Lam, WC Mak) Rm 901, 16 Caine Road, Mid-Levels, Hong Kong SAR, China Catholic Cathedral of the Immaculate Conception, 2003

Department of Architecture, Southeast University, 2 Sipailou Nanjing 210096, China Zhongshan Road, 2001

Lu Yuanding Dong Wei Department of Architecture, Southeast University 2 Sipailou, Nanjing 210096, China Zhongshan Road, 2001 Xijin Ferry Project, 2001

Gao Xuemei Kunming Urban Planning and Design Institute, Tang Jia Ying Bai Ta Road, Kunming 650041, China Jin Lan Tea House, 2001

402

Department of Architecture, South China University of Technology, Guangzhou 510641, China Guangyu Ancestral Hall, 2003

National Research Center of Historic Cities and Urban Planning and Design Institute (Ruan Yisan, Shao Yong, Zhang Lan, Zhou Jian, Zhang Song Li Zhen, Lu Yongyi, Lin Lin, Zhang Kai, Dun Mingming Sun Meng, Miao Yang) Tongji University, Siping Road, Shanghai 1239, China Water Towns of the Yangtze River (Zhouzhuang, Tongli, Luzhi, Nanxun, Wuzheng, Xitang), 2003

Office of Xi’an Drum-Tower Muslim Historic District Protection Project (Yang Mingrui, Gao Xiaoji, Tong Zhongren, Mao Zhongan Shi Xiaocheng, Jing Bin, Li Hongyan, Cheying) No. 144 Beiyuanmen Street, Xi’an 710003, China No. 125 Huajue Alley, 2002

Rocco Design Ltd. (Bernard Hui, Charles Kung, TF Lo) 38/F AIA Tower, 183 Electric Road, North Point Hong Kong SAR, China Catholic Cathedral of the Immaculate Conception, 2003

Tan Gangyi, Liao Zhi Research Building, South China University of Technology 4/F, No. 663, Tianhe Bei Lu, Guangzhou 510630, China Guangyu Ancestral Hall, 2003

Zhang Songben, Zhang Songxiang 69 Cangxiang Daxi Road, Zhenjiang City, Jiangsu Province China Residence of Dr Zhang Yunpen, 2000

Zhao Chen Graduate School of Architecture, Nanjing University Nanjing 210093, China Jin Lan Tea House, 2001

Directory

Contractors Bureau of Planning Urban & Rural Areas

Ding Hsung Construction Company

Linhai Ancient Buildings Conservation Company

(Shen Maoran) Zhangzhou City 363000, Fujian Province, China Zhangzhou City Historic Streets, 2004

Room 1516, Fortune Commercial Building, 362 Sha Tsui Road Tsuen Wan, New Territories, Hong Kong SAR, China Hung Shing Old Temple, 2000 King Law Ka Shuk, 2001

75 Daqiao Street, Linhai City 317000, Zhejiang Province China Gong’zi’ting, 2004

Committee of Historic Relics Restoration of Dalongdong Baoan Temple 61 Hami Street, Datong District, Taipei 103, China Dalongdong Baoan Temple, 2003

Pacific Construction Ltd. Fan Ran Xiaomatou Street No. 4, Zhenjiang 212001 Jiangsu Province, China Xijin Ferry Project, 2001

Companhia de Decoracao San Neng Rua Rebanho, 12 R/C E, Edif. Fai Kwan, Macao SAR, China Tak Seng On Pawnshop, 2004

Companhia de Fomento Predial Tak Fat Ltd. 13A, R/C, Travessa do Comandante Maya E Oliveira Macao SAR, China St. Joseph’s Seminary Church, 2001

DaYang Environment Design Ltd. 2/F 1305 Suzhou Road South, Shanghai 200003, China Suzhou River Warehouse, 2004

Department of Construction Xi’an Cultural Relics and Landscape Administration Bureau No. 7 Jin Hua Bei Road, Xi’an 710000, China No. 125 Huajue Alley, 2002

Unit 1406, 14/F Star House, 3 Salisbury Road, Tsim Sha Tsui Kowloon, Hong Kong SAR, China Catholic Cathedral of the Immaculate Conception, 2003

Progress Construction Ltd. Guangzhou Company Room 401, No. 26, Yandu Road, Tianhe District Guangzhou 510507, China Guangyu Ancestral Hall, 2003

2-3/F, 320 Junction Road, Kowloon Tong, Hong Kong SAR China Ohel Leah Synagogue, 2000

Quanzhou No.1 Building Construction Company Jin Sha Company for Building Renovation Ltd. 145 Qing Nian Road, Kunming 650000, Yunnan, China Jin Lan Tea House, 2001

Protection & Management Office of Historical Streets (Li Bo) 1 Huanhua-Fang, Shaoxing 312000, Zhejiang Province, China Cangqiao Historical Street, 2003

Linchai Historical Buildings Restoration Company Linchai, China Water Towns of the Yangtze River (Zhouzhuang, Tongli, Luzhi, Nanxun, Wuzheng, Xitang), 2003

Xuchucheng, Quanzhou, Fujian, China Zhongshan Road, 2001

Shanghai Gardens Engineering Company Shanghai, China Water Towns of the Yangtze River (Zhouzhuang, Tongli, Luzhi, Nanxun, Wuzheng, Xitang), 2003

Societe Bond (Hong Kong) & Co., Ltd. Flat A, 14/F, Far East Bank, Mongkok Bldg, 11 Nelson, Kowloon Hong Kong SAR, China Catholic Cathedral of the Immaculate Conception, 2003

Suzhou Construction Company of Classical Gardens Suzhou, China Water Towns of the Yangtze River (Zhouzhuang, Tongli, Luzhi Nanxun, Wuzheng, Xitang), 2003

403

UNESCO Asia-Paciﬁc Heritage Awards

India Architects/Designers Tai Yue Engineering Co., Ltd.

Abha Narain Lambah

Unit I 8/F, On Ho Industrial Building, 17-19 Shing Wan Road Tai Wai, Shatin, New Territories, Hong Kong SAR, China Catholic Cathedral of the Immaculate Conception, 2003

301, B Wing, Amrit, Carter Road, Khar (W) Mumbai 400052, India Dadabhai Naoroji Streetscape, 2004 Elphinstone College, 2004

Tongli Historical Buildings Restoration Company

Indian National Trust for Art and Cultural Heritage (INTACH) 71 Lodhi Estate, New Delhi 110003, India Jaisalmer Streetscape Revitalization Proiect (Phase I), 2002

Kulbhushan Jain

Tongli, China Water Towns of the Yangtze River (Zhouzhuang, Tongli, Luzhi, Nanxun, Wuzheng, Xitang), 2003

Ajaydeep Singh C4/64, SDA, New Delhi-16, India Lakhpat Gurudwara, 2004

AADI Centre, 10A Tolak Nagar, Paldi Ahmedabad 380007, India Jaisalmer Streetscape Revitalization Proiect (Phase I), 2002

Vo Tin Engineering

Ajit Koujalgi and Renate Hach

Minakshi Jain

Rua Comandante Joao Belo, s/n, 5 N5, Edif. Choi Pou Macao SAR, China Tak Seng On Pawnshop, 2004

Samasti, Auroville 605501, Tamil Nadu, India Hotel de l’Orient, 2000

10A Tolak Nagar, Mahalakshmi, Paldi Ahmedabad 380007, Gujarat, India Ahhichatragarh Fort, 2002

Brinda Somaya Wenden Engineering Service Ltd.

Munish Pandit

1402-3 Causeway Bay Centre, 15-23 Sugar Street, Causeway Bay, Hong Kong SAR, China Catholic Cathedral of the Immaculate Conception, 2003

Somaya & Kalappa Consultants Pvt. Ltd. National Insurance Building, 27 A.K. Marg, Fort Mumbai 400001, India St. Thomas Cathedral, 2004

Wuzhen Historical Buildings Restoration Company

Divay Gupta

Sanrakshan Heritage Consultants 45 Triveni Apartments, West Enclave, Pitampura Delhi 110034, India Krishan Temple, 2001 Dorje Chenmo Temple, 2004

Wuzhen, China Water Towns of the Yangtze River (Zhouzhuang, Tongli, Luzhi, Nanxun, Wuzheng, Xitang), 2003

Delhi, India Dorje Chenmo Temple, 2004

Nimish Patel, Parul Zaveri

Gurmeet Rai

Abhikram, Amrit-Lila Bungalow, Off Nagari Hospital Road Near Gujarat College, Ahmedabad 380006, India Chanwar Palkhiwalon-ki-Haveli, 2000

Zhenjiang Traditional Architecture Construction Team Zhenjiang City, Jiangsu Province, China Residence of Dr Zhang Yunpen, 2000

Zhouzhuang Historical Construction Restoration Company Zhouzhuang, China Water Towns of the Yangtze River (Zhouzhuang, Tongli, Luzhi, Nanxun, Wuzheng, Xitang), 2003

404

Cultural Resource Conservation Initiative, 109 Golf Apartment, Maharishi Ramana Marg, New Delhi 110003, India Krishan Temple, 2001 Lakhpat Gurudwara, 2004

Paromita Desarkar Flat No. 66, E-Block Rohini Sector-18, New Delhi 110085, India Lakhpat Gurudwara, 2004

Directory

Contractors Sandhya Savant

ABC Contractor

Cultural Resource Conservation Initiative (CRCI)

Urban Innovations C/2A, Dalal Estate, Mumbai Central Mumbai 400008, Maharashtra, India DBS House, 2001

PO Box 1, Jaisalmer, Rajasthan, India Jaisalmer Streetscape Revitalization Project (Phase I), 2002

Abdul Kadir

109 Golf Apartment, Maharishi Ramana Marg New Delhi 110003, India Krishan Temple, 2001 Lakhpat Gurudwara, 2004

Samas Talab Ki Bari, Ajmeri Gate, Nagaur, Rajasthan, India Ahhichatragarh Fort, 2002

D.I. Construction

Advance Engineering Services

1 Ashiana Apartments, Behram Baug, Jogeshwari West Mumbai 400102, India University of Mumbai Library Building, 2001

Sanjay Dhar Painting Conservator C-1818 Sushant Lok-I, Gurgaon Dorje Chenmo Temple, 2004

Mumbai, India University of Mumbai Library Building, 2001

Dilawar Khan

Sudhir Deshpande Sewri Consultant Pvt. Ltd. Appeejay Chambers, Wallace Street, Fort Mumbai 400001, Maharashtra, India DBS House, 2001

Vikas Dilawari 273/3 Jawahar Nagar, Goregaon - West Mumbai 400062, Maharashtra, India University of Mumbai Library Building, 2001

Arjun Prajapati V/P Deu, Dist. Nagaur, Rajasthan, India Ahhichatragarh Fort, 2002

s/o Mr Babu Khan, Silawaton Ka Mohalla, Nagaur Rajasthan, India Ahhichatragarh Fort, 2002

Ashok Makad

Emamuddin

Plot No. 92, Arihant Nagar, Jodhpur, Rajasthan, India Ahhichatragarh Fort, 2002

s/o Mr Babuji Qureshi, Byapariyon Ka Mohalla Jama Masjid, Nagaur, Rajasthan, India Ahhichatragarh Fort, 2002

Bhiya Ram V/P Bhawad, Nagaur, Rajasthan, India Ahhichatragarh Fort, 2002

Ghewar Chand V/P Deu, Dist. Nagaur, Rajasthan, India Ahhichatragarh Fort, 2002

Birma Ram V/P Gotan, Dist. Nagaur, Rajasthan, India Ahhichatragarh Fort, 2002

Hema Ram V/P Deu, Dist. Nagaur, Rajasthan, India Ahhichatragarh Fort, 2002

C. Guedjabady No. 17, 9th Cross, Rainbow Nagar, Pondicherry 605012, India Hotel de lâ&#x20AC;&#x2122;Orient, 2000

Chhawar Lal

Jagdish Prasad s/o Mr Bhera Ram, Near Police Thana, Railway Station Nagaur, Rajasthan, India Ahhichatragarh Fort, 2002

Magra Punjala, Jodhpur, Rajasthan, India Ahhichatragarh Fort, 2002

405

UNESCO Asia-PaciďŹ c Heritage Awards

Keshu Ram

Mool Chand

Savani Construction Co.

V/P Deu, Dist. Nagaur, Rajasthan, India Ahhichatragarh Fort, 2002

s/o Mr Kima Ram, Lunda Raidna, Nagaur, Rajasthan, India Ahhichatragarh Fort, 2002

501 Parvati Nivas, Chavrewadi, G.V. Scheme Road Mulund East, Mumbai 400081, India St. Thomas Cathedral, 2004

Lakha Ram

Pappu Ram

s/o Purkha Ram, Khabariyan Surtaliyan Jayal, Nagaur Rajasthan, India Ahhichatragarh Fort, 2002

s/o Mr Shetana Ram, V/P Budi, Dist. Nagaur, Rajasthan, India Ahhichatragarh Fort, 2002

Poonam Chand Latur Ram s/o Pooja Industries, Opposite Saboo Cement, Basni Jodhpur, Rajasthan, India Ahhichatragarh Fort, 2002

M/S Construction Techniques A/26 Royal Industrial Estate, Naigaon X Road, Wadala Mumbai 400031, India Elphinstone College, 2004

s/o Mr Ram Kishan, Near Roadways Depot, Nagaur Rajasthan, India Ahhichatragarh Fort, 2002

Mumbai, India University of Mumbai Library Building, 2001

Teja Ram

Premchand Saini

Nagaur, Rajasthan, India Ahhichatragarh Fort, 2002

C-91, Shastri Nagar, Jodhpur, Rajasthan, India Ahhichatragarh Fort, 2002

Sadakat Khan

Manish Mathur 19/303 Chopasni Housing, Jodhpur, Rajasthan, India Ahhichatragarh Fort, 2002

406

Suresh Bhakar

Prakash Anjarlekar and Associates

Near Kunda, Delhi Road, Amber, Rajasthan, India Chanwar Palkhiwalon-ki-Haveli, 2000

GNM, Gala No C-57/85, Naik Nagar, LBS Marg Sion West, Mumbai 400022, India Dadabhai Naoroji Streetscape, 2004

Appeejay Chambers, Wallace St., Fort, Maharashtra Mumbai 400001, India DBS House, 2001

s/o Mr Trilok Ram, I-A Indira Colony, Nagaur Rajasthan, India Ahhichatragarh Fort, 2002

M/S Ruchi Meeta Electronics

M/S Universal Designs

Sewri Construction Pvt. Ltd.

s/o Mhd. Sadik Gori, Ajmeri Gate, Near Water Tank Nagaur, Rajasthan, India Ahhichatragarh Fort, 2002

Saffi Khan s/o Mr Gaffar Khan, Ajmeri Gate, Sindlo Ka Mohalla Nagaur, Rajasthan, India Ahhichatragarh Fort, 2002

Directory

Indonesia

Iran

Japan

Architects/Designers

Budi Lim Architects

Ali Amiri Ardakani

Nobuo Kamei

Jalan Otista II no. 1, Jakarta Timur 13330, Indonesia National Archives Building, 2001

Renovation and Architecture Office, Amiri Ardakani House Mirdamad Avenue, Ardakan, Iran Zargar-e-Yazdi House, 2004

Japan Agency for Cultural Affairs, 3-2-2 Kasuni Saseki Chiyoda-ku, Tokyo, Japan Hoi An Town Preservation Cooperation Project, 2000

Polsheer Consultant Engineers

Senjiro Masuda

99 Tabriziha Alley, Jolfa, Isfahan 81758, Iran Polsheer House, 2002

2-25-22 Takasho, Shizuoka City, Japan Vietnamese Traditional Folk Houses, 2004

Diagram Consultant 1 Sei Bahasa Street, Medan, Indonesia Virtuous Bridge, 2003

Dibyo Hartono, Drs. Jalan Tubagas Ismail III/13, Bandung 40134, Indonesia Residence of Charles Prosper Wolff Schoemaker, 2000

Contractors

Han Awal

Maskan Sazan Corporation

Pondok Pinang Center Blk 8, 18-20, Jakarta Selatan, Indonesia National Archives Building, 2001

Contractors Decorient-Ballast Indonesia 05 Citra Graha Building, Kav 35-36 Gatot Subroto Jakarta, Indonesia National Archives Building, 2001

Egbal Factory, Motahari Street, Yazd, Iran Zargar-e-Yazdi House, 2004

Ichiro Nagumo 752-2 Shimofurusawa, Atsugi City, Japan Vietnamese Traditional Folk Houses, 2004

Hidetoshi Saito Tokyo National Research Institute of Cultural Properties 13-27 Ueno-Koen, Taito-ku, Tokyo, Japan Vietnamese Traditional Folk Houses, 2004

Showa Womenâ&#x20AC;&#x2122;s University Institute of International Culture (Hiromichi Tomoda, Mark Chang, Kiyosi Hirai) 1-7 Taishido, Setagaya-ku, Tokyo, Japan Hoi An Town Preservation Cooperation Project, 2000 Vietnamese Traditional Folk Houses, 2004

Muhammad Zaini 1 Sei Bahasa Street, Medan, Indonesia Virtuous Bridge, 2003

PT Aneka Intimulya

Yukimasa Yamada Tokyo Metropolitan University 1-1 Minami Osawa, Hachioji, Tokyo, Japan Vietnamese Traditional Folk Houses, 2004

Bandung, Indonesia Residence of Charles Prosper Wolff Schoemaker, 2000

407

UNESCO Asia-PaciďŹ c Heritage Awards

Kazakhstan

Malaysia

Nepal

Architects/Designers

Kumbez Ltd.

Ideogram Designs

Rabindra Puri

(Timur Turekulov, Natalia Turekulova) Cultural Heritage Conservation, Publishing House Tazhibaeva Street 184, Office 511, Almaty 480060 Kazakhstan St. Ascension Cathedral, 2004

(Lim Huck Chin) 6-03 Plaza 138, 138 Jalan Ampang Kuala Lumpur 50450, Malaysia Cheng Hoon Teng Main Temple, 2002

Dattatreya Square, Ward 3, Bhaktapur, Nepal Namuna Ghar, 2004

Contractors

Laurence Loh, Akitek LLA

Contractors

22 Gerbang Midlands, Penang 10250, Malaysia Cheong Fatt Tze Mansion, 2000 Cheng Hoon Teng Main Temple, 2002

Andrei Vorontzov and Building Brigade St. Ascension Cathedral, Park of 28 Panfilovâ&#x20AC;&#x2122;s Heroes Almaty 480000, Kazakhstan St. Ascension Cathedral, 2004

Yahaya Ahmad Universiti Malaya, Kuala Lumpur 50603, Malaysia Rumah Penghulu, 2000

Contractors Badan Warisan Malaysia (in cooperation with the Forest Research Institute Malaysia, Jaya Renovation, Intelu) 2 Jalan Stonor, Kuala Lumpur 50450, Malaysia Rumah Penghulu, 2000

Syarikat Success Construction 142 Jalan Seang Tek, Penang 10400, Malaysia Cheng Hoon Teng Main Temple, 2002

408

Rabindra Puri Dattatreya Square, Ward 3, Bhaktapur, Nepal Namuna Ghar, 2004

Directory

Pakistan

Philippines

Singapore

Architects/Designers

Aga Khan Cultural Service Pakistan (AKCSP)

Augusto F. Villalon

James Ferrie & Partners

Shahrah-e-Quaid-e-Azam, Jutial, Gilgit Northern Areas, Pakistan Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques, 2002 Astana of Syed Mir Muhammad, 2003 Baltit Fort, 2004

Pacific Plaza Towers, Fort Bonifacio, 1630 Taguig Manila, Philippines Gota de Leche, 2003

(Alisdair John Ferrie) 21a Boon Tat Street, Singapore 069620 Thian Hock Keng Temple, 2001

Leandro V. Locsin and Partners

Ong & Ong Architects Pte. Ltd.

Locsin Building, Ayala Avenue corner Makati Avenue Makati, Metro Manila 1200, Philippines Nielson Tower, 2001

510 Thomson Road, #10-00 SLF Building, Singapore 298135 Convent of the Holy Infant Jesus (CHIJMES), 2002

Contractors Aga Khan Cultural Service Pakistan (AKCSP) Shahrah-e-Quaid-e-Azam, Jutial, Gilgit Northern Areas, Pakistan Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques, 2002 Astana of Syed Mir Muhammad, 2003 Baltit Fort, 2004

Contractors

East Art Design & Engineering Pte. Ltd. D. M. Consunji, Inc. 1881 President Quirino Avenue Extension, Pandacan Manila, Philippines Nielson Tower, 2001

Aga Khan Housing Board for Pakistan (AKHBP) Helicopter Chowk, Shahrah-e-Quaid-e-Azam, Jutial Gilgit, Northern Areas, Pakistan Baltit Fort, 2004

Contractors

Felicisimo M. Consuelo Blk 12, L5, Juana III - B, Binan, Laguna, Philippines Gota de Leche, 2003

Blk 165 Bukit Merah Central, #08-3683, Singapore 150165 Thian Hock Keng Temple, 2001

Low Keng Huat (S) Ltd. 30 Marine Parade Road, #18-05 Parkway Parade Singapore 449269 Convent of the Holy Infant Jesus (CHIJMES), 2002

409

UNESCO Asia-PaciďŹ c Heritage Awards

Sri Lanka

Thailand

Vietnam

Architects/Designers

Heritage Conservation Unit of the Central Cultural Fund

Dearborn Street Design International

Institute for Architectural Research

(Grittip Sirirattumrong) 88/8 Phaholyothin Soi 7, Phaholyothin Road, Samsen Nai Phayathai, Bangkok 10400, Thailand Phra Racha Wang Derm, 2004

(Nguyen Ba Dang) 389 Doi Can Street, Hanoi, Viet Nam Hoi An Town Preservation Cooperation Project, 2000

212/1, Bauddhaloka Mawatha, Colombo 7, Sri Lanka Harischandra Building in Maha Vihara Monastery, 2000

Thada Sutthitham

(Nguyen Hung Oanh) Vietnamese Traditional Folk Houses, 2004

Faculty of Architecture, Khon Kaen University, Khon Kaen Thailand Wat Sratong, 2002

Ministry of Construction Institute for Architectural Research

Nihal Bodhinayake Associates 241, Thimbirigasyaya Road, Colombo 5, Sri Lanka Tea Factory Hotel, 2001

Contractors Abhayagiriya Vihara Project of the Central Cultural Fund, Sri Lanka Sacred City, Anuradhapura, Sri Lanka Harischandra Building in Maha Vihara Monastery, 2000

Link Engineering (PVT) Ltd. 338, T.B. Jayah Mawatha, Colombo 10, Sri Lanka Tea Factory Hotel, 2001

Contractors

(Truong Van) Vietnamese Traditional Folk Houses, 2004

Ministry of Culture and Information Cha Fa Ltd. Partnership 622/5-7 Krung Kasem Road, Wat Somanas, Pomprab Bangkok 10100, Thailand Phra Racha Wang Derm, 2004

Preeda Construction Ltd. 259/1-5 Amnuay Songkram Road, Dusit, Bangkok 10300 Thailand Phra Racha Wang Derm, 2004

(Dang Van Bai, Nguyen Quoc Hung, Tran Dinh Thanh) 51-53 Ngo Quyen Street, Hanoi, Viet Nam Vietnamese Traditional Folk Houses, 2004

School of Architecture (Tran Khang) 196 Pasteur Street, Quarter 6, District 3, Ho Chi Minh City Viet Nam

State Center for Cultural Building Design and Monument Restoration (Hoang Dao Kinh) Duong Nguyen Trai Thanh Xuan Nam, Hanoi, Viet Nam Hoi An Town Preservation Cooperation Project, 2000 (Dang Kanh Ngoc) Vietnamese Traditional Folk Houses, 2004

410

Directory

Europe Contractors

Architects/Designers

27/7 Company

Aga Khan Trust for Culture (AKTC)

Thon Duong Loi, Xa Tan Hong, Tu Son, Bac Ninh, Viet Nam Vietnamese Traditional Folkhouses, 2004

(Masood Khan) 1-3 Avenue de la Paix, Geneva 1202, Switzerland Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques, 2002 Astana of Syed Mir Muhammad, 2003 Baltit Fort, 2004

Dong Ha Construction Company 34 A, QL1A, To 5, Tan Hiep, Bien Hoa, Dong Nai, Viet Nam Vietnamese Traditional Folkhouses, 2004

Cor Passchier ABV Duong Thao Construction Company Ltd. 14/68 Duong Bon, Khu Pho 2, Phuong Tan Mai, Bien Hoa Dong Nai, Viet Nam Vietnamese Traditional Folkhouses, 2004

Schaarhuispad 9, Postbus 3165, 5203 cd’s Hertogen Bosch Netherlands National Archives Building, 2001

Didier Repellin Architects Kim An Construction Company Ltd. 628-630, Hai Ba Trung Street, Hoi An, Quang Nam, Viet Nam Vietnamese Traditional Folkhouses, 2004 Hoi An Town Preservation Cooperation Project, 2000

47 Avenue Mare’chal De Saxe, 69006 Lyon, France Convent of the Holy Infant Jesus (CHIJMES), 2002

Karin Von Wietersheim

Lam Kinh Construction Company

Seefeldstrasse 162, Zurich 8008, Switzerland Jin Lan Tea House, 2001

31 Pho Hang Than, Thanh Pho Thanh Hoa, Thanh Hoa Viet Nam Vietnamese Traditional Folkhouses, 2004

Office of Xi’an Drum-Tower Muslim Historic District Protection Project

Nam Dinh Construction Company 1 9 Pho Nguyen Trai, Nam Dinh, Nam Dinh, Viet Nam Vietnamese Traditional Folkhouses, 2004

(Eir Crytli, Kjell-Harvard Braten, Bo-Terje Kalsaas, Hallvard Odegaard, Sveinn Thorolfsson) N-7491 Trondheim, Norway No. 125 Huajue Alley, 2002

Trevor J. Holmes 2 Church Lane, South Witham, Nr Grantham, Lincolnshire NG33 5PL, United Kingdom Hung Shing Old Temple, 2000

411

UNESCO Asia-PaciďŹ c Heritage Awards

achars

Laymen of the monastery.

acroteria

An ornamented pedestal at the top joining point of a roof.

adobe

A building material made from clay, water and straw. Usually formed into large square blocks, then dried in the sun.

apply

To put a substance on something else. For example, to apply paint to a wall surface.

araish

A decorative plaster finish with a creamy ivory colour, resulting in a marble-like appearance.

Glossary

412

banker mason A type of mason who carves the stone, as opposed to a hewer who removes the stone from the ground. The banker mason carves stone on a banker (bench). Baroque

A style of architecture and decoration which developed in seventeenth-century Europe after the Renaissance. Characterized by curving or oval lines, irregularity in design and flamboyant ornamentation.

batten

Thin, narrow strip of wood covering the joint between two parallel boards.

bimah

Raised platforms from which an orator or priest addresses an assembly. Also refers to the apse or chancel of a basilica. Most commonly refers to an elevated platform in a synagogue on which the Torah reading stand is placed.

Art Deco

A style of art and architecture popular from 1920-1945, characterised by stylized geometric patterns, sleek lines and streamlined forms which express the modernism of the period.

Art Nouveau

A style of fine and applied art that flourished from 1890-1914 in Europe and North America. Characterized by fluid, undulating motifs, often derived from natural forms.

astana

Tomb.

balau

A tropical hardwood of the family Dipterocaimen carpaceae. A very dense, tightly-grained wood, balau is heavily laden with rich chai hui tropical oils and resins. Its texture is very fine and even. Known for its durability, strength, weather-resistant and mechanical properties. For centuries, balau has been used for shipbuilding, heavy-duty furniture and heavy construction.

Burra Charter The Australia ICOMOS Charter for the Conservation of Places of Cultural Significance. Adopted on 19 August 1979 in Burra, South Australia. Revised in 1981, 1988 and 1999. The Burra Charter adapted the principles detailed in the Venice Charter to suit local Australian requirements. Decorative carved panel. Painting or murals applied as decorative elements in Chinese temples.

Glossary

chengal

A hardwood with even texture and high density commonly used in peninsular Malaysia. Often used in construction for its hardness and durability.

chataq

A common public space in a village or town.

chien nien

A style of mosaic using shards made from porcelain bowls which are broken with pliers. Originated in Southern China.

cladding

A material, usually a finish, applied over another substrate material.

clerestory windows

Windows placed above the upper part of a high wall to provide light to the interior space.

coffered ceiling

A ceiling with recesses, often in geometric pattern.

colonnade

A structure composed of a series of arches supported by columns, usually forming a covered passageway.

conservation

The discipline involving treatment, preventive care and research directed toward the longterm safekeeping of cultural and natural heritage. For actions taken to prevent further changes or deterioration in objects, sites, or structures, see “preservation”. For changes made to an object or structure so that it will closely approximate its state at a specific past time, see “restoration”.

cribbage

A rudimentary wooden cage holding the blocks or bricks of a building in place.

dado

The part of the wall below the chair rail and above the base skirting, that usually receives finish treatment or is panelled.

dado tiling

Tile decoration applied in the dado section of Federation a wall. style

damp-proof- An impermeable layer, either plastic or other material, applied on the base of a wall during course construction to inhibit rising damp.

dapur/ruang- Kitchen/dining room in a Malay house. makan deodar

Also known as Indian cedar. A soft to moderately hard conifer tree found only in the Himalayas. Noted for its strength and used for building religious structures.

drop log construction

A construction method which comprises a number of upright poles to which saplings are attached to form slots on opposite sides of the pole. Unsawn pine logs are then fitted into the slots.

drummy plaster

Plaster which has debonded from the underlying material.

eave

The edge of a roof, usually extending beyond the walls of the structure it covers.

encaustic tiles

A wall or floor tile made with two or more coloured clays. The pattern is inlaid into the clay before firing.

epoxy

Type of synthetic resin used as an adhesive that sets by chemical reaction.

Term applied to domestic designs of Australian architecture from around the turn of the twentieth century, when the states of Australia joined together as a federation. These designs featured red bricks, turned wood ornaments, half-timbering with rough-cast in the gables, shingled walls and striking terracotta tiles.

feng shui

The Chinese tradition of placing buildings and arranging spaces and furnishings to achieve harmony within its surroundings and provide positive energy (chi) to its occupants.

finish

The top-most cover or coating on a surface. Also describes the texture and colour of such a coating.

fresco

Mural or wall-painting created by applying mineral or earth pigments onto wet lime plaster.

frieze

Architectural term for the plain or sculptured, decorative horizontal band of the upper part of a wall in a room, located immediately below the cornice.

garbha griha

The cella or inner sanctum of a Hindu temple.

Geo-mesh

A synthetic plastic material made of interlocking woven mesh fibres used for stabilizing sloped ground.

gild

To gloss over or cover with, often using thin sheets of gold.

413

UNESCO Asia-PaciďŹ c Heritage Awards

in situ

Gothic A style of architecture that developed in northern France and spread throughout Europe between the twelfth and sixteenth centuries. Characterized by vaulting, pointed arches, flying buttresses, clustered columns and sometimes elaborate carved stone decorations in the form of mythical beasts.

leadlight Windows made with small rectagular or diamond-shaped pieces of glass supported by lead cames. Often simple in design and associated with vernacular buildings.

In its present location.

jallie Carved screen used for privacy and also to allow air-flow through a building. lime mortar

jarrah

A mixture of lime putty and sand used in brick or masonry buildings. It is softer and takes a longer time to harden than Portland cement mortars.

A tree (Eucalyptus marginata) from Australia noted for its rich brown-red colour. jet-grouting A cement-injection technique for the stabilization of soil.

Gothic Revival An architectural movement primarily in nineteenth century Britain and United States, characterised by imitation of Gothic forms and ornamentation.

A regional school of Pahari miniature painting that spread throughout the Himalayan foothill area from about 1770 to almost the end of the nineteenth century, with the finest work painted around 1775-1820. Landscape and perspective are naturalistic, colours are subdued, linework is delicate and curvilinear and the overall style is lyrical.

gud Also called â&#x20AC;&#x153;gurâ&#x20AC;?. Jaggery (coarse sugar made from palm sap), used in mortar as a binding agent. Hakka style A style of architecture originating in southern China in which people speaking the Hakka dialect live who migrated to the Guangdong region in the Tang (618-907) and Song (1127-1279) dynasties.

The inhabitants of Cambodia. From the seventh to the fourteenth centuries, the Khmer established a powerful kingdom based at Angkor from which they ruled over much of present-day Indochina.

Hokkien temple architecture

414

A style of temple architecture that originated in the area surrounding the Min river in southern Fujian province, China.

An impermanent coating for walls and other surfaces. Made from lime, water and sometimes glue, flour and other ingredients. linseed oil Oil extracted from the flax plant. Used as a carrier in oil-based paints and as a protective finish on wood. loggia Roofed structure open on one or more sides. The term is also associated with a porch or gallery, as distinguished from an ambulatory or covered passageway. Loggias were especially popular during the Italian Renaissance.

A type of traditional plaster used in Indian construction. Ma Zu Po

Krishan

Chinese goddess of the sea.

Belonging to the Hindu god Krishna. landmark A recognizable edifice that has historic significance. In preservation, a building so designated by law and protected from alteration or destruction.

hessian A type of canvas cloth used as a backing of wall papering material.

lime wash

kody

Heroic Era During the first two decades of the twentieth century. An intense period of land-based scientific research and geographic discovery on Antarctica, involving 15 expeditions from nine countries.

A mixture of aged lime and water, often including sand or marble dust.

Khmer

haveli A mansion in Northwest India more than two storeys high surrounding one or more inner courtyards.

lime putty

Kangra

laths Narrow strips of wood used as a base for applying plaster or tiles.

Maharihara Parivena

A teaching institution for (and by) monks.

meranti A tropical wood that is light to medium weight. Widely used for light construction and for veneers. Many other products are derived from meranti, including oils, resins known as dammar in the manufacture of varnishes.

Glossary

methi

developed as a reaction to the Baroque and Rococco style.

Also known as fenugreek. A plant widely cultivated in South Eastern Europe and West Asia whose seed is used for flavorings. Pali

millet straw

Minton tiles

mortar

mortise

The dried stalks of the millet plant. A plant producing round, golden grains. The type of English porcelain and earthenware produced in Staffordshire beginning in 1793 by Thomas Minton and whose styles include majolica, Parian ware, Palissy ware and blue printed earthenware. A mixture of cement or lime, water and fine aggregate such as sand, used as a binding agent for masonry and brick wall construction. Also used to fill in the spaces between the masonry units. A rectangular hole made to receive a tenon, thereby forming a mortise-and-tenon joint.

Nara Document Result of the Nara Conference of 1994. of Authenticity Underscores the importance of the cultural context for heritage conservation. Urges linking judgements of authenticity to a variety of sources of information that permit elaboration of the specific artistic, historic, social and scientific dimensions of the cultural heritage. narthex

A covered portico or porch running the width of early Christian churches. It serves as a vestibule into the nave.

nave

The main or middle aisle in a church, running from the entrance up to the altar.

Neo-classical

A style of architecture in the late eighteenth century that refers to a pared-down version of Classical orders and ornamentation

Ancient Prakrit language (derived from Sanskrit) that is the scriptural and liturgical language of Theravada Buddhism.

Parafil

High-strength composite synthetic fibre used as ropes, cables or rigging.

Peranakan

Refers to the mixed culture and descendants of Chinese who settled in the Malay Straits and Java from the sixteenth century.

plaster

(noun) Soft mixture of lime, sand, water and other ingredients that becomes hard when dry and is used for making a smooth surface on walls and ceilings. (verb) To apply plaster to a wall surface.

plinth

A block used as the base of a column or support.

plumb bob

Piece of lead that is tied to a cord and used to test whether a wall is vertical.

point

A process of inserting mortar into joints after a masonry unit is laid in order to achieve water tightness or a desired appearance or effect.

Porbunder limestone

A type of soft limestone found in Porbunder, western India.

Portland cement

The water-setting mixture of limestone and clay that is kiln-dried and powdered. It is the main ingredient in making concrete.

poya day

Days which correspond with the four phases of the moon. A month contains four poya days.

privy

Lavatory.

proscenium arch

The large arch above the stage in a proscenium theatre.

pulpit

A raised, enclosed structure or platform in a church from where the sermon or service is conducted.

purlins

The horizontal timber pieces laid across the principal rafters and supporting the common rafters in a roof.

PVC clay

Material made from PVC, other plasticizers and ground pigments which are baked and fused to produce a non-porous, workable medium.

quoin

A masonry member forming the corner edge of the exterior wall, often different in scale and texture.

Rajput painting

The painting style associated with the Hindu Rajput princes of India, who came to power in the early eighteenth century. In contrast to Mughal painting which is realistic, Rajput painting is symbolic and suffused with poetic metaphor. The coloration is typically flat and unblended in a manner suggesting stained glass. They fall into two main groups, Rajasthani and Pahari.

restoration

The return of a structure or site to a known historical period by the re-assembly of fabric and materials and by the removal of incompatible accretions.

415

UNESCO Asia-Paciﬁc Heritage Awards

render

reuse

(noun) A wall surfacing product such as plaster. (verb) To apply a substance such as plaster to a brick or stone surface. In conservation terms, the rehabilitation and sympathetic modification of historic buildings in order to be utilized for another function.

shikhar

Sikh school of art

refer to domes, towers or spires, usually tapering in a convex curve. Refers to the arts produced to represent the Sikh religion, an Indian religion founded in the late fifteenth century that blends Islamic and Hindu elements.

tempera

tenon

Small wooden tiles.

mixed with water and egg yolk. Sometimes whole eggs are used as well as glue or milk. This method produces a bright and translucent effect, and is fast-drying. A projecting piece in a wood member that will fit into the slot of another member with the same dimension, to form a mortise-and-tenon joint.

sirap ridge

The horizontal beam that provides attachment for the upper end of the rafters and is the junction of the upper edges of two sloping roof structures.

slaked lime

spandrel rising damp

The rise of water moisture from the ground through the porous wall cavity via capillary action. The evaporating water leaves salt deposits on the surface, often resulting in staining and damage to the interior finish.

rumah ibu

Main house in a Malay residential complex.

sacristy

Room in or attached to a church where the sacred utensils and vestments are kept.

sanctum sanctorum

A lime that has been made powdery or soft through the action of water.

terracotta

A hard, semi-brown fired clay used as facing brick, structural brick or applied sculptural ornament in buildings.

The roughly triangular space between the left or right exterior curve of an arch and the rectangular framework surrounding it.

terrazzo

A type of mosaic flooring made by embedding small pieces of marble or granite in a cement base. The surface is then polished.

Narrow horizontal bands , either flush or string courses projecting, that run across the width of the façade of a building. They can be plain or moulded.

ta cik

The holiest and innermost part in a temple or Jewish tabernacle.

Also spelled “tai chik” and “da qi”. Literally, “big oil.” Tree sap applied as a finish to timber. Affords protection from termites and a hardened finish which lasts for decades.

The main column of a Malay house.

tiang sen “top-down” restoration

transept

A joint made by notching two pieces of timber so that they will lock together endto-end.

Te Deum

seasoned timber Any timber which has dried out and from which the sap has gone. Teepol Shanghai plaster

416

A grey grainy cement-based finish with exposed stone aggregate that resembles granie. Popular in Shanghai in the 1920s-1930s and in Hong Kong in the 1950s. In the temple architecture of India, shikhar

The shorter aisle running perpendicular to the nave or main aisle in a church, thus forming the cross plan.

Railings. Arches with three arcs or lobes.

takiya scarf

Restoration that begins from the top of the building and continues downward to the bottom of the building.

An ancient liturgical hymn, sometimes called the Ambrosian Hymn, recited publicly on the last day of the year and on other special occaisions.

trefoil arches trowel

A brand for a range of cleaning, washing, and de-greasing detergent products.

tung oil

A method of painting in which pigments are

A hand tool with a metal scoped or flat blade used to spread or form loose and plastic materials such as mortar and cement. A semi-drying oil used in hard-wearing varnish and enamel. Helps to prevent termite infestation. Also called chinawood oil.

A highly heat-resistant grey metal with

Glossary

tungsten

great tensile strength.

valance

A board set a short distance from the wall for decoration or to conceal something.

vernacular

The traditional architecture of a region, built of local materials to suit particular local needs usually by an unknown designer and reflecting local technology and methods.

The style in architecture, décor and furnishVictorian style ings popular during the reign of Queen Victoria (1837-1901). Characterized by rapid changes of style from Classicism, Romanticism and Eclecticism and back to Classicism.

vitrepanel

A durable wall cladding system made from sheets of compressed fibre cement, prepainted and finished on the exterior face.

wan kaew

Traditionally, glass beads used as earrings. Refers to small panes of glass used as ornamentation in a Thai temple.

wat

Yanzhi brick

In Thailand and Lao PDR, a collection of buildings that comprise the Buddhist monks’ compound. Used for religious, educational, and residential purposes. Also called “vat” in Cambodia. A traditional red brick manufactured primarily in the Fujian province of China, near Zhangzhou.

417

UNESCO Asia-PaciďŹ c Heritage Awards

UNESCO

International and Regional Charters

Convention for the Protection of Cultural Property in the Event of Armed Conflict, 1954 http://portal.unesco.org/culture/en/ev.php-URL_ ID=8450&URL_DO=DO_TOPIC&URL_SECTION=201.html Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property, 1970 http://portal.unesco.org/en/ev.php-URL_ID=13039&URL_ DO=DO_TOPIC&URL_SECTION=201.htmlm

Convention for the Safeguarding of the Intangible Cultural Heritage, 2003 http://unesdoc.unesco.org/images/0013/001325/132540e.pdf Convention on the Protection and Promotion of the Diversity of Cultural Expressions, 2005 http://unesdoc.unesco.org/images/0014/001429/142919e.pdf

ICOMOS The Venice Charter, 1964 http://www.icomos.org/venice_charter.html.

Convention Concerning the Protection of the World Cultural and Natural Heritage, 1972 http://www.unesco.org/whc/nwhc/pages/doc/dc_f2.htm

The Florence Charter, 1982 (Historic gardens and landscapes) http://www.international.icomos.org/charters/gardens_e.htm

World Heritage Convention Operational Guidelines http://whc.unesco.org/archive/opguide05-en.pdf

Charter on the Conservation of Historic Towns and Urban Areas, 1987 (Washington Charter) http://www.international.icomos.org/charters/towns_e.htm

Recommendation Concerning the Protection, at National Level, of the Cultural and Natural Heritage, Paris 1972 http://www.unesco.org/culture/laws/national/html_eng/ page1.shtml Recommendation Concerning the Safeguarding and Contemporary Role of Historic Areas, Nairobi 1976 http://www.unesco.org/culture/laws/historic/html_eng/ page1.shtml Convention on the Protection of the Underwater Cultural Heritage, 2001 http://www.unesco.org/culture/laws/underwater/html_eng/ convention.shtml Universal Declaration on Cultural Diversity, 2001 http://unesdoc.unesco.org/images/0012/001271/127160m. pdf

Charter for the Protection and Management of the Archaeological Heritage, 1990 http://www.international.icomos.org/charters/arch_e.htm ICOMOS Guidelines for Education and Training, 1993 http://www.icomos.org/guidelines_for_education.html Charter for the Protection and Management of the Underwater Cultural Heritage, 1996 http://www.international.icomos.org/charters/underwater_e. htm Principles for the Preservation of Historic Timber Structures, 1999 http://www.international.icomos.org/charters/wood_e.htm International Charter on Cultural Tourism, 1999 http://www.international.icomos.org/charters/tourism_e.htm

418

International and Regional Charters

Charter on the Built Vernacular Heritage, 1999 http://www.international.icomos.org/charters/vernacular_e. htm ICOMOS Principles for the Preservation and Conservation/Restoration of Wall Paintings, 2003 http://www.international.icomos.org/charters/ wallpaintings_e.htm ICOMOS Charter-Principles for the Analysis, Conservation and Structural Restoration of Architectural Heritage, 2003 http://www.international.icomos.org/charters/structures_e. htm Charter for the Interpretation and Presentation of Cultural Heritage Sites, 2007 (draft) http://www.enamecharter.org/downloads.html

Regional (Asia-Pacific) Nara Document on Authenticity, 1994 http://www.international.icomos.org/naradoc_eng.htm ASEAN Declaration on Cultural Heritage, 2000 http://www.aseansec.org/641.htm Hoi An Protocols for Best Conservation Practice in Asia, 2006 (draft) http://www.unescobkk.org/fileadmin/user_upload/culture/ cultureMain/Instruments/HAP__English_.pdf

National (Alphabetical by Country) AUSTRALIA Australia ICOMOS Burra Charter, 1999 http://www.icomos.org/australia/burra.html CAMBODIA Law on the Protection of Cultural Heritage, 1996 http://www.autoriteapsara.org/en/apsara/about_apsara/ legal_texts/decree4.html CHINA Principles for the Conservation of Heritage Sites in China, 2002 http://www.icomos.org/australia/images/pdf/china_prin.pdf INDIA Charter for the Conservation of Unprotected Architectural Heritage and Sites in India, 2004 http://www.intach.org/pdf/charter.pdf INDONESIA Indonesia Charter for Heritage Conservation, 2003 http://www.international.icomos.org/charters/indonesiacharter.pdf

MALAYSIA National Heritage Act, 2006 http://www.hbp.usm.my/conservation/MainConservation.htm NEW ZEALAND ICOMOS Charter for the Conservation of Places of Cultural Heritage Value, 1992 http://www.icomos.org/docs/nz_92charter.html PAKISTAN National Fund for Cultural Heritage Act, 1994, amended 2002 http://www.heritage.gov.pk/ PHILIPPINES National Commission for Culture and the Arts (Republic Act 7356) http://www.ncca.gov.ph/about_ncca/history.php REPUBLIC OF KOREA Protection of Cultural Properties Act, amended 19822002 http://english.cha.go.kr/ SINGAPORE National Heritage Board Act (Chapter 196A), 1993 Preservation of Monuments Act (Chapter 239) http://www.mica.gov.sg/mica_business/b_heritage.html

LAO PEOPLEâ&#x20AC;&#x2122;S DEMOCRATIC REPUBLIC Lao Heritage Legislation, 2006 (in Lao only) http://www.unescobkk.org/index.php?id=2283

419

UNESCO Asia-Paciﬁc Heritage Awards

Susan Balderstone PSM LFRAIA is an architect who has worked on the conservation of heritage places for over 20 years. At the De-

Profiles of Jury Members (2000–2006)

partment of Infrastructure, Victoria she was involved with the conservation of Melbourne’s major nineteenth-century public buildings and other public buildings in rural areas. She has participated in international projects in the Asia-Pacific region, including the Urban Heritage Conservation Strategy for Tianjin, China, and the AusAid Planning and Development Control Project for Hanoi, Viet Nam. She has presented papers and participated in conservation workshops in the region including in China, Viet Nam, the Philippines and Australia. She also worked for the Jordanian government and various academic institutions on the investigation and conservation of archaeological sites and ancient monuments in the Middle East. As an Adjunct Professor in the Faculty of Arts at Deakin University, Ms Balderstone was instrumental in setting up the current post-graduate coursework programme in Cultural Heritage. She holds a BArch (Hons) from the University of Melbourne and a MA in Conservation Studies from the University of York. (Jury member in 2000-2001)

Robert G. Boughey established his architectural practice in Bangkok in 1973. His company has been active in the architectural and design field since that time, and has been the recipient of numerous architectural awards for its completed projects. Mr Boughey was formerly a professor of Tropical Studies at Pratt Institute in New York. He has given talks at numerous universities and has been on the evaluation panels for various international design competitions. (Jury member in 2000, 2003)

Mark Chang teaches at Showa Women’s University in Tokyo, Japan. Trained in economics, he has been involved in collaborative projects between Japan and Viet Nam in conserving cultural heritage in Viet Nam, particularly in the UNESCO World Heritage town of Hoi An. He participated in two projects, the Hoi An Town Preservation Cooperation Project and the Vietnamese Traditional Folkhouses, which received UNESCO Asia-Pacific Heritage Awards in 2000 and 2004, respectively. In 2005, Professor Chang was recognized with a Viet Nam Ministry of Culture and Information medal for distinguished service in the field of cultural heritage. (Jury member in 2005)

William Chapman is the Director of the Graduate Programe in Historic Preservation at the University of Hawaii, Manoa, and a frequent conservation consultant in the Asia-Pacific region. His work has included training projects and assessments of heritage sites throughout the Pacific islands and mainland South-East Asia. Professor Chapman, who holds a DPhil in archaeology from Oxford University and an advanced degree in historic preservation from Columbia University in New York, is a frequent participant in international conferences. He has been a consultant to UNESCO in the traditional building crafts training project in Luang Prabang, Lao PDR and to the World Monuments Fund, particularly in their training initiatives in Cambodia. A four-time Fulbright Award holder, he is a regular lecturer at Silpakorn University’s International Programe in Heritage Management and Tourism. (Jury member in 2000-2005)

420

Proﬁle of Jury Members

Bundit Chulasai is the Head of the Department of Architecture, Chulalongkorn University. He studied at Chulalongkorn University, the University of Illinois at Urbana–Champaign and Unité Pedagogique d’Architecture No. 1. His research interests include architectural and urban conservation and environmental impact assessment. A member of the Association of Siamese Architects (ASA), Professor Chulasai served twice as the Chair of ASA’s Fine Arts Commission, which has been promoting the Thai public’s understanding of urban and architectural conservation since 1982. His architectural practice has also been recognized for its contextual and sensitive design work. His design for the renovation of the Railway Hotel in Hua Hin, Thailand is one of the country’s early examples of adaptive reuse for historic buildings. Professor Chulasai’s other conservation work includes the renovation of Chulalongkorn University’s Ruen Pharotracha in Bangkok and Daraphirom Museum in Chiang Mai. The projects received the ASA Architectural Conservation Award in 1994, 1997 and 1999, respectively. (Jury member in 2005)

Dong Wei is Vice Dean and UNESCO Chair in Cultural Management at Southeast University’s Department of Architecture in Nanjing, China. He was educated at the Xi’an Institute of Metallurgy and Building (now Xi’an Architecture University), the Traditional Architecture and Garden Design Institute of Xi’an and Nanjing Institute of Technology (now Southeast University). After obtaining his PhD at the Norwegian University of Science and Technology, he was a post-doctoral researcher at Tsinghua University. In 1998, Professor Dong led the architectural survey of intact traditional buildings in the Xijin Ferry area in Zhenjiang, Jiangsu province, which resulted in the 2001 Award of Merit for the restoration work. Professor Dong was also involved with the urban restoration of Zhongshan Road in Quanzhou, Fujian province, which was recognized with a 2001 Award of Merit. (Jury member in 2004, 2006)

Richard A. Engelhardt is the UNESCO Regional Advisor for Culture in Asia and the Pacific, based in UNESCO Bangkok. For the past 30 years, he has directed archaeology and heritage conservation projects throughout Asia and the Indo-Pacific region. In 1981, he joined the United Nations (UN) system and has worked with the Economic and Social Commission for Asia and the Pacific (ESCAP), as well as a number of UN specialized agencies, including the United Nations High Commissioner for Refugees (UNHCR) whose office in the Philippines he headed from 1986-1989. From 1991-1994, he re-opened and served as Head of the UNESCO Office in Cambodia, where he launched the international safeguarding campaign for Angkor. In recognition of his services, His Majesty King Norodom Sihanouk awarded him the title of Commandeur de l’Ordre Royal du Cambodge. He was educated in anthropology, archaeology and the history of East, South and South-East Asia at Yale University, Harvard University and the post-graduate Population Institute of the East-West Center at the University of Hawaii. (Jury chairperson in 2000-2006)

421

UNESCO Asia-Paciﬁc Heritage Awards

H. Detlef Kammeier has lived in Thailand since 1972. From 1976-2000, he held a long-term faculty position at the Asian Institute of Technology (AIT) in Bangkok, an international post-graduate institute with students and faculty from over 50 countries, where he conducted research and taught in the field of urban, environmental and regional development and planning. After leaving AIT, Professor Kammeier has continued to maintain his main residence in Thailand, while his international consulting work takes him to other countries in South-East Asia and the Middle East. He also continues to teach and currently serves as a visiting professor in two international programmes at German universities. His long-term interest in urban conservation is reflected in his teaching and research at the postgraduate programme in World Heritage Studies at the Brandenburg Technical University (BTU) in Cottbus, Germany. He is also part of the international postgraduate programme in Urban Management at the Technical University of Berlin. (Jury member in 2000-2002)

Pinraj Khanjanusthiti teaches at the Faculty of Architecture, Chulalongkorn University, where she coordinates the master’s degree programme in conservation studies. She has undertaken research to develop a “Conservation and Management Plan for Water-based Communities as a Cultural Tourist Attraction: the Case Study of Santa Cruz Community, Bangkok” and a “Master Plan for Conservation and Development of Sam Prang Historic District, Bangkok” for the Bangkok Metropolitan Authority. She received her BArch from Chulalongkorn University, her MArch from the State University of New York at Buffalo and her MA and PhD in Conservation Studies from the University of York. (Jury member in 2006)

Spencer Leineweber FAIA is a Professor and Director of the Heritage Center at the University of Hawaii, Manoa. Educated at Cornell University, she is a licensed architect. Since 1978, her architectural design firm, Spencer Architects Inc, has been recognized for its sensitive design work throughout Hawaii. The office portfolio includes projects involving research, new construction and restoration. The firm is particularly well known for its work within historic districts and new work on historic buildings. Professor Leineweber has a specific passion for early construction techniques in Hawaii and is the leading expert on the construction of the ABCFM Missions in the Pacific. Her Plantation Village ethnic history museum project was recognized for outstanding research-supported design with the first Design Honor Award ever given to a project in Hawaii by the national American Institute of Architects (AIA). (Jury member in 2000-2003, 2005-2006)

Budi Lim is a chartered architect and urban designer with special interests in conservation and restoration. He studied and worked in England in the 1970s and early 1980s. In 1984, he returned to Jakarta to start his own practice, PT. Budi Lim Architects. During the late 1980s, he persuaded Universal Bank in Indonesia to purchase many old buildings and to conserve them for use as their branch offices. Mr Lim was the 1998 recipient of the Indonesian Eisenhower Exchange Fellowship and the winner of the highest honour in the 2001 UNESCO Asia-Pacific Heritage Awards for the restoration of Indonesia’s National Archive Building. (Jury member in 2002-2006)

422

Proﬁle of Jury Members

Laurence Loh is a graduate of the Architectural Association School of Architecture in London. He has operated his own design practice in Penang since 1983 and is recognized as one of the leading practitioners in the conservation field in Malaysia. He directed the Cheong Fatt Tze Mansion conservation project, which was recognized as the Most Excellent Project in the inaugural UNESCO AsiaPacific Heritage Awards in 2000. His work on the restoration of the Cheng Hoon Teng Temple was recognized with an Award of Merit in 2003. In addition, he continues to work with UNESCO as an expert resource person in various conservation programmes. His work has garnered several PAM & Industrial Awards for excellence in conservation as well as residential building design, interior design, and the use of materials and technology. He is presently the Deputy President of Badan Warisan Malaysia, technical advisor to the Penang Heritage Trust and a member of the Penang State Heritage Committee. He was previously Chairman of the Penang Art Gallery and the Penang State Museum Board. (Jury member in 2001, 2003-2006)

David Lung was trained as an architect and is currently Professor of Architecture at the University of Hong Kong. He was appointed by the Chief Executive of Hong Kong SAR to chair the Antiquities Advisory Board in 1992 and was made a member of the Cultural and Heritage Commission of the Government of Hong Kong SAR in 2000. In May 2001, he was appointed a non-executive director of the Urban Renewal Authority and chairs the Planning, Development and Conservation Committee. Professor Lung has been instrumental in advising the government in formulating conservation policies, guidelines and strategies. Over three decades, Professor Lung has researched, taught and published widely in the area of cultural heritage with reference to Chinese vernacular architecture and Hong Kong’s architectural heritage. He is the founding director of the Architectural Conservation Programme at the University of Hong Kong, a key member of the UNESCO-ICCROM Asian Academy for Heritage Management network. (Jury member in 2002, 2004-2005)

Nimish Patel studied Architecture at the Centre for Environmental Planning & Technology (CEPT) in Ahmedabad, India and continued his post-graduate studies at the Massachusetts Institute of Technology (MIT). After returning to India, he and his partner Parul Zaveri established their practice, Abhikram, in 1979. They undertake consultancies in planning, architecture, conservation and interior design, and undertake research in related areas. Apart from heritage conservation, their other focus is in the use of passive human comfort systems in buildings. They have won design awards for their work on educational, residential and public buildings, as well as for their conservation work. Their project to restore the Chanwar Palkhiwalon-ki-Haveli was recognized as an Excellent project in the 2000 UNESCO Asia-Pacific Heritage Awards. They have given lectures, officiated on projects, conducted workshops and published their work nationally and internationally. They are currently pursuing doctoral studies at CEPT on the subjects of “lime as a building material” and “heritage as a tool for the economic development of rural areas of Gujarat”, respectively. (Jury member in 2001-2004)

423

UNESCO Asia-PaciďŹ c Heritage Awards

Chatvichai Promadhattavedi is the Director and Deputy Chairman of the Executive Committee of the Art and Culture Foundation of Bangkok. The Foundation undertakes art advocacy work in the areas of cultural policy and infrastructure. This includes spearheading the establishment of the Office of Contemporary Art and Culture within the Ministry of Culture, Thailand, and the building of the Bangkok Art and Culture Centre, for which he serves as the Chairman of the Cultural Management Policy Sub-committee. During the 1970s and 1980s he was the Director of the Bhirasri Institute of Modern Art. He is an Executive Member of the Bangkok Symphony Orchestra and a Board Member of the Bangkok Opera. He is a member of the Siam Society and has served as a Council Member. Mr. Promadhattavedi is also the Managing Director of Pro-Space Company, a design company specializing in vernacular and modern architecture and interior design. (Jury member in 2000, 2003-2004, 2006)

Gurmeet Rai is the director of the Cultural Resource Conservation Initiative in India. A conservation architect based in New Delhi, she has worked on conservation projects throughout India, and particularly in Punjab where she has extensively documented historic buildings in the state. She serves as a managing trustee of the Punjab Heritage Preservation Trust. Ms Rai directed two projects, the Krishan Temple and Lakhpat Gurudwara, which received UNESCO Asia-Pacific Heritage Awards in 2001 and 2004, respectively. (Jury member in 2005-2006)

Johannes Widodo teaches at the National University of Singapore in the Department of Architecture, with a joint appointment in the Asian Cities Cluster of the Asia Research Institute (ARI). His areas of specialization include architecture, heritage conservation, urban history and morphology of South-East Asian cities. He is a founder and executive of mAAN (modern Asian Architecture Network), founder and core member of iNTA (International Network of Tropical Architecture), Registered Architect and professional member of the Indonesian Institute of Architects (IAI), voting member of the ICOMOS International Training Committee, executive member of the ICOMOS Indonesia National Committee, affiliate member of the UNESCO-ICCROM Asian Academy for Heritage Management, editor of the Journal of South-East Asian Architecture (Singapore) and the ASEAN Journal on Hospitality and Tourism (Indonesia), and a member of several heritage societies and networks. He received his professional degree in architecture (Ir.) from Parahyangan Catholic University (Indonesia), his MArch from KU Leuven (Belgium) and his PhD from the University of Tokyo. (Jury member in 2002-2006)

424

Proﬁle of Jury Members

UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation Regulations Article 1 - Objective 1.1 The UNESCO Asia-Pacific Heritage Awards recognize the achievement of individuals, organizations or companies in the conservation/restoration of a structure or a series of structures in the private sector which is/are more than 50 years old. Houses, commercial, cultural, religious, industrial or institutional buildings, gardens and bridges, for example, are all eligible for consideration. Public-private partnership projects such as historic towns, urban quarters and rural settlements where the essential elements are more than 50 years old are also eligible. Article 2 – Award and Frequency 2.1 The Award, which is established for an indeterminate period, shall be awarded on an annual basis. 2.2 The Awards shall consist of a. a bronze plaque for a number of entries receiving an “Award of Excellence” b. a bronze plaque for a number of entries receiving an “Award of Distinction” c. a bronze plaque for a number of entries receiving an “Award of Merit” d. a bronze plaque for a number of entries receiving an “Honourable Mention” Certificates of recognition will be presented to all parties included on the entry form. 2.3 The form and number of the awards may be varied from time to time at the discretion of UNESCO. 2.4 The award will be made out in the name of the project entry. Article 3 – Eligibility 3.1 To be considered for the Awards, the conserved or restored building or buildings must be over 50 years old. 3.2 Buildings must be privately owned or leased, and restoration must be the result of private initiative or a public-private partnership. Projects financed, owned and undertaken wholly by government entities are not eligible. 3.3 The works must have been completed within the last 10 years and before the announcement date of the awards. The project must also have been occupied or put to viable use for at least one year. Article 4 – Selection of Award Recipients 4.1 The award recipients shall be selected on the proposal of an internal jury.

Article 5 – The Jury 5.1 The Jury shall be composed of a. 1 representative from UNESCO, and b. 6-8 international conservation experts renowned for their knowledge of conservation in the Asia-Pacific region. 5.2 The UNESCO Regional Advisor for Culture in Asia and the Pacific shall appoint the Jury for the full period of the Awards process. Article 6 - Conditions of Entry 6.1 Entries for buildings may be submitted by the registered land and building owner, registered lessee, or conservation consultant, architect or designer, any of whom would have had to be involved in the process, preferably through the whole course of work. 6.2 Each entry must be submitted to UNESCO before 31 March. 6.3 Submission of an entry will be taken to imply the granting of permission to publish all material and particulars of the successful schemes, including the jury report, without charge to UNESCO. 6.4 The wording of plaques and certificates will be based strictly on the details given on the entry form. 6.5 All submitting persons or firms will be responsible for delivery of their respective entries. Entry materials will not be returned. 6.6 One or more entries may be submitted by the same individual or institution. Article 7 – Announcement and Presentation 7.1 Winners of the Awards will be announced in September. The person submitting the entry will be notified in strict confidence if their project is selected for an Award. UNESCO reserves the right to disqualify any entry which is subject to unauthorized prior disclosure. 7.2 Certificates and plaques will be presented to, and will record, the names of the project, the architect/designer, building owner and the contractor of the UNESCO Asia-Pacific Heritage Award winning projects. When appropriate, they will also list those consultants who were key to the realization of the project. Only one plaque per award will be presented by UNESCO. Additional plaques may be ordered at cost. Article 8 - Criteria for the Awards 8.1 The Award recipients will have conclusively demonstrated excellence in: a. the articulation of the structure’s heritage values in order to convey the spirit of place through the conservation work; b. appropriate use or adaptation of the structure; c. the interpretation of the cultural, social, historical and architectural

425

UNESCO Asia-Paciﬁc Heritage Awards

significance of the structure(s) in the conservation work; d. the understanding of the technical issues of conservation/restoration in interpreting the structure’s significance; e. the use and quality control of appropriate building, artisan, and conservation techniques; f. the use of appropriate materials; g. how well any added elements or creative technical solutions respect the character and inherent spatial quality of the structure(s); h. the manner in which the process and the final product contribute to the surrounding environment and the local community’s cultural and historical continuum; i. the influence of the project on conservation practice and policy locally, nationally, regionally or internationally; j. the ongoing socio-economic viability and relevance of the project, and provision for its future use and maintenance; k. the complexity, sensitivity and technical consistency of the project methodology. Article 9 - Entry materials to be submitted 9.1 Entry Form Each entry must be submitted with an official entry form together with the following materials. 9.2 Drawings • Required: maps showing location of project in neighborhood, in city, in country. • Required: site plan, floor plans and sections, showing pre- and postrestoration condition. All alterations/new additions should be clearly marked in color. • Optional: elevation drawings. • All drawings should be reduced to A4 size. 9.3 Photographs A minimum of 15 high-resolution color photographic prints measuring 5” x 7”, showing: a. pre- and post-restoration conditions, including interior and exterior views and the overall appearance of the building (minimum 6 pairs of photographs) b. details of the restoration project, including materials and techniques used in conservation. All photographs must be clearly labeled. Location of photographs should be indicated on a floor plan. 9.4 Project Description (in English) A report of 6-8 pages (A4 sheets) should describe in detail each of the following

426

points: • synopsis of conservation project (2 paragraphs maximum) • conservation project’s goals and objectives (client’s brief) • the background of the property (1 page maximum) historical background present context, condition, use of the property heritage/protection status of the property • scope of the conservation project stages in restoration and time frame project size (in sq meters) and cost (in US $) The description should explain how the project demonstrates the criteria of the UNESCO Awards. Please explain separately each criterion in Article 8. • articulation of heritage values and significance • appropriate use/adaptation changes made to building (repairs and additions), and relationship of new to old if restoration involved changing original use, rationale for changing use • interpretation of the significance of the building(s) in the conservation work the methodology of restoration • understanding of technical issues of conservation in the interpretation issues of conservation/restoration considered and justifications for solutions • use of appropriate building, artisan, and conservation techniques • use of appropriate materials • how well new elements and creative technical solutions respect building’s character • contribution to community’s cultural continuum key stakeholders and involvement of local community in project • impact of project on conservation practice and policy • ongoing socio-economic viability and relevance of the project regulatory framework of the project mobilization of financial and in-kind support from public and private sectors if project is a public-private initiative, contributions of each partner should be clearly indicated provision for future use and maintenance • the complexity, sensitivity and technical consistency of the project methodology The points of the project description should be well documented through text and linked to the submitted photographs and drawings. A sample report format is available from the UNESCO Bangkok office or the Awards programme web site.

Proﬁle of Jury Members

9.5

9.6 9.6

9.7 9.7

If possible, please submit text and images in electronic format (i.e. on diskette or CD-rom) as well as hard copy. Occupant Comments A brief statement from the building’s occupants describing their evaluation of the restored structure’s usefulness and functionality, and their impressions of its contribution to the community’s historic continuum must accompany the entry. A form (optional) for these comments is available from the UNESCO Bangkok office or the Awards programme web site. Owner Consent Owner Consent The written consent of the building or property owner must be obtained prior to entry. This consent should be submitted with the entry on either the owner’s letterhead or the Owner Consent Form available from the UNESCO Bangkok office or the Awards programme web site. Additional Materials Additional Materials supporting documentation may be submitted. Slides, CD-ROMs, videos, articles are all accepted and welcome.

Article 10 – Objective of the Jury Commendation 10.1 In addition to the announced Awards, the Jury will, through its special Jury Commendation, recognize newly-built structures which demonstrate outstanding standards for contemporary architectural design which are well integrated into historic contexts. Projects should have been undertaken within the framework of a larger conservation project or within a conservation zone whose essential elements are more than 50 years old. Building annexes, new buildings, new public spaces, and new structures such as bridges, for example, are all eligible for consideration. Article 11 - Award and Frequency 11.1 The Jury Commendation will be given at the discretion of the Jury. 11.2 The Jury Commendation will consist of a bronze plaque for a selected number of entries. Article 12 – Eligibility 12.1 To be considered for the Jury Commendation, the works must have been completed within the last 10 years and before the announcement date of the awards. The project must also have been occupied or put to viable use for at least one year. 12.2 The submission must demonstrate that no structures of heritage significance were altered or cleared from the site for the purpose of the project submitted for the Jury Commendation.

12.3 Projects which are new structures built as historic replicas, built against historic facades, and historic theme parks will not be considered within the scope of the Jury Commendation. 12.4 Projects which are submitted for consideration to the UNESCO Heritage Awards programme in the same year are not eligible for submission for the Jury Commendation. Projects which are jointly submitted will be disqualified. The guidelines for “Selection of Awards Recipients”, “Jury”, “Conditions of Entry” and “Announcement and Presentation of the Awards” shall be subject to Articles 4, 5, 6, and 7, respectively. Article 13 - Criteria for the Jury Commendation 13.1 The recipients of the Jury Commendation will have conclusively demonstrated excellence in the following areas: a. outstanding design concept that demonstrates critical thinking in articulating an innovative response to the specific historic context; b. how well the new structure helps to reveal the qualities of the place, including historical, architectural, cultural, and social significance; c. the compatibility and appropriateness of the new structure’s programme/ function in its context; d. how well the new structure integrates with the existing built and natural context. Factors include, but are not limited to, the following: typology, siting, massing, form, scale, character, colour, texture; e. the justification of selection and quality control of materials and building techniques (either contemporary, vernacular or a combination of both); f. the manner in which the process and the final product extend the local community’s cultural and social continuum; g. the influence of the project on architectural practice and design policy locally, nationally, regionally or internationally; Article 14 - Entry materials to be submitted 14.1 Entry Form Each entry must be submitted with an official entry form together with the following materials. 14.2 Drawings • Required: maps showing location of project in neighborhood, in city, in country • Required: concept drawings in 2D and/or 3D explaining the “parti” of the project • Required: site plan, floor plans, sections, perspective(s). • Required: elevation drawing(s), showing principal public façade and immediate

427

UNESCO Asia-Paciﬁc Heritage Awards

14.3

14.4

14.5 14.6 14.7

428

neighboring buildings (if any). • All drawings should be reduced to A4 size. Photographs • A minimum of 15 high-resolution color photographic prints measuring 5” x 7”, showing: a. interior and exterior views and the overall appearance of the building (minimum 6 pairs of photographs) b. details of the project, including materials and techniques used in the project. • All photographs must be clearly labeled. Location of photographs should be indicated on a floor plan. Project Description (in English) A report of 6-8 pages (A4 sheets) should describe in detail each of the following points: • synopsis of construction project (2 paragraphs maximum) function/programme construction phases and time frame project size (in sq meters) and cost (in US $) • description of the design concept, with reference to concept diagrams • project’s goals and objectives (client’s brief) • the background of the site (1 page maximum) historical background description of last structure that occupied the site (if any) and the date and justification of its demolition context of the site (physical as well as socio-economic) heritage/protection status of the area in which the building site is located • project’s demonstration of the criteria for the Jury Commendation. Please explain separately each criterion in Article 13. The points of the project description should be well documented through text and linked to the submitted photographs and drawings. A sample report format is available from the UNESCO office or the Awards programme web site. If possible, please submit text and images in electronic format (i.e. on diskette or CD-ROM) as well as hard copy. Occupant Comments See Article 9.5 Owner Consent See Article 9.6 Additional Materials See Article 9.7

Index

Index A Aboriginal, 48, 200, 201, 203, 238 Acehnese, 290 achars, 243 acoustics, 294, 297, 298 aesthetic and artistic value, aesthetic value, artistic value, 23, 25, 40, 51 Arcadio Arellano, 304 adaptive reuse, adapt, adaptation (rehabilitate, reuse), 11, 13, 16, 17, 19, 53, 56, 74, 75, 109, 121, 125, 134, 136, 138, 149, 220, 238, 357, 370, 378 adobe, 36, 168, 206, 208, 248 Aga Khan Cultural Service Pakistan, AKCSP, 27, 53, 206, 266, 270, 310 Aga Khan Trust for Culture, AKTC, 206, 266, 310 aggregate, 37, 197, 330 shell aggregate, 326 Ahhichatragarh Fort, 19, 48, 189-198 airport, 50, 176 algae, algal growth, 142, 145, 324 Alois Riegl, 24 altar, 104, 152, 153, 216, 294, 298 aluminum, 231 Amsterdam School, 120 ancestral worship, 152, 153, 258, 261 Ancient Monuments and Archaeological Sites and Remains Act (India), 78, 142 Ancient Monuments Preservation Act (India), 78, 142 Anglican church, 356 Antarctic Treaty List of Historic Sites and Monuments, 116 Antarctica, 19, 20, 31, 116, 117 Cape Denison, 31, 116 Commonwealth Bay, 116 Antiques Conservation Law (China), 258 Antiquities Act (Pakistan), 266 Antiquities Advisory Board (Hong Kong SAR), 294 Antiquities and Monuments Office (Hong Kong SAR), 94,152

apartment (house, housing, mansion, residence, residential, villa) 14, 16, 40 serviced apartment (hotel), 14, 16, 40 apse, 41 Arab, 64, 290 araish (lime plaster), 38, 79, 82 arcade, 226, 340 arch, 112, 193, 274, 286, 297, 336, 395 arched door, 112, 226 foliated arch, 142 proscenium arch, 201, 202 trefoil arch, 148 archaeological site, 13 Archaeological Survey of India, ASI, 143, 172, 325 Architectural Services Department (Hong Kong SAR), 152 architectural value, 25, 40, 51 archive, 130, 368 ark, 40, 98 Art Deco, 56, 120, 386, 382 Art Nouveau, 70 asafetida, 366 ash (khaka), 144, 260, 327 oyster shell ash, 302 Asia-Pacific region, 23, 25, 27, 35, 38, 51, 56, 58 asphalt, 395 astana (tomb), 266 Astana of Syed Mir Muhammad, 18, 26, 30, 53, 265-272 Athens Charter for the Restoration of Historic Monuments, 14 auditorium, 226 Australasian Antarctic Expedition, 116 Australia, Australian, 15- 20, 23, 27, 35, 41,42, 48, 49, 52, 54, 61, 62, 108, 116, 117, 136, 200, 203, 226, 238, 239, 252, 286, 318, 322, 370 Adelaide, 16, 19, 286 Broken Hill, 54, 55, 61, 238 Cowangie, 252 Mallee, 35, 252

Manly, 108 Mullewa, 17, 318, 321 New South Wales, 18, 61, 136, 200, 226, 238, 370 Rocks, the, 136 Rydalmere, 370 Shelley Beach, 108 South Australia, 41, 286 Spring Cove, 108 Sydney, 16, 18,19, 42, 49, 62, 108, 136, 139, 200, 203, 226 Victoria, 19, 35, 252 Western Australia, 17, 318 Australian Hall, 48, 62, 63, 199-204 Australian Heritage Commission, 136, 318 Austria, 301 Ayutthaya style, 350

B Badan Warisan Malaysia (Heritage Trust of Malaysia), 124 balai, 124 balau, 124 balcony, 37, 98, 278 Baltic pine, 116, 117 Baltit Fort, 31, 35, 53, 61, 206, 208, 309-316 Baltit Heritage Trust, 310, 315 bamboo, 35, 104, 195, 260, 262, 264, 324 bamboo nail, 95 Bandung Society for Heritage Conservation, 120 Baroque, 18, 25, 40, 98, 180 barrel, 40, 99 batten, 71, 95, 116, 118, 184, 252 bell tower, 320, 333, 334 Bernard Feilden, 24 bimah, 98 bracing, 206, 252 bracket (dou gong), 152, 169, 190, 191, 193, 216, 324 brass, 120, 157

429

UNESCO Asia-Paciﬁc Heritage Awards

brick, 16, 35, 36, 90, 112, 142, 161, 168, 194, 200, 212, 216, 230, 231, 234, 242, 274, 282, 286, 294, 301, 332, 352, 363, 367, 370, 374, 378, 382, 390, 395 baked clay brick, 231 blue brick (grey brick), 104, 260 brick corner, 168 brickwork, 94, 98, 102, 112, 137, 152, 201, 226, 370, 395 burnt brick dust (also see surkhi), 144 carved brick, 234 glazed brick, 148 grey brick (blue brick), 94, 152, 234, 278, 286, 382 mud brick, 344, 390 reclaimed brick, 94 red brick, 98, 102, 148, 200, 382 to re-brick, 252 Yanzhi brick, 395 bridge, 27, 33, 64, 277, 278, 290 Britain, British, 38, 48, 112, 114, 156, 172, 226, 310, 312, 318, 366 London, 16, 172 British Council, 172 Broken Hill City Council, 238 Broken Hill Heritage and Cultural Tourism Programme, 18, 27, 237-240 bronze, 336 Brunelleschi, 304 Buddhism, Buddhist, 18, 55, 56, 62, 112, 160, 161, 216, 230, 232, 344, 345 Burra Charter, 15, 23, 52, 98, 116, 252, 319 Bushell’s Tea Warehouse, 19, 20, 42-45, 49, 56, 135-140 buttress, 195, 294, 316

C Cambodia, 242 Siem Reap, 62, 242 Wat Damnak, 242 canal (river, waterway), 274, 277, 363 cane, 35 Cangqiao Historical Street, 18, 58, 281-284 canopy, 79 Canton tile, 94

430

capped, capping, 116, 213, 252 carved carpentry (carved timber, carved wood), 184 cathedral (chapel, church), 18, 294, 297, 298, 332-336, 338, 356 Catholic, 56, 108, 200, 294, 318 Catholic Cathedral of the Immaculate Conception, 56, 18, 43, 293-296 cement, 37, 38, 90, 144, 195, 208, 268 cement concrete, 248 cement injection, 180 cement mortar (mortar), 90, 248, 366 cement tile, 230 ceramic tile, 71, 386 chai hui, 9, 75, 76, 213 chamber, 206, 226, 344 Chanwar Palkhiwalon-ki-Haveli, 19, 38, 49, 77-82 chapel (cathedral, church), 55, 180, 218, 219, 294 character-defining elements, 21, 28-30 char bagh, 190 Charles Prosper Wolff Schoemaker, 120 chataq, 10, 207-209 chengal, 72, 124 Cheng Hoon Teng Main Temple, 9, 26, 75, 76, 211-216 Cheong Fatt Tze, 11, 70 Cheong Fatt Tze Mansion, 11, 12, 47, 57, 69-76, 216 chi, 11 chien nien, 70, 73, 75, 76, 184, 185, 212, 213 China, Chinese, 9-11, 17, 18, 20, 25, 26, 29, 30, 33, 36, 40, 42, 43, 47-50, 52, 55, 63, 64, 70, 71, 73, 75, 84, 98, 104, 124, 152, 160, 164, 168, 169, 180, 184, 185, 206, 212, 213, 216, 234, 258, 274, 278, 282, 290, 294, 300, 310, 353, 354, 361, 374, 382, 386, 394 Anhui, 278 Changan County, 234 Conghua City, 258 Beijing, 374 Fujian, Fujianese (Hokkien), 18, 26, 57, 73, 75, 164, 184, 212, 216, 300, 394 Guangdong, Cantonese, 10, 26, 30, 48, 72, 76, 212, 216, 258, 394 Guangzhou, 152

Hakka, 300 Hokkien (Fujianese), 26, 76, 212, 216 Hong Kong SAR, 17, 18, 25, 26, 40, 43, 75, 94, 98, 152, 216, 294, 394 Huajue Alley, 234 Huangpu River, 382, 383 Huanshan River, 282 Jiangnan Region, 274 Jiangsu, 104, 160, 274 Jiulong River, 394 Kau Sai Island, Kau Sai Chau, 26, 94, 216 Kunming, 36, 168 Luzhi, 274, 277 Macao SAR, 18, 20, 58, 63, 180, 181, 298, 386, 394 Nanxun, 274 Pearl River delta region, 26 Qiangang Village, 48, 258 Quanzhou, 18, 49, 164 Shanghai, 42, 49, 50, 56, 382, 383 Shanxi, 234 Shaoxing, 18, 63, 278, 282 Shengang Town, 262 Suzhou River, 49, 382, 383 Taipei, 75, 300, 394 Tai Po Tau Village, 152 Teochew, 75, 76 Tongli, 274 Waibaidu bridge, 383 Wen Ming Street, Wen Ming Protection Area, 168, 169 Wuzhen, 274 Xi’an, 234 Xiangshan, 278 Xijin Ferry, 160 Xinjiang, 206 Xitang, 274 Yangtze River, 104, 160, 274 Yunnan, 168, 169 Zhangzhou, 301, 394 Zhejiang, 18, 57, 274, 282 Zhenjiang, 104, 160 Zhouzhuang, 274, 277

Index

China Principles (Principles for the Conservation of Heritage Sites in China, the) 15, 23 Chinese Cultural Relics Research Institute,160 Chinese decorative works, 71, 75, 76 Chinese garden, 374 Chinese Historical Cities Research Institute, 160 Chinese wood oil, 260 choir loft, 320 choir stand, 356 Christian, 11, 142 church (cathedral, chapel), 13, 18, 53, 56, 180, 318, 332, 336, 338, 356, 357 Church of Our Lady of Mount Carmel, 17, 317-322 cladding, 118, 156, 201, 371 Classical, 16 clay (kaolin), 344, 348, 390 clay tile, 113, 356 clerestory window, 227 clinic, 13 clitorea ternate flower, 72 clock tower, 356 coffered ceiling, 172, 201, 202 collective memory (cultural memory), 12, 13 college (institution, school), 366, 368 colonial, colonization, colony, 18, 19, 21, 38, 41, 50, 90, 112, 114, 130,134, 200, 218, 228, 242, 286, 370, 371 colonnade, 108, 286, 318 commercial, 13, 16, 18, 54, 120, 148, 164, 219, 274, 278, 340, 386, 394, 396 community centre (community hall), 13, 152, 203, 261 concrete, 37, 99, 112, 125, 145, 176, 242, 252, 294, 300, 316, 320, 332, 333, 352, 356, 357, 360, 361, 363 concrete block, 320 concrete corner, 318 Confucian, 106 conservation plan, conservation planning, 43, 280 control tower, 176 Convent of the Holy Infant Jesus, CHIJMES, 19, 217-220 Convention Concerning the Protection of the World Cultural and Natural Heritage (World Heritage Convention),15 copper, 157, 336

Corinthian, 72 cornice, 16, 336, 338, 356 corrugated tile, 264 courtyard, 10, 11, 72, 73, 90, 145, 168, 184, 206, 216, 219, 222, 226, 227, 234, 374, 375, 390 covered walkway, 374 cribbage, 30, 206, 268, 271, 272, 316 cruciform shape, 294 cultural centre, cultural club, 31, 50, 125, 176, 311, 314, 332, 386, 387 cultural heritage, 46, 59 Cultural Institute (Macao SAR), 58, 180, 386, 387 cultural landscape, 13, 63 cultural memory (collective memory), 13 Cultural Resource Conservation Initiative (India), 143, 325 Cultural Revolution, 10, 48, 234, 258, 260 cultural significance (significance), 13, 15, 22, 23, 25, 40 cupola, 332-334, 336, 338 curd (yogurt), 82

D Dadabhai Naoroji Road Streetscape, 18, 49, 54, 57, 339-342 dado, 73, 76, 184, 348 Dalongdong Baoan Temple, 75, 216, 299-302 damp , 318 damp-proof course, 53, 98, 102, 320, 350, 370 damp-proofing (vapour barrier, waterproofing), 102, 350 damp-proof membrane, 94, 218 rising damp, 53, 88, 99, 102, 130, 142, 152, 168, 218, 222, 350, 351, 370 dapur, 124 DBS House, 18, 60, 147-150 Department of Cultural Relics and Guangzhou Culture Bureau, 260 dome, 18, 180, 318, 320, 338 Dorje Chenmo Temple, 18, 47, 56, 343-348 dormitory, 219 dou gong (bracket), 76, 216 drop-log construction, 35, 252 dye (pigment), 9

E earthquake, 35, 206, 334, 338, 378 eave, 79, 88, 168, 169, 216, 327 eave board, 94, 152 echo, 298 economic value, 41, 51 Edwardian, 25, 40 Elphinstone College, 54, 365-368 encaustic tiles, 73 England, English, 55, 72, 590 entertainment complex, 218 epoxy, 108, 118, 160, 260, 356, 366 Europe, European, 11, 16, 64, 84, 90, 184, 218, 223, 290, 352, 370, 394 exhibition, 134, 305, 314, 351, 368, 372, 378, 379, 386

F faรงade, 18, 36, 144, 145, 148, 164, 180, 201, 216, 219, 248, 276, 286, 312, 316, 319, 332, 333, 336, 338, 340, 356, 363, 366, 370, 374, 394, 395 faรงadism, 51 factory, 13, 14, 16, 19, 20, 25, 40, 382 fascia, fascia board, 36, 124, 206, 340 Federal Antiquities Act of 1976 (Malaysia), 212 Federation style, 108, 200 Female Orphan School, 52, 369-372 feng shui, 11, 26, 29, 71, 152, 153 fenugreek (methi), 33, 37, 82, 194 fibreglass resin replica, 231 Filipinas Heritage Library, 50, 177 Fine Arts Department (Thailand), 58, 230, 350 finial, 231 First Aboriginal Day of Mourning Conference, 62, 200 flash, flashing, 116, 118 footing (foundation), 125, 184, 252, 316, 320 fort, 13, 19, 33, 248, 316 foundation (footing), 29, 180, 184, 191, 193, 194, 222, 242, 252, 260, 267, 311, 316, 320, 334, 350, 352, 360, 361, 363, 386, 390 foundation consolidation, 316

431

UNESCO Asia-Paciﬁc Heritage Awards

foundation settlement, 193, 316 France, French, 84, 90, 218, 219, 242, 318, 363 Paris, 16 Francis Greenway, 226 fresco, 9, 76, 82, 142, 212, 213, 222, 300 frieze, 94, 152, 172, 202

G gable, 10, 73, 94, 216, 258, 260, 264, 350, 352, 356, gallery, 218, 227, 383 garbha griha, 142 Geo-mesh, 53, 313, 316 George Strickland Kingston, 286 Georgian, 370, 371 Germany, German, 72, 242 Getty Foundation, 191 gild, 72, 75, 76, 94, 172, 212 glare, 298 glass, 17, 72, 137, 138, 148, 157, 172, 176, 242 curved glass ceiling, 120 etched glass, 157 glass mirror, 231 glass pane, 134 jewel glass (wan kaew), 231 rolled glass, 72 stained glass, 17, 38, 55, 70, 72, 172, 218, 219, 294, 318, 319, 356, 390 gold, 29, 184 Gong’zi’ting, 373-376 Gota de Leche, 48, 303-306 Gothic, 70, 108, 226, 228, 318 Gothic Revival, 18, 172, 294, 340, 356, 357 government stable, 226 graffiti, 19, 137 grass, 35 grout, 316, 348 grouting, 37, 195, 316, 328 jet-grouting, 180 to grout, 193, 197, 327 Guangdong Provincial Institute of Cultural Relics and Archaeology, 152

432

Guangyu Ancestral Hall, 10, 26, 30, 31, 48, 59, 75, 216, 257-264 Guangyu Ancestral Hall Restoration and Management Fund, 59, 262 Guanyin, 216 gud, gur (jaggery), 82,194 guggal, 194 Gujarat Ancient Monuments and Archaeological Sites and Remains Act, 324 gurmukhi, 327 gutter, 29, 71, 88, 108, 116, 118, 213, 353, 391 gypsum, 33, 198

H hall, 160, 161, 218, 232, 300, 350, 374 ancestral hall, clan hall, 10, 26, 52, 56, 258 community hall (community centre), 300 conference hall, 62, 242 ordination hall, 18, 230 parish hall, 356 prayer hall, 242 study hall (shuk), 152 Hanoi Architectural University, 85 Harischandra Building, 18, 111-114 Harold Kalman, 24 haveli, 19, 38, 78, 79, 80, 81, 248 herbicide, 90 heritage centre, 124 Heritage of Malaysia Trust, 50 heritage place, 24-26 Heritage Regulations of Greater Bombay, 340 Heritage Regulations of the Mumbai Municipal Corporation, 356 heritage trail (trail), 58, 238 heritage value, 13, 23, 25, 27, 51, 56 Heroic Era, 116 H.E. Ross & Rowe, 136 hessian, 253, 330 Hethersett Tea Factory, 156 Himalayas, 144 Hindu, 10, 11, 26, 142, 143, 190, 324

Historic Heritage Law (China), 274 historic place, 47, 48 historic value , 23, 25, 40, 42, 51 Hoi An Protocols for Best Conservation Practice in Asia, 15 Hoi An Town Preservation Cooperation Project, 49, 63, 8388 horse hair, 71 hospital, 18, 40, 370 hotel (serviced apartment), 14, 20, 40, 41, 60, 74, 90, 156, 157, 286, 390 Hotel de l’Orient, 20, 89-92 house (apartment, housing, mansion, residence, residential, villa), 13, 14, 20, 33, 36, 85, 148, 168, 360, 361, 363,378, 390 bamboo pole house (zhutongcuo), 394 courtyard house, 36, 70, 168, 234, 274, 282 farmhouse, 378 folk house, 360, 361 shophouse, 164, 394 housing (apartment, house, mansion, residence, residential, villa), 13, 14, 120, 130 Hung Shing Old Temple, 17, 26, 75, 93-96, 216

I ice ingression, 118 illumination (lighting), 295, 297, 298 immigrant, 184 India, Indian, 10, 17-20, 26, 32, 33, 36- 38, 47-49, 54, 55, 60, 63, 64, 78, 82, 142, 148, 190, 248, 290, 310, 324, 328, 344, 340, 366 Amber, 19, 38, 49, 78, 79, 80 Fort Precinct, 57, 148, 340, 366 Gadhidham, 325 Goa, 36 Gujarat, 32, 37, 61, 324 Gurdaspur, 142 Indus River, 324 Jaipur, 328 Jaisalmer Fort, 18, 38, 248 Jammu and Kashmir, 344 Kerala, 36

Index

Kishankot Village, 10, 11, 26, 32, 142 Kuchchh, 37, 324 Ladakh, 18, 47, 344, 346, 348 Lakhpat Village, 37, 324, 330 Mumbai, 17, 18, 49, 54, 57, 60, 63, 148, 172, 340, 366 Nagaur, 19, 33, 48, 180 Pondicherry, 20, 90, 91 Punjab, 10, 26, 142, 328 Rajasthan, 19, 33, 38, 48, 49, 78, 80, 190, 194, 248, 348 Shey Village, 47, 344 Indian National Trust for Art and Cultural Heritage (INTACH), 60, 78, 80, 248 Indonesia, Indonesian, 19, 27, 32, 48, 50, 64, 120, 130, 131, 134, 290 Babura River, 290 Bali, 134 Bandung, 120, 121 Batavia, 130 Jakarta, 19, 50, 64, 130, 134 Java, Javanese, 133, 290 Jawa Barat, 120 Krukut River, 130 Medan, 27, 48, 64, 290, 291 Sumatra, 48 Indonesian Heritage Society, 64, 130 Indo-Saracenic style, 340 industrial, 16, 40, 136, 138, 139, 156 ink, 9, 73 in situ (on-site), 73, 112, 124, 136, 140, 172, 202, 227, 253, 260, 316, 350, 386 institution (college, kindergarten, school, university), 40, 62, 368, 374 academic institution, educational institution, 180, 242 monkâ&#x20AC;&#x2122;s teaching institution (Mahavihara Parivena), 112 religious institution, 356 tourism training institute (hotel school), 18 insulation, 37, 298, 375 intangible, 9, 12, 13, 15, 16, 46, 48, 51, 55, 62 International Council on Monuments and Sites, ICOMOS, 15 ICOMOS New Zealand Charter, 22 interpretation, 11, 21

Iran, Iranian, 98, 222, 390, 391 Isfahan, 222 Yazd, 390, 391 Iranian Cultural Heritage List, 222 iron, 190 cast iron, 70, 72, 108, 286 341 corrugated iron, corrugated sheet (iron sheet), 113, 238, 252, 382 galvanized iron, 231 iron sheet (corrugated iron sheet), 238, 252 Islam, Islamic, 26, 206 Italy, Italian, 48, 219, 304 Florence, 304

J jaggery (gud, gur), 34, 37, 82, 194 Jaisalmer Streetscape Revitalization Project, 18, 38, 46, 61, 247-250 jallie (lattice), 48, 194, 266, 270 James Kerr, 24 James Trubshaw, 366 Japan, Japanese, 32, 49, 54, 84, 85, 87, 301, 360, 361, 363 jarrah, 156, 157 Jewish, 25, 47, 98, 148 jian, 216 Jin Lan Tea House, 36, 57, 167-170 John Adams, 366 Jukka Jokilehto, 24

K Kangra, 142 kaolin, 344 kapis shell window, 304 Karakoram mountain, 206, 315 kar sewak, 329 Kazakhstan, 18, 332 Almaty, 18, 332 Turkestan, 332, 338 khaka (ash), 144 Khan Bahadur Muncherjee Murzban, 366

Khmer, 242, 243 Khon Kaen University, 230 khun, 206 kindergarten (institution), 357 King Law Ka Shuk Temple, 75, 151-154, 216 kite tile, 353 kody (shell plaster), 194 Kow Plains Homestead, 19, 35, 251-254 Krishan Temple, 10, 11, 26, 32, 141-146, 191 Kunming Urban Planning and Design Institute, 168

L Lahore National College of Arts, 208 Lakhpat Gurudwara, 32, 37, 61, 323-330 lamp, 157, 290, 291, 298, 336 landmark, 17, 57, 60, 61, 120, 121, 149, 172, 173, 176, 206, 248, 305, 318, 332, 336, 356, 370, 395 La Proteccion de la Infancia, 304 lattice (jallie), 36, 48, 70, 156, 194, 266 Law of Management of Property (China), 274 Law on the Protection of Cultural Relics (China), 258, 259 leadlight, 40, 98, 99, 227 lead lining, 72 Leigh and Orange, 98, 102 library, 18, 50, 62, 112, 172, 176, 242, 314, 315, 332, 354, 386 lighting (illumination), 18, 29, 294, 297, 298, 319, 375 lime, 35-38, 71, 82, 98, 144, 260, 330, 335, 378 lime cement, 252 lime concrete, 192, 193, 197, 326 lime mortar (mortar), 33, 37, 38, 47, 53, 71, 90, 142, 144, 145, 173, 194, 195, 197, 248, 324, 326, 330, 367 lime plaster (araish), 37, 38, 72, 73, 78, 79, 82. 90,112, 142, 144, 145, 172, 212, 230, 231, 258, 324, 326, 328, 336, 351, 353 lime putty (putty), 38, 148 lime render (render), 98 lime shell mortar, 370 lime wash, 37, 38, 142, 145, 213, 327, 336, 382 shell lime powder, 90 slaked lime, 36, 37, 144, 326, 327, 330

433

UNESCO Asia-Paciﬁc Heritage Awards

Lingnan, 26 linseed oil, 30, 134, 208, 268, 271, 378 lintel, 36, 316, 370, 395 loggia, 304 luo jia (top-down repair), 260, 264

M Madras terrace, 90 Maharihara Parivena (monk’s teaching institution), 112 Mahasha, 142 Malaysia, Malay, Malaysian, 9, 11, 26, 29, 35, 47, 50, 52, 55, 58, 64, 70, 84, 124, 212, 216, 290 George Town, 11, 58, 70 Kedah, 35, 50, 124 Kuala Lumpur, 20, 35, 50, 124 Melaka, 9, 26, 75, 76, 212, 216 Penang, 11, 29, 47, 70, 74, 75, 216 mansion (apartment, house, housing, residence, residential, villa) 11,12, 19, 52, 70-72 masonry, 33, 36, 37, 194, 219, 286, 300, 318, 319, 324, 330, 332, 356, 357, 366, 367, 374 Mawson’s Huts Historic Site, 19, 20, 31, 115-118 Ma Zheng, 168 Mazu, Ma Zu Po, 184, 216 Medina Grand Adelaide Treasury, the, 19, 41, 44, 45, 285288 Mehrangarh Museum Trust, MMT, 190, 196 Melaka Preservation and Conservation of Cultural Heritage Enactment of 1988 (Malaysia), 212 meranti, 124 methi (fenugreek), 82, 194 Metropolitan Aboriginal Association, MAA, 63, 200 Metropolitan Local Aboriginal Land Council, 62, 200 Mildura Rural City Council, 252 Milton flooring, Milton tile, 172, 341 minimal intervention, 12, 15, 30, 50, 52 Ministry of Construction Institute for Architectural Research, 85 monastery, 62, 242 Monsignor John Cyril Hawes, 318

434

mortar (lime mortar, cement mortar, mud mortar), 90, 108, 206, 208, 264, 318, 326, 328, 29, 330, 378, 390 mortise, 30 mosaic, 52, 212, 301, 335, 336 mosque, 10, 13, 14, 27, 190, 206, 208, 270, 338 motif, 94, 152, 324, 366 moulding, 40, 94, 102, 180, 297, 304, 338, 350, 353, 366 mud, 33, 35, 36, 22, 271, 312, 348 mud mortar (mortar), 311, 324, 344 Mughal, 78, 190 Mumbai Metropolitan Region Development Authority, 340 Mumbai Municipal Corporation, 148 Munish Pandit, 146 museum, 19, 20, 27, 31, 42, 44, 50, 80, 86, 161, 192, 253, 278, 311, 314, 315, 318, 332, 351, 353, 354, 387, 390 Muslim, 190, 234, 324, 329

N naga, 230 Namuna Ghar, 50, 377-380 Nara Document on Authenticity, the, 9, 15 narthex, 320 National Aboriginal History and Heritage Council, 62, 200 National Archives Building, 19, 20, 31, 50, 57, 64, 129-134 National Archives Building Foundation, 134 National Historical Institute (Philippines), 177, 305 National Research Centre of Historic Cities of Tongji University, 278 National Trust of Australia, 136, 200, 318 nave, 294, 320 Nielson Tower, 50, 175-178 Neo-Classical, 49, 340 Neo-Gothic, 218 Nepal, Napalese, 50, 378, 379 Bhaktapur, 50, 378 Kathmandu Valley, 378 Netherlands, the, Dutch, 50, 64, 84, 130, 131, 132, 134, 290 Newari, 378 New South Wales Heritage Act, 63, 136, 200 New South Wales Heritage Office, 238

New Zealand, 16 Norway, 234 Norwegian Agency for Development Cooperation, NORAD, 208, 234 Norwegian University of Science and Technology, 234 No. 125 Huajue Alley, 57, 233-236

O office, 14, 16, 18, 20, 40, 60, 120, 130, 136, 138, 140, 176, 203, 286, 314, 354, 374, 375 Ohel Leah Synagogue, 17, 25, 40, 44, 45, 47, 97-102 on-site (in situ), 116, 134, 302, 311, 319, 350, 351, 374 orphanage, 19, 130, 218, 219, 304, 370

P pagoda, 160 paint, 9, 19, 29, 73, 94, 120, 134, 152, 168, 176, 180, 184, 197, 202, 213, 278, 333, 338, 345, 350, 370 Balinese painting, 32 bronze paint, 338 gold paint, 338 oil paint, 338 painting, 45, 47, 52, 56, 88, 143-145, 160, 172, 181, 190, 191, 230, 261, 223, 300, 324, 327, 336, 344, 346, 350, 374 to paint, to repaint, 9, 18, 137, 242, 290, 345, 395 Pakistan, 9, 18, 26, 27, 30, 31, 35, 37, 61, 206, 266 Baltistan, 26, 266, 270, 310 Ganish, 9, 27, 206, 208, 209 Ghanche, 30 Hunza, 9, 27, 30, 35, 206, 210, 312 Karimabad Village, 61, 206, 210 Kashmir, 266 Khanqah Settlement, 266 Khaplu, 30, 266, 270 palace, 13, 33, 48, 190, 197, 248, 350, 354 Palladian, 370 papier mache, 71, 76, 336 Parafil tie rope, 313, 316 passageway (street, streetscape, thoroughfare), 160

Index

patio, 378 pavilion, 160, 350, 352, 353 pawnshop, 386 penghulu, 124 Peranakan, 184 Permanent Conservation Order, PCO (Australia), 62, 200 pesticide, 124, 302 pew, 98, 356 pharee, 209 Philippines, 50, 176, 304 Makati, 176 Manila, 48, 50, 304 Metro Manila, 176 Phra Racha Wang Derm Palace, 19, 50, 58, 349-354 pillar, 18, 79, 88, 180, 190, 216, 290, 294, 300, 328, 360 pigment (dye), 94, 344, 348 plaster (cement plaster, lime plaster, mud plaster), 36, 38, 40, 75, 76, 79, 82, 94, 168, 180, 191, 222, 230, 324, 326, 330, 344, 348, 353, 386, 390 plasterwork, 134, 201, 227, 286, 301 Shanghai plaster, 94, 180 shell plaster (kody), 194 to plaster, 193, 230, 252, 268, 395 to re-plaster, 113, 252 plinth, 90, 327, 352 plumb bob, 267 point, repoint (to plaster), 108, 193, 320, 327, 330, 356 police station, police department, 120, 176 Polsheer House, 18, 20, 221-224 polycarbonate sheet, 319 porch, 320 portico, 206, 294 post office, 112 Poya day, 112 prefabricated, 116 Principles for the Conservation of Heritage Sites in China, the (China Principles), 15, 23 public-private partnership, 58, 60, 63, 131, 336, 368 pulpit, 320 purlin, 88, 112, 145, 213, 216, 258, 260, 264, 300, 327, 344 putty (lime putty), 134

PVC clay, 161

Q qilou, 394, 395 quoin, 370

R rafter, 88, 94, 169, 260, 264, 271, 300, 302, 327, 335, 356, 350, 367 Rajasthan, 144 Rajput, 78, 190 Rakaposhi, 310 ram, 36, 197, 260 frog-type ramming, 260 rasthal, 197 recreational facilitiy, 374 rehabilitate (adaptive reuse, reuse), 10, 16, 109, 134 Reiner de Klerk, 130 Renaissance, 48, 55, 304 render (plaster), 38, 98, 102, 222, 312, 313 residence, residential (apartment, house, housing, mansion, villa), 14, 18, 112,130, 168, 235, 278, 350-352, 378, 390 Residence of Charles Prosper Wolff Schoemaker, 18, 20, 119-122 Residence of Dr Zhang Yunpen, 103-106 restaurant, 13, 19, 176, 390 retail, 16 reuse (adaptive reuse, rehabilitate), 16, 17, 20, 44, 134, 140, 176 reverberation, 298 ridge, 94, 116, 118, 152, 184, 185, 213, 216, 252, 260, 264, 282, 300, 327, 350 river (canal, waterway), 277, 283 Romanesque, 318 Royal Australian Institute of Architects, RAIA, 322 Royal University of Fine Arts (Cambodia), 242 ruang makan, 124 rumah ibu, 124 Rumah Penghulu, 19, 35, 50, 123-126

Russia, Russian, 338 Omsk, 338 Orenburg, 338 St. Petersburg, 338 Russian Orthodox Church, 332 Eparchy, 336, 338 Russian Orthodox community of Almaty, 18 rusticated, rustication, 108, 201

S sacristy, 294, 320 saddle bar, 172 Safavid Era, 222 Sa Hyunh, 84 St. Ascension Cathedral, 18, 20, 331-338 St. Joseph’s Seminary Church, 18, 179-182, 298 St. Patrick’s College, 18, 20, 107-110 St. Thomas Cathedral, 17, 57, 355-358 sanctuary, 11, 18, 320 sand, 71, 108, 144, 208, 326, 330, 344 to sand, 72, 88, 90 sandblast, 148 sandla, 195, 197 scarf, 116, 184 school (college, kindergarten, institution, university), 14, 18, 40, 108, 218, 370, 374 scientific and research value, scientific value, 23 Scotland, Scottish, 70, 72 Glasgow, 72, 184 sealant, 197 seismic, 334, 334, 378 seva, 11, 145 Shekwan, 94 sheng, 216 shikhara, 142 shop, 19, 314, 390 souvenir shop, 235, 387 teashop, 20, 168, 169 Showa Women’s University, 32, 360 Shri Gokulram, 191 shrine, 18, 30, 34, 47, 142, 143, 212, 350

435

UNESCO Asia-PaciďŹ c Heritage Awards

shuk (study hall), 152 Siamese, 124 significance (cultural significance), 28 Sikh, 10, 11, 37, 142, 143, 324, 325, 329 silicone, 148, 218 sim, 18, 230 Singapore, 19, 52, 75, 184, 212, 216, 218 Singapore Hokkien Huay Kuan, 184 sirap tiles, 120 Sir Douglas Mawson, 116 Sir George Gilbert Scott, 172 social value, 13, 23, 25, 26, 40, 51, 52 South China University of Technology, 258 Southâ&#x20AC;&#x201C;East Asia, 33, 36, 70, 84, 164, 216, 394 Southeast University (China), 104, 160, 168 Soviet Union, the, 332, 338 spandrel, 304 Spanish, 209 spire, 160 spiritual value, 13, 23 Sri Lanka, 18, 19, 25, 42, 44, 49, 60, 112, 114, 156 Anuradhapura, 112 Ceylon, 25 Nuwara Eliya, 156 Kandapola, 25, 42, 49, 156 stainless steel, 117, 173, 184, 193, 367 steel, 38, 45, 138, 156, 213, 219, 252 steel reinforcement, 160, 180, 222, 334 Stoke-on-Trent , 70, 73 stone, 33, 35-37, 48, 78, 79, 108, 148, 160, 168, 184, 190, 194, 195, 197, 206, 208, 248, 266, 268, 282, 294, 300, 310-312, 316, 318, 320, 324, 327, 330, 332, 344, 356, 352, 360, 366, 367, 374, 375, 378, 395 basalt, basalt paver, 341, 366 carved stone, stone carving, 37, 104, 194, 324, 327, 395 cobblestone, 341 flagstone, 227 granite, 36, 73, 74, 76, 94, 113, 152, 153, 161, 180, 216, 294, 341, 386 limestone, 33, 36-38, 144, 148, 194, 324, 327, 330, 366, 367

436

marble, 82, 90, 108, 201, 290, 327, 341, 352 Porbunder limestone, 356 rubble, 316 sandstone, 10, 18, 33, 36-38, 108, 190, 194, 226, 230, 248, 260, 286, 324, 326, 327, 370 slate, 108 stone pattis, 197 stonework, 328 storage, storehouse (warehouse), 130, 156, 386 street, streetscape (thoroughfare, passageway), 18, 35, 49, 54, 61,160, 164, 165, 238, 248, 276-278, 282, 283, 394 string course, 367, 370 stucco, 90, 98, 102, 180, 181, 216, 350 studio, 382 Sumatra Heritage Trust, 27, 64, 290, 291 surkhi (burnt brick dust), 144 Suzhou River Warehouse, 42, 44, 50, 56, 58, 381-384 Switzerland, 57, 168 Sydney Conservatorium of Music, 19, 225-228 Sydney Cove Authority, 136 synagogue, 40, 56, 98

T ta cik, tai chik, 29, 72, 76, 213 tailiang shi, 216 takiya, 194 Tak Seng On Pawnshop, 20, 58, 63, 385-388 Tang King Law, 152 Tan Tok Seng, 184 Taoist, 216 Tea Factory Hotel, 20, 25, 42, 44, 45, 49, 56, 60, 155-158 Teepol, 172 tempera, 9, 52, 73, 76, 213 temple, 9-11, 17, 18, 34, 47, 52, 76, 112, 142, 143, 144, 146, 152, 168, 169, 184, 190, 212, 214, 216, 248, 301, 344, 346 tenon, 30, 216, 260, 264 termite, termite infestation, 88, 90, 94, 95, 124, 130, 133, 180, 181, 184, 193, 195, 197, 213, 230, 234, 260. 268, 271, 300-302, 319, 350, 352, 353, 386, 391

terrace, 73, 152, 198, 366, 386 roof terrace, 90 terracotta, 73, 79, 84, 90, 98, 99, 113, 120, 133, 212, 304, 327, 353 terrazzo, 94, 202 Thailand, Thai, 18, 19, 49, 50, 230, 232, 350, 352-354 Ban Bua Village, 49, 230 Bangkok, 19, 50, 350 Chao Phraya River, 350 Khon Kaen, 18, 49, 230 thakur, 142 thatch, 252, 267, 271, 362 theatre, 200, 201 Thian Hock Keng Temple, 75, 183-186, 216 thoroughfare (passageway, street), 160 tiang sen, 124 tie, tie beam, 112, 252 timber (wood, wooden), 19, 35, 36, 40, 72, 76, 88, 90, 94, 99, 108, 112,116, 124, 130, 133, 137, 138,145, 148, 152, 160, 181, 184, 202, 213, 216, 226, 231, 234, 242, 252, 260, 262, 264, 266, 267, 271, 294, 300, 301, 311-313, 316, 318, 324, 334, 335, 360, 361, 363, 367, 382, 395 Burma teak, 148, 156, 173, 367 carved timber, timber carving (carved carpentry, wood carving), 72, 75, 76, 84, 104, 310 seasoned timber, 124 teak, 32, 36, 72, 133, 181, 352, 353 tin, tin sheet, 378 Tjong A Fie, 290 Tjong Yong Hian, 290 tomb (astana), 26, 30, 266, 271 Tomb of Ghaus Muhammad, 324 tongue and groove, 118 top-down repair, 184, 260, 264 Torah scroll, 99 tourism cultural tourism, 27, 50, 61 tourism industry, 280, 363 tourism programme, 238 townscape, 18 trail (heritage trail), 27

Index

transept, 294, 318, 320 trompe lâ&#x20AC;&#x2122;oeil, 73, 76 trowel, 90 truss, trusswork, 264, 297, 304 Tsinghua University, 374 tung oil, 72, 73, 76 tungsten, 108

U Ukraine Kiev, 338 Ultar glacier, 310 UN Development Programme, 143 UNESCO, 46, 51, 143 UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation, 17, 20, 25, 26, 28, 32, 35, 40, 46, 49, 51, 59, 216 UNESCO-ICCROM Asian Academy for Heritage Management, 54 United Nations Volunteers Programme, 325 United States, 16, 72, 84 United States National Park Service, 16 university (institution, school), 372 University of Mumbai Library Building, 38, 55, 57, 171-174 University of Phnom Penh, 242 University of Western Sydney, 19, 370, 372 Urban Planning Law (China), 274 Urban Redevelopment Authority, URA (Singapore), 218

V valance, 113 vapour barrier (damp-proofing, water proofing), 350-352 vault, 40, 41, 222, 356 Venice Charter, 15, 22, 259, 260, 294 verandah, 27, 108, 112, 118, 208, 238, 239, 242, 304, 324, 328, 352, 371 Verenigde Oost-Indische Compagnie (Dutch East India Company), 130, 132 vernacular, 19, 30, 35, 40, 50, 53, 63, 79, 80, 90, 120, 169, 223, 230, 231, 239, 268, 282, 300, 361, 374, 378, 390

Victorian, Victorian Gothic (Gothic Revival), 18, 38, 49, 55, 63, 72, 148,172, 356, 357 Viet Nam, Vietnamese, 32, 36, 49, 54, 84, 85, 87, 242, 360363 Bac Ninh, 360 Bien Hoa City, 360 Dinh Bang Village, 360 Dong Hoa Hiep Commune, 360 Dong Nai, 360 Hanh Thien Village, 360 Hoi An, 84-86, 88, 360, 363 Nam Dinh, 360 Quang Nam, 360 Thanh Hoa, 360 Tien Giang, 360 Vinh Tien Village, 360 Vietnamese Ministry of Culture and Information, 32, 360, 363 Vietnamese Traditional Folk Houses, 32, 36, 54, 359-364 viharn, 232 villa, 130 Virtuous Bridge, the, 27, 55, 64, 289-292 vitrepane, 371 W wan kaew (jewel glass), 231 warehouse (storage, storehouse), 42, 44, 139, 382 Washington Charter, 22 Wat Damnak, 62 waterproofing (damp-proofing), 18, 33, 145, 148, 169, 197, 268, 327, 366, 374, 390 waterproof membrane (damp-proof membrane), 294, 320 waterproof sealant (sealant), 134 Water Towns of the Yangtze River, 18, 55, 63, 273-280 waterway (canal, river), 130, 274, 276, 277, 382 Wat Sratong, 18, 49, 55, 229-232 wharf, 282 windowsill, 112, 370

Wood, wooden (timber), 10, 29, 30, 35, 36, 88, 90, 104, 124, 133, 153, 160, 168, 207, 208, 213, 216, 218, 230, 242, 260, 266-268, 271, 300, 301, 304, 324, 327, 332, 334, 335, 348, 356, 351, 352, 360-363, 378, 386 carved wood, wood carving (carved timber, timber carving), 52, 61, 300, 301, 315, 324, 353, 395 deodar wood, 208 oak wood, 336 Tyan Shan spruce, 332 woodwork, 120, 350 World Heritage, 84 World Heritage Convention (Convention Concerning the Protection of the World Cultural and Natural Heritage), 15

X Xiâ&#x20AC;&#x2122;an Cultural Relics Bureau, 234 Xijin Ferry Area Project, 159-162

Y Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques, 10, 18, 27, 53, 205-210 yogurt (curd), 82

Z Zargar-e-Yazdi House, 389-392 Zhangzhou City Historic Streets, 18, 54, 393-396 Zhenjiang Architectural Design Institute, 160 Zhongshan Road, 18, 49, 163-166 zhutongcuo (bamboo pole house), 394 zinc, 124 zincalume, 118 wrought zinc ceiling, 120 Zovelian House, 222

437

UNESCO Asia-Paciﬁc Heritage Awards

All the information included in this book has been sourced from the UNESCO Asia-Pacific Heritage Awards entry submission dossiers and reflect the opinions of the individuals and institutions responsible for the project. They do not necessarily represent the views of UNESCO.

Photographic Credits All photographs © by the respective entry submission dossier, except for the following: © Entry submission dossier/Yori Antar © Entry submission dossier/Ray Joyce © Entry submission dossier/Pieter Stroethoff © Entry submission dossier/Geoff Sumner

p. 131 pp. 19 (bottom), 23, 52, 140 p. 15 pp. 201(above), 202

Illustration Credits All rendered perspectives, plans, sections, elevations and maps © UNESCO/Sorasith Bootsingkhon, except for the following: © UNESCO/Fanny Ang © UNESCO/Kachain Chanjaroen © UNESCO/Ernesto Endrina © Sher Ghazi © UNESCO/Siyanee Hirunsalee and Chonthicha Thamasith © UNESCO/Thananart Kornmaneeroj © Laurence Loh © Sumatra Heritage Trust © UNESCO/Attakit Uthaikarn © UNESCO/Akekaraj Werunit © UNESCO/Pongsakorn Yimsawat

pp. 81, 138, 162, 214, 321 pp. 69, 115, 141, 147, 151, 155, 179, 221, 237, 281, 299, 369, 394 pp. 70, 94, 108, 176, 288, 378, 398 p. 271 p. 398 pp. 77, 93, 103, 107, 111, 123, 159, 177, 229, 233, 251, 289, 309, 331, 349, 373, 381 p. 216 p. 292 (right) pp. 83, 118, 129, 135, 167, 205, 217, 265, 293, 359, 365, 377 pp. 124, 136, 148, 156, 184, 218, 226, 340 350, 366, 370, 374, 382, 390, 394 pp. 163, 285, 233, 317, 355, 389

For permission to reproduce photographs and illustrations, please contact UNESCO Bangkok at culture@unescobkk.org. Requests will be forwarded to the submitters of the respective projects.

438

References

Publications

References

Aga Khan Cultural Service Pakistan. 2002. Ganish Village Integrated Conservation and Rehabilitation Project. Gilgit, Pakistan, Aga Khan Cultural Service Pakistan. Agnew, Neville and Martha Demas, eds. 2002. Principles for the Conservation of Heritage Sites in China. Los Angeles: Getty Conservation Institute. CRCI. 2000. Krishan Temple Conservation Report. New Delhi, CRCI. Ebbe, Katrinka and Lee Joanna Harper, eds. 2000. Cultural Heritage Management and Urban Development: Challenge and Opportunity, International Conference Proceedings, Beijing, China, July 5-7, 2000. Beijing: SACH/UNESCO/World Bank. Feilden, Bernard. 1994. Conservation of Historic Buildings. Oxford: Architectural Press. Fowler, Daryl et al. 2000. “Appropriate Use of Cultural Heritage Sites: Developing Management Plans.” In Cultural Heritage Management and Urban Development: Challenge and Opportunity, International Conference Proceedings, Beijing, China, July 5-7, 2000, edited by Katrinka Ebbe and Lee Joanna Harper, 73-91. Beijing: SACH/UNESCO/World Bank. Godden Mackay Logan. 1998. Mawson’s Huts Conservation Report. Redfern, Australia, Godden Mackay Logan. Jain, Minakshi. 2001. Ahhichatragarh Conservation Project Report. Jodhpur, India/Los Angeles: Mehrangarh Museum Trust/Getty Grant Programme. Jokilehto, Jukka. 1999. A History of Architectural Conservation. Oxford: Butterworth-Heinemann. Kalman, Harold. 1980. The Evaluation of Historic Buildings. Ottawa: Parks Canada. Kerr, James. 2000. Conservation Plan: A Guide to the Preparation of Conservation Plans for Places of European Cultural Significance. Sydney: National Trust of Australia. Loh-Lim, Lin Lee. 2002. The Blue Mansion: The Story of Mandarin Splendour Reborn. Penang: L’Plan Sdn Bhd. McDougall & Vines. 1996. Conservation Plan for Ohel Leah Synagogue. Adelaide, Australia, McDougall & Vines. Rai, Gurmeet and Paromita Desarkar. 2006. What are Lime Mortars? New Delhi: INTACH UK Trust/Lime Centre/ CRCI. Riegl, Alois. 1988. “Neue Strömungen in der Denkmalpflege”. In Konservieren, nicht restaurieren. Streitschriften zur Denkmalpflege um 1900 (von Georg Dehio und Alois Riegl). Braunschweig: Friedr. Vieweg. & Sohn. UNESCO. 2007. UNESCO Heritage Homeowner’s Preservation Manual for Hoi An World Heritage Site. Hoi An: Hoi An Centre for Monuments Management and Preservation/Showa Women’s University/UNESCO. (forthcoming)

Electronic Publications Australia ICOMOS. 2000. The Burra Charter: The Australia ICOMOS Charter for Places of Cultural Significance 1999. Australia ICOMOS Incorporated. http://www.icomos.org/australia/burra.html ICOMOS. 1964. The Athens Charter. Centre de Documentation UNESCO-ICOMOS. http://www.icomos.org/athens_ charter.html ICOMOS. 1964. The Venice Charter: International Charter for the Conservation and Restoration of Monuments and Sites. Centre de Documentation UNESCO-ICOMOS. http://www.international.icomos.org/charters/venice_e.htm

439

UNESCO Asia-PaciďŹ c Heritage Awards

ICOMOS. 1994. Nara Document on Authenticity. Centre de Documentation UNESCO-ICOMOS. http://www. international.icomos.org/naradoc_eng.htm ICOMOS. 1987. Washington Charter: Charter for the Conservation of Historic Towns and Urban Areas. Centre de Documentation UNESCO-ICOMOS. http://www.international.icomos.org/charters/towns_e.htm ICOMOS Canada. 1983. Appleton Charter for the Protection and Enhancement of the Built Environment. ICOMOS Canada. http://canada.icomos.org/appleton_charter.html ICOMOS New Zealand. 1996. Charter for the Conservation of Places of Cultural Heritage Value. ICOMOS New Zealand. http://www.icomos.org/docs/nz_92charter.html UNESCO. 1972. Convention Concerning the Protection of the World Cultural and Natural Heritage. http://www. unesco.org/whc/nwhc/pages/doc/dc_f2.htm UNESCO. 2006. Hoi An Protocols for Best Conservation Practice. UNESCO Bangkok. http://www.unescobkk.org/ fileadmin/user_upload/culture/cultureMain/Instruments/HAP__English_.pdf

Websites UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation http://www.unescobkk.org/culture/heritageawards/ UNESCO-ICCROM Asian Academy for Heritage Management http://www.unescobkk.org/culture/asian-academy/ Office of the Regional Advisor for Culture in Asia and the Pacific, UNESCO Bangkok http://www.unescobkk.org/culture/

440

Spanning diverse cultures and building traditions, Asia Conserved: Lessons Learned from the UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation (2000-2004) presents a panoramic survey of the wealth of architectural heritage in the region and provides a blueprint for concerted action on the part of private citizens and governments alike in its conservation. Presented in case study format, this book showcases best conservation practices achieved by winning projects in the first five years of the UNESCO Asia-Pacific Heritage Awards programme. The projects encompass a range of building typologies, from fortified palaces to vernacular residences, ornate houses of worship to utilitarian factories, elegant engineering works to urban districts. From the case studies are derived important lessons that show how strong public-private partnerships and innovative grassroots initiatives can create a powerful platform for the protection of the historic built environment in such diverse places as the ancient cities of Central Asia, the cultural landscapes and historic precincts of South Asia, the port settlements of South-East Asia and the urban centres of East Asia. Through colour photographs, architectural illustrations and detailed narratives, profiles of the Award-winning projects guide the reader in the approaches taken to resolve challenging technical, economic, social and political issues. Technical briefs, contributed by the conservators themselves, provide in-depth solutions to critical conservation problems. Bridging theory and practice, essays authored by the distinguished jury members provide a cross-cutting analysis of the body of conservation knowledge emerging from the UNESCO Asia-Pacific Heritage Awards programme. Aimed at a broad audience of conservation architects, heritage professionals, decision-makers, heritage homeowners, scholars, students and the concerned general public, the publication will serve as an invaluable reference for safeguarding the monumental and vernacular heritage of the Asia-Pacific region and contributing to its sustainable future.

Supported by the Lord Wilson Heritage Trust 衞奕信勳爵文物信託資助