Anouschka - Y5

Feeding The Hungry Ghost

The ghost month is usually associated with the seventh month in Chinese culture. It is a month in which ghosts, spirits and ancestors come from the underworld. It is a time when ghosts can seek food and entertainment on earth.

The project is an interpretation of the Ghost Festival, influenced by my cultural background. Taking influences from the British-Chinese-Malaysian cultures to design a community where the humans and ghosts celebrate the festival harmoniously with one another.

The project intends to critique certain superstitions in the Chinese culture and alongside the lack of community spirit and night-life in British culture. The community is a space that is familiar, yet unfamiliar at the same time.

Who Am I?

Third Culture Individuals, Who are they?

Third Culture Kids or Third Culture Individuals is a term used by people raised in a culture other than their parents or culture of nationality or a different countries environment during child development years. These individuals can possess a hybrid cultural identity. But this also confuses their identity resulting in not identifying with any culture or nationality, often unsure of the answer to ‘Where is home?’

Hong

Chinese Malaysian (Mother’s Culture)

British (Nationality & Educational Culture)

Me

Kong (Father’s Culture)

Historical Context - Hong Kong

Hong Kong became Britain’s colony in 1842, and citizens that were born during the colonial period were British subjects. However, this did not result in full citizenship rights. The Hong Kong Act 1985 created a category known as BNO, British National Overseas. Only applicable for those who were born before 30 June 1997.

After 156 years of British rule, the colony was handed over to China on 1 July 1997. During the Sino-British Joint Declaration, it had set out conditions for which Hong Kong was handed over. One condition agreed with China to maintain the existing economic and government structure, what is known as ‘one country, two systems for 50 years.

Over the next few decades, the relationship between Hong Kong and China can be described as turbulent. With numerous protests from locals demanding democracy and promised conditions of one country and two systems.

In 2014 the umbrella movement was a 79-day political movement. The name was abbreviated from the use of umbrellas to resist the pepper spray used by the Hong Kong police force to disperse the crowd.

In 2019, a series of demonstrations occurred due to the introduction of the amendments of the extradition bill. It is one of the largest demonstrations in the history of Hong Kong. The demonstrations continued into 2020, however, the outbreak of Covid-19 halted the demonstrations. Later in 2020, the national security law came into effect. This saw numerous arrests of activists which later sparked a mass emigration from the city. Britain is one of the popular countries to migrate to due to the past colonial relation.

1997 - Hong Kong’s Handover

2014 - Umbrella Movement

2019 - Hong Kong Protest

Hong Kong Architecture

Prior to Colonial Hong Kong, the architectural seen in the city was predominately Cantonese. During the 1840’s most of the population was fisherman, to protect themselves from typhoons and pirates many built walled villages.

Cantonese architecture had numerous doors; this is due to Feng Shui. As main doors facing south would mean prosperity. of multiple doors within a close distance, commonly seen in ancestral hells were due to the belief that you shouldn’t go directly in a space, as this cause ‘conflict’ when entering the sacred space.

Corridors were also known as cold alleys were used for ventilation. Carving were typically made from wood, brick and stone and usually uncoloured. The craving would usually be figures and scenes from Chinese mythology and folktales. Guardian lion are general features of Chinese architecture, different from the Northern counterpart, the southern lions had features such as larger heads and smaller legs. The skulls would be more protruding, flat noses, leaf-shaped ears, mouth set in a roaring position and sharp teeth. The lions overall composition is elongated and has a larger variety of poses.

After the British came to ruling, the local population on Hong Kong Island increased, which resulted in Tong Lau’s. They are three to four-storey buildings that were tightly packed together, with residential above and a shopfront on the ground. This design was similarly seen in Malaysia during the British colonial period.

Tang Ancestral Hall, Ha Tsuen

Walled Village

Tong Lau

Chinese Malaysians

The Chinese ethnicity form the second largest ethnic group in Malaysia. Figures from the 2010 census Malaysia’s total population of 28.3 million consists of three main ethnic groups, 50% Malays, 22.6% Chinese Malaysians % 6.6% Indian Malaysians. Most immigrants arrived from Southern China to Malaysian in the early 19th to mid-20th century. After arriving in Malaysa most of the Chinese have maintained their heritage, but those of early descendants of Chinese migrants have formed a local sub-ethnic group. Peranakans in North and North-East of Malaysia, Baba-Nyonya in the South and Northwest.

In the 1900’s it was considered a politically turbulent period In Malaysia. After the Qing dynasty was overthrown, the British and Chinese relations were tense due to the development of the succeeding party of the Kuomintang supporters within Malaysia. The British colonial authorities initially had no problem with the developing group but in later years began to control new village establishments and separating those who have been related to the party.

Kuala Lumpur Chinatown

Clubhouse in Penang

Malaysian Architecture is a combination of many styles, influences from Islamic, Chinese and the European colonial period. Traditionally, the houses are built for the tropical climate of the country, usually raised on stilts, high roofs and large windows. These features are to assist with airflow to keep the indoor spaces cool. Most dominate building material is wood, usually timber or bamboo.

Chinese architecture in Malaysia is divided into two types, traditional & Baba Nyonya. Baba Nyonya characteristics include: colourful tiles and large indoor courtyards. Chinese architectural influences can be seen in their brightly decorated temples and terraced houses. Traditional Chinese architecture used Chinese technique but with the influenced of locally sourced materials.

Malaysian Chinese Architecture

Traditional Malaysian House

Sino-Portuguese Architecture

Curved roof, ornaments and roof truss, Chinese Fujian influence

Architectural Study - Leong San Tong Khoo Kongsi

The architectural development of the clan house is of hybrid colonial architecture. The main temple’s construction is based on traditional Malay homes, built on stilts. The Chinese influence is seen in the ornament and decorative elements. The roof structure is a traditional Fujian truss, consisting of three crossbeams and five post wooden structures reflecting the Fujian ancestral links of the clan. In addition, the symmetrical layout of the temple reflects the architectural layout seen in traditional Chinese architecture. European influences can be seen in the English wrought iron fences that surrounds the Khoo Kongsi.

Ground floor of temple is lifted on pillars, a feature adapted from traditional Malaysian architecture

English wrough iron fence

English wrough iron fence

Khoo Kongsi, Penang

Traditional Fujian Roof Construction

Khoo Kongsi Cross-section

Hong Kong

唐樓, Tong Lau

Tong Lau’s are a type of housing seen in Hong Kong; they were commonly built between the 1900-1960s. To accommodate the influx of refugees escaping to the city from war. They are typically 3-4 storeys high, with a shopfront on the ground floor. With a width restriction of 4.5m and a height restriction of 2.7m per floor.

4m 4.5m 5m

Shophouses were commonly used for business owners with a combination of residence on the floors above.

Verandas were also a common feature that allows the shopfront to be protected from the climate, but to also connect the shophouses standing side by side creating a walkway to link them all together. Façade designs are inspired by the Chinese, European and Malay traditions.

It usually depends on region to region. Dimensions of shophouses vary, usually 4m x 12m or 5m x 12m depending on amount of shophouses and storeys

British Chinese Community

The beginning of records of Chinese settlement were areas of nearby ports of London & Liverpool. Chinese seamen settled with local women, but many did not marry as it would result in the women losing their British citizenship. In the 1960’s Britian saw an increase of Chinese migrants, mostly of Cantonese descent. They would settle in areas of Soho and Baywaters working in the Chinese restaurant community. The first Chinatown was in Limehouse until it was destroyed in the Second World War, which later led to the Chinese community moving towards the West End to cater for the late-night lifestyle of the city.

The 2011 census records show that the British Chinese community total at 0.7% of England’s population. In comparison to other ethnic minorities, the community is more widespread. Significant numbers of the community can be found in Greater London, outside of London the largest Chinese communities are as followed, Manchester, Birmingham, Glasgow and Edinburgh. The census showed on 23.7% were born in Britian, whereas the other half were born in East Asia or Southeast Asia.

The largest Chinese communties found in London are:

Barnet (2.1%),

Tower Hamlets (2.1%)

Southwark (2.1%)

Camden (1.7%)

Lewisham (1.6%)

Westminster (1.5%)

Chinatown London

Chinatown Manchester

Chinatown Liverpool

London’s first official Chinatown was in fact in Limehouse, East London. The origins of the landmarks began due to the trading of goods brought from China to Britian such as tea, ceramics and silk. They would arrive through London Docks, where they would rest and later return home. It was said that the beginning of Limehouse Chinatown was from Mid 1880’s. The 1881 census recorded 109 Chinese migrants residing in London with a large majority in Limehouse. Limehouse’s Chinatown was divided into two Chinese communities, those from Shanghai were around Pennyfields & Ming Street. Migrants from Southern China and Canton were residing in Gill Street and Limehouse Causeway.

Chinatown was not well received by the locals, often negatively depicted by the press illegal drug trading, opium dens, gambling, and fear of sexual interaction between locals and the immigrant Chinese.

The decline of the Chinese community in the local area began in the 1920’s, due to the bad condition of local housing. During World War II vast parts were damaged from aerial bombings during the Blitz. After the war, the growing demand of Chinese food led to an increase of Chinese restaurants opening in the West End to cater for late night services such as theatre.

Limehouse Chinatown, London’s First Chinatown

Silvertown, Derelict Town

Silvertown is in the London borough of Newham. Geographically located along the north of the Thames. The name comes from the factories established by Stephen William Silver in 1852. Later marmalade company James Keiller & Sons and Tate & Lyle moving into Silvertown. The area saw a growth from the opening of the Royal Docks 1855. However, in 1917 the docks and Silvertown suffered great damage from German shelling. The rise of container freight resulted in the closure of the dock in 1981, resulting in high levels of unemployment. Resulting in the surrounding area falling into dereliction, the only remaining industry is Tate & Lyle’s sugar refinery.

Since the fall of Silvertown most of the surrounding area has been neglected until a redevelopment plan of £3.5 billion was approved in 2015.

The Royal Docks

Tate & Lyle Sugar Refinery

Millennium Mills

Silvertown Quays

An opportunity came for Silvertown in 2015, a £3.5 billion plan was approved by the Newham council to revitalise parts of the area. The development of Silvertown will provide 3000 new homes, offices, tech tubs, a school, health centre and shops. It will also provide connects across the Royal Docks to custom house station and Crossrail via a new bridge. Prior to this development the last development of the district was in the 1970’s during the construction of Thames Barrier Park and London City Airport.

This development will also include the refurbishment of the Millennium Mills, which has been abandoned since 1980s.

Millennium Mills Present Day

Silvertown Quays Proposal

Chinese Presence in Silvertown

Loon Fung was established in London in 1965. It was one of the first Chinese supermarkets in the UK.

Loon Fung opened their Silvertown branch in 2006, it was located in the industrial estate of Silvertown, the branch closed it doors in 2017.

The secluded location of Silvertown for this branch is due to the rumours of establishing a Chinese community in the area. However, the plan for this community did not go on beyond word of mouth. In 2014 Loon Fung opened a branch in Stratford. Only a 5mile distance between the two branches, offering a convenient location in the East London area.

The site is currently occupied by Tate and Lyle.

Loon Fung Memorial Arch

Loon Fung Exterior

Royal Victoria Dock

Royal Albert Dock River Thames

King George V Dock

Site Excel Centre Millenmium Mills

Silvertown Quay Development

Silvertown Ambluance Station

Thames Barrier Park London City Airport Tate & Lyle Factory

Residental Loon Fung Supermarket Go Ahead Bus Garage

The Corgi-Lion concept takes on influences from the British & Chinese culture. The lion is usually associated with the Chinese culture. As the project is influenced by my cultural roots, the Corgi is chosen instead as it is an iconic dog to British culture. This breed of dog is not only native to the UK but also the dog breed associated with the Queen.

Guardian Corgi-Lion

Guardian Lions are a symbolic statue in Chinese culture, which has also been carried over to Chinese Malaysian culture. They become popular from Chinese Buddhism and are usually seen in pairs. They are thought to protect buildings from harmful spirits and protect any threat to those inside or physical building.

The pair of Lions is a representation of Yin & Yang, the female lion representing Yin and male representing Yang. The male lion usually has a ball on top of infront of the right paw, whereas the female has a cub under the left paw representing the cycle of life. The female lion protects those within the space whereas the male protects the structure and external space. Usually the female lion is placed on the left and male on the right.

Feeding the Hungry Ghost Community

The project will be influenced from my cultural background, creating a space where the architectural elements are mixed creating a space that feels familar, yet unfamiliar. There will be three cultural influences for this project: British, Chinese & Malaysian. Each will bring along different architectural elements that are streotypically associated with the culture or traditional elements that may not be seen in other cultures.

British Chinese

Malaysian

Theatre Street Market Place of Worship Residental

The first theatrical performance building in Britain were introduced by the Romans, who were influenced by the ancient Greek. Originally constructed by wood, later stone and semi-circular structures.

17rh Century theatres were enjoyed by the rich, the execution of Charles I in 1642 led to the outlaw of theatrical performances and the closing or demolition of the. 18th Century saw the restricted revival of theatres built in a neo-classical style. Later, the individual set up of traveling theatres known as playhouses. End of the century saw the first iron safety curtain & water tanks on roof due to wood structure fire hazard. 19th Century saw the introduction of new performances such as musicals. It also saw the gallery design change from a rectangle to horseshoe balcony to provide better viewing. It also saw the introduction of steel and concrete structures.

Dance and performing arts earliest records are tied to religious beliefs and customs. Such as rain dances performed by shamans around 1000 BC. Singing and dancing acts were first recorded in the Zhou dynasty, 1046 BC - 256 BC. Han Dynasty 206 BC - 220 AD saw palace workers act out stories and singing in plays. Three Kingdoms period 220-280 AD clay puppets were used as tools to enact plays, which later evolved to paper and sticks. Emperor Xuanzong of the Tang dynasty was interested in the performing arts and saw the increase of the public enrolling in art schools. Song Dynasty 960 - 1279 had plays which involved acrobatics and music. Which later developed into zaju a 4-5 act structure play which is still popular today. Professional theatre districts became established during the Song period. Yuan Period scholars became drama writters, which was still popular in the later Ming period. The Qing dynasty performances were often seen in teahouses. After WWII and the uprise of the Chinese government, the changes was also reflected in contemporary Chinese theatre and dance.

In Malaysia, each ethnic group has their distinct style of performing arts. Which overlap one another. Malay art shows influences from North India, an art form called mak yong which mixes dance and drama.

Since the Islamisation period the arts and tourism ministry have turned their focus on newer style of dances from Portugal, Middle East or Mughal origin. Wayang kulit is a shadow puppet theatre which has been a popular traditional Malaysian art. Traditionally, theatrical music is only performed by men. The Chinese community brought lion and dragon dances while Indians brought dance styles such as Bharata Natyam and Bhangra.

British Chinese Malaysian Shakespeare Theatre, Stratford Upon Avon

Yuan Period Opera stage 16th C. Zhengyici Peking Opera Theatre

Wayang kulit

Mak Yong

Bangsawn, Traditional Malay Opera

16th Century Theatre, Inigo Jones 1780 - 1869 Theatre Facade, Truro

18th Century,Wilton’s Music Hall 19th Century Bayreuth Festival Theatre

Qing Dynasty, Peking Opera Stage, Summer Palace Qing Dynasty, Peking Opera Character

Archetype Catalogue - Markets

In Britain, markets are seen as spaces that can be visited for specific hours of the day and for specific occasions such as Columbia Road Flower Market or Billingsgate market for seafood wholesale.

In comparison markets are essential Chinese & Malaysian culture, as it is a traditional shopping method that offers economically alternatives to supermarkets. But also as a form of entertainment such as night markets featuring street food, singing events and more.

British Hong Kong

Coloumbia Flower Market

Street Market

Hawker Stall

Pasar Malam, Night Market

Pasar Pagi, Morning Market

Wet Market

Modern Wet Market Dai Pai Dong

Billingsgate Fish Market

Old Spitalfields Market

Malaysian

Archetype Catalogue - Places of Worship

The official religion of the United Kingdom is Christianity. It has been dominated by various forms of Christianity for over 1000 years. 59.5% Christianity, 25.7% No religion, 7.2% Not Stated, 4.4% Islam, 1.3% Hinduism, 0.7% Sikhism, 0.4% Judaism, 0.4% Buddhism, 0.4% Other Religions.

Hong Kong does not have an official religion, however the largest religious group is Buddism of Chinese variety. The largest religious group is Chinese folk religion but it is not recognised as an official religion. They account for 54.3% of Hong Kong’s population, 27.9% Buddism & Taoism, 6.7% Protestantism, 5.3% Catholicism, 4.2% Islam, 1.4% Hinduism and 0.2% Sikhism.

In Malaysia, the official religion is Islam, with 61.3% of the population practing Islam, 19.8 Buddist, 9.2 Christianity, 6.3% Hinduism and 3.4% Traditional Chinese religions (folk). Interestingly, Malaysia has the right to the freedom of religion however the constitution states all ethnic Malays presumed religion is Islam.

British

Hong Kong

Canterbury Cathedral Fo Guang Shan Temple Neasden Temple

Cathedral of the Immaculate Conception

Chi Lin Nunnery Hindu Temple

Kowloon Masjid and Islamic Centre

Kota Kinabalu City Mosque St. John’s Cathedral

Kek Lok Si Temple Batu Cave

New Horton Park Mosque

Mosque Cathedral Buddhist Temple Hindu Temple

Malaysian

British Chinese

Tudor

Walled Village

Malay House

Chinese Village House Colonial Shophouse

Tong Lau Stilt House Apartmant Block

Georgian Victorian Bungalow

Malaysian

House Concept Predecents

Bay windows are often associated with British architecture, curved roofs from the tudor period homes are not common features in the Chinese or Malaysian archetype.

Symmetry is a common characteristic of Chinese architecture. The building height is influenced from the typical Tomg Lau design.

Traditional Malaysian homes are built on stilts. This is to avoid flooding, wild animals and ventilation. In each region, each ethnic group has their own style of decorative patterns seen on the homes.

Multi-Cultural Residental Concept

Residental concept based on the British, Chinese & Malaysian residental archetypes.

Cheung Chau Festival is part of the Dajiao Taoist ritual that is performed every year. They are mostly celebrated in rural communities in Hong Kong, occurring annually or during intervals ranging up to every 60 years. The Cheung Chau Bun festival is celebrated on the eighth day on the fourth month, usually `in May. The festival began as a ritual for the fishing community to pray for safety from pirates.

The bun tower is the centrepiece of the festival, usually standing at 60ft high constructed of bamboo and covered with buns. The symbolic meaning behind the bun catching race is the higher the person reaches the higher the bun, but also the higher fortune brought to the catcher’s family.

Festival celebrated by Taoists and Buddhists following the Chinese lunisolar calendar the festival falls on the 15th night of the seventh month. The seventh month is usually associated with Ghost Month, a month in which ghosts, spirits and ancestors come out from the underworld. Contrary from Qingming festival where the alive visit the deceased ancestors, during the ghost festival is it believed that the deceased ancestors visit the living.

On the fifteenth day, the realms of both heaven and hell and the realm of the living are open, usually, Taoists and Buddhists will perform rituals to change and release the sufferings of the deceased. The rituals are similar to the offerings seen in Qingming, traditional food usually vegetarian meals, burning of incense sticks and paper. The opening of the realms is believed that the ghosts can be freed to seek food or entertainment. Usually, the ghosts are those who have been forgotten by their ancestors or those who did not receive a ritual send-off. Families will pay tribute to the wandering ghosts in hopes of these homeless souls will not interfere with their lives and bring misfortune. Lotus shaped lanterns can be seen lit and set afloat in rivers and out to the sea as a guide for the lost souls to the afterlife.

This festival falls on the first day of the fifth solar term in the traditional Chinese lunisolar calendar. Usually falling in the month of April. The festival is a day for family members to visit their ancestors’ gravesites, clean, pray and make ritual offerings. These would include traditional food dishes, burning of incense sticks and incense paper. It is part of a Confucian belief of filial piety, an act or expression of respect and gratitude to ancestors or parents. The burning spirit money or replica of material goods such as phones, cars and servants stems from the belief of needing these items in the afterlife.

Study on Chinese Festivals

Cheung Chau Bun Festival QingMing Festival, Tomb-Sweeping Day

Hungry Ghost Festival

is the

area, that leads to a smaller nook where the burning of items takes place. A pagoda to the side is specifically for the ghosts to ‘rest’ as in the Chinese culture you should not come into contact with the ghosts as it is can bring bad fortune.

The harvest festival is celebrated annually in the state of Sabah, normally celebrated by the ethnic Kadazan-Dusuns and other ethnics of the state. The festival lasts for the entire month of May. The tradition is to honour the bond between the creator and creation. It is to thank their god, Kinoingan, who sacrificed his daughter Huminodun. By cutting her into pieces and spreading it across the fields which produced a plentiful harvest of the paddy. Kaamatan translates to harvest in Kadazandusun.

The festival brings unity between Sabahans, it is said that it can provide peace and harmonious life and the same will reflect in spirit that should be nurtured to develop the state.

The water festival is a New Year’s celebration that is commonly taken place in Southeast Asia. It is called the water festival as the symbolism of the pouring of water is part of a cleansing ritual to welcome the new year. Traditionally water is sprinkled on one another as a sign of respect. As it is hotter in Southeast Asia is hotter larger amounts of water is doused on one another. Pouring of water is to show blessing and good wishes, in addition old things must be thrown away or it may bring the owner bad luck.

Study on Malaysian Festivals

Tadau Ka’amatan Harvest Festival

Water Festival

The house is influenced by a traditional Malay rumah (house). The middle of the house is open to create a performance space/ runway for the festival. The wings to the side are the preparation/dressing rooms for the performances. The rice paddy’s to the front are hopes for a plentiful harvest from the spirit created from the festival unifying the earth and people.

Whittlesea Straw Bear

The Straw Bear Festival or Strawbower is a custom known to a small area of Fenland. Occurring on Plough Tuesday the first Monday after Twelfth night, a man or boy is covered from head to toe in straw and led from house to house. The straw bear dances in exchange for gifts consisting of money, food or beer. Farmers would usually reserve their best straw for making the bear.

The festival disappeared around the 1900’s because the policed saw it as a event of begging. But in the 1980’s the festival was revived by a local society. It is now an event that extends over the weekend and occurs during January. On Saturday the straw bear is seen around town, with a parade of musicians and ‘keeper’. On Sunday the straw bear costume is burnt at a ceremony.

Jack-In-The-Green

Origins of the tradition have been traced back to the 17th century, which slowly phased out during early 20th century. Currently there are small groups reviving this celebration.

The tradition of Jack-In-The-Green developed from the intricate flower garlands during the 17th century that were carried by milkmaids during May Day celebrations. Over time the garlands became for extravagant and would be seen balancing the garlands on their head alongside silver household objects. As other trades began to join, they tried to outdo other participants in attempt to receive more coins from the crowds. This lead to the idea of chimney sweeps extending the garland to cover an entire person as it would be the quieter working period.

Study on British Festivals

Straw Bear House Concept

The house concept is split across two buildings. On the left is the straw bear room, where the locals can dress and later burn the bear. On the right is the dining hall so that the locals can have a feast after the burning ceremony.

Design Precedent: Coco - Land Of the Dead

Land of Festivals

The iteration uses the derelict facade of the Millennium Mills. Inspired from the Land of the Dead from Coco, the iteration is a bridge to unifying the multiple cultures together.

Design Precedent: Studio Ghibli - Spirited Away

The spirited away town is deserted during the day and during the evening the town comes ‘alive’ welcoming spirits and gods from around the spirit world to visit and go to the bathhouse

Land of Festivals 2.0 - Hungry Ghost Restaurant

The hungry ghost restaurant is designed so that the spirits are served outside and the humans work behind the curtain, a lazy Susan is used to deliver the food to the ghosts.

Land of Festivals 2.0

The iteration explores circulation, between the ghosts and humans. Behind the facade is a tube system for the ghosts. The brighty lit corridors are connected to a pagoda stop. Which allows the ghosts to acces the buildings on the facade.

Design Precedent: Goō Shrine

The shrine is a Shinto shrine located in Kyoto. The Shrine originally was a site to enshrine Wake no Kiyomaro. For their contribution in the construction for a city in Kyoto.

The shine is a popular site for visitors to pray for recovery from lower body injuries. Due to the shrine legends on Wake no Kiyomaru travel to exile to the USA. He was attacked and suffered a leg injury, later saved by 300 wild boars and protected him till the end of his journey.

The glass staircase connects the shrine to an underground chamber. The glass materials turns the staircase into a lit path from the underground chamber.

Areas that have a crystal/transparent material are the pathway dedicated for ghosts

Land of Festivals 3.0

Following the Goo Shrine, this iteration begin to separate spaces for the ghosts and humans, each have their own set of materials to identify whether the space is theirs. The ghosts have spaces uses a material with crystal and reflective qualities. This is to create the ‘shadows’ of the ghosts when they are occupying the spaces.

Pagoda The temple is segregated between the humans and ghosts, usually a space is dedicated for the ghosts to reside seperate from the main temple. The offering room is attached so that offerings can be burnt. A lotus pond is within the building so that lotus lanterns can be lit to send the ghosts back to the afterlife.

The pageant house is divided for the human and ghosts, the humans sit downstairs whereas the ghosts are upstairs. The floor of the ghost seating has glass panels that allows them to watch the show from above. The main runway is for humans, the illuminated crystal blue runway is for the ghost.

The theatre is influenced from British theatre architecture. Ghosts access the building from the bridge which is connected to the clock tower. The pagoda wings are spaces dedicated for the Ghosts to watch the performances.

The straw bear house design focuses on the burning of the straw bear ceremony. A special lift is designed to access the burning space. The straw bear house is divided for the ghosts and humans, they share the main hall where the humans use the lower space and the ghosts use the upper hall.

The restaurant separates the humans and ghosts, The spaces for the ghosts can be identified by the iridescent like materials that create shadows when the ghosts are present. Curtains are used to stop the humans and ghost from ‘seeing’ one another.

Entrace Bridge

Hungry Ghost Restaurant Temple Bridge overlooking to Plaza

Design Precedent: Tong Lau

Developing the spatial layout of the community, the layout of the Tong Lau in Hong Kong was used as a design predecent. Examining the different types of elevations of the buildings and styles. From the images displayed, each Tong Lau has their own characteristics, meaning that the neighbouring buildings may not have similar features or similar building height or width.

Offerings are burnt for the lost souls, in hopes that they will leave the individuals and their families alone during this period. Offering include money and food.

Performances are held during the festival, the front row seats are reserved for ghosts, the living usually sit behind this row.

Ghost Festival Traditions

Vital features of a traditional Ghost Festival celebrations.

Lotus lanterns are released in the river to guide the forgotten souls or ancestors to the afterlife.

In Chinese culture, the souls of the dead live in another world.

Traditional funerals are held on a grand scale. In comparison to the modern funeral.

The Chinese believe that burials brings peace to the deceased. Influenced by Buddhism, the souls of the dead stay and protect their descendants. Therefore there are festivals dedicated for the descendants to worship and pray to their ancestors for their protection.

Death is often an unspoken topic, with many failing to have a written will prior to their death.

In the past they believed the those that have passed, if their eyes refused to remain close, it was believed that an onset of unwanted events were in the not so distant future. Closing the eyes was to prevent the omen and living’s unease.

Traditionally, in the 1800’s it was customary to have a ‘funeral feast’ after the funeral. This usually consisted of a cold meal for mourners, this tradition continued into the 1900’s.

Depending on ethnic and religious background, there are different traditions and customs towards death in Malaysia.

Muslim Malaysians they follow the Islamic rites. Death is a part of life cycle by God. The body must be treated with honour and handled with utmost care. There are three process 1. Washing and shrouding the body, 2. Performing the funeral pray and 3. The burial process. A post-funeral ritual, tahlil. That occurs on the 3rd, 7th, 40th and 100 days after the funeral. The tahlil is a recitation of prayers for the deceased, often followed by a simple meal.

Chinese Malaysians of Buddhist/Taoist backgrounds would often have the body of the deceased in the house they passed for 3 days with family members not leaving the house during the 3 days. Often with the coffin facing the door, hence why it is bad fengshui to sleep facing the door. Rituals are performed over the three days to help the deceased move on. This including chanting, burning of money and items. After the 3days the funeral is held.

Traditionally the Chinese believe that ghosts are a spirit form of a person that has died.

They are typically malicious and will cause harm to the living if they are provoked.

If the ghosts are properly respected and rewarded they are able to help the living. The annual Hungry ghost festival is dedicated to celebrating and performing rituals to honour the spirits of the dead.

In English speaking cultures, ghosts are an representation of the spirits of the dead. England has been described as a ‘haunted country’ due to the bordering Celtic nations. Ghosts are believed to be a bridge between the past and present.

It wasn’t until the medieval period, that the English deemed that ghosts were souls subjected to purgatory. Pleading for prayers to free them from suffering.

An alternative view on ghosts, were that they were spirits of saints sent from God, providing news of paradise.

Malay ghost myths have been shaped by Hindu-Buddhist cosmology, later with Muslims influences. Often shaped with animal beliefs. Traditional beliefs the human soul or essence is about the size of a thumb.

The soul is a miniature form of the body is able to fly and quickly go from one location to another. Temporarily leaving the body during sleep, sickness of before death.

When the soul leaves the body it can feed on the soul of others. At death, the soul is passed to another person, animal or plant. The ghost or spirit is usually addressed as haunt, if it lingers it can create a harmful presence.

An old belief is that the ghost of a the deceased will haunt their own grave for 7 days before departing. Ghosts can return and take possession of a living person. Resulting in illness, they are often active only at night, particularly during a full moon.

To avoid these ghosts victims can change their name so that they are unrecognisable. Alternatively, is to tempt the ghosts with a meal. Which the ghost turns into a animal such as a chicken. So that it can be eaten and killed.

Perceptions of death & ghosts in the three cultures

Chinese Culture

Death Ghosts

British Culture

Malaysian Culture

Based on the Malaysian belief the size of our soul is roughly the size of a thumb. Therefore all the ghosts appear as miniatures in the community, including the space they occupy and need.

6cm 0cm Location in the Festival

Venmous Ghost

Trickster Ghost Nightmare Ghost

Hungry Ghost

Messenger Ghost

Form in Chinese Folklore

Were hateful to others in life and are able to transform into insects

Can be seen as a frequent visitor at the Anti-Superstitious residential block.

Unique Characteristics

Were frauds in life and are able to transform into pure darkness

The nightmare ghost is frequently seen at the burning house.

Enjoys trying on items left by humans. Such as clothes that have been left out from residents to dry. Can be seen having tea in the homes of the Anti-Superstitious Residential block.

Caused confusion in life and can transform into animals

Often found in the Dancing Temple and playground.

In traditional Chinese Folklore Hungry Ghosts were arrogant in life and can appear in gaseous forms

Were litigious in life and are able to transform into any person

The nightmare ghost is attracted to fire. They also emit fire which burns the paper replicas during the festival. The burning of these replicas symbolises that the buildings are ‘sent’ to the communities afterlife for the ghosts to live in.

The trickster ghost seeks entertainment in the human world. They are attracted by purple light They are often sighted enjoying performances on the dancing stage and playing ‘alongside’ the humans in the plaza playground.

Ghost Guests Character Profile

There are many types of ghosts in Chinese folklore and philosophy. In the Buddhist sutra, ghosts are described as souls of wicked humans. That undergo punishment for the offenses in the afterlife.

The ghosts that appear in the festival are an modern adaptation of their traditional form. As the project aims to critique the superstitious culture of the Chinese. The ghosts in the festival will reappear as figures that come back to the living world to enjoy food and entertainment during the festival.

Communal spaces for the ghost will have a green light.

The hungry ghosts is the ‘greedy’ Ghost and can be found at the Hungry Ghost Residents windows Welcomed by a feast and shelter prepared by the residents. They are attracted to red lights, which results in the Hungry Ghost Residential block being the only building to emit red lights.

The messenger ghost often mistaken itself as a human during the festival and can be found in multiple places throughout the night.

The messenger ghost can travel freely throughout the festival

As they ‘pretend’ to be human for the evening. They want to partake in all events.

Entrance Iteration

The community entrance is influenced from the Chinese memorial arch. The entrance area is the location where visitors can collect their balloons that will ‘light and protect’ their journey during the festival.

Feeding the Hungry Ghost Iteration

This iteration develops how an individual celebrates the Ghost festival.

The Tong Lau, a traditional residential and commercial shophouse seen in Asia, is designed for both humans and ghosts to enter. With a special staircase designed to led the ghosts to the alter where they can feast on items the human burns.

A miniature restaurant which acts as a window for the human to put offerings and burn offerings without coming into contact with the ghosts. The miniature restaurant also acts as a space where the burning of foods are presented for the ghosts to feast.

Feeding the Hungry Ghost Development Hungry Ghost Residents Door Frame

The following is an development of the Hungry Ghost residential block. The door frame has been designed with lights surrounding the exterior to protect the humans from ghosts or lost souls following them on their journey home. It provides a path for the ghost to access the hungry ghost restaurants on the follows above. Allowing the humans to give offering to the ghost in the comfort of their home.

The restaurant has a hotel feature for the ghosts to temporary reside if they ‘eat’ or ‘drink’ too much of the offerings before heading onwards with their journey.

Approaching the Hungry Ghost Residential

Preparing the Feast to Feed the Hungry Ghosts Iteration

The interior shows the preparation of ‘feeding the hungry ghost’. Food is prepared based on the ghosts or the ancestors preference. Therefore items on the table can vary from fruits, meats to desserts. The workshop area shows the preparation of the burnable paper replicas which are offered to the ghosts.

Preparing the Feast to Feed the Hungry Ghosts Development

Tea with Ghosts Iteration

The concept behind the interior for the Anti-supersitious building, is welcoming the ghost for ‘tea’. Compared to Chinese supersition of not wanting to welcome ghost into their home or upsetting them during the festival. During the festival in the Feed the Hungry Ghost community, the residents within this building believe that the ghosts are harmless and want to offer them a place for a tea break during the festival.

The Dancing Temple Iteration

The dancing temple houses the corgi-lion prayer room and performance stage on the floor above. It facilitates the performances that is commonly seen in the traditional ghost festival.

As there is no particular god in this project, to pray for good fortune and luck for the community, the corgi-lion becomes the ‘god’ that the community can pray to.

The pagoda pillars are used for circulation but also as balcony’s to admire the views of the site.

The Dancing Stage Iteration

The stage will have a variety of performances for the guests, with the ghosts allocated with the first row seats. Playing on the idea of the traditional ghost festival whereby the first row of seats are left empty for the ghosts that want to seek entertainment. The stage is designed for the tickster ghost, as they are the ghosts that seek entertainment in the human world. They are attracted to purple light, therefore areas leading to the stage will emit purple light

The Burning House Iteration

Traditionally during the Ghost Festival, paper replicas are burnt from the living to their ancestors. These can come in forms of a home, car, latest electronics, passports and any other items that the non-living may need in the underworld.

In the community, each month a new paper building replica will be burnt and sent to the ‘ancestors’ of the community members to live in.

The nightmare ghost is attracted to fire, therefore the replicas are built from paper and wood. They are able to climb on the replica to light the remaining parts of the building.

The Lantern Release Iteration

This scene ends in the plaza, where residents can enjoy the view of the community and the release of lanterns. Typically, lotus lanterns are released to guide the ghosts back to the afterlife. In the community the lanterns in the sky signify the monthly festival is occurring during that evening.

Community Buildings

1. Temple/Performance Stage

2. Hungry Ghost Residents

3. Lotus Building 4. Lotus Lake

5. Ghost Forest 6. Pavilion

7. Children’s Playground

8. Anti-Ghost Superstition Residental 9a. Lantern Residental 9b. Lantern Residental 10. The Burning House

Pathways

Festival Path

Hungry Ghost Path Trickster Ghost Path

Nightmare Ghost Path Venomous Ghost Path Messenger Ghost Path

Festival Point of Interest

A. Balloon Collection Point

B. Performance & Temple

C. Feasting with the Hungry Ghosts

D. Anti-Superstitious Residential Opening

E. The Burning House

F. Lantern Release

10

9a 9b

E F

1 2 3 4 5

A B C D

6 7 8

Proposed Community Elevation

Proposed Community Elevation

Welcome to the Feeding the Hungry Ghost Festival

Feeding the Hungry Ghost festival will occur on every 15th day in the monthly calendar.

The festival is curated to bring the community together, similar to Chinese festivals which usually on a community scale. The community is also designed to criticise the superstitious Chinese community and the lack of community spirit in celebrations in the British culture.

It is a festival that occurs from sunset onwards.

Pattern on the guide is a combination of patterns and colours influenced from the three cultures.

The tartan pattern is often associated with the British culture.

Red and gold are common colours seen in the Chinese culture as is it associated with good luck and fortune

British Chinese Malaysian

Batik texture art common motifs are leaves and flowers. It is rare to have humans or animals as decoration as in Islamic culture it is forbidden to have animal images as decoration.

Ghost Forest

The ghost forest is the entrance for the ghost to arrive to the festival. It is also where the lake leads towards so that the lotus flowers can guide the ghosts back to the afterlife after the festival.

In Chinese legends there are ‘Eighteen levels of Hell’. Diyu is the term for the realm of the dead or hell. Diyu is depicted as a maze with a series of levels that the souls are taken to after death. Undergoing punishment for the sins that they have committed in their lifetime.

The pagoda tower consists of 18 small pagodas, which acts as a entrance for all the souls in the ‘Eighteen levels of Hell’.

Current Time: 17:00 hours

As the festival occurs at night, to ‘protect’ thoses that are afaird of coming into contact with the ghosts, each visitors can collect a ghost balloon when they enter the community. This balloon is designed with a minature ghost light, to guide them around the festival. As a response to the Chinesve supersition of staying out after sunset.

Ghost Balloon Booth

In the Chinese culture, during the month of the ghost festival many will aim to return home before sunset. As they believe that it is when the spirits are the strongest and most active.

Going against the Chinese superstition the festival begins from sunset. This also brings the late night life that is often associated with the Chinese & Malaysian culture and not often seen in the British.

Current Time: 17:30 hours

The Dancing Stage

Corgi-Lion Temple

As a part of traditional festivies, you are able to choose to burn paper money and joss along the side of roads or either at a temple.

Performances are held throughout the festival as the ghosts need a form of ‘entertainment’. However, in the traditional celebration the first row of seats are left empty. But this does not mean that they are not occupied, they are occupied by the ghosts.

The Dancing Temple

The dancing temple is divided into two spaces, the entrances is to the temple. Whereby the community can pray to the corgi-lion ‘god’ for good fortune. Above is the dancing stage, where performances are held throughout the night. The ghosts and humans are seated together so that they can enjoy the entertainment.

performances are held throughout the night of the ghost festival. The front row seats are usually reserved for the ghosts. In the project, the seating is designed so that the ghosts and humans are seated together. However, the seating design allows the ghost a better viewing experience, through an elevated platform which is placed in-front of the human seating.

The Burning House Lamp Paper Replica Workshop table

Hawker stalls are food establishments set up by the roadside and indoor centres known as hawker centres. Providing affordable meals to locals.

Dai Pai Dong are a type of outdoor street vendor or market that can be found in Hong Kong. Outdoor dining in Britain is nearly not as common as those seen in Hong Kong or Malaysia.

Hungry Ghost Residents & Outdoor Feast

Lotus Building

It is common for families to burn items for the ghosts. As an offering to the ghosts, to avoid bad luck and the lost souls from following them

The lotus building is designed so that members of the community can release lotus lanterns which will guide the ‘ghosts’ back to the afterlife at the end of the monthly festival.

The lanterns float in a lake that leads to the plaza and the pagoda forest.

The Hungry Ghost Residental & Lotus Residental Block

The building design is influenced from the mindset of the west, the lack of superstitions and beliefs compared to the Chinese.

During the Ghost festival, there are many rules or superstitions that are followed during this period. To avoid any ‘bad luck’ or perhaps ghosts following you home. The building is covered with ghosts, with reflective elements

The facade mixes the three cultures to create the unusual fluid geomtry,

Dai Pai Dong

Hawker Stall

Approaching the Anti-Superstition Residental Block

Curfew during the month of the festival, avoid going home after sunset. As is it the strongest time when spirits are out.

Do not sit in the front row of performances as they are usually occupied for the spirits.

Do not touch, step or kick any prayer items or offerings to the ghosts.

Do not look up at the alter during prayers, as the spirits may be feasting on the table.

Do not kill incests as they may be reincarnated relatives.

Remove wind chimes, the sounds of the metals hitting can be a signal to invite spirits into your homes.

Do not hang clothes overnight, as the spirits may try them on and bring the negative energy into your home.

Do not leave umbrella’s open as spirits may attempt to seek shelter underneath them, particular red and black coloured umbrellas.

Do not leave chopsticks standing upright in food. As it will resemble joss sticks which are used for the dead.

Do not leave your front door open as it may invite unwanted guests.

Do not engage with any water related activities as there is a type of ghost which is the water ghost. They may try to drag the living into the water.

Do not talk about ghosts, including ghost stories. As it may attract unwanted attention.

Ghost Festival Rules & Superstitions

During the Ghost Festival and the ghost month there are certain rules or superstitions that the Chinese community follow. This is to avoid bad luck or inauspicious fortune to themselves and their family members. Although some of these rules or superstition may seem to be an unusual following in the modern day, yet many still celebrate this cultural festival till this day.

You should avoid from talking about ghosts, or telling ghost stories during the festival. However, the facade design is designed in a way that the ghost family are covering all corners of the building.

Wet laundry should not be hung outside or overnight. As ghosts may try these items on. Which will result in them taking over the soul of the wearer.v

In Chinese superstition, you should not leave your door open to avoid from having unwelcomed guests. The doorless stairwell ‘invites’ the ghosts in for tea.

The Tong Lau typology is a common residential build in Hong Kong, the design build is influenced by this common style. Creating a different facade for each floor and additional features such as balcony’s.

Bay windows is an architectural element associated with British architecture that is not commonly seen in Asia

Traditional Malaysian homes are decorated with motifs that are distinct to their region. The external facade is decorated with ‘ghosts’ as it is the distinct design motif for this residential block.

Anti-Superstitious Residental Block

The building design is influenced from the mindset of the west, the lack of superstitions and beliefs compared to the Chinese. During the Ghost festival, there are many rules or superstitions that are followed during this period. To avoid any ‘bad luck’ or perhaps ghosts following you home. The building is covered with ghosts, with reflective elements

British Malaysian Hong Kong

Current Time: 19:30 hours

Constructing the Burning House

Current Time: 20:00 hours