Asia Conserved (For Web)

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.
L
e
s
s
o
n
s

L
e
a
r
n
e
d

f
r
o
m
t
h
e

U
N
E
S
C
O

A
s
i
a
-
P
a
c
i
f
i
c

H
e
r
i
t
a
g
e

A
w
a
r
d
s
f
o
r

C
u
l
t
u
r
e

H
e
r
i
t
a
g
e

C
o
n
s
e
r
v
a
t
i
o
n

(
2
0
0
0
-
2
0
0
4
)
Lessons Learned from
the UNESCO Asia-Pacific Heritage Awards
for Culture Heritage Conservation (2000-2004)
Supported by the Lord Wilson Heritage Trust
@]j|j@|
Back cover images from top to bottom:
St. Ascension Cathedral, Kazakhstan
Dorje Chenmo Temple, India
Gongziting, China
Asia Conserved
Lessons Learned from the UNESCO Asia-Pacic Heritage Awards
Supported by the Lord W ilson Heritage Trust
Library Catalogue
ISBN 92-9223-117-0
The publication of this volum e w as supported by
Lord W ilson Heritage Trust
UNESCO Beijing
UNESCO Islam abad
UNESCO Jakarta
UNESCO Phnom Penh
Published in August 2007 by
UNESCO Bangkok
920 Sukhum vit Road
Bangkok 10110
Thailand
Tel: (66) 2 391 0577 x509
Fax: (66) 2 391 0866
Em ail: culture@ unescobkk.org
w w w.unescobkk.org/culture
All rights reserved. No part of this publication m ay be copied, stored in a retrieval
system , or transm itted in any form by any m eans, electronic, m echanical, recording
or otherw ise, except brief extracts for the purpose of review, and no part of this
publication, including photographs and draw ings, m ay be sold w ithout the w ritten
perm ission of the publisher.
The designations em ployed and the presentation of m aterial throughout the
publication do not im ply the expression of any opinion w hatsoever 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 view s expressed by the authors, the selection of facts presented and the
opinions stated w ith regard to the facts are the responsibility of the authors and
do not necessarily represent the view s of UNESCO.
UNESCO 2007
Printed by Clung W icha Press Co., Ltd.
Em ail: cw press@ loxinfo.co.th
Editor-in-Chief
Richard A. Engelhardt
Editor
M ontira Horayangura Unakul
Assistant Editor
Ernesto Endrina
Editorial Coordinator
Caroline Sw artling
Copy Editors
Kim Chai
Ellie M eleisea
Art Director
W ee Viraporn
Layout
Supam as Adulpat
Chanya Anupasanant
Chatnarong Jingsuphatada
Taw eesak Pathungw ong
Parisa Ratanaprichavej
Ravin Vichien
Illustrators
Fanny Ang
Sorasith Bootsingkhon
Kachain Chanjaroen
Ernesto Endrina
Siyanee Hirunsalee
Thananart Kornm aneeroj
Chonthicha Tham asith
Attakit Uthaikarn
Akekaraj W erunit
Pongsakorn Yim saw at
Contributors
Aga Khan Cultural Service Pakistan
Fanny Ang
Susan Balderstone
Salm an Beg
W illiam Chapm an
Chiba University
Parom ita Desarkar
Sanjay Dhar
Lynne DiStefano
Sher Ghazi
Godden M ackay Logan
Hoi An Centre for M onum ents
M anagem ent and Preservation
M inakshi Jain
Sheila Kam unyori
Lee Ho Yin
M andy Lee
Spencer Leinew eber
Budi Lim
Laurence Loh
Lin Lee Loh-Lim
David P. Y. Lung
Nim ish Patel
Gurm eet Rai
Ruan Yisan
Pat Seeum pornroj
Show a W om ens University
Tanner & Associates
Eric Tilbury
Natalia Turekulova
Tim ur Turekulov
Johannes W idodo
Debbie W ong
As the only UN agency w ith a m andate in the culture sector, UNESCO is charged w ith prom oting the conservation of both
tangible and intangible cultural heritage, in particular, the built environm ent and associated social practices. Cultural
heritage constitutes a signi cant aspect of our resource endow m ent and its stew ardship has becom e increasingly critical
as sustainable developm ent advances to the forefront of political concerns.
A broader understanding of cultural heritage has developed in the past decade, w ith heightened recognition for the im portance
of cultural diversity. Accordingly, the representation of diverse interests has becom e critical for the sustainability of any
conservation effort. In addition to the public sector, the private sector, including local residents, com m ercial establishm ents,
corporations, traditional caretakers and hom eow ners, has em erged as an im portant stakeholder in the conservation and
utilization of cultural heritage in all its diverse m anifestations.
In response to this paradigm shift, UNESCO has set standards and developed strategies for the preservation of cultural
heritage through legal fram ew orks, including the 1972 Convention Concerning the Protection of the W orld Cultural and
Natural Heritage, the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage and the 2005 Convention
on the Protection and Prom otion of the Diversity of Cultural Expressions, w hich are used in conjunction w ith a grow ing
array of professional guidelines and charters in the conservation eld.
The UNESCO Asia-Paci c Heritage Aw ards for Culture Heritage Conservation program m e w as 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 Aw ard-w inning projects have not only consolidated signi cant structures, but have also raised
aw areness of the value of local building traditions and the viability of giving a range of types of historic structures a renew ed
lease on life through restoration and creative adaptive reuse. The projects are a testam ent to concerted com m unity efforts:
they have galvanized both local and professional com m unities alike, resuscitating lost craft guilds, reviving traditional
social practices and reinvigorating neighbourhoods.
As a com pilation of lessons learned from the program m e, this publication investigates both the technical aspects and the
social process of conservation, re ecting on successes and challenges encountered. Representing a range of cultural and
socio-econom ic contexts, the projects provide w orthy m odels for em ulation that operate w ithin the UNESCO fram ew ork of
linking cultural heritage conservation to local developm ent, w hich em phasizes sustainability through grass-roots capacity-
building. It is hoped that the publication of these best practices w ill be a positive step tow ards creating a self-educating
com m unity of conservation specialists and advocates in the Asia-Paci c region.
Foreword
Sheldon Shaeffer
Director
UNESCO Asia and Paci c Regional Bureau for Education
Foreword
Part I First Principles 1
Part II UNESCO Asia-Pacic
HeritageAwards Criteria Essays
Conveying the Spirit of Place 9
Determ ining Appropriate Use 13
Interpreting the Signi cance of Heritage Sites 21

Understanding Technical Issues of Conservation 28
Using Appropriate Techniques and M aterials 34
Adding New Elem ents 40
Contributing to the Com m unitys 46
Cultural Continuum
In uencing Conservation Practice and Policy 51
Ensuring Ongoing Viability 59
Part III FiveYears of theUNESCO Asia-Pacic
HeritageAwards: CaseStudies of
Best Conservation Practice
2000 UNESCOAsia-Pacic HeritageAwardWinners
Most Excellent Project
Cheong Fatt Tze M ansion, M alaysia 69
Excellent Project
Chanw ar Palkhiw alon-ki-Haveli, India 77
Hoi An Tow n Preservation Cooperation Project, 83
Viet Nam
Outstanding Project
Hotel de lOrient, India 89
Hung Shing Old Tem ple, Hong Kong SAR, China 93
Ohel Leah Synagogue, Hong Kong SAR, China 97
Residence of Dr Zhang Yunpen, China 103
St. Patricks College, Australia 107
HonourableMention
Harischandra Building in M aha Vihara M onastery, 111
Sri Lanka
M aw sons Huts Historic Site, 115
Australian Antarctic Territory
Residence of Charles Prosper W olff Schoem aker, 119
Indonesia
Rum ah Penghulu, M alaysia 123
Award of Excellence
National Archives Building, Indonesia 129
Award of Distinction
Bushells Tea W arehouse, Australia 135
Krishan Tem ple, India 141
Award of Merit
DBS House, India 147
King Law Ka Shuk Tem ple, Hong Kong SAR, China 151
Tea Factory Hotel, Sri Lanka 155
Xijin Ferry Project, China 159
Zhongshan Road, China 163
HonourableMention
Jin Lan Tea House, China 167
University of M um bai Library Building, India 171
Nielson Tow er, Philippines 175
St. Josephs Sem inary Church, M acao SAR, China 179
Thian Hock Keng Tem ple, Singapore 183
Table of Contents
Award of Excellence
Ahhichatragarh Fort, India 189
Australian Hall, Australia 199
Yarikutz, Rupikutz, Kuyokutz, M am orukutz 205
M osques, Pakistan
Award of Merit
Cheng Hoon Teng M ain Tem ple, M alaysia 211
Convent of the Holy Infant Jesus (CHIJM ES), 217
Singapore
Polsheer House, Iran 221
Sydney Conservatorium of M usic, Australia 225
W at Sratong, Thailand 229
HonourableMention
No. 125 Huajue Alley, China 233
Broken Hill Heritage and Cultural Tourism 237
Program m e, Australia
Centre for Khm er Studies, Cam bodia 241
Jaisalm er Streetscape Revitalization Project 247
(Phase I), India
Kow Plains Hom estead, Australia 251
Award of Excellence
Guangyu Ancestral Hall, China 257
Astana of Syed M ir M uham m ad, Pakistan 265
W ater Tow ns of the Yangtze River, China 273
Award of Merit
Cangqiao Historical Street, China 281
The M edina Grand Adelaide Treasury, Australia 285
The Virtuous Bridge, Indonesia 289
HonourableMention
Catholic Cathedral of the Im m aculate Conception, 293
Hong Kong SAR, China
Dalongdong Baoan Tem ple, China 299
Gota de Leche, Philippines 303
Award of Excellence
Baltit Fort, Pakistan 309
Church of Our Lady of M ount Carm el, Australia 317
Lakhpat Gurudw ara, India 323
St. Ascension Cathedral, Kazakhstan 331
Award of Merit
Dadabhai Naoroji Road Streetscape, India 339
Dorje Chenm o Tem ple, India 343
Phra Racha W ang Derm Palace, Thailand 349
St. Thom as Cathedral, India 355
Vietnam ese Traditional Folk Houses, Viet Nam 359
HonourableMention
Elphinstone College, India 365
Fem ale Orphan School, Australia 369
Gongziting, China 373
Nam una Ghar, Nepal 377
Suzhou River W arehouse, China 381
Tak Seng On Paw nshop, M acao SAR, China 385
Zargar-e-Yazdi House, Iran 389
Zhangzhou City Historic Streets, China 393
Part IV Conclusion: Sources of Knowledge 397
and Sources of Continuity
Part V Regional Map of Winning Projects 398
Part VI Regional Directory 400
Heritage Architects/Designers
Contractors
Part VII Glossary 412
Part VIII International and Regional Charters 418
Part IX Proles of Jury Members 420
(2000-2006)
Part X Award Regulations 425
Index 429
Photographic and Illustration Credits 438
References 439
1
UNESCO leads efforts w orldw ide to safeguard the continuity of diverse cultural values represented in both tangible and
intangible heritage. The 1972 ConventionConcerningtheProtectionof theWorldCultural andNatural Heritage (popularly
known as the W orld Heritage Convention) form s the fram ework for international action in the conservation of im m ovable tangible
cultural heritage, w hich encom passes built structures, sites and landscapes. The principles enshrined in the Convention and its
Operational Guidelines extend not only to properties inscribed on the W orld Heritage List, but also, by exam ple, to other heritage sites.
The W orld Heritage Convention calls on each State Party to ensure effective m easures for the protection, conservation and
presentation of the cultural and natural heritage situated on its territory, especially in the context of grow ing pressures
stem m ing from both natural and hum an causes. In particular, the Convention encourages States Parties to adopt a general
policy w hich aim s to give the cultural and natural heritage a function in the life of the com m unity, thus linking heritage
conservation to living traditions and sustainable developm ent.
UNESCOAsia-Pacic HeritageAwardsfor CultureHeritageConservation
Throughout the Asia-Paci c region, the role of private individuals and institutions in safeguarding built heritage is
param ount, as buildings and sites are largely in private or civic ow nership. The UNESCOAsia-Pacic HeritageAwardsfor
CultureHeritageConservation program m e, launched in the year 2000, is a agship strategy to recognize private sector
achievem ents and public-private initiatives in successfully restoring structures of heritage value.
The UNESCO Asia-Paci c Heritage Aw ards program m e w as established as a m eans of identifying and show casing the m ost
successful best practices in built heritage conservation and adaptive reuse in the region. Through the program m e, UNESCO
encourages policies and practices w hich result in the preservation of the unique heritage values and historic signi cance of
our com m unities, thereby paving the w ay for future projects both w ithin the sam e com m unities and beyond.
Since its establishm ent, the program m e has brought to public attention a notew orthy body of w ork in the eld of heritage
conservation. In the rst ve cycles from 2000-2004, 181 entries w ere received from 23 countries, of w hich 64 projects
w ere recognized w ith UNESCO Asia-Paci c Heritage Aw ards. W inners represent a broad spectrum of the regions built
heritage, serving as a testam ent to how buildings can be successfully preserved in their traditional settings and also to
how conservation principles can be integrated into various local developm ent strategies. The range of religious architecture
that has been aw arded is extensive, encom passing Chinese ancestral tem ples, Buddhist m onasteries, Hindu shrines, Sikh
gurudwaras, M uslim m osques, Christian churches and Jew ish synagogues. These buildings collectively bear testam ent to the
diverse living traditions of the region. Secular buildings receiving aw ards include m onum ental structures such as forts and
palaces; non-m onum ental buildings such as houses, factories, schools, shops and other com m ercial buildings; and public
infrastructure such as bridges. Aw ards have also gone to large-scale projects involving the protection and rehabilitation of
gardens, streetscapes, canal and w aterfront districts, in situ archaeological sites and historic urban quarters.
First Principles for
Conserving Built
Heritage
Best Practices from the
UNESCO Asia-Pacic
Heritage Awards for
Culture Heritage
Conservation (2000-2004)
First Principles
2
UNESCO Asia-Pacic Heritage Awards
Since the aw ard-w inning projects are m ostly draw n from the private realm , they include a representative slice of the vernacular
built legacy of the Asia-Paci c region. This focus on the everyday landscape underscores the broad m andate of UNESCO and the
W orld Heritage Convention to foster an inclusive interpretation of heritage and nurture an ethic of conservation that extends
beyond the hallm arks of high architecture to the living, and now threatened, traditions of vernacular building.
UNESCO receives entries from countries and adm inistrative areas across the Asia-Paci c regionfrom Antarctica to
Uzbekistanrevealing 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-Paci c region today, ranging from the disappearance
of traditional m aterials, skills and techniques to the econom ic and political forces driving urban redevelopm ent.
In recognition of the ever-evolving nature of built form and cultural expression, a special aw ard category, the Jury
Commendation for Innovation, w as inaugurated in 2005 to recognize innovative new buildings w hich are integrated into
historic districts in a w ay that com plem ents and enhances the historic character and contributes to the cultural continuum
of the area.
AssessingConservation Excellence: theCriteria of theUNESCOAsia-Pacic HeritageAwards
The selection process for the Aw ards program m e is rigorous and is conducted annually by a panel of international experts in
conservation architecture, urban planning, landscape design and heritage conservation, all of w hom practice professionally
in the Asia-Paci c region.
To qualify for the UNESCO Asia-Paci c Heritage Aw ards, buildings m ust be m ore than 50 years old, the restoration m ust
have been com pleted w ithin the last 10 years and buildings m ust have been in viable use for at least one year. Residential,
com m ercial, cultural, religious, industrial and institutional buildings; historic tow ns; gardens and bridges are all eligible for
consideration. The project m ust have been carried out w ith private sector input in the form of ow nership, funding or other
support. Public-private partnership projects are especially encouraged to apply for the Aw ards.
Entries to the UNESCO Asia-Paci c Heritage Aw ards are exam ined in term s of the extent to w hich they dem onstrate
excellence in the follow ing criteria:
Criterion A: The articulation of the structures heritage values in order to convey the spirit of place through the
conservation w ork.
Criterion B: The appropriate use or adaptation of the structure.
Criterion C: The interpretation of the cultural, social, historical and architectural signi cance of the structure(s)
in the conservation w ork.
Criterion D: The understanding of the technical issues of conservation/restoration in interpreting the structures
signi cance.
Criterion E: The use and quality control of appropriate building, artisan and conservation techniques.
Criterion F: The use of appropriate m aterials.
Criterion G: How w ell any added elem ents or creative technical solutions respect the character and inherent
spatial quality of the structure(s).
3
Criterion H: The m anner in w hich the process and the nal product contribute to the surrounding environm ent
and the local com m unitys cultural and historical continuum .
Criterion I: The in uence of the project on conservation practice and policy locally, nationally, regionally or
internationally.
Criterion J: The ongoing socio-econom ic viability and relevance of the project, and provision for its future use
and m aintenance.
Criterion K: The com plexity, sensitivity and technical consistency of the project m ethodology.
The UNESCO Asia-Paci c Heritage Aw ard w inners consistently dem onstrate that technical achievem ent in conservation
should be underpinned by a profound understanding of conservation as a social process. As such, the Aw ard-w inning
projects not only set standards of technical excellence, but also m ake a signi cant im pact by contributing to the local
cultural and historical continuum . All w inning entries serve as best practice m odels in their understanding of the issues
of conservation in relation to the cultural, social, historical and architectural signi cance of the building. They foster
com m unity involvem ent and capacity-building, and have a catalytic effect on local restoration and conservation efforts.
The process of conservation consolidates im portant structures w hile at the sam e tim e returning the buildings, w hich are
signi cant either by them selves or as part of an urban ensem ble, to their place of pride w ithin local com m unities.
First Principlesfor ConservingHistoric Built Heritage
The Aw ard-w inning projects re ect a consensus around a set of pow erful rst principles guiding the conservation
of the historic built heritage in the Asia-Paci c region, w hich have evolved and been validated through professional practice
over the past tw o decades. They are:
Principle 1:Collectivemappingof cultural space, its hierarchies, sym bolic language and associations is a pre-
requisite for appropriate and successful conservation.
Principle 2: Tangible cultural expressions derive their origin, value and continuing signicancefromintangible
cultural practices.
Principle 3:Authenticity, the defining characteristic of heritage, is a culturally-relativeattributeto be
foundin continuity, but not necessarily in the continuity of m aterial only.
Principle 4: The conservation process succeeds w hen histories are revealed, traditions revived and m eanings
recovered in a palimpsest of knowledge.
Principle 5:Appropriateuseof heritageisarrivedat through a negotiation process, resulting in a life-
enhancing space.
Together, the rst principles af rm a set of professional norm s w hich have arisen out of a distinctive Asia-Paci c physical
and socio-cultural space, but w hich have universality in application.
First Principles
4
Principle1: Collectivemapping of cultural space, its hierarchies, symbolic languageand associations is a pre-requisitefor
appropriateand successful conservation.
Conservation professionals and students are taught that conservation w ork should begin w ith a thorough investigation
of the building. By studying historical docum entary evidence and in situ physical evidence in the building fabric itself, it is
possible to com e to an understanding of the evolved signi cance of the place and to identify character-de ning elem ents
of the site w hich m ust be conserved in the ensuing w ork.
Developing an understanding of the true spirit of place, and re ecting this understanding in the conservation process
and product, is central to the m ission of re-anim ating the heritage through conservation w ork. Only a truly participatory
process, w hich is predicated on a broad-based cultural m apping exercise, can ensure a full understanding of a place. The
m apping process reveals w hich heritage is im portant, to w hom and w hy. It m ay identify heritage w hich w as heretofore
overlooked, or it m ay uncover other aspects or alternative readings of already-identi ed heritage. This socio-cultural
m apping process brings to light the heritage values w hich are inherent and often unspoken in a com m unity, notably, social
and spiritual values. On this basis, conservation w ork can be undertaken in an appropriate m anner, w ith full cognizance of
the issues at hand, adding a how dim ension to the m apping exercise.
Beyond a purely technical approach to the research process, often dom inated by the voice of the conservation expert, the
UNESCO Asia-Paci c Heritage Aw ards w inners bring in m ultiple voices, resulting in a collective m apping of cultural space,
its hierarchies, sym bolic language and associations. This allow s for actualization of the principles espoused in the
2001 Universal Declaration on Cultural Diversity.
Principle2: Tangiblecultural expressions derivetheir origin, valueand continuing signicancefromintangiblecultural practices.
Tangible and intangible cultural expressions are interdependent. Any conservation project w hich privileges tangible over
intangible values of a building risks stripping aw ay the signi cance of the place, leaving only an em pty shell.
M anifestations of intangible cultural heritage include oral traditions, perform ing arts, social practices, rituals, know ledge
about nature, traditional craftsm anship and associations acquired through use. This living heritage provides not only the
w ellspring of cultural diversity, but in fact guarantees continuing expressions of creativity. Indeed, the 2003 Convention
for theSafeguardingof theIntangibleHeritage m akes provisions for the protection of tangible artefacts and cultural
spaces w hich are associated w ith the m anifestations of intangible cultural heritage. This allow s for effective harm onization
betw een the 2003 Convention and other international legal instrum ents, such as the W orld Heritage Convention.
Principle3: Authenticity, thedening characteristic of heritage, is a culturally relativecharacteristic to befound in continuity,
but not necessarily in only thecontinuity of material.
The Heritage Aw ards have show n that the conservationists m antra of do as m uch as necessary and as little as possible
is subject to interpretation in the context of cultural norm s of the Asia-Paci c region. Anecdotal evidence illustrates that
tensions can arise betw een conservation professionals w ho hold m aterial authenticity sacrosanct and local stakeholders
w ho call for renew ing the m aterial fabric to ensure the spiritual intactness of the place.
5
The Nara Document on Authenticity, adopted in 1994, has articulated a m iddle ground w hich re ects a w ay of balancing
the varying de nitions of authenticity, re ecting diverse underlying values in the conservation process and product. The
Nara Docum ents states that It is thus not possible to base judgem ents of value and authenticity on xed criteria. On the
contrary, the respect due to all cultures requires that cultural heritage m ust be considered and judged w ithin the cultural
contexts to w hich it belongs.
The Nara Docum ent further states that, Depending on the nature of the cultural heritage, its cultural context, and its
evolution through tim e, authenticity judgem ents m ay be linked to the w orth of a great variety of sources of inform ation.
Aspects of these sources m ay include form and design, m aterials 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 perm its elaboration
of the speci c artistic, historic, social and scienti c dim ensions of the cultural heritage being exam ined.
The Nara Docum ent does not provide a license for cultural relativity, but rather, reaf rm s the validity of a rational system
for evaluating and consequently safeguarding various heritage values, one that is consistent w ithin its ow n socio-cultural
system . In so doing, social, cultural and spiritual values m ay gain a foothold alongside artistic and historic values in the
conservation process.
Principle4: Theconservation process succeeds when histories arerevealed, traditions revived and meanings recovered in a
palimpsest of knowledge.
In extrem e, but increasingly m ore com m on circum stances, the thread of continuity of a historic place has been frayed to the
point that it is barely distinguishable. Left to the course of econom ic renew al and the tides of social change, the heritage
and the values it em bodies is often vulnerable to being erased or subsum ed into new er narratives w hich m ay not be self-
re exive, thus failing to incorporate the richness of a places past into its present regim es of creating and re-creating
identity and know ledge. The judicious intervention in these cases through a conservation activity can result in revealing
unique histories, reviving local traditions and recovering the m eanings of the place.
The UNESCO Asia-Paci c Heritage Aw ards have recognized projects w hich have excelled not only in technical m erit but also
in the dram atic im pact that they have effected, especially in the revival of traditions that are dying or have faded aw ay.
These projects do so in a w ay w hich does not im pose one solitary reading of the place, freezing one particular narrative at
a point in tim e, but rather by revealing a renew ed understanding of the place in the context of other historical layers of
m eaning em bodied in the building. In som e projects, this remembranceof meaningspast is accom plished in a quite literal
yet effective m annerby physically juxtaposing the layers of the building history over each other until the present day. In
other projects, this recovery is a social process, w hich reaches back into historical traditions and revives the living core of
the com m unity by renew ing social practices associated w ith place.
Principle5: Appropriateuseof heritageis negotiated, resulting in a life-enhancing space.
The projects w hich have w on the UNESCO Asia-Paci c Heritage Aw ards have often been conducted by conservationists
w ho also play an advocacy or activist role. W ith heritage conservation unfortunately being a relatively low priority on
m ost political agendas in the Asia-Paci c region, the conservationist-activists have had to shoulder the task not only of
First Principles
6
ensuring professional excellence, but also of raising aw areness of the m ultiple bene ts of conserving heritage. The essential
m essages conveyed by these change agents include: heritage as a fundam ental cultural right, heritage as a building block
for sustainable developm ent and heritage as a shared resource for local stakeholders.
The success of such advocacy efforts is usually the result of a process of negotiationrevisiting the fundam ental questions
of w hich heritage is im portant, to w hom , w hyand how it should be conserved. The cultural diversity of the Asia-
Paci c region, em bodied in m ulticultural in uences dating back to its earliest periods of history, belies easy answ ers to
these questions. Add to the debate, at the local level, the com plication of state-m andated histories and de nitions of
heritage, and the process becom es very com plicated indeed.
Seeing valuein theprocessof negotiation, how ever, m eans 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 em erged all the stronger, ensuring greater
social and political sustainability.
Buildingon Best Practices
The UNESCO Asia-Paci c Heritage Aw ards w inners bring to light best practices in conservation of tangible heritage as
inextricably linked to intangible heritage. As a w hole, they add to the global scope of our understanding of the role of
heritage conservation as a social developm ent process. They dem onstrate that good conservation practice needs to be
grounded in an understanding of the place and its m any values. These values of place, identi ed through a participatory
cultural m apping process, should inform the conservation decision-m aking and process. The values-based approach
to conservation practice yields a richly-nuanced end resultw here tangible and intangible heritage are authentically
conserved, and historic layers of m eaning are revealed. Through the application of these rst principles, w e can ensure the
long-term safeguarding of our cultural heritage, w hich form the core resources for sustainable developm ent.
UNESCO Asia-Pacic
Heritage Awards Criteria Essays
Award Criteria Essays
9
Spirit of place conveys the cultural essence of a site. In historic sites it encom passes the m eanings of a place accrued
through tim e 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 draw s people to the place, speaks to them , engages their em o-
tions and, often, gives them a sublim e experience of their surroundings.
The concept m ay 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 sites history, traditions, m em o-
ries, m yths, associations and continuity of m eanings connected w ith people and use over tim e. Collectively, these tell the
story of the place, generate its identity and give it em otional im pact.
How does conservation of a physical structure articulate its spirit of place? Prim arily, the place has to be true to its history.
This truth m ust be conveyed in the very process of conservation itself, in a heritage sites physical form , in its contem porary
use, and in its interpretation and presentation.
Authenticity, East and West
M ost fundam entally, the spirit of a place resides in its authenticity, retention of w hich is an essential condition of heritage
conservation, as re ected in m any international charters, especially the Nara Docum ent on Authenticity. The challenge,
therefore, is rst to identify the authentic elem ents that de ne the character of a place and convey its spirit, and, secondly,
to ensure that through the conservation process these elem ents are m aintained, safeguarded and celebrated.
As the Nara Docum ent asserts, judgm ents of authenticity m ust be culture-speci c. This em erged in the conservation
of the ChengHoon TengMain Temple (2002 Aw ard of M erit) in M elaka, M alaysia, for w hich I w as the heritage architect.
The seventeenth century tem ple, the oldest form al site of w orship of M alaysias Chinese com m unity, w as restored to a high
standard, using traditional m aterials and techniques w herever possible. At the insistence of the congregation, m any of the
tem ples frescoes or chai hui, w hich had succum bed to the tropical clim ate, w ere repainted by specialist Chinese artisans
w ith the traditional tem pera paints and organic dyes. Since tim e im m em orial such frescoes, w ith their relatively im perm anent
inks and paints, have been periodically renew ed, often by different artists, to honour the deities.
But renew al in the conservation of traditional Asian architecture raises the question of authenticity. To W estern eyes, ac-
custom ed to the preservation of frescoes in their found fragm entary form , not only w ould the new painting look too bright,
fresh and intact, but also it w ould be deem ed poor conservation practice, resulting in the loss of m aterial authenticity. From
the Chinese view point, how ever, renew al of the frescoes conform s to traditional religious beliefs and prom otes continuity
through artisanship and apprenticeship. There is authenticity in form and function as w ell as m eaning, helping to preserve
the tem ples cultural essence, enhancing its spirit of place.
Laurence Loh
Conveying the
Spirit of Place
Criteria A.
The articulation of the structures heritage
values in order to convey the spirit of place
through the conservation work.
UNESCO Asia-Pacic
Heritage Awards Jury Member
10
Histories revealed
Since heritage is by de nition a legacy of the past, revealing the history of a heritage site is vital to m anifesting its spirit of
place. Visual evidence of the m arch of tim e, and clear interpretation of that evidence, m akes people feel they have direct
access to the history of the place. This can be achieved by displaying a sites accretions over its lifetim e, rather than restoring
it to a state at a chosen m om ent in tim e. Exhibiting a sites historical tim eline often enlarges its signi cance and am pli es
its spirit of place.
The conservation of the Guangyu Ancestral Hall (2003 Aw ard of Excellence) in Guangdong province, China sensitively
exposes its layers of m eaning. Not only w as the buildings original structure, dating from the Song dynasty (960-1279)
retained and repaired, but also m any traces of its 600-year history w ere preserved. These include political slogans painted
onto its w alls and gables during the Cultural Revolution (1966-1976). M oreover, the replacem ent of original com ponents,
m ainly for reasons of safety, w as guided by the principle of m aking the new distinguishable from the old. This juxtaposi-
tion is apparent, for instance, in the replacem ent of the halls original, severely w eathered red sandstone colum n bases.
The new bases, fashioned in the sam e style and m aterial, are placed next to the old ones, giving a sense of their age. The
m eticulous preservation of these historical layers m eans that the Lu clans ancestral hall is not only a record of Qiangang
villages history, but also of Chinas as w ell.

Traditions revived, meanings recovered
Spirit of place com es alive not just in the w ays a site is conserved and presented, but in the w ays it is used and valued by
people. How a place is anim ated by its com m unity gives it m eaning, just as a place has m eaning for its com m unity, be it
historic, social, spiritual or aesthetic. The best conservation brings out the values im plicit in the heritage site and integrates
them into the life of the com m unity. By taking part in the conservation w ork, and then using and m aintaining the building
after it is conserved, the com m unity breathes life into the site, invigorating its spirit of place.
An exem plary case is the rehabilitation of a quartet of 300-year-old, w ooden m osques in Ganish, an historic m ountain vil-
lage in northern Pakistans Hunza valley. The village elders initiated the project to restore the disused Yarikutz, Rupikutz,
Kuyokutz andMamorukutz Mosques (2002 Aw ard of Distinction) to a structurally sound condition, and Ganishs 30-plus
households freely contributed labour, m aterials and organizational skills. Under professional guidance, the sm all m osques
w ere stabilized w ith m inim um intervention that retained their original fabric and intricate decoration. The long abandoned
chataq, a paved courtyard that the m osques enclose, w as returned to its traditional use for village gatherings. The w ork
strengthened com m unity spirit and cohesion in a village that had experienced in recent decades disastrous ooding, sub-
stantial dem olition and m ajor socio-econom ic change. After the projects com pletion in 2001, the villagers set up their
ow n heritage body to m anage their cultural resources. Here, Ganishs spirit of place is am pli ed by villagersw holehearted
participation in reviving local tradition and com m itm ent to sustaining it. Involving the local com m unity from the outset in
the conservation of their heritage is m ore likely to ensure the sustainability of the project and the living traditions.
An equally pow erful project w hich rebuilt social m eaning through the process of recovery is the Krishan Temple (2001
Aw ard of Distinction) at the heart of Kishankot village in Punjab, India. The tem ple, built in the 1830s and containing ne
m urals depicting Hindu and Sikh them es, represents inter-faith harm ony in a region of religious and sectarian strife. These
11
divisions had also af icted Kishankot, a com m unity of Sikhs, Hindus and Christians, com pounding its high unem ploym ent
rate and social problem s. Restoration of the dilapidated tem ple w as not only a technical job but also a social process. It
m obilized the com m unity to w ork together, em pow ered them to offer ideas and m ake decisions, and equipped them w ith
skills to assum e responsibility for the building once it w as conserved. Villagers becam e deeply involved in the project
through paid labour as w ell as unpaid seva (service for the com m unity by the com m unity), dem onstrating the tem ples
m essage of com m unal cooperation. The conservation project w as linked to long term com m unity developm ent schem es to
im prove the quality of health and education in the village, especially involving its w om en, children and elderly.
Conservation of the Krishan Tem ple w as a contem porary expression of w hat the building stood for, both sym bolically and
m aterially. Painful m em ories found a healing ground through the process of restoration, resulting in the recovered selves
of the people. The tem ples spirit of place w as revived as it becam e again a com m on social, spiritual and educational space
for a m ulticultural com m unity.
Appropriate use
The appropriate use of a heritage site is often the key to revealing the cultural values em bedded w ithin its original design
and purpose, w hich is, in turn, a rst step tow ards enshrining its spirit of place. The concept is particularly evident in
CheongFatt TzeMansion (2000 M ost Excellent Project) in George Tow n in the M alaysian state of Penang, for w hich I had
to privilege to serve as the conservation architect. Once a neglected ruin, the building has been m eticulously restored to its
form er glory, revealing its m any layers of m eaning, the philosophy of its m aker and the genius of its artisans.
Cheong Fatt Tze personi ed the im m igrant success story, rising from hum ble origins to social and nancial prom inence as
head of a business em pire at the turn of the last century. He built and decorated his m agni cent 38 room m ansion w ith the
nest m aterials from Europe, yet based the design on Chinese principles of geom ancy and feng shui, and im ported m aster
craftsm en from China to do traditional decorative w ork. Today, the sum ptuous restored m ansion re ects his cosm opolitan
outlook and eclectic tastes.
As an architectural statem ent, given its beauty and originality, conservation of the building alone w ould have carried the
day. How ever, its spirit of place has been further enhanced by its adaptive reuse as a heritage hom estay. The creation of
16 guestroom s enables residents to experience life in the m ansion as it w as in its heyday, w hen entry w as a privilege, thus
m aintaining its aura as a private sanctuary. The presence of residents also ensures that the m ansion is alw ays anim ated
w ith a hum an presence, in keeping w ith the conservation principle that the m ost sustainable use for a heritage structure is
one w hich is closest to the use for w hich it w as originally intended.
Interpretation of the house is crucial to evoking its spirit of place. During daily guided tours, the m ansions stories are
retold, m yths reborn, m em ories aroused, adding to the intangible quality of the experience for visitors. They start to form
an association in their m inds betw een the place and its creator, and they never fail to be m oved by the beauty of the ar-
chitecture and interior dcor.
Visitors are also introduced to the concepts of geom ancy and feng shui observable throughout the m ansionin particular
the chi point (energy vortex) in the m iddle of the central courtyard. Visitors w ith extra sensory abilities have perceived its
Krishan Temple, India
12
existence. Real or im agined, the chi point and its explanation contribute to em bedding the m ansions spirit of place in the
psyche of visitors.
The vision of Cheong Fatt Tze M ansions current ow ners is to attain the right balance betw een conservation and change,
the am bience of a hom e and the exigencies of a boutique hotel, a sense of privacy versus a public role, a m ood of inform al-
ity as w ell as a sense of etiquette, and m ost of all, to retain the spirit of place that draw s people back to w here it resides
again and again.
Life enhancing architecture
These regional exam ples carry w ithin them abstract and m etaphysical concepts that are as im portant as the authentic,
physical substance of the sites. Expressions of intangible heritage are spiritual assetsthat are unquanti able and im pos-
sible to label, but nevertheless are central to the Asian approach to heritage conservationboth in how heritage is perceived
and how it is conserved.
It is the totality of these tangible and intangible values, recognized and recovered, or created in addition to original them es,
w hich reveal the spirit of place w ithin the architecture. It is an architecture that is life enhancing, that forces us to engage
w ith the site through the use of all our senses, and that allow s us to be touched by a place w here our sense of self and w ell
being is strengthened and revitalised.
The m essage that buildings w ith a strong spirit of place convey is that the answ ers 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
allow ing w hat is living to stay alive and true to the place. It is about letting the architecture, the traditions and the cultural
essence live on w ith m inim al intervention. Often it is also about the recovery of m eaning that has been lost through attri-
tion. If change is necessary, the change m ust be so seam less that very quickly it becom es absorbed into the original value
system . Before long, it attains its ow n m eaning and becom es part of the collective m em ory, as if it has alw ays been there
as part of the place.
Cheong Fatt Tze Mansion, Malaysia
13
UNESCO Asia-Pacic
Appropriate useis a key factor in evaluating the quality of heritage conservation projects. W hether the original property is
a palace or a fort, a factory or a house, a church or a m osque, an archaeological site or a cultural landscape, how such a place
w as 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 signi cance. How it functioned historically, its original
(as w ell as later) purpose, its sym bolic im portance in the com m unity, and its continuing social or spiritual values.
Use is concerned w ith design, m aterials, layout and decoration, but also involves m any intangible factors. These m ight
include the m ovem ents of people into, out of, and w ithin the building or site; the periods of occupancyw hether seasonal,
m onthly, w eekly or daily; and especially variations or specializations in use w ithin or around the site. Even from an
architectural point of view the concept of use m ight include the effects of voices and sounds, relative tem perature and
hum idity, and countless other, often m inute factors that together com binealong w ith cultural m em ory and historical
associationto give a building or site its spirit of place.
Use then, is a determ ining aspect of a buildings or sites identityan aspect perhaps not conveyed fully by photographs or
draw ings but one that can best be gained through direct access to the place itself. Evaluating a project for its use value
becom es a task of careful understanding and extrapolation from past experience by anyone undertaking a conservation
project, or anyone assessing the results of it afterw ards. They m ust visitthe site in their im agination. Com parisons w ith
other buildings or sites m ay be m ade. But in the end pictures and w ritten descriptions can only begin to determ ine w hether
an appropriate use has indeed been found, or w hether the new use fails to convey the heritage values im plicit in the
building or site. The nal test is the experience of the place itself.
Questions of use and reuse
Probably the m ost im portant question of appropriate use is w hether the prim ary concern is the retention of distinctive
architectural or other physical form s, or w hether considerations of use pertain m ore to cultural, social and sym bolic values.
To give an exam ple: a historic church m ight w ell be adapted to another kind of use. The im m ediate im pulse is to assum e
it should becom e, say, a com m unity centre if it no longer is needed as a church. But w hat about a potential com m ercial
use? Can a church becom e a restaurant? A discothque? Such new uses m ay best preserve architectural and decorative
elem ents that distinguish the building. But do such new uses adequately address the less tangible aspects of a building and
its signi cance? Alternatively, w ere the church to becom e housing for hom eless people or a clinic, these functions m ight
w ell preserve the social or com m unity-oriented qualities of the original church, but m ay require m ore radical changes in the
buildings con guration or appearance. W hat if, for exam ple, a historic public housing project requires partition w alls and
a new interior circulation pattern? Do these new elem ents threaten the physical character of the structure and therefore
its greater signi cance?
William Chapman
Determining
Appropriate Use
Criteria B.
Appropriate use or adaptation of the
structure.
14
The choice of an appropriate use becom es, as a result of these considerations, a com plex intellectual and experiential
balancing act. Critical factors in evaluation m ust include how far the original and historic design qualities and m aterials have
been retained, w hether the property is still used to the sam e degree or m anner as before, and to w hat extent com m unity,
spiritual and sym bolic values continue. Factories turned into housing? M aybe, since few form al architectural features,
m eaning designed features, are affected. A house m ade into a hotel? Perhaps an easier transition and one m ore readily
justi ed.
Other aspects of appropriate use are the intensity of useand the degree of interventioninvolved in the conservation
project. Intensity of userefers to how m any new elem ents are introduced and correspondingly how m any new requirem ents
have been im posed on a site or building. An exam ple m ay be a large private house turned into an apartm ent building or
group of ats. Three units m ay w ell preserve the original character of the residence; ve m ay be too m any. If the project
requires changes to the roof to accom m odate even m ore units in order to m eet the clients needs, this m ay further bring
into question the appropriateness of the choice of reuse.
Degree of interventionintroduces other concerns. How m uch m ust a structure be altered in order to allow a new use or
uses? W ill a steel fram e be needed? W ill w alls be required to divide open spaces into of ces or room s? W ill an im portant
com ponent of the structure need to be rebuilt? These questions underscore the larger question of w hether a planned new
use is a good one or w hether it w ill underm ine the very values that are to be preserved.
But w hat about changes in the less tangible qualities of a place as a result of a new use? Can a m osque becom e a school?
Does this shift in use interrupt the quietude and spiritual values once associated w ith the m osque? W hat about an of ce
building converted into housing? Does this change the overall character of the property? Again, w hat if the question is just
the degree of new use? If, for exam ple, too m any room s are required to m ake a hotel project econom ically viable (from the
ow ner, client or developers point of view ), w ould this tip the balance tow ard a negative appraisal?
Finally, w hat about com m on or utilitarian spaces versus m ore designed buildings or sites? Are highly decorated buildings
representing elite culture of greater value than spaces once occupied by goods or by factory w orkers? Or do highly designed
and decorated spaces also em body w orkm anship and crafts skills associated w ith ordinary people? Is the elite structure less
adaptable ow ing to its higher instrinsic value? Does a factory or w arehouse open itself to a w ider range of uses? All of
these are dif cult questions that need careful consideration of each context.
Appropriate use in charters and resolutions
Since the tim e of the Athens Charter for the Restoration of Historic M onum ents, prom ulgated in 1931, appropriate use
has entered into the language of conservation. Resolution 2 from this rst international congress of conservation specialists
seem s to inherently refer to issues of appropriate use: Proposed restoration projects are to be subjected to know ledgeable
criticism to prevent m istakes w hich w ill cause loss of character and historical values to the structures. Under Doctrines
[and] General Principlesthis sam e early docum ent states: The Conference recom m ends that the occupation of buildings,
w hich insures the continuity of their life, should be m aintained but that they should be used for a purposewhich respects
their historic or artistic character [m y em phasis].
15
The 1964 Venice Charter, the rst com prehensive post-W orld W ar II statem ent of international conservation principles,
considered the issue of appropriate use w ith even greater clarity. Article 5 explains: The conservation of m onum ents is
alw ays facilitated by m aking use of them for som e socially useful purpose. Such use is therefore desirable but it m ust not
change the layout or decoration of the building. It is w ithin these lim its only that m odi cations dem anded by a change of
function should be envisioned and m ay be perm itted.

The 1972 Convention Concerning the Protection of the W orld Cultural and Natural Heritage, referred to as the W orld
Heritage Convention, states a sim ilar priority: These com ponents of the cultural and natural heritage should, in addition,
be restored, w henever appropriate, to their form er use or given a new and m ore suitable function, provided that the cultural
value is not thereby dim inished(Article 22).
During the closing decades of the tw entieth century, concerns over appropriate use increasingly em phasized intangible
cultural values. Australias Burra Charter, rst prom ulgated in 1979, w ith signi cant revisions in 1981, 1988 and 1999, puts
considerable em phasis on the notion of cultural signi cance and value. The pream ble of the present docum ent advocates
a cautious approach to change: do as little as necessary to care for the place and to m ake it useable, but otherw ise change
it as little as possible so that its cultural signicanceis retained [m y em phasis]. To further clarify, the charter states that
cultural signi cance is em bodied in the place itself, its fabric, setting, use, associations, meaning, records, related places,
and related objects [original em phasis]. Under the section on de nitionsthe docum ent explains that Compatibleuse
m eans a use w hich respects the cultural signicanceof a place. Such a use involves no, or m inim al, im pact on cultural
signi cance [original em phasis].
The 1994 Nara Docum ent on Authenticity sim ilarly em phasizes the consideration of tangible and intangible expression[s]
of cultural value. As w ith the Burra Charter, the Nara Docum ent em phasizes spiritand feelingas im plicit aspects of the
signi cance of a place.
M ore recent resolutions and conventions have reinforced this trend tow ard recognition of cultural signi cance. The Principles
for the Conservation of Heritage Sites in China (2002), adopted by the Chinese national com m ittee of the International
Council on M onum ents and Sites (ICOM OS) calls for m inim al intervention(Article 11), recognizing that a building or site
com bines historical, artistic, and scienti c values(Article 3). The Principles also stress that a site should be used in a
rational m anner for the bene t of society,recognizing too that its inherent cultural and sym bolic values m ust in no w ay
be com prom ised for short-term gain(Article 4).
The Hoi An Protocols for Best Conservation Practice in Asia, drafted in Novem ber 2003 under the guidance of UNESCOs
Regional Advisor for Culture in Asia and the Paci c, consistently underscore the retention of integrityand prevention of
dism em berm entin the reuse of historic sites, as w ell the need to preserve the historic character in the broadest sense
w hen undertaking new use projects. In the case of historic residential properties, the docum ent em phasizes the im portance
both of retaining original use and avoiding displacem ent of historic populations.
Dalongdong Baoan Temple, China
16
Historic context of reuse projects
These conventions, charters and docum ents w ere prom ulgated against a backdrop of increasing acceptance of conservation
ideals w orldw ide. Once lim ited to sites of great national and international interest, the concept of conservation began to
be adopted m ore w idely, especially by the 1970s. Coupled w ith the birth of the international environm ental m ovem ent
and a grow ing scepticism of progressiveplanning policies, the conservation of historic places becam e a com m on cause
for m any of the post-W orld W ar II generation. The assum ption that m odernw as better and that highw ays, skyscrapers
and clusters of bland public housing w ere preferable to traditional urban neighbourhoods and older buildings cam e deeply
into question. Old buildings offered opportunities for places of continuing cultural value; old neighbourhoods provided an
alternative to planned housing and suburban m igration from inner cities.
The redevelopm ent of older buildings and sites becam e an im portant aspect of this revolution in thinking. Adaptive use
becam e a popular term to describe the revitalization of older buildings through new use. The United States played a
signi cant part in this new trend. Com m ercial developm ents such as Ghirardelli Square in San Francisco and Quincy M arket
in Boston, rehabilitated in the 1960s and 1970s, respectively, celebrated the reuseof older buildings. Features such
as Victorian tow ers, classical colum ns, ornate entrances and strong articulated cornices becam e part of the vocabulary
of reuse projectsas did fenestration openings tted w ith m odern plate-glass, stripped interior w all surfaces and other
features to rem ind the user that this w as an old space m ade new. Through a tax credit program m e adm inistered by the
United States National Park Service, adaptive usebecam e a signi cant expression of United States policy, especially in
the period betw een 1979 and 1984 w hen the tax incentives w ere at their highest. Thousands of historic buildings w ere
redeveloped, from factories through to w arehouses and industrial lofts, m any of w hich becom e upscale apartm ents. Other
older buildings served as banks, retail spaces and of ces.
European nations, long com m itted to the conservation of their historic urban cores, also experienced a surge of reuse
projects, such as Londons Covent Garden M arket and the adaptation of the Gare dOrsay in Paris for the Louvres collection
of nineteenth century art. Sim ilar projects occurred in Sydney, Adelaide and other cities in Australia and New Zealand.
These prestige projects, com bined w ith billions of dollars of private and public investm ent in historic buildings, brought
sophistication to the reuseindustry. Standards for new m echanical system s, law s to regulate new com ponents such as
rooftop additions, and new zoning ordinances that recognized changes in use follow ed in the w ake 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 com ponents, stronger governm ental oversight, the grow ing
in uence of architectural conservation specialists and, especially, the increasing availability of good quality m aterials and
building com ponentssuch as historically com patible replacem ent w indow s and electrical xturesall contributed to the
im provem ent of reuse-type projects. By the 1990s m ost projects of this kind w ere far m ore advanced in their understanding
of conservation principles and show ed greater respect for original m aterials and design, as w ell 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
sim ply changing w indow s and sand-blasting brick w alls (although such projects lam entably do still occur).
M ore recently, say in the last ve years, the issues around reuse of historic places have fallen into tw o prim ary areas. One is
17
an increasing em phasis on appropriatenessin reuse, m eaning the consideration of cultural and historical values as part of
w hat constitutes an acceptable project. The other is a grow ing sophistication in w ays to introduce new com ponents, such
as elevators, stairs, m echanical system s and built additions.
Tw o distinct approaches appear to have evolved in the area of introducing new elem ents. One is to em bedm odern
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 w ay of contrast. This latter approach is not the sam e as that of the 1980s w hen m odern com ponents w ere
used to substitute for historic ones, such as the use of plate glass w indow s. It is, rather, an approach w here original features
are respected and new er elem ents are m eant to be readat a different level, alm ost on a different plane or dim ension,
from their historic context. Such an approach is in keeping w ith longstanding prescriptions on the need to preserve the
original and historic features of a place and to m ake new features distinguishable from old ones.
As a result of these developm ents, approaches to adaptive and even continuing use have grow n increasingly sophisticated.
Recent projects m ore clearly defer to the history and cultural values of the property than they m ight have tw enty years
ago. Som e defer to traditional crafts and skills to ensure the continuity of both technical and com m unity values. Others
reintroduce original uses back into buildings. In term s of new features, m any projects now use up-to-date com ponents
sensitively: high-tech elevators attached to the less visible rears of buildings, consolidated electrical conduits and hubs that
obviate the need to install system s in w alls, and m odern m etal stairs that seem to oat in unaltered historic spaces.
Overall, the issues stem m ing from the concepts of continued use and reuse have been subjected to greater scrutiny in
alm ost all contexts. The result has been a gradual and signi cant im provem ent in the quality of the projects them selves
and the w ays in w hich heritage places convey a sense of their cultural and historic value.

The UNESCOAsia-Pacic Heritage Awards for Culture Heritage Conservation
The projects subm itted for the UNESCO Asia-Paci c Heritage Aw ards for Culture Heritage Conservation dem onstrate a
diversity of approaches to the appropriate use and adaptive reuse of historic properties. These approaches m ay be usefully
grouped in four categories: continuing original use, return to original use, m inim al change of use and com pletely new use.
All involve varying levels of (often reversible) intervention as part of the conservation process.
Continuity of use
A large num ber of Aw ard-w inning projects represent continuity of use. M ost of these are historic religious buildings.
Those that required a relatively high degree of intervention to repair their fabric and m odernize their facilities include: the
Ohel Leah Synagogue in Hong Kong SAR, China (2000 Outstanding Project), a 1901 landm ark tted w ith new m echanical
system s and a contem porary external staircase and lift; the Hung Shing Old Temple in Hong Kong SAR, China (2000
Outstanding Project), a sm all, rural tem ple that needed reroo ng and refurbishm ent of decorative elem ents; the Church
of Our Lady of Mount Carmel in M ullew a, W estern Australia (2004 Aw ard of Distinction), w hich had its stained-glass
w indow s repaired and cem ent render rem oved; and St. ThomasCathedral in M um bai, India (2004 Aw ard of M erit), w hich
had a roof replaced and an ancillary building reconstructed.
Sydney Conservatorium of Music, Australia
18
Those that involved a low er level of intervention to continue existing uses include: the Yarikutz, Rupikutz, Kuyokutz andMamorukutz
Mosques (2002 Aw ard of Distinction) and the Astana of SyedMir Muhammad (2003 Aw ard of Distinction), both in northern Pakistan,
w hich w ere stabilized and repaired; the Catholic Cathedral of theImmaculateConception in Hong Kong SAR, China (2003 Honourable
M ention) w hose roof w as w aterproofed and lighting and accoustics redesigned; and DorjeChenmo Temple in Ladakh, India (2004
Aw ard of M erit) a project centering on restoring the sm all Buddhist shrines deteriorated m urals.
Apart from religious buildings, the conservation of several historic streetscapes and tow nscapes also restored their fabric and im proved
their infrastructure, but largely left their com m ercial or residential uses unchanged. Several of these are in China: the Zhongshan Road
Project in Quanzhou, Fujian province (2001 Aw ard of M erit); the Cangqiao Historical Street in Shaoxing, Zhejiang province (2003
Aw ard of M erit); the Zhangzhou City Historic Streets in Fujian (2004 Honourable M ention); and the Water Townsof theYangtze
River (2003 Aw ard of Distinction).
In India, the Jaisalmer StreetscapeRevitalization Project (2002 Honourable M ention) in the m edieval Rajasthani fort city of Jaisalm er
restored sandstone facades and installed m odern am enities in a traditional neighbourhood. M um bais Dadabhai Naoroji Road
StreetscapeProject (2004 Aw ard of M erit) restored shopfronts and signage to re ect the areas Victorian-era com m ercial character. In
Australia, the Broken Hill HeritageandCultural TourismProgramme (2002 Honourable M ention) revitalized an historic, New South
W ales m ining tow n.

Return to original use
Projects that restored historic buildings to their original use are far few er in num ber, but again, religious buildings predom inate. Perhaps
the m ost dram atic reversion of a spiritual sanctuary to its original purpose w as that of St. Ascension Cathedral in Alm aty, Kazakhstan
(2004 Aw ard of Distinction). Built in 1907, the extraordinary tim ber building fell into disrepair after the 1930s, w hen it w as used as a
m useum and radio station. After substantial structural repairs and repainting of the exterior and interior surfaces, the cathedral w as
returned to its form er glory and intended function as a place of w orship for the Russian Orthodox com m unity of Alm aty.
Less dram atic but equally im pressive w as the restoration of a disused sim (Buddhist ordination hall) to an active role in Wat Sratong
(2002 Aw ard of M erit), a village tem ple near Khon Kaen in Thailand, and the stabilization of the m id-eighteenth century St. Josephs
Seminary Church (2001 Honourable M ention) in M acao SAR, China. So structurally unstable that it w as closed in 1995, the Baroque-
style church had to be given a new dom e, pillars and foundations before it could be reopened to the faithful in 1999.
Minimal change of use
A very w ide range of conservation projects that involved a m inim al or m oderate change to the sites traditional use have w on Aw ards.
A sam pling: St. PatricksCollege, an Australian parochial school becom ing a tourism training institute in Sydney (2000 Outstanding
Project); DBSHouse, a com m ercial of ce building in M um bai converted for use as a bank (2001 Aw ard of M erit); the Harischandra
Building, a colonial building adapted as a m onksresidence in Sri Lanka (2000 Honourable M ention); and the Centrefor Khmer Studies,
a tem ple com plex used as a library and m eeting space (2002 Honourable M ention). There has also been the conversion of a house into
a bank in the Residenceof CharlesProsper Wolff Schoemaker (2000 Honourable M ention) and an architectsof ce at the Polsheer
House (2002 Aw ard of M erit). These w ere all conservation projects of the best typew here the use w as little changed, and therefore
less intervention w as required.
19
Som e Aw ard w inning properties w ere restored sim ply as heritage sites before an appropriate use w as found for them . Tw o
projects in Rajasthan, IndiaChanwar Palkhiwalon-ki-Haveli in Am ber (2000 Excellent Project) and Ahhichatragarh Fort
in Nagaur (2002 Aw ard of Excellence)em ployed or revived traditional artisan skills in m assive efforts to stabilize and restore
the abandoned sites. Although the w ork w as done w ithout a speci c use planned, the haveli (m ansion) has since becom e a
textile m useum and the fort a venue for local festivals and perform ing arts. The restoration of MawsonsHutsHistorical
Site (2000 Honourable M ention), an early tw entieth century explorers cam psite in Antarctica, w as undertaken prim arily to
preserve a historic chapter in the nations history, in a rem ote site w ith very little visitation. These w ere restorations of the
purest kindreuse and econom ic gain played no part in their rationalization. They rem ind us that som e sites and buildings
require no econom ic justi cation for their survival if they can have the support of their com m unity.
Completely new use
Aw ard-w inning projects that involved change to a com pletely different use are less num erous, but perhaps m ore striking
because of the contrast betw een the old site and its new incarnation. Am ong them : the adaptation of a seventeenth century
colonial m ansion in Jakarta, Indonesia into the National ArchivesBuilding (2001 Aw ard of Excellence), a straightforw ard
restoration w ith few high-tech frills but excellent w orkm anship; the reinvention of a rural tea factory as the upscale
Tea Factory Hotel (2001 Aw ard of M erit) retaining m uch of the utilitarian buildings open spaces and tea-processing
m achinery, in the central highlands of Sri Lanka; and the conversion in Singapore of the Convent of theHoly Infant Jesus
(2002 Aw ard of M erit) into CHIJM ES, a lifestylecom plex of shops and restaurants, w ith its 1903 Gothic Revival-style
church now used for w eddings.

Australian projects are w ell represented in the new -use category, w ith three in and around Sydney alone: the once derelict
Bushells Tea Warehouse (2001 Aw ard of Distinction) transform ed into of ce spaceprobably the m ost technically
advanced of the Aw ard w inners; an historic arm ory and stables converted into the Sydney Conservatoriumof Music
(2002 Aw ard of M erit), and the FemaleOrphan School, an abandoned orphanage and m ental hospital m ade into a cam pus
building at the University of W estern Sydney (2004 Honourable M ention). In Adelaide, the old Treasury Building w as reborn
as the Medina GrandAdelaideTreasury Hotel (2003 Aw ard of M erit). M any of these reuse projects have involved the
sensitive insertion of m echanical system s, m odern utilities, elevators and other contem porary features, w hile the original
buildings continued to be legible as historic sites.
To take just one exam ple, the reuse of Bushells Tea W arehouse in dow ntow n Sydney dem onstrates the harm onious m erger
of high-tech adaptation and conscientious preservation. The project introduced m echanical system s, an elevator and other
services to convert the building to of ce use. State-of-the-art electrical and com m unication hubs w ere installed and
all w orkstations w ere organised around centralized pow er, cable and telephone lines. Lighting w as also provided from
the central hub. This choice allow ed for the retention of the original open plan of the w arehouse and even its industrial
equipm ent. Original w all surfaces, dow n to aking paint and graf ti, w ere also preserved.
Notew orthy is the num ber of projects involving adaptive reuse as m useum sthe m ost conventional approach to
conservation, but one that clearly has public and educational bene ts. Signi cant m useum projects include the Phra Racha
WangDerm palace in the old naval headquarters in Bangkok, Thailand (2004 Aw ard of M erit); the KowPlainsHomestead
in Victoria, Australia, a late nineteenth-century log cabin (2002 Honourable M ention); Rumah Penghulu, a vernacular
Top: Polsheer House, Iran
Above: Bushells Tea Warehouse, Australia
20
tim ber house that is now a space for folk life exhibits in Kuala Lum pur (2000 Honourable M ention); and the Tak SengOn Pawnshop,
reused as a m useum and teashop in M acao SAR, China (2004 Honourable M ention).
Intensity of use
Apart from change of use, intensity of useis an im portant factor in evaluating the effectiveness of conservation projects. But often
it is a factor overlooked by ow ners, architects or developers w hen m aking key decisions early in the planning stage. A project that got
it right w as the Hotel delOrient in Pondicherry, India (2000 Outstanding Project), w here existing w alls, room s and hallw ays w ere
repaired to convert a large private house into a sm all hotel. It dem onstrated a consensus by the parties involved that the num ber of
room s w ould be lim ited by the existing space. The Tea Factory Hotel also lim ited reuse to the original structure, w hen it m ight have been
tem pted to expand the num ber of room s beyond this lim it. Sim ilarly, com m ercial reuse projects, such as the DBS House, the residence
of Charles Prosper W olff Schoem aker, and Polsheer House show ed adm irable restraint in deciding on the num ber of services, of ces and
other uses needed for new purposes.
Som e projects, such as the National Archives Building, necessarily experienced a change in intensity, but that change w as done w ith
respect to the original character of the building. The sam e can be said of the far m ore high-techtransform ation of Bushells Tea
W arehouse into an of ce building. In both exam ples, the need for new uses overrode the general preference for m inim al change of both
use and intensity. Nevertheless the results are a satisfactory accom m odation to both the historic signi cance of the building and the
m odern requirem ents of its new role.
But even w hen there is continued use or m inim al change of use and intensity, som e degree of intervention is often necessary. The degree
is determ ined by the condition of the property as m uch as the desire to introduce changes of use or intensity of use. St. Patricks College
rem ained an educational institution but required the insertion of new m echanical system s and services, in addition to the restoration
of its historic elem ents. The dilapidated St. Ascension Cathedral required a high level of intervention, though the nal product looked
little different from the original. Sim ilarly, the seem ingly m odest restoration of M aw sons Huts in Antarctica by an Australian team
of architects and conservators show ed little apparent change, but w as in fact a substantial rebuilding of a severely deteriorated
structure.
The UNESCO Asia-Paci c Heritage Aw ards have recognized a diverse range of approaches to conservation practice and use and reuse
of historic buildings and sites. These have included traditional, alm ost pure, restorations and stabilizations of sites, through to m useum
projects centred on historic buildings, to m ore dram atic reuse projects involving the injection of advanced technology into historic
structures. The best projects have often been those w here intervention w as least visible, w here old buildings in a state of disrepair
have been returned to their original use or given uses that m inim ally alter their historic character and feeling. The Aw ard-w inning
projects dem onstrate the possibilities open to ow ners and com m unities to ensure that the regions rich heritage m ay be preserved for
the future.
21
The conservation of built heritage begins w ith nding out the facts and understanding the m eaning of a place. Interpretation,
or telling the story of a place, m oves beyond a straightforw ard narration of the facts to celebrate the stories associated w ith
the place in either historical or legendary form . These stories exist in the m inds of local people or m ay be discovered through
research by interested scholars. As such, interpretation m ay be seen as the retelling of a know n story.
Good interpretation not only draw s upon speci c facts and stories but sensitively relates to the cultural values of the
present com m unity. These requirem ents for good interpretationfacts, sensitivity and relevancem ay seem obvious, but in
practice, interpretation is only as good as the people doing it, and it is very easy to do it badly.
Insuf cient research is one of the m ost com m on problem s affecting the quality of interpretation, and this is often due to
blind faith in the published w ord and to tim e constraints. The consequence can be the perpetuation of assum ptions rather
than accurate facts, leading to aw ed interpretation.
In addition, m any cases of interpretation are indifferent to the interests and needs of the com m unity, or, w orse, insensitive
to the underlying signi cance of the place. This is often the case w hen there is lack of com m unity involvem ent in the
interpretative process, and failure to understand the com plexity of the place or to present interpretative m aterials in a w ay
that stim ulates and sustains interest in a broad cross-section of visitors.
M oreover, there are often con icting view s on w hich version(s) of a story truly expresses the signi cance of a heritage place.
This is probably m ore apparent in Asia, w here m any places have experienced a colonial past. The com plex m ulticultural
layers of history of heritage places in these form er colonies pose particular dif culties for telling stories that re ect m ultiple
heritage values. Hence, frequently, the stories of these Asian places are only interpreted truths, alm ost inevitably tinted by
different understandings of the m ain storyline. To com plicate m atters further, there can be differences in the storytelling
betw een professionals (trained conservators and interpreters) and residents, w ho probably perceive them selves as having
greater ow nership of these stories.
Over tim e, the values of a place m ay change. After all, values re ect the judgem ent of a particular person or group
at a particular point in tim e. Different people have different perspectives on the im portance of any given place, so its
signi cance m ay grow, dim inish or evolve as ideas change about w hat constitutes signi cance. As such, good interpretation
entails presentation of inform ation that w ill not becom e outdated in a short period of tim e.
The elements of a story: dening and assessing signicance
The story of a place lies in its signi cance or its values. Signi cance not only refers to the physical fabric or physical
context of a place, but also to the character-de ning elem ents that contribute to its values. De ning signi cance is about

Interpreting the
Signicance of
Heritage Sites
Criteria C.
The interpretation of the cultural, social,
historical and architectural signicance of
the structure(s) in the conservation work.
David Lung
UNESCO Asia-Pacic
with contributions by
Lynne DiStefano
Lee Ho Yin
Debbie Wong
22
identifying these values and their contribution to the m eaning of a place.
To establish the signi cance of a place, w e m ust rst understand the place, its character and its story. Only then can w e tell
an engaging story to an audience. The rst step entails gathering evidence, both physical and docum entary, on the place.
Physical evidence com prises inform ation that can be retrieved from the physical fabric of a place, w hich often includes a
site survey and on-site photographs. Docum entary evidence covers a broad range of resource m aterials, including w ritings,
draw ings and photographs, as w ell as oral inform ation. Next com es analysis of both the physical and docum entary evidence
in order to arrive at a balanced assessm ent of the place. After analysis, a set of criteria should be used to establish the
signi cance of a place.
Different international charters for heritage conservation have adopted slightly different term inology to de ne the
signi cance of a place. Table 1 provides a com parison of such term inological differences.
Table1: De nitions of Signi cance and Assessm ent Criteria in International Charters
Charters Denition of Signicance/Assessment Criteria
Venice Charter
(1964)
Referred to as cultural signi cance and encom passes architectural, historical,
social and scienti c values.
W ashington Charter
(1987)
Referred to as qualities, w ith the follow ing de nition:
Qualities to be preserved include the historic character of the tow n or urban
area and all those m aterial and spiritual elem ents that express this character,
especially: urban patterns de ned by lots and streets; relationships betw een
buildings and green and open spaces; the form al appearance, interior and
exterior, of buildings de ned by scale, size, style, construction, m aterials, colour
and decoration; the relationship betw een the tow n or urban area and its
surrounding setting, both natural and m an-m ade; and the various functions
that the tow n or urban area has acquired over tim e.
ICOM OS New Zealand Charter
(1992)
Referred to as cultural heritage value and cultural m eaning. These refer to
places w hich: have lasting values and can be appreciated in their ow n right;
teach us about the culture of those w ho cam e before us; provide the context
for com m unity identity w hereby people relate to the land and to those w ho
have gone before; provide variety and contrast in the m odern w orld and a
m easure against w hich w e can com pare the achievem ents of today; and provide
visible evidence of continuity betw een the past, present and future.
Rumah Penghulu, Malaysia
23
A com prehensive approach should be used to de ne a set of criteria (values) for assessing signi cance. Consistency in the
criteria allow s for a m ore accurate assessm ent and better interpretation in relation to other heritage places. Of course, it
is not alw ays possible to nd evidence for all criteria; a place m ay be deem ed signi cant if only one or tw o criteria are
applicable.
As it m eets the assessm ent needs of m any countries, the set of criteria (values) listed in Australias Burra Charter have
becom e w idely used in Asia and the Paci c, although som etim es in m odi ed form . According to the Burra Charter, cultural
signi cance m eans aesthetic, historic, scienti c, social or spiritual values for past present or future generations. The values
are de ned in Table 2.
Table2: Types of Heritage Values
Historic Value W hat the site has to tell us about the course of hum an history, or the history
of a group or culture. The site m ay conserve im portant physical fabric or
other evidence of the past. It m ay be associated w ith im portant events and
developm ents of people.
Aesthetic and Artistic Value The intellectual or em otional im pact of a place. This m ay be the em otional
association or m ood of a site. It m ay also be a dem onstration of a particular
design, style, artistic developm ent or high level of craftsm anship.
Scienti c and Research Value The capacity of a place to provide signi cant know ledge of value to hum anity.
Social Value The degree and the w ay in w hich a place is now or w as in the past a focus of
spiritual, political, national or other cultural activity to m ajority or m inority
groups.
Adapted fromProceedings of theInternational Conferenceon Cultural HeritageManagement and Urban Development:
Challengeand Opportunity, Beijing, 2000
Charters Denition of Signicance/Assessment Criteria
Burra Charter
(1979, w ith revisions in 1981, 1988
and 1999)
Referred to as cultural signi cance and value. Cultural signi cance m eans
aesthetic, historic, scienti c, social or spiritual value for past, present or future
generations. It is em bodied in a place itself, its fabric, setting, use, association,
m eanings, records, related places and related objects.
Principles for the Conservation of
Heritage Sites in China (com m only
referred to as China Principles)
(2002)
Referred to as heritage values, and com prising historical, artistic and scienti c
values.
Female Orphan School, Australia
24
Broadening the heritage horizon: value-added alternatives
Taking a step back, let us exam ine how the understanding of heritage value has evolved through tim e. Alois Riegl, a pioneer
in the eld, clearly distinguishes the difference betw een m odern and traditional m eanings of value. In the traditional usage,
the value of a place lies in keeping the story of a place unchanged, w hile in m odern usage, value is perceived as changing
in response by different generations to a speci c cultural context, and hence allow ing the story to evolve.
Jukka Jokilehto, in A History of Architectural Conservation (1999), states clearly that m odern conservation is principally
characterized by the fundam ental change of values in contem porary society. Based upon Riegls earlier w ork, Jokilehto
poses the concept of universal value, w hich is not sim ply a best m odel, 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 com m on,
universal heritage of hum anity.
W hile there are som e values that have universal acceptance (such as historic, aesthetic and scienti c), the necessity for
ne-tuning the categories of heritage value to adequately re ect a particular local context has gradually been recognized.
Further to the m entioned charters and evaluation criteria, alternatives for establishing the signi cance of a place have been
put forw ard. One exam ple is the w ork of renow ned conservationist Bernard Feilden. In Conservation of Historic Buildings
(1994), he suggests, use valuesand em otional valuesare as im portant as cultural valuesin establishing signi cance.
W hile this m ay not be a set of criteria that all countries w ould choose to follow, Feilden has indeed expanded on how
w e look at heritage values. He show s us that the signi cance of a place m ay extend beyond its cultural factors, and that
em otional and use values can also be seen as im portant determ inants of the value of a heritage place.
A heritage hierarchy: comparing and ranking signicance
The different criteria adopted in different charters and by different experts seem to suggest that there is no xed, standard
set of criteria (values) for assessing signi cance. How, then, can w e com pare the level of signi cance of places? W hile each
place m ay be signi cant in its ow n right, w hat processes are available for com paring the level of signi cance of different
places?
Assessing levels of signi cance can be done using a qualitative or quantitative approach, or both. The qualitative approach
focuses on the description and analysis of a place w ithout necessarily com paring it to other heritage places. In other
w ords, a place is understood and evaluated on its ow n term s. The quantitative approach provides a basis for com paring
one place w ith another, generally using a xed set of criteria. Such com parisons can use a sim ple rating scale, such as the
one proposed by Jam es Kerr in TheConservation Plan (2000), w hich includes: A = exceptional signi cance, B = considerable
signi cance, C = som e signi cance, D = little signi cance.
Sim ilarly, in The Evaluation of Historic Buildings (1980), Harold Kalm an presents a quantitative system for grading
signi cance, on the basis of ve basic criteria: architecture, history, environm ent, usability and integrity. He then subdivides
these ve into detailed criteria. For exam ple, architectureis subdivided into style, construction, age, architect, design and
interior, each of w hich is scored num erically. By adding up the separate scores for each criterion, a num erical score can be
obtained for a particular place. This score allow s for the classi cation of heritage buildings in four grades w hich can then
25
be used for m aking com parisons w ith sim ilar buildings: excellent (of m ajor signi cance), very good (of im portance), good
(of value as part of the environm ent) and fair/poor (of no im portance).
Yet, understanding the signi cance of a heritage place on its ow n is not suf cient to generate interest on the part of the
com m unity. It is how the story is told that gives m eaning to the place. This im portant relationship betw een determ ining
signi cance and interpreting it is dem onstrated in the UNESCO Asia-Paci c Heritage Aw ards for Culture Heritage
Conservation.
The role of the storyteller: the importance of interpreting signicance
The interpretation of the signi cance of a place is about presenting its values in a w ay that the public can appreciate
them . W inning projects of the UNESCO Asia-Paci c Heritage Aw ards exem plify best conservation practice in the region by
successfully revealing the values of historic places and offering valuable lessons from w hich w e can learn.
Since their establishm ent in 2000, the selection criteria have evolved, w ith m ore em phasis being placed on the assessm ent
and understanding of the signi cance of a place. Not only has this encouraged applicants to clearly de ne the heritage
values of projects, it has led to a fuller interpretation of the places through conservation w ork, thus helping to generate
greater aw areness of the im portance of heritage m anagem ent in the Asia-Paci c region.
Although no reference is m ade to any single charter, the selection criteria are based upon the establishm ent of the cultural
signi cance of the heritage place, w ith speci c reference to historical, architectural, aesthetic and social values. The
em phasis on these values is clearly evident in the w inning entries, as show n in Table 3.
Table3: Signi cance of Selected W inners of the UNESCO Asia-Paci c Heritage Aw ards
WinningProject Signicance
Historical Architectural/Aesthetic Social
Ohel Leah Synagogue,
(2000 Outstanding Project)
One of the few rem aining
synagogues in Asia. Built in
the early tw entieth century.
Signi cant representative
of Edw ardian Free Baroque
architecture.
A longstanding place of
Jew ish w orship associated
w ith a w ealthy group of
non-British im m igrants and
pioneering fam ilies of the
colony, such as the Sas-
soons and the Kadoories.
Tea Factory Hotel,
Kandapola, Sri Lanka (2001
Aw ard of M erit)
Original hom e to the
Hethersett Tea Factory.
Predom inant building
type of the hill country of
Ceylon.
Em ploym ent for the local
com m unity as a tea factory.
Tea Factory Hotel, Sri Lanka
26
Cheng Hoon Teng M ain
Tem ple, M elaka, M alaysia
(2002 Aw ard of M erit)
One of the oldest edi ces of
form al w orship for Chinese
im m igrants in M alaysia.
M alaysias earliest
exam ple of Hokkien tem ple
architecture, re ecting the
skills of artisans from Fujian
and Guangdong provinces
in China.
An im portant spiritual and
social centre for Chinese
im m igrants.
Guangyu Ancestral Hall,
Conghua, Guangdong,
China (2003 Aw ard of
Excellence)
An ancestral place of w or-
ship and an integral part of
a 600-year-old village.
A detailed record of the
different styles and crafts-
m anship of Lingnan, w hich
com bines the architectural
styles of ancestral halls
from both the north and
south parts of the Pearl
River delta region.
The practice of ancestor
w orship and sense of
com m unity spirit in Chinese
villages.
The rise of social signicance: leveraging conservation for development
The UNESCO Asia-Paci c Heritage Aw ards show a clear trend of increasing em phasis on social valuehow heritage places
w ere or continue to be a focus of spiritual, political, national or other cultural m eaning for their com m unities. And social
value has expanded to include voluntary com m unity involvem ent in the place and the contribution of the conservation
project to com m unity developm ent. Now, projects no longer sim ply conserve existing social value. Rather, projects becom e
the m eans by w hich greater social value is generated, through reinforcing civic pride, enhancing local identity and
strengthening the com m unitys sustainability. This shift is re ected in m any of the w inners.
The HungShingOldTemple (2000 Outstanding Project) on the island of Kau Sai Chau in Hong Kong SAR, China, is a good
exam ple. The tem ples conservation took into account its profound value to the local com m unity as a place of w orship
and social interaction. Before restoration w ork started, the advice of a fengshui (Chinese geom ancy) m aster w as sought
and auspicious dates chosen. Com pletion of the w ork w as celebrated w ith lavish festivities in w hich the local villagers and
thousands of Hong Kong residents took part. Throughout the project, com m unity input w as encouraged, w ith villagers
inspecting the tem ple and attending site m eetings. The project reinforced com m unity pride, revived the traditional skills of
craftspeople and generated public appreciation of the shing villages heritage w ith its extensive m edia coverage.
The conservation of Astana of Syed Mir Muhammad (2003 Aw ard of Distinction), a 300-year-old Islam ic tom b in a
historic village in Baltistan, Pakistan, w as also discussed in detail w ith the elders of the com m unity. A w oodcraft w orkshop
w as set up to train apprentices, helping to revive handicraft traditions w hile generating incom e for villagers. The pilot
project nurtured in the com m unity a sense of ow nership and pride in its heritage, triggering a locally-driven process to
upgrade buildings in nearby settlem ents.
The conservation of the Krishan Temple (2001 Aw ard of Distinction), a Hindu tem ple in Kishankot Village, Punjab, India, aim ed
to highlight the tradition of exchange am ong the regions different religious com m unities. Rather than the conventional Krishan Temple, India
27
em phasis on physical fabric, the project treated restoration of the tem ple as a social process, a tool for recovering the values
of the place and healing scars w ithin the com m unity. The villagers participated in restoring the tem ple through voluntary
and w aged labour, w hile bene ting from developm ent and learning program m es 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 im part
livelihood skills and other cultural heritage program m es.
In the Australian outback, the Broken Hill Heritage and Cultural TourismProgramme (2002 Honourable M ention)
created m any dynam ic partnerships betw een residents, businesses and authorities to preserve and present a historic m ining
settlem ent. Visitors experience Broken Hills past and present as a living m useum by m eans of booklets, guides, w alks and
trails. The project encouraged com m unity participation and increased the sustainability of the tow n through such m easures
as free heritage advisory services, heritage assistance funding, a residential paint assistance schem e, a verandah restoration
program m e, and heritage training w orkshops for residents. Sustainable cultural tourism w as seen as an im portant grow th
opportunity for the com m unity, and has since generated local pride and econom ic viability.
As social signi cance has becom e m ore and m ore im portant in assessing heritage places, social developm ent has accordingly
becom e m ore prom inent as a goal. The conservation project is now seen as a m eans to an end rather than an end in itself. In
the Asia-Paci c region, w here heritage is often sacri ced to econom ics, this is an encouraging developm ent. The broadening
of cultural heritage values has resulted in the social signi cance of a place being leveraged as a bridge to unite people and
conservation. This is particularly dem onstrated in tw o projects: the VirtuousBridge in M edan, Indonesia (2003 Aw ard of
M erit) and the Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques in Ganish, Pakistan (2002 Aw ard of Distinction).
The rst project is a sim ple bridge, built in 1916, w hich sym bolizes the m ulticultural identity of the city of M edan. The
project coordinator, the Sum atra Heritage Trust, encouraged voluntary participation from all w alks of life to restore and
interpret the bridge. The project is a rem inder that the success of a conservation project is not based on budget, but on
support from the com m unity. In this project, not only w as the spirit of interracial cooperation reignited, the com m unity
gained a stronger sense of belonging through their joint efforts.
The four m osques, am ong the best exam ples of fam ily m osques typical of northern Pakistans Hunza Valley, w ere restored
w ith assistance from the Aga Khan Cultural Service Pakistan. But the project w as initiated by the elders of Ganish and
executed by the villagers, generating a strong sense of cultural identity and ow nership. The villagers are now better equipped
to take care of the m osques in a sustainable m anner, and have form ed new institutions to m anage their heritage assets.

Em phasizing social signi cance and ensuring com m unity involvem ent in heritage projects is an effective w ay to unite
conservation and people. M ore than evoking aw areness of the need to conserve heritage, this approach can generate
civic pride, m aking a com m unity stronger and m ore sustainable. The future of cultural heritage does not just depend on
conserving historic buildings, or im plem enting heritage protection policies, it relies above all on the peoples passion and
pride in their com m unities, their history and their traditions.
Common pool area at Yarikutz, Rupikutz, Kuyokutz,
Mamorukutz Mosques, Pakistan
28
UNESCO Asia-Pacic
A m ajor criterion of the UNESCO Asia-Paci c Heritage Aw ards for Culture Heritage Conservation program m e is the approach
to the technical aspects of the conservation w ork. This technical approach m ust respect and protect the qualities that
underlie a site or buildings heritage signi cance. This signi cance can be derived from historical events that have happened
at a particular tim e and place. Other sources can be socio-cultural values, special relationships from the com m unity,
including religious traditions, socio-econom ic m ovem ents, or governm ental policies. These are often m anifested in a
speci c design or spatial relationships, function, and aesthetic qualities of the site. Usually, special construction techniques
unique to a region are re ected in the craftsm anship or quality of how the building has been put together.
Despite the w ide variety of projects and locations throughout the Asia-Paci c region, there w as a very consistent
conservation philosophy in the technical approach of the Aw ard w inning projects. This conservation philosophy included:
A careful evaluation of the site, its history and cultural values to determ ine the elem ents that contribute to the sites
signi cance and their condition;
A selection of appropriate functions for a site w hich allow s for continued use of the resource w ithout com prom ising any
of the historic qualities;
An appropriate conservation strategy w hich responds to the reasons for renew al and m aintains the historic m aterials and
craftsm anship w ith m inim al intervention from the conservation w ork; and
Involvem ent of the com m unity w hich is essential to value the resource, assist in the technical w ork and m aintain the
site in the future.
Careful evaluation of the site and cultural values
A m eticulous investigation of the history and conditions of the site is critical to understanding how to approach the
conservation w ork. This process contains four essential steps: recording existing conditions, undertaking w ritten research
and oral histories, identifying character-de ning elem ents, and docum enting physical dam age. Som etim es portions of these
steps m ay be repeated as inform ation is gathered that requires m ore research or eld evaluation to verify.
Recording existing conditions often involves detailed m easurem ents of the site and buildings and producing draw ings that
show these relationships and details. The site is also photographed so that the building can be recorded and understood
before any w ork begins. This evaluation w ork results in understanding the evolution of the building including original
construction and m aterials and how the building m ay have changed through tim e. Frequently, original m aterials are buried
by later nishes. Docum enting these layers m ay tell the story of the buildings use or changes in m aterial supply or
construction technology. All of these item s are recorded before restoration w ork begins on a site.
Historical research involves review ing w ritten and visual records and interview ing people fam iliar w ith the site. The w ritten
records m ay be archival governm ent sources, docum ents belonging to the ow ner of the building, journals, new spapers, and
Spencer Leineweber
Understanding
Technical Issues
of Conservation
Criteria D.
The understanding of the technical issues of
conservation/restoration in interpreting the
structures signicance.
29
organization records. Oral histories of those fam iliar w ith the building often provide essential inform ation for changes to
the building or about special uses im portant to the socio-cultural understanding of the site.
Analysis of the building docum entation and the research m ust include identi cation of the features that de ne the historic
character. These character-de ning elem ents often include special m aterials or speci c craftsm anship. These elem ents
should be protected during the conservation w ork. Typically, archival research and oral history inform ation are corroborated
by the physical evidence at the building site. For exam ple, a w ood beam in a structural system m ust be evaluated not only
for its structural capacity but also w ood type, tool m arks of its m anufacture and shaping, joinery, and any decorative or
protective nishes that are applied. All these elem ents contribute to the character of the w ood elem ent and should be
de ned rst in the evaluation phase so that the repair m ay be approached in the m ost respectful m anner.
It is also im portant to understand the current physical condition of the building and record it in a system atic w ay before
any w ork is undertaken. This docum entation is accom plished at several different levels, beginning w ith an overall reconnais-
sance view that evaluates verticality and alignm ents, all the w ay dow n to a detailed investigation of m aterials and nishes.
The detailed evaluation calls for looking at the exterior skin of the building including roof, w alls and foundation, as w ell as
the system s of the building including structural, lighting, plum bing and heating. In addition to surface investigation, a m ore
detailed analysis of conditions is undertaken w hen m ore inform ation about a system is required. Often a careful physical
dism antling of a sm all portion produces inform ation to better understand construction system s. M icroscopic analysis can
provide detail on the com position of m ortars, the distinct colours of paint layers, and speci c w ood species. W hen an ele-
m ent is m issing, shadow lines, colour changes, or research on buildings from a sim ilar period can also be investigated. From
this condition assessm ent a conservation strategy begins to develop in concert w ith a proposed plan for building use.
In the rst year of the Aw ards in 2000, the M ost Excellent Project w as aw arded to the CheongFatt TzeMansion in Penang,
M alaysia. The architect and developers of this project thought of them selves as caretakers of the building, treading lightly and
touching softly. This careful approach allow ed 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 elem ents.
This unhurried discoveryapproach provided inform ation that w as not initially evident, including geom antic principles
about w ealth and harm ony. Gold w as found buried at the auspicious corners of the building to bring continuous w ealth to
the ow ners of the building. Analysis of the rain gutter drainage system indicated that w ater, an elem ent of harm ony in feng
shui principles, ran through oors and ceilings to cool the structure and facilitate am icable social relations for its occupants.
Careful study of decorative w orks over doorw ays provided inform ation about Chinese gods and m yths associated w ith the
building that had been buried by dirt and tim e. Propitious sayings m arked the entry to room s. Further analysis revealed that
an historic nish m ade from tree sap (ta cik or da qi) used to coat the beam s provided term ite protection for the exposed
structural elem ents, and that the roof tiles w ere set in a bed of lim e m ortar w ith anim al hair binder. All this inform ation
Vietnamese Traditional Folk Houses, Viet Nam
30
w ent into form ulating the approach to the future conservation w ork.
The stabilization of the Astana of SyedMir Muhammad in Khaplu, in the Ghanche district of Pakistan (2003 Aw ard of
Distinction) also approached the required w ork in a m easured and analytical w ay. The conservation strategy relied heavily
on detailed draw ings of the sim ple structure. The signi cance of this com m unity tom b w as the vernacular construction
techniques of the w ood fram e and the hand cut nature of the decorative elem ents. M inim al intervention and m axim um
retention w as the strategy of the conservation in order to protect these indigenous construction techniques.
Analysis of the existing condition draw ings indicated that the structure w as leaning about 30 centim etres off-centre. Tw o
options w ere considered for the stabilization: one w as disassem bly, the other realignm ent. The chosen alternative w as
to pull the skew ed structure slow ly back into alignm ent w hile carefully m onitoring any stresses caused to the individual
pieces. This decision w as based on an exam ination of the structure, w hich revealed not only a cribbage joinery system for
the inner shrine but a m ortise and tenon system for the outer supports. Analysing the detailed draw ings show ed that the
building could be m oved upright by pulling at certain points using turnbuckles and cable. Disassem bly w as not selected
because there w ere concerns that the m ulti- joinery nature of the pieces m ight be dif cult to t back together. Traditional
techniques such as protecting the w ood using linseed oil and tam ping the m ud roof by foot w ere processes repeated in
the repair of the building.
The conservation strategy developed in these Aw ard w inning projects w as a direct result of research, docum entation, and
analysis. Understanding the building rst before beginning the conservation w ork w as critical to the success of these
tw o projects.
Selection of appropriate functions for the site
M aintaining the historic m aterials, form and spatial qualities that are identi ed as signi cant to the site are im portant
considerations in investigating new uses for a building. There m ust be a com m itm ent to protect all the character-de ning
elem ents as w ell as an ability to continue the use of the site w ithin the com m unity. This requires careful choices in the
technical approach to the conservation w ork.
Several Aw ard w inning projects rem oved later additions that w ere not contributing to the understanding of the historic
character of the structure. The desire to rem ove later additions m ust alw ays rst consider that the use of a structure m ay
change through tim e, and often those changes becom e signi cant in their ow n w ay in telling the history of the structure.
Consequently, it is im portant to identify in the evaluation phase the speci c elem ents that contribute to the signi cance
and use of the building.
Deciding how and w hat to rem ove w hile still protecting the buildings history w as accom plished w ith particular skill at
the Guangyu Ancestral Hall in Guangdong province, China (2003 Aw ard of Excellence). After a detailed study of the
building, certain elem ents w ere identi ed as providing authenticity to certain historical periods in the buildings life. The
conservation plan indicated how to best preserve the buildings original historical aspects and still respect subsequent and
im portant changes to its form and design. Changes that recorded im portant events during the 600 years of its history
w ere retained. The w ork of the previous restorations w as also integrated to continue the narrative of past alterations. New
Astana of Syed Mir Muhammad, Pakistan
31
pieces w ere spliced together w ith old and the new portions w ere m arked w ith a contem porary notation to distinguish old
from new. The repair of the roof structure w as also done in a traditional w ay: by num bering the pieces of the m iddle bay,
rem oving them , restoring each piece w hile preserving the original m aterials as m uch as possible, and then reassem bling
them before proceeding on w ith the next bay.
W hile the Guangyu Ancestral Hall continued w ith a sim ilar use, the integration of new uses into historic buildings needs
a careful design hand to add the new requirem ents w ithout negatively im pacting the integrity of the historic m aterials.
The Baltit Fort in the Hunza Valley, Pakistan (2004 Aw ard of Excellence) approached the need for balancing new uses w ith
retaining the old fabric by phasing the repair w ork and approaching the w ork progressively. Each of thirteen different w ork
stations recorded and analyzed the m aterials and then engaged in individualized repair to im prove structural integrity and
conserve nishes. Since each part of the large fort could be looked at as an independent unit, it allow ed lessons learned in
one area to im prove the succeeding w ork.
The new functions at the Baltit Fort included the incorporation of a m useum and cultural centre. The new uses w ere
integrated w ithout dam aging the historic portions. Im proved safety features including re exits, rest facilities, and new
electrical and plum bing w ere installed in areas that allow ed the new elem ents to be rem oved if necessary in the future
w ithout dam aging the integrity of the original m aterials.
Appropriate conservation strategy
The best projects developed a detailed conservation plan to de ne the scope of w ork and determ ine how it w ould be
accom plished. M aintaining the original m aterials and replacing only w hat is dam aged is often central to the conservation
philosophy. The evidence presented in the condition docum entation and the dem ands of potential uses shape the
conservation plan. It is im portant to undertake a critical analysis of w hat has caused the deterioration, in order to determ ine
a strategy for correction. For instance, w hen a crack has been recorded as part of an evaluation of surface conditions, an
essential com ponent is to understand w hy that crack has occurred before it is repaired.
The MawsonsHutsin Cape Denison, Antarctica (2000 Honorable M ention), w as recognized for its careful developm ent of a
conservation plan to integrate all the unique circum stances in this very isolated and challenging site. The conservation plan
outlined how to accom plish the w ork, acquire all the necessary m aterials beforehand, especially for unknow n conditions,
and still defer to the cam p-like atm osphere of the structures. M ost of the deteriorated conditions w ere related to the
extrem ely high w inds bearing ice and snow m ost of the year. Not only did the m aterials require attention but the conditions
of construction posed challenges as w ell, and these w ere com prehensively addressed in the conservation plan.
The National Archives Building(2001 Aw ard of Excellence) w as notable for its perceptive grasp of the circum stances
leading to the deterioration of the building and for devising a solution to prevent future dam age. The culprit of m ost of the
dam age to the w alls w as found to be an inadequate rainw ater drainage system , w hich deposited w ater at the base of the
building, leading to decay. An underground drainage system w as incorporated to correct roof and surface w ater problem s.
This required careful analysis and cooperation betw een conservation and engineering consultants to protect the historic
integrity of the resource in the routing of the new underground drainage lines and nding a solution that m inim ized im pact
on m aterials signi cant to the structure.
32
The conservation w ork also respected the integrity of the existing m aterials as essential to de ning the character and feeling
of the building. Consequently, rather than replace dam aged pieces w ith new m aterials, recycled roof tiles and teak ooring
from previously dem olished buildings from the sam e historic period w ere used to accom plish the necessary repairs. W here
m illw ork w as dam aged by term ites, new pieces w ere spliced in to replace the dam aged parts. The conservation w ork for
m aterials unique to Indonesia, such as Balinese painting, relied upon local craftspeople skilled in traditional techniques.
M aterials should be obtained locally in conservation w ork if at all possible. How ever, som etim es techniques or m aterials are no
longer available due to changes in the econom y of an area or a loss of speci c construction skills. The conservation approach
of the Aw ard w inners speci cally addressed the training of craftspeople in these vulnerable specialized techniques so that the
buildings could be m aintained in the future and sim ilar buildings could be repaired w ith the new technical expertise.
The VietnameseTraditional Folkhouses project (2004 Aw ard of M erit) w as speci cally conceived as a training ground for
the w ood craftsm anship found in vernacular residences. The training program m e w as a partnership betw een the Vietnam ese
M inistry of Culture and Inform ation, the Japan International Cooperation Agency (JICA) and Show a W om ens University
in Japan. Speci c technical know ledge w as transferred from Vietnam ese 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 w ork.
Involvement of the community
Involvem ent of the com m unity is essential in any conservation project and w as a distinctive elem ent in all of the Heritage
Aw ard w inners. W ith involvem ent there is an understanding of the buildings im portance to the history of the region and
a sense of ow nership for the buildings future protection. As noted earlier, in m any projects training program m es in lost
construction techniques w ere initiated to prom ote a sustainable econom ic base for these skills in future projects. Younger
w orkm en from the com m unity w ere trained by those w ho had skills in specialized crafts, including w oodw ork and stone
building, as w ell as fresco painting and the techniques of lim e plaster and m ortar. Not only w ere these craftspeople able to
repair the designated site but also gained a specialized skill to be used in future heritage projects. The bene t nancially
to the com m unity w as also realized as em ploym ent w as provided for econom ically challenged areas. Com m unity m em bers
began to value the qualities of these historic m aterials and speci c techniques w hen experiencing the construction process.
This had the added bene t of pulling the com m unity m em bers together as a purposeful group to address other issues in
the com m unity.
The Krishan Temple, in Kishankot Village in Punjab, India (2001 Aw ard of Distinction) and Lakhpat Gurudw ara in the Kuchchh
District of Gujarat, India (2004 Distinction) are both excellent exam ples of com m unity support for historic conservation
w ork. The restoration projects acknow ledged the com m on social history of the region and identi ed the im portance of
the specialized construction techniques originally used in the building. One of the m ain objectives w as to involve the
com m unity, both skilled and unskilled w orkers, in training in these now abandoned skills of construction. For instance,
the know ledge of lim e w ork w as revived. As a consequence, the com m unity w as able to understand the im portance of the
building to their local identity and of using appropriate m aterials such as lim e in future conservation w ork on other local
heritage sites.
Topandabove: Krishan Temple, India
33
There w ere a num ber of com m on lessons learned in the projects that w on UNESCO Asia-Paci c Heritage Aw ards. This w as
typical for the sm all as w ell as very large and com plex projects. The rst lesson w as the im portance of a careful plan before
construction began and an evaluation of the process as the project progressed. Understanding the conservation issues in a
project w as essential in de ning the w ork to be done. M any projects undertook evaluation and testing of special techniques
in the conservation process, and m ade adjustm ents w hen necessary to provide the best nal product. Asking for assistance
from specialists w hen unknow ns w ere encountered w as also critical.
The second w as that the involvem ent of the com m unity is essential for long term success of every conservation project.
Strategies for this involvem ent included em ploying local w orkers to accom plish the tasks of conservation and developing
w ith com m unity input an appropriate and viable econom ic use of the building. Often the conservation of a building
involved reviving nearly-lost technical skills speci c to an area. The continued or new use of a building w as the m ost
successful w hen the needs of the local area w ere m et in the conserved project.
The nal lesson w as the im portance that the conservation w ork of one building had on focusing the com m unity on the
value that all the heritage buildings had to the future livelihood of the com m unity. The initiative of one project often led
to the consideration that w ork should be accom plished on other heritage projects and to the larger realization that the
conservation of heritage buildings is critical to the future of the com m unity.
34
Construction and nishing m aterials are an integral part of the culture of any society. They play a signi cant role in
determ ining the nature of a societys built environm ent w hich, as decades becom e centuries, begins to be seen as its
cultural heritage. The choice and use of m aterials re ect local environm ental factors and also help to give a region its
distinctive identity. They contribute to the continuity of a regions aesthetic language w hich, in turn, reinforces the unique
character of its built heritage.
Local sources, local skills
Traditionally the selection of m aterials w as restricted to those available in relatively close proxim ity to the site of construction.
Lack of infrastructure m ade it dif cult to transport m aterials from distant sources. The m anner of use becam e increasingly
re ned and articulated as know ledge grew about a given m aterials characteristics, its strengths and w eaknesses, the w ays
it could be exploited and the technologies that could be applied to it. The resultw hether a fort, a bridge or a house
represented an accum ulation of understanding gained through the use of m aterials over a long period of tim e. Yet it is
the quality of tim elessness w hich m akes us adm ire structures m ade from traditional m aterialsa quality exem pli ed in
the m ajestic Ahhichatragarh Fort com plex at Nagaur in Rajasthan, India (2002 Aw ard of Excellence). Built in the tw elfth
century and m odi ed over the next 600 years, the sites palaces, tem ples, shrines and tw o-tier defence w all display an
increasingly sophisticated em ploym ent of local m aterials, including red sandstone, off-w hite lim estone, gypsum and teak,
as w ell as jaggery, natural gum and fenugreek w hich w ere used as binding and w aterproo ng agents in the lim e m ortar.
And local context
Availability w as not the sole determ inant in the choice of m aterials. The local geographical context w as im portant, including
clim ate, landform s, soil types and seism ic conditions. All of these factors in uenced decisions about w hich m aterial w as
right for a given building, space, or landscape. Arid regions w ith scant rainfall, for exam ple, allow ed for stone m asonry
construction w ithout the use of binding m aterials. In the hot, hum id clim ates of South-East Asia, split-bam boo m atting
screens w ere used as w all in ll, allow ing internal air m ovem ent w hile offering protection from heavy rains. Thick m ud w alls
found in the south of China and India provided therm al m ass, w hich reduced heat ingress and achieved desired com fort
levels. In m any earthquake-prone zones, the sam e m ud w alls w ere effectively com bined w ith w ood-fram ed construction to
give exibility against seism ic shocks.
Collective responsibility
In addition, the selection of m aterials and technologies re ected the purpose of the buildings, the attitudes of their
designers, builders and craftspeople, and their sense of responsibility tow ards the place. Traditional w isdom lay in m aking
the m ost appropriate choice from am ong the options at hand. It w as a decision-m aking process often guided by collective
Nimish Patel
Using
Appropriate
Techniques
and Materials
Criteria E.
The use and quality control of appropriate
building, artisan and conservation tech-
niques.
UNESCO Asia-Pacic
35
responsibility regarding consum ption of nite resources and adherence to traditional practices. These com m on sense
principles provide the tem plate for conservation projects today. The judicious use of m aterials and techniques appropriate
to the heritage site contributes to the continuity of local traditions and the sustainability of the sites them selves.
The longevity of traditional m aterials, often over centuries, is proof of their appropriateness. They w ere not only durable
but also renew able, resulting in the creation of settlem ents w hich present a coherent w hole, despite the fact that their
grow th w as often piecem eal. This is evident in m any of the cultural landscapes that have w on UNESCO Asia-Paci c Heritage
Aw ards, as w ell as in the streetscapes, precincts or villages that surround Aw ard w inning projects.
The conservation of the Baltit Fort (2004 Aw ard of Excellence) in northern Pakistans Hunza Valley dem onstrates the
em inent applicability of traditional m aterials and artisanship in the context of a 700 year-old historic settlem ent. For this
m onum ental project, the building m aterialsstone, m ud and tim berw ere sourced locally. They w ere cheap, earthquake
resistant, durable and good for therm al com fort. The artisans, w ell versed in their use, w ere draw n from the nearby
com m unity. Subsequent to the restoration of the Fort, the new ly revived skills have been applied in other vernacular
structures in the im m ediate neighbourhood and also in other historic villages facing sim ilar concerns. This in turn has
generated dem and for traditional crafts and re-established their relevance in the contem porary context.
A natural evolution
Alm ost all the built environm ent in the Asia-Paci c region has evolved using the prim ary m aterials of m ud, brick, stone, w ood,
bam boo, cane or grass, bound w ith various applications of m ud and lim e. W here one of these m aterials w as in abundance, it
w as used throughout the building, from the foundations, w alls, colum ns and beam s to decorative elem ents such as screens
and brackets. Such buildings dem onstrate a highly creative m astery of the characteristics of the dom inant m aterial.
An im pressive exam ple is Rumah Penghulu (2000 Honourable M ention), originally a village headm ans hom e in the
M alaysian state of Kedah, now restored and relocated to Kuala Lum pur, M alaysia. Built in the 1920s and 30s, the elegant
residential ensem ble w as m ade entirely of local tim ber, except for the clay-tile roof. Structural com ponents w ere hew n
from hardw oods and non-structural elem ents, such as fretw ork archw ays, carved from a softer w ood. Another exam ple is
the KowPlainsHomestead (2002 Honourable M ention) in the pastoral M allee region of Victoria, Australia. The hom estead
is m ainly m ade of unsaw n pine logs slotted horizontally betw een saplings attached to load-bearing postsa sim ple but
effective technique know n as drop-log construction.

36
Timber: a material for all seasons
The extensive use of w ood in the region is not surprising: Historically it w as the m ost accessible natural m aterial other than
m ud and stone, and rem ains the m ost regenerative of the prim ary building m aterials. The appropriateness of tim ber as a
construction and nishing m aterial is not questioned as m uch as its volum e of use. Alarm ed by deforestation, inadequate
replanting and the unabated dem and for tim ber, concerned citizens are calling for a reduction in its use w orldw ide. But
in architectural conservation, the use of tim ber is essential for authenticity and appropriateness. Perhaps w e should look
again to tradition for possible solutions. In tim es past, the southern Indian states of Kerala and Goa had a custom w hereby
a few teak trees w ould be planted at the birth of a child, so that w hen both reached m aturity 25 years later, the trees w ould
provide tim ber for a new hom e, or to renew an ancestral hom e.
W ood has been used for alm ost all the com ponents of the built environm ent, of any nature, scale or com plexity. In China
for exam ple, the variety of m ethods and elem ents, from sim ple joinery to com plex w oodw ork, in any historic settlem ent
re ect the ingenuity of the local craftspeople and their understanding of the properties and potential of w ood. The Jin Lan
Tea House (2001 Honourable M ention) in Kunm ing displays the full panoply of w ooden elem ents. Its tim ber fram e bears
the w eight of the roof and oor in the tw o storey courtyard house, and is exible enough to be dism antled for structural
changes; w ooden panels divide the interior space into room s; and ne latticew ork, richly carved lintels and fascia panels
decorate the w ooden faade.
South-East Asians, too, have dem onstrated highly im aginative and effective w ays of using tim ber, and com bining it w ith
bam boo, cane and grass in their built environm ent. This m ultiplicity of styles and uses is illustrated by an am bitious project
that restored six VietnameseTraditional Folkhouses (2004 Aw ard of M erit) in six villages across the country. The load-
bearing structural fram es of the six houses, ranging in age from 100 to about 270 years, w ere predom inantly m ade of local
tim ber. But the conservation project revealed that the assem bly and joinery of the w ooden m em bers w ere signi cantly
different am ong northern, central and southern Viet Nam structures, requiring different restoration techniques.
Masonry: stone, mud, brick and lime
Stone, m ud and brick have been used as prim ary building m aterials for centuries throughout the Asia-Paci c region. The
com position and properties of different stone types determ ine their potential for different uses. Granite, for instance,
is prim arily used for oor and w all nishing, lim estone for oor and w all nishing as w ell as for m asonry w orks, and
sandstone for oor and w all nishing, m asonry, intricate carving and sculptural w orks.

Brick has produced a variety of built form s, from load-bearing w alls to articulated fenestrations, w hile m ud has been
used w idely to m ake bricks and adobe, com bined w ith w attle, or sim ply used as ram m ed earth. M ud has also been used
extensively as m ortar in m asonry constructions in hot and dry clim ates.
But the universal binding m aterial in traditional structures w as lim em ade from lim estone converted to quicklim e and then
to hydrated or slaked lim e. Thanks to its w idespread availability and versatility, lim e has been used as m ortar, plaster and
oor nish. In the past, builders soaked quicklim e in w ater in m etal troughs m ade at the job site. The slaking process could
take a few hours to several days. To m ake aged lim e putty used for plaster coatings, it could even take a num ber of years.
Jin Lan Tea House, China
37
Used in com bination, stone and lim e com plem ent and support each other in the totality of the building fabric. M asonry
construction using lim e m ortar, lim e plaster and an annual application of lim e w ash results in structural hom ogeneity,
and thus great strength and durability. Of the num erous exam ples to be found in the Asia-Paci c, especially in India and
Pakistan, the Lakhpat Gurudwara (2004 Aw ard of Distinction) stands out. The Sikh pilgrim age site, in Lakhpat Village,
Kuchchh district, Gujarat, houses relics sacred to the Udasi sect. The courtyard com plex w as built w ith local lim estone and
red sandstone bound w ith lim e m ortar and overlaid w ith a ne coat of lim e plaster. Carved stone balconies protrude from
the external w alls and stone decorative features are built into the m asonry. The conservation project rigorously used locally
sourced lim estone and sandstone, ensuring that the w ork w ould be easily replicated in the event of future repairs. Local
people w ere trained in the techniques of m aking lim e m ortar w ith slaked lim e, sand and sm all shell aggregate, as w ell as
lim e plaster and grouting.
Industrial materials: a challenge for conservation
The age of industrialization brought rapid technological advances w hich drastically changed attitudes tow ards tim e-tested
traditional m aterials. The em ergence of new m aterials greatly w idened the range available for construction. New m odes
of transportation and m eans of com m unication spread these products across the globe. An ever faster pace of life and
pressure of tim e popularized their use.
This reality has posed one of the biggest challenges to heritage conservation everyw here. As the choices have continued to
m ultiply, so has the use of new and inappropriate m aterials in conservation projects. The selection of appropriate m aterials
separates a good conservation project from a not-so-good one, and m akes the form er m ore sustainable than the latter.
Three factors determ ine the appropriateness of m aterials in any conservation w ork: their being local and natural; their con-
tinued use over tim e and their longevity; and their chem ical congruence. The last factor basically m eans how w ell the dif-
ferent m aterials w ork together. For exam ple in m any of the w inning Indian projects, a traditional m ethod of w aterproo ng
the roof w as applied, w hich uses a 300 m illim etre layer of lim e, jaggery and fenugreek over at stone slabs, w ith inverted
earthen pots for insulation. This com bination of m aterials has lasted decades if not centuries. Contem porary w aterproo ng
techniques, in com parison, use several layers of bitum en-based and other polym erised chem icals that have less af nity w ith
each other. This technique carries a m axim um 10-year guaranteeand even that is questionable in m any cases.
Cement vs lime: inherent differences
One of the m ost signi cant turning points in the evolution of the built environm ent is the introduction of cem ent as
an effective binding m aterial and reinforced concrete as a readily available technology. Both have helped reduce the
construction period dram atically. Consequently, they have gained huge popularity in contem porary construction, virtually
replacing lim e m ortar and plaster as a binding m aterial alm ost everyw here.
How ever, cem ent and lim e have differing characteristics. Cem ent-based technology helps in gaining structural strength
early and saves tim e, but has little inherent congruence and thus less longevity. Lim e-based buildings reach their strength
gradually until it acquires an alm ost rock-like quality in its com posite construction tim e, and are know n to last centuries.
Unfortunately, cem ent-based technology is used in m any conservation projects, even in lim e-based historic structures.
38
This practice brings to the conservation process an inherent incongruence that ends up adversely affecting the life of the
building. The w ater needed for m ixing and applying cem ent, for exam ple, leads to corrosion of the steel bars in reinforced
concrete, lim iting the longevity of the intervention. Lim e-based intervention, on the other hand, integrates itself m ore
cohesively w ith the historic structure, prolonging its life rather than truncating it.

Take, for instance, the Jaisalmer StreetscapeRevitalization Project (2002 Honourable M ention) w ithin the 800-year-old
fort of Jaisalm er in Rajasthan, India. In the tw o residential streets under conservation, the prevalent use of cem ent to repair
the traditional sandstone houses had led to cracks in the stone w alls and the need for yet m ore repairs. Replacem ent of the
cem ent w ith traditional lim e m ortar helped to deal w ith therm al stresses and prevented the stone from cracking, leading
to greater structural stability. Additionally, lim e m ortar w as m ore aesthetically com patible w ith the distinctive golden-hued
sandstone of Jaisalm er, and the m aking of the lim e locally led to the revival of a lost skill.
Sim ilarly, only lim e w as used in the restoration of the Chanwar Palkhiwalon-ki-Haveli (2000 Excellent Project), for w hich
m y partner and I served as the lead heritage architects. To retain the chem ical com patibility of this ornate, centuries-old
m ansion in Am ber, Rajasthan, the craftspeople used lim e in the rendering, the plastering and the nishing. Preparation of
aged lim e putty for the araish decorative plaster w all- nish took as long as a year.
In the w ords of one of the m aster craftsm en w ho w orked on the haveli, the life of cem ent-based building ends at 90 years,
and the life of lim e-based building begins at 70 years. In their experience, lim estone, lim e m ortar, lim e plaster and m any
layers of lim e w ash over decades becom e a hom ogeneous entity, surviving for centuries w ith m inim um m aintenance.
The rediscovery of traditional m aterials at the haveli provided the m uch-needed im petus for the revival of traditional
building trades in Am ber. The projects original ve craftsm en have all becom e contractors, em ploying about 100 people
am ong them , ten years after they started w orking on the haveli.
Vanishing skills
Indeed, m any UNESCO Heritage Aw ard-w inning projects have stim ulated a revival of the traditional crafts necessary to
restore the buildings w ith the authenticity they deserve. An adm irable case is the conservation of the University of Mumbai
Library Building (2001 Honourable M ention), w hich involved the training of local glaziers to repair its beautiful Victorian-
era stained glass w indow s. The craft of stained glass, im ported to India during British colonial rule and adopted in local
buildings of the Victorian Raj, w as gradually lost after independence. Three British experts trained seven local artisans to
clean, cut, repaint, re-solder and treat the stained glass panels. W ith their new skills, the Indian glaziers have since w orked
on stained glass repairs in other parts of the country.
Such craftspeople, how ever, represent a rare renaissance of a form of intangible heritage that is elsew here under threat.
The vast body of know ledge about traditional m aterials and techniques is carried by a rapidly dim inishing num ber of
craftspeople. Over m any generations, these skilled com m unities have developed a m astery of local m aterials and the m ost
effective m ethods of using them . In m any countries of the Asia-Paci c, such skills still survive, although there is little
dem and for them , heightening the risk of their extinction.
Topandabove: Chanwar Palkhiwalon-ki-Haveli, India
39
Local w isdom about the use of traditional m aterials and technologies is not fully docum ented. Nor is it possible to form ally
docum ent a know ledge acquired through years of apprenticeship and other hands-on learning processes, norm ally passed
on from one generation to the next. In the past half century, lack of fam iliarity w ith traditional practices am ong professionals
em erging from the m odern education system has sharply decreased dem and for tim e honoured artisanal skills, w hich are
likely to disappear eventually.

If and w hen that happens, w e w ill lose a signi cant part of our cultural heritage. The losses w ould include:
A holistic understanding of local natural m aterials, their m utual com patibility, their strengths and w eaknesses and w ays
to overcom e the w eaknesses.
The ability to differentiate betw een usable and non-usable m aterials through sight, sm ell, touch and sound, w ithout the
aid of scienti cevaluation techniques.
A tim e-tested know ledge of the longevity of different m aterials, and m ethods of further prolonging their life by
selecting the m ost appropriate ingredients and their use in correct proportions.
The attitude of balancing the consum ption of the m aterials w ith their availability, so crucial for the conservation of
scarce resources.
The ability to evolve sim ple solutions for m ost situations, often m ore desirable in the long term .
A creative approach to nding solutions w ithin the overall aesthetic paradigm that gave historic settlem ents both their
coherence and their distinctive identity.
The sequencing of decision-m aking and execution that is conducive to the characteristics of the m aterials used.
The pursuit of quality and pride in w ork over cost-cutting, tim e-saving and other econom ically expedient m easures.
Conserving built heritage is im portant, but conserving the know ledge, the crafts and the skills that m ade the buildings
w orthy of being deem ed heritage is even m ore im portant. W hile their revitalization in conservation projects is to be
applauded, such skills w ill only be retained if architects and other professionals increase their fam iliarity w ith them and
their use, even for new er projects. It is evident from the UNESCO Asia-Paci c Heritage Aw ard w inners that m aterials and
technologies are inherent to the unique language and enduring signi cance of each localitys built cultural heritage. It
w ould augur w ell for the continuity of this rich heritage if the present generation of architects, engineers, designers and
conservators w ould respect and em ulate these im portant lessons from tradition.
40
Spaces enclosed by buildings inevitably evoke som e kind of response. W hether it is the sim ple intim acy of a vernacular
dw elling or the soaring grandeur of a religious m onum ent, the inherent spatial quality has the pow er to engage people in
som e w ay through their feelings or m em ories. It is not surprising then that the general view of the success or failure of a
buildings conservation is coloured by how w ell that spatial quality is m aintained.
How w ell any added elem ents or creative technical solutions respect the character and inherent spatial quality of the
structure(s)is one of the criteria for the UNESCO Asia-Paci c Heritage Aw ards for Culture Heritage Conservation. The
criterion is probably m ost dif cult to satisfy w hen the project involves a m ajor change of use, such as from a factory or
w arehouse to a hotel, of ce or apartm ent building, or from a public building to a private use. In such cases retention of the
structures internal fabric and artefacts is not alw ays easy to achieve, and retention of m ajor industrial or public spaces can
be dif cult to argue on econom ic grounds.
Character and inherent spatial quality as components of cultural signicance
In establishing this criterion it w as accepted that character and inherent spatial quality are part of the cultural signi cance
of a structure. They m ay have aesthetic and architectural value, but in particular they relate to the function for w hich the
building w as 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 m ajor part of its signi cance as a re-
ligious m eeting hall and place of w orship. The interior m ay also be of architectural value in itself, by virtue of its design and
decoration. At the Aw ard-w inning Ohel Leah Synagogue in Hong Kong SAR, China (2000 Outstanding Project), the high,
barrel-vaulted space, w ith its public area and gallery focusing on the location of the ark and Torah, is key to understanding
the com m unal and spiritual use of the building. The social value com ponent of the cultural signi cance of this building
resides in these aspects. It w as not dif cult to respect the spatial organization in this particular conservation project as
the building w as to continue in its existing use as a synagogue. The design and decoration of the interior contributes to
the architectural signi cance of the building as an expression of the Edw ardian Baroque style of the period, and this w as
conserved through repair of leadlight w indow s, plaster m ouldings and tim ber joinery.
Public and institutional buildings
Public and institutional buildings such as governm ent of ce buildings, law courts, prisons, schools or m ental health hospi-
tals can often present greater problem s. These have usually been altered considerably over tim e due to changing occupation
standards and the introduction of m odern services. Law courts, prisons and hospitals w ill m ost likely retain at least som e
Susan Balderstone
Adding
New Elements
Criteria G.
How well any added elements or cre-
ative technical solutions respect the char-
acter and inherent spatial quality of the
structure(s).
UNESCO Asia-Pacic
41
of the spatial de nition that relates to their function, for instance courtroom s w ith their judges bench, w itness box and
public gallery, and prisons w ith open double or triple height corridors leading to banks of cells. How ever, governm ent of ce
buildings are often a rabbit w arren of room s off corridors and m ay present only a public foyer and staircase, and possibly
som e vaulted basem ent storage room s full of archived les, to indicate public use. The public foyer m ay be quite grand in
scale and elaborately decorated, as for instance in the Aw ard-w inning Medina GrandAdelaideTreasury (2003 Aw ard of
M erit), indicating the im portance of its public function.
This project converted the form er Adelaide Treasury Building, once an im portant governm ent building for the state of South
Australia, into a hotel and serviced apartm ents. The w orks revealed the quality of the public spaces such as foyers, stair
halls and corridors by rem oving false ceilings and redundant services. The form er cabinet room w as retained as a signi cant
space, a place w here im portant decisions affecting the state of South Australia w ere m ade. The character of the form er
Treasury as a public building on one of South Australias m ost im portant colonial sites w as captured through exposure and
conservation in situ of the section of sandstone w all rem aining from the original 1839 building. This archaeological rem nant
in w hat is now the m ain entry lounge is an im m ediate connection to the sites colonial past, and a feature of considerable
public interest.
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 w hich is very different from their original purpose.
Industrial places represent production processes. They need to be analysed in term s 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 scienti c and technological developm ents in the particular function over
the relevant tim e scale. The social context includes the econom ic value of the process to the com m unity, region, or nation,
and also covers pow er structures and w orker-em ployer relationships. The latter m ay extend to the provision of w orkers
housing or other provision such m edical care for w orkers and their fam ilies, recreational or child care facilities. The geo-
graphical context includes proxim ity to raw m aterials, other sim ilar or associated industries, transport and labour force.
The current context of the place m ay of course be considerably different. The buildings m ay already be used for other pur-
poses than those for w hich they w ere originally designed, or they m ay have been m odi ed over tim e to accom m odate new
technology, or they m ay have becom e obsolete and no longer be in use. The topographical context m ay have changed due
to the industrial processes them selves, such as open cut m ining. In the case of obsolescence, the people w ho once w orked
there m ay have m oved aw ay. The place m ay now be a rem nant associated w ith a ghost tow n.
Medina Grand Adelaide Treasury, Australia
42
Redundant industrial structure m ay therefore be dif cult to understand and need careful analysis. It is not only the physical
fabric of industrial structures that is im portant but also the inform ation they give about the processes they accom m odated.
In the case of the Aw ard-w inning industrial structures, such as the BushellsTea Warehouse in Sydney, Australia (2001
Aw ard of Distinction) and the Tea Factory Hotel in Kandapola, Sri Lanka (2001 Aw ard of M erit), the character of the
interior spaces related directly to the industrial processes carried out there. The character of the Bushells Tea W arehouse
derived from the exposed structural m em bers and from the in situ tea handling equipm ent including hoppers, spiral chutes
and lift shafts w ithin a w ell-lit, open space. These dem onstrated the function of the building and are thus part of its
historic value. Sim ilarly, the character and spatial quality of the Sri Lankan Tea Factory derived from the internal open air
shaft essential for the m ovem ent of hot air w hich dried or w itheredthe tea leaves and the large fans on either side of
this space w hich drew the heated air from the basem ent furnace. These features enable understanding of how the building
operated historically and are part of its signi cance. In both these projects these culturally signi cant aspects of the place
w ere respected and retained.
Another Aw ard w inner, the Suzhou River Warehouseproject in Shanghai, China (2004 Honourable M ention), retained
an open spatial character and exposed structure that dem onstrated its historic function as a w arehouse, but lacked the
industrial artefacts that w ould m ore clearly have identi ed it as a grain store.
Reuse issues
The recycling of historic structures needs to be based on the results of investigations into their cultural signi cance and their
structural condition. The econom ics of any reuse proposal w ill be of prim e im portance, so accurate estim ates of the required
w orks are required. In m any cases such estim ates w ill have to include not only the capital costs of the building w orks, but also
the future running costs of the proposed use, including m aintenance of the facilities, in order to dem onstrate that the proposal
is econom ically viable. This is particularly the case w here a m useum , recreational or com m unity use is proposed.
It is of great im portance to understand the signi cance of the place, and the relative technological value of the structure
before m aking decisions about use. It is necessary to consider functional adequacy, strength adequacy, serviceability, re
and accident safety as w ell as nancial return. M any industrial buildings used innovative structural techniques developed
in the late nineteenth and early tw entieth centuries. How ever, any new use has to conform to current relevant statutory
requirem ents and this m ay not be possible w ithout structural m odi cation. For exam ple in the Tea Factory Hotel project,
the original steel structure w as not designed to accom m odate the greater loads im posed by the new hotel use and needed
to be augm ented.
Steering committee
W hen the proposed recycling of a heritage building generates considerable public interest, a useful approach can be to set
up a steering com m ittee to oversee the project. This is m ost often done w here a governm ent agency has assum ed control
of the site and buildings, rather than in the case of a private ow ner or developm ent com pany. Com m ittee m em bers are not
usually paid for their tim e and the success of this approach depends on the interest and com m itm ent of the steering com -
m ittee m em bers. The com m ittee w ill usually include representatives from the relevant heritage agency, local council and
Suzhou River Warehouse, China
43
local interest groups. Ideally it should include som eone w ith nancial skills, som eone w ith legal know ledge and som eone
in business. In order to collect local view s 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 com plete it and hand it in to the organizers at the end of their visit.
Adjacent property ow ners and neighbours should be speci cally invited. The steering com m ittee m em bers can m ake use
of the opportunity to canvass ideas either form ally through a presentation or inform ally through talking to visitors. Ideas
generated in this w ay need to be follow ed up through investigating the m arket for them . Local council staff, local busi-
nesses and real estate agents can be helpful in this regard.
M any of the w inning projects have relied upon an active steering com m ittee to carry forw ard the m om entum of the res-
toration w ork. In the case of religious buildings, m em bers have been typically draw n from the existing tem ple or church
com m ittees. For instance, for the Catholic Cathedral of theImmaculate Conception in Hong Kong SAR, China (2003
Honourable M ention), the steering com m ittee w as com posed of devoted parishioners, engaged not only in key decision
m aking but also in m obilizing the w ider congregation to provide input and com m ents at all stages of the project, even in
technical m atters such as selecting the buildings lighting schem es.
Feasibility study
A feasibility study can be a useful tool w hen adapting a heritage building for new uses, provided it follow s a logical process.
Ideally, the feasibility study should:
Sum m arise the heritage assessm ent, conservation policy and action plan for the place. If a Conservation Plan has not
been done already, this w ork w ill have to be com m issioned prior to com m encem ent of the feasibility study.
Set out the various reuse options proposed by the steering com m ittee, follow ing com m unity consultation.
Assess these options against the conservation policy for the place and propose a preferred option or options.
Assess the preferred option(s) against nancial, business and m arket criteria. This is w here a realistic estim ate of
the capital w orks involved in refurbishm ent and additions m ust be m ade, together w ith realistic projections of nancial
return against investm ent.
Recom m end the preferred proposal and set out the nancial objectives for a Business Plan.
Propose a program m e for im plem entation, covering access to grants and other funding sources, in relation to the con-
struction program m e and cash ow requirem ents.
The feasibility report should include the plans, existing condition schedules and design im ages of the proposal on w hich the
estim ates are based, together w ith descriptions of site inform ation, contextual fram ew ork, any proposed new installations,
building additions, proposed rental schedules, m arket study, nancial plan or other relevant concept designs used as a basis
for costing the overall project.
For the Bushells Tea W arehouse project, the real estate developer relied upon the feasibility study to determ ine the
com m ercial viability of the proposed restoration project. The buildings industrial typology appeared to be an unusual
choice for com m ercial 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, w ould be w illing to pay a prem ium for such a
space. This allow ed the project to proceed and to realize a steady stream of revenue w hich has funded not only the initial
investm ent, but also the ongoing m aintenance of the property.
44
Added elements and creative technical solutions
Reuse and recycling projects often require the addition of new buildings. Even in cases w here a m onum ent or m useum use
is proposed, a new building m ay be required to accom m odate a visitorscentre, shop and toilets. The need to provide access
for disabled people m ay require the insertion of ram ps or lifts.
There can be a difference in opinion betw een how architects w ant to approach the design of new buildings on heritage
sites and the view s of the general public. The form er m ay w ant to use new form s and m aterials, w hile the public m ay be
happier w ith an historicist approach. How ever, w hat is im portant is not that new buildings should directly im itate past
styles, but that they should be w ell designed w ith respect to their context. Special regard should be had for such m atters as
scale, height, form , m assing, the traditional pattern of frontages, vertical or horizontal em phasis, and detailed design. One
approach is that the addition or annex should not dom inate the heritage structure. Another approach is to separate the
new building or annex from the original. This w as done successfully w ith the new lift tow er and foyers for the Bushells Tea
W arehouse, and the sm all new building at the Ohel Leah Synagogue. The latter w as needed to house additional facilities and
w as constructed in granite, steel and glass, connected by a bridge to the synagogue through an existing opening. Sim ilarly,
at the Tea Factory project in Sri Lanka, the second stage proposes a separate, glass-dom ed structure aw ay from the existing
building but connected by a basem ent tunnel.
W ith large industrial structures it m ay be possible to add sm aller elem ents such as new stairs, access ram ps or lifts required for
disabled access unobtrusively within the structure. Som etim es they m ust 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 m inim alist structure
which sat well against the blank wall of the building. However, in a m ore 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
elem ent m ay be readily dism antled in the future, without dam age to the existing building should the elem ent no longer be
required. This principle of reversibility applies to all such insertions and additions, external or internal.
A com m on issue in adapting large w arehouse 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 W arehouse, w hich w as
converted into a design of ce, the use of screens w ith an alm ost sculptural quality created innovative w ork spaces w ithout
detracting from the quality of the overall space or im peding view s of the structure. The screens can easily be rem oved
w ithout change to the structure if and w hen they are no longer required.
Reuse and recycling w ill alm ost alw ays require the installation of new services, and possibly structural m odi cation. Re-
spect for the character and spatial quality of a heritage building w ill m ean dealing w ith these in w ays that have m inim al
im pact. The approach dem onstrated in the Aw ard-w inning projects w as that in high quality architectural interiors, services
should be concealed. The Ohel Leah Synagogue and the M edina Grand Adelaide Treasury projects took this approach.
How ever in the industrial buildings the inserted services and structural m odi cations w ere often exposed as a continuing
expression of industrial character, although clearly evident as new w ork.

There w ere a num ber of different creative technical solutions to the problem of inserting new services in Aw ard-w inning
projects. At the Bushells Tea W arehouse, raised access oors w ere provided to accom m odate new cabling and give ex-
ibility for of ce use. This w as a less obtrusive solution than the m ore usual overhead cable trays or false ceilings.
Ohel Leah Synagogue, Hong Kong SAR, China
45
Pipes for hot and cold w ater, and ducts for heated or cooled air have usually been accom m odated in false ceilings. How ever
in order to retain the integrity of the architectural interiors at the Ohel Leah Synagogue and the M edina Grand Adelaide
Treasury Hotel, piping w as located in the oor space and individual air-handling units w ere used to avoid the need for
ducting. In the form er project, the individual air-handling units w ere oor m ounted as unobtrusive joinery item s. At the
M edina Grand Adelaide Treasury Hotel, they w ere installed in the false ceilings of subsidiary spaces such as bathroom s and
utility room s.
New lighting and re services w ere suspended and exposed under the ceiling at the Bushells Tea W arehouse in such a
w ay as to allow clear view s of the structure. In architectural spaces w here this is not acceptable new electrical w iring can
som etim es be fed through existing concealed gas piping w hich supplied the original gas lighting xtures. In m ulti-storey
buildings a location for the m ain service riser is often dif cult to nd. At the Bushells Tea W arehouse, an existing light w ell
w as used. In public buildings such as the M edina Grand Treasury, old ventilation shafts concealed in the existing structure
can often be used. Chim neys are another possibility.
External service elem ents can som etim es be innovatively concealed as dem onstrated by the Bushells Tea W arehouse project
and the Tea Factory Hotel. At the form er, use w as m ade of an existing architectural featurethe tem ple tow er, w hich once
housed a w ater tank, for the new cooling tow er. M eanw hile, the new kitchen of the Tea Factory Hotel replaced the original
boiler room and the existing chim ney now accom m odates the kitchen fum e exhaust pipes.
New work should be readily identiable as such
The approach taken in the Aw ard-w inning projects involving additional buildings or new insertions is essentially in accord
w ith the philosophy of the Australian Burra Charter, Article 22, w hich states:
New work such as additions to the place m ay be acceptable where it does not distort or obscure the cultural signi cance of
the place,or detract from its interpretation and appreciation.New work m ay be sym pathetic if its siting,bulk,form ,scale,
character, colour texture and m aterial are sim ilar to the existing fabric,but im itation should be avoided.
The general principle follow ed is that new additions should be w ell designed but treated as a separate structure w here space
allow s. They should be distinguishable from the heritage building, but not dom inate it. New services and structural m odi-
cations should be able to be identi ed as new w ork but designed to have a m inim al im pact on the character and spatial
integrity of the interior. For exam ple, structural m odi cations required for the Sri Lankan Tea Factory Hotel w ere clearly
designated by painting the new steel a different colour from the original steel structure. How ever, w hile colour designation
of the new steel in the Tea Factory Hotel w orked in that particular case because of the w ay in w hich the bracing pattern
tted the overall design, it is not necessarily a preferred approach. The principle is that new insertions should not dom inate
the interior.
Of course it is never possible to rem ove subjective appreciation of design from the evaluation process. It is not intended to
prevent the opportunity to propose innovative and creative solutions to the problem s of adding new elem ents to heritage
places. The approaches and principles described above are intended as a guide and, bearing this in m ind, sensitive designers
w ill nd their ow n successful solutions.
New w ork such as additions to the place m ay be acceptable w here it does not distort or obscure the
cultural signi cance of the place, or detract from its interpretation and appreciation.New work m ay be
sym pathetic if its siting,bulk, form , scale,character, colour texture and m aterial are sim ilar to the existing
fabric, but im itation should be avoided.
46
W hy give aw ards for the conservation of cultural heritage? Sim ply because conserving, restoring and sustaining our
heritage is the best w ay to ensure the continuation of the diversity of our cultures. Built heritage is a tangible expression of
that diversity and is also the environm ent that keeps alive the range of identities, practices, custom s, histories, traditions and
m em ories that m ake 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 m ass consum erism . Contem porary urban landscapes
featuring look-alike high-rises, identical fast food franchises, uniform chain stores and other hom ogenizing form s of m odernity
have led to the loss of local character and the erosion of cultural identity. Often, this is done in the nam e of econom ic developm ent.
But policy m akers and planners have tended to take a top-down approach, treating people as the object of developm ent and giving
them little say in decision-m aking. In the eld of conservation, this is m anifested in the process of urban redevelopm ent: large
swathes of historic urban fabric being taken over by governm ent or property developers, with the original inhabitants evicted and
the building shells turned over to com m ercial usesor even worse, the entire structure razed to m ake way for shiny new buildings.
Fortunately these negative trends have triggered a reaction from local com m unities and civic organizations, which are em erging in
m any countries to regain control over their environm ent, to rebuild com m unity ties and to protect their own heritage. To increase
their leverage, various heritage bodies and non-governm ental organizations are cooperating in alliances and networks, and even
with governm ent institutions. International organizations such as UNESCO actively support them as individual groups or through the
networks. This has resulted in a m ovem ent towards m ore equal partnerships am ong all stakeholders. W hile top-down decision-m aking
and com m ercial exploitation rem ain threats to heritage conservation, m ore and m ore people are uniting in their desire to rediscover
their unique history and restore their distinctive architectureand, in the process, to strengthen their sense of com m unity.
The UNESCO Asia-Paci c Heritage Awards for Culture Heritage Conservation program m e seeks to encourage this positive trend.
W inners have to excel in 11 criteria, one of which is the m anner in which the process and the nal product contribute to the
surrounding environm ent and the local com m unitys cultural and historical continuum in other words, a projects m ethod and
outcom e m ust not only conserve the physical structure, but m ust also help to sustain, or even enhance, the local com m unitys ways
of life.
A project can further a com m unitys cultural and historical continuity in m any w ays: 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-econom ic m odes of production or consum ption, or as a focus of com m unity identity. Exem plars
of any com bination of these qualities can be found am ong the Aw ard w inners; som e projects em body all of them . Such an
holistic approach, for exam ple, is epitom ised by the Jaisalmer StreetscapeRevitalization Project in Rajasthan, India (2002
Honourable M ention), w hich perpetuated the unique character of tw o traditional residential streets w ithin the 800 year-old
fort. The project sought not only to repair physical fabric, but to m aintain the totality of a traditional com m unitys w ays
Johannes Widodo
Contributing to
the Communitys
Cultural
Continuum
Criteria H.
The manner in which the process and the
nal product contribute to the surround-
ing environment and the local communitys
cultural and historical continuum.
UNESCO Asia-Pacic
47
of lifefrom m odernizing drainage and sanitation system s to replacing unsightly cem ent on houses w ith traditional lim e
m ortar; from reviving the fading skills of local artisans to educating ow ners about how to conserve their properties, and
strengthening the residentsrole in the m aintenance of their living environm ent.
This kind of a m ultifaceted approach is also dem onstrated in the conservation of a single building, CheongFatt TzeMansion
(2000 M ost Excellent Project), built by and nam ed for the self-m ade tycoon w ho personi ed Penangs com m ercial ascent and
cosm opolitan lifestyle in the late nineteenth century. Through rigorous historical research follow ed by the use of traditional
m aterials, skills (w ith artisans im ported from China) and construction techniques, the m ansion w as able to express again the
richness of its cultural sym bolism and historical layers. The site interpretation, through publications and guided tours, relates the
story of the house and its ow ner to the larger history of M alaysias im m igrant Chinese com m unity. Its celebration of the Penang
story brings the past into the present, and its reuse as a sm all hotel restores its historical function as a residence.
W hile m any Aw ard w inning projects have had m ultiple effects on their com m unity and its capacity to sustain its collective
m em ory, som e illustrate the successful im plem entation of one aspect particularly w ell.
Reinforcing community identity
Historic places of w orship have provided a focus of identity and continuity in m any com m unities. Often, a com m unity groups
passion for preserving its religious heritage has helped to sustain its cultural and historical continuum , strengthening its
sense of identity am id frenetic developm ent all around it. Such w as the case w ith the century-old Ohel Leah Synagogue
(2000 Outstanding Project), w hose painstaking restoration to its original state w as driven by the sm all Jew ish com m unity
in Hong Kong. The high standard of the w ork done there, w ith m odern services integrated harm oniously into historic fabric,
ensures that the building w ill continue to serve as a Jew ish spiritual and social centre far into the future, even as highrise
condom inium s tow er around it.

The restoration of w all paintings at the DorjeChenmo Temple (2004 Aw ard of M erit) in Ladakh, northern India, w as a project
of a m uch sm aller scale and com pletely different nature, but served the sam e goalsto m aintain a com m unitys distinctive
traditions that give it con dence and cohesion. The traditions of the devoutly Buddhist villagers of Shey include an annual
ritual in w hich the spirit of the tem ple deity, Dorje Chenm o, is believed to enter the body of the village oracle. The deity
obviously appreciated the w ork done on her shrine by the villagers, under professional guidance. After the dirt encrusted
and partly dam aged w all paintings w ere stabilized, cleaned and touched up, plus m inor structural repairs undertaken, the
deity, through the oracle, expressed great satisfaction w ith the villagersefforts. This not only reinforced the Buddhist
practice of m erit m aking but validated the new practice of conservation am ong the local com m unity, strengthening their
com m itm ent to preserving their heritage.
48
A m oving non-religious project that brought together a fractured Indonesian com m unity w as the relatively sim ple
restoration of the VirtuousBridge(2003 Aw ard of M erit), built in 1916, in M edan, Sum atra. Com pletely undertaken by
local residents, conservation of the bridges lam ps, pillars, railings and inscriptions allow ed the com m unity to share in
rediscovering the m ulticultural legacy of the city. The nal 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
The outstanding w ork on the Guangyu Ancestral Hall (2003 Aw ard of Excellence) in Guangdong province, China, show s
how local history can be revealed in the process of conservation and retained in the nal product. During the process,
signi cant traces of periods and renovations in the buildings life, from the M ing dynasty to the Cultural Revolution,
w ere discovered and preserved through traditional craftsm anship or thoughtful restoration m ethods. In the nal product,
these historical layers are displayed like an open bookfrom ancient m urals to revolutionary sloganspresenting a three
dim ensional, living record of the history of Qiangang village and its founding clan. The once abandoned hall has been
returned to its traditional usesby the clan to w orship its ancestors, and by villagers for festivals and gatherings.
In Australia, a highly sym bolic m om ent in Aboriginal history lives on, thanks to the restoration of the Australian Hall
(2002 Aw ard of Distinction) to its state in 1938the year in w hich the indigenous com m unity held the Day of M ourning
conference in the hall to m ark the 150th anniversary of the arrival of British settlers. The red-brick building, saved from
dem olition by the Aboriginal com m unity, has been sensitively restored as a physical rem inder of the Aboriginal civil rights
m ovem ent. By com m em orating the com m unitys long struggle against persecution and inequality, the Australian Hall also
has renew ed Aboriginal aw areness of and pride in their history.
Intangible cultural and social practices
Tangible heritage needs to be preserved because it provides the place in w hich intangible heritage happens. Historic places
are, literally, irreplaceable once lost and their loss often leads to the dim inishing of practices associated w ith 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 m ore inspiring backdrop for intangible cultural practices can be found than Ahhichatragarh Fort in Rajasthan, India (2002
Aw ard of Excellence). After 30 years of neglect, the restoration of the spraw ling tw elfth century fort com plex bequeathed
a huge public venue to the com m unity of Nagaur. The conserved palaces and grounds now host traditional festivals,
cultural and religious events. And the conservation w ork resurrected historical activitiesfor exam ple, a new generation
of craftspeople w ere trained in traditional construction m ethods, such as the hitherto forgotten art of carving jallie (stone
lattices). But intangible heritage encom passes less obvious traditions than arts and craftssocial practices, for exam ple. The
conservation of the Gota deLeche building in M anila (2003 Honourable M ention), not only protected a beautiful tropically
adapted Italian Renaissance building, but also allow ed for the continuation of its com m unity service use. The restoration
of the building to its form er architectural distinction put the building back in the public lim elight, attracting generous
sponsorship for its com m unity program m es.
Gota de Leche, Philippines
49
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, w hich are part of the intangible heritage of the local com m unity. In conserving tangible heritage, dying
arts and crafts therefore need to be revived, through the training of the local people. Com m m unities should be aided to
discover, respect and care for their ow n cultural resources and em pow ered w ith the technical skills that enable them to do
so. Only in this w ay w ill the long term survival of our heritage be assured.
Several UNESCO Asia-Paci c Heritage Aw ard w inners exem plify grassroots training efforts to enable local com m unities to
undertake local conservation. Take the restoration of Wat Sratong in Ban Bua village, Khon Kaen, Thailand (2002 Aw ard of
M erit). W ork on the tem ples ordination hall w as entirely and voluntarily undertaken by the villagers after on-site technical
training by the local university. In the process, they learned traditional construction and nishing techniques that they w ill
be able to use for future repairs, besides gaining a strong sense of ow nership over the project.
A sim ilar exam ple is the restoration of the centuries old Chanwar Palkhiwalon-ki-Haveli in Am ber, Rajasthan, India (2000
Excellent Project). During conservation w ork on this grand and intricately decorated m ansion, a large num ber of local artisans
w ere recruited and trained, especially in the m aking and application of decorative lim e plaster, a traditional skill that had been
lost. The training enabled several m aster craftspeople to subsequently set up their ow n businesses specializing in historic
conservation.
The Hoi An Town Preservation Cooperation Project (2000 Excellent Project), in w hich Japanese and Vietnam ese experts
and local artisans restored several traditional hom es and shops in the Hoi An W orld Heritage Site in Viet Nam , w as another
m odel of skills transfer w hich enabled the project to be sustained by the local com m unity after the experts left.
Old economic spaces in the new economy
M odes of buying and selling, trading and m anufacturing are as culturally distinct as they are varied. The m arketplace
is often a m icrocosm of local life. Historic spaces of com m erce and industry are em inently w orthy of conserving, and
several have w on Awards for doing it. Old com m ercial streets that successfully im plem ented conservation plans include
Zhongshan Road (2001 Aw ard of M erit), a m ile long vista of 1920s and 1930s shophouses in the southern Chinese
port city of Quanzhou, and Dadabhai Naoroji Road (2004 Aw ard of M erit), a bustling streetscape of nineteenth century
bazaars, pedestrian arcades and Neo-Classical buildings in M um bai. In both cases, structural stabilization, faade repairs
and rem oval of incongruous additions, restored their historical character and enhanced their com m ercial vitality. In the M um bai
case, the streets shopkeepers, residents and other stakeholders have voluntarily form ed a non-pro t association to m aintain the
areas heritage values, through such m eans as installing cast iron street furniture and redesigning shop signage to be
com patible w ith the streets Victorian-era urban character.
Other projects recycled derelict industrial buildings and breathed new life into them . Tw o tea-processing facilitiesBushells
Tea Warehouse in Sydney, Australia (2001 Aw ard of Distinction) and the Tea Factory Hotel in Kandapola, Sri Lanka (2001
Aw ard of M erit)successfully used as an of ce block and a deluxe hotel, respectively, w hile m aintaining their historical
Dadabhai Naoroji Road, India
50
signi cance through im aginative integration of the original industrial spaces and m achinery into the renew ed structure.
By the Suzhou River in Shanghai, an architects m inim alist adaptation of a dilapidated grain w arehouse into his chic design
studio saved the buildingand started a trend. An artistscolony has sprung up around Suzhou River Warehouse (2004
Honorable M ention) leading to the rehabilitation of surrounding w arehouses, thus preserving a rem nant of Shanghais
industrial history and regenerating an entire riverside district w ith lively new com m ercial activity.
Learning fromheritage
Heroic conservation efforts have allow ed m any historic sites to serve their com m unity as continuous sources of know ledge
in the form of heritage educational facilitiesas cultural centres, m useum s and libraries. For exam ple, despite political and
econom ic turbulence in post-Suharto Indonesia, w ork w ent ahead on the vacant, ood-prone, term ite-infested National
ArchivesBuilding(2001 Aw ard of Excellence), built in Jakarta in 1760 as a residential villa by a senior of cial of the Dutch
East India Com pany. The installation of drainage and other m odern utilities gave it a useful new role as a cultural centre,
w hile careful restoration of the com pound has preserved a piece of Dutch colonial history, open to the public as a popular
venue for exhibitions, perform ances and social events.
In M alaysia, a traditional northern M alay village house has been transform ed into a heritage centre. Rescued from ruin in
the state of Kedah,Rumah Penghulu (2000 Honourable M ention) w as carefully relocated to the capital, Kuala Lum pur,
w here it w as reassem bled as an exam ple of vernacular M alay architecture in w hich educational w orkshops and cultural
activities are now held by the Heritage Trust of M alaysia.
A typical New ari farm house in Bhaktapur, Nepal, w as conserved for a sim ilarly didactic purpose. After a decade of neglect, the
NamunaGhar (2004 Honourable M ention), m eaning m odel house, w as restored, to dem onstrate the m odern reuse of a 150
year-old building com patible w ith its heritage values. As a residence, m useum and events space, the house not only show cases
vernacular architecture, but also blazes a trail for the conservation of other historic houses in the Kathm andu Valley.
A m ore radical change w as the adaptation of the Nielson Tower (2001 Honourable M ention), a pre-w ar airport term inal in
M anila, Philippines, into the Filipinas Heritage Librarya tting reuse for one of Asias earliest airports. Its high-tech functions
w ere m oulded around the existing fabric, rather than the other w ay around, w ith even the airport signage being retained.
The eight year project in Bangkok, Thailand to restore the Phra Racha WangDerm palace com plex (2004 Aw ard of M erit)
renew ed public interest in a previously eclipsed period of Siam ese history. The project illum inated the sem inal reign of King
Taksin the Great (1733-82), w ho m oved the capital to Thonburi on the w est bank of the Chao Phraya River, and built his
palace there. The restored buildings, com prising royal residences, Chinese pavilions, a fort and a throne hall, now house
m useum s on the Thonburi era and a research library.
A future for heritage
In a w orld habituated to rapid change, instant grati cation and detachm ent from the past, w e are m ore than ever obliged
to prolong the lifecycle of our heritage for the sake of future generations. How else w ill they connect w ith their roots am id
societies in ux? How else w ill the collective m em ory be transm itted? It is essential for com m unities to nd a balance
betw een conservation and developm ent, but to do so they m ust rst know the sources of their history and culture.
Top: National Archives Building, Indonesia
Above: Namura Ghar, Nepal
51
The UNESCO Asia-Paci c Heritage Aw ards for Culture Heritage Conservation program m e has provided im petus to
the regions em erging civic conservation m ovem ent by reinforcing technical know -how, social m om entum and political
support. By recognizing outstanding efforts in the conservation of structures of heritage value, UNESCO aim s to catalyze
conservation at all levelsfrom the com m unity sphere to national heritage policy. The in uence of the Aw ard-w inning
projects on both conservation practice and policy is therefore an im portant consideration in the program m e. Each of the
w inning projects has dem onstrated exem plary ful llm ent of the aw ards criteria concerning the in uence of the project on
conservation practice and policy locally, nationally, regionally and internationally.
Setting technical benchmarks
Solid technical achievem ent is the cornerstone of the UNESCO Asia-Paci c Heritage Aw ards program m e. The m ere act of
conservation, w hile laudable, is not an end in itself and can in fact be detrim ental to the authenticity of the building if
carried out using inappropriate m aterials and techniques. Hasty or inappropriate conservation jeopardizes the future of m any
heritage properties in the region.
The Aw ard-w inning projects have been undertaken w ith system atic conservation m ethodology, using a com bination
of traditional techniques and m odern conservation technologies. The projects have also led to setting standards in the
conservation profession and in m any cases have led to policy reform .
Systematic conservation methodology
The w inning projects serve as valuable m odels in the developm ent and application of rigorous conservation m ethodology. This
system atic approach is particularly signi cant in the Asia-Paci c region w here conservation is a relatively new profession,
international norm s are not w idely understood or practiced and localized m odes of operation are still evolving.
The m ethodology exem pli ed by the projects rests on a values-based approach to conservation, w hich entails establishing a
thorough understanding of the values inherent in a heritage propertyartistic, architectural, social, historical and econom ic.
These values are thoroughly docum ented, and then form the basis for decision-m aking regarding how to safeguard the
buildings physical fabric together w ith its social and cultural m eaning.
Form ing a thorough understanding of the buildings m ulti-faceted signi cance before com m encing w ork results in
a com prehensive conservation approach, w hich ensures the authenticity and integrity of the w hole building fabric. As
such, conservation travesties such as faadism the retention of only the building faade w hile the rest of the building
is dem olishedcan be avoided. Furtherm ore, the values-based approach also allow s for the de ning spirit of place to
be understood as a historical continuum of change, w ith m any layers of m eaning preserved in the building. Finally, by
Richard A. Engelhardt
Inuencing
Conservation
Practice and Policy
Criteria I.
The inuence of the project on conservation
practice and policy locally, nationally, region-
ally or internationally.
UNESCO Asia-Pacic
Heritage Awards Jury Chairperson
Montira Horayangura Unakul
52
factoring in intangible values such as historic, cultural and social values alongside the architectural and artistic values of a
property, the holistic signi cance of a site is safeguarded.
The Australian Aw ard-w inning projects, undertaken w ithin the guiding fram ew ork of the Burra Charter, have consistently
dem onstrated excellence in this regard. In determ ining the signi cance of the place, each Aw ard-w inning Australian project
has undertaken extensive research into archival sources and a detailed survey of the structure itself to determ ine its
historical developm ent and its present-day condition. In addition, consultation w ith local residents, users and caretakers has
played an im portant role in fram ing a process inform ed by view points w hich w ere grounded in local historical associations
and beliefs, w hich m ay be different from the purely professional vantage point. This rich understanding of the building is
then borne out in the physical conservation w orks. For instance, in the transform ation of the abandoned FemaleOrphan
School in Sydney (2004 Honourable M ention), the buildings past stages of adaptation w ere determ ined to be a valuable
part of its historical value, and w ere show cased by carefully preserving the various paint layers. This literal display of its
earlier repairs creates a visual m etaphor for the social history of the building.
Highest level of technical achievement and workmanship
Grounded in conservation processes w hich m eet the highest international standards, the w inning projects have dem onstrated
a com m endable pursuit of excellence in the execution of w orks. They have addressed com plex technical issues caused in
m any cases by years of neglect, com pounded by urban encroachm ent, natural disasters and ill-inform ed conservation and
repair w orks. W hile m any of the projects have bene ted from the latest in conservation technology and am ple budgets,
others have been carried out under conditions of extrem e rem oteness, lack of skilled w orkers, lim ited access to appropriate
m aterials, and shortage of funds.
The projects em ployed a range of approaches to halt m aterial deterioration, reinforce w eakened structures and address
causes of decay. The rm principle, cutting across geographic lines and project types, has been the need for the least
intervention possible, insofar as w arranted by social and cultural circum stances. Innovative technical solutions have been
devised to preserve the original building fabric as m uch as possible, w hile at the sam e tim e ensuring its sustained longevity.
These have extended not only to structure and nishes, but also to the artefacts found in situ. Original m aterials have been
salvaged and reused w hen determ ined to be still sound. M odern engineering techniques, especially w here required to m eet
present-day building codes, have been applied in non-invasive and unobtrusive w ays.
The outstanding w orkm anship deployed by the projects shines through in the restored decorative w orks. The conservation
of Chinese tem ples, clan halls and m ansions in China, M alaysia and Singapore, for instance, has placed an em phasis on
sourcing only the m ost expert artisans in the arts of porcelain m osaic, tem pera painting and w ood carving. In m ost projects,
experts are sourced from the local region, fostering the continuity of indigenous skills and know ledge. How ever, in som e
cases w here the know ledge is no longer locally available, the projects have brought artisans from other provinces or even
from overseas. These specialists have w orked alongside local artisans to painstakingly repair or re-create w eathered and
m issing decorative elem ents essential to the signi cance of the buildings, producing contem porary w orks on par w ith the
historical ornam entation. This attention to detail has allow ed the buildings to regain their original grandeur, gaining favour
w ith residents, devotees and visitors alike.
Top: Female Orphan School, Australia
Bottom: Gongziting, China
53
Balanced combination of traditional and modern techniques
In recent years, age-old and tim e-tested building technologies have been largely eclipsed by m odern construction m aterials
and techniques. How ever, the Aw ardw inning projects have dem onstrated the w isdom of reviving indigenous know ledge in
the building trades and using it in com bination w ith contem porary construction and conservation techniques. Vernacular
m ethods have evolved over centuries to adapt to local clim atic, geo-technical, environm ental, social and econom ic
conditions. This body of know ledge includes not only building techniques, but also sophisticated practices and rituals
associated w ith m aintenance or periodic renew al of the building. This know ledge is re ected in the construction process as
w ell as the nal m aterial form of the building and its associated social m eanings.
Bringing this traditional know ledge into the conservation process allow s for continuity in the use of m aterials and
techniques that are best suited for the buildings and their contextboth from the point of view of structural and chem ical
com patibility as w ell as aesthetic and social appropriateness. Especially in the Asian context w here renew al of the physical
fabric is often a cultural requirem ent for reasons of spiritual or social belief, and thus rebuilding or replacem ent of dam aged
parts is often necessary, the use of traditional crafts allow s for the restoration to be undertaken in the m ost culturally
appropriate m anner.
At the sam e tim e, the Aw ard w inners have also played an im portant role in introducing m odern conservation science to
com plem ent traditional regim es of building and re-building. In m any cases, the projects have convincingly dem onstrated to
hom eow ners and local com m unity m em bers how strict restoration can serve as a judicious alternative to the m ore fam iliar
m odes of total renew al. These techniques range from the use of gentle chem ical solvents and techniques in the cleaning of
decorative w orks to the careful insertion of dam p-proof courses to protect buildings from rising dam pw hich have proven
to be highly effective yet respectful of the context.
This careful balance betw een traditional building crafts and m odern conservation techniques has been achieved in the
projects undertaken by the Aga Khan Culture Service Pakistan. These projects include the Baltit Fort (2004 Aw ard of
Excellence), the Yarikutz, Rupikutz, Kuyokutz andMamorukutz Mosques(2002 Aw ard of Distinction) and the Astana of
SyedMir Muhammad(2003 Aw ard of Distinction). The stabilization and structural repair of the buildings w ere carried out
using local m aterials and sim ple traditional hand tools. Team s of skilled local carpenters w ere m obilized to repair w ooden
structures. W here local m aterials or techniques proved inadequate, sophisticated m odern technologies w ere introduced; for
instance, the application of geo-m esh in the stabilization of the foundation of Baltit Fort.
Consolidation of conservation knowledge
The projects have contributed in im portant w ays to advancing the state of conservation education in the regionboth
w ithin the profession and w ithin academ ia. The rigorous docum entation of the conservation process in m any of the projects
has provided invaluable references for future w orks, adding to the repertoire of conservation know ledge w ithin the region
and globally. For instance, in the conservation of the Church of Our Lady of Mount Carmel (2004 Aw ard of Distinction),
the com position of the original lim e-based m ortar w as determ ined through the analysis of historic sam ples by a m aterials
chem ist and subsequently lodged w ith the local conservation authority as a m atter of public record, in order to aid in other
conservation projects in the tow nship.
Baltit Fort, Pakistan
54
M any projects have been carried out through collaboration betw een local builders, traditional artisans, m unicipal
authorities, professional conservators, conservation students and scholars. This has allow ed for a rich cross-fertilization of
ideas and approaches that have been m utually enriching. In particular, the exchange betw een local builders and artisans
and conservation professionals has often been a valuable one. This has taken on a cross-cultural dim ension in cases
w here foreign conservation experts w ere invited to take part in projects. For instance, in the restoration of six Vietnamese
Traditional Folk Houses (2004 Aw ard of M erit), undertaken through collaboration betw een Vietnam ese builders and a
team of Vietnam ese and Japanese conservators, local craftspeople learned about less intrusive conservation approaches to
retaining original fabric and nishes. At the sam e tim e, the conservators learned about the properties and beliefs associated
w ith local m aterials and building techniques, and adapted their conservation practices accordingly.
The professional exchange of know ledge can be system atized into conservation practice through of cial adoption by public
authorities. The restoration of the faade of ElphinstoneCollege(2004 Honourable M ention) w as notable for the form al
collaboration betw een professional conservators and engineers from M um bais Public W orks Departm ent (PW D), leading to
heightened sensitivity to conservation approaches and the transfer of low -im pact m ethodologies and technical approaches
w hich respect the historic fabric. Follow ing the success of this project, PW D of cials now apply these conservation principles
to other projects in the city.
The participation of academ ics in conservation projects has a direct im pact on conservation education. M any of the
w inning projects have bene ted from the guidance and involvem ent of universities, and at the sam e tim e, students and
professors alike have gained valuable exposure to conservation practice in the eld. This im proved state of know ledge has
helped to expand the boundaries of conservation as it is taught in the classroom and practiced at historic sites. The active
involvem ent of architecture faculties in the UNESCO-ICCROM Asian Academ y for Heritage M anagem ent netw ork is notable
in this regard, w ith m em bers in India and China taking a w idely-acknow ledged leadership role in the eld.
Codication of appropriatetechniques into conservation guidelines or policies
In optim al circum stances, the technical standards developed by Aw ard-w inning projects have been codi ed either into
professional guidelines or, in som e cases, form al legislation, thereby greatly facilitating their long-term replicability and
sustainability. For instance, the design guidelines created for the Dadabhai Naoroji RoadStreetscape(2004 Aw ard of
M erit), one of the rst sets of such guidelines to be com m issioned and dissem inated in India, provide m easures for the
coordination of signage and street furniture w ithin the context of the historic street. How ever, instead of being im plem ented
under the force of m unicipal legislation, these guidelines w ere rst applied through the co-operation of local shopkeepers
along the road, w ho cam e together in the nam e of their com m on interest in reviving the com m ercial corridor. W ith the
positive im pact of their efforts, the guidelines w ere subsequently adopted by the m unicipality.
In a m ore straightforw ard process, urban design guidelines w ere also form ally adopted in the conservation of the historic
streetscapes in the Australian tow n of Broken Hill (2002 Honourable M ention) and the Zhangzhou City Historic Streets,
China (2004 Honourable M ention). Upon adoption, the Broken Hill guidelines w ere put into place w ith a w ide-ranging
set of m unicipal incentives w hich provided grants, loans and professional technical advice to hom eow ners. Likew ise, the
guidelines in Zhangzhou w ere ensured of success by m unicipal support to upgrade public infrastructure, source traditional
m aterials and subsidize faade restorations.
Vietnamese Traditional Folk Houses, Viet Nam
55
The w inning projects show that technical conservation guidelines should not be instituted as a separate set of legislation, but
are m ost effective w hen integrated holistically into urban planning and developm ent schem es. For instance, the conservation
recom m endations developed for the traditional Water Towns of theYangtzeRiver (2003 Aw ard of Distinction) w ere
im plem ented as part of the tow ns long-term physical and socio-econom ic grow th plan. Likew ise, in the case of Broken Hill,
the heritage revitalization m easures w ere at the heart of a com prehensive strategy for the tow ns renaissance.
Engendering social benets
The w inning projects have proven, how ever, that outstanding technical achievem ent on its ow n is insuf cient to ensure
the long-term sustainability of the conserved heritage. The social com ponent of the projectsboth in their planning and
executionhas an im portant bearing on their long-term im pact w ithin the local com m unity and the nation as a w hole.
Capacity-building and community strengthening
In the m ost direct sense, m any of the Aw ard w inners have contributed to im proving the w ell-being of the com m unities in
w hich the projects are initiated. The projects have proved that conservation projects can becom e a vehicle for delivering both
tangible and intangible bene ts through building livelihoods, restoring a sense of local pride and fostering social cohesion.
M any projects have placed an em phasis on reviving local livelihoods, particularly in the traditional building sector. Local
m asters have been encouraged through the projects to take on an active m entoring role, ensuring a transfer of know ledge
to a younger generation as an integral part of the project outcom es. In som e cases, w here the know ledge of lost and
dying crafts is no longer locally available, m aster 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 M ention), the lost art of
stained-glass w indow m aking w as resuscitated by inviting tw o m aster glaziers from England. Over the course of the project,
a team of Indian glaziers w as trained in the intricacies of the craft, and has since form ed a guild w hich now undertakes the
restoration of the citys collection of m agni cent Victorian stained-glass w indow s, turning a craft w hich had disappeared
locally into a viable m odern profession.
The restoration of shared heritageespecially in fragm ented or m ulticultural com m unitieshas been an excellent opportunity
for the re-establishm ent of historic relationships and local pride. The restoration of Wat Sratong (2002 Aw ard of M erit)
becam e the com m on focal point for a sm all com m unity in northeastern Thailand, w here young and old w orked side by
side on their previously-derelict Buddhist chapel, creating a com m on bond increasingly rare in a rural area decim ated by
the em igration of youth to the cities. Likew ise in M edan, Indonesia, the restoration of the VirtuousBridge (2003 Aw ard
of M erit), through a joint civic effort from the citys M alay, Chinese and Indian com m unity, has strengthened the sense of
m utual goodw ill and has becom e the basis for renew ed co-operation.
Mobilization of conservation movements
At another level of im pact, the w inning projects have invested a trem endous effort in raising public aw areness of heritage
and conservation, as a w ay of ensuring long-term sustainability. The projects have achieved spin-off effects by rekindling
other form s of cultural expression, encouraging other restoration efforts and m obilizing conservation m ovem ents.
Top: Zhangzhou City Historic Streets, China
Bottom: Wat Sratong, Thailand
56
The conservation of a physical heritage structure has often led to the revival of other form s of local heritage and traditional
practices linked to com m unities of faith, ethnicity or clan ties. During the restoration of DorjeChenmo Temple (2004
Aw ard of M erit), for exam ple, the professional conservators undertook a dram atic transform ation in the abandoned soot-
covered tem ple through the careful cleaning of the obscured w all paintings, w hich revealedto the delight of the resident
lam as and villagersa pantheon of Buddhist deities rendered in vibrant pigm ents that led to the eventual renew al of
sacred rituals associated w ith the tem ple. It has also raised aw areness of the value of other historic buildings in the area,
encouraging the local com m unity and authorities to identify and safeguard other structures of heritage value.
Close consultations w ith the local com m unity have enabled the projects to be grounded in the local context and sensitively
address local concerns, thereby laying the groundw ork for sustained long-term involvem ent, enthusiasm and support for
conservation efforts. In the restoration of the Catholic Cathedral of theImmaculateConception in Hong Kong SAR, China
(2003 Honourable M ention), for exam ple, detailed consultations w ere carried out at every stagefrom initial identi cation
of the project scope to the selection of the acoustic and lighting equipm ent. The subsequent sense of ow nership for
the project has fostered an ethic of conservation am ongst parish m em bers w hich continues to this day in the ongoing
m aintenance of the cathedral. Indeed, the success of the project has inspired the larger Catholic com m unity in Hong Kong
SAR, leading to the conservation of m any other properties by the Catholic Diocese in close co-operation w ith local parishes.
Indeed, it has also encouraged other com m unities of faith in Hong Kong SAR to take a renew ed 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 w ith broad-based social m obilization, the catalytic im pact of the successful projects has in m any
cases resulted in increased political com m itm ent and action. Em bedding outstanding conservation practice into actual
conservation policy has secured the m ost stable fram ew ork for long-term sustainability, providing the basis for channelling
political goodw ill and regulating com m ercial interests.
Heritage redened and protected
The successful conservation and adaptation of previously-overlooked and neglected heritage properties have dem onstrated
the potential and viability of reuse of these resources, not only to com m unity m em bers but also to private developers
and of cial authorities. Indeed, in som e cases, conservation w orks have been carried out, seem ingly against all odds, on
buildings w hich w ere 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 environm ent for the institution of protective m easures.

This is especially true of neglected heritage, in particular industrial heritage, w hich in m any parts of the Asia-Paci c has
not yet been of cially recognized as heritage per seto say nothing of being protected. As regional trendsetters, three
industrial heritage projects have been recognized w ith Aw ards: the BushellsTea Warehouse (2001 Aw ard of Distinction),
the Tea Factory Hotel (2001 Aw ard of M erit) and the Suzhou River Warehouse (2004 Honourable M ention). The latter
is particularly notew orthy in that it effected a policy shift in Shanghai. The conversion of the once run-dow n Art Deco
grain w arehouse into an architects of ce w as m uch chronicled in the local press, and gave rise to a trend w hich saw the
57
transform ation of neighbouring and sim ilar buildings into popular restaurants and cutting-edge creative industries. This
com m ercial success, com bined w ith continuous advocacy in the m edia, led to the declaration of a protection zone for the
citys industrial heritage by the m unicipal authoritiesa rem arkable accom plishm ent due in part to this project. Its success
dem onstrates the potential of a single conservation effort in effecting a transform ation of the policy environm ent at the
local, and eventually, national level.
Linkageof conservation with urban and socio-economic revitalization
Long-lasting com prehensive bene ts from conservation can be achieved through the deliberate linkage of conservation
w ith urban and socio-econom ic revitalization policies. This has been seen in the projects w hich have been linked to a
district-w ide strategy for urban upgrade. For instance, the revitalization of the National ArchivesBuilding (2001 Aw ard
of Excellence), located at the gatew ay to the old district of Jakarta Kota, has m arked a turning point for this historic but
run-dow n area. The colonial landm ark has now been transform ed into a cultural centre hosting events and exhibits under
the m anagem ent of a private foundation. Consequently, this revitalization strategy has been adopted for nearby properties
in Jakarta Kota, w hich also rem ain in state hands, but have the potential for private sector investm ent. In particular, the
strategy calls for the revitalization of the district through the adaptive reuse of the now -abandoned buildings to show case
traditional and m odern cultural industries (m useum s, crafts w orkshops, training schools and galleries). It is foreseen that
rehabilitation and adaptive reuse of these historic buildings w ill draw creative entrepreneurs and visitors, fostering a new
productive lease of life for the once-bustling com m ercial core of historic Batavia.
The restoration of landm arks in the historic Fort Precinct of M um bai has also contributed to a m ulti-pronged urban
revitalization m ovem ent spearheaded by various civic groups. The efforts of the Kala Ghoda Arts Association have seen the
restoration of historic street faades of m ajor institutional buildings in the precinct, such as Elphinstone College, linked to
a revival of artistic activity and public outreach. M eanw hile, the concerted efforts of shopkeepers and local corporations in
the renew al of the com m ercial corridor of Dadabhai Naoroji Road have effected an im provem ent not only in the heritage
streetscape but also in the stim ulation of local business. The restoration of local landm arks such as St. ThomasCathedral
(2004 Aw ard of M erit) and the University of Mumbai Library Building has also returned som e of the citys venerable social
institutions to their place of pride. Collectively, the projects have engendered a high aw areness and concern for historic
heritage in M um bai, spurring an increasing com m itm ent to protecting the areas distinct identity.
M any w inning projects involving residential rehabilitation w ere undertaken as pilot projects for the larger-scale upgrade of
historic neighbourhoods w hich have undergone a physical and social decline. In addition, these pilot projects have placed an
em phasis on retaining the local residents in order to allow for social continuity. The Sino-Norw egian co-operation project in
restoring No. 125 HuajueAlley (2002 Honourable M ention) w as a successful rst step in the eventual conservation of the
ancient M uslim Drum Tow er district of Xian, China, and the house is still used today as a fam ily residence, thus retaining
its original social signi cance. International cooperation has been im portant in the success of m any projects. For exam ple,
the restoration of Jin Lan Teahousein Kunming, China (2001 Honourable M ention) w as undertaken under sim ilar term s
to that of No. 125 Huajue Alley, through cooperation w ith the city of Zurich, Sw itzerland.
St. Thomas Cathedral, India
58
The restoration of residential and com m ercial properties in the historic w ater tow ns in Fujian and Zhejiang provinces of China
have seen the added bene t of increased tourism to the restored sites, w hich has resulted in increased revenue generation
and grow th. Indeed, cultural tourism has been a pow erful engine driving the replication of successful conservation projects
either through private or public initiative. The successful conversion of CheongFatt TzeMansion (2000 M ost Excellent
Project) into one of M alaysias rst heritage hom estays has provided an attractive redevelopm ent alternative for other
properties in historic George Tow n. Especially after the repeal of rent control m easures in the city, such self-supporting
form s of adaptive reuse, w hich are com patible w ith the historic nature of the buildings, allow them to be conserved and
given a m eaningful new life. Sim ilarly, the private initiative taken by the ow ner of the defunct Tak SengOn Pawnshop
(2004 Honourable M ention) presents another response to this opportunity. Located along the route of M acao SARs W orld
Heritage trail, the property has been converted into a cultural show case, run by the Cultural Institute of M acao, about the
historic paw nshop industry.
The role of public-private partnerships
The successful partnership betw een public and private entities in undertaking m any of the w inning projects has provided a
strong endorsem ent for the bene ts of this joint approach in funding, directing and im plem enting heritage conservation.
Heritage trusts have often played an im portant role in brokering these partnership arrangem ents. In som e cases, private
initiatives have been critical in spurring the public sector into taking action, as in the case w ith the Suzhou River W arehouse.
Early successes by projects spearheaded by private businesses, shop ow ners 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 investm ent in public infrastructure spurs private investm ent, leading to an overall im provem ent in the
urban environm ent. For instance, the conservation of Cangqiao Street (2003 Aw ard of M erit) w as supported by public
funds in the form of infrastructure upgrades and subsidies to private hom eow ners for building repairs. The project has seen
a revival of the neighbourhood, located in the heart of historic Shaoxing, allow ing old residents to stay w hile at the sam e
tim e attracting visitors from outside. Another form of partnership w as developed in the conservation of Phra Racha Wang
Derm (2004 Aw ard of M erit). The private initiative of a foundation to raise funds and source private conservation expertise
w as accom panied by technical oversight provided by the Thai governm ents Fine Arts Departm ent. This allow ed the project
to be executed w ith ef ciency and to high technical standards, offering an alternative to the usual lengthy m odel of state
intervention in rescuing signi cant buildings that have becom e vulnerable.
Draw ing on the respective strengths and potential of the public and private sectors, the w inning projects have dem onstrated
the role for co-operation in various w aystechnical, nancial and social. The precedents set by these public-private
initiatives herald an im portant step forw ard in ensuring the sustainability of conserving the cultural heritage of the Asia-
Paci c region.
Tak Seng On Pawnshop, Macao SAR,
China
59
Our cultural heritage is handed dow n to us from our forebears and w e are responsible for nding viable w ays to conserve
and sustain it into the future. The process of conservation seeks to preserve our built environm ent and nd new functions
w here 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 w ay of using the earths nite resources w isely and m anaging the crucial im pact of hum an developm ent
on the global environm ent.
Successful conservation of our built heritage lies in reusing and adapting older buildings to m odern standards and
requirem ents. It concerns not only saving the physical fabric of the building but also nding appropriate new functions
that are socio-econom ically feasible, culturally appropriate and self sustaining. To be reused, historical buildings often have
to change roles to serve different users w ith their particular needs and requirem ents. Likew ise, cultural heritage itself has
to have a changing role, adapting over tim e to rem ain relevant. The challenge for sustaining our cultural heritage is how to
nd a viable solution to adapt to these changes.
The UNESCO Asia-Paci c Heritage Aw ards for Culture Heritage Conservation call our attention to conservation projects that
are not just technically pro cient and socially engaged, but also dem onstrate the potential for socio-econom ic viability
and relevancein the long run. Viability refers to the continued survival of a project after it has been com pleted through
sustainable use and m aintenance. The viability and sustainability of conservation projects depend on econom ic, social
and legal factors, and on political circum stances.
Understanding the economics of conservation
M any of the Aw ard w inning projects have m anaged to nd a nancial solutionusually through a com m ercial usethat
w ill justify the conservation investm ent and ensure the longevity of the heritage. From the range of actors and partnerships
in the Aw ard w inners, it is clear that there are m any m odels for success. Funding m ay be potentially sourced from the
private sector, the state, foundations and heritage trusts, or from the incom e generated by the building itself. The m ost
straightforw ard channel of m obilizing nancial support is setting up a dedicated conservation and building m aintenance
fund, as in the case of restoring Guangyu Ancestral Hall in China (2003 Aw ard of Excellence). The villagers took an active
role in establishing and m anaging the Guangyu Ancestral Hall Restoration and M anagem ent Fund, using donations from
the villagers them selves. The fund is used for ongoing repair and m aintenance of the Hall.
The m ost successful projects in the Aw ards program m e are typically projects w here new, econom ically viable solutions
have been found for the cultural property. Usually, they stem from a public-private partnership w here both sides have an
interest in the redevelopm ent of the property. W hile the interest in the protection of local cultural heritage provides the
im petus for the project, the conservation objectives can only be achieved through sound nancial planning. Quite often
Budi Lim
Ensuring
Ongoing Viability
Criteria J.
The ongoing socio-economic viability and
relevance of the project, and provision for
its future use and maintenance.
UNESCO Asia-Pacic
Caroline Swartling
60
potential investors are reluctant to fund conservation because of uncertainty regarding costs, tim e and actual bene ts.
Understanding the potential of cultural heritage as investm ent assets, m ixed w ith a creative and viable solution, is the key
to successful adaptive reuse. In large scale projects, it m ay be preferable for the w ork to be m anaged by professionals to
achieve better ef ciency regarding tim e and m oney.
It is telling that the m ajority of the w inning projects are com m ercially self-sustaining. Out of the w inners, tw o m ajor
groups involving com m ercial uses can be discerned: of ces and hotels. Of ces that convey a sense of history and local
culture create a certain atm osphere that attracts m any com panies w ith a representative function. DBSHouse in M um bai,
India (2001 Aw ard of M erit) is a ne exam ple of a private residence being restored to serve as a business centre. The
professional conservators adopted the m inim al intervention approach and restored the building as close to the original
appearance as possible. This dem onstrates how a large adaptive reuse restoration project can be carried out by the private
sector for a m odern business purpose and be econom ically viable. Now the building is a w ell know n landm ark, giving extra
publicity and prestige to the com pany.
For conversion into hotels, the explosion of cultural tourism is a vital ingredient for a sustainable outcom e. Peoples
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 m ost im portant catalyst for econom ic developm ent in the heritage sector. W hen
carefully m anaged, tourism can have an im portant im pact on im proving and developing the com m unity, by creating job
opportunities, attracting business investors and so forth. Attracting visitors can help in preserving traditional crafts and raise
aw areness am ong the local com m unity, w here traditional cultural values are som etim es taken for granted. How ever, if not
m anaged properly, tourism can also be an im m ensely destructive force and cause a negative im pact on the authenticity of the
environm ent. Therefore, m easures need to be taken to balance heritage conservation needs and developm ent objectives.
An illustrative exam ple of a conservation project w hich achieved an econom ically viable solution is the form erly dilapidated
Ceylon tea factory, w hich w as converted into the deluxe Tea Factory Hotel. The factory, ow ned by the British, w as abandoned
in 1973 w hen tea plantations in Sri Lanka w ere nationalized. The building w as left to deteriorate until 1992, w hen a hotel
m anagem ent com pany realized its potential for redevelopm ent. The com pany purchased the building w ith a vision to create
a boutique hotel that still re ected its industrial character. The existing building fabric w as retained as m uch as possible,
contributing to the unique am bience of the interior. M ost of the existing tea processing equipm ent w as also reused for
hotel service needs. Com pleted w ithin tw elve m onths, the new hotel helped boost the local econom y by providing a variety
of em ploym ent opportunities in the com m unity.
Likew ise, transform ing industrial heritage into a tourism m agnet at an urban scale w as the key objective w hen the local m ines
closed dow n in Broken Hill, New South W ales, Australia. The tow n struggled to survive econom ically and the com m unity
had lost its con dence. To be able to sustain and revive the tow n, a viable role for heritage resources w as found by turning
the w hole tow n into a living m useum . The m ain aim w as to use heritage and culture tourism as an econom ic engine. The
Broken Hill HeritageandCultural TourismProgramme (2002 Honourable M ention) dem onstrates how local governm ents
can inspire and stim ulate conservation w orks on a very broad scale. Tw o funds w ere set up to support the conservation
w ork, w ith 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 ow ners w ith free conservation advice. The extensive program m e set up by the
City Council has greatly increased the num ber of visitors to Broken Hill over the years.
61
Drawing on the strength of the community
Conservation efforts need to pay special attention to the contextual aspect of the place and should bene t the com m unity
and future generations as a w hole. Good conservation calls for com m unity participation in order to generate aw areness,
support, a feeling of belonging and, as a result, com m unity pride. Connecting people em otionally to the heritage property
w ill help to protect the building in an ongoing w ay.
Conservation of heritage should not be m erely a technical process but a social one. Indeed, conserving heritage can provide
a com m on platform for social interaction and enhanced cohesion. In the Lakhpat Gurudwara project in Gujarat, India
(2004 Aw ard of Distinction), the conservation process w as to foster greater cohesion in the tow ns m ultiethnic com m unity
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 ow nership of the Gurudw ara w hile
entrusting the com m unity w ith responsibility and practical skills to m aintain it into the future. Together the com m unity
can now safeguard their com m on heritage.
Turning heritage restoration and m aintenance into a viable vocation allow s local residents and hom eow ners to continue
to upkeep the historic structures in their tow ns and cities. Conservation processes can serve as engines to revive and keep
traditional crafts alive. Skills that are virtually extinct in the com m unity can be consciously rebuilt during the conservation
project through w orkshops and training. Several Aw ard-w inning projects in Pakistan and India are good exam ples of this,
notably Baltit Fort in Karim abad, Pakistan (2004 Aw ard of Excellence), w hich trained young villagers in traditional crafts,
especially in the culturally signi cant w oodcarving tradition. W ith their new skills, they are able to seek local em ploym ent
in refurbishing other heritage structures in the traditional w ay. Furtherm ore, they can pass on the acquired know ledge and
skills to future generations, reviving a lost trade and system of know ledge transfer.
M aintaining the social viability of a heritage settlem ent requires that the needs of the local residents are addressed, so
they can continue to function and carry on their custom ary w ays of life, thereby preserving the intangible heritage and
alleviating developm ent pressures on the built heritage. In order to sustain historic living com m unities in their traditional
built contexts, w e need to accom m odate m odern standards of living in older buildings that do not easily respond to these
requirem ents. Conservation w orks can help to upgrade living quarters and urban services in a w ay w hich is sensitive
to both the place and the people. In the revitalization of tw o landm ark streets in the tw elfth century Jaisalmer Fort
(2002 Honourable M ention), the Indian National Trust for Art and Cultural Heritage (INTACH) and the charity Jaisalm er-
in-Jeopardy w orked very closely w ith the residents to understand and respond to their needs for m odern facilities such as
plum bing in their houses and upgraded public infrastructure, particularly sew erage and street paving. W ith these pressing
issues resolved, ad hoc building extensions and the use of inappropriate m odern building m aterials by local residents w hich
w ere dam aging the authenticity of the forti ed city have decreased. The daily lives of the inhabitants have im proved,
allow ing for a new chapter in the ongoing life of the Fort.
Com m unity involvem ent can be sustained in the long run through form al consultation w ith local stakeholders at all stages
of the conservation project. In som e cases, especially in religious buildings, the decision-m aking regarding conservation
options is entrusted to a com m ittee already charged w ith overseeing building w orks or established during the course of
the project. In the restoration of the Centrefor Khmer Studies (2002 Honourable M ention), a ten year lease w as taken
Broken Hill, Australia
62
w ith W at Dam nak the m onastery in return for restoring tw o derelict buildings as a conference hall and library. Before any
decisions w ere taken during the course of w ork, the Pagoda Com m ittee had to be consulted. Com posed of local elders and
the laym en of the m onastery, the Com m ittee serves as the traditional social and adm inistrative body in the com m unity. The
Com m ittee provided insights into the tem ples history and com m unitys needs, and helped to raise aw areness and support
for the restoration project both during and after the conservation w orks.
Putting in place a long termlegal framework
In addition to social or com m unity-based m echanism s, the long term sustainability of the historic property can be ensured
only if there is a clear legal fram ew ork for protecting its heritage value. A fundam ental legal concern is the security of land
tenure. It is som etim es the case that old buildings w ere built on land w ith an unclear title or in com m unal grounds w ith
contested ow nership. Checking and regularizing the legal status of the land and building should be considered as the rst
step in the conservation process. Clear title w ill also allow the ow ner to collateralize the property to access funds to support
the restoration and ongoing m aintenance of the building.
Strong conservation legislation w hich protects the property from being altered, added onto or torn dow n is often necessary.
Exam ples from countries such as Australia dem onstrate the im portance of com prehensive legal m echanism s at the national
and m unicipal level for the designation, protection and sensitive redevelopm ent of heritage properties. If a heritage
property is included in a national or local register for historic properties, it w ill be governed by law s w hich w ill regulate the
changes that are perm issible w ithin the scope of the heritage protection act. In som e cases, the law s m ay protect both the
tangible heritage associated w ith the physical building fabric, as w ell as the intangible heritage w hich enlivens the building.
M oreover, the legislation fram ew ork m ay not only govern the nal conservation product, but m ight also guide a sustainable
conservation process, one w hich calls for consultation w ith stakeholders at all steps of the restoration w ork.
Legal protection w as fundam ental to the conservation of the Australian Hall, located in dow ntow n Sydney, Australia
(2002 Aw ard of Distinction). The building is m ost signi cant for its Aboriginal heritage, having hosted the rst Aboriginal
Day of M ourning Conference in 1938. During the 1990s urban plans for redeveloping the area included the dem olition
of the Australian Hall. The M etropolitan Local Aboriginal Land Council and the National Aboriginal History and Heritage
Council launched a cam paign to save the building, and as a result a Perm anent Conservation Order w as placed on the
entire Australian Hall in 1998, w hich entitles the building to protection under the New South W ales Heritage Act. Having
successfully m anaged to get the building under heritage legislation, it w as then purchased, w ith funding from the Indigenous
Land Fund, by the M etropolitan Aboriginal Association and the conservation project w as initiated later in 1998.
In spite of som e success stories, heritage legislation throughout the Asia-Paci c region is still relatively w eak. Existing
law s m ay be inadequate in effecting an actual im pact on conservation in the larger context of urban developm ent. Often,
conservation law s are easily overlooked as governm ents and ow ners lack the political w ill and econom ic m eans to undertake
heritage conservation. The scope of the legislation in som e countries is often still focused on m onum ents, to the exclusion
of less spectacular vernacular buildings, m ore recent buildings, historic precincts or cultural landscapes. As such, buildings
such as sim ple houses or exam ples of m odern architecture m ay som etim es not be eligible for protection under these law s.
Heritage protection law s are often designed to ensure that urban redevelopm ent does not occur at the expense of razing
heritage properties by listing and protecting signi cant buildings. How ever, they often stop at the designation of a building
63
as a landm ark, w ith w eak m easures to protect the surrounding site context adequately. As a result, new developm ents in
adjacent areas often have a visual and physical im pact on the heritage property.
A num ber of Heritage Aw ards w inners dem onstrate the long term value of designating not just a single building, but
a district w ith clear regulations for restoration and construction activities. Tak Seng On Pawnshop (2004 Honourable
M ention) is located near The Historic Centre of M acao W orld Heritage Site, China, and its conservation w as carried out
w ithin the fram ew ork of conservation guidelines governing the buffer zone w hich are intended to preserve the larger urban
context of the W orld Heritage sites. In the case of the Hoi An Town Preservation Cooperation Project (2000 Outstanding
Project), the restoration w orks w ere also conducted in accordance w ith regulations for the protection of the W orld Heritage
site as an intact ancient tow n. Urban conservation guidelines can be applied w ith success even w ithout being enacted as
form al legislation, w ith the w illing cooperation of the local m unicipality, hom eow ners and shopkeepersas dem onstrated in
the urban upgrade of several historic Chinese neighbourhoods such as Cangqiao Historic Street in Shaoxing (2003 Aw ard
of M erit) and the revival of the Victorian streetscape of Dadabai Naoroji Road in M um bai, India (2004 Aw ard of M erit).
Building strong partnerships
As the de nition of cultural heritage broadens to include m any local voices, re ecting the im portance of cultural diversity,
a larger num ber of stakeholders are becom ing m ore involved in the heritage conservation process. In particular, the private
sector has em erged as an im portant stakeholderincluding 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
im plem entation for the conservation project. M ost im portantly, they can also advocate for all dim ensions of local heritage
to be included in conservation effortsranging from sm all com m unity shrines to old factories. The UNESCO Heritage
Aw ards have show n that partnerships betw een the private sector and the public sector can prove critical for the success
and sustainability of any conservation intervention.
The conservation of the Water Townsof theYangtzeRiver (2003 Aw ard of Distinction) w as enacted through a private-
public partnership that w as established to save the six dying historic tow ns, w hich had becom e unpopular places to live
as residents abandoned their traditional houses to m ove to buildings w ith m odern public services. A coordinated urban
developm ent and conservation plan for each tow n w as developed that aim ed to conserve the historical environm ent,
im prove living conditions and develop the cultural tourism m arket. The division of w ork and responsibility w as clearly
indicated from the start of the project. The responsibility of the local governm ent w as to regulate and direct the conservation
process by establishing relevant m anagem ent plans and regulatory bodies. M eanw hile, private businesses and hom eow ners
w ere charged w ith im plem enting the plans, in accordance w ith the governm ent regulations. Funds for the w ork cam e from
tw o sources: governm ent investm ent for public facilities and investm ent from each property ow ner for the conservation
of privately held buildings. The public-private partnership enacted during the project im plem entation has established an
ongoing w orking m odality not only for these six tow ns, but also for other tow ns w ith sim ilar conditions.
In som e cases, a civic partnership can be form ed to save shared heritage w ithin a com m unity, w hich then becom es a
forum for harm onious dialogue and co-existence. The restoration of the Virtuous Bridge (2003 Aw ard of M erit) not
only upgraded a vital connecting thoroughfare in the heart of M edan, but also served to strengthen the ties betw een the
different com m unities of the rich m ulticultural city. The bridge w as built to com m em orate a m ayor know n for encouraging
Topandabove: Tak Seng On Pawnshop,
Macao SAR, China
64
peaceful cross-cultural exchange betw een the citys M alay, Chinese, Indian, Arab and European residents. As part of their
anniversary celebrations, the Sum atra Heritage Trust decided to initiate the restoration of the dilapidated bridge to create a
spirit of harm onybetw een the various groups. Local businesses generously donated to the project, w hich resulted in the
refurbishm ent of the bridges decorative rails and street lights and the installation of an interpretation board celebrating
the unique history of the city. As a result, the tow n has seen a revival of its historic intercultural civic spirit, w hich w ill
support the m aintenance of the bridge and other sim ilar public w orks.
In light of the Asia-Paci c regions com plex historical layers, especially in the post-colonial era, renew ed partnerships can
provide a w ay to revisit and reposition shared heritage in its m odern context. The National ArchivesBuilding in Jakarta,
Indonesia (2001 Aw ard of Excellence) sets a precedent in this regard. Ow ned by the Indonesian governm ent, the building
w as restored by the private sector w ith funding from the local Dutch business com m unity. The Indonesian alum ni of Dutch
schools and the Indonesian Heritage Society w ere approached as the local counterparts. An Indonesian-Dutch architect
team w as form ed, in w hich I took part, along w ith Han Aw al & Partners and Cor Passchier. The Gedung Arsip National
Foundation w as launched in October 1998 to m anage the restored building. Its com m ittee m em bers are prom inent local
Indonesians and expatriates, including the initiator of the project, a Dutch law yer w orking in Jakarta, M r Erick Hem erstein.
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 buildings pro le in the country, but also help to cover
m aintenance costs.
Ensuring long-termviability
A com m on dilem m a in conservation w orks is that even w hen people share good intentions for conservation, they often
have different conservation values, approaches and technical know -how, w hich can produce different outcom es and even
con icting results. Good intentions alone do not guarantee successin any conservation project, stam ina is needed to
m anage and to nurture relationships, so that trust am ong all stakeholders can be built up and suspicion can be cleared
aw ay. Yet, w hile being inclusive is im portant, the m ore people w ho get involved, the m ore ideas w ill em erge. 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,
w ith w ell-established guidelines for undertaking the w ork. This w ill ensure that the project m eets high standards and w ill
m ake m anaging the process easier. The restoration w ork is a short term goal; and the ultim ate goal should be to achieve
sustainable reuse for the future.
Five Years of the UNESCO
Asia-Pacic Heritage Awards
Case Studies of Best Conservation Practice
1
2
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 lOrient, 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. Patricks College, Sydney, Australia
Honourable Mention
Harischandra Building in Maha Vihara Monastery,
Anuradhapura, Sri Lanka
Mawsons 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
70
Context
Cheong Fatt Tze M ansion is the late nineteenth-century archi-
tectural legacy of the m an dubbed the Rockfeller of the East.
Originally a penniless boy from China, Cheong Fatt Tze had a
rem arkable rags-to-riches life in w hich he rose from poverty and
obscurity by creating a m ultinational conglom erate and subse-
quently gained high standing in Penang society.
Surrounded by m odern structures, Cheong Fatt Tze M ansion is
one of the few rem aining historic buildings in Penang and could
w ell have been dem olished had it not been for a group of deter-
m ined citizens and a privately-funded operation w hich rescued
the m ansion from redevelopm ent.
It is still challenging to effectively im plem ent legal protection for
historic buildings in M alaysia. Until recently, heritage architecture
in Penang w as not w idely recognized as having signi cant value
and the focus w as on the construction of m odern structures rather
than renovation of historic buildings. This restoration project w as
therefore a m ilestone and a turning point in term s of heritage
protection in Penang.
Building history
Constructed over a seven-year period betw een 1896 and 1904 by
team s of m aster craftsm en from China, the m ajestic m ansion of
38 room s, ve granite-paved courtyards, seven staircases and 220
w indow s w as designed to re ect Cheong Fatt Tzes stature and
eclectic approach to life.
The m ansion is one of three rem aining stately Chinese-style dw ell-
ings of its kind outside of China, and is the only one in Southeast
Asia. This building is particularly unusual, how ever. W hile it rep-
resents the best of eighteenth and nineteenth-century Chinese
architecture, and it is laid out according to Chinese geom antic
principles and decorated w ith intricate carvings, chien nien and
Chinese lattice-w ork, the courtyard house also re ects an array of
other in uences. These can be seen in Art Nouveau stained glass,
Gothic louvered w indow s, Stoke-on-Trent geom etric oor tiles
and Scottish cast-iron elem ents.
Cheong Fatt Tze lived in the m ansion until his death in 1916, w ith
three of his eight w ives, his six sons and num erous daughters. In
his w ill he stipulated that the house could not be sold until the
death of his last son but because his sons had insuf cient funds
to m aintain the house, it fell into ruin.
W hen Cheong Fatt Tzes last son died in 1989, the house w as put
on the m arket. By this tim e it w as in an extrem ely dilapidated state
and faced the prospect of either dem olition or eventual collapse. In
1990 it w as sold to a sm all group of conservation-m inded buyers,
w ho, despite the derelict appearance of the building, recognized
its heritage value and w ere charm ed by its unique character.
Project history
The new ow ners of the building believed there w as a need for a
change in the com m unitys outlook tow ards historic buildings
and the values ascribed to them . In the Cheong Fatt Tze M ansion
project, they hoped to undertake a project w ith integrity and raise
restoration practices in Penang.
Indeed, it w as Penangs rst high-pro le renovation venture. The
project began in 1991 and m ost m ajor w orks w ere nished by
1996. W ith the installation of electrical w iring and plum bing in
1999, the restoration w orks w ere com pleted.
Project scope and framework
The m ain objective w as to preserve and restore as m uch of the
original fabric of the building as possible and to secure the future
of the exceptional building for future generations.
Faced w ith the absence of sym pathetic statutory law s and the
lack of nancial incentives, local expertise and aw areness, the
conservation team started from scratch. Picturing them selves as
Location
14 Leith Street, George Town
Penang, Malaysia
Size
3,250 square metres
Cost
Approximately US$2,000,000
ResponsibleParty
Cheong Fatt Tze Mansion Ltd.
HeritageArchitect
Laurence Loh
Lin Lee Loh-Lim
Contractor
Individual sub-contractors, artisans
and conservators
Dateof Completion
April 1999
City map
Cheong Fatt Tze Mansion / 2000
71
sim ply caretakers of the building, treading lightly and touching
softly, the philosophy of the project w as em bodied in ve key
approaches: unhurried discovery, restrained repair, reuse and re-
cycling of m aterials, practicality and attention to detail, and lastly,
research, consultation and netw orking betw een consultants.
The restoration w as a process of discovery, during w hich the
secrets of the m ansion w ere slow ly revealed. These included the
feng shui principles, num erology and spiritual em anations w oven
w ithin its architecture. For exam ple, in keeping w ith geom antic
beliefs that natures w ealth should be draw n into the building,
rainw ater gutters take circuitous routes and air ow is clev-
erly directed through the building, cooling both oors and ceiling
spaces. Also, gold had been buried in auspicious corners of the
courtyard to ensure continuous w ealth. Propitious sayings w ere
found inscribed over doorw ays w hile exam inations revealed that
the detailed decorative w orks w ere scenes of gods and m yths.
Conservation methodology
and materials
The conservation approach w as to retain the integrity of the
m ansion by applying traditional m ethods and m aking only m inor
m odi cations. Local Penang artisans w ere em ployed and local
m aterials w ere utilized w herever possible, w hile artists and m a-
terials w ere brought in from China for restoration of the Chinese
decorative arts.
The roof w as restored w ith im ported Chinese roof tiles and a
traditional lim e m ortar reinforced w ith bres and anim al hair. The
tiling system , typical of tem ples, palaces and large m ansions, is
com posed of large at tiles laid on the tim ber battens w hich are
over-laid w ith half-cylindrical tiles w hich taper at the top end to
allow for overlapping. A decorative green ceram ic drip edge tile
caps the end.
Sam ples of the various original w all plasters w ere sent for labora-
tory analysis to determ ine the exact proportion of lim e, river sand
and additives such as papier m ache, horse hair and other bres.
The lim e plasters w ere then reproduced by hand in order to m atch
Top: The restored mansion is now a much sought-after boutique
hotel and a prominent stop on the Penang tourist trail.
Above: The mansions cultural signicance was slowly revealed
during the restoration.
72
Above: The interior courtyard highlights the
juxtaposition of Chinese cultural inuences
and the original owners eclectic taste.
Right: The oor plan shows the rooms
arranged around the courtyard.
Opposite: Section through the building.
the original speci cations. In restoring the w all nishes, the
building w as returned to its original landm ark colour of indigo
blue, produced by extracting a blue dye from the local clitorea
ternate ow er, w hich w as added to the lim e w ash in com bination
w ith tung oil and a xative obtained from boiled cartilage.
Local Cantonese carpenters w ere brought in to repair the tim ber
w orks using traditional hand tools. Elaborate tim ber ligree carv-
ings, paneled doors, louvred w indow s, balusters and tim ber strip
ceilings w ere refurbished over a three-year period, along w ith
decorative w orks on furniture and ceilings. All tim ber w orks w ere
repaired w ith original teak or chengal tropical hardw oods and
nished w ith seven layers of ta cik, a tree sap used to prevent
term ite infestation, providing a hardened nish guaranteed to
last a century.
Local iron casting w as done to replace m issing cast iron pieces
that had originally been im ported from Glasgow, Scotland. The
intricate Victorian cast iron elem ents include spiral staircases,
colum ns w ith Corinthian capitals in the m ain courtyard, external
fence grills, fanlights and lam p stands. All ironw orks w ere care-
fully sanded dow n to rem ove rust and treated w ith an anti-rust
undercoat and m etal paint.
Gilded w orks w ere m eticulously cleaned in lieu of total re-gilding.
Cotton earbuds w ere dipped in an extrem ely dilute solution of acid
in order to rem ove a centurys w orth of dirt and grease, revealing
the original brilliance and retaining the original craftsm anship. In
cleaning the elaborate tim ber ligree screens in the entry foyer
and the ground oor sitting room , an average of 26 hours w as
spent on each panel alone.
The m ansions original collection of 48 m agni cent stained glass
panels, believed to have been im ported from England in the nine-
teenth century, had deteriorated badly over the years, w ith brittle
lead lining, tw isted fram es, m issing and broken pieces. A local
restorer undertook the repair of the rem aining panels, using hand-
m ade restoration glass sheets im ported from the United States
and Germ any. Artisan esh, ripple and rolled glass w ere replaced,
lead lining w as changed and m issing panels w ere recreated.
73
In the repair of the im pressive chien nien w orks, alm ost 10,000
coloured pottery bow ls w ere specially fabricated in Fujian prov-
ince. Broken w ith pliers by Chinese artisans, the resulting shards
w ere then pasted in situ to form decorative displays depicting
gods, scenery and other im ages from Chinese m ythology.
Egg w hite m ixed w ith organic pow dered paint, topped by a pro-
tective coat of tung oil, w as used to restore tempera paintings
on the gables of the buildings. The m assive trompeloeil beam s
fram ing the m ain courtyard, com posed of iron I-beam s encased
in lim e plaster and painted convincingly to resem ble w ood grain,
w ere also refreshed. Likew ise, the internal w all dado panels,
w hich had been painted to resem ble polished grey granite, w ere
carefully restored w ith a special lim e plaster and Chinese ink.
The original Stoke-on-Trent decorative encaustic oor tiles in the
central halls w ere carefully cleaned, w hile the annexes and terrac-
es w ere retiled w ith replica terracotta tiles im ported from China.
Award Citation
Therestoration of theCheongFatt TzeMansion is an exceptional achievement for theconser-
vation movement in Penang. It servedas a model for restoration projects in theGeorgeTown
communityandits impact promptedstronger heritagemeasures in thecityand, indeed, the
broader region. A meticulous application of researchcoupledwithscienticanalysis, tradi-
tional artisan skills, andwhen necessary, importedmaterials andworkmanship, ensuredthe
authenticityandmethodologyof its reconstruction.
74
No sealant w as applied to the oor surfaces, to allow m oisture to
ventilate naturally. Granite slabs salvaged from other dem olished
traditional houses w ere used to pave the front drivew ay.
New plum bing and electrical w orks w ere the only m odern addi-
tions to the m ain building during the project. The annex w ings
have been equipped w ith air-conditioning and en-suite bathroom s
to allow them to function as com fortable guest quarters.
Important issues
Because Cheong Fatt Tze had lled his m ansion w ith life and vital-
ity, the new ow ners felt the m ansion should continue to be used
and enjoyed by people. Follow ing the restoration w orks, the ow ners
decided that rather than retaining the m ansion as a private resi-
dence, the building should be adapted for use as a boutique hotel.
It w as realized during the restoration w orks that som e of the
w orkm en w ere unfam iliar w ith old techniques and m aterials and
had to be persuaded to use them . It becam e clear, therefore, that
in order to encourage such use, these w orkm en also needed to
learn about the value of these m aterials and m ethods and w hy
their use is im portant.
Project sustainability and viability
This project has encouraged greater com m unity appreciation of
heritage buildings such that other ow ners 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 im pressive structure, w hich is an extraordinary testam ent
to the construction techniques and craftsm anship of the past,
has helped revive traditional building m ethods w hich are now
acknow ledged as w idely applicable throughout the historic city.
75
Technical Brief
Chinese decorative works
The features of a traditional Chinese building can include struc-
tural, architectural or ornam ental elem ents and Chinese decora-
tive arts can be expressed through any of these features. These
decorative w orks and ornam entation are lled w ith sym bolism
and are a direct portrayal of the richness and variety of the
culture.
The traditional Chinese buildings subm itted to the Heritage Aw ards
program m e included Cheong Fatt Tze M ansion (2000 M ost Excel-
lent Project) in Penang and Cheng Hoon Teng M ain Tem ple (2002
Aw ard of M erit) in M elaka, M alaysia; Dalongdong Baoan Tem ple
(2003 Honourable M ention) in Taipei, China; Guangyu Ancestral
Hall (2003 Aw ard of Excellence) in Guangdong, China; Hung Shing
Tem ple (2000 Outstanding Project) and King Law Ka Shuk Study
Hall (2001 Aw ard of M erit) in Hong Kong SAR, China; and Thian
Hock Keng Tem ple (2001 Honourable M ention) in Singapore.
In these projects, w hen the differing form s of art w orks are view ed
in the context of sym bolism , their corresponding m eanings can be
seen to arise from Chinese m ythology and legends. Som etim es
w hat is portrayed is actually a w ish or a desirefor long life, good
health, w ealth or m any children. These ideas or aspirations are
sim ple and basic, and the artisan elevates them to a higher plane
by injecting into them his craftsm anship and creativity. By repeat-
ing them in various architectural com ponents over and over again
in various parts of the building, the artisan is in fact seeking to
increase the chances that the gods m ay be w atching or listen-
ing and the hopes and w ishes of the people m ay be ful lled. The
Chinese approach is sim pleif you surround yourself constantly
w ith outstanding and m agni cent portrayals, som ehow life as you
know it becom es a little better. And if the artisan skills, techniques
and m aterials are of the highest quality, then the eventual effect
and product are exquisite and the desirable outcom e becom es
m ore probable. The m ain decorative w orks in Chinese traditional
buildings w hich gure in the projects include chien nien (porcelain
art w orks), chai hui (Chinese decorative paintw ork), tim ber carving
and gilding, and the use of colour.

Chien nien (porcelain mosaic work)
Chien nien is a m osaic style of ornam entation in w hich coloured
rice bow ls, speci cally produced for this w ork, are carefully clipped
w ith pliers into shardsw hich are xed onto lim e plaster bas-
relief to form colourful portrayals of m ythology and sym bols, 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 M ansion, Thian Hock Keng Tem ple and Cheng Hoon Teng
M ain Tem ple.
Chien nien w orks of the highest grade, for exam ple, those in
Cheong Fatt Tze M ansion, use lim e plaster that, after curing, is
specially prepared by vigorous beating w ith w ooden m allets to
im prove its quality, m aking the plaster ne and sm ooth. The bow ls
The project returned a nearly lost landm ark to the com m unity,
w hich is now regarded as a cultural icon in Penang.
Since its restoration, the central ensem ble of room s and court-
yards has served as a public space for exhibitions, tours, concerts,
w eddings and other public activities, and the annexes have been
converted into 16 them ed apartm ents, decorated in nineteenth-
century style. This new use has opened the m ansion to a broader
audience, dem onstrating the value and viability of restoring
heritage building and serving as a m odel for conservation projects
throughout the region.
The Cheong Fatt Tze M ansion (now also know n as the Blue
M ansion) acts as a focus of local heritage regeneration and the
em bodim ent of the m arriage betw een conservation theory and
practice. The project also dem onstrates the concept of an historic
grouping by subsequently extending the conservation w ork to ve
shophouses opposite the m ansion w hich w ere form erly the ser-
vantsquarters. These have been adapted for reuse as restaurants
and bars. The project has also prom pted ow ners of neighbouring
m ansions to undertake refurbishm ents, thus setting in m otion a
shared com m itm ent to the im provem ent of their surroundings.
Top, middle, andbottom: The art of chien nien
involves the creation of decorative works using
small shards of colourful glazed pottery joined
with mortar.
Previouspage
Top: The central hall features carved and gilded
wooden screens and encaustic oor tiles.
Far left: A skilled wood craftsman repairs one of
the door panels.
Left: One of the themed guest rooms.
76
that are used in chien nien com e in seven basic colours and the
m ost desirable ones to w ork w ith are the thinnest w ith the inner
side unglazed.
Chai hui (Chinesedecorativepaintwork)
Chai hui involves the use of tempera paint m ixtures of egg w hite
and organic pow dered paint, coloured oil paints as w ell as Chi-
nese black ink. In Cheong Fatt Tze M ansion, the chai hui w as ex-
pertly com bined w ith the chien nien on gable ends and decorative
panels. A nal coat oftung oil w as applied on all the decorative
paintings upon com pletion to act as a protective layer. At Cheng
Hoon Teng M ain Tem ple in M elaka, the process of restoring the
chai hui involved research into Chinese m ythology and styles of
painting that w ere popular at the tim e that the tem ple w as rst
em bellished w ith these decorative w orks.
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 alw ays been one
of repainting and com plete renew al. From this point of view, the
restoration of decorative paintings conducted in both the Cheong
Fatt Tze M ansion as w ell as the Cheng Hoon Teng M ain Tem ple
m ay be said to depart from tradition, tow ards a m ore interna-
tional standard of conservation, since they w ere not repainted but
w ere instead repaired and conserved.
At the Cheong Fatt Tze M ansion, for exam ple, dado w all panels,
decorated w ith trompeloeil frescoes resem bling polished grey
granite, had entirely de-bonded from the brickw ork and the
frescoes had faded. The initial approach of the artisans w as to
com pletely rem ove the old plaster panels and create new plaster
panels on w hich new frescoes w ould be painted. Eventually the
artisans w ere persuaded to retain the original panels and to push
those panels back into position using a liquid lim e drip-m ethod
together w ith pressure, and then to lightly retouch any dam aged
frescoes. New panels w ere only created in areas w here the original
panels w ere m issing. These panels w ere created w ith an unusual
lim e plaster, especially prepared w ith the use of papier-m ache
to produce a sm ooth and distinctive plaster, on w hich unique
Chinese black ink w as then decoratively applied.
Timber carving and gilding
The Cantonese are particularly adept at creating elaborate tim ber
ligree carvings and screens, m assive carved beam s, em bellished
paneled doors, w indow s and architraves. Dou gong, ornate, layered
carved tim ber brackets, are a distinctive feature of m any tem ple
buildings. The quality of the carvings raises the aesthetic value of
the building. Carvings incorporate m otifs of dragons, phoenixes,
bats (w hich all represent good luck), pom egranates (representing
abundance of seed), m ythical anim als, scenes from legends and
the artisan carvers perceptions of w hat heaven should look like.
These carvings are then often further enhanced w ith gold gilding.
Before gilding, the tim ber is prim ed w ith a layer of ta chik, a tree
sap, and is som etim es stained or painted red. As the nal nish,
gold leaf is then applied in thin sheets and rubbed into place.
Theuseof colour
Colours are them selves decorative and are also sym bolic. For
the Hokkien and Teochew, the colours red and gold are essential
in decorative w orks and used in abundance for decorations in
celebrations, festivities and rejoicing. Tem ples, in particular, are
often predom inantly red, for exam ple, Cheng Hoon Teng and Thian
Hock Keng tem ples. Traditional Cantonese buildings, in contrast,
are generally grey and decorations are less am boyant. Unlike
Hokkien tem ples, for exam ple, the ridges of Cantonese tem ples
are straight and m otifs are m ore subdued.
In conclusion, it can be inferred that Chinese decorative w orks
are not sim ply re ective of the creativity of the artisan. There is a
sym bolic basis for w hat one sees, regardless of its particular form .
The fundam ental, elem entary ideas are translated by the artisans
using their skill and originality in a particular decorative art form .
These are then m eant to be adm ired and valued because the
view er understands the sym bols and the m eaning behind w hat he
sees, beyond sim ple beauty and m agni cence.
Lin LeeLoh-Lim
Quotefromtheproject team
For us, theproject has been an evolutionary
journeyan appreciation for time, recogni-
tion of theneedfor change, changeitself,
andtheneedtobean agent of change.
It alsoset a benchmark in a milieu not no-
tablefor thequalityof its restoration work
andopeneddoors for subsequent heritage
incentives. It has bought timefor George
Town andput Penangon theworldconser-
vation map, impartinga memorableexperi-
encetoall whoenter its portals andshare
its past glories andcurrent revelations.
Chanwar Palkhiwalon-
ki-Haveli
78
Town map
Location
Amber, Rajasthan, India
Size
830 square metres
Cost
US$65,000
ResponsibleParty
J.P. Singh and Faith Singh
HeritageArchitect
Nimish Patel and Parul Zaveri
Contractor
Premchand Saini
Dateof Completion
December 1994
Context
The Chanw ar Palkhiw alon-ki-Haveli is located in the ancient
tow nship of Am ber. Founded in 1036, Am ber w as once the seat
of pow er in Rajasthan, containing m any tem ples and num erous
grand haveli (m ansions) w ith ornam ental gardens. But w hen
Raja Jai Singh II, w ho ruled from 1699 to 1743, chose to shift the
capital to the new ly-founded city of Jaipur, Am ber w as abandoned,
leaving the im pressive buildings to fall into a state of ruin.
By the 1980s the historic buildings had been long neglected and
m any w ere crum bling. They faced further destruction as people
w ere using the ancient structures as a source of building m aterials
for new houses. M eanw hile the infrastructure and resources of
Am ber w ere also under pressure as a result of an in ux of people.
In addition, uncontrolled developm ent w as destroying the layout
and beauty of the tow n.
W hile India has legislation to protect historic structures, such as
the Ancient M onum ents and Archeological Sites and Rem ains Act
(1958) and the Ancient M onum ents Preservation Act (1904), the
ancient haveli and other built heritage in Am ber are insuf ciently
protected by these law s. Until recently, m any of the decaying
buildings in Am ber lacked ow ners and few people paid attention
to ensuring their preservation.
Building history
The Chanw ar Palkhiw alon-ki-Haveli is centuries old and w as
originally the hom e of a fam ily of palanquin bearers. A stone and
lim e-plaster structure in a m ixture of Rajput and M ughal styles,
the building has ornate balconies and intricately carved decorative
features. W hen Am ber w as abandoned in the eighteenth century,
the Chanw ar Palkhiw alon-ki-Haveli w as, like the other m ansions,
left to decay. By the tim e the restoration project began in 1990,
the building w as alm ost in ruins.
Project history
In 1987, the m em bers of the Jaipur Chapter of the Indian National
Trust for Art and Cultural Heritage (INTACH) began a process to
revive Am ber through heritage conservation and restoration. The
m em bers of INTACH w anted to protect the ancient tow nship and
its historic ruins but at the sam e tim e believed that conservation
could only be effective if the heritage fabric w as relevant in the
day-to-day lives of residents. They therefore sought to initiate
actions w hich w ould enable built heritage to play a part in the
com m unitys life and in the tow ns econom ic developm ent. A
m asterplan w as prepared for the conservation of the historic
tow nship of Am ber in 1988. W ithin the fram ew ork of the plan, it
w as decided to restore one m onum ent as a pilot project.
INTACH at rst planned to restore and convert a haveli for use as
a School for Building Conservation, w ith the view to eventually
m aking the tow n of Am ber a centre for heritage preservation.
Com plications arose, how ever, w hen the plans for the school w ere
abandoned and the original building chosen for the project w as
instead donated to a leprosy hospital.
The convenor of the Jaipur Chapter of INTACH, J.P. (John) Singh,
then purchased another building, the Chanw ar Palkhiw alon-
ki-Haveli, and restoration w ork began in 1990. The m ajority of
conservation w orks w as com pleted in Decem ber 1994.
The restoration project set out to return the Chanw ar Palkhiw alon-
ki-Haveli to a usable state. The project w as envisaged as a m eans
of generating em ploym ent opportunities for local craftsm en w ith
traditional skills and em phasis w as placed on ensuring com m unity
and craftsm en participation in design and construction decisions.
The project w as also seen as a catalyst for reestablishing civic
pride and appreciation of heritage by the Am ber com m unity. It
w as hoped that the project w ould dem onstrate the relevance and
establish the cost of using traditional techniques and m aterials in
a contem porary context.
Chanwar Palkhiwalon-ki-Haveli / 2000
79
Left andabove: The haveli has been transformed from
a ruin into a museum of traditional textile crafts.
and materials
Because the project sought to dem onstrate the restoration
of a haveli using only traditional m aterials and techniques,
contem porary m aterials such as cem ent w ere not perm itted.
Furtherm ore, to privilege traditional w ays of w orking by the local
builders them selves, it w as decided that no draw ings w ere to be
m ade in the process of conservation and that all conservation
decisions w ere to be undertaken w ith the input of the traditional
craftsm en.
This em phasis on traditional m aterials, technologies and skills
led to a vigorous interchange of ideas betw een the tradespeople
involved in the project and to the revival of m any forgotten
designs and vernacular techniques. Stone carvers, for exam ple,
carefully recreated elaborate pillars, canopies and eaves w ith
details that cannot be found in m odern buildings. The long-
abandoned process of m aking araish (re ned lim e plaster used as
decorative w all nish) w as re-introduced.
The traditional builders, led by the chief m ason, Prem chand
Saini, took the lead in reconstructing the m asonry structure, re-
plastering the w alls and reconstructing the roof of the haveli.
The roof w as recreated w ith slabs of local stone and the ceiling
w as rendered w ith lim e plaster. The w alls w ere colour-w ashed in
w hat w as believed to be the original shade of the building, soft
terracotta, w ith w hite detailing. Design input w as provided by
the project architects, and suggestions from visitors to the w ork
site w ere even incorporated if found appropriate.
80
Above: Floor plan.
Topleft: Traditional plaster work is one of the
hallmarks of this type of building.
Topright: The interior spaces were adapted for the
display of textile collections.
Important issues
Determining appropriatereuse
Restoration w ork began w ithout any particular reuse in m ind
for the building. After its restoration the ow ners of the m ansion
m ade a conscious decision not to put it to any com m ercial use
until a conservation-oriented set of by-law s for the developm ent
of Am ber w as accepted and im plem ented by the governm ent.
These by-law s w ere not im plem ented, how ever, so after over four
years of w aiting the ow ners decided to convert the haveli into a
m useum of block printing and traditional textiles.
Lessons learned
As w ork progressed, it becam e apparent that the ruins w ere
structurally m uch stronger than they had appeared to be and that
even the m ost dilapidated-looking buildings could be restored.
In addition, the project m anagers realized that m ost traditional
m aterials w ere m uch m ore durable than contem porary m aterials
and sim ple, tim e-tested m ethods are often better in the long term
than fashionable new innovations. Using vernacular m aterials in
restoration strengthened the ruins m ore effectively, since they
w ere m ore sym pathetic w ith the original building fabric in both
chem ical and aesthetic term s.
It also becam e clear that the traditional craftsm en have a m uch
better understanding of the local m aterials and technology than
architectural professionals, w ho gained their know ledge through
the education system w ithout the bene t of hands-on experience.
This dem onstrated the im portance of including and encouraging
the input of local, traditional artists and craftspeople in such projects.
Thestrength of Indian architecturelies
in theanonymityof its architect andin
theact of providingbuildings rather than
in theact of designingbuildings. In the
nal analysis, new buildings in historic
areas must attempt continuity with the
past (without fossilizingit) anda change
for thefuture(without beingincongruent
withits surroundings). Theconservation
processcontinues, andsodoesour learning.
Chanwar Palkhiwalon-ki-Haveli / 2000
81
The restoration project led to a greater interest in protecting
and restoring the ancient structures of Am ber. W ith the revival
of traditional skills, there is now increased capacity am ong
local people and craftsm en to bring these buildings back to life,
ensuring the sustainability and viability of the heritage fabric of
this historic tow n.
Project impact
Since the restoration of the Chanw ar Palkhiw alon-ki-Haveli the
tow ns heritage buildings are no longer seen m erely as sources of
construction m aterials for new structures, but rather as tangible
cultural elem ents that deserve stew ardship. It has encouraged
other haveli ow ners in Am ber to attem pt the restoration of
their ow n properties as w ell. Citizens now voluntarily report
encroachm ents on ruins to the INTACH of ce and local authorities.
Such cooperation is integral to the conservation of not just one
building, but the w hole ancient tow nship.
The project w as 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 sam e tim e, the
project enabled craftsm en to develop their skills and strengthen
their con dence and pride in their w ork. One tangible result w as
the creation of em ploym ent opportunities for local craftsm en.
One has becom e an independent contractor w ith his ow n team
w hile another, a traditional plasterer, has been contracted to w ork
for the Oberoi Group of Hotels. Also, a team of trained m asons
from the project is now em ployed by the Rajasthan Housing
Board and som e w ere invited by the Departm ent of Tourism to
w ork on their properties.
Award Citation
Therehabilitation of theChanwar Palkhiwalon-ki-haveli ruins demonstrates that even se-
verelydeterioratedhistoricstructures can besaved, restoredtonear their original condition and
given a prolongedlifein an economicallypractical way. Utilizinglocal artisans andmaterials
resultedin economicrevitalization amongparticipants, withseveral eventuallyestablishing
their own construction rms specializingin historicrehabilitation. Thehighvisibilityproject
becamea catalyst for master plan conservation of the800-year-oldhistorictown of Amber.
82
Technical Brief
Araish
Araish is a technique of producing an extrem ely sm ooth, glossy
and crack-free surface in the nal coat of lim e plaster or oor
nish. In India, it w as developed and ourished in Rajasthan,
and is said to have reached its peak during the reign of M aharaja
Pratap Singh (1779-1803), the ruler of Am ber and Jaipur.
This technique has been applied on a w ide range of surfaces,
external as w ell as internal, in the form of plaster, oor nish,
borders and painted frescoes on elem ents of local architecture.
It has w ithstood extrem e clim atic conditions of arid and sem i-
arid regions for centuries. The technique undergoes regional
variations in term s of proportions of the ingredients and in the
m ethods and lengths of processes, largely depending on the
quality of lim e available.
For araish plaster, the process begins w ith the preparation
of its prim ary ingredients, w hich are quick lim e, m arble dust,
gur (jaggery) and methi (fenugreek). The longest lead tim e is
required for the preparation of lim e. Lim e has to be puri ed in
w ater for a year or tw o prior to its application. The lim e and
w ater are stored in earthen pots, preferably in dark room s, or
below the ground in constantly shaded areas, to ensure m inim al
variation in the tem peratures over this length of tim e. The w ater
is replaced alm ost every day and the m ixture churned. Curd
(yogurt) is added to it to absorb the im purities of the lim e. Over
this period the required fusion in the lim e is achieved along w ith
the release of heat. The lim e paste is then taken out and ground
w ith m arble pow der, gur (jaggery), methi (fenugreek) along w ith
other ingredients, and converted into a coarse paste, w hich is
applied to the previous coats of lim e plaster w ith appropriate
tools. The prepared surface is kept m oist to allow the settlem ent
of the lim e for tw o to three w eeks.

Hoi An Town Preservation
Cooperation Project
84
City map
Location
Tran Phu Street, Nguyen Thi Minh Khai Street
Nguyen Thai Hoc Street, Hoi An
Quang Nam Province, Viet Nam
ResponsibleParty
Sponsorship Association of the Hoi An
Cultural and Architectural Heritage
HeritageArchitect
Hoang Dao Kinh
Nobuo Kamei
Nguyen Ba Dung
Kiyoshi Hirai
Contractor
Kim An Construction Enterprise
Dateof Completion
December 1999
Hoi An Town Preservation Cooperation Project / 2000
85
Left andabove: The restoration
maximized retention of the
building fabric.
86
Top: Consultative meeting with local stakeholders.
Middle: Hoi Ans buildings reect a blend of
various architectural traditions.
Above: Floor plan of a shophouse.
Topleft: Hoi An streetscape.
Topright: A residence being restored.
OppositePage
Left: The rst case study house, at 80 Tran Phu
Street, is now a museum.
Right: The section drawing shows the buildings
layout, centred on a courtyard.
Hoi An Town Preservation Cooperation Project / 2000
87
Award Citation
Restoration of thehistoricvernacular structures in Hoi An Town exemplies a holisticcon-
servation strategywithin a community. Thecollaborativeefforts of international experts and
local artisans followeda well-denedplan of survey, selection andrestoration, integratedwith
skillstrainingandknowledgetransfer duringthereconstruction. Theinclusionof structureshous-
inga varietyof privateandcommercial uses promotes long-termviabilityof thecommunity
throughcontinuation of its historictradition of productivecommercial anddomesticdiversity.
88
Themain objectiveof thecooperativeproj-
ect is toreacha level wherethetown pres-
ervation effort can beself sustainedbythe
Vietnamesepeople.
Technical Brief
Repairing timber components
Term ites and rot w ere the m ajor problem s affecting tim ber
com ponents. The presence of term ites w as determ ined by
a term ite trail at the base of the pillar. If there w as a hollow
sound w hen the w ood w as tapped, this w as also an indication
that there w as a term ite problem . Term ite infestation led to the
deterioration of the joints betw een the pillars, beam s and rafters,
and to the decay of the pillar bases. Eventually, this caused the
subsidence of the pillars and the supported beam s, w hich m ade
the w hole structure lean.
The crucial rule in the repair of the historic buildings w as to save
old m aterials. Therefore, replacem ents w ith new m aterials w ere
lim ited to a m inim um . Term ite dam age to pillars and beam s w as
repaired by rem oving the dam aged part and replacing it w ith
new w ood. Hoi An is know n for its decorative carved beam s,
especially the inclined beam s. In repairing these beam s, the
exterior anks of the beam w ere conserved to retain the original
carvings. Only the central portion of the beam w as replaced w ith
new w ood, and the carved sides w ere af xed to this new core
w ith an adhesive agent.
Term ite dam age w as often not visible externally, but in som e
instances, the core section w as dam aged to the point of
becom ing hollow. In cases w here the core had been eaten aw ay
by term ites, the hollow part w as lled in w ith new w ood, leaving
the exterior part intact. In order to do this, the existing w ood
m em ber w as split into tw o halves and the dam aged part scooped
out, before the new w ood w as inserted and xed securely w ith
epoxy resin. The w ood w as treated w ith insecticide, w hich w as
handled w ith utm ost care to prevent adverse effects to people
and the environm ent.
Rot on the tim ber m em bers w as identi ed by a w hitish sm ear
detected on the surface of the w ood. Sim ilar to term ite dam age,
a hollow sound could be heard if the w ood m em ber w as tapped.
Rot is caused by rising dam p or w ater in ltration, often from the
roof or a leaking exterior w all. For pillars, dam age tends to be
m ost prevalent around the base and in pillars situated along the
w alls. Rot is also com m only found on the edge of rafters, purlins,
oor beam s and joists along the external w all.
Tim ber m em bers affected by rot w ere repaired in a sim ilar m anner
to term ite-infected pieces through the rem oval and replacem ent
of dam aged areas. This included in particular dam aged rafters
located at the valleys of roofs w here rainw ater had accum ulated
and in ltrated through leaks.
In nishing the w ood m em bers, they w ere rst sanded w ith
sandpaper to prepare the surface, then a resin coating w as
applied. The use of m ineral colorant w as avoided even though it
has a high degree of resistance against w ater since it w as found
to harm onize badly w ith the colour of the existing w ood. In
painting the new tim ber parts, a slightly lighter shade w as used
in order to distinguish the new parts from the original old parts.
W ooden doors and w indow s w ere also carefully restored. M any
of them had suffered decay in the pivot section, w hich led to
dif culty in opening and closing them . The dam aged parts w ere
thus repaired w ith the sam e m aterial and carpentry techniques,
and coated to m atch the existing historic ones.
In order to reduce the incidence of term ite infestation or rot, it
w as recom m ended that m aintenance m easures be undertaken
on a regular basis. For instance, the roof should be m aintained
periodically in order to prevent the leakage of rainw ater. M etal
sheets should be added to line the valley gutters. Good ventilation
should be ensured in order to allow w ooden m em bers to stay
dry. Interior w ater pipes and drainpipes should be m aintained
to prevent w ater leakage on w ooden m em bers. Eaves should be
installed to prevent rain from striking the external w all. These
m easures w ill help m aintain the condition of the w ooden parts
in Hoi An buildings.
Adapted fromtheUNESCOHeritageHomeowners
Preservation Manual for Hoi An World HeritageSite,
Showa Womens University, Chiba University and the
Hoi An Centrefor Monuments Management and Preservation
Hotel de lOrient
90
Location
17 RueRomain Rolland, Pondicherry, India
Size
700 square metres (before restoration)
880 square metres (after restoration)
Cost
US$125,000
(including interior ttings)
ResponsibleParty
Francis Wacziarg
HeritageArchitect
Ajit Koujalgi and Renate Hach
Contractor
C. Guedjabady
Dateof Completion
March 2000
Project synopsis
The Hotel de lOrient is located in Pondicherry, a form er French
colony w ith a m ixture of European buildings and vernacular Tam il
architecture. W ith its elegant classical style and red lim e stucco
faade, the building is one of the few rem aining structures built in
the French colonial style. The building w as originally constructed
as a residential property. How ever, the construction date w as not
know n until the discovery of a bricked-up niche during restoration
w ork, w hich uncovered evidence of the date of 1809.
Initially slated for dem olition to m ake w ay for a high-rise
apartm ent com plex, the house w as purchased by Francis W acziarg,
w ho set out to convert the building into a sm all boutique hotel.
The brief w as to create 10 guest room s w ith m odern bathroom s
and air-conditioning. Eight of these room s w ere designed w ithin
the existing structure w hile the rem aining tw o room s w ere
new additions, but constructed in harm ony w ith the existing
architectural design.
The initial three m onths of the project w ere dedicated to
investigations of the existing fabric to evaluate the building condition
and determ ine the w orks w hich w ould need to be undertaken. The
building w as restored over a period of 18 m onths.
Conservation approach
The guiding approach throughout the restoration w as to retain all
the parts of the building w hich w ere in good condition and specify
m aterials as close as possible to the original for the dam aged ones.
As an exam ple, parts of the buildings interior lim e plaster w ere
badly dam aged by poorly-nailed electrical conduits, pictures and
partitions. It w as decided to repair the dam aged portions w hile
the undam aged areas w ere left in situ. The old and new sections
can therefore be distinguished by their different colours.
Since there w ere dif culties in nding artisans capable of the
original plastering technique, a m odern version w as devised,
using a m ix of m arble dust, w hite cem ent, shell lim e pow der and
colour oxides. The m ixture w as applied in a thin coating of three
m illim etres on a base of cem ent m ortar, then the surface w as
trow el nished and polished w ith river pebbles before it fully set.
After curing, it w as sanded w ith em ery paper and w axed sm ooth.
This technique w as used for the bathroom w alls in different
colours and is one of the m ost adm ired features of the project. The
lim e stucco street faade w as treated in a sim ilar m anner.
In cases w here the original m aterials could not be found or
replicated, alternative m aterials had to be substituted. For
exam ple, good quality lim e w as not available to m atch the original
pure lim e m ortar of the building, so a com posite m ortar consisting
of pug-m illed lim e m ortar plus cem ent w as used instead. The doors
and w indow s w ere repaired and m issing elem ents w ere replaced
w ith exact replicas by skilled local carpenters using recycled w ood
bought locally from recycled-w ood dealers.
The original roof structure, know n as the M adras terrace, consisted
of closely-spaced tim ber joists and beam s supporting a brick slab
m ade of at-form ed bricks set in lim e m ortar at a 45-degree angle
to the joists. Term ite infestation of the tim ber joists w as recti ed
w ith a thorough anti-term ite treatm ent applied at the plinth level.
All the dam aged tim ber m em bers w ere replaced w ith recycled
tim ber beam s and joists. The leaking roof terrace w as also repaired
in a traditional w ay using a lim e-cem ent m ortar and terracotta
tiles. Vegetation grow ing in the m asonry w as rem oved and the
w alls w ere treated w ith a natural herbicide know n as asafetida.
Unsym pathetic additions such as sheds in the courtyards and
partitions in the room s w ere rem oved. New additions to the
building w ere created using m odern m aterials to differentiate
the old from the new. For exam ple, the new spiral staircase w as
constructed in form - nished concrete and the new roof slab
for tw o of the room s w as constructed w ith reinforced concrete.
Existing bathroom s w ere upgraded and m odern bathroom s w ere
created in three guest room s, w ith low partitions in order to retain
the quality of space.
City map
Oppositeleft: The courtyard was repaved with new
stones and turned into a dining area.
Oppositemiddleandfar right: A modied mixture
of traditional lime, cement and coloured oxides
were used to repair and give fresh life to the dete-
riorated faade.
Hotel de lOrient / 2000
91
Conservation and the community
In recent tim es, m any old buildings in Pondicherry have been
dem olished to m ake w ay for new developm ents. Often, these
contem porary buildings have clashed w ith the existing historic
context and have com prom ised the value of its heritage
tow nscape. Through the conservation of Hotel de lOrient, the
com m unity has been alerted to the possibility of countering the
rapid deterioration of the tow ns cultural legacy. This project has
dem onstrated to the local governm ent, heritage hom eow ners
and the general public that heritage buildings can be revitalized
for m odern com m ercial use.
Award Citation
Restoration of theHotel delOrient proves that successful heritageconservation does not
requiremassiveintervention or rebuilding. This inspiringproject was completedwithminimal
intervention, donerelativelyinexpensively, andmaintainedtheintegrityof boththeoriginal
exterior andtheinterior architecture. Thecareandattention given tooriginal design elements
in theinterior restoration givetheHotel delOrient admirablecharmandhistoricauthenticity.
Theaddition of twoguestrooms anda staircasein order tomaketheproject economically
viableillustrates thecreativeapproachtothestructures adaptiveconservation. In addition to
contributingtothecultural enhancement of thecommunity, thepopularityof thehotel has
validatedthedecision torestorethebuildingrather than demolishit.
92
92
Aboveandtopright: Ground oor plan and section.
Right andfar right: The rooms were appropriately
adapted into guest rooms, with upgraded services
and ttings.
Theclientsintentionwastoshow that old
buildingsshouldbesaved, restored, extend-
edandput toremunerativeuse, andthis
project ishelpingtoget thismessageacross.
Hung Shing Old Temple
94
Location
Kau Sai Chau, Sai Kung, New Territories
Cost
Approximately US$300,000
ResponsibleParty
Hung Shing Temple Restoration
Committee
HeritageArchitect
Trevor J. Holmes
Contractor
Ding Hsung Construction Company
Dateof Completion
February 2000
Project synopsis
Thought to date from 1889, Hung Shing Tem ple on Kau Sai Island
is a Grade III listed heritage building dedicated to Hung Shing, the
god of the sea. A typical rural tem ple, it consists of a m ain hall
w ith altars in betw een tw o sm aller side halls. It is constructed
in grey brick w ith a tim ber-fram ed roof, and features intricately
crafted eave boards, painted friezes and decorative plaster w ork.
Records indicate that the tem ple has been renovated several tim es,
rst in 1949, then during the 1970s and m ost recently in 1988.
Although structurally sound and w ell-m anaged by the villagers,
the roof w as in a state of decay due to term ite infestation and
the historic features of the tem ple w ere hidden behind the m any
inappropriate additions and repairs m ade in previous renovations.
The original brick faade had been rendered in w hite Shanghai
plaster and the granite stone supporting the brickw ork had been
painted green. In addition, m odern glazed tiles had been used for
the roof and the granite paving in front of the tem ple had been
covered w ith cem ent. In the interior, the w alls had been covered in
pink glazed tiles and the oor given a m odern terrazzo nish.
M anaged by Hong Kongs Antiquities and M onum ents Of ce,
the restoration of the Hung Shing Tem ple began in August 1999.
Financed by the Hong Kong Jockey Club, the objective w as to
restore the tem ples original appearance by rem oving inappropriate
m odern m aterials and to aid in the preservation of the culture and
w ay of life of the shing com m unity of Kau Sai Island.
In accordance w ith tem ple traditions, all m ajor w orks and the
opening cerem ony w ere undertaken on auspicious dates decided
upon by the village geom ancer. W orks w ere com pleted w ithin six
m onths in February 2000.
In order to revert the building to its original design, one of the m ajor
tasks undertaken w as the rem oval of the Shanghai plaster applied
on the front and side w alls in order to expose the historic brickw ork.
Unfortunately, the brickw ork had been dam aged during previous
restoration and could not be reinstated, so the front and side
w alls had to be rebuilt w ith reclaim ed bricks. The new bricks w ere
m atched exactly w ith original ones in order to be laid tooth-inat
the corners. Because traditional bricklaying m ethods had died out,
bricklayers w ere trained in the old techniques and they practised by
constructing sam ple panels before actual rebuilding began.
The terrazzo ooring in the interior w as rem oved and replaced
w ith traditional Canton tiles, laid on a dam p-proof m em brane
base. Geom antic advice w as given on the tiling pattern, w ith the
m ain hall tiles set in a diam ond pattern, in contrast to the square
pattern w ith borders used in other areas of the tem ple. After the
rem oval of the tiles, the interior w all nish w as restored to a
traditional grey painted plaster, w ith the exception of the rear w all
behind the altar w here the m ural w as conserved.
Regarding the decorative plaster m ouldings on the gable and
ridges, w hich w ere an integral part of the tem ple, the objective
w as not to recreate new versions but to clean and restore the
originals. Sam ples of existing paint pigm ents w ere studied and
various techniques w ere investigated before any decisions w ere
m ade about decayed parts. Skilled m ainland Chinese artists w ere
em ployed to repair and repaint the broken and w eathered plaster
decorations. Generally, the original m otifs of auspicious creatures
and scenes w ere retained but executed in a m ore crisp fashion
as the m ouldings created in the previous restoration w ere quite
rough. In som e cases, slight adaptations w ere m ade to create a
livelier effect.
Eave boards over the front entrance w ere repainted and re-gilded,
w hile the pair of rare Shekw an ceram ic panels anking the m ain
entrance w as cleaned. The m ain entrance doors w ere painted w ith
new door gods. A conservation specialist w as brought in for the
rst tim e to restore internal artefacts and relics, such as the four
guardian gurines, the altar, the w eapons, the bell and cloud gong
and the honori c boards, all dating to the late Qing dynasty. M issing
pieces of the artifacts w ere replaced, cracks lled and m odern gloss
paint painstakingly rem oved to restore the original colours. A new
lighting system w as installed in order to upgrade the 15-year-old
electrical system , w ith w iring unobtrusively placed in conduits or
under the plaster.
City map
Opposite: The Shanghai plaster and paint that
obscured the original brick fabric were removed
during the conservation process.
Hung Shing Old Temple / 2000
95
The entire tim ber roof structure w as term ite-ridden, necessitating
the replacem ent of the m ain roof beam and batten rafters w ith
Chinese r beam s w hich had been treated w ith pesticides to
prevent further term ite infestation. Traditional bam boo nails w ere
used to secure the fram ing. Term ite treatm ent w as also applied to
all new furniture inside the tem ple.
Pride in the heritage of the shing com m unity intensi ed as the
project progressed, w ith the village elders participating actively
during the w eekly m eetings. Since the villagers are the m ain
users of the tem ple, their requests w ere accom m odated as m uch
as possible. Som e residents inspected the tem ple each day after
the w orkers had left. Upon its com pletion, an elaborate opening
cerem ony w as held w ith lavish celebrations including a lion dance,
puppet show, and a traditional m eal for about 4,000 people. The
nale of the cerem ony w as a traditional dragon boat race, be tting
the tem ples special signi cance for seafarers.
Award Citation
Restoration of theHungShingOldTemplewas a communitypreservation project with
full involvement of not onlylocal villagers but far-ungmembers of theextendedclan. The
restoration was boldenoughtoremoveinappropriatemodern accretions, thus evokingan earlier
phaseof thebuildings historywhen thecommunitywas at its most cohesiveandprosperous,
takingthetraditional regional approachtopreservation but alsocallingupon conservation
experts as appropriate.
96
96
Theappreciation for theproject by the
population of Kau Sai, andindeedmany
visitors returningfromtherest of Hong
Kong and abroad, was clear, and has
helpedgreatlywiththepromotion of Hong
Kongs heritage.
Above: Ground oor 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
98
City map
Oppositeleft: During the restoration, inappro-
priate accretions and obtrusive service units
were removed, thus reinstating the elegance of
the main faade.
Location
70 Robinson Road, Hong Kong SAR, China
Cost
US$4,000,000
ResponsibleParty
Incorporated Trustees of the
Jewish Community of Hong Kong
HeritageArchitect
Bruce Pettman (SACON International)
Katrina McDougall (McDougall & Vines)
Geoffrey Rex (Hassell)
Contractor
Progress Constructions Ltd.
Dateof Completion
September 1998
Project synopsis
Constructed in 1901, the Ohel Leah Synagogue has served as a place
of Orthodox Jew ish w orship in Hong Kong for over one hundred
years. Designed by Leigh and Orange, the building is a signi cant
exam ple of the Edw ardian Free Baroque style and is one of few
synagogues in Asia constructed during the nineteenth and early
tw entieth centuries that is still being used for its original purpose.
The internal layout, w ith a central bimah on a longitudinal axis
w ith the ark, is typical of Sephardic synagogues, re ecting the
fact that m ost of Hong Kongs early Jew ish settlers w ere Sephardic
m erchants from Baghdad and Iran engaged in the tea and opium
trade. M eanw hile, the location of the seats backed up against the
bimah show s the later Ashkenazi in uence of the congregation.
The red brick, stucco-rendered synagogue building and site
had been subject to a range of inappropriate additions and
alterations over tim e. Encroachm ent of new developm ents
w ithin its boundaries had greatly affected its physical integrity.
In recognition of this state of affairs, the Board of Trustees of
the Jew ish Com m unity of Hong Kong requested im provem ents
to the building in October 1996. These w orks w ere designed to
m eet the current needs of the Jew ish com m unity as w ell as the
requirem ents of authorities.
In addition to conservation w orks, a sm all structure w as built to
house additional facilities requested by the Jew ish com m unity.
The new structure is a sim ple m odern building, constructed w ith
contem porary m aterials such as glass and painted steelw ork.
The new structure is connected by a bridge w hich links into the
synagogue tow er through an existing re escape doorw ay. This
allow ed for m inim al im pact on the historic building.
The project w as carried out over tw o years. The m ajor stages
w ere: analysis and investigation, preparation of the conservation
plan, design and docum entation, calling of tenders and, nally,
construction w orks, w hich began in Decem ber 1997 and w ere
com pleted on schedule in Septem ber 1998. Each stage involved
detailed discussions w ith the Board of Trustees and the w ardens of
the synagogue.
The conservation team follow ed the philosophy and approach set
out in the Burra Charter. Conservation policies w ere determ ined
subsequent to detailed historical research and careful inspection
of the fabric of the building, w hich enabled the preparation of the
Conservation Plan and a detailed dilapidation study.
The guiding conservation principle w as do as m uch as necessary
and as little as possible, em phasizing the architectural integrity
of the building and retaining as m uch original fabric as possible.
W here replacem ents w ere required, m atching m aterials w ere
sourced, m ainly from China, including lim e for the render,
traditional terracotta roof tiles and balcony paving tiles. M aterials
w ere installed using the original m ethods by local tradesm en.
For the exterior, w orks undertaken included the detailed repair of
joinery, the rationalization of the roof drainage system and the
installation of a dam p-proof course into the brickw ork of the
external w alls. The m odern cem ent stucco render on the w alls
w as rem oved to allow the original brick construction to breathe
and replaced w ith softer lim e render. It w as deem ed im possible to
reinstate the original open face brickw ork due to dam age to the
brick surfaces w hen applying the early render.
Internally, w orks included the careful rem oval, repair and
re nishing of the original w ooden joinery in the bimah, pew s,
leadlight w indow s and doors. The ne w hite lim e plaster of
the w all surface w as retained but plaster destabilized due to
penetrating dam p w as re-adhered w here necessary. Dam aged
plaster m ouldings w ere repaired, w ith particular attention to the
detailed elem ents around the ark. The internal colour schem e w as
chosen from the original colour palette w hich w as revealed during
careful investigation of w all surfaces and detailing.
In addition, obtrusive air-conditioning units and inappropriate
lighting xtures w ere rem oved. New services w ere installed as
discreetly as possible and intervention in the building fabric w as
kept to a m inim um by using existing recesses in the w alls of the
synagogue. A special, separate m useum -standard air-conditioning
system w as created for the ark to ensure the conservation of
Ohel Leah Synagogue / 2000
99
valuable religious artifacts, such as early em broidered fabrics and
vellum Torah scrolls.
It w as deem ed structurally unw ise to interfere w ith the current
roof form so a decision w as m ade to retain the existing concrete
barrel roof rather than reinstate the original tim ber fram ed roof.
The roof w as, how ever, retiled in the traditional m anner w ith
the original system of double layer terracotta tiles. A m em brane
system w as installed on the concrete barrel substructure.
The w ork w as carried out through the collaboration betw een
Australian conservation specialists and local craftsm en. This
allow ed for the introduction of international conservation
principles and m ethods such as plaster stabilization, rising dam p
m itigation, paint rem oval, lead light restoration, decorative
painting and restoration of joinery and furniture.

The synagogue has im m ense value to the users, m em bers of the
Jew ish com m unity and the neighborhood as a spiritual centre
and an area of visual relief from the intensive developm ent w hich
encircles it. This value is re ected in the continuing use of the
facilities over the past century. As a m easure of the enthusiasm
of the com m unity and their satisfaction w ith the restoration
process, the Trustees of the Jew ish Com m unity com m issioned
a substantial publication on the history and the restoration of
Ohel Leah Synagogue, w hich has contributed to prom oting
architectural conservation in Hong Kong.
The Ohel Leah Synagogue building is considered a signi cant
exam ple of conservation by Hong Kongs Antiquities and
M onum ents Of ce. Advancing the conservation cause in Hong
Kong, the restored synagogue is now a source of inspiration and
encouragem ent for other private and public heritage buildings.
100
100
Theoutcomeof theproject hasprovidedthe
community with a range of functionally
exiblespacesaroundtheconservedsynagogue
andallowedthebuildingtoretainitshistoric
andspiritual qualities. Withamaintenance
planandbudgetaryprogrammeinplace, this
will ensurethecareful stewardship of the
buildingwell intothenext century.
Ohel Leah Synagogue / 2000
101
Technical Brief
Masonry restoration
Brickwork
The building is constructed in red brickw ork and it is
presum ed that the original building w as face brick, a
m aterial nish typical of buildings designed by Leigh and
Orange. The later stucco render did not involve raking
out the joints of the bricks and the rem oval of the render
dam aged only the face surface of the brick. The brickw ork
at low er levels of the building w as very dam p and this w as a
result of the absence of a dam p-proof course (not inserted
at the tim e of construction), the raising of the ground level
by 100 m illim etres and the encasing of the w alls in cem ent
render.
In order to ensure the ongoing physical integrity and
strength of the structural brickw ork of the building
and m inim ize the level of m oisture in the bricks, the
installation of an appropriate dam p-proof course system
w as recom m ended. The hard render of the brick w alls w as
rem oved, after consolidation of the decorative m oldings
to prevent any dislocation of the m oldings during render
rem oval, and then necessary brickw ork repairs w ere
undertaken.
Damp-proong
The building had m oisture and air dam p problem s w hich
w ere an inevitable consequence of the lack of a dam p-proof
course near the base of the w alls, inadequate and dam aged
storm w ater drainage, and the raised ground level.
The w alls of the building w ere treated to ensure that they
w ere secure from further rising dam p. It w as recom m ended
that a gravity feed chem ical injection system be used
(rather than the insertion of a physical barrier or a pressure
injection system ) as this w ould require the least physical
disruption to the building.
Above: Front elevation.
Oppositepage
Top: The interior restoration works included
plasterwork, joinery repair and painting conservation.
Bottomfromleft to right: Floor plan.
Repair of furniture and xtures was part of the integrated
conservation project. The roof was treated with a new
waterproong layer prior to retiling.
102
102
The dam p-proof course w as installed to the external w alls of the
building by insertion of oligom etric siloxane, a low -odour, non-
toxic, isoparaf n-based dam p-proo ng course uid, by gravity
feed m ethod. A suitably experienced contractor w as selected
for this w ork. The adjacent ground level w as low ered by 100
m illim etres to the original level.
Render
The building w as rendered in tw o types of render nisha sm ooth
early lim e render nish and a later cem ent stucco render (w ith
stone aggregate) w hich replaced the early render to the m ajority
of the building. It is presum ed that the building w as originally face
brickw ork w ith lim e dressings as all the extant Leigh and Orange
buildings w ere constructed w ith these nishing m aterials. It is
possible that the building w as rendered soon after construction
to conceal cracking of the building w hich w as inevitable given
its position on the side of a steep hill and the lack of footings to
accom m odate this.
The stucco render com prised an 18 m illim etre thick strong
grey cem ent stucco render nished w ith a 3-5 m illim etre light
coloured skim coat nished in lim e w ash. The stucco render w as
certainly installed prior to the installation of the concrete roof
(circa 1935). This render w as extrem ely hard and w ell-bonded to
the base brickw ork and w as stronger in com position than the red
bricks of the w alls. The encasing of the building in cem ent render
dram atically increased the problem of rising dam p as the porous
brick w alls w ere no longer able to breathe and any dam p w as
forced further up the building. The surviving original render to
the capital w as in m any cases broken dow n and cracked, causing
w ater penetration and associated deterioration of the building
fabric.
It w as not possible to return the Synagogue to face brick nish
due to the dam age done to the brick w ork w hen keying in the
early render. Therefore the w alls w ere returned to a sm ooth
rendered nish. All render detailing w as also returned to its
original con guration through the use of a render m ix w hich
closely m atched the original. Retention of a section of the original
render w as recom m ended as an exam ple of the early render and
the position of this sam ple w as w ell-docum ented. An appropriate
location w as under the eaves w here w eathering is m inim al. All
repair w ork to render and plaster w as undertaken by experienced
plasterers. It w as recom m ended that decorative m ouldings should
be conserved w here possible by stabilization (or re-adhering)
rather than re-running of m ouldings. All render w as nished in a
surface paint w hich sim ulated the texture of early lim ew ash nish
used on this building. No acrylic-based paint (em ulsion paint) w as
used on any external render.
The later cem ent stucco render w as rem oved to allow the
original brick construction to breathe. The sm ooth nished lim e
render w as rem oved w here this w as failing. The original render
m ouldings w ere re-run only w here they w ere deteriorated beyond
repair. Decorative m ouldings w ere consolidated (using appropriate
adhesive repair m ethods) to retain original fabric and to reduce
costs of total re-rendering. M ouldings w ere consolidated before
the rem oval of the paint to the building areas w here the plaster
w as not stripped off. The tops of all stringcourses and capital
m oulds w ere re-rendered, as these w ere generally drum m y. The
render w as nished w ith a m ineral-based paint.
Adapted fromtheConservation Plan for Ohel Leah Synagogue,
McDougall and Vines
Residence of
Dr Zhang Yunpen
104
Location
69 Cangxiang Daxi Rd, Zhenjiang City
Jiangsu Province, China
Size
200 square metres (built up area)
550 square metres (total area)
Cost
ResponsibleParty
Zhang Songben and Zhang Songxing
HeritageArchitect
Cao Rushen
Contractor
Zhenjiang Traditional Architecture
Construction Team
Dateof Completion
March 1995
Project synopsis
Once hom e to a fam ous doctor of Chinese m edicine, Dr Zhang
Yunpen, this century-old residence is representative of traditional
residential architecture in the southern Yangtze region of China.
Located in dow ntow n Zhenjiang, a city renow ned for its rich cultural
heritage and picturesque scenery, this private residence consists of
four one-storey buildings w ith a total of 10 room s separated by
four courts and a garden.

The m ain building has three room s and is supported by tim ber
colum ns, covered by a tiled overhanging roof. The front of the
building is decorated w ith carved w ooden panels and is surrounded
by a balustrade. The garden features stone carvings and a 100-
year-old w ell and is paved w ith large square bricks, som e of w hich
derive from the M ing dynasty.

Declared by the city governm ent of Zhenjiang as a culturally
signi cant site, the residence has been under m unicipal protection
since 1993, and w as thus spared dem olition, unlike m any of the
surrounding buildings. The typical one-storey w ooden private
houses had been largely replaced by new six-storey apartm ent
buildings w hen the w hole neighborhood w as redeveloped in
1994. How ever, exposure to clim atic elem ents had resulted in
m ajor deterioration of the building and its physical integrity. As
a result, a project to restore the building to its original condition
w as initiated in October 1994. Funds w ere raised by the ow ners of
the house, the tw o sons of Dr Zhang Yunpen, and the project w as
com pleted in six m onths.
Dr Zhangs tw o sons and their fam ilies still occupy the com pound
and aim to continue their traditional w ay of life in spite of the
changes and dem olition occurring around them .
The project began w ith the sourcing of appropriate building
m aterials. These included blue bricks and traditional sm all tiles.
All m aterials w ere salvaged from old traditional houses being
dem olished w ithin the district, thus providing com ponents
as sim ilar to the original fabric as possible. In addition, skilled
bricklayers and carpenters w ith experience in restoring old
buildings w ere em ployed, ensuring that traditional techniques
w ere used in the conservation w orks.
The w ooden roof structure w as partially dism antled and
reassem bled, and the roof tiles relaid. The interior of the halls
w as restored. The m ain hall, w hich serves as the draw ing room ,
contains ne traditional Chinese-style furniture, scrolls of Chinese
ink paintings, calligraphy by renow ned artists, ancestral portraits
and an altar table.
The traditional landscaping in the courtyards has also been
conserved, adding to the historic character of the com pound.
Circular m oon gates fram e view s of the garden from inside the
house w hile elaborately carved w ooden screens create w alkw ays
m ediating betw een the exterior and interior. Old shade trees,
a rockery and a bam boo 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 w orks have allow ed for the
harm onious conservation of not only the physical fabric of the
building, but also the living history and intangible heritage of
its inhabitants. Although the ow ners actively participated in the
restoration process, they w ere not building professionals and an
external senior civil engineer w as engaged as a technical advisor to
provide advice on the structural w orks. The building w as surveyed
by the Departm ent of Architecture from Southeast University,
w hich produced detailed architectural draw ings, docum enting
both its traditional structure as w ell as decorative details.
After the conclusion of the project, the ow ners realized that their
residence had becom e an exem plar in the preservation of cultural
and historical sites. At the sam e tim e, they noted that there w ere
still a num ber of existing issues w hich needed to be resolved.
Notably, the plot to the north of the residence w hich belongs to the
prem ises w as still occupied by other residents and had not yet been
integrated into the com pound. Accordingly, the boundaries of the
residence have been prevented from being clearly dem arcated.
City map
Oppositeleft: The roofs timber structure had to
be dismantled and repaired before relaying the
roof tiles.
Oppositeright: The restored residence is a
unique heritage sanctuary among a mass of
high-rise buildings.
Residence of Dr Zhang Yunpen / 2000
105
A m odest project, the restoration has offered the com m unity
an exam ple of a successful private conservation effort. The
project has been featured on several local and cable television
program m es and periodicals, thereby educating the public about
the renovation of the residence. Not only has it paved the w ay
for private individuals to undertake conservation of residences,
the restoration project has also reinvigorated, w ithin the broader
com m unity, the value and beauty of heritage architecture.
Nestled am idst tall apartm ent buildings, the restored residence is
a tangible rem inder of the im portance of ancestry and the need
to rem em ber cultural roots and traditional w ays of life in our
rapidly changing and developing cities.
Award Citation
Restoration of theresidenceof thelateDr ZhangYunpen shows what can beachievedwhen a
singleindividual chooses heritageconservation andrestores his propertytothestateintendedby
his ancestors. This project is an exampleof determinedpreservation in a situation of ongoing
demolition andreconstruction andattendant loss of heritage. Therestorationisanendeavour
toproperlymaintainanancestral residenceusingtraditional materialsandtechniquesandto
single-handedlypromote, byexample, thecultureof maintenanceinthesurroundingcommunity.
106
106
Top: The courtyard garden is a signicant
feature of Chinese residential architecture.
Topright: Section through the complex.
Right: The restoration has safeguarded the
connection between the interior and the
tranquil landscaped setting.
After therenovation, theresidencestands
elegantlyamongthehigh-risemodern
buildings, presentinga strikingcontrast
between tradition andmodernity.
St. Patricks College
108
City map
Oppositeleft: The main building enclosed in
scaffolding during conservation work.
Oppositeright: The restored Moran House com-
mands a sweeping view of both Sydney Harbour
and Manly Beach.
Location
Darley Road, Manly, Sydney, Australia
Size
24 hectares
Cost
US$12,000,000
ResponsibleParty
Trusts of the Roman Catholic Church
Archdiocese of Sydney
HeritageArchitect
Howard Tanner and Associates
Contractor
Lend Lease Development
Dateof Completion
May 1996
Project synopsis
Originally a sem inary educating Catholic priests, St. Patricks
College now houses the Australian Tourism Groups International
College of Tourism and Hotel M anagem ent. The com plex 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 betw een 1885 and 1935, the four m ain buildings
on the cam pus are recognized nationally and regionally for their
heritage signi cance.
M oran House, the m ain building, w as form erly the m ain sem inary
building and w as built betw een 1885 and 1889. A four-storey
Gothic building constructed of superior quality sandstone, it
w as m odeled on St. Patricks College in Ireland. The Cardinal
Freem an Pastoral Centre, built in 1910, is a single-storey building
of rusticated coursed sandstone w ith a slate roof and bull-nosed
corrugated verandah in Federation style. The other tw o buildings
are the Cardinal Cerretti M em orial Chapel and the Kelly House,
w hich w ere constructed in the 1930s and 1950s, respectively.
Sourcing a suitable tenant for the buildings, the Church nally
found a suitable candidate in the College, providing an opportunity
to undertake a com m ercially-viable adaptive reuse of this ensem ble
of heritage buildings. Though structurally sound, the buildings had
suffered from ad hoc alterations and lack of m aintenance.
Over the course of ve m onths, the buildings w ere restored and
refurbished for their new function, w hich included the repair of the
historic building fabric, the upgrade of the interiors to com ply w ith
building code requirem ents and the restoration of the landscape to
com plem ent the buildings and re ect the sites original character.
A conservation plan w as prepared prior to the restoration by the
heritage architect to guide the project. The principle behind the
process w as to preserve and enhance this ensem ble w ithin it current
setting, hence paying tribute to its unique place in the history of
the Catholic Church and Australia. The w ork w as accom plished
from the roof dow n, so w hole oors w ere com pleted sequentially.
Incorporating m any specialist tradesm en and consultants, different
w orks w ere carried out sim ultaneously, w ith a peak of 200 w orkers
at one tim e, to m eet the tight deadline of the project.
W orks on the exterior included changing the cast iron gutters and
dow npipes to m atch the originals, replacing dam aged slate roofs
and repairing m arble and slate tiled colonnades. The sandstone
facades w ere extensively re-pointed using m ortar to m atch the
original. Chipped stones w ere repaired w ith a m ix of epoxy and sand,
w hile the badly dam aged parts w ere replaced w ith hand-carved
ones. A tem plate w as m ade of the original stone and the new piece
carefully carved w ith tungsten-tipped chisels and a nylon m allet.
In the interior, w orks w ere undertaken in a sim ilarly attentive
m anner. All new joinery w ork, particularly doors and w indow s, w ere
detailed to m atch the existing ones. New glazed sm oke screens w ere
introduced to sm oke-isolate the existing stone staircases; they w ere
designed to t exactly against the stone archw ays w ithout causing
any dam age and to harm onize w ith the existing joinery.
The addition of new building services w as a signi cant intrusion in
the buildings, yet necessary for their new use. The services included
re equipm ent, sm oke detectors, em ergency lighting, alarm s,
com m unication system s, electrical services and dom estic hot and
cold w ater. Generally, the services w ere surface m ounted to avoid
dam age to the building fabric.
To com ply w ith the building codes, a full re-sprinkler system
w as introduced in M oran House, w hich has tim ber ooring, to
com pensate for its lack of re rating. A system using copper
tubing w ith side action heads w as selected, w hich allow ed for easy
installation w ith m inim um penetration of the w alls and ceilings. It
is also visually unobtrusive adjacent to the tim ber panelled ceilings.
The new hotel school required the refurbishm ent of functional
w orking areas, such as the upgrade of a com m ercial kitchen and
the installation of a new training kitchen, w hich proved to be a
challenge. Careful design and detailing ensured that this w as done
in full com pliance w ith building codes w hile avoiding dam age to
the historic building. The use of false w alls and false doors allow ed
for the preservation and m aintenance of existing paneled ceilings
and plastered w alls.
109
Another authority requirem ent w as to provide disabled access
throughout the com plex. In the case of M oran House, a hydraulic
passenger lift w as installed to access all oors of the four-storey
building. The new lift w as positioned in the original goods hoist
shaft at the eastern end of the building, but extensive structural
alterations w ere required to increase the size of the shaft and to
ensure structural adequacy for the new lift.
The restoration of St. Patricks College has effectively show n
the com m unity that adaptive reuse of heritage buildings can be
econom ically viable w ithout being destructive. Not only has the
project revived a set of deteriorating buildings, it has preserved an
architectural and cultural icon as w ell as an im portant historical
chapter. The rehabilitation of St. Patricks College has achieved
self-sustainability w ith incom e generated from the lease allow ing
for the future m aintenance of the building, m aking certain that
its heritage w ill be retained for future generations to enjoy.
Award Citation
Restoration of thestructures of St. Patricks Collegegavea new, yet congruent, adaptive
reuseas a tourismtraininginstitute, preservingthedignityandscholarlycharacter of these
buildings. Theproject successfullyincorporatedall requiredservices in thefaceof tough
integration issues. Thehighqualityof workmanshipis evidencedbythemeticulous work
andcareful attention toeveryinterior andexterior detail. In illustratingthebenets of heritage
preservation tostudents involvedin thetourismindustry, theproject can beexpectedtohavea
far-reachingimpact upon theheritageconservation movement.
110
110
Throughout Australasia, major historic
buildings liedormant. St. Patricks College
demonstrates thevirtues of adaptivereuse
of ndinga new on-goingrolefor such
landmarks.
Topright: 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.
Harischandra Building
112
Site plan
Oppositeleft: The building was once used as
a post ofce.
Oppositeright: 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
ResponsibleParty
Venerable Pallegama Hemarathana Thero
HeritageArchitect
Heritage Conservation Unit of
the Central Cultural Fund
Contractor
Abhayagiriya Vihara Project of
Dateof Completion
February 1999
Project synopsis
Constructed during British colonial rule at the turn of the
tw entieth century, the Harischandra Building is located in the
ancient capital of Anuradhapura. Originally a rest house, after
independence in 1948 it w as converted for use as a public library
and w as given the nam e of Harischandrain honour of one of
the em inent leaders of the Buddhist revival m ovem ent. W hile the
m ajority of the colonial-era buildings w ere rem oved in order to
preserve the sacred character of the city, a num ber of buildings
w ith special characteristics w ere spared. During the 1960s the
building w as used as a post of ce and later as the headquarters of
the Urban Council of Anuradhapura, before it w as handed over to
the Ruw anveliseya Tem ple for their use in the 1980s. Located 200
m etres northw est of the great stupa of Ruw anveli, the building
now houses part of the M ahavihara Parivena (m onks teaching
institution).
Em bodying the fusion of colonial and local architecture, this
brick and lim e plaster structure w ith its w ide verandah and grand
interior spaces is one of the few rem aining colonial-era buildings
in Anuradhapura. Over its history the building has undergone a
num ber of construction phases, w ith additions and alterations
m ade to the original structure, som e of w hich w ere unsuited to
the buildings style and spatial layout. By the 1990s, due to neglect
and these inappropriate alterations, the buildings integrity and
beauty had greatly dim inished; it w as in a dilapidated state w ith
roof leakages, structural cracks and decaying tim ber elem ents.
How ever, the brick foundation w as still solid, w ithout any cracks or
settlem ents, and m ost of the interior doors w ere w ell preserved.
In 1998 the building w as no longer in use and the chief priest of
the tem ple decided to restore it and convert it into residential
quarters for three resident and three visiting scholar m onks,
m eeting spaces, a reading room and a refectory. As the original
spatial con guration of the building accom m odated the
requirem ents harm oniously, it w as agreed that the restoration
w ould revive the character of the historic design and at the sam e
tim e illustrate the different construction phases of Anuradhapura
as re ected in the building.
Restoration w ork com m enced in August 1998 and w orks w ere
accelerated in order to be com plete by the auspicious full m oon
Poya day on 1 M arch 1999 (ahead of the initially program m ed
construction tim e fram e of 12 m onths).
As the structural cracks suggested inadequate bonding of m asonry
during different periods of construction, the project began w ith a
series of investigations to determ ine the construction phases of
the building and to m ake detailed docum entation of these phases.
The investigation involved studying the cracks and different
textures of the w all plaster, exam ining the brickw ork and bonding
patterns by rem oving the plaster in sam ple areas, and undertaking
test excavations as necessary. It w as discovered that the building
had started as a four room ed structure, w hich grew over six
phases into a larger structure w ith toilets, bay w indow s and a
side verandah. At its peak, the building had high arched doors,
low w indow sills and a front verandah offering a 180-degree view
of the surrounding landscape. Over tim e, how ever, m any of the
openings w ere partially in lled w ith brick, w hich obstructed the
free spatial ow and visual connections.
As a result of the ndings, steps w ere taken to restore the original
spatial layout. For exam ple, brick w alls that had been installed
during a later construction phase w ere rem oved. Areas of arches
and bay w indow s w hich had been in lled w ere taken out to
reveal their original shape and design. Sim ilarly, the front door
w as rem oved and a new door w as introduced w hich m atched
the dim ensions of the original arch. To reveal the construction
history of the building over tim e, the areas w here changes had
been m ade in earlier phases w ere m arked and differentiated, for
instance indicating the outlines of historic doors by recessing the
internal w all surface.
To ensure structural stability, a reinforced concrete tie beam w as
introduced at the w all plate level to stabilize w alls. Reinforced
concrete pads w ere added to the w alls to accom m odate the
point load of the tim ber purlins. Cracked w alls w ere stitched w ith
reinforced concrete blocks cast in situ. All the loose plaster w as
Harischandra Building / 2000
113
rem oved and w alls w ere re-plastered w ith m aterials m atching
the originals. In addition, all decayed tim ber elem ents and fram es
w ere recreated w ith new m aterials and the deteriorating m odern
plain valance board w as replaced w ith a new decorative one,
based on the design found on rem nants of the original carved
board. The cracked and sunken interior oor w as revam ped w ith
terracotta tiles on a new base of concrete, and the verandah w as
laid w ith granite slabs. These new m aterials w ere used to give
these oor surfaces a m ore re ned appearance.
Other m odern m aterials w ere introduced to im prove the buildings
function and am enities. The tw o existing bathroom s, for exam ple,
w ere upgraded w ith new sanitary ttings. Sim ilarly, an im proved
lighting system w as introduced to enhance functionality and
am bience. The original roo ng tiles w ere subject to frequent
dislocation by m onkeys and had led to leakages. Corrugated
sheets w ere introduced over the tim ber roof fram ing to ensure
that any breakage of the tiles in the future w ould not cause
rainw ater in ltration. The original sem i-circular clay tiles w ere
then laid over the sheets in accordance w ith the roofs original
appearance.
Award Citation
Restoration and conservation of theHarischandra Buildingdemonstrates thesuccessful
adaptation of an existingstructurefor a new contemporaryuse. Thebuildingis now a
residencefor monks teachingat theMahavihara Parivena (monks teachinginstitution).
Locatedin theWorldHeritagecityof Anuradhapura, this project is a remarkablesteptowards
theinvolvement of thecommunityin thepursuit of conservation of local cultural heritageand
thepromotion of adaptivereuseof historicstructures.
114
Topleft: 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.
In order to clarify the layout of the com pound, a landscaping plan
w as prepared, leading to the rem oval of young fruit trees and
m ounds of dirt. This has enhanced the hierarchical structure of
the space, creating an axis anchored by the historic building and
a large m ango tree.
The project has revived one of the few rem aining buildings
constructed under British rule. The restoration project has
reopened to the public an im portant chapter of Sri Lankas history
and now show cases the building m aterials and techniques used
during colonial tim es.
The success of the project has prom pted the chief priest to
request the preparation of plans to conserve the rear block of the
building, w hich upon its com pletion could serve as a residence,
allow ing the Harischandra Building to perhaps be converted into a
m useum of the tem ple com plex for the bene t of the com m unity.
Mawsons Huts Historic Site
116
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
ResponsibleParty
Australian Antarctic Division
HeritageArchitect
Godden Mackay Logan
(Richard Mackay and Geoff Ashley)
Contractor
AAP Mawsons Huts Foundation
Dateof Completion
February 1998
Project synopsis
Located at Cape Denison in Com m onw ealth Bay, the M aw sons
Huts site is one of the m ost im portant historic places in Antarctica.
Consisting of prefabricated tim ber huts and a m em orial cross, it
served as the base of the Australasian Antarctic Expedition (AAE)
betw een 1911 and 1914, led by of one of Australias greatest
explorers, Sir Douglas M aw son. As evidence of the Heroic Era
of Antarctic explorations, the rare, intact com plex of buildings
is of international and national signi cance. The m ain hut and
m em orial cross are included on the Antarctic Treaty List of Historic
Sites and M onum ents.
Since the 1914 expedition, the site had been largely neglected,
w ith only sporadic investigation and m inor w orks undertaken
until the AAP M aw sons Huts Foundation w as established in 1996
and efforts began to develop and carry out a conservation plan
for the site. The overall objective of the conservation project w as
to stabilize the huts so that their existence could be ensured w ell
past their centenary in 2012.
The plans for the conservation w orks w ere based upon those
identi ed in the 1991 Conservation Plan for M aw sons Huts,
w hich in turn drew upon earlier expeditions in the m id-1980s.
The project consisted of three m ain com ponents: the conservation
w orks on the structures and relics; an associated conservation
program m e, including detailed building archival recording and
condition survey project; and a full archaeological program m e of
the huts and Cape Denison as a w hole.
Eleven specialists w ith a broad range of experience and skills
w ere chosen for the conservation expedition. Conservation w orks
w ere carried out over seven w eeks betw een Decem ber 1997 and
February 1998.
Im plem ented in accordance w ith the Burra Charter, the project
em phasized the stabilization of the site and its structures, rather than
the full restoration of the historic site. The conservation team aim ed
to retain the m axim um am ount of fabric and to undertake repairs
only w here structural stability or further deterioration through snow
ingress w as threatened. W here fabric had com pletely failed, the sam e
or sim ilar m aterial and construction techniques w ere used to repair
and replace the fabric. In m any cases, sm all am ounts of new tim ber
fabric w ere scarfed or spliced into existing m em bers.
Given the lim ited tim e fram e, harsh clim atic conditions and the
uncertainty as to w hen a future expedition could be planned, clear
w ork m ethodologies w ere form ulated prior to the expeditions
departure from Australia. This included having a range of
approaches in order to respond exibly to on-site conditions. For
exam ple, an archaeological m ethodology w as devised to use ice
cores and rapid excavation techniques w hich could be com pleted
prior to com m encem ent of building conservation w orks. In
certain circum stances outside of the anticipated scope, additional
approval w as sought from Australia via satellite phones.
As part of the site docum entation, detailed m easured draw ings of
each of the huts w as prepared, show ing true elevations of roofs
and batten fabric. Photogram m atic recording of the M ain Hut w as
undertaken, along w ith building structure surveys, w hich revealed
that the structure w as sound and level.
The m ost signi cant conservation intervention w as over-cladding
the roof of the m ain hut. The roof w as in a critical condition as a
result of 85 years of ice abrasion in the w indiest place on earth.
Baltic pine boards of the sam e size and pro le as the existing w ere
selected to m atch the original tim ber. Skylights, ridge capping,
apron ashes and gutters w ere also restored, m inim izing further
ingress by snow and sum m er m elt-w ater into the building. Inside
the hut, forty-one cubic m eters of ice w ere rem oved to repair
collapsed beam s and the structure of a storage platform .
117
Mawsons Huts Historic Site / 2000
In addition, several buildings from recent expeditions, considered
to be intrusive elem ents of the setting, w ere rem oved along
w ith the explosives left on the site by the AAE. In an act of great
sym bolism , the m em orial cross w as also restored, w ith the cross
arm recovered from the ice and re-attached w ith a stainless steel
bracket.
By retaining and stabilizing this com plex of structures, the
conservation of the M aw sons Huts Historic Site has enabled
the sites long-term preservation and has raised com m unity
aw areness of Australias im portant role in the early exploration
of Antarctica. Furtherm ore, through substantial m edia coverage,
including a lm docum entary, the project has brought to light
another typology of heritage assets w orthy of conservation, and
allow ed m eaningful interpretation of a rem ote place otherw ise
not accessible to m any people.
Award Citation
Theconservation of Mawsons Huts HistoricSitedemonstrates that even simplebuildings,
andthoseof recent vintage, havedistinctivecharacter andarepart of theheritageof our built
environment andshouldbesaved. Conservation of theMawsons Huts, humblequarters of
theAustralasian AntarcticExpedition (AAE) 1911-1914, preserves thememoryof our
communitysaspirationsandaccomplishments. Therestorationproject itself isa goodexample
for theprofessional communityof how toconduct an extremelycomplex project witha lot of
inherent unknowns.
118
Above: Floor plan of the main hut.
Aboveleft: The section drawing depicts the
main huts living section on the left and work-
shop area on the right.
Technical Brief
Conservation in an extreme
environment
The expedition in the sum m er of 1997 to carry out the conservation
w ork of M aw sons Hut found the structures and internal living
areas relatively intact and square, but unstable because of ice
ingress. The Baltic pine w all and roof cladding for both the huts
living and w orkshop sections had survived because severe cold
lim its norm al tim ber deterioration. How ever, w ind gusts w ith ice
w ould continue to abrade the fabric until it nally disintegrated.
The roof cladding had w orn dow n to a dangerous 8 m ilim etres
thick and thus becam e the conservation priority.
Originally, it w as planned to carefully rem ove the original cladding
and m etal ashings, m ade from biscuit tins, x a new layer of roof
boards and re-install the original ones w ith new m etal ashings
over them . Tests show ed potential dam age to both the biscuit
tin caps and the brittle cladding w ith this m ethod. The duration
of calm days w as also shorter than the tw o w eeks needed to
undertake this w ork.
The alternative approach w as to install the new 20 m illim etre
tongue and groove pine cladding over the existing fabric. The
three hip rafters supporting the roof w ere broken, and w ere
trow eled w ith low -tem perature epoxy w here they had split (3
m illim etres w ide) and held together by screw s, discreetly installed
from the underside. The new Baltic pine cladding w as installed
in place w ith 62 m illim etre stainless steel screw s. They w ere
previously pre-coated w ith prim er on one side, and a transparent
coating on the other to resist ultra-violet (UV) radiation. The
honey-colored anti-UV coating w ill eventually fade into the sam e
w eathered patina as the existing w ood surfaces.
The roof ashing at the junction of the living and w orkshop
roof sections of the hut had failed and w as allow ing m elt-w ater
to the interior. A new zincalum e (alum inum -zinc coated steel)
valley gutter ashing, 600 m ilim etres w ide, w as laid over the
new boards and a m ild steel over- ash laid on top, to reduce
the visual im pact of the zincalum e sheets. The m ild steel over-
ash w as carefully tted to lead w ater over the verandahs of the
east and w est sides of the hut. Finally, the existing roof battens
found on the ridges w ere rem oved, recorded, and then carefully
re-installed over the new roof in the sam e positions they w ere
originally found.
Adapted fromtheMawsons Huts Conservation Report,
Godden Mackay Logan
Residence of Charles Prosper
Wolff Schoemaker
120
City map
Oppositeleft: A considerable part of the
building was gutted.
Oppositeright: The restored building in its
current use as a bank ofce.
Location
Jalan Sawunggaling 2, Bandung Jawa Barat
Indonesia
Cost
US$40,000
ResponsibleParty
Pramana Surjaudaja
HeritageArchitect
Dibyo Hartono
Contractor
PT. Aneka Intimulya
Dateof Completion
May 1999
Project synopsis
Constructed in 1930 as the residence of the Indonesian-born
architect Charles Prosper W olff Schoem aker, this house is a
cultural landm ark. Considered one of the best architects practicing
in Indonesia during that tim e, Schoem aker rigorously explored the
relationship betw een European design and vernacular expression,
blending traditional features and decorative elem ents w ith
m odern architectural vocabulary that w as in uenced by the Art
Deco m ovem ent and the Am sterdam school of post-W orld W ar I.
Located in a northern residential district of Bandung, the house
epitom izes Schoem akers architectural vision.
In later years, the house had been used as student housing and a
police station. The buildings decline paralleled the decline of the
neighborhood and other historic zones of the city. Although the
house w as registered as being of special historical and architectural
value, the ow ners m ade plans to replace it w ith a m odern structure
w ith com m ercial spaces for lease and began dem olition of the
building in 1995. The intervention of the Bandung Society for
Heritage Conservation led to the buildings rescue. An agreem ent
w as reached w ith the ow ners to reconstruct the part of the house
already dem olished, restore the rem aining portions of the building
and adapt it for use as a com m ercial building.
W ith a tight budget and a construction tim e fram e of only ve
m onths, a conservation team w as form ed in January 1996,
including young architects and students from the local design
institutes.
After restoration w orks w ere com pleted, a schedule of m aintenance
and suggestions for conservation w ere provided to the ow ners
in order to ensure its ongoing upkeep. The restored property
now houses a com m ercial bank branch and the of ces of a local
airline.
The restoration com m enced w ith thorough photographic and
architectural docum entation of the house. Research papers on
Schoem aker and his num erous 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 dem olished.
The objective of the project w as to restore the building to its original
appearance as m uch as possible. As a result, original m aterial and
features w ere retained and restored w herever possible. The interior
and exterior w oodw ork w as stripped of paint, cleaned, sealed and
varnished, w hile original brass xtures w ere likew ise repaired and
polished.
There w as dif culty, how ever, in obtaining som e of the original
m aterials. W hen they w ere not available, sym pathetic replacem ents
w ere installed instead. In the investigation stage it w as discovered,
for exam ple, that the original roo ng w as sirap tiles, w hich had been
replaced w ith terracotta tiles in the 1950s. Although the restoration
team w anted to restore the building to its original appearance, sirap
tiles w ere expensive and dif cult to obtain. As a result, the terracotta
tiles installed during the 1950s w ere retained.
The team also encountered dif culty in colour m atching m odern
glass to replace the m issing panels of the beautiful curved glass
ceiling in the central interior passagew ay. Sim ilarly, in restoring the
decorative w rought zinc ceilings, a popular feature of the 1920s,
som e parts, notably the triangular and circular oral m edallions,
could not be re-installed because sections w hich com plem ented the
design w ere m issing.
The reconstruction of the dem olished section (40 percent) of the
house proved to be a m ajor challenge. For instance, 35 of the original
37 colum ns lining the open corridor surrounding the house had to be
rebuilt according to the original speci cations. Interior detailing had
to be reproduced from historic photographs. New sheetrock ceilings
w ere nished in a neutral tone. Interior w indow s and doors w hich had
been rem oved prior to dem olition w ere restored and re-installed.
Residence of Charles Prosper Wol Schoemaker / 2000
121
Restoration has offered a new lease of life to the building and
conserved a signi cant landm ark that now has been appropriately
reintegrated into the local com m unity. Furtherm ore, 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 Bandungs tourism industry. The pride
exhibited by the ow ners and the effective adaptive reuse of the
residence has provided encouragem ent in preserving the built
heritage of Bandung am ong the w ider com m unity.
In the process of conserving the historical landm ark, the project
also served as practical training in conservation skills for
architecture and design students, w ho had a chance to w ork on a
real project. It has instilled in the younger generation the culture
of conservation for Bandungs other heritage buildings.
Award Citation
Therestoration andreconstruction of theResidenceof Charles Prosper Wolff Schoemaker
is theresult of theheroiceffort of theBandungSocietyfor HeritageConservation torescue
theresidenceof an inuential Bandungarchitect fromdemolition. Theproject, of adaptinga
residencefor reuseas a bank, demonstrates tothebusiness communitytheviabilityof reusing
historicstructures for commercial purposes. It alsoproves that perseveranceandactivismin
support of cultural heritageconservation is indeedworththeeffort.
122
122
Far left: Ground oor plan.
Above: Shoemaker strove to
combine modern build-
ing form and traditional
decorative vocabulary, as
exemplied in the buildings
elevation.
Bottomleft, middle, right:
The severely deteriorated
hallway was restored and its
false skylight re-introduced.
The interior spatial layout
was also re-instated.
When it was realized that thebuilding
was beingdemolished, I wrotea frantic
letter to thelocal newspaper, and based
on theprestigeof theheritagesocietyin
thecommunity, thegovernment intervened
andaskedmembers of theheritagesociety
tomeet andwork withtheowners. The
building encapsulates the design and
spatial order which Schoemaker created
for his clients, but specicallyreectedhis
tastealone. It was for this reason that the
BandungSocietyfor HeritageConservation
was anxious tosavethemonument.
Rumah Penghulu
124
City map
Opposite: The dilapidated house was transformed
into a heritage centre.
Location
2 Jalan Stonor, Kuala Lumpur, Malaysia
Cost
ResponsibleParty
Badan Warisan Malaysia
HeritageArchitect
Yahaya Ahmad
Contractor
Dateof Completion
November 1997
Rumah Penghulu / 2000
125
Award Citation
Relocation andrestoration of theRumahPenghulu, undertaken byBadan Warisan Malaysia,
savedfor posterityandopenedtothepublica signicant historicstructurethat illustrates
thebeautyof vernacular Malaysian architectureandis at thesametimeassociatedwith
important events in local history. Thoughrelocation is generallynot thepreferredmeans of
preservingancestral homes, in this instancerelocation was an appropriatesolution, for it saved
a uniquebuildingthat wouldhavebeen lost in a few years.
126
126
Above: Floor plan.
Topright: Elevation drawing
Bottomleft: A traditional house is built as a
pre-assembled kit of parts.
Bottomright: Exhibit of a typical Malay household.
Therelocatedhouseserves as a reminder to
residents andvisitors in thenations capi-
tal of thevalueof Malaysias vernacular
architecture. As thecountryis still in the
learningcurveof conservation techniques,
a keycontribution of therestoration pro-
cess was theeducation of all thoseinvolved
in theproject team.
1
2
Excellent Project
National Archives Building, Jakarta, Indonesia
Bushells 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. Josephs Seminary Church, Macao SAR, China
Thian Hock Keng Temple, Singapore
National Archives Building
130
Context
The restoration of the 300-year-old National Archives Building
w as initiated by a Dutch law yer w orking in Jakarta, Erick
Hem erstein, w ho launched a project to restore one of Jakartas
historic buildings as a gift to the Indonesian people from the
Dutch business com m unity on the occasion of Indonesias ftieth
anniversary of independence in 1995.
W hen the National Archives Building w as constructed in the
eighteenth century, the area in w hich the structure w as built
w as a pleasant suburb som e distance from m alaria-infested
Batavia. Today the neighborhood is part of inner, m odern Jakarta
and contains m any contem porary buildings, w ith the National
Archives Building one of the few rem aining villas of its era.
Although Indonesia has national law s for the preservation of
cultural heritage, it has proven dif cult to protect privately-
ow ned heritage buildings, and thus m any have been lost to
developm ent pressures. In the m eantim e, som e governm ent-
ow ned structures, such as the National Archives Building, have so
far been spared dem olition, but have required private funding to
enable restoration efforts to proceed.
Building history
The National Archives Building w as built as a residence in 1760
by Reiner de Klerk, w ho becam e the governor general of the
Verenigde Oost-Indische Com pagnie (VOC), or the Dutch East India
Com pany, in 1777. The residence w as constructed as a com pound
of ve buildings on a plot adjoining the Krukut River, w hich w as
historically a busy and popular inland w aterw ay. The buildings
are arranged along a m ain east-w est axis. The m ain building is
a stately, tw o-storey, brick structure w ith a high pitched roof, and
features a grand entrance hall and a beautifully decorated light vent
above the m ain doors. The ground oor w as used for entertaining
guests, w hile the upper storey w as used for private quarters. The
other buildings in the com plex are sm aller but sim ilar in style and
w ere built as adm inistrative of ces, storage and slaveshousing.
Over tim e the com plex has changed hands a num ber of tim es.
After the death of Reiner de Klerk the buildings w ere sold and later
becam e an orphanage. The com plex w as subsequently abandoned
and left to deteriorate until the Dutch colonial governm ent
converted it for use by the M ining Departm ent. In 1925 the m ain
building w as renovated and becam e the landsarchief (national
archives). W hen the Indonesian Governm ent took over the
building upon Independence in 1945, it continued to function as
an archive and has since been know n as Gedung Arsip Nasional
Republik Indonesia(the National Archive Building of the
Republic of Indonesia). The Indonesian Governm ent expanded the
com pound w ith the addition of a tw o-storey U-shaped building,
joined to the rear auxiliary building. The buildings function
continued until the m id-1980s w hen the archives w ere relocated
to a m ore m odern building. The com plex then becam e vacant and
steadily deteriorated until restoration w ork began in 1997.
Prior to the conservation project the building w as suffering from
w eathering and neglect. Because m uch of the site w as below the
surrounding ground level, w ith the area behind the m ain building
being 1.7 m eters low er than the adjacent road, the buildings had
been badly affected by ooding over the years. There w as no
natural surface drainage and drainage pum ps w ere broken. During
the annual rainy season, the w hole back garden and auxiliary
buildings w ere subm erged in the oodw aters collected from
surrounding areas. Rising dam p had dam aged the w alls, the plaster
and the paint w ork. The roof w as leaking. Furtherm ore, m uch of
the tim ber in the buildings w as infested w ith term ites, including
the roof beam s. The door and w indow panels w ere dam aged. The
w iring w as old and dangerous. Finally, a transform er building
belonging to the National Pow er Com pany had been erected in
the front garden, dam aging the historic garden landscape.
Project history
Together w ith Christine Paauw e-M eyer, Erick Hem erstein
established a fundraising and m anagem ent organization, the
Stichting National Cadeau (National Gift Foundation). They
approached Pia Alisyahbana, representing the Indonesian Dutch
alum ni and the Indonesian Heritage Society, to becom e involved
Location
100 Jalan Gajah Mada, Jakarta
Indonesia
Size
9,350 square metres
Cost
Approximately US$2,000,000
ResponsibleParty
Stichting National Cadeau
(National Gift Foundation)
HeritageArchitect
Han Awal & Partners
Budi Lim Architects, Cor Passchier
Contractor
Decorient - Ballast Indonesia
Dateof Completion
October 1998
City map
National Archives Building / 2001
131
in the project as the local counterpart. Funds w ere raised through
donations from over 60 Dutch businesses operating in both
Indonesia and the Netherlands.
In choosing w hich building to focus their restoration efforts
on, the Stichting considered m any potential sites. After careful
deliberation, the National Archives Building w as selected to be
restored, as it represents a valuable architectural legacy of the
Indo-Dutch history.
The project m anagers engaged in a four-year process of
netw orking, building trust, understanding and cooperation w ith
public and private stakeholders. The central and local governm ent
w as lobbied for their endorsem ent of the project w hich ultim ately
resulted in establishing a successful public-private partnership.
The Stichting appointed the professional team , m anaged the
funds and oversaw the im plem entation of the project. Han Aw al
& Partners w as appointed as the conservation architect and
subsequently invited PT Budi Lim Architects and Cor Passchier to
join the team .
Shortly after w orks com m enced in 1997, the Asian currency crisis
erupted, plunging the country into econom ic and social turm oil.
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. How ever, riots in the neighborhood threatened
the historic building. The site w as w ell-protected by the w orkers,
how ever, and the project w as sm oothly continued to com pletion.
The project centered on the restoration of the buildings and
grounds and the prevention of ooding, w hich w as found to be
the m ajor culprit precipitating the decay of the structures. The
installation of m odern drainage system s w as given high priority
in the conservation plan. Due to funding lim itations at the start
of the project, the drainage w ork and the restoration of the m ain
Above: The restored faade lit at dusk.
Left: Before restoration.
132
building com m enced rst, w ith the rem aining w orks phased in
w hen the additional funds w ere secured.
The restoration aim ed to restore the buildings to their original
appearance in an authentic and historically accurate m anner,
bearing in m ind the im portance of retaining the original form
and am biance. It w as discussed how far back in history the
project should go. It w as decided that the restoration w orks
w ould concentrate on the buildings built before 1945, w ith
the restoration w ork on the auxiliary building based on 1925
photographic docum entation. In addition to restoring the
structural elem ents of the buildings, the project m anagers sought
to re-capture the spirit of the eighteenth century by refurbishing
the interiors w ith furnishings in the prevalent styles of the Dutch
East India Com pany era. For the gardens, the Foundation decided
to adopt the grand form al garden design of the eighteenth
century, w ith a Dutch landscape architect brought in to undertake
the conceptual design.
Top: The entry foyer reects Dutch-Indonesian
hybrid architecture.
Topright: Original materials underwent laboratory analysis.
Aboveandopposite: Ground oor plan and rear elevation
of the building.
National Archives Building / 2001
133
and materials
In accordance w ith international conservation standards, the
project team developed conservation guidelines w ith m inim al
intervention being the underlying principle. Consequently, as
m uch of the historic building fabric w as retained as possible.
For exam ple, for teak tim ber elem ents w hich had partial term ite
dam age, instead of replacing the entire piece, only the decayed
part w as repaired or replaced. Furtherm ore, w herever possible,
replacem ents w ere m ade w ith old, recycled building m aterials.
Broken roof tiles w ere replaced w ith roof tiles from other buildings
of the sam e era. Sim ilarly, despite initial resentm ent, the building
contractor w as proud to locate replacem ent teak m em bers from
other old buildings. M aterials originally used in the building w ere
replaced w ith the sam e variety w henever possible practically.
Terracotta tiles w ere m anufactured especially for the project in
Central Java. M issing and broken iron hardw are w as produced or
repaired in East Java.
Award Citation
Theexceptional restoration of theNational Archives Buildingwas realizedthroughthejoint
efforts of privatesector restoration professionals, archaeologists, government conservation
experts, andlocal craftsmen. The300-year oldcolonial-era mansion was given, withthe
restoration, a new livelihoodas a local cultural centrewitha strongeducational mission.
Withan exemplaryintegrityof materials andconservation methods, theconservation of
thebuildinghas been carriedout successfullydespitepolitical uncertainty. Therevitalized
National ArchiveBuildinghas not onlysafeguardeda vital landmark of Indonesias living
heritage, it has alsostimulatedtherebirthof thesurroundingarea of historicJ akarta. Its
well-receivedsuccess has sparkeda new awareness of theopportunities inherent in historic
conservation andan appreciation of theroles of privatecitizens andpublicentities alike,
openingthepathtofuturecollaborations in heritagepreservation.
134
The introduction of new m aterials w as only considered as a last
resort, and had to be approved in advance. In certain conditions,
the project team m ade use of m odern m aterials w here necessary
to enhance structural durability. For instance, instead of w ooden
beading, linseed oil-based putty w as form ulated experim entally
and m anufactured on-site in order to provide a strong and
w aterproof sealant for the original glass panes. W aterproo ng
paint w as used on the external w alls to m inim ize w ater
penetration, but allow the w alls to breathe at the sam e tim e.
In addition, the team endeavored to em ploy not only local
m aterials, but also local craftsm en. Traditional building techniques
w ere com bined w ith m odern ones w henever appropriate. A
special paint and varnish specialist based in Bali w as invited to
team up w ith the site architect to retouch the original doorfram e
and decorative vent light.
The site w as protected from future ooding by installing large
underground drainage pipes, one m etre in diam eter, running
through the entire site and a huge underground tank in order to
collect rainw ater before pum ping it out to the canal in front of
the com pound. M eanw hile, the unsightly transform er building in
the front garden w as rem oved by the National Pow er Com pany
and an underground transform er house w as built insteadthe
rst in Jakarta. Indeed, this m odel is now being considered by the
Jakarta m unicipality for areas w here land is scarce.
Before the w orks com m enced, archaeological investigations w ere
undertaken w hich helped to determ ine the characteristics of the
original building m aterials and decide on the m ost appropriate res-
toration m ethods and m aterials. Sam ples from the plasterw ork and
paint w ere analyzed for their m aterial com position. This allow ed,
for exam ple, for the identi cation of the historic colour palette. The
archaeological nds and entire restoration process w as w ell-docu-
m ented and displayed in a perm anent exhibit in the building.
Important issues
The restoration project w as a gift from the Dutch business
com m unity to the people of Indonesia, so it w as im portant that the
building w ould be of value and use to the local com m unity. W hile
the original focus w as on sim ply restoring the structure and on
em phasizing the educational value of the buildings architecture
and historical features, the focus shifted as the project progressed
tow ards adapting the building for m odern reuse. Based on
governm ent and public inputs, the project m anagers concluded
that the com plex should be converted into a public centre for
social and cultural activities.
After the com pletion of the restoration w ork in 1998, an
independent foundation know n as the National Archive
Building Foundation w as form ed w ith the rem aining project
funds. Com posed of both Indonesian citizens and expatriates,
the Foundations com m ittee m em bers are responsible for the
operation and m anagem ent of the building. The existence of this
organization w ill ensure the ongoing protection, m aintenance
and use of the structure.
Project impact
As a result of the project the National Archives Building has
becom e a case study for heritage conservationists as w ell as
an attraction for visitors from educational institutions. It has
generated a greater appreciation for heritage from the public and
governm ent sectors. W ith its intact eighteenth-century style and
period furniture, the building em bodies the charm of Old Jakarta
and gives the public a tangible insight into Indonesias colonial
past.
Since its restoration, w ith effective m anagem ent by the National
Archives Building Foundation, the building has becom e a popular
venue for social and cultural activities, such as w eddings and ex-
hibitions. This project has therefore show n that heritage buildings
can be viably rehabilitated and reused in m odern Jakarta.
Furtherm ore, as a successful collaboration betw een the private
and public sectors, the project sets a precedent for future
heritage conservation partnerships. It is hoped that the success
of this project w ill set the stage for future heritage restoration
undertakings.
Wehaveaddedonemorejewel totheold
part of J akarta. TheNational Archives
Buildingproject isa public-privatepartner-
shipthat operatedonaninternational scale
tomeet theneedsof thelocal people. The
project hadtheluxuryof havingsufcient
funds, beingrunbyprofessionals, usingthe
right materials, without having to make
hardlyanycompromises. It hasbeena good
traininggroundfor usall. Our wishisthat
thebuildingwill surviveanother 300 years
andbeusedandenjoyedbythepublic.
Bushells Tea Warehouse
136
Location
121 127 Harrington Street, The Rocks
Sydney, New South Wales, Australia
Size
7,000 square metres
Cost
US$7,000,000
ResponsibleParty
Charter Hall Holdings Pty. Ltd.
HeritageArchitect
Tanner & Associates
Contractor
A.W. Edwards Pty. Ltd.
Dateof Completion
January 2001
Context
The Bushells Tea W arehouse is located in the historic area know n
as The Rockson the edge of the central business district in
Sydney. Designed in the early 1920s by the architectural rm of
H.E. Ross & Row e, the w arehouse has a classical facade and a
utilitarian interior of m asonry w alls and exposed tim ber ceiling
beam s.
Notable for its industrial character as w ell as its long historical
association w ith Bushells Tea Com pany, the building is a local
landm ark. It also represents the developm ent of industry in Sydney
and is rare evidence that m anufacturing and food production
once occurred in the area.
The Bushells building is under the protection of the Sydney Cove
Authority (SCA) w hich has placed restrictions on the buildings
use and has lim ited m odi cations 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 Com m ission in
the Register of the National Estate and is protected under New
South W ales (NSW ) heritage legislation.
Building history
Built in 1923, the w arehouse building w as com m issioned by
Bushells Tea Com pany, a com pany synonym ous w ith Australian
cultural identity. Bushells utilized the building for tea sorting,
storing and packaging until 1975, after w hich the building w as
vacant until 1999. W hen the restoration project w as proposed by
the project developers, Charter Hall, the building had been long
neglected and w as in a state of decay.
Project history
Any restoration plans for the w arehouse had to conform w ith SCA
restrictions, w hich called for existing m anufacturing and storage
equipm ent in the building to be retained in situ. Therefore any
redevelopm ent or reuse of the building had to be com patible w ith
the retention of these features.
The developers undertook extensive research to determ ine the
viability of redeveloping the historic structure for use as an of ce
building. Given the restrictions on the restoration plans, it w as
im portant that tenants could be found w ho w ould appreciate
the buildings features, including industrial equipm ent such
as tea silos and spiral steel chutes. After som e investigation it
becam e apparent that there w as strong dem and from a certain
sector of tenants w hich preferred to lease space in a building
w ith special characteristics and identity instead of standard of ce
space. Charter Hall concluded that the Bushells building had the
potential to offer tenants an unusual w ork environm ent w ith
excellent building services w hile still m aintaining proxim ity to the
citys business core. Having established the viability of the project,
a feasibility study w as carried out in order to determ ine the level
of rental revenue required in order to m ake the project nancially
practicable.
The tenant eventually found for the building w as an inform ation
technology rm , Com tech (now Dim ension Data Australia), w hich
not only em braced the unique aspects of the Bushells w arehouse
but actively participated in its refurbishm ent. The rm has
occupied the property since the com pletion of restoration w orks
in January 2001.

The project m anagers sought to redevelop the site by introducing
a sophisticated contem porary of ce t-out w hile retaining the
character and historic values of the Bushells w arehouse building.
The restoration and adaptation project w as guided by the principle
of m axim um conservation and m inim al intervention. The projects
scope of w orks involved tw o m ain objectives: the conservation of
im portant existing industrial building fabric, and the careful and
sym pathetic insertion of new services and transform ation of the
buildings function.
City map

Bushells Tea Warehouse / 2001
137
and materials
Both the exterior and interior of the building w ere overhauled. On the
exterior, the facade w as carefully restored, w hich involved repairing
brickw ork and repainting rendered elem ents. Pressurized w ater jet
cleaning w as undertaken in conjunction w ith m anual scrubbing
to avoid signi cant deterioration of the brick surface. The historic
Bushells signage w as reinstated. W indow s fram es w ere repainted
and existing w indow s w ere reglazed for acoustic and sm oke sealing
purposes. The addition of a glass aw ning identi es a new point of
entry.
In the interior, the w alls w ere repainted and the tim ber structural
elem ents w ere repaired and restored w here necessary. Of ce ttings
w ere installed around existing tea handling equipm ent and m uch
of the original signage w as retained. The project team sought to
conserve and adapt the building artefacts in a m anner that w ould
allow for an interpretation of the buildings history. Industrial features,
including tea hoppers and lift enclosures, w ere transform ed into
sm all m eeting or storage room s, thus integrating historic elem ents
into the buildings m odern functions. Graf ti left from w orkers in the
Bushells factory w as retained as a form of artw ork and a w indow
to the past. The w orks on the industrial artefacts w ere undertaken
under the supervision of an industrial archaeologist w ho w orked
alongside the conservation expert. The architects ensured that any
new additions w ere reversible, so as to allow for alternative future
redevelopm ent possibilities.
The sensitive incorporation of m odern services, such as air-
conditioning, into the existing building fabric w as an im portant
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 w ere installed w ithin the existing southern light w ell instead
of building new structures to accom m odate them . The roofscape
was retained with m inor m odi cations to allow the introduction of
m odern plant. For instance, a new air-conditioning system was housed
w ithin the roof tem ple tow er, the location of the original w ater
tank, and vented through a new louvred roof. Sim ilarly, a raised oor
w as installed to conceal w iring and to accom m odate exible cable
reticulation. This raised oor avoided the need for obtrusive false
Aboveandleft: The warehouse before
and after restoration, showing the original
advertising signage which was reinstated.
138
ceilings or cable trays, thus allow ing the original exposed tim ber
ceiling to be retained as a feature and rem ain uncluttered.

Rather than altering the original entrance area, a dram atic atrium
w as created on the southern side of the building. Bridges span
the atrium , connecting each oor to the new ly-installed lift
tow er. The lightw eight glass and steel structure of the bridges
m axim ize natural light penetration w hile providing a distinct
visual connection betw een old and new.
Important issues
Prior to the redevelopm ent of the building into of ce space, the
Bushells building w as proposed to be transform ed into a hotel or
convention centre. But each proposal languished as a consequence
of the strict requirem ent for the rem arkable collection of
m anufacturing equipm ent be retained in its current location.
Previous redevelopers believed that accom m odating the heritage
requirem ents w ould m ake rem odeling the building too dif cult or
expensive. From a developers point of view, the antique industrial
equipm ent sim ply took up valuable space.
Rather than allow ing this to be a hindrance, how ever, the developers
used this to their advantage by transform ing the building to
suit a certain niche m arket of tenants. Grow ing appreciation of
industrial archaeology m eant that people becam e increasingly
aw are in the late tw entieth century of the unique potential of the
building. As a result, w hen the building w as converted into of ce
space, the industrial rem nants w ere not only retained as sym bols
of the previous function of the building, but m any w ere adapted
for contem porary use in original and innovative w ays.
Topleft andright: The original chutes were
retained, conveying the industrial history of the
building, and becoming features in the new ofces.
Opposite: This section shows the new lift insertion
in the south (left) wing of the building.
Bushells Tea Warehouse / 2001
139
The extensive feasibility studies undertaken prior to im plem enting
the project ensured that the revenue stream from the com m ercial
use of building w ould be nancially sustainable. An interpretation
plan w as developed to guide the developm ent of exhibition
spaces to convey the signi cance of the building and explain the
restoration w orks to future occupants and visitors. A m anagem ent
plan w as subm itted to the authorities to regulate tenancy
touts and provide procedures for the general m aintenance of
signi cant building fabric, including the on-going use of the
industrial artefacts.
Project impact
The project has injected vitality into a building w hich had
previously ceased to have a contem porary function. It has not
only provided additional of ce space in a prim e location in inner
Sydney, but has done so in a technically pro cient m anner w hich
enhances the buildings cultural and historical signi cance and
sets new conservation standards.
By proudly show casing the industrial character of the
w arehouse, the project has draw n renew ed attention to the
role of the m anufacturing industry in Sydneys history and the
value of industrial architecture. It has becom e a notable m odel
dem onstrating 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
environm ent w hich w ill ensure that the Bushells W arehouse w ill
continue to be retained for the foreseeable future.
Award Citation
Theexemplaryconversion of Bushells Tea Warehouseintoa primecommercial ofcebuilding
marks a major accomplishment in theredevelopment of historic industrial architecture.
Innovativetreatment of addedserviceinfrastructureallows for theoldandthenew toberead
separately, whilemaintainingthespatial integrityof theexistingbuilding. Byexpressingthe
existingwarehousetimber structureandincorporatingin situ tea factoryequipment, thenew
ofcespaces gain a richcharacter reminiscent of Sydneys industrial heritage. Theimpact
of thebuildingextends beyondthehistoricRocks area of thecity, as thepioneeringmethods
and techniques present a noteworthy illustration of successful industrial adaptivereuse.
140
Technical Brief
Modern insertions to heritage buildings
A dram atic new introduction is the entry atrium w hich occupies
a form er light w ell. As is the case throughout the building, the
new elem ents are strikingly contem porary. The lift shafts are
anked by w alls clad in a double-curved bre cem ent 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 oors of the bridges.
The painted m asonry w alls, tim ber colum ns and exposed tim ber
beam s and joists have been retained as have the in situ tea
handling artefactsspiral chutes, hoppers and various lift types.
These surviving industrial artefacts provide an intriguing insight
into the past processes of tea m anufacture and have been
interpreted w ith explanatory signs. Som e tea hoppers and the
form er lift enclosures have been inventively reused as storage
areas and sm all m eeting room s.
A re m anagem ent solution w as required, involving sprinklers
throughout the building and a new fully-com plying re stair
w ith egress onto Gloucester Street. An im pervious oor topping
w as installed over the existing tim ber oors to provide both
sm oke and acoustic separation. A m em brane betw een the new
concrete topping and the tim ber oor optim izes the reversibility
of the w ork. The construction of a dropped central ceiling zone
at the centre of the oor plate facilitated the reticulation of ser-
vices w ithout the need of a suspended ceiling across the entire
oor area. The central services spine feeds into the ceiling from
the existing light w ell w ithin the building, w hich is reused as
the m ain services riser. Joinery units housing services w ere con-
structed under w indow s along the eastern and w estern perim -
eters. They are fed via sm all risers located in each corner of the
oor plate w hich m inim ize dam age 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 perim eter
of the building to provide effective air distribution and m inim ize
the im pact on the interiors. Com puter ooring and carpet tiles
allow full exibility for cabling, w ith the tim ber ceilings rem ain-
ing exposed throughout the building. Overall, the t-out design
by Geyer com plem ented and developed the architects intent.
The reuse of the building as contem porary of ces has been
greatly assisted by the positive attitude of the tenant tow ards
the robust nature of the interiors and the special character
provided by the hardw ood fram ing and the retained historic
tea-m anufacturing artefacts.
Tanner & Associates
Krishan Temple
142
Location
Kishankot village, Gurdaspur, Punjab, India
Size
302 square metres
Cost
US$35,000
ResponsibleParty
Krishan Mandir Temple Trust
HeritageArchitect
Gurmeet S. Rai, Munish Pandit
Contractor
Undertaken by community members
Dateof Completion
September 2000
Context
Located in the village of Kishankot, in the northern Indian state
of Punjab, the Krishan mandir (Krishnas tem ple) is a Hindu shrine
housing ne w all paintings depicting both Hindu and Sikh them es
from the Kangra tradition and the Sikh school of art.
The com m unity of Kishankot is a m ulticultural one, including Sikhs,
M ahashas (Arya Sam ajist Hindus) and Christians. The tow n has
around 109 households and a population of approxim ately 650. The
village is fragm ented as a result of the social and political unrest in
Punjab in the late 1970s and 1980s. M ost households are landless
and therefore rely on several jobs as sources of incom e. How ever,
due to high unem ploym ent in the region m ost of the m ale segm ent
of the population has to leave the area to nd w ork. The m en are
able to earn relatively high w ages during the harvest season, but
m any end up frittering aw ay the incom e on alcohol and gam bling,
neglecting the nutritional and educational needs of their fam ilies.
Tw o pieces of legislation serve to protect ancient structures in
India: the Ancient M onum ents and Archaeological Sites and
Rem ains Act (1958) and the Ancient M onum ents Preservation
Act (1904). Such legislation is often not effective, how ever, as
few are penalized for outing it. The rights of the com m unity over
sacred or historic sites are often not recognized by law. Therefore,
unless com m unities actively guard against encroachm ent to historic
structures and vigorously defend them , such buildings can easily be
lost.
Building history
The Krishan mandir w as built in the 1830s by the grandson of Chaju
M al, a general w ho settled the village of Kishankot. The tem ple is a
rectangular single-storey building w ith a central courtyard and is
com posed of burnt bricks laid in lim e m ortar, covered w ith a ne
coat of lim e plaster. The courtyard w alls have foliated arches and
the interior is decorated w ith elaborate frescoes. In contrast, the
external faade is sim ple and not decorated. The tem ple is at-
roofed but has an elaborate brick and m asonry shikhara (spire)
built over the garbha griha (inner sanctum ).
A num ber of alterations w ere m ade to the tem ple over its history.
For exam ple, the m ud and brick oors had been cem ented and
the external w alls had been painted w ith a green lim ew ash.
Signi cantly, a drain had been laid along the northern external
faade, w hich w as causing rising dam p in the w alls.
Before restoration w ork began on the tem ple, the structure w as
in a serious state of deterioration. The tem ples roof w as on the
verge of collapse, vegetation in the w alls w as causing structural
cracks and the external plaster w as being eaten aw ay by extensive
algal grow th. This state of affairs w as of great concern to m any
people in the com m unity.
The tem ple had belonged to a thakur (land-ow ning, feudal class)
fam ily w hich sold their land and left Kishankot in 1984. The
tem ple w as then used inappropriately during the 1980s as a
police post. Later a rich local landlord, w ho had purchased the
land from the thakur fam ily, announced plans to dem olish the
tem ple. In response, m em bers of the local com m unity set up an
organization, the Krishan M andir Tem ple Trust (KM TT), to protect
the building. Con ict betw een the landlord and the KM TT divided
the com m unity greatly in the 1990s but a com m unity-initiated
court case eventually led to the prevention of the dem olition.
Project history
The project began w ith the recognition that the only w ay to ensure
the protection of the tem ple w as through a skilled and uni ed
com m unity. Conservation w ork on the Krishan mandir w as seen
as a m eans of building capacity, enabling com m unity m em bers to
address their social problem s and ultim ately enhance collective
unity. In this w ay, restoration of the villagersshared heritage w as
view ed as a social process, as a m eans of bringing the m ulticultural
com m unity together.
The restoration project w as also seen as a w ay of reviving interest
and pride in the com m unitys history and culture. Furtherm ore, the
project aim ed to restore the social functions of the tem ple rather
than to sim ply preserve the building as an artefact. In contrast
to conventional conservation m ethodology in India, w here the
Village map
Krishan Temple / 2001
143
em phasis is placed on the preservation of the physical fabric,
this project opted for an interpretative and social m ethodology.
That is, the project aim ed to recover and restore the role of the
building in its social context and em phasized the pivotal role of the
com m unitys participation in the process.
In the absence of funds and governm ent conservation
program m es, the KM TT approached the Cultural Resource
Conservation Initiative (CRCI) for assistance. The CRCI, an
organization w hich aim s to preserve Punjabs built and living
heritage, protects built heritage because such structures are
sym bols of past traditions and are the anchors of a com m unitys
secure future. The CRCI selected Krishan tem ple as one of three
religious historic sites to be restored as part of a project to
highlight the tradition of exchange and understanding betw een
different com m unities of Punjab. W hile it is a Hindu shrine, it
is also valuable to the resident Sikh com m unity. The other tw o
historic sites included in the program m e also em body this spirit of
intercultural harm ony. Supported by the CRCI, the Archaeological
Survey of India, UNESCO and the UN Developm ent Program m e
UN Volunteers program m e, the Krishan M andir restoration project
com m enced in October 1999 and w as com pleted alm ost one year
later, in Septem ber 2000.
The project aim ed to repair w ater dam age and prevent further
dam age from occurring, restore the roof and the original ooring,
and protect and preserve the valuable interior w all paintings.
Physical restoration w orks w ere carefully planned. Before w ork
com m enced on the tem ple, the building, and particularly the w all
paintings, w ere extensively docum ented by conservation architects
and art conservators through m easured draw ings, photographs
and condition assessm ents. In addition, the m aterials w ere tested
for their chem ical com position.
In keeping w ith the projects social goals, project m anagers
decided that all restoration w ork w ould be carried out by local
residents, w ith the exception of repair w ork to the w all paintings,
w hich w ould be undertaken by experts.
Above: The restored temple has
been returned to the community.
Left: The condition of the temple
prior to restoration.
144
The project plans stipulated that m aterials w ould be sourced
locally w herever possible in order to ensure the com m unity w ould
be able to access the appropriate m aterials in the future. A w ork
yard w as established beside the tem ple using traditional m aterials
and m achinery such as khaka (ash), surkhi (burnt brick dust), river
sand, lim e kilns, a slaking pit and a lim e m ortar m achine to m ake
slaked lim e.
Lim estone is one of the key traditional building m aterials not
available in Punjab. It w as historically obtained from the Him alayas
or Rajasthan. Because cem ent is relatively cheap com pared to
lim estone, use of lim e plaster had becom e rare in Kishankot and
the skills of m aking lim e and lim e plaster had been lost. In order
to revive these skills, various w orkshops taught lim e m aking and
lim e plaster application to m em bers of the local com m unity w ho
w ere involved as builders.
and materials
The guiding philosophy in the restoration process w as that
interventions w ere to be m ade only in order to strengthen the
fragile structure of the building and only if they did not cause
dam age to the valuable w all paintings.
As w ith m ost historic buildings in the region, one of the m ain
threats to the structure w as w ater dam age. The rst item of w ork
therefore w as the relocation of the village drain aw ay from the
external faade of the building. A rainw ater drainage system w as
introduced w hich w ould carry w ater from the roof dow n into the
courtyard and then into the village drains.
Topleft andright: Villagers contributed to the
works by helping to clean the wall paintings and
make lime plaster.
Restoration is a sciencefor thefuture. It
has three aspects: recovery, preservation
andconservation. Therst aspect concerns
the memories of the past and healing
injuries fromthem. The second aspect
concerns thepreservation of therecovered
selves of thepeople. It requires measures
that prevent thedissipation of skills and
cultural reserves that havebeen recovered
with memories. The third concerns
sustainability.
Krishan Temple / 2001
145
Vegetation w as carefully rem oved from the structure, including
trees grow ing out of the w alls and algae covering the oor.
Inappropriate recent additions to the building w ere also rem oved.
The concrete oor of the central courtyard, for exam ple, w as
replaced w ith the original brick-on-edge type of ooring, laid in
lim e m ortar.
The roof w as reconstructed in the traditional m anner, w ith
tim ber purlins laid w ith planks and covered w ith tw o layers of
brick tiles. The roof tiles w ere laid in lim e m ortar and nished
w ith traditional lim e plaster, w hich is vital for w aterproo ng.
Lim e plaster w as also applied to all the external w alls, both in
the courtyard and the street faades. The lim e m ortar used on
the w alls w as stronger in com position (1 part lim e to 4 parts
aggregate) than that used in the ooring (1 part to 6 parts) so
that m oisture on the ground w ould evaporate at the oor level
and not rise into the w alls.
Repairs to the exquisite w all paintings w ere undertaken by
experienced art conservators. At the sam e tim e, these experts
trained som e of the young m en in the village in the technique of
rem oving lim e w ash from the w all paintings.
Important issues
Beyond the positive support for the restoration project by the
Kishankot residents, the KM TT m em bers felt it w as necessary to
encourage practical and hands-on com m unity participation in
the project. The local com m unity provided input not only in the
form ofseva (service w ithout paym ent) and w aged labour, but
also, very im portantly, in the form of ideas and feedback.

W hile the restoration w orks w ere being undertaken, com m unity
developm ent program m es w ere developed in the areas of health,
education and horticulture, w ith the aim of providing the
residents w ith valuable know ledge and enhancing cooperation in
other aspects of village life.
Award Citation
Therestoration of thehistoric Krishan Templein a multicultural villagein thePunjab
validates theimportant rolethat theconservation of shared heritagehas 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
approachednot just as a conservation project, but as a community-strengtheningendeavour,
demonstrating the success possible by conservation embedded in community. By re-
introducingtraditional construction techniques andmaterials, andtransferringthis technical
knowledge and appreciation to the local villagers, the project conservators ensured the
futuresustainabilityof thetempleandthecontinuedlifeof thebuildingafter restoration.
146
Project sustainability
and viability
Due to the active participation of com m unity
m em bers in the restoration, they gained a strong
sense of ow nership and stew ardship of the
Krishan M andir, and have assum ed responsibility
for the building. The fact that the villagers w ere
not sim ply used as a source of labour increased
com m unity pride. By obliging them to w ork
together, the project led to a sense of unity and
greater social cohesiveness.
The project w as a m utual learning exercise for
both the visiting professionals and the local
com m unity. The architects and other experts
learned about local architecture w hile the
com m unity gained an understanding of the
technical problem s in caring for the tem ple. They
re-established the skills in traditional building
techniques needed for on-going m aintenance of
the building and other heritage structures. The
w orkshops held during the project w ere especially
effective in raising capacity am ong m arginalized
m em bers of society. Youth, for exam ple, now have
useful skills w hich w ill im prove their prospects
for em ploym ent in the future.
Since the projects com pletion, an institutional
fram ew ork has been developed to sustain
com m on spaces and group activities, and to
draw upon and renew the cultural capital of the
historic building for the overall developm ent of
the village. To this end, a learning curriculum
has been created to enrich restoration skills. The
KM TT is w orking tow ards the establishm ent of a
vocational training centre in the tem ple grounds
to address education, livelihood skills and cultural
heritage conservation.
DBS House
148
Location
31 Adi Murzban Road, Fort Precinct
Mumbai, India
Size
15,000 square metres
Cost
US$400,000
ResponsibleParty
DBS Financial Services PVT Ltd.
HeritageArchitect
Sandhya Savant
Contractor
Sewri Construction PVT Ltd.
Dateof Completion
September 2000
Project synopsis
Located in the Fort Precinct, DBS House is a notew orthy exam ple
of Victorian architecture in M um bai. Built in 1895 as the residence
for a prom inent Jew ish fam ily, the house w as converted for
com m ercial use during the 1950s, involving substantial alterations
w hich dim inished the character and signi cance of the three-
storey building. The exterior w as m arred by the installation of
services such as plum bing and air-conditioning, w hile the original
faade of exposed red brick w ith w hite lim estone ornam entation
had been covered in grey cem ent w ash. The interior w as altered
by the addition of m ezzanine oors and a reinforced concrete
staircase in the original courtyard located betw een the tw o w ings
of the house.
The building w as acquired by DBS Financial Services in 1988 and
has since been used as an of ce centre. W hen the building w as
listed as a Grade III building by the M um bai M unicipal Corporation
in 1995, DBS Financial Services initiated a project to restore the
building to its form er elegance. The restoration project w as
envisioned as a com prehensive im provem ent process to enable
the building to function ef ciently in the future w hile enhancing
its heritage signi cance. A survey of the building revealed that the
building had great potential and the property w ould appreciate if
the restoration w orks w ere undertaken. W orks began in April 1998
and w ere com pleted in Septem ber 2000.
From the outset, the project m anagers aim ed to keep new additions
to a m inim um , use reversible m ethodologies and m ake repairs and
replacem ents that retained the original architectural character
of the building. New additions w ould be m ade in a discreet but
m odern architectural language w hile fake historic detailing w ould
be avoided.
The m ain task of the project w as to restore the original red brick
faade by rem oving the grey cem ent w ash w hich had been applied
during the early 1960s, w ithout stripping off the im pervious brick
face. A sm all section of the faade w as sandblasted but this caused
too m uch dam age to the glazed brick facing so this m ethod w as
discontinued. Therefore, to m inim ize dam age, a com bination of
handtools and techniques w ere used, such as brushes, sandpaper
and air brushing. The cleaned brick surface w as then given a silicone
nish in order to w ithstand the heavy m onsoon rains.
Great care w as also taken in the rem oval of the cem ent from the
lim estone decorative features, such as the Gujarati trefoil arches.
The lim estone w as particularly fragile and care had to be taken to
avoid m arking the stone. The dam aged and w eathered portions w ere
repaired w ith lim e putty and the lim estone features w ere painted
w ith a thin layer of lim e w ash as protection. Faade details such as
cornices w ere also restored and m issing elem ents w ere replicated
using the original types of m aterials.
The building services visible on the exterior w ere relocated to
im prove the appearance of the faade. Electrical w iring w as re-
routed carefully and bathroom s w ere relocated so that w ires and
plum bing pipes w ould no longer dis gure the buildings faade. A
catw alk w as constructed at the rear of the building to house the
new air-conditioning system . At the sam e tim e, it also provided the
building w ith an easily-accessible re escape.
The sloping roof w as leaking extensively prior to restoration, causing
the tim ber roof support structure to rot. All dam aged tim ber elem ents
w ere replaced w ith the original m aterial, old Burm a teak, and the
leaks w ere resolved by re-lining the valleys w ith lead and adding a
layer of w aterproo ng felt.
For the interior, substantial repairs w ere undertaken to restore the
structural integrity and im prove the functionality of the building.
The dam aged w ooden posts, joists and beam structure on the
southw estern side w ere repaired. New internal services w ere installed
in such a w ay as to m inim ize their aesthetic im pact, w hile allow ing for
the greatest exibility in adapting the space to suit various tenants
w ith different spatial requirem ents. Electrical w iring in surface-
m ounted tracks at the skirting level w as designed to be rerouted
in m inim al tim e. In the recon guration of the spatial layout, new
m ezzanine oors w ere added to m axim ize usable space w ithin the
existing shell. These included suspended slabs and thin 40 m illim etre
City map
Opposite: Service conduits, air-conditioning units
and cement render were removed during the
conservation, uncovering the red brick walls.
DBS House / 2001
149
Award Citation
Therestoration of DBS Housedemonstrates how closecollaboration between thecorporate
propertyowner andlocal conservation experts has resultedin an exemplaryadaptivereuse
project that preserves local heritagewhileaccommodatingtherequirements of a state-of-the-art
business centre. A legacyof inappropriateandsub-standardarchitectural additions presented
a host of structural andtechnical challenges, whichhavebeen resolvedwithcommendable
creativityandrestraint, respectingtheintegrityandqualityof theoriginal structure. The
minimalist approachhas allowednew interventions tostandalongsideexistingstructures
withequal integrity. Leadingbyexample, therestoration of DBS Househas been a catalyst
in incitingfurther conservation efforts in theFort Precinct of Mumbai.
plate glass oors. A m odular partition system w as also introduced to
allow greater exibility in the division of space w ithout overloading
the structure. In order to accom m odate m odern needs, the crudely
constructed concrete staircase w as rem oved and a new hydraulic lift
w as inserted. In addition, an atrium w as created in the stairw ell to
facilitate the entry of natural light into the building.
As this w as a large-scale restoration project undertaken by an
individual ow ner, its successful com pletion is testim ony to the fact
that m ajor conservation w orks can be successfully carried out by
the private sector, in this case, a corporate entity. Furtherm ore, this
project dem onstrates to the com m unity that the sensitive adaptation
of a heritage building for a new use can inject vitality into a building
and be econom ically viable. Since its restoration, the building has
becom e a w ell-know n landm ark and the success of the project has
catalyzed sim ilar restoration projects on nearby heritage buildings
in the historic district.
150
Topright: Section through the building.
Right andfar right: The interior was successfully
adapted for use as business suites.
Thecleaningandrestoration was a unique
undertakingas it highlightedthis fusion of
Englishbrick architectureandIndian-style
ornamentation that is sodistinctivein the
Fort Precinct. It alsoencouragedowners
of other brick buildings toembark on the
restoration of their properties.
King Law Ka Shuk Temple
152
Location
Tai Po Tau Village, Tai Po, New Territories
Size
349 square metres
Cost
US$335,000
ResponsibleParty
Clan of Lau Kwong Tong of Tai Po Tau
HeritageArchitect
Antiquities and Monuments Ofce
Architectural Services Department
Guangdong Provincial Institute of Cultural
Relics and Archaeology
Contractor
Dateof Completion
January 2001
Project synopsis
Situated in Tai Po Tau village in rural Hong Kong, the King Law Ka
Shuk tem ple is a traditional grey brick, three-hall, tw o-courtyard
building. Nam ed after Tang King Law, an ancestor of the clan, the
tem ple w as built in a functional design w ith elegant ornam ental
features. Its roof ridges and w all friezes are patterned w ith
geom etric m otifs and the internal eave boards are decorated w ith
leaf and oral patterns. Tw o drum terraces are located in front of
the hall. The m ain cham ber houses a beautifully carved six-level
altar, w hich w as specially m ade in Guangzhou in the 1930s to
hold the soul tablets of the ancestors.
The tem ple w as constructed in the early 1700s as a place for
ancestral w orship and as a shuk (study hall) to prepare clan
m em bers for im portant im perial exam inations. W ith the launch
of governm ent education program m es in 1948, the teaching
function of the building ceased, but it continued to be used as
a cerem onial hall to honour ancestors and as a venue for village
m eetings.
W hile still a signi cant building, its heritage value had dim in-
ished due to a 1932 renovation project w hich added a consider-
able am ount of inappropriate m odern m aterial to the structure.
In 1998, w ith roof leakages, rotting tim ber beam s, w alls dam aged
by rising dam p, and lim ited lighting, the need for repair w as ur-
gent. The conservation team debated w hether to retain the 1932
additions as part of the continuing history of the building. How -
ever, strong pressure from the com m unity called for restoring the
building to its architecturally harm onious and traditionally accu-
rate state, in a w ay w hich w ould show case the lim ited rem aining
historic fabric. Therefore, the project sought to return the hall to
its 1851 Qing Dynasty condition and to upgrade the buildings
services to accom m odate m odern requirem ents for a village com -
m unity centre.
Declared a m onum ent in 1998, the hall is under the full legal
protection of the Hong Kong SAR governm ent. The buildings
restoration w as im plem ented w ith governm ent funding and w as
m onitored by the Antiquities and M onum ents Of ce (AM O) and
the Architectural Services Departm ent.
A detailed cartographic survey, historical analysis and m easured
draw ings w ere undertaken prior to the com m encem ent of the
restoration by the AM O and a specialist team from the Guangdong
Provincial Institute of Cultural Relics and Archaeology. The detailed
draw ings proved to be indispensable during the course of the
project. Since the projects com pletion in 2001, the once-neglected
hall has becom e a central celebration venue for traditional village
functions.
The m ain challenge w as to rem ove the m odern m aterials
introduced in the previous restoration, in particular, reinforced
concrete w hich w as deem ed inappropriate both for reasons of
inauthenticity and feng shui, as m etal is deem ed incom patible
w ith traditional religious buildings. M eanw hile, all evidence of
nineteenth century building fabric w as carefully preserved and
enhanced, such as the rare red sandstone facings, w hich w ere
associated exclusively w ith high of cials in the Qing dynasty.
Grey bricks w ere used as a replacem ent for the concrete load-
bearing w alls, and traditional tim ber brackets and roof beam s
m ade of Chinese r w ere installed in lieu of the concrete roof
beam s. A traditional tiled and pitched tim ber roof w as constructed
to replace the concrete slabs covering the tw o side cham bers. Four
concrete colum ns in the m ain hall, later additions w hich w ere not
sym pathetic to the original granite colum ns, w ere taken out to
m ake w ay for new grey granite colum ns w ith a natural hand-
tooled nish. The hard cem ent m ortar rendering on the m ain
external w alls w as scraped off, exposing the fair-faced brickw ork
underneath. In addition, the Shanghai plaster covering the drum
terraces w as replaced w ith granite and the later iron w indow s on
the faade w ere rem oved and lled in w ith grey bricks.
Traditional artisans w ere em ployed to repair paintings of door
gods and other m otifs. They prepared full-sized draw ings on
paper for approval, before sketching the outlines on the tim ber
doors and applying paint.
City map
Opposite: The conservation work re-established
the temples original appearance and function.
King Law Ka Shuk Temple / 2001
153
Award Citation
Theoutstandingrestoration andpreservation of theKingLaw Ka Shuk templesets an
examplein theapplication of best practicemethodologyof renovation andin demonstrating
thevalueof restoration andconservation of an historicbuildingfor communityuse. Carried
out witha balancedconservation approachandstrongcommunityinvolvement, therestoration
was an ambitious attempt tobringthetempleback toits original statewhilealsointegrating
somemoremodern elements fromthe1930s.
The project architect and building ow ners strongly favoured an
approach in w hich visual signi cance w as em phasized w hile the
Guangdong Provincial Institute of Cultural Relics and Archaeology
and AM O preferred an em phasis on historical signi cance. There
w as som e debate, for exam ple, over w hether the 1930s-era tiles
on the altar base should be retained as part of the living history
of the building or be replaced w ith m ore authentic m aterials. The
issue w as resolved w ith the replacem ent of the tiles w ith local
grey granite after consultation w ith the feng shui m aster w ho
ruled that the use of foreign m aterials w as not appropriate in a
Chinese religious building.
The restoration of the w ooden m ain altar itself w as also debated,
as the villagers w ere anxious for the altar to look fresh and bright
to show respect to the ancestors and to im press other clans in the
neighbourhood, to the extent that som e villagers suggested that
it be replaced entirely w ith a new one. Instead, the m eticulous
repair and restoration of the altar by an experienced conservator, at
the urging of the AM O, yielded results w hich im pressed both the
villagers as w ell as other clan m em bers.
154
Aboveandtopleft: Plan and section through the hall.
Far left: Celebrating the completion of restoration works.
Left: Conservators discuss treatment methods for the
decorative wood planks.
Since opening to the public after restoration, the building has
generated m uch interest. W hile in its dilapidated state the hall
w as underutilized and its signi cance un-appreciated, the re-
stored building is now in regular use. W ith the provision of light-
ing and pow er supply for night-tim e functions, im proved kitchen
facilities and a relaid front courtyard, it now serves as a popular
local m eeting place. Ancestral w orship and rituals have recom -
m enced and a long program m e of events is planned each year.
The project has injected into the com m unity a new sense of pride
in their traditional w ay of life and has revitalized m any custom s.
W ith the restoration of the tem ple the com m unity has gained
greater appreciation of the villages heritage value. Furtherm ore,
the success of the project has increased the com m unitys interest
in restoring the rem aining traditional Qing Dynasty buildings of
the Tang clan in the village.
Tea Factory Hotel
156
Location
Kandapola, Nuwara Eliya, Sri Lanka
Size
3,052 square metres
Cost
US$2,150,000
ResponsibleParty
Aitken Spence Hotel Management
(Private) Ltd.
HeritageArchitect
Nihal Bodhinayake Associates
Contractor
Link Engineering Ltd.
Dateof Completion
April 1996
Project synopsis
The Tea Factory Hotel w as originally the Hethersett Tea Factory,
fam ous for processing som e of the nest tea in Sri Lanka. Located
at an altitude of 2,072 m etres in Kandapola, the building w as
constructed by the British in 1935 and functioned as a factory
until it w as abandoned in 1973 as a result of the nationalization
of tea plantations.
A building type com m on in the hill country, the steel-fram ed
factory had four upper lofts w ith pine oor boards supported by
jarrah w ood joists, and featured evenly-spaced w indow s fram ed
w ith Burm a teak. Installed on either side of the atrium , tim ber
bladed fans ten feet in diam eter sucked and distributed the hot air
produced by a furnace at the ground level. W hen it ceased to be
used as a tea factory, the building w as put to use as a storehouse
for fertilizer and lim e.
Prior to restoration w orks the building w as in a state of com plete
neglect. Its steel colum ns w ere corroded, m ost of the w indow
panes w ere shattered and sections w ere m issing from the roof,
accelerating the decay of the structure. Tw o engines, pulleys,
galvanized iron pipe sw itches and som e of the original electric
lam p shades w ere intact. By chance, in 1992, the building w as
seen by the director of Aitken Spence Hotel M anagem ent w ho
recognized its heritage value and potential for redevelopm ent.
His com pany purchased the building, envisioning a them ed
boutique hotel w hich w ould accentuate the buildings historical
signi cance.
The architectural challenge w as to transform the existing industrial
fabric into a luxurious and com fortable environm ent w ith m odern
am enities. As a guiding approach, it w as decided that the exterior
of the building w ould be restored to its original 1930s state, and
after m uch consideration, it w as decided to retain m ost of the tea-
m aking m achinery as integral parts of the interior dcor.
W ithin a restoration project tim e fram e of just 12 m onths, the
hotel opened its doors to the public in Novem ber 1996.
The industrial character of the building w as highlighted in the
design of the hotels public spaces w hile the private spaces, such as
the bedroom s, w ere designed to be com fortable retreats.
An understanding of the existing fabric resulted in different
sections of the buildings being converted for necessary uses in
an appropriate m anner, such as the transform ation of the original
boiler room into the new kitchen. Once used to expel sm oke from
the boiler room , the original 70-foot high m asonry chim ney now
exhausts cooking fum es. Sim ilarly, the original steel sprinkler tank
has been converted to serve as the tank for the new ly-installed
sprinkler system .
Fifty-seven room s, com plete w ith en-suite bathroom s, w ere carved
from spacious lofts that used to serve as tea w ithering spaces.
The extra loading of the lofts w as accom m odated by reinforcing
the existing structure. The steel colum ns w ere reinforced at the
ground oor level w ith hollow steel box sections, and additional
steel lateral bracing w as concealed betw een the new partitions
and the galvanized iron exterior cladding. The w eight of the lofts
is transferred through new tw o-foot deep latticed beam s that
connect to the existing colum ns. The old steel w as painted green
and the new in red to differentiate betw een the original fabric and
new additions.
The continuous vertical open space, w hich once facilitated the ow
of hot air required in the drying process of tea-m aking, still connects
the four upper lofts. This space w as extended to the ground oor,
w here it now form s the atrium -lobby that greets visitors upon their
entrance, and continued dow n to the new basem ent.
M uch attention w as paid to enhancing the industrial character of
the hotel through the retention of historic artifacts as w ell as the
com patible design of new interior elem ents. One of the salvaged
engines w as relocated to the atrium -lobby and operates as a gong
to notify hotel guests of m ealtim es. The 100-year old open cage
lift of British m ake w as salvaged and repaired. All services ducts
w ere left exposed in accordance w ith typical factory t-outs. The
ground oor w as cem ent-rendered and laid w ith jarrah planks
Area map
Opposite: Abandoned after the closure of
the tea company in the 1970s, the factory
complex is now a heritage hotel.
Tea Factory Hotel / 2001
157
Award Citation
Theimpressiveconversion of a tea factoryintoa luxuryhotel complex demonstrates a chal-
lengingadaptivereuseproject executedwithcommendableskill andvision. Theproject show-
cases theindustrial heritageof theSri Lankan hill country, wheretea factories arethepredom-
inant buildingtype, andsuggests how this legacycan beadaptedtofutureuses. Therespectful
treatment of theexterior allowedtheproject tomaintain its contextual integrity, whilebolder
interior interventions allowedthebuildingtoassumeits new rolein thehospitalitysector.
w hich w ere screw ed into the oor w ith oversized brass screw s,
giving the lobby a utilitarian am bience. The restaurant houses a
buffet table constructed from recycled tea chests w ith a canopy of
hand-beaten copper sheets xed w ith copper studs to tw o giant
steel w heels from the engine room . Sim ilarly, in the lobby, etched
glass panels are used as a directory w hile the lighting consists of
industrial glass lam p shades hanging from an exposed netw ork of
conduit pipes.
The conservation project has given new life and m eaning to an
abandoned building, w hile sensitively respecting its historic char-
acter and form . In addition, the new use as a hotel has provided the
local com m unity of predom inantly Tam il ethnicity w ith supplem en-
tary sources of incom e. For exam ple, local farm ers now have the op-
portunity to sell their produce to the hotel and the younger genera-
tion now has a range of em ploym ent options. A sense of com m unity
pride has ourished w ith these new opportunities and livelihoods.
158
Aboveandtopright: Ground oor 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.
The challenge was to dramatize the
transition of a building froma silent,
abandoned, industrial structure into a
livelier, muchsought-after tea factoryhotel.
At thesametime, it has nurtureda workforce
createdfroma different employment base,
and supported an environment that has
been neglectedfor nearlythreedecades.
Xijin Ferry Area Project
160
Location
4 Xiaomatou Street, Zhenjiang
Size
914 square metres
Cost
US$458,600
ResponsibleParty
Zhenjiang Xijin Ferry Area Conservation and
Restoration Co. Ltd.
HeritageArchitect
Dong Wei, Yang Xin and Ding Hongwei
Contractor
Zhenjiang Ancient Construction Company
Suzhou Xiangshan Traditional Architecture
Dateof Completion
October 2000
City map
Opposite: Inappropriate concrete additions
were removed from the pagoda.
Xijin Ferry Area Project / 2001
161
Award Citation
Therecognition andsubsequent restoration of threekeystructures in theXijin Ferryarea
demonstratehow a strategicpreservation project can anchor andgiveimpetus toa wider-
reachingintervention affectingthelarger urban fabric. Appropriatenew useof thebuildings
in accordancewiththeoriginal useis an expression of a commendableeffort in preserving
authenticity. Architecturally sophisticated and restrained, the conservation project was
successfullycarriedout withminimal intervention andhas actedas an important catalyst,
openingupan enormous residential area for futurerestoration.
162
Aboveandtopright: Ground oor 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.
Therestoration programmewas planned
accordingtotheruletorestoreheritage
as it was andretain its original spirit.
Throughrestoration, thestructures hidden
perils were removed and the buildings
functions wereresumedandimproved.
Zhongshan Road
164
Project synopsis
Zhongshan Road is the m ain historical street of the ancient city
of Quanzhou, a m ajor port tow n betw een the ninth and sixteenth
centuries w hich w as the starting point of the M aritim e Silk Route.
Redeveloped in the 1920s and 1930s, Zhongshan Road is now a
busy com m ercial street featuring 984 traditional shophouses. Due
to the variety of in uences from foreign trade, these shophouses
portray a m ixture of SouthEast Asian styles, such as the street level
arcade, but w ere constructed using local m aterials and traditional
building techniques.
By the m id-1990s these buildings w ere in a dilapidated state,
and had poor and outdated services. Dam aged internal structural
m em bers caused visible dam age on the exterior facades and
uneven pavem ents. Furtherm ore, m any m odern additions had been
m ade to the buildings, m ost of w hich w ere against regulations,
and had dim inished the aesthetic appeal and heritage value of the
historic street. New signage and com m ercial shop frontage had
been installed by individual shopkeepers, creating a cacophony of
textures and colors, m any of w hich w ere not com patible w ith the
historic buildings.
To restore the street to its form er appearance and charm ,
a conservation project w as im plem ented by the Quanzhou
Governm ent in early 1998, w ith an em phasis on restoring the
original am bience, revitalizing the traditional buildings and
im proving the residentsquality of life and the local econom y.
The residents w ere responsible for the cost of the repairs w ith
subsidies from the governm ent, depending on the state of the
prem ises. The m unicipal adm inistration paid for the cost of
installing the infrastructure and services (w ater supply, cable
television, electric pow er, telecom m unications). The governm ent
nanced the necessary restoration w orks for those w ho did not
have the ability to pay for the repairs, dividing the cost evenly
betw een the m unicipal and district of ces. Of the total cost,
over half w as paid for by the hom eow ners them selves, w ith the
rem aining balance divided betw een the governm ent and the
m unicipal adm inistration.
Throughout the project, em phasis w as placed on the unity of
the streets appearance. Not only w ere the architectural styles of
the buildings to conform to established guidelines, all the street
xtures, signage and paving w ere carefully coordinated in order
to achieve a cohesive streetscape character. The project w as also
considered to be an academ ic exploration into the m ethods and
process of heritage conservation for the district. W orks w ere
com pleted in Novem ber 1999.
The m ain aim of the project w as to restore the original condition
and form of the buildings, w ith a focus on the street facades.
Restoration w orks used traditional construction m aterials and
techniques. Building parts w hich exceeded the height lim it w ere
rem oved and inappropriate m odern construction w as rebuilt in a
m ore com patible m anner. The extent of repair w ork on the buildings
depended on their condition. W orks ranged from sim ple cleaning
and repairs for those buildings w hich had retained their original
facades and w ere structurally sound, to m ajor reconstruction for
buildings w hich had been signi cantly altered or w ere structurally
unsound. Buildings w ith structural dam age w ere reinforced in the
interior. In addition, m odern services w ere installed in the buildings
in order to im prove the quality of life of residents and prevent
further degradation of the surrounding area.
The street w as divided into units, com prising about 10 shophouses
per unit. By com pleting the units, in a logical sequence, the team
w as able to discover problem s and rectify issues before proceeding
onto the next unit, thereby correcting m istakes and enhancing
the team s restoration expertise along the w ay. Every shophouse
facade w as docum ented and the draw ings w ere used to guide the
restoration process, and retained as part of the citys perm anent
record.
Participation by the local residents played an im portant role in
the project. They provided feedback to the designers and the gov-
ernm ent, and also helped to m onitor the construction accounts.
The heritage architect w as required not only to coordinate and
guide the restoration effort betw een several parties (com m unity
City map
Opposite: A typical retail building in the com-
mercial district before and after restoration.
Zhongshan Road / 2001
165
Award Citation
Theimpressiveconservation effort of a one-milestretchof Zhongshan Roadin thehistoric
port town of Quanzhou sets a new model: a comprehensiveurban conservation plan that
creates a guidelinebywhichindividual buildings can graduallybeadaptedandunsympathetic
concreteadditions can beremoved. Theinitiativeof thelocal government andtheactive
support of theprivatesector exemplifycollectiveresponsibilityfor heritageconservation. The
authenticchoiceof materials coupledwitha sensitiveintroduction of modern elements ensures
thefeasibilityof theconservation plan.
m em bers, governm ent and construction team ) but w as also tasked
w ith assisting the local governm ent in draw ing up conservation
regulations and design guidelines for the future safeguarding of
Zhongshan Road.
The restoration project has preserved the historical character and
features of the street and at the sam e tim e im proved the quality of
life for its residents. The com m ercial value of the area w as boosted
and provided opportunities for tourism -related businesses to
develop.
In addition, the project has served as an excellent m odel in the
application of techniques and processes to protect historical
streets in the region. It has also dem onstrated that any heritage
conservation project depends on the successful cooperative efforts
from both the com m unity and governm ent sectors. The active
com m unity participation, including their feedback and suggestions,
w as a key factor bringing the project to com pletion. It dem onstrated
the value of inclusion of the com m unity in both the planning and
im plem entation phases of such projects.
166
Above: A typical shophouse ground oor plan.
Topright: The elevation depicts the blending of
eastern and western architectural styles in the
shop faades.
Right andfar right: Shop frontages were reno-
vated in keeping with the traditional character
of the street.
Therestoration reversedprivateconstruction
that hadgot out of control, whileit also
revitalizedandenrichedtheexperienceof
thoselivingin thecommunity. Theproject
has perfected the environment of the
street, improvedthecommercial valueand
protectedthehistorical styleandfeatures of
thestreet. Byadoptinga set of special and
effectivemeasures, such as participation
by the masses, reasonable cost sharing
andscienticconstruction, this benecial
experience can be applied in protecting
other historical areas.
Jin Lan Tea House
168
City map
Opposite: Once slated for demolition, the building
was restored and converted into a tea house.
Project synopsis
Located on W en M ing Street, in the rem aining section of the
historic city centre of Kunm ing, the Jin Lan Tea House is a tim ber-
fram ed courtyard house w ith brick and adobe w alls and a tiled roof.
Constructed in 1927, the house is one of the biggest in the district
and w as originally the residence of an im portant local politician
and general, M a Zheng. Oriented along the traditional north-south
axis, it features a richly adorned faade and carved w ooden lattice
w ork.
In 1996, in recognition of the areas heritage value, W en M ing
Street w as selected as the subject for a study and preservation
program m e undertaken by local authorities, Chinese architects
and Sw iss experts. In the follow ing year the W en M ing Protection
Areaw as established and in 1998 the Kunm ing city governm ent
approved a Protection Plan for the area draw n up by the Kunm ing
Urban Planning and Design Institute. The plan called for three
levels of im plem entation: at the overall district level, the block level,
and at the building level. The restoration of Jin Lan Tea House w as
undertaken as part of the third level of im plem entation.
W hen the house w as sold by its original ow ners to Jin Sha Com pany
in 1997, the new ow ners had planned to dem olish the house
and replace it w ith a high-rise building. How ever the Protection
Plan ruled out such developm ent and saved the building from
destruction. Instead, the Jin Sha Com pany w as 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 com pared to
the other houses in the district, the building w as still in need of
repair. W hile structurally sound, problem s such as rising dam p had
resulted in signi cant decay of parts of the w alls and roof, w hich
adversely affected the quality of life of the occupants. Furtherm ore,
the building lacked m odern sew age and w ater supply system s,
m aking it an undesirable living space.
The house w as regarded by the city planners and architects as an
exam ple of one of the im portant building typologies in the area.
It em bodies the classic Chinese courtyard house form , w hich is
enveloped by w alls outside but open and transparent inside. They
undertook conservation of the structure as a pilot project and
m odel for further restoration projects. W ork began in 1999 and the
restoration process took place over a period of four m onths, w ith
com pletion in early 2000. The building has now been transform ed
into a popular tea house.
Prior to conservation w orks, thorough docum entation of the
house w as undertaken by Southeast University in conjunction
w ith the Kunm ing 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 draw ings, a 3D com puter
m odel show ing the structural com position of the house, and a
photographic record of the m ost vulnerable structural elem ents.
The draw ings included fram ing details and an inventory of different
architectural com ponents such as colum n bases.
W hile the m ajor tim ber structural fram e of the buildings w as sound,
quite a few of the w ooden colum ns and beam s along the open
corridors surrounding the courtyard w ere decayed due to w ater
penetration from the roof and w ater used by the residents. The m ost
heavily dam aged w ere the four inner corners of the corridor. This
w ooden corridor sub-structure w as disassem bled and exam ined
for its condition. Decayed sections w ere replaced w ith new tim ber
elem ents. In order to allow ef cient drainage of rainw ater aw ay
from the house, repairs w ere m ade to the eaves and rainw ater
drains along the corridors, w hile new dow npipes w ere installed.
W ater pipes and valves w ere rem oved from the corridors to low er
the risk of leakage. Exposed tim ber elem ents in other parts of the
house w ere also repaired, w hich involved the careful rem oval of old
layers of paint and the application of new paint.
The heavy w alls, as thick as 68 centim etres, w ere built w ith adobe
on a stone base w ith brick corners. They had been dam aged from
rising dam p, especially along the south w all. They w ere repaired
w ith new adobe and then rendered w ith plaster. In addition, the
stone pavem ent and the tim ber oor w ere also repaired and
polished.
Jin Lan Tea House / 2001
169
The roof consists of tw o layers of tiles resting on tim ber rafters,
in a m anner typical to Yunnan but heavier than other vernacular
houses in China. M any of the tiles along the eaves w ere broken.
To address w ater leakage through the roof, the roof tiles w ere
rem oved, w ith good pieces kept for reuse. The w ood rafters and
brackets w ere rst repaired before a w aterproo ng layer w as put
in place. New, com patible tiles w ere installed in com bination w ith
the original tiles over the w aterproo ng m em brane.
The restoration project has revitalized the W en M ing Street area
by attracting local and foreign visitors to the tea house and
the surrounding streets. The project has dem onstrated good
conservation practice to the com m unity and has educated the
public on the value and m eaning of heritage buildings. Follow ing
the com pletion of the pilot restoration project, conservation
guidelines w ere draw n up through the Sino-Sw iss cooperation
w hich provided sim ple recom m endations for identifying and
protecting other heritage buildings in Kunm ings historic core.
Award Citation
Thecommendablerestoration of this traditional Chinesecourtyardhousein KunmingOld
Town is thesuccessful result of thoroughresearch, communityinvolvement andpreservation
planning. As a samplehousefor a conservation manual intendedtoguidetherestoration of a
largearea of KunmingOldTown, therestoration of theJ in Lan Tea Househas important
implications for thewholecommunityandadvances theefforts of thelocal conservation
movement. Therestoration of thecourtyardhouseexemplies heritageconservation through
theenhancement of communitycultureandthroughtheillustration of thetraditional Kunming
lifestyletolocal inhabitants andvisitors.
170
170
A lively historic town can beinteresting
tovisitors, but just asimportant, it allows
younger generations of our citizens to
understandtheir past andtheir culture.
Aboveandtopright: Experts from Kunming
and Zurich produced detailed typological
drawings.
Right andmiddle: Sections of the adobe walls
were repaired and replastered.
Far right: The project is a model for restoring
the rest of the historic neighborhood.
University of Mumbai
Library Building
172
Project synopsis
The University of M um bai Library Building and Rajabai Clock
Tow er building is one of the nest historic structures still in use
in M um bai. Designed by Sir George Gilbert Scott, the building w as
constructed over a period of 10 years betw een 1869 and 1878, in
Gothic Revival style. It is notable for its superb features, including
friezes w ith exquisite anim al and foliage m otifs, w ooden coffered
ceilings and m agni cent stained glass w indow s. The 85-m etre
clock tow er is a landm ark in the panoram a of the city.
In 1996, although the building w as in fair structural condition,
certain elem ents such as the stained glass w indow s, lim e-
plastered ceiling, M ilton ooring tiles and tim ber w indow fram es
w ere in a poor state. Recognizing the need to preserve the unique
features of this landm ark building, restoration plans w ere drafted
and w ith the joint collaboration of the University of M um bai, the
British Council and the Departm ent of Trade and Industry (UK), a
restoration project w as launched in February 1997.
The project aim ed to restore this listed Grade I national landm ark
and to provide im petus for the developm ent of conservation skills.
It involved training of local glaziers, m asons and m etal w orkers in
a hands-on environm ent. In addition, the project w as seen as an
opportunity to create aw areness in the com m unity of the need for
heritage conservation. W orks w ere conducted over a period of 28
m onths and w ere com pleted in July 1999.
The library building is one of the rst public buildings in the
country to be restored com pletely w hile still in use. Prior to
this project, conservation of this type w as still a relatively new
practice in India. W hile the Archaeological Survey of India (ASI)
w as responsible for conservation of heritage, preservation w orks
w ere previously lim ited to buildings no longer in use w hich w ere
over 100 years old. M oreover, convincing clients to use traditional
skilled artisans and traditional construction m aterials in a m odern
urban context proved to be a great challenge.
The project sought to establish a benchm ark for conservation in
M um bai w hich drew on both scienti c conservation techniques
and m ethodology as w ell as local building crafts. At the outset,
an inspection report w as undertaken in w hich the defects w ere
analyzed and recom m endations w ere m ade. It w as discovered that
the stained glass w indow s had suffered the m ost, on account of
bad original panel xing details; im proper supports from saddle bars
and excessive heat, resulting in buckling; corrosion of iron hardw are
holding the glass panels; com bined w ith vandalism , neglect and
poor m aintenance. Totaling 213 square m etres in area, the Victorian
w indow s w ere designed in the 1870s in London by the glaziers
Heaton, Butler and Bayne and shipped in panels to M um bai. Popular
in India in the nineteenth century, the art of stained glass slow ly
faded aw ay after independence and along w ith it, the local guilds
w ho had the know ledge to create and m aintain the w orks.
Supervised by tw o British expert glaziers, the team of local trainees
undertook extrem ely careful repairs over the course of 37 w eeks.
Depending on the extent of the dam age, the stained glass w as
either dism antled or repaired in situ. Cleaning w as done very gently
using w ater, non-ionic detergent such as Teepol, w ire brushes and a
scalpel to rem ove layers of dirt from the unpainted outside surfaces.
The painted surfaces w ere cleaned w ith special glass bre brushes.
Buckling w as repaired by shoring up the saddle bars. Broken pieces
of glass w ere replaced by cutting new glass to m atch the shape of
broken pieces and repainting them . Painting w as done using the
appropriate brushes and glass paint before ring in a special kiln, a
process know n as tracing.
The other restoration w orks w ere also carried out using traditional
m ethods and original m aterials w herever possible. For exam ple,
the ornate gilded lim e plaster ceiling, characteristic of the Gothic
Revival style, needed substantial repairs due to w ater ingress. It w as
restored in the traditional m anner using an inch-thick layer of lim e
plaster, m ixed w ith jute bres, applied on bam boo laths. Sim ilarly,
the delicately ornam ented rosew ood w indow s, w hich w ere partly
decayed, w ere repaired using the original m ethods and m aterials. The
glass w as rem oved and the w indow s num bered before in situ tim ber
repairs w ere m ade. In the case of the M inton oor tiles, m any tiles
City map
Opposite: The 260-foot clock tower before
and after restoration.
University of Mumbai Library Building / 2001
173
had de-bonded, so w ere reaf xed after properly consolidating the
base w ith the original type of lim e m ortar.
W hen necessary, new m aterials w ere introduced. For exam ple, panels
of the still pristine 930 square m etre coffered Burm a teak ceiling had
fallen off due to corrosion of the fastening screw s. The ceiling w as
reinforced w ith new, non-corrosive stainless steel screw s to prevent
other sections from falling.
Not only has the project prolonged the lifespan of this historical
landm ark, it has revived the use of traditional m aterials such as
lim e m ortar, providing a m uch-needed boost for encouraging
traditional m asonry w orks. 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 aw areness of the
im portance of heritage conservation w ithin the com m unity and
has inspired ow ners of other heritage buildings to restore entire
buildings or signi cant elem ents such as stained-glass w indow s.
Buildings w hich have had conservation w orks carried out as a
result of the library building project include the W esley M ethodist
Church in Colaba and St. Peters Church in Bheem nupatnam . Award Citation
Thestate-of-the-art restoration of theLibraryBuildingat theUniversityof Mumbai exhibits
exemplarytechnical accomplishment andreturns oneof thecitys landmark buildings toits
original splendor. Commendableattention tomethodologyof restoration andauthenticityof
thenew elements is evident in themeticulous conservation project. Reintroducingsomelost
arts bytraininglocal craftsmen toaccomplishan authenticallyaccuraterestoration has revived
theseart forms for usein thecommunityandin futureconservation projects.
174
174
Theproject has been a success in its ob-
jectives, suchas transferringstainedglass
skills toIndian craftsmen andreinventing
theuseof limemortar for heritagestruc-
turerepairs. It has been a trendsetter in
introducing scientic conservation meth-
odologies in thecityof Mumbai, andhas
madethelibraryreadytofacea new mil-
lennium.
Aboveandfar right: Floor plan and elevation.
Top, right andfar right: Stained glass windows
and rose windows being restored.
Nielson Tower
176
Location
Makati Avenue, Makati, Metro Manila
Philippines
Size
859 square metres
Cost
US$1,700,000
ResponsibleParty
Ayala Land Inc.
HeritageArchitect
Leandro V. Locsin & Partners
Contractor
D. M. Consunji Inc.
Dateof Completion
January 1996
Project Synopsis
Built in the 1930s, Nielson Tow er w as the passenger term inal and
control tow er of Nielson Airport, one of biggest and best-equipped
airports in Asia at the tim e. Cleverly designed to resem ble an
airplane from a birds eye view, the tw o-storey reinforced concrete
structure is the only rem aining pre-w ar structure in w hat is now
the bustling M akati nancial and com m ercial district.
W hen the airport ceased operations in 1948, the Nielson Tow er
w as utilized as a police departm ent and later as of ces. From the
late 1970s until 1994, the building w as converted into a prem ium
club and restaurant. Over this period the surrounding area w as
increasingly built up, w ith new buildings constructed in w hat w as
previously the air eld.
W hen the lease of the club and restaurant ended in 1994, the
ow ners, Ayala Land, proposed to integrate the tow er into a plan
for a cultural centre by redeveloping the building to serve as a
specialized research library of Philippine culture. The building
w as ideal for such a conversion because of its heritage value and
its central location, allow ing for easy access by the public yet
rem aining insulated from the bustle of the surrounding area.
The overriding objective of the conservation project w as to enhance
the Nielson Tow er as a historical and cultural landm ark w hile in-
novatively adapting it for reuse. The buildings exterior has been
largely retained but substantial interior renovation w ork w as un-
dertaken to m eet the librarys requirem ents. The construction proj-
ect began in M ay 1995 and w orks w ere com pleted in nine m onths.
The guiding principle of the project w as to w eave function around
structure, respecting the existing fabric rather than forcing the fabric
to adapt to its new use. As a result, the m ajor issue w as in striking
a balance betw een conserving the original fabric and building style,
and im plem enting changes to facilitate the new use as a library w ith
ef ciency and effectiveness.
W ith the aid of old photos, the project m anagers w ere able to establish
the original appearance of the building. Apart from som e dam age
received during the Second W orld W ar, it w as clear that the tow ers
structure and appearance have rem ained virtually unchanged since
the 1930s. M inim al w ork w as therefore required in the restoration
of the exterior. The roof, w alls and original w indow fram es w ere
refurbished w ith a fresh coat of paint, w indow glass panels w ere
replaced and the M anila International Air Term inal signage on the
rear of the building w as restored. The only m ajor m odi cation on
the exterior w as the rem oval of the 1970s-era canvas canopy at
the front entrance, w hich w as replaced w ith a perm anent circular
canopy, designed in conform ity w ith the buildings architectural
style. Landscaping w as also integrated in the restoration schem e,
w ith the bordering gardens lled w ith plants that w ere m ainstays of
Philippine gardens in the 1930s and 1940s.
The interior layout of m ost room s in the building w as also retained
to respect the original spatial organization of the building, in spite
of the initial intent to enlarge som e of the spaces. Original features,
such as hardw ood doors, trim s and oors, w ere retained although
som e m ajor alterations w ere m ade to the interior. The central
staircase, w hich provided access to the basem ent and the tow er, had
to be replaced to m eet safety standards, so a new spiral staircase
w as installed at the back of the building w hich used to serve as the
check-in area. The relocation of the stairs changed the access to
the tow er room , but the room s 360-degree view w as retained. The
dum bw aiter and its shaft w ere dism antled to clear the central area
on the m ain oor and an elevator w as installed to facilitate access by
handicapped visitors.
In order to m eet the space requirem ents of a library, the building had to
be expanded. Since it w as im portant to m aintain the original external
appearance of the building, this enlargem ent w as im plem ented
underground in the basem ent. Effects on the foundations w ere
m inim ized by lim iting the direction of the expansion tow ards the rear
of the building. The basem ent w as constructed w ith an extrem ely
tight envelope and an ef cient new w ater drainage system to prevent
ooding or w ater in ltration. In order to ensure the preservation
of rare collections, the new section w as provided w ith special
environm ental controls regulating tem perature, hum idity, dust,
City map
Oppositeleft: The former air terminal
before restoration.
Oppositeright: Now a library with
signicant archival collections.
Nielson Tower / 2001
177
insects and light. M odern netw ork w iring allow ed for the library to
function as an online gatew ay, linked to other m ajor libraries and
databases in the country.
Now hom e to the Filipinas Heritage Library, the Nielson Tow er
offers traditional library services as w ell as access to a realm
of Filipino national heritage inform ation on the Internet. Not
only has it launched a new era in library developm ent, it has
contributed to raising the com m unitys aw areness of and interest
in studying and preserving the countrys heritage. By increasing
creative interaction, the restored Nielson Tow er has also becom e
a source of inspiration and national pride to those w ho w itnessed
its transform ation. In 1996, the National Historical Institute, the
governm ent body tasked to prom ote and preserve Philippine
heritage, recognized Nielsen Tow er as a national landm ark.
Since its restoration, the building has also becom e a popular
venue for com m unity activities such as book launches, lectures,
conferences, poetry readings, concerts and social functions,
including w eddings. The incom e generated from the book store
and room rentals helps to support the librarys operations, w hile
the m ajor cost of m aintenance is shouldered by the building
ow ner through the Ayala Foundation.
Award Citation
Theimpressiveconversion of oneof Asias earliest airports intoa heritagelibraryrepresents
a major achievement in preservingan important era of Manilas history. Historical events
andarchitectureareexempliedin thelegacyof thestructureandin thechoicetocontinueits
livelihoodas an educational facility. In a timeof rapidurban development andexpansion,
theNielson Tower is an excellent model for others tofollow on how toappropriatelyre-adapt
historicstructures in thecommunity.
178
178
Aboveandaboveright: Ground oor plan and
elevation.
Right andmiddle: The spiral stairs were demolished
to make way for an art exhibition hall.
Far right: The former ticketing counter is now a
reading area.
In thePhilippines, historical andarchitec-
tural landmarks havebeen sacricedin the
nameof urban development andexpan-
sion. Somehavebeen simply abandoned
andleft torot becausetherearejust not
enough resources to support conservation
andrestoration projects. Given this context,
thesuccess of theNielson Tower project
theresult of a combination of creativity,
planning, vision, pragmatismandthesolid
support of theprojects primarystakehold-
ers has taken on addedsignicance.
St. Josephs Seminary Church
180
Location
Macao SAR, China
Size
2,981 square metres
Cost
US$1,125,000
ResponsibleParty
St. Josephs Seminary
HeritageArchitect
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.
Dateof Completion
December 1999
Project synopsis
Constructed over a span of 12 years betw een 1746 and 1758, St.
Josephs Sem inary Church is an im portant heritage building and
testim ony to the m issionary history of M acao SAR. The building
is an excellent exam ple of Baroque architecture but also displays
local in uences in its structure and ornam entation. In the past, the
church served as a private chapel for the sem inary, a university-level
educational institution considered to be one of the m ost prestigious
learning facilities of the region during the eighteenth century.
Although classi ed as a m onum ent in the ensem ble of St.
Agostinho and the Protection Zone of S. Lourenco, the building
had suffered m any alterations during past renovation w orks w hich
m odi ed its original appearance, especially during the earlier half
of this century. Although the Ecclesiastic Cham ber of M acao has
supported m ore recent conservation and m aintenance w orks, the
church building w as in a state of disrepair, leading to its closure
in 1996 out of safety concerns. The brick dom e faced im m inent
collapse and serious term ite problem s had dam aged m ajor w ood
elem ents, including the high chorus. Ground m ovem ent had caused
cracks on the w all faade to appear and the granite pavem ents to
subside unevenly. In addition, w ater ingress had resulted in w ater
stains and disintegration of the plaster and decorative stucco w ork.
At the request of the sem inary, conservation w orks w ere
im plem ented in 1999 after geological tests and prelim inary
inspections of the churchs condition and structural stability. The
w orks w ere funded by the governm ent and technical support
w as provided by the Cultural Institute. Em phasis w as placed
on reinstating the structural stability of the church dom e and
returning the faade to its historic condition, using the sam e
m aterials and construction techniques w herever possible.
The project team referred to archive draw ings and research
studies to ensure accuracy in the restoration w orks. The Sem inary,
represented by Father Luis Lei Xavier, w as involved throughout
all phases of the project, providing useful inform ation as w ell as
advice relating to the original appearance of the building.
Com pleted in nine m onths, the of cial cerem ony to reopen the
Church took place on 3 Decem ber 1999. Continual m aintenance
w orks and surveillance w ere also taken into consideration in
the project. M ore than sim ply restoring the buildings original
appearance and am bience, the project has ensured that the
church w ill receive ongoing m aintenance and continue to serve
the sem inary com m unity and the general public.
Prior to com m encem ent of w orks, all existing elem ents w ere rst
docum ented through draw ings, photos and m oulds to ensure that
exact replicas could be m ade for any necessary replacem ents.
The m ost urgent task in the restoration project w as to repair the
roof. Taking into account the com plexity of the structural problem s
and the lack of cohesion of the existing m aterials, the project
m anagers decided that repairs to the existing dom e w ould only
be a short-term solution. Therefore, a new concrete dom e for
the building w as built, replicating the architectural details of the
original one. Before the new dom e w as erected, supporting pillars
and arches w ere steel-reinforced. Decorative stucco m ouldings on
the arches w ere recorded to enable faithful reconstruction in case
they sustained dam age during reinforcem ent. The rooftop w as
w aterproofed to prevent w ater leakage.
Other m ajor structural w orks included strengthening the w alls
w ith the integration of new pillars and foundations. In addition,
jet-grouting, a cem ent injection technique for soil stabilization,
w hich had been successfully applied in another church restoration
project, w as used around the foundations and external w alls
of the building in order to prevent further dam age caused by
subsidence.
In order to restore the faade of the church, the Shanghai plaster
w hich had been applied during an earlier restoration w as com pletely
rem oved and replaced w ith the original type of plaster. The building
w as also repainted in its original colour schem e of yellow w ith w hite
detailing.
City map
Opposite: The Baroque faade before
181
St. Josephs Seminary Church / 2001
The interior of the church w as carefully refurbished to attain its
historic splendour. All tim ber elem ents w ere carefully exam ined and
any pieces w hich show ed signs of term ite decay w ere replaced, such
as the teak balustrades. Dam aged decorative stucco w orks w ere
recreated based on the project docum entation. Relics and art objects
inside the church, including sculptures, oil paintings, silverw are and
ceram ics, w ere cleaned and restored.
Since the com pletion of the restoration w orks, 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 cerem ony is organized once every year, fostering
the interaction betw een the church and com m unity. On som e
occasions, the church is also the venue for cultural activities such
as cham ber m usic orchestras and choral sessions. The project
dem onstrates the success of a joint endeavour in rescuing one of
the com m unitys m ost valuable historical sites, w hich has allow ed
for the rediscovery of another cultural dim ension in M acao.
Award Citation
Restoration of St. J osephs Church exemplies theheroicrescueof a severelydilapidated
structure, which is testimonyto, and oneof themost important vestiges of, themissionary
historyin Macao. In order toconsolidatethedecayingarchitecture, balanceddecisions were
taken tointroducenew structural elements tothebuilding. Theco-operativeeffort that went
intotherevitalization of thestructuremadea notableimpact in thecommunity.
182
182
section through the sanctuary.
Right andfar right: The unstable dome was
demolished and rebuilt.
Thedesign andintegrityof thebuilding
havebeen respected, in accordancewith
theoriginal concept of thebuilding. All
technical solutions adopted in this work
were widely debated and were proven
tobethebest possiblewaytoensurethe
qualityof thework andthepreservation
of this monument for many generations
tocome. Themodern structurehas been
well-integratedintotheexistingbuilding,
restoring the original ambience of this
magnicent church.
Thian Hock Keng Temple
184
City map
Opposite: The temple in the 1960s and after
restoration works.
Location
158 Telok Ayer Street, Singapore
Size
979 square metres
Cost
US$2,200,000
ResponsibleParty
Singapore Hokkien Huay Kuan
HeritageArchitect
Alisdair John Ferrie
Contractor
East Art Design and Engineering Pte. Ltd.
Dateof Completion
May 2000
Project synopsis
Thian Hock Keng Tem ple w as established in 1842 by M elaka-born
im m igrant Tan Tok Seng on the site of one of Singapores oldest
tem ples. Dedicated to M a Zu Po, the goddess of the sea, w ho
w as w orshipped by im m igrants for a safe passage, the tem ple is
a three-hall com plex w ith m ultiple courtyards and exem pli es
typical M innan form s and other architectural styles of southern
Fujian province in China. The tem ple is richly decorated w ith
intricate artw ork throughout and houses a calligraphy plaque
from the Qing Dynasty em peror, Guang Xu, w hich w as presented
in 1907 in recognition of the stature of the tem ple.
The tem ple w as renovated in 1906 and m any European features
w ere added, such as a w rought-iron gate from Glasgow and dado
tiling. In this restoration project these additions w ere considered
historically signi cant, so w ere retained along w ith Peranakan
(local Chinese-M alay hybrid culture) elem ents, notably those
found in the rear hall.
Today the Thian Hock Keng Tem ple (Heavenly Fortune Tem ple)
operates under the m anagem ent of the Singapore Hokkien Huay
Kuan (Hokkien Association) as a place of w orship for devotees.
Gazetted as a National M onum ent in 1973, the tem ples
conservation, undertaken in 1998, w as subject to guidelines
prepared by the Preservation of M onum ents Board and the Urban
Redevelopm ent Authority of Singapore. It w as also the rst full-
scale restoration program m e undertaken for the tem ple com plex.
The general aim w as to restore the tem ple as authentically as pos-
sible, w ith reference to its original architectural order, structure,
building techniques and m aterials. W here replacem ent w as neces-
sary, original m aterial from authentic sources w as required. In ad-
dition, all new introductions of m aterials or techniques to enhance
the use or longevity of the structure w ere to be non-intrusive to the
original fabric.
Thorough historical research and appraisal of the building condition
w as carried out, w ith the preparation of m easured draw ings, site
study and photographic records of the building and all its parts. The
structural inspection revealed that the building had suffered from
settlem ent on the stone footing, w idespread term ite infestation,
and w eathering and corrosion of the structural elem ents, w hich had
badly w eakened the structural bearing capacity of the tem ple.
Top-dow ndism antling and restoration, the traditional m ethod for
Chinese tem ple conservation, w as applied. This m eant that w ork be-
gan w ith the roof and proceeded dow n to the foundations. Roof tiles
w ere rem oved rst, and undam aged tiles w ere kept and cleaned up
for reuse. Dam aged tim ber boards and battens w ere rem oved and
replaced. Tim ber colum ns and beam s w ere disassem bled and hoisted
to the ground for inspection of term ite dam age. Those deem ed to
be repairable w ere injected w ith chem ical llers or partially replaced
w ith sim ilar tim ber sections. All new and reused tim ber m em bers
w ere cleaned and treated against term ites. The sub-base of the stone
footing w as w ell-com pacted and the stone footing w as relaid. After
the consolidation of the foundation, the tim ber elem ents w ere reas-
sem bled in reverse order, ending w ith the laying of the roof tiles.
As the decay of the original roof structural m em bers w as caused by
w ater penetration follow ed by term ite infestation, it w as necessary to
im prove the roofs w ater resistance. The traditional tiling m ethod w as
slightly porous. To com pensate for this, a stainless steel m em brane
w as inserted betw een the tiles and the roof fram e.
The intricately carved carpentry w ork of the roof structure w as
decaying and had been badly repainted in previous restoration
efforts. Som e elem ents had also been blackened by incense soot over
the years. The decayed parts w ere rem oved and repaired by skilled
craftsm en using scar ng techniques or replaced w ith new tim ber.
During cleaning, it w as revealed that the original em bellishm ents
had been m ade w ith a rich com bination of gold leaf and a variety of
colourful paints. Restoration of the tim ber nish w as accom plished
w ith traditional m ethods in w hich a prim er w as used to harden the
surfaces before reapplication of gold leaf and paint.
For repairs to the severely w eathered roof spirals and the dancing
dragon m otifs adorning the ridges and hips, traditional m ethods
involving the application of chien nien (decorative porcelain w orks)
Tian Hock Keng Temple / 2001
185
w ere proposed. How ever, research in China and close inspection
of surviving spirals show ed that the correct m ethod for the spirals
should involve the use of a lacquer paste m ade of m inerals and
glazes. M eanw hile, the dragon em bellishm ents w ere repaired w ith a
com bination of lacquer and chien nien. Lightning conductors, w hich
w ere necessary to m eet building codes, w ere m ounted in line w ith
the sw allow tail pro les of the ridges.
Replacem ents w ere not available for all the different designs of
the broken tiles in the courtyard. In order to m aintain a consistent
appearance, original tiles w ere salvaged from the w ings and relaid
only in the m ain courtyard. New handm ade tiles of a sim ilar design
w ere used for the w ings and distinguished from the original tiles by
the change in levels of the courtyards.
Today, Thian Hock Keng Tem ple continues to serve, as it has for
the last 150 years, as a signi cant place of w orship and as a place
of interest to people from all faiths. Tourists, photographers and
researchers frequent the place and the restoration project has
draw n interest w orldw ide, w ith requests to lm docum entaries
about the conservation w orks. Since the com pletion of project,
the tem ple has becom e a valuable m odel for future conservation
projects of sim ilar nature in the region.
Award Citation
Therestoration of oneof Singapores oldest temples exemplies thesuccessful result of
a collaborativeeffort of a teamof conservation experts andskilledartisans. Theuseof
traditional methods and materials, coupled with theintroduction of innovativetechnical
solutions toprotect thestructure, weresuccessfullyimplementedwithout interferingwiththe
original aesthetics of thetemple. This alsodemonstrates theunderstandingof cultural and
social signicancetodevotees andtourists alike.
186
186
section.
Right: Detail of gilded and painted brackets.
Far right: The temple features carved granite
columns from China and oor tiles from England.
The beams are lacquered and gilded.
Thephilosophyfor therestoration was to
restoreas authenticallyas possibletostatus
quoante(as was before). Thetraditional
crafts for Chinese temple refurbishment
wereapplied to theThian Hock Keng
restoration project. In the process of
construction, thejudgement fromarchitects
and engineers, plus traditional crafts,
was the key to realizing the successful
conservation of thehistorical building.
1
2
Excellent Project
Ahhichatragarh Fort, Nagaur, Rajasthan, India
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 Conservatoriumof Music, Australia
Wat Sratong Temple, Ban Bua, Khon Kaen, Thailand
Honourable Mention
Broken Hill Heritage and Cultural TourismProgramme,
Broken Hill, Australia
Centre for Khmer Studies, SiemRiep, Cambodia
Jaisalmer Streetscape Revitalisation Project (Phase I),
Rajasthan, India
Kow Plains Homestead, Cowangie, Victoria, Australia
No. 125 Huajue Alley, Xian City, Shaanxi Province, China
Ahhichatragarh Fort
190
Context
Located in Nagaur, 135 kilom etres northeast of Jodhpur in central
Rajasthan, the Ahhichatragarh Fort and palace com plex em bodies
the tow ns long history of shifting pow er struggles. Constructed in
the tw elfth century, the com plex displays a variety of building styles
and includes ne exam ples of Rajput and M ughal architecture.
The arid region, once predom inantly the site of pastoral activities
has seen increasing deserti cation in recent years that has
led to a decline in the traditional livelihood and an increase in
unem ploym ent. As a result, lifestyles have been altered and
com m unity cohesion and custom s w eakened.
In 1998, the M ehrangarh M useum Trust (M M T), a charitable trust
established by His Highness M aharaja Gaj Singh II, undertook to
restore Ahhichatragarh. The M M T is dedicated to preserving local
culture and heritage and also seeks to reduce local unem ploym ent
levels and poverty. It does so by supporting the training of artisans
and by prom oting traditional building skills, handicrafts and local
perform ing arts.
Building history
The Nagaur kingdom is believed to have been established by the
Nagvanshi kings w ho built the original m ud fort in the fourth
century. Ahhichatragarh w as built on the site of the m ud fort
betw een 1119 and 1121 by a M uslim ruler. In 1154 a num ber of
m ajor m odi cations and additions w ere m ade to the fort com plex
but few further changes w ere m ade until 1540. The fort w as a
coveted prize and Nagaurs strategic location and im portance as a
trade centre m eant that the tow n w as the setting of a num ber of
con icts as a series of Hindu and M uslim rulers battled to retain
control. After 1540 successive additions w ere m ade to the fort
com plex until 1752, w hen the last building w as constructed.
The fort com plex w as occupied by the Rathors of Jodhpur from
the late eighteenth century until 1947 w hen the state governm ent
began renting the com plex. One of the governm ent departm ents,
the Border Security Force, adapted the buildings to create barracks
and other facilities and occupied the site for over a decade. W hen
the Force vacated the com plex in 1970 it rem ained unused for a
further 30 years.

The im posing site consists of four palaces, 56 sm aller ancillary
buildings including a m osque, tem ples and highly ornam ented
gates. The com plex is surrounded by a tw o-tier defence w all
punctuated at regular intervals by 30 bastions and a now -defunct
m oat. The construction system of the buildings is a com posite
one, in w hich internal spaces are enclosed by load-bearing
sandstone w alls, w hile 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 betw een buildings. The landscape is organized in a form al
m anner, w ith the cross-axial M ughal char bagh being the m ost
com m on layout. Such an arrangem ent of open spaces created a
spacious uncluttered setting for the m any buildings and palaces.
Due to the hot dry clim ate, a large num ber of w ater fountains,
channels, step-w ells, pools and tanks w ere created w ithin the
fort structure. The placem ent of buildings around these features
created a pleasant m icroclim ate, w ith hilltop breezes that ow ed
through the site being cooled as they passed over the w ater.
Over its long history the fort has been subject to w eathering. In
the past century it suffered m ore from neglect than dam age from
con icts. Since it w as vacated by the Border Security Force, the
fort deteriorated dram atically from natural causes and vandalism .
Encroachm ents to the m oat area by residences and shops have
detracted from the overall attractiveness of the outer w alls, w hile
incom patible structures built adjacent to the m ain gate had
com prom ised its original use. Pilfering of stones from the w all for
off-site usage has led to structural instability. The historic w ater
system w as com pletely abandoned. Roofs leaked badly and w ere
overgrow n w ith vegetation. Beautiful m ural paintings had been
dam aged by w ater or w hitew ashed over. Iron clam ps holding
arch brackets together had failed due to form ation of rust. Stone
Location
Nagaur, Rajasthan, India
Contractor
Ghewar Chand, Poonam Chand
Abdul Kadir, Sa 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
Cost
US$513,645
ResponsibleParty
His Highness Maharaja Hanwat
Singhji Charitable Trust
HeritageArchitect
Minakshi Jain
Dateof Completion
June 2001
Town map
Ahhichatragarh Fort / 2002
191
elem ents and plaster w ere cracked, projecting architectural
features w ere m issing and the ooring w as dam aged. The external
fort w alls suffered m assive dam age. How ever, ow ing to the solid
stone construction, none of the buildings had collapsed totally,
a testam ent to traditional building technology. M ost of the
structural dam age w as partial, being lim ited to the dom ed and
large span roofs, foundations, colum ns, slabs and bracket arches.
Project history
Due to the experience of the M M T in m anaging and restoring
im portant heritage sites, including the M ehrangarh Fort, the
ow ner of Ahhichatragarh handed m anagem ent of the com plex
over to the M M T in 1985.
Because of nancial constraints, initial conservation efforts w ere
m inor, concentrating on preventing further dam age, particularly
to im portant w all paintings in the m ain palaces. These repair
m easures w ere undertaken by Shri Gokulram , a highly skilled
artisan, w ho used traditional m ethods and m aterials in his
restoration w ork. In 1996, the M M T w as aw arded a grant for
$250,000 for a period of tw o years by the Getty Foundation and
then raised funds to m atch this am ount.
Conservation w ork began in June 1998, beginning w ith the Krish-
na Tem ple, one of the m ost auspicious buildings on the site, w hich
proved to be a testing ground for m aterial quality and construc-
tion m ethods. In June 2001, the planned w orks, focusing m ostly
on structural stabilization and m ajor buildings conservation, w ere
com pleted. How ever, conservation w orks are ongoing and fund-
ing continues to be sought for further research, restoration and
repair to lesser structures and w ater system s in the com plex.
The m ain aim of the project w as to conserve the entire com plex
as a physical ensem ble, em phasizing historic authenticity and
m inim um intervention. Given the lim ited funds, how ever, careful
planning w as undertaken to ensure m axim um im pact in critical
Left andabove: The condition
of the fort before and after
restoration.
192
areas. The buildings w ere restored to be m ade suitable for m odern
uses. The fort w all w as stabilized to check further dam age w hile it
aw aited m ore com prehensive treatm ent. In addition, the grounds
and open spaces of the com plex w ere returned to their form er
condition, in order to encourage the use of the com plex by the local
people as a gathering place for festivals, m eetings and sem inars.
A related objective w as to increase public aw areness of the
heritage value of the Ahhichatragarh Fort and appreciation
of and pride in cultural heritage in order to revive local rituals
and enhance com m unity cohesion. By em phasizing the use of
traditional m ethods and m aterials in its restoration, the project
also aim ed to re-establish custom ary skills and create new
opportunities and livelihoods for local people.
Finally, the ultim ate goal w as for the com plex to becom e an
architectural m useum and a living laboratory for students of
traditional architecture.
and materials
The project involved a num ber of stages, beginning w ith a
thorough assessm ent of the dam age to understand the causes of
failure and deterioration.
After an appraisal of the com plex, the buildings and forti cations
w ere then docum ented in detail, show ing the site condition and
allow ing conservation m easures to be draw n up. Vegetation on
the roofs and courts w as cleared to prevent further dam age
by the penetration of roots into the structure. Inappropriate
additions such as partition w alls w ere rem oved in order to restore
the original layout and am bience. An investigation of the w ater
system w as carried out at the sam e tim e w ith a view to eventually
restoring the buildingsoriginal w ater-cooling and distribution
system .
Follow ing this, the stone roofs w ere repaired by strengthening the
sub-structure, repairing cracks and re nishing the surfaces w ith
lim e concrete. The w ooden ceilings, dam aged by w ater ingress and
Above: This aerial view shows the scale and spatial
axes within the twelfth-century citadel.
Right: The fort was surrounded by a ring of defen-
sive walls, bastions and gates.
Opposite: Elevation showing the rich spatial hierar-
chy of the buildings
193
Award Citation
Theambitious large-scalerestoration of theAhhichatragarhFort complex in Rajasthan
has checkedits advanceddilapidation througha comprehensive, multi-facetedandstandard-
settingconservation programme. Neglect hadledtowidespreadstructural instabilityof the
buildings andgrounds.Theminimalist restoration resultedin varyinglevels of intervention
whichrespondedtotherangeof damage. Theconservation combinedtheapplication of
modern scientictechniques withtherevival of traditional crafts andmaterials. Removing
unsympatheticadditions andintroducingnew infrastructural services allow thecomplex to
accommodatemodern usewhilepreservingthesenseof placein theexquisitearchitectureand
landscaping.Thesites historicevolution has been capturedbyrespectingits various periods
duringconservation.Theongoingwork has createda liveresearchlaboratory, valuablefor eld
education of conservation professionals andstudents.Thepreservation returns thelargest open
grounds in theregion tothelocal public, as a venuefor festivals, cultural performances and
religious events, therebyallowingfor thecontinuityof theforts richhistory.
subsequent term ite attacks, w ere repaired, resealed and treated
against term ites. The ornate ceiling paintings w ere saved.
It w as suspected that uneven settlem ent of the foundations
had led to the form ation of w all cracks and the displacem ent
of arch brackets. In som e cases, the w alls w ere dism antled, and
the foundations w ere given a proper base after rem oving loose
soil and underlying vegetation and roots. In other cases, the
ground w as dug up in alternating 70 centim etre sections, and the
foundation base and trenches w ere lled in w ith lim e concrete.
Cracks w ere then lled, grouted, pointed and plastered. The arch
brackets w ere repaired through the insertion of new stainless steel
U-shaped rods at the apex. All exterior plastered surfaces w ere
m erely stabilized; new plaster w as applied only in the interiors. In
addition, the lim e ooring w as repaired and doors, screens, and
w indow s in the original style and m aterials w ere installed.
194
The m assive fort w alls w ere stabilized by shoring up the foundation,
adding buttresses and reconstructing severely dam aged areas.
The broad restoration approach w as one of m inim um intervention
and m axim um retention of original fabric. The huge size of the
com plex and variation in building styles and extent of dam age
m eant that individual buildings required different treatm ent
and the range of conservation w ork w as therefore extensive and
varied. As a result, no speci c conservation theory w as adhered to
and project m anagers instead opted for a m ulti-faceted approach,
draw ing on a num ber of m odels and on guidelines provided by
several international charters.
Enorm ous efforts w ere m ade to conserve as m uch as possible of
the original building m aterials and form . W hen realigning the
outer screen w all of the Deepak M ahal building, for exam ple, the
w all w as dism antled piece by piece, the stones and bricks w ere
num bered, then the w all w as reconstructed in the exact original
form . Sim ilarly, in rem oving vegetation from the w est corner w all,
the w all w as dism antled, then rebuilt using the original m aterials.
M ost m aterials used in repairs and replacem ents w ere identical to
those used in the original construction. W ell-m atured ochre Khatu
stone and the red sandstone of Jodhpur w ere used extensively and
care w as taken to test m aterial quality and m atch colours. Off-
w hite lim estone w as used to produce traditional lim e, as it is a pure
source of lim e and of the standard required for use in plastering,
m asonry and terracing. Other traditional m aterials included shell
plaster, know n as kody, special lim e m ortar m ixes containing
binding agents such as gud (jaggery) and guggal (natural gum ),
and w aterproo ng agents such as methi (fenugreek).
Because m any custom ary artw ork, craft and construction
techniques had been lost, a new generation of artisans and
craftsm en w ere trained in traditional m ethods and in using the
original m aterials. Stonem asons, for exam ple, w ere em ployed
from as far aw ay as Karauli in Rajasthan to recreate carved stone
elem ents such as jallie(lattices) and takiya (railings).
W hen training artisans and craftsm en, it w as discovered that
considerable explanation of the projects purpose w as required
Above: View from within one
of the restored ramparts.
Right: The foundation of the
twotier defensive walls was
reinforced and repaired.
Opposite: To accommo-
date heavy usage, stone
paving replaced traditional
lime-based nishes in the
restored colonnades.
195
in order for the trainees to understand the reasons for using old
m aterials and techniques. Certain w alls w ere built, for exam ple,
w ith new coursed stone m asonry, of w hich the craftsm en w ere
very proud. Unfortunately the new style and m aterials did
not m eet the authenticity requirem ents of the project and did
not m atch the original fabric, and thus these new w alls had to
be dism antled. How ever, once the craftsm en understood the
philosophy behind the value of traditional skills and the use of
local m aterials, w ork progressed m ore sm oothly.
M odern techniques and m aterials w ere em ployed sparingly and
only to enhance structural stability, resilience and to speed up
construction. M anual rollers, for exam ple, w ere used instead of
traditional bam boo sticks in order to expedite the com paction
of the sandla (lim e surfacing) layer of oors. Other m odern
techniques included grouting, anti-term ite treatm ents, steel
scaffolding for faster set up and to avoid scraping the w alls, and
stone cutting m achines. W hen additional strength w as essential,
cem ent w as added to the traditional lim e m ortar m ixture.
Contem porary designs w ere introduced in a few cases for the sake
of enhanced functionality, such as the glass panel doors installed
in the large archw ays of the Abha M ahal building to protect
the painted interiors from dust, light and birds. Likew ise, stone
ooring w as laid in lieu of the lim e ooring in the tw o sem i-open
baradaris, w hich w ere expected to be heavily used.
M odern services such as electrical lighting w ere incorporated
sensitively into the ancient structure, w ith elem ents such as
cabling installed underground to m inim ize visual disturbance.
The w ater supply and drainage system s w ere upgraded w ith new
w ater pipes and additional storm w ater drains.
Important issues
Careful planning and m anagem ent w ere required in order to
ensure that the m ost vulnerable sites in the fort had suf cient
resources, w hile at the sam e tim e supporting the overall
conservation of the fort com plex. One lesson learned w as that
it w as better to em ploy several contractors rather than just one.
W hile originally only one contractor w as em ployed, it w as soon
discovered that the w orks w ould be expedited and m ade cheaper
and m ore ef cient if a num ber of com peting contractors w orked
sim ultaneously. Each contractor w as assigned a separate part of
the site w hich enabled m anagers to ascertain the abilities of the
contractors, evaluate their w ork and recognize lapses.
The M M T arranged for students from various schools of architecture
to participate in the docum entation processes, in investigative
w ork and in eldw ork in 1993 and again betw een 1998 and 2001.
The training of local craftsm en and artisans w as also organized
and coordinated by the M M T. These trainees received on-site
instruction and supervision by experienced artisans.
A num ber of sem inars and w orkshops w ere organized in order
to increase aw areness of the project am ong architects, students
and the general public. These sem inars also generated valuable
feedback and suggestions w hich w ere incorporated into the
conservation w orks. A special aw areness-raising w orkshop
w as held for 50 children in order to initiate the children into
appreciating their built and cultural heritage.
W hile the m ajor restoration project is com plete, conservation of
the com plex w ill be an ongoing process of continuous research
and m aintenance. This has enabled the fort to becom e a laboratory
in w hich both experts and students can study its rem arkable
architectural history and artw ork. Because of this increased
aw areness of Ahhichatragarhs value as a source of historical and
architectural inform ation, efforts to preserve the com plex are
m ore likely to be sustainable and viable.
Likew ise, the increased level of appreciation for Ahhichatragarhs
heritage value am ong local people and the usefulness of the forts
open spaces for com m unity gatherings w ill ensure the com m unity
retains an interest in protecting and preserving the fort com plex
in the future. Ahhichatragarh has also becom e an attraction for
visitors from different regions since its restoration, and revenue
earned from visitor entrance fees is assisting in the ongoing repairs
and m aintenance of the fort.
196
Project impact
The project has restored a sense of unity and identity in the
local com m unity 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 becom e the venue for fading traditions of perform ing
arts, thus revitalizing those arts and enriching the com m unity.
Enabling the rediscovery of m aterials and construction m ethods of
a bygone era, the project also generated a new team of artisans
w ho w ill be able to pass on their know ledge to future generations.
Ahhichatragarh is one of few heritage sites in the country to have
experienced such a com prehensive conservation program m e.
Com pleted in just over three years, the project is a testam ent to
the dedication of the ow ner and project team to raising aw areness
of the forts history and preserving its heritage values.
Topandabove: Stainless steel rods are inserted
to support arch brackets, a typical feature in the
buildings openings.
Aboveleft andright: The sentry gates were care-
fully restored.
Opposite: Restored palace and baradaris
(pavilions).
197
Technical Brief
Repairing roofs and ceilings
M ost of the roofs in the fort com plex had deteriorated, being
under stress from the environm ent for long periods. In 1998,
after proper investigation, decisions w ere taken to replace
stone pattis and re nish surfaces after repairing cracks in the
roof. Deteriorated and broken stone pattis w ere replaced in all
buildings to strengthen the sub-structure. Cracks w ere found
in the roofs but no broken stone pattis w ere found in the m ain
palaces. Once the stone pattis w ere in place, thin stone pieces
w ere spread on the uneven roof and lim e aggregate m ortar w as
poured on it to level it out. This layer is called a rasthal.
Stone aggregate (30-35 m illim etres) w as then spread evenly
on top of this layer. Lim e m ortar (1 part slaked lim e to 2 parts
ne aggregate) w as poured onto the stone aggregate until
all the cavities w ere lled and thoroughly ram m ed. Ram m ing
continued for about three to four days. A lot of w ater w as
poured on the surface during ram m ing and com pacting.
A layer of lim e m ortar (1 part lim e to 2 parts ne aggregate to 2
parts coarse aggregate) w as applied as the nal surface (25-38
m illim etres thick) to ll up and level the uneven surface of the
last layer. This layer w as also ram m ed, albeit gently, w ith the help
of rollers, and the surface m ade sm ooth. This surface w as cured
by sprinkling w ater three to four tim es for about 15 days. The
rooftops w ere w aterproofed w ith proper gradients and edging.
Repairing cracks on therooftop
The m ain causes of cracking w ere: deteriorated terracing layers,
choking of roof drainage, unequal settlem ent of load bearing
m em bers and vegetative grow th on the roof.
First, all the cracks w ere opened up to the base. Shallow cracks
w ere cleaned in the shape of a v-groove. After proper cleaning
and curing, cracks w ere lled w ith lim e concrete, w ith a chicken
m esh base for reinforcem ent, and cured properly.
Thelast threeyears havedramatically
changedthefaceof theAhhichatragarh
Fort complex. It has reverted to its
historic, authentic and participatory
status. Finally, onceagain, it isemerging
in its historicroleas a centreof culture
andpatronage, andan anchor for the
communitys aspirations.
198
In som e places, deep cracks had form ed across the ceiling and
continued on w alls, as in the Hadi Rani M ahal rst oor terrace.
These cracks w ere opened up, in the form of trenches, for
treatm ent.
The cracks w ere opened up to the base. After proper cleaning,
the cracks in stone pattis w ere lled w ith sm all stone pieces
and gypsum , using chicken m esh to hold the llings. After this
process, one 10 centim etre thick lim e concrete layer w as laid
over the cracked portion having a 30 centim etre ange on both
sides of the crack. Then loose lling of the trench com m enced in
layers for proper com paction. M oreover, the 15 centim etre thick
top sandla layer w as placed on the w hole terrace w ith rounded
w aterproo ng edges to m ake the w hole surface w aterproof.
Saving painted ceilings
Painted ceilings are an im portant elem ent of this palace com plex.
These had started to deteriorate due to the cracks in the roofs.
At Akbari M ahal, conservation w ork w as done very carefully. Only
m inim al and controlled pressure w as exerted to break open the
rooftop and curing w as done w ith a slow but steady ow of w ater,
to avoid penetration of m oisture.
Restoration of wooden ceilings
Due to leakage in the roof of Bakht Singh M ahal, the w ooden
ceiling over the rst oor had deteriorated and w as infested w ith
term ites. Som e of the m em bers, such as joist and purlins, had
been dam aged and they w ere replaced by new ones. Anti-term ite
treatm ent w as given to the ceiling from the rooftop after drilling
holes in the terrace. Com plete resurfacing of the terrace sandla
w as then undertaken. In the Deepak M ahal, cracks w ere found
over the w ooden joists. At rst, the crack w as grouted w ith an
adhesive sealant. Then a steel U-clam p w as bolted across the
w idth of the beam .
Adapted fromAhhichatragarh Conservation Project Report,
Minakshi Jain
Australian Hall
200
City map
Location
150-152 Elizabeth Street, Sydney, New
South Wales, Australia
Size
2,500 square metres
Cost
US$3,000,000
ResponsibleParty
Metropolitan Aboriginal Association Inc.
HeritageArchitect
Graham Brooks and Associates Pty. Ltd.
Contractor
St. Hillers Interiors Pty. Ltd.
Dateof Completion
9 February 2001
Context
The Australian Hall is notew orthy as a ne Federation Free Style
building, w ith an architecturally signi cant faade and interior
spaces considered representative of the early tw entieth 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, m ost recently, a cinem a. M ost signi cantly,
the Australian Hall w as the venue for the rst Aboriginal Day of
M ourning Conference, held on 26 January 1938.
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 M ourning Conference aim ed to draw attention
to the suffering of Australias indigenous population and w as a
protest against oppressive legislation, inequality and injustice.
Today, as a m em orial to the conference and a com m em oration
of the Aboriginal civil rights m ovem ent, the Australian Hall is the
m ost im portant post-contact Aboriginal historic place in New
South W ales (NSW ). Situated in dow ntow n Sydney, today the
building is surrounded by m odern structures w hich have replaced
nineteenth-century houses and shops.
Building history
The Australian Hall building w as originally nam ed after the
organization w hich built it, the Concordia Club. Since its
construction in 1912 the three-storey red-brick structure has had
a series of ow ners. In the 1920s the building w as ow ned by the
Knights of the Southern Cross (KSC), a Catholic fraternal society.
The m ain hall in the building w as know n as the Australian Hall and
from the 1920s until the 1950s this hall w as leased out for a w ide
range of functions, including dances and m eetings.
During the 1960s considerable alterations w ere m ade to the hall and
other parts of the building in order to convert it rst into a theatre
and later into a cinem a. In 1979 the building w as purchased by the
Greek Cypriot com m unity and re-nam ed the Cyprus Hellene Club.
It w as w hen the site w as scheduled for dem olition in the early
1990s, to m ake w ay for extensive high-rise redevelopm ent, that
the im portance of the Australian Hall for the Aboriginal com m unity
w as revealed and a drive to save the building from redevelopm ent
began. The Australian Hall physically represents a period in
Aboriginal post-colonial history and the struggle to preserve the
hall w as concerned not only w ith saving the structure itself, but
also w ith changing the notion that Aboriginal history ended w ith
colonization. The struggle w as also about gaining recognition of
the fact that the sacred sites of Aboriginal people are not lim ited
to pieces of land and other natural places, but that the Aboriginal
com m unity also has an interest in heritage buildings.
A lengthy cam paign w as undertaken by the Aboriginal com m unity,
led by the M etropolitan Local Aboriginal Land Council (M LALC) and
the National Aboriginal History and Heritage Council (NAHHC). As
a result, a Perm anent Conservation Order (PCO) w as placed on the
entire building in 1998, w hich entitles the site to protection under
the NSW Heritage Act (1977). The building has been classi ed by
the National Trust (NSW ) and listed on the Register of the National
Estate and Schedule 1 of the Central Sydney Local Environm ental
Plan 2000.
In 1998, the building w as purchased by the M etropolitan Aboriginal
Association (M AA) w ith funding from the Indigenous Land Fund. The
buildings restoration costs w ere funded entirely through the M LALC
after a subm ission to the Federal Governm ent for funding w as re-
jected. The entire structure is now know n as the Australian Hall.
Project history
The restoration project began in late 1998 w hen a survey and study
of the existing structure w as undertaken. In 1999 a com prehensive
Conservation M anagem ent Plan w as prepared w hich provided a
m anagem ent fram ew ork for the project. The Plan called for the
retention of all elem ents of high signi cance, w hile elem ents
of intrusive nature w ere generally to be rem oved. Construction
w orks began in M ay 2000 and w ere com pleted in just over eight
m onths in February 2001, a few days after the anniversary of the
Day of M ourning conference.
201
Australian Hall / 2002
Since the spiritual and sym bolic signi cance of the building to the
Aboriginal com m unity is in the buildings public areas, especially
the hall itself and the street faade, the focus of the project w as
prim arily on the restoring these im portant parts of the building
to their 1938 state. The project also aim ed to adapt the rem aining
fabric of the building for a variety of uses related to the needs
of the Aboriginal com m unity. The project sought to sensitively
introduce m odern services and facilities and m ake the building
com ply w ith contem porary standards for safety and access.
and materials
W orks carried out on the exterior included rem oving new elem ents
w hich had been added in the 1960s and restoration of the
brickw ork, render and openings. The rem arkable transform ation
of the faade w as carried out by rem oving the intrusive theatre
aw ning and the 1960s m arble chip cladding panels. The underlying
historic brick banding w as found to be in poor condition.
Rem oving, turning and reusing abraded bricks proved to be
im possible due to the dam age sustained to the bricks. Sim ilarly,
using second-hand bricks as in ll w as found to be problem atic
because of the resulting patchyeffect. Therefore, new bricks
w ere laid. Although it w as not the m ost honestapproach, it w as
considered the m ost suitable for such a prom inent street faade.
A num ber of options w ere also considered for the reconstruction
of the rusticated render, including precasting panels m oulded
from the extant render. In the end, the render w as applied directly
to the faade using the original technique.
Interior w orks included the rem oval of the cinem a t-outs
installed in 1961, reconstruction of the tim ber oor and the rear
stairs, and the reinstatem ent of the coffered ceiling, proscenium
arch and decorative plasterw ork. W hile the restoration focused
on restoring as m uch of the 1938 character as possible, at the
sam e tim e extrem e care w as taken not to dam age other intact
historical layers and signi cant elem ents. As such, som e features
Left: Incompatible awnings and pilaster
cladding on the faade before restoration.
Above: The restored building.
202
Topleft andright: The hall was returned to
its historic conguration.
w ere replaced w ith 1938-era replicas, but in other cases the
original historic details w ere recovered and preserved, such as an
intact frieze w hich has been retained in situ w ith the original paint
nish. Sim ilarly, tim ber joinery w as repainted but the dents w ere
retained to illustrate the age and history of the tim ber. The 1920s-
era ground oor entry hall, w ith terrazzo ooring bearing the
w ord Concordia, w as restored to its original state in recognition
of the historical layers of the building.
An attem pt w as m ade to distinguish the restoration and new
w orks from the historic fabric. In the m ain hall, for exam ple, w hen
the projection box w as rem oved, new oorboards w ere installed
to m atch w ith the existing ooring in the rest of the hall. The out-
line of the box w as m arked w ith a tim ber border to distinguish the
new m aterials and to illustrate w here it had been w hen the hall
w as used as a cinem a. Key new elem ents w ere m arked w ith the
date of construction, such as the replica proscenium arch bearing
the date 2001.
Another im portant aspect of the project w as the integration of
m odern services w ithin the buildings historic fabric, reinforcing
the structural stability of the existing fabric and the provision
of equitable access to the m ain spaces. Rather than alter the
structure, m ost of the added building services w ere incorporated
unobtrusively w ithin architectural features. For instance, air vents
found in the original coffered ceiling of the hall w ere replicated in
the reconstructed ceiling in order to function as air-conditioning
vents. Likew ise, the supports for the new exhaust fan, required
to m eet re safety codes, w ere built into the new proscenium
structure in the hall ceiling.
203
Australian Hall / 2002
The aw areness generated am ong both the general public and the
Aboriginal com m unity about the history and im portance of the
Australian Hall has ensured that it w ill continue to be a place of
interest and signi cance. As a result, its upkeep is unlikely to be
neglected in the future. The Hall has been used by the Aboriginal
com m unity for m eetings and to house of ces of com m unity
organizations. Furtherm ore, the revenue earned through leasing
the hall for functions, in keeping w ith its historic use, provides a
reliable source of funds for the m aintenance of the building.
Project impact
By establishing an urban centre for the Aboriginal com m unity,
the restoration project has recaptured the physical essence of the
1938 conference venue and the restored building is now a tangible
rem inder of the historic struggle for equal rights. These rem inders
have strengthened pride am ong the Aboriginal com m unity in their
recent past. In addition, as a celebration of cultural heritage, the
project has enhanced aw areness of Aboriginal heritage am ong
the younger generation of the now m ulti-cultural Australia and
provides a lesson about im portant events in Australian history.
The project has also bene ted the Australian com m unity as a
w hole by conserving a signi cant site in Sydneys urban and social
history and restoring an im portant part of the early tw entieth-
century urban streetscape.
Award Citation
TheAboriginal communityrecognizes Australian Hall, thevenueof the1938 Dayof
Mourning conference, as theonly European building of signicanceto Aboriginal
heritage. Theconservation of thebuildingtoits stateat thetimeof theconferencehas taken
an innovativeandstandard-settingapproachin restoringa buildingtoa signicant historical
event. Detailedsurveyof thebuildingandarchival evidenceallowedfor a restoration which
permits thereadingof various historiclayers of thebuilding. Withcareful craftsmanship, the
historicbuildingfabricwas restored, in conjunction withnecessaryinfrastructureupgrades
andstructural consolidation. Today, theHall serves as an Aboriginal communitycentreand
livingmemorial totheCivil Rights movement. Thetechnically-sophisticatedrestoration project
hassaveda social andarchitectural landmark fromcommercial redevelopment, therebysecuring
andpreservinganimportant landmark inthehistoryof theAustralianAboriginal community.
204
Above: Workers restore the rusticated
plaster work.
Topandbottomright: Restored hallway.
Theproject was undertaken tothehighest
level of professional conservation practice,
as recognizedbyits support fromboththe
NSW HeritageCouncil andtheSydney
City Council. It fully responds to the
expressed needs of the Metropolitan
Aboriginal Association, as owners and
occupiers of the completed project. By
integratingtheconservation of thecultural
heritageof bothcommunities, theproject
meets therequirements of conservation and
client objectives, providinga link tothepast
andopportunities for thejourneyforward.
Yarikutz, Rupikutz, Kuyokutz,
Mamorukutz Mosques
206
Village map
Location
Ganish village, Hunza, Pakistan
Cost
US$13,000
ResponsibleParty
Shah Gul Haya, Haji Sikadar Khan
Haji Ali Madad, Altaf Hussain
HeritageArchitect
Essa Khan, Masood Khan
Contractor
Dateof Completion
January 2000
Context
Approxim ately 300 years old, the four w ooden m osques, Yarikutz,
Rupikutz, Kuyokutz and M am orukutz, are considered som e of
the nest in the Hunza region of northern Pakistan and together
constitute a highly signi cant cultural ensem ble. Located in the
sm all m ountain khun (village) of Ganish, the four m osques surround
the village chataq (com m on public space), an open courtyard area
paved w ith stones.
Dating back nearly 1,000 years, Ganish is 110 kilom etres north of
Gilgit and is located on the branch of the Silk Road that crossed the
Karakoram m ountains and extended as far as Xinjiang in China. Only
one third of the original village rem ains today, after a disastrous
ood in the 1960s and the com pletion of the Karakoram Highw ay
in the 1970s w hich w as constructed right through the village.
Providing a m odern link to the rest of the w orld, this connection has
led to fundam ental changes and challenges, altering the traditional
lifestyles and custom s of Ganish com m unity m em bers.
By the 1990s the four historic m osques and chataq of Ganish had
fallen into disuse, and a new congregational m osque w as constructed
outside the village. Coupled w ith the fact that the buildings w ere
not protected under national or international heritage legislation
to prevent their deterioration, they w ere practically in a state of
collapse prior to restoration.
In the interest of prom oting social developm ent and heritage
conservation, the Aga Khan Trust for Culture (AKTC) has initiated
a num ber of projects in Pakistan through its Historic Cities Support
Program m e (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 num ber
of villages and settlem ents in the Hunza region, such as Karim abad
village, w hich included sanitation im provem ents and the restoration
of its m ajor landm ark, Baltit Fort.
Building history
W ith the advent of Islam in the Hunza region, seven private m osques
w ere constructed in Ganish khun and w ere nam ed after the fam ilies
that built them . According to oral histories and architectural evidence,
the four m osques surrounding the village chataq are estim ated to
have been built in the early 1700s, probably around 1715.

The m osques share the sam e architectural schem e and are of a sim ilar
size, ranging betw een ve and nine m etres w ide. Built on a square
platform of rough boulders, each m osque has a portico on tw o sides
and an inner prayer cham ber. The m osques are constructed in the
traditional Hunza m anner w ith a rudim entary cribbage (cage m ade
of tim ber beam s) lled w ith rubble or adobe blocks laid in earth
m ortar, and an inner exposed tim ber fram e. This type of construction
m akes them resistant to earthquake forces. In tw o of the m osques
the exposed tim ber elem ents, doors and w indow s are intricately
carved. The roof structure is the typical rotated square w ithin a
squareform of tim ber bracing com m on to the region, nished w ith
a thick earthen roof held in place w ith w ooden fascia boards.
Project history
Inspired by the Karim abad village rehabilitation project, the elders
of Ganish approached the AKCSP in 1996 and requested that
they initiate a sim ilar project in Ganish. Together w ith the AKCSP,
the Ganish com m unity developed a plan to upgrade services and
generally restore the historic built environm ent in Ganish khun. As
part of the w ider village conservation plan, a project w as proposed
w hich speci cally aim ed to restore the four m osques and chataq
area.
M eetings w ithin the com m unity identi ed an im proved sew erage
system , electri cation, clean drinking w ater and re-paving of
pathw ays as priority endeavors for the integrated conservation
project. At the sam e tim e, village elders w ere aw are of the socio-
Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques / 2002
207
cultural signi cance of their site, and the positive im pact that
restoring their historic structures w ould create for both their local
users and outside visitors.
The m osque restoration set out to restore the buildings to a usable
and structurally-sound state and to im prove the chataq. The
m ain aim w as to enable reutilization of the m osques, strengthen
com m unity cohesion and to revive the function of the chataq as a
gathering place for com m unity m eetings and festivals.
The restoration project sought to stabilize the m osques w hile
retaining the traditional style, historic fabric and decorative details
of the buildings. In addition, the project aim ed to m ake necessary
alterations to a num ber of residential buildings around the courtyard
in order to reinstate the original layout and am bience of the chataq.
Discussions w ere held w ith ow ners of buildings bordering the
chataq to explain w hy any further renovations and additions to their
buildings should be m ade in keeping w ith the style of the ancient
chataq area and to m ake certain that view s of the valley from the
courtyard w ould not be disturbed by inappropriate structures.
and materials
Conservation activities in the village began w ith the upgrade of
sanitation and services in 1996. A storm w ater drainage system , an
underground electricity distribution netw ork and a new piped w ater
system w ere installed and the entire street netw ork w as repaved
w ith the original type of stone.
In the chataq area, restoration activities began in 1999 w ith the pilot
restoration of Rupikutz M osque. Based on the experience gained in
the rst project, the rem aining three m osques w ere then restored
one-by-one. In addition, electric cables w ere put underground
in the courtyard and the chataq w as repaved, and a num ber of
m odi cations w ere m ade to surrounding residential buildings.
The m osques w ere leaning and structurally unsound. In realigning
the m osques, the heavy earth-covered roofs w ere rem oved to lighten
the load on the tim ber structure and the m osques w ere carefully
Left: The mosques leaned pre-
cariously before restoration.
Above: The mosques after
restoration.
208
Above: Typical oor plan.
Topleft andright: The restored Rupikutz mosque
and watchtower.
Opposite: Section through Mamorukutz mosque.
shifted into a vertical position and pegged w ith tim ber dow els to
ensure structural stability. The traditional roofs w ere then replaced
using new soil, com pacted by foot in the traditional m anner.
In general, original building m aterials and construction m ethods
w ere used. All tim ber surfaces in the buildings w ere treated using
the traditional w ood preservation technique of applying w alnut rind
follow ed by linseed oil. Som e m odern m aterials w ere incorporated
in the restoration w orks in a sensitive m anner. For instance, using
the techniques developed during the restoration of Baltit Fort,
cem ent and sand w ere added to stabilize the adobe blocks and earth
m ortar. In the interest of im proving the function of the m osques,
the packed-earth oors of the m osques w ere rem oved and replaced
w ith tim ber ooring in deodar w ood.
Inappropriate additions and structures w ere taken out in the
chataq area and m osques, such as the electricity pole that had been
constructed in the centre of the verandah of M am orukutz m osque.
Negotiations w ere conducted w ith private hom eow ners about to
em bark on new additions to prevent obtrusive accretions that m ight
im pact both the built and natural landscape.
A docum entation process w as undertaken in several stages along
w ith the conservation activities, progressing from the m apping
of greater Ganish to surveying the historic village to the detailed
docum entation of individual houses, the latter in cooperation w ith
the National College of Arts in Lahore. This docum entation has
helped to inform conservation interventions, m onitor the condition
of conserved elem ents and plan for future changes.
This restoration was carried out in
remembranceand consideration for those
wholived, wholiveandwhowill livein
theGanishkhun, andof thosewhoplanted
thenow giant chinar trees to surround
andkeepalivethecommunitys well, its
sourceof life. Theproject was performed
with dedication and care, revealing the
greatness of small things. As a result,
Ganish, likea blossomin spring, has re-
emergedfromunder layers of earth, dust
anddecay.
Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques / 2002
209
Important issues
This restoration project w as initiated by the elders of Ganish
and supported by the entire com m unity. The Ganish com m unity
contributed physical labour, m aterials, ideas and determ ination,
w hile technical and nancial resources w ere sourced externally
from the AKTC, the Norw egian Agency for Developm ent Cooperation
(NORAD) and the Spanish governm ent.
Once the m osques w ere restored, they w ere reconsecrated for
religious use and the chataq has also resum ed its function as a public
gathering space. By congregating in the chataq, the com m unity
becom e m ore conscious and proud of the beauty and value of their
ancient heritage. Ancillary areas that w ere also restored, such as the
pharee (w ater pond), are again busy w ith com m unity life.
Com m unity spirit and cohesiveness grew and in the spring of 2001,
the 30-odd households of Ganish m et in the chataq and resolved
to establish the Ganish Khun Heritage, Social and W elfare Society
(GKHSW S) in order to m anage the conservation and ongoing
m aintenance of the villages heritage resources. Since its establishm ent,
GKHSW S has show n im pressive progress in the organization and
m anagem ent of the village as a tourist attraction, thus providing a
source of revenue to ensure the projects sustainability.
Project impact
The project has preserved the built heritage of this sm all m ountainous
village, im proved living conditions and has transform ed the
com m unity by strengthening com m unity pride and giving Ganish a
strong cultural identity. As a result, the residents are also now better
equipped to sustainably conserve their heritage. W ith initiation
and very active participation by the villagers, this project has now
catalyzed the establishm ent and consolidation of com m unity-
w ide institutions and serves as a role m odel for m anaging other
com m unity assets in the area.
Award Citation
Therestoration of four 300-year oldwooden mosques in Pakistans Hunza Valleyhas
successfully revitalized thevillagechataq, thetraditional public heart of theGanish
historicsettlement. Initiatedandundertaken bythevillagers, withprofessional guidance, the
project has rebuilt communityspirit in a rural villagewhichhas undergonemajor socio-
economicchangeandnatural disasters over theyears. Therestrainedconservation approach
has stabilized thebuildings which werein danger of collapse, whileretainingtherich
historicpatina andshowcasingtheintricatedetailingof thestructures. Modern materials
wereselectivelyincorporatedalongsidetheuseof traditional materials andtechniques. The
preservation of thesurroundingbuildings andinfrastructural improvements weresensitively
executed, consequentlystrengtheningthetraditional town fabricwhileupgradingthequalityof
lifeof residents. Theproject presents an outstandingexampleof a community-ledinitiative
strategicallyfacilitatedbyoutsidesupport.
210
Above: The community participated actively in
the restoration process.
Top: Villagers gather on the Kuyokutz mosque
balcony, overlooking the communal square.
Technical Brief
Institution building in Ganish
The developm ent and im plem entation of a project such as the
conservation of Ganish cannot be conceived w ithout backing by
an organized com m unity effort. An effective and representative
com m unity organization can provide the m uch needed
convergence of opinion, based on w hich decisions can be taken,
collective energies harnessed and com m only agreed upon goals
achieved.
The Ganish project w as driven by com m unity dem and. M eetings
betw een the com m unity and the AKCSP support group led to
the com m encem ent of the project and consultations w ith the
com m unity w ere held throughout its im plem entation. Essential
to the project w as the physical participation of the people in
the actual conservation w ork. The com m unity contributed about
tw enty percent of the project in the form of unskilled volunteer
labour and substantive m anagem ent inputs.
The project developed as a series of interactions betw een the
com m unity of Ganish and AKCSP. These interactions w ere often
intense and charged, particularly w hen issues w ere at stake
that related to participation and the setting aside of individual
interests in favour of the com m on good.
In the beginning, AKCSP applied a com m unity-w ide m odel of
developm ent through institution building (sim ilar in concept to
the tow n m anagem ent institution established in Karim abad),
em bracing the population and territory of greater Ganish. This
led to the Ganish Sanitary Sew erage Project, serving a large part
of greater Ganish. Yet, the com m unity-w ide m anagem ent m odel
did little to foster a better understanding of the problem s of
cultural survival and environm ental threat faced by the larger
com m unity and failed to generate a sense of com m on purpose.
As a result, the institutional basis for developm ent at the scale
of greater Ganish rem ained at best inform al and could not be
consolidated and shaped to lend its strength to the conservation
of heritage assets in historic Ganish. How ever, com m unity
leaders w ith strong ties to the old village appeared to appreciate
the value of the heritage assets of Ganish Khun and how heritage
and econom ic w ell-being could be linked. It w as at the level of
the historic village, therefore, that the m ost progress w as m ade in
dem onstrating this link. Conservation in Ganish Khun happened
in spite of the institutional dysfunction at the scale of larger
Ganish. It happened because of inform al, sm all-scale and intim ate
organizational structures that em erged w ithin Ganish Khun.
W hat has been achieved in this w ay has helped in returning
to an em phasis on institution building. In the spring of 2001,
the thirty-odd households of Ganish m et in the Ganish chataq
and resolved to establish the Ganish Khun Heritage Care and
Social W elfare Society, registered under the Societies Act. For
its aim s the Society has the m anagem ent of the conservation,
rehabilitation and m aintenance of the village as a continuous
process, in addition to a w ide range of social aim s. Visits to the
village are henceforth regulated and the Society has already
show n im pressive progress in the organization and m anagem ent
of the village as a source of revenues.
This sm all institutional foundation at the level of the historic
village is now leading the process of the establishm ent and
consolidation of com m unity-w ide institutions, by increasingly
being looked upon by the people of Ganish as the appropriate
m odel for m anaging their com m unity assets.
Adapted fromGanish VillageIntegrated Conservation and
Rehabilitation Project, Aga Khan Cultural ServicePakistan
Cheng Hoon Teng Main Temple
212
Location
Melaka, Malaysia
Size
342 square metres
Cost
US$400,000
ResponsibleParty
The Board of Trustees of the Cheng Hoon
Teng Temple
HeritageArchitect
Laurence Loh
Lim Huck Chin
Contractor
Syarikat Success Construction S/B
Dateof Completion
December 2000
Project synopsis
Constructed in the early seventeenth century and acknow ledged
as one of the oldest form al sites of w orship for the im m igrant
Chinese com m unity in M alaysia and Singapore, the Cheng
Hoon Teng Tem ple in M elaka is of great historical signi cance.
The tem ple is also of high social im portance, as evidenced by its
daily use and the fact that it is has m aintained a viable existence
for four centuries. Furtherm ore, the m ain tem ple building has
enorm ous architectural value. Constructed of brick and tim ber
w ith terracotta roof tiles, this exceptional building is M alaysias
earliest exam ple of Hokkien tem ple architecture and exhibits the
high quality w orkm anship and skills of im m igrant craftsm en from
Chinas southern provinces of Fujian and Guangdong.
The building is gazetted and protected under three acts of
legislation: the Federal Antiquities Act of 1976, the M elaka
Preservation and Conservation of Cultural Heritage Enactm ent
of 1988 and the special Cheng Hoon Teng Ordinance passed by
Parliam ent in 1949.
Since its construction the tem ple com plex has undergone a
num ber 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 m odi cations w ere undertaken on
the m ain building, culm inating in the latest m ajor renovation in
1963. In recent years it had becom e clear that the tem ple w as in
great need of conservation w ork, but it w as not until the collapse
of a m ain beam in one of the side bays in 1997 that the tem ple
trustees and religious com m unity w ere galvanized into action.
Prior to restoration, the characteristic qualities of the tem ple
had been greatly dim inished. Flat m odern ceram ic m osaics had
replaced the traditional three-dim ensional chien nien (decorative
porcelain w orks). Roof and structural tim bers had been painted
w ith bright red gloss polym er paints. Terracotta oor and roof
tiles had been replaced w ith bathroom tiles. The delicate artisan
w orks, such as the painted door gods, had been rem oved, painted
over or naively sim pli ed w ith m odern m otifs.
The restoration project focused on the m ain tem ple building and
began w ith a process of research and docum entation. First, a
study of the current state of the building and the extent of the
buildings dilapidation w as undertaken, along w ith a full inventory
of all m oveable ttings and artifacts. Com pleted by the end of
1997, both steps w ere pioneering in the context of M elaka. Actual
construction w orks did not com m ence until April 1999 because
w orks could not begin before the deities w ere m oved from the
m ain hall to ancillary buildings, and this could only occur on
certain auspicious dates.
As part of the docum entation process, architecture students
assisted in carrying out m easured draw ings of the structure.
During the restoration process, the investigative and record-
keeping w ork continued w ith every aspect of w ork carefully lm ed
and photographed. Furtherm ore, instructive signboards w ere put
up so as to provide the public w ith inform ation on the projects
restoration m ethodology and progress.
The Cheng Hoon Teng Tem ple restoration process w as successfully
accom plished w ith the understanding and support of its trustees,
highlighting the necessity of foresight am ong ow ners of heritage
structures. As a result of its success, this restoration project has
ignited a passion and a consciousness for historic integrity never
before w itnessed in the city.
Conservation w orks included repair of the tim ber roof beam s and
roof retiling and the restoration of the lim e plaster m ouldings, chien
nien, gilding and frescoes. The project also involved the incorporation
of m odern electric w iring into the building, carefully installed to
m inim ize the aesthetic im pact.
City map
Prior to restoration, the characteristic qualities of the tem ple
had been greatly dim inished. Term ites and w ater had dam aged
w ooden m em bers, including the roof battens, leading to cracks
in the roof ridges. Lim e plaster had debonded an gold gilding
had w orn aw ay. Inappropriate paints had been used on w alls and
tim ber elem ents. The delicate artisan w orks, such as the frescoes,
had been rem oved, painted over or naively sim pli ed w ith m odern
m otifs.
The guiding principle of the restoration project w as to ensure
authenticity, to retain its original function and spatial arrangem ent,
and to use original m aterials and traditional m ethodology w herever
possible. Since it is a fully functioning tem ple, conservation w orks
needed to be accom plished around the daily activities of the m onks
and of the devotees w ho w ork at the shrine.
Tea Factory Hotel / 2001
213
In the repair of the roof, approxim ately 75 percent of the tim ber had
to be replaced in order to ensure structural stability. Ridges w ere
lifted w ith a custom -m ade steel hoisting fram e to allow for the
replacem ent of dam aged purlins. These w ere hand-carved by local
carpenters and capped at the ends w ith copper sleeves. All the new
tim ber m em bers w ere certi ed by the Forest Research Institute of
M alaysia and treated against term ites. The roofs w ere then retiled,
w ith special attention paid to m axim izing ef cient w ater run-off.
To this end, an ingenious architectural solution in the form of a
sm aller turtle hum proof w ith dual sloping gutters w as discovered
betw een the tw o roofs and restored during the construction.

In the conservation of decorative features, particular attention w as
paid to restoring their original appearance, w hich required the use
of traditional m aterials and m ethods. For exam ple, in the restoration
of chien nien w orks, Chinese artisans used im ported porcelain bow ls
speci cally m ade for the purpose, w hich they broke into shards.
They then carefully interspersed the new shards w ith old ones.
Sim ilarly, a traditional organic laquer paint,ta chik, w as used on
w ooden elem ents as a protective layer against term ites and as a
base for gold leaf application. Likew ise, in the restoration of the chai
hui (m urals), specialist Chinese artisans w ere em ployed to retouch
and repaint the frescoes w ith originaltempera paints and organic
dyes. The original type of lim e w ash w as im ported from China for
repainting the building. All the deities, ritual artefacts and ttings
w ere re-installed according to auspicious tim ing.
Far left: Corrugated
iron patch on the roof
prior to restoration.
Left: The temple after
restoration.
Cheng Hoon Teng Main Temple / 2002
214
A singlerestoration project can touchthe
hearts andminds of somanypeople, it
can ll a vacuumcreatedbyuninspiring
real estate, it can leadthewayin thevision
of promotingconservation awareness. Its
presence, when fully revealed, would be
bigger than anyperson, especiallywhen it
has a lifeof its own, a lifeensuredby
careful conservation. The Cheng Hoon
Tengrestoration was approachedwiththe
question of how tomakethepast serve
thefuturein this historically important
centre. Thesinglemost important value
this project has promotedin thecontext of
Malaysia andits cultureof conservation
is thevalueof authenticity.
By ensuring the continued existence and viability of this culturally
signi cant building, the restoration project has ensured that the
tem ple continues to serve the com m unity in their daily lives, rein-
forcing the traditions established four centuries ago. At the sam e
tim e, m em bers of the com m unity have been m ade aw are of the
heritage value and signi cance of the Cheng Hoon Teng Tem ple and
are m otivated to continue to m aintain the building through ongoing
donations.
In addition, the project has prom oted aw areness of best practice
conservation m ethodology w ithin the com m unity. The consulta-
tive m anner of directing and accom plishing the project supported
a healthy, com m unal spirit for all stakeholders. It has also sparked
further preservation and restoration endeavours. In this regard, the
project has encouraged the tem ple board to proceed w ith future res-
toration for the w hole com plex, com prising the tem ple gate, perim -
eter w all, and an auditorium across the street.
Above: Floor plan.
Topleft: The main worship chamber after restoration.
Topright: Artisans apply protective treatment prior
to gilding.

215
Cheng Hoon Teng Main Temple / 2002
Award Citation
Therestorationof theseventeenth-centurytemple, theoldest ediceof formal worshipfor the
Chineseimmigrant communityof theMalaypeninsula, demonstrateshighstandardsof technical
executionandsetsa worthyprecedent for other conservationwork inMalaysia andtheregion. The
detaileddocumentationof thehistoricbuildingandtherestorationprocessiscommendable, resulting
ina clear understandingof theprojectssoundmethodologyandbest conservationpractices. The
project successfullyillustratesfaithful useof original materialsandintegrityof artisantechniques,
andhasrevivedthehistoricbuildingfor thecommunityasa centreof worship.
Technical Brief
Chinese temple construction
As places of w orship, Chinese tem ples are repositories of both
tangible and intangible heritage. W hether the deities being
w orshipped are Buddhist, Taoist, Confucian, anim ist spirits,
clan ancestors or a com bination of the above, Chinese tem ple
architecture has adhered to a consistent form derived from
Chinese dom estic architecture.
The traditional Chinese tem ple is typically a rectangular, single-
storey, tim ber-fram ed structure w ith a tiled roof and brick w alls
enclosing three, ve or m ore jian (the Chinese spatial unit usually
translated as bays). A central or m ain bay is anked by tw o
or m ore side bays. W here the tem ple com prises m ore than one
structure, the buildings are arranged in a courtyard form , w ith
sym m etry alw ays underpinning the design.
These basic structural principles have survived w ith little variation
in tem ples built in China and by Chinese com m unities outside the
m ainland. W hile there are regional and sub-regional differences
in decorative detail and choice of m aterials and nishes, the
traditional tem plate can be seen in all the projects conserving
Chinese tem ple architecture that have been subm itted for the
UNESCO Heritage Aw ards.
The typologies of the Asia-Paci c Aw ard-w inning tem ples
m ainly originate from tw o provinces: Guangdong and Fujian. The
Cantonese form can be distinguished by a straight, horizontal roof
ridge that is em bellished w ith three-dim ensional stucco w ork and
ceram ic w orks. The ceram ic w orks of hum ans, anim als and natural
features are com plete, hom ogeneous gurines, usually glazed. The
height of the building is taller in com parison to the Fujian form .
The Cantonese-type tem ples are m ostly found in southern China,
nam ely the Guangyu Ancestral Hall near Guangdong, China (2003
Aw ard of Excellence), the Hung Shing Tem ple (2000 Outstanding
Project) and King Law Ka Shuk Study Hall (2001 Aw ard of M erit)
in Hong Kong SAR.
216
The Hokkien (Fujianese) tem ples are predom inant in Fujian itself,
along w ith other areas of Hokkien settlem entfor exam ple, the
Dalongdong Baoan Tem ple in Taipei, China (2003 Honourable
M ention), the Cheng Hoon Teng in M elaka, M alaysia (2002
Aw ard of M erit), and the Thian Hock Keng Tem ple in Singapore
(2001 Honourable M ention). The roof of the Hokkien tem ple
is characterized by a curved, sw eeping roof ridge and the
decorative features are com posed of ceram ic shards of various
colours.
In its layout, the Hung Shing Tem ple (2000 Outstanding Project),
on the island of Kau Sai Chau in Hong Kong SAR, typi es the
traditional, three-bay plan of a sim ple, rural place of w orship.
The m ain room , housing altars to local deities, is anked by a
room on either sideone w here the tem ple caretaker lives and
another w hich used to serve as a school.
Thian Hock Keng Tem ple (2001 Honourable M ention), built by
Singapores Hokkien com m unity in 1842 to honour the sea
goddess M azu, dem onstrates the grander, m ultiple-courtyard
plan. There are three hallsthe Entrance Hall, M iddle Hall
(housing the m ain altar to M azu) and Rear Hall (housing an
altar to the Goddess of M ercy, Guanyin)from three to ve bays
w ide, 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 passagew ays that separate the m ain
courtyards from the side courtyards. It is w orth noting that this
rigidly sym m etrical courtyard form also governs the layout of
m any residential buildings built by overseas Chinese in South-
East Asia, such as the Cheong Fatt Tze M ansion (2000 M ost
Excellent Project) in Penang, M alaysia.

The construction of Chinese tem ples rests on the load-bearing
tim ber fram e, in contrast to W estern construction in w hich the
w alls bear the w eight. The w ooden fram e in traditional Chinese
architecture supports the heavy tiled roof and distributes
gravitational forces dow nw ards and outw ards. It also provides
exibility in the use of space and the placem ent of w alls, doors
and w indow s. The post and beam construction system em ployed
in the tem ple structures, called tailiang shi (literally, raised beam ),
consists of vertical posts or pillars, raised horizontal beam s and
purlins braced to the beam s.
The triangular stepped beam system , supported on colum ns 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 low est beam in
the central bay is placed on top of the inner colum ns. A shorter
beam is placed on top of the struts on the low er, longer beam .
W here w ider spans are desired, additional shorter beam s in
dim inishing sizes and purlins are introduced, thus creating the
triangular tim ber fram ew ork. The num ber of colum ns rem ains
the sam e. How ever, a bracket system of dougong is introduced
to help increase the integral strength of the system and transfer
the w eight of the horizontal m em bers to the vertical ones
below.
Dougong com prise of tw o different elem ents. The rst is a
block that is placed on top of a colum n, called dou (sim ilar to
a capital). Above it, gong (bow -shaped elem ents), are placed in
the longitudinal direction. They are assem bled together
em ploying m ortice and tenon joints. Nails or glue are not
used, w hich allow s for exibility in accom m odating m ovem ent,
for exam ple expansion and contraction due to changes in
tem peratures.
Thian Hock Keng Tem ple com plex, for exam ple, uses the tailiang
shi system enclosed by brick w alls and m asonry gables. The
tim ber fram es in the m ain tem ple halls have pillars m ade
of entire tree trunks set into carved granite bases, as w ell as
intricately carved granite colum ns. The pillars are connected to
the m ain beam s w ith m ortised joints and dougong, w hich allow
for deep overhanging tiled roofs, w ith their upturned eaves and
decorated ridges, the hallm ark of Chinese architecture.
LaurenceLoh
Top: Section of tailiang shi framing system.
Above: Detail of dougong bracket system.
Convent of the Holy Infant Jesus
218
Location
30 Victoria Street, Singapore
Size
4 acres
Cost
US$65 million
ResponsibleParty
CHIJMES Investment Pty. Ltd.
HeritageArchitect
Ong & Ong Architect Pty. Ltd.
Didier Repellin Architects
Contractor
Low Keng Huat (S) Ltd.
Dateof Completion
1996
Project synopsis
The Convent of the Holy Infant Jesus w as established in 1854 by
Reverend Jean M arie Beurel. It consists of Caldw ell House, the
chapel and three other historic buildings w hich together form
a culturally signi cant architectural ensem ble and represent a
notew orthy chapter in Singapores colonial history.
Used to house the nuns, Caldw ell House dates back to 1841
and is the oldest surviving residential building in Singapore.
The neo-Gothic chapel w as built at the turn of the century and
w as consecrated in 1904. Inspired by the churches of France, it
features nely carved colum n capitals and m agni cent stained
glass w indow s crafted by the leading stained-glass artisan in
Europe at the tim e.
The Sisters of the Convent of the Holy Infant Jesus operated a
school and orphanage on the site for 129 years until it closed
dow n in 1983. The buildings, already in a state of disrepair, w ere
then left vacant until the chapel and Caldw ell House w ere gazetted
for conservation in 1990. Conservation w orks began shortly
thereafter. The years of neglect had resulted in the decay of m any
structural tim ber and oor m em bers due to rainw ater leakage and
m oisture penetration. The subterranean construction of the M ass
Rapid Transit (M RT) also destabilized the colum ns and w alls.
The project sought to dem onstrate the possibility of com bining
heritage conservation w ith m odern recreation as a tool for urban
regeneration and tourist attraction, thereby increasing aw areness
of Singapores history w hile adding to its national cultural
infrastructure. In speci c term s, the conservation objectives
included the preservation and restoration of the chapel and
Caldw ell House, the restoration of all stained glass w indow s and
joinery w orks and the preservation of all capital colum ns.
The restoration process w as com pleted w ithin approxim ately
ve and a half years, in 1996. The site has been converted into
a retail, ne dining and entertainm ent com plex know n today as
CHIJM ES. Caldw ell House w as converted for use as an art gallery,
w hile the chapel, now called CHIJM ES Hall, is a venue for a range
of functions, including recitals and w eddings. The entire convent
com plex w as revam ped during the course of the project, w ith re-
landscaping to accom m odate the addition of a sunken courtyard
ringed by an am bulatory and shops.
The overall conservation approach w as one of m axim um retention,
sensitive restoration and careful repair, in com pliance w ith the
regulations of the national planning body, the Urban Redevelopm ent
Authority (URA).
Im m ediate w orks w ere undertaken to protect the structures
from further decay, such as w ater penetration from rainw ater
ingress through the roof and rising dam p from the high w ater
table. A tem porary drain w as constructed to divert surface w ater,
before chem icals w ere injected to act as a perm anent dam p-
proof m em brane at the ground level. An inspection of structural
w orks w as carried out to determ ine discernable defects, m issing
parts, reduction in volum e, m oisture content and internal decay,
especially of tim ber m em bers. Colum ns and arches dam aged from
the subw ay w orks w ere tem porarily reinforced.
In keeping w ith the principle of m axim um retention, original
structural and architectural elem ents w ere preserved w herever
possible. In the restoration of the 30,000 pieces of stained glass, for
exam ple, m ost broken pieces w ere repaired rather than replaced.
Likew ise, the tim ber doors w ere replaced w ith new w ood only w hen
absolutely necessary, w ith the exception of the deteriorated Gate of
Hope, w here unw anted infants w ere once deposited. It w as retained
intact, even though it is no longer used. One special case w as w hen
the new oor tiles could not be integrated because of the dif culty
in sourcing replacem ents that m atched the original color. The new
ones w ere then dispersed in different spots on the oor, producing
a new oor pattern effect w hile reusing the existing tiles.
W hen elem ents w ere replaced this w as done w ith care and special
efforts w ere m ade to replicate the original form , using the original
m ethods and m aterials. For chipped capitols, silicon m oulds cast
from intact existing capitols w ere used to exactly replicate the
intricate carvings. Roof tiles of a m atching speci cation w ere
City map
Oppositeleft andright: The chapel building
before and after restoration.
Convent of the Holy Infant Jesus / 2002
219
Award Citation
Theadaptivereuseof a historicconvent asa lifestyleandrecreational complex representsan
innovativeandlaudableeffort inurbanconservation. Bychoosingtoretaintheexistingstructures,
theproject makes a major contributiontothepubliclifeof urbanSingaporebyopeningup
valuabledowntownspace, whilerespectingthehistoriccontinuityof thephysical site. Theoverall
conservationwork resolvescomplex architectural andplanningissueswithsophistication, andthe
level of technical executionishigh. Thesuccessof theproject asa livelyurbanhubunderscores
thevaluablepotential frombotha commercial andheritagepoint of view inrevitalizing, rather
thanabandoningor replacing, historicbuildings.
unavailable on the m arket and especially com m issioned for the
project.
Furtherm ore, only the m ost highly skilled artisans w ere invited to
tender for repair of the m asonry, sculpture and decorative w orks.
The stained glass panels, for exam ple, w ere shipped to France for
restoration by specialists. Sim ilarly, experienced craftsm en w ere
em ployed to m anually clean and restore the faade and the 660
colum n capitals under the supervision of Italian experts. A team
of expert French roofers w as called in to reinforce and re-clad the
rusted spire of the chapel.
Sensitivity to the historic building fabric w as exercised w hile
introducing new structures and am enities. All the new additions
(the sunken courtyard, com m ercial space and basem ent car park)
w ere built below ground level to avoid disrupting the com position
of the com plex. To suf ciently support new oor loads from the
com m ercial activities, steel I-beam s w ere inserted at every third
tim ber joist to reinforce the structure. Efforts w ere m ade to ensure
new elem ents w ere unobtrusive or consistent w ith the original
fabric and character of the buildings.
Inappropriate additions w ere dem olished to m aintain the
consistent architectural language of the com plex. These included
the 1950s dorm itory and the tw o front anges of the orphanage.
220
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.
Located in the busy com m ercial hub of dow ntow n Singapore, the
restored buildings and grounds of the Convent, w ith its m ajestic
am biance and rich historical associations, now host corporate
and public events, thus perpetuating its function as a com m unity
gathering space. Since the restoration, CHJIM ES has conducted
tours to the site and educated visitors about the heritage story
behind its edi ces. Furtherm ore, not only has the restoration
brought about a sense of appreciation for historic buildings, it
has dem onstrated the viability of innovative adaptive reuse of
structures and the sound econom ic investm ent and potential
returns of this approach.
Polsheer House
222
Location
Djolfa, Isfahan, Iran
Size
711 square metres
Cost
US$100,000
ResponsibleParty
Mohammad Reza Ghanei
HeritageArchitect
Polsheer Consultant Engineers
Contractor
Dateof Completion
June 2001
Project synopsis
The 300-year-old Zovelian House, registered on the Iranian cultural
heritage list, w as purchased by Polsheer Consultant Engineers
in the late 1990s and renam ed Polsheer House. Located in the
Tabriziha neighbourhood in the ancient tow n of Isfahan, next to
the Arm enian Church of St. M inas, Polsheer House w as thought to
have been the hom e of an Arm enian district headm an.
W ith its distinctive spatial arrangem ent, elaborate decorative
m otifs and intricate details, the house is a prom inent exam ple
of Iranian historic residential architecture. The southern w ing is
the oldest part, dating to the Safavid Era, w hile the northern and
eastern w ings date back to the Zand and Qajar Eras, respectively.
At the tim e of purchase, due to age, neglect, and the expenses
involved in m aintenance, the tw o-storey courtyard building
w as in a state of decay. M uch of the structure w as in need of
stabilization and repair as evidenced by cracks in the w alls and
ceilings. Also, a num ber of inappropriate additions had been
m ade to the structure over its history, dim inishing its aesthetic
and heritage value. Furtherm ore, the prom inent and character-
de ning elem ents of the house, nam ely the decorative frescoes
and other artw orks, w ere faded or covered w ith grim e.
The restoration project aim ed to repair the existing fabric and to
integrate contem porary services w ithin the elegant but delicate
structure. Since it w as no longer possible to retain the house in
its original function, the new ow ners planned to breathe new
lifeinto the building by restoring it into a w orking space, thereby
transform ing the private spaces into a public dom ain. The project
took about three years to com plete, although m aintenance and
upgrades w ill be ongoing.
Com m encing in 1998, the conservation process involved the
follow ing stages: stabilization, diagnosis(identi cation of
conservation problem s) and treatm ent. The w orks called for
elim inating inappropriate additions m ade during the last 50 years,
strengthening the buildings structure, repairing cracks in surfaces,
elim inating destructive factors such as rising dam p, restoring
frescoes and decorative details and sensitively incorporating
m odern services and facilities.
The roof of the house had been covered w ith a heavy layer of earth,
w hich had led to overloading and cracks in the w alls. In order
to stabilize the structure, the soil w as rem oved, uncovering the
vaulted roof structure w hile steel reinforcem ents w ere inserted.
The roof w as recoated w ith the traditional m aterials of m ud m ixed
w ith straw. The cracks of the w alls and ceilings w ere repaired.
The foundations, w hich w ere bulging out from the interior tow ards
the courtyard, w ere consolidated. During the process, a basem ent
vault w as discovered and excavated, w ith the entrance located
on the northern side of the court. Rising dam p, w hich had been
detrim ental to the buildings fabric, w as recti ed w ith the creation
of drainage channels around the building and the court, w hich
directed w ater aw ay from the w alls and foundations.

An im portant task w as to restore the original layout of the
com plex. Parts of the house w hich had been dem olished earlier
w ere reconstructed in a w ay w hich clearly distinguishes the
recent w ork. The w ater features in the courtyard w ere rebuilt and
the neglected garden replanted. Thus the integrated, clim atically-
responsive design of the com plex can be m ore thoroughly
appreciated. M eanw hile, intrusive new er elem ents w ere rem oved,
such as a bathroom on the eastern side of the courtyard.
Inappropriate partitions and in ll w alls w ere rem oved, along w ith
dropped ceilings w hich had deadened the soaring interior spaces,
revealing the original spatial con guration m ore fully.
Inappropriate m aterials w ere replaced w ith traditional m aterials.
To this end, several layers of plaster w ere rem oved, and original
renders w ere re-applied. Cem ent tiles in the central courtyard
and oors w ere replaced w ith traditional brick pavers. The m ost
prom inent feature of the house, its ornate interior, w as carefully
restored to its original splendor. The ornam entation, a com bination
of Arm enian, Iranian and European m otifs, w ere faded or covered
w ith grease and dust. In areas w here frescoes or m otifs had
been plastered over, the plaster layers w ere rem oved and the
City map
Polsheer House / 2002
223
Award Citation
The restoration of the 300-year-old traditional Iranian courtyard house demonstrates
an exemplary conservation approach by remainingfaithful totheoriginal building. The
project adheredtoall aspects of best conservation practice, withtheresult that theexisting
historicbuildingfabricis scrupulouslymaintainedwhiletheexquisitejewel-likeinteriors
arerestoredtotheir original vibrancy. Bychoosingtoadapt an oldbuildingfor modern use,
theproject teamis tobehighlycommendedas their efforts set a technical benchmark for
conservation andgivemomentumtoprivate-sector conservation in Iran.
decorative artw ork recovered. Experts from the Cultural Heritage
Organization w ere invited to assist in the cleaning and restoration
of the buildings decorative w orks, notably w all paintings, w hich
took a period of over tw o years.
The vernacular design of the house, w ith thick w alls and natural
ventilation, functioned as an in-built passive heating and cooling
system w ith w ell-m odulated interior tem peratures. In order to
serve its new functions, m odern w ater, electricity, gas and sew age
system s w ere sensitively installed.
Financed entirely by the Polsheer com pany, the project has
received praise from visiting academ ics and both local and foreign
architects. M oreover, there is no doubt that the restoration of the
Polsheer House has served as the rst step in raising aw areness
in the com m unity of the heritage value of historic buildings and
their viability for m odern uses. Indeed, the project has led to a rise
in the price of real estate in the neighborhood. M ore im portantly,
the young architects and engineers in the rm experienced
rst-hand the legacy of Iranian architectural traditions, w hich
they had previously com e across only through reading books or
w atching period lm s.
Far left andleft: The residential com-
plex before and after restoration.
224
We conduct a modern business using
modern tools within a structure that
exemplies traditional Iranian architecture.
This proves that conservedbuildings should
not necessarily be regarded as museum
showcases but insteadcouldbeturnedinto
modern use. Wenever get tiredof working
in this building, something wehopeto
sharewithour professional colleagues.
Far left: Ground oor plan.
Left: Coloured glass windows
and frescoes animate the rooms.
Top: View of the restored court-
yard.
Above: Workers repair one of the
masonry arches.
Sydney Conservatorium
of Music
226
Location
Sydney, New South Wales, Australia
Size
Cost
US$118 million
ResponsibleParty
NSW Department of Education & Training
HeritageArchitect
Megan Jones, Scott Macarthur
Richard Jackson, Mary Casey, Tony Lowe
Barry McGregor, Alex Kibble, Chris Johnson
Contractor
Walter Construction
Dateof Completion
August 2001
Project synopsis
Located by the harbour w ithin the Sydney Botanic Gardens, the
building that houses the Sydney Conservatorium of M usic w as
originally constructed in 1821 as the Governm ent Stables. One of
the few surviving w orks of the convict architect, Francis Greenw ay,
the dram atic Gothic structure w ith turrets w as described as a
palace for horses. Re ecting the rom antic vision of Governor
Lachlan M acquarie and British architectural trends of the tim e,
it exhibits the building techniques, m aterials and skills em ployed
during the early settlem ent era.

The Sydney Conservatorium of M usic has inhabited the Stables
building since 1915. A num ber of alterations w ere m ade to
the original structure to accom m odate the m usic school. M ost
signi cant w as the construction of a m usic auditorium , Verbruggen
Hall, in the courtyard in 1913. This m ade a striking im pact on the
appearance of the original structure, w ith the new halls roof
rising above the surrounding turrets. Further m ajor additions and
m odi cations w ere m ade to the building during the 1960s.
By the m id-1990s, the needs of the Conservatorium had outgrow n
the building. After investigating relocation options, attention w as
focused on redeveloping the site by designing a new building,
connected to the original, w hich w ould house m ost of the m usic
schools requirem ents. At rst the intention w as to sim ply repaint
the Stables building but it w as soon decided that the need to
upgrade the m usic school provided a unique opportunity to
conserve and restore the historic structure.
Because of the buildings prom inent location and the long
history of the site, the redevelopm ent and conservation project
w as a controversial one. Concern w as expressed about the visual
im pact of the new buildings on the surrounding gardens and
about the m anagem ent of the sites archaeological features that
w ere discovered during initial w orks. The nal design for the new
building is terraced into the grounds and covered w ith gardens to
m aintain the prom inence of the adjacent Stables building.

Taking over ve years from planning to com pletion, the project has
been received w ith positive acclaim . The restored historic building
and the new m usic school and conservatory have been functional
since the re-opening of the Conservatorium in August 2001. Now
providing an excellent facility for learning and perform ances, it
has since been a great source of enjoym ent to students, staff and
the public.
In 1996, after over 150 years of ad hoc alterations and additions,
the historic Stables building w as barely recognizable. The w est and
south w ing w ere altered extensively, the east w ing becam e an organ
cham ber, turrets w ere converted into toilets, doors and w indow s
w ere inserted and aw nings added. The conservation approach
taken w as to retain key additions, such as the auditorium , but to
view the original Greenw ay fabric as the m ost signi cant layer and
to restore as m uch of the 1821 form of the building as possible.
A rigorous process of determ ining the extent of the rem aining
original fabric w as undertaken. The research team exam ined historical
plans, draw ings, records and photos to gain an understanding of
the building in its earliest form . In situ investigations w ere then
conducted to establish how m uch of the original building fabric
still existed. This process form ed the basis of com prehensive plans
to guide the project.
Conservation of the Stables building began w ith the rem oval of
inappropriate additions and m odern accretions such as the 1913-
15 concrete aw nings, re doors and the enlarged w indow s on the
south side. The original features w ere then restored. For exam ple,
after the rem oval of aw nings and in ll panels, the grand arched
doorw ays to the central courtyard w ere reinstated to their original
design.
During the conservation w orks a substantial am ount of original
fabric w as uncovered hidden behind new fabric, such as the
original Greenw ay w indow s w hich w ere revealed underneath
tw entieth-century plaster. These w indow s w ere restored to their
original appearance, incorporating the original sandstone reveals
and tim ber fram es. Sim ilarly, the southern arcade of the Stables
building w hich had led to the horse stalls w as discovered. This
City map
Oppositeleft andright: The building
Tanner & Associates Pty. Ltd.
Daryl Jackson, Robin Dyke Pty. Ltd.
NSW Department of Public Works and Services
Sydney Conservatorium of Music / 2002
227
Award Citation
Theambitiousconservationandadaptivereuseof thelandmark nineteenth-centuryGothiccomplex
providesa new focal point for downtownSydneywhileraisingthestandardsfor conservationinthe
region. Theexcellent documentationof thehistoricstructureshasbeentranslatedwithgreat clarity
intheconservationprocess, resultingintherigorousrestorationof thehistoricbuildingfabric, the
removal of unsympatheticadditionsandthecareful distinctionbetweenthenew andtheold. The
conservationproject hasnegotiatedtheconsiderabletechnical andstructural challengesposedby
150 yearsof changestothebuildingswithhightechnical accomplishment andgreat sensitivity,
particularlyintermsof material treatment. Theproject balancesattentiontodetail withurban-
scaleair, showcasingarchaeological ndsontheonehand, whilesmoothlyintegratingtherestored
structuresandcontemporarybuildingsintotheBotanicGardensontheother.
arcade w as left visible, displaying the original brickw ork and
agstones, thereby providing visitors to the building w ith an
insight into the buildings early history.
W ithin the interior, the w orks focused on the conservation of
the Stables building fabric and the interpretation of its form er
function. To im prove the open feeling of the original stable
courtyard, skylights and glazed oor blocks w ere installed in the
adjacent built-up areas, to allow light to ood into the ground
level. Archaeological rem nants from the stables period, including
roads, drains and building parts, w ere retained in situ, w here
possible, or in special exhibition areas and highlighted through
interpretive signage.
The historic features of Verbruggen Hall w ere retained and
restored, such as the decorative ceiling, decorative plasterw ork and
leadlight clerestory w indow s. The brief called for upgrading the
hall into a w orld-class perform ance space. The proscenium stage
w as enlarged and is now able to accom m odate a full sym phony
orchestra. A new horseshoe-shaped gallery w as inserted in the
second level, unobtrusively replacing the essential num ber of
seats lost in the stage enlargem ent. Acoustics, accessibility and
other im portant functional features of the building w ere discreetly
im proved.
228
Topleft: This section shows Verbruggen Hall
positioned in the courtyard of the stable
building.
Left: The refurbished Verbruggen Hall.
Since its restoration and the reinstatem ent of its Gothic picturesque
character, the public can once again appreciate the ne proportions
and rich contrasts of the Stables building. Together w ith the
other outstanding public buildings along M acquarie Street, such
as the Sydney Opera House and the State Library, the restored
Conservatorium in its dram atic setting now com pletes the grand
procession of cultural institutions and reinstates a once forgotten
chapter of Sydneys early colonial settlem ent.
Wat Sratong
230
Location
Ban Bua, Khon Kaen, Thailand
Size
37 square metres
Cost
US$10,700
ResponsibleParty
Phra Prayut Attakamo
HeritageArchitect
Thada Sutthitham
Contractor
Residents of the local community
Dateof Completion
October 2000
Project synopsis
W at Sratong in Ban Bua village w as constructed w hen the village
w as rst settled in 1832. The old style sim (ordination hall) w ithin
the com plex is one of the few rem aining vernacular buildings of its
type in the Khon Kaen region. It w as designed to only be big enough
for m onks to gather during the ordination cerem ony. Laym en
w ere restricted to the outside, w here they could learn Buddhist
teaching from exterior w all decorations. W hile the ordination hall
is no longer used for its original purpose, this sim ple brick and
lim e plaster building enshrines a culturally signi cant sandstone
Buddha im age, believed to be over 200 years old.
Despite buildings over a hundred years old being protected by law,
under the aegis of the Fine Arts Departm ent, over the past few
decades m any sim ilar exam ples of local Thai religious architecture
have been lost. Their plain and unadorned nature is not considered
prestigious for the local com m unity, and such buildings are often
dem olished and replaced w ith larger, m ore ornate structures.
This sim w as rst renovated about 100 years ago w ith the original
w ood shingles on the roof replaced w ith unglazed tiles and the
w alls replastered and decorated w ith bas-relief gures and glass
m irrors. The second renovation took place about 50 years ago,
w hen the unglazed roof tiles w ere replaced w ith cem ent 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 w ere spalling and lim e plaster, especially near the base, w as
aking off. Roof tiles w ere m issing, term ites had eaten through
the tim ber roof fram e and the decorative w ood carvings on
the roof w ere gone. The naga (m ythical serpent) stair rails had
disappeared, w hile the decorative paintings and glass m irror w ork
on the exterior w alls had deteriorated.
In 1999, Khon Kaen University selected the old sim at Ban Bua
village as the site in w hich to deliver a training program m e in the
conservation of heritage buildings. The purpose of the program m e
w as to equip a com m unity w ith the skills needed to m aintain and
repair their ow n unique buildings, com bining both traditional and
m odern techniques. The project also aim ed to dem onstrate that by
w orking together on a project of value such as this, a com m unity
could revive its appreciation for vernacular design, as w ell as a
sense of solidarity in safeguarding local m onum ents.
Beginning in M arch 2000, conservation w orks w ere undertaken
on the sim, starting w ith a one-m onth session during w hich
the villagers of Ban Bua w ere trained in restoration techniques
under the supervision of conservation architects, engineers and
registered contractors. Com m unity m em bers learned how to
dism antle term ite-decayed tim ber pieces of the structure, lay
bricks, plaster w alls and gained skills in traditional techniques of
w ood joining. The residents w ere also m ade aw are of a num ber of
Buddhist rules and cerem onies related to construction. Thereafter,
they w orked in groups to carry out the conservation w orks under
the guidance of the conservation specialists. In October 2000, a
religious cerem ony w as conducted to celebrate the com pletion
of the project.
The aim of the conservation process w as to preserve the
ordination hall and its heritage value and revive the function of
the building. The building w as not restored to its original 1832
state, but to a condition w hich best suited the com m unitys needs.
For exam ple, w hen restoring the roof of the sim, the existing 50-
year-old cem ent roof tiles w ere favoured by the com m unity over
the original w ood shingles. New tiles, in the sam e shape and
size as the m issing ones, w ere ordered from the only rem aining
m anufacturer in Thailand. How ever, as they contrasted highly w ith
the older, thinner tiles, the w hole roof w as re-painted in yellow,
the sacred colour associated w ith Buddhism , both for protection
and to help resanctify the long-neglected building. Likew ise, in
an act of veneration, the villagers preferred to refresh the w all
paintings w ith bright colors, instead of retaining the faded tones.
Care w as taken in other instances to retain as m uch of the existing
fabric as possible. For exam ple, instead of introducing entire new
tim ber beam s, only the dam aged com ponents of the old beam s
w ere replaced. Sim ilarly, only the areas w here plaster had debonded
w ere re-plastered w ith the original type of lim e plaster.
Site plan
Oppositeleft: Villagers prepare
the wat for restoration.
Oppositeright: After restoration.
Wat Sratong / 2002
231
Award Citation
Theoutstandingrestorationof the1832 ordinationhall of Wat Sratongdemonstratesthehigh
standardof conservationwork whichcanbeachievedthrougha grassrootsapproach. Withthe
guidanceof thecommunityconservationtrainingprogrammeat KhonKaenUniversityandthe
partial sponsorshipof theThai FineArtsDepartment, thelocal villagersof BanBua undertook
all aspectsof restoringthehistoricbuildingafter insitutechnical training. Inkeepingwiththe
Buddhist traditionof merit-making, thevillagersdonatedtheir labour andmaterialstoreturnthe
abandonedordinationhall toitscentral roleinthemonasteryandthecommunity. Well-considered
conservationdecisionsweremadetoretainasmuchof theoriginal buildingfabricaspossible. The
cooperativeapproachtakenbytheproject setsa model of local conservationinitiativewhichis
worthyof emulationthroughout theregion.
Efforts w ere also m ade to ensure that new m aterials m atched the old.
For exam ple, baked clay bricks of a sim ilar type w ere used to replace
m issing ones. Unfortunately since bricks, tiles and lim e plaster are
no longer produced in the village, these m aterials had to be sourced
externally. The naga stair rails w ere reconstructed by local m asons in
the vernacular style, in accordance w ith the m em ories of the village
elders.
Som e of the buildings elem ents could not be replicated. In the case
of the decorative wan kaew (jew el glass), for exam ple, the type of
galvanized iron can lids that had been used as backing for the sm all,
irregular glass m irrors in the previous restoration, 50 years ago, w as
no longer available. Therefore, w hile salvaging and reapplying as
m any of the old iron lids as possible, glass m irrors w ere pasted onto
new alum inium can lids instead. Likew ise, as there are no longer any
tim ber craftsm en available in the village for the repair or creation of
tim ber decorations, such as the nials, m issing pieces w ere instead
replaced w ith breglass resin replicas m oulded from a sim ilar
ordination hall in a neighbouring province.
232
Above: Floor plan.
Top: Section of the building.
Far left, middleandleft: Community members were
engaged to carry out the conservation work, such
as repainting of walls and decorations.
The project aim ed to be as inclusive as possible and to encourage
cooperation betw een residents of the village. For exam ple, m eetings
w ere held to discuss issues and options so that every step w as
approved by the com m unity before action w as taken. In addition,
all residents w ere encouraged to actively participate in w hatever
w ay they could. Tim ber w as donated by the villagers them selves.
Elderly m em bers of the com m unity volunteered to clean and paint
tiles before the re-roo ng took place, w hile youth repainted the
w alls. Draw ing in w om en and even the handicapped villagers,
the project brought the com m unity together. The building now
functions as a viharn, a hall used to enshrine a Buddha im age.
Im portantly, the training program m e has also provided the
villagers w ith valuable conservation skills w hich w ill enable them
to undertake sim ilar projects in the future. The project instilled a
sense of self-respect, as m any participants felt that the end result
is better than w hat could have been achieved by a professional
hired contractor. They are applying their new ly-learned skills
by undertaking annual repairs during the Thai New Year, using
donated funds.
No. 125 Huajue Alley
234
Site map
Oppositeleft andright: The residence, in the
narrow alley, before and after restoration.
Location
Huajue Alley, Xian, Shanxi Province, China
Size
192 square metres
Cost
US$48,000
ResponsibleParty
An Shouxin
HeritageArchitect
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, Xian Cultural
Relics and Landscapes Administration
Bureau
Dateof Completion
May 2000
Project synopsis
Located in the Drum Tow er conservation district in central
Xian, the house at No. 125 Huajue Alley is a com pact grey-brick
courtyard building w ith intricate w ooden panels and brick carvings
depicting m otifs from Chinese legends. The house is organized
along an east-w est axis, w ith the front building opening onto the
alley, tw o rear buildings anking the central courtyard and the
m ain building at the back.
Six generations of the An fam ily have lived in the house, w hich
w as constructed in the early 1800s by An Hongzhang, w ho w as
an im am of the Great M osque and a w ell-know n businessm an in
the district. Today the neighborhood still m aintains its vernacular
architecture and distinctive urban layout. How ever, lack of
m aintenance and increasing population have contributed to the
general deterioration of the buildings.
The restoration of this Qing Dynasty house w as a pilot activity of
the China-Norw ay Project on the Protection of the Drum Tow er
M uslim District, undertaken through cooperation betw een the Xian
m unicipal governm ent and the Norw egian University of Science
and Technology. The project aim ed to raise aw areness of the value
of historic buildings and provide the com m unity w ith a sound
exam ple of the techniques and process of heritage conservation.
The project also sought to dem onstrate that heritage structures
could be adapted to incorporate m odern am enities w ithout
losing their historic value. A nal objective w as to highlight the
signi cance of the vernacular as an equally m eaningful elem ent
in the overall historic vista of the city of Xian.
The An fam ily residence w as selected because of its high artistic
and architectural value and the fam ilys com m itm ent to preserva-
tion, w hich resulted in the survival of carvings and faade features
after the Cultural Revolution of the 1960s. Nonetheless, since the
house w as last restored in the early 1900s, it had been slow ly
deteriorating and w as in need of repair. Although not listed as a
cultural relic of the m unicipality, the project abided by standards
and requirem ents for the conservation of built heritage. An archi-
tectural survey w as conducted by the Xian Cultural Relics Bureau
in early 1998. Restoration w orks began in October that year.
The projects scope of w orks included ensuring the structural
safety of the house and providing m odern services, w hile retaining
as m uch of the buildings original fabric as possible and rem oving
inappropriate additions and m aterials.
During the inspection stage, the tim ber elem ents of the house
w ere 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 w alls and tim ber roof, w ere
dism antled and rebuilt. The w hole structure w as rst thoroughly
docum ented and then elem ents w ere disassem bled, num bered,
repaired and restored to their original positions. The dam aged
parts, such as term ite-infested pieces of tim ber, w ere rem oved.
New pieces w ere m ade w ith the original types of m aterial and in
the sam e form . Likew ise, the leaning brick w alls w ere also taken
apart, stabilized and relaid brick by brick. The dism antling of the
house also provided an opportunity to install a new w ater supply
and sew erage system w ithout dam aging the buildings original
fabric. Previously, its residents w ere dependent on the com m unity
toilet and outdoor taps.
Inappropriate features and m aterials added during previous reno-
vations w ere taken out and the central courtyard, a vital elem ent
in the spatial orientation of the site, w as returned to its original
layout. For exam ple, poor concrete repair w ork w as rem oved w hile
w ooden colum ns w ere reinstated in place of incom patible m odern
colum ns. Skilled craftsm en w ere em ployed to m ake repairs and,
w here necessary, create replacem ent pieces using traditional m a-
terials and techniques. For exam ple, the carved brick panels over
the m iddle gate entrance w ere restored by artisans from Changan
county w here traditional stone-carving skills are still practised.
The project w as realised using com bined funds contributed by the
local governm ent, the Norw egian Agency for Developm ent Cooperation
(NORAD) and theow ner, w ho w ere responsible for nancing the
conservation w orks, public w ater supply and sew erage, and indoor
sanitation and services, respectively. M ulti-source nancing, rather
than reliance on ow ner-sourced funds, w as found to be the best
m odel to extend the reach of conservation efforts in the district.
235
125 Huajue Alley / 2002
Public involvem ent and participation w as an im portant part of
the project. Questionnaires w ere distributed to local residents to
seek their initial input about the overall project. All levels of the
com m unity, including professionals, academ ics, local governm ent
of cials and the general public w ere involved in the planning,
decision-m aking and im plem entation stages. This com m unity
involvem ent fostered cooperation am ong the various social
groups and strengthened com m unity bonds.
The An fam ily has particularly bene ted from the project by
gaining an im proved living environm ent w hile preserving their
fam ilys heritage for future generations. As the entry building faces
a w ell-know n shopping street for tourists, its use as a souvenir
shop provides a steady incom e stream for the m aintenance of the
entire residential com plex.
The project w as also an im portant lesson for the com m unity
in dem onstrating that enjoym ent of m odern am enities can be
com patible w ith preserving heritage buildings. It has sparked interest
in heritage preservation from other hom eow ners w ho, having seen
the successful outcom e of the project, have approached the project
team expressing their w ish to preserve their ow n historic houses.
Award Citation
Thesoundconservation approachandtechniques undertaken in therestoration of No. 125
HuajueAlleyserveas a model for local residents tofollow in carryingout futurework in
Xians Drum-Tower Muslimdistrict andin urban neighbourhoods all aroundChina. The
restoration of this traditional QingDynastyvernacular houseplaceda priorityon preserving
as muchof theoriginal materials as possible, whileaddressingmodern livingdemands. Care-
fullyrootedin thesurroundingcontext, theproject alsocontributes toan understandingof
thelocal urban fabric. Theproject presents a noteworthyexamplefor cooperation between an
outsidetechnical adviser andlocal residents, whilesettinga technical benchmark for conserva-
tion work in China.
236
After therestoration, thebuildings func-
tion is unchanged. The quality of the
buildingstructurehas been improved. The
househas been usedbytheAn Familyfor
thepast 100 years without major repairs.
Withtherestoration of thewoodcarving
andbrick carving, thehousecan now be
sustainedfor another 100 years.
Above: Floor plan.
Topright: Section through the buildings and
courtyards.
Right andfar right: The residence featured nely-
carved brickwork, with one panel depicting the
past owners profession as a calligraphy artist.
Broken Hill Heritage and
Cultural Tourism Programme
238
City map
Oppositeleft andright: One of the
establishments that beneted from
the Verandah Restoration Programme.
Location
Broken Hill, New South Wales, Australia
Cost
Approximately US$1.04 million
ResponsibleParty
City of Broken Hill
NSW Heritage Ofce
HeritageArchitect
Elizabeth Vines
Contractor
Various contractors throughout the city
Dateof Completion
2001 (but ongoing)
Project synopsis
Located in outback New South W ales (NSW ), w ith m inim al rainfall
and extrem e sum m er tem peratures, Broken Hill is signi cant
for its history as a m ining tow n and its rich cultural heritage,
characterized by m odest historic cottages and old com m ercial
buildings w ith corrugated iron roofs and verandahs.
Reaching its m ining peak in the 1960s before gradually w aning
w ith the subsequent closure of the m ines, the city w as struggling
econom ically by the late 1980s and com m unity m orale had
reached an all-tim e low. Recognizing the distinctive historic
character of the tow n, thoughts turned to tourism as a m eans
of revitalizing the tow ns econom y. In 1986, the Broken Hill City
Council and the New South W ales Heritage Of ce initiated the
Broken Hill Heritage and Cultural Tourism Program m e. Today,
this settlem ent has overcom e the decline in m ining and thrives
w ith a strong sense of com m unity spirit.
At rst, city planners considered constructing a m useum as part
of the heritage and tourism program m e. How ever, because the
heritage of the tow n is such that it could not be put on display
in a single building, planners aim ed instead to develop the tow n
itself into a living m useum . They hoped to provide visitors w ith a
unique experience w hile inform ing them about the citys historic
houses, com m ercial structures and its interesting collection of
m ining and transport m achinery. Interpretation tools in the form
of booklets and guides w ere produced. Heritage trails and w alks,
w ith lookouts and signage, w ere created to tell the story of the
city, its history, heritage buildings and the surrounding outback
environm ent.
A m ajor aspect of the tourism developm ent plan w as the broad-
scale restoration of the tow ns historic buildings and other
artefacts. In order to facilitate the restoration of privately-ow ned
buildings, the Broken Hill City Council provided conservation
inform ation, guidance and funding to local residents. For exam ple,
property ow ners could avail of professional conservation advice
from a specially-appointed heritage adviser free of charge.
Considered a m odel com m unity conservation strategy in Australia,
the Broken Hill program m e has established m any dynam ic and
collaborative partnerships w ithin the com m unity, betw een
local residents, business enterprises and the relevant statutory
authorities, w hile presenting to visitors a m ining settlem ent of
great interest and international signi cance.
Before conservation w orks could begin it w as im portant to rst
identify the citys heritage assets and determ ine how properties
be best restored. As a result, com prehensive heritage surveys
w ere undertaken w hich inventoried signi cant buildings, m ining
relics, Aboriginal heritage and the city as a w hole. Based on this
know ledge, the resulting developm ent controls and conservation
precinct legislation have been critical in protecting the signi cant
features of the Broken Hill landscape. Volum es of early photographs
w ere com piled to guide the upgrading of properties in order to
ensure authenticity and accuracy.
The historic streetscapes w ere a m ajor focal point of the project, w ith
the restoration of original features such as historic verandahs, iron
roo ng sheets and traditional colour schem es. M odern signage w as
redesigned to t into the historic context.
Individual conservation initiatives began w ith a consultation betw een
the heritage adviser and property ow ners. Upon agreem ent on a
conservation proposal, draw ings for restoration or adaptive reuse
w orks w ere prepared, after w hich a contractor w as recom m ended
from a list prepared by the City Council.
Efforts w ere m ade to ensure that the public w as inform ed and that
they w ere able to carry out restoration w orks in accordance w ith
quality-control standards and using appropriate m aterials and
techniques. This w as achieved through heritage training w orkshops
in w hich the correct building skills w ere dem onstrated.
The city has m ade nancial support available on an unprecedented
level to local residents. The Broken Hill Heritage Restoration Fund,
for exam ple, w as established to provide nancial support for the
conservation of key heritage buildings. In recognition of the sig-
Broken Hill Heritage and Cultural Tourism Programme / 2002
239
ni cance of the m odest iron m inerscottages, the city has provided
grants through a Residential Paint Assistance Schem eto im prove
the preservation of this local form of housing. Along the historic
throughfares, the Verandah Restoration Program m ew as set up to
assist local business ow ners in restoring or rebuilding verandahs, in
accordance w ith vernacular architectural and urban form .
By com bining the strengths of stakeholders and encouraging
partnerships betw een local governm ents and the private sector,
the city w as able to m anage and conserve an im portant piece of
Australian history. Coupled w ith one of the m ost com prehensive
heritage assistance program s offered in the country, the
restoration w orks have generated a vibrant atm osphere and have
strengthened sustainable cultural tourism as an im portant engine
of econom ic grow th, giving the residents of Broken Hill collective
optim ism for the future.
As an ongoing project, city planners w ill continue to m otivate
residents to m aintain and restore their properties through
sustained assistance and various program m es. Voluntary
conservation initiatives, for instance of m ining m achinery, are
active and the Annual Heritage Aw ards recognize and rew ard
efforts in property conservation.
Award Citation
Theintegratedapproachof conservingsignicant heritagebuildings andrevitalizingthepublic
streetscapes of a historicminingtown establishes an exemplaryconceptual framework that
can beadaptedbyother communities in Australia andthroughout theAsia-Pacicregion. The
initiativeof thelocal government in settingupassociatedprogrammes toconserveandmanage
thecitys built heritageis not onlynoteworthy, but alsodemonstrates how municipalities
can playan effectiverolein stimulatingtheconservation process. Innovativeplans that were
implementedbythemunicipalityincludeda freeheritageadvisoryservice, heritageassistance
funding, residential paint assistanceschemes andtheverandahrestoration programme. The
cooperativeefforts between local government andthecommunityhaveledtosharedknowledge
between thestakeholders, anda renewedsenseof pridein thecommunity, revivingthelocal
economybasedon sustainablecultural heritagetourism.
240
240
Thexedlifeof theminingindustryhasled
thecitytofocusonsustainablecultural tour-
ismasanimportant area of growthwith
heritageas its major sellingpoint. Most
importantly, thishasledtoa new attitude
withinthepopulationof BrokenHill.
Above: Plan of the core historic district.
Topright: Elevation of an old commercial building.
Right andfar right: Restored features such as
grillwork and awnings reinstated the streetscapes
former appearance.
Centre for Khmer Studies
242
City map
Oppositeleft andright: The conference hall
Location
Siem Reap, Cambodia
Size
Library: 259 square metres
Conference Hall: 166 square metres
Cost
Library: US$27,298
Conference Hall: US$13,511
ResponsibleParty
Wat Damnak Achars Committee
HeritageArchitect
Francois Tainturier, Chhim Phet
Chea Phally
Contractor
Chea Sarin Construction Company
Dateof Completion
January 2001
Project synopsis
Established in 1999, the Centre for Khm er Studies (CKS), an
academ ic institution that prom otes Khm er cultural heritage, chose
tw o derelict buildings w ithin W at Dam nak, a Buddhist m onastery
in Siem Reap, to be their of ces. The CKS resolved to restore the
tw o buildings in return for a 10-year lease from the m onastery.
The older of the tw o buildings w as restored and converted for
use as a conference hall. Constructed betw een 1922 and 1923 by
the French as a governm ent departm ent building, this rectangular
structure w ith gingerbread ornam ents and balustrades lacks
verandahs or an overhanging roof, re ecting the early colonial
architectsinattention to local clim atic conditions.
The other building chosen for restoration w as the form er
schoolhouse, w here Pali language w as taught until 1975. This
building w as constructed betw een 1941 and 1942 and is a blend
of different local architectural styles, w ith borrow ings from Khm er
buildings and hints of the Vietnam ese half-gabled roo ng style
popular am ong French colonial architects. The CKS converted this
building for use as a library.
During the Khm er Rouge era the tw o buildings had been dam aged.
They w ere subsequently abandoned and left vacant for 20 years.
W hen restoration w orks began in February 2000, both structures
w ere in a state of severe dilapidation, particularly the form er
school building.
The conference hall has been operational since January 2001 and
has been the venue for a num ber of sem inars and exhibitions.
This building also serves as a venue for training program m es,
lectures and public debates, in keeping w ith the desire of the CKS
to prom ote the m onastery as a place of know ledge transm ission
and education. Since its com pletion, the library building w elcom es
children, m onks, tourists and scholars six days a w eek. It is the
only library of an academ ic level outside Phnom Penh.
The CKS sought to restore the buildings to their original condition,
w hile sensitively incorporating m odern m aterials and services to
im prove stability, functionality and com fort.
Restoration of the library building began on 17 February 2000.
The brick structure w as in a highly dilapidated state w ith one end
leaning outw ards, due to outw ard thrust from the roof, and m any of
the tim ber roof beam s exposed and decaying. The leaning w all had
to be dism antled then reconstructed w ith new bricks. The decayed
parts of the roof w ere replaced and new beam s installed alongside
the old roof tim bers to increase stability. W orks w ere carried out to
strengthen the building, such as the com paction of the oor and
insertion of a concrete slab. Drains w ere built around the structure,
ensuring no rainw ater seepage under the building and dam age of
the foundations. New additions included glass w indow s, doors and
air-conditioning units. The latter w ere discreetly installed on the
sides of the building to m inim ize their aesthetic im pact.
The interior of the building w as repaired and the bullet-dam aged
bodhi-tree m ural w as restored by Germ an conservatists. This m ural
restoration w ork proved to be an opportunity to train Khm er
students from the Royal University of Fine Arts in art conservation
techniques. Finally, the building facade w as painted. The decision
w as m ade to paint the building a shade of red used at the National
M useum and the University of Phnom Penh, in order to denote its
higher education status.
The m ain structural w orks on the conference hall consisted of
the addition of a concrete ooring slab and the installation of
a drain. An internal brick w all w hich had been constructed in a
previous renovation w as rem oved and replaced w ith a exible
w ooden 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 buildings
original appearance, decayed and m issing shutters, roof tiles and
oor tiles w ere replaced w ith locally-m ade replicas. Finally, the
exterior of the building w as painted w hite in keeping w ith the
colour of the nearby prayer hall.
Centre for Khmer Studies / 2002
243
Throughout the restoration process the achars (laym en of the
m onastery) w ho, along w ith the village elders, are the legitim ate
source of know ledge about m atters of adm inistration and history,
w ere consulted before any im portant decisions w ere m ade. The
achars m ake up the pagoda com m ittee, one of the strongest
inform al social and adm inistrative institutions in the village. This
com m ittee m obilizes the com m unity and m akes decisions on
im portant village m atters.
The project m anagers sought the advice and input of the achars
on a num ber of m atters, ranging from the lease agreem ent to the
choice of the exterior colour of the restored buildings. Through
such discussions the achars w ere m ade aw are of the im portance
of preserving built heritage. Their enthusiasm for the project
and for the CKS dem onstrated that preservation of tem ples and
heritage buildings can be a w orthw hile task. The restoration
project show ed that activities w hich raise aw areness of the
value of heritage can be successful in generating support for
restoration efforts and that aw areness-raising is possibly the rst
step tow ards the establishm ent of an adequate legal fram ew ork
for protecting built heritage. The project has also brought bene ts
to the larger com m unity by providing facilities w hich w ill nurture
research and education on Khm er culture.
Award Citation
Theelegant andrestrainedrestoration of twoBuddhist monasterybuildings tohousethe
recently-establishedCentrefor Khmer Studies sets an encouragingexamplefor thepreservation
of non-monumental heritagein Cambodia andmakes a persuasivecasefor theinvolvement
of private-sector institutions in conservation activities. Theconversion of theFrenchcolonial
era buildings competentlyaddresseda number of technical issues andaccommodatedmodern
servicenecessities without compromisingtheintegrityof thebuildings. Thepreservation of
theseheritagebuildings andtheongoingcooperation withthemonasteryandlocal community
ablyserves themission of theCentretostrengthen theeldof Cambodian studies while
promotingcooperation between Cambodian institutions andforeign ones.
244
244
Right: This elevation of the
library shows the hybrid
Khmer-French architectural
form and decorative features.
Below: Circulation desk area.
The oor tiles are original to
the building.
Belowright: The restored
building was painted in the
same shade of red as other
establishments of higher
education.
Centre for Khmer Studies / 2002
245
Left: Elevation of the conference
hall.
Belowleft: Crews restoring
the interior.
Belowright: The hall did not
need additional glazing or
air-conditioning, and remains
naturally ventilated.
246
246
Above: Floor plan of the conference hall.
Topright: Workers during conservation
work on the librarys roof members.
Thewat is thestrongest social andadmin-
istrativestructurein thevillage, besides
beingthetraditional placefor education.
Byrestoringthetwobuildings, theybecame
schools of heritage, wheretheacharsof
themonasterycanexplaintothepupilsthere-
spect for bothpreservationandlearning, which
canbereplicatedthroughout Cambodia.
Jaisalmer Streetscape
Revitalization Project
248
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
ResponsibleParty
Dhunda Para residents
Kotri Para residents
HeritageArchitect
Indian National Trust for Art and Cultural
Heritage (INTACH), Kulbhushan Jain
Contractor
ABC Contractor
Dateof Completion
February 2001
Project synopsis
In the m iddle of the Thar desert of Rajasthan, the tw elfth-century
Jaisalm er Fort of golden sandstone is an architectural feat w ith
m onum ental w alls, intricately carved palaces, tem ples, haveli
(m ansions) and traditional adobe hom es. The fort survives today as
a dynam ic entity, in w hich m edieval patterns of life still prevail.
Although the fort has m aintained its unique built and living heritage
for over 800 years, the pressures of m odernization have led to
grow ing cause for concern. In particular, w ith changing lifestyles
and the tourism boom in the 1990s, uncontrolled construction
and the use of inappropriate m aterials, such as cem ent m ortar,
are im pacting the appearance of the ancient city. At the sam e
tim e, there has been an increase in precipitation and w ater usage,
w hich is now piped in daily. The forts open drainage system w as
not designed for such an abundance of w ater; leaking drains and
seepage of w ater into the clay, sand and rock foundations are
causing subsidence. In the 1990s, the retaining w all at the base of
the hillside collapsed, along w ith tw o bastions of the fort and over
tw o hundred historic buildings. A sew erage system installed in the
m id-1990s w as not able to achieve the required level of ef ciency,
m ostly due to problem s in connecting individual houses to the
trunklines. M oreover, it had not been designed to t in w ith the
historic environm ent, w ith obtrusive cem ent m anholes and jury-
rigged plastic pipes extending from private hom es and dam aging
the old streetscape.
Initiated by the charity Jaisalm er in Jeopardy, and undertaken in
cooperation w ith the local authorities and the Indian National Trust
for Art and Cultural Heritage (INTACH), the pioneering Jaisalm er
Streetscape Revitalization Project w as designed to introduce
m odern am enities into the historic settlem ent and im prove living
conditions through an integrated upgrade of the traditional
streetscape, encom passing faade restoration, street repaving,
installation of toilets and reconstruction of collapsed houses. In
addition, the project hoped to raise the aw areness of local residents
of the value of the heritage w ith w hich they live and to dem onstrate
good conservation practice in order to avoid further dam age and to
encourage m ore restoration efforts. The pilot phase focused on tw o
landm ark residential streets, Dhunda Para and Kotri Para.
A feasibility study w as com m issioned to assess the potential
im pact of the project and to identify the long-term needs of
the residents. The study revealed the extent of the hygienic and
aesthetic problem s, but also found that the hom eow ners w ere
largely enthusiastic and w ere even w illing, to the extent possible,
to share in the cost of upgrading their sanitary system .
Conservation w orks began in 2000. To prevent further w ater
seepage, open storm w ater drains w ere lined w ith cem ent
concrete and m ortar to be m ade w atertight. Uneven and broken
stone paving w as excavated and relaid over a bed of plain cem ent
concrete to restrict penetration of w ater into the ground. Concrete
m anhole covers in the streets w ere replaced w ith covers crafted
from local stone using a traditional design, w hile unsightly piping
w as concealed behind stone platform s.
Houses w ithout connections to the sew age system had lavatories
and piping installed, w ith special attention paid to ensure no w ater
leakage and to m aintain the original appearance of the building.
Sew er lines w ere extended to the m ain lines.
W ith the aim of restoring the streetscapes original appearance, the
project rem oved m odern, incom patible additions such as telephone
poles in favour of m ore sym pathetic replacem ents w herever
possible. Furtherm ore, they harnessed traditional know ledge and
skills that already exist in the locality regarding the use of the
original m aterials.
Despite clear regulations governing w orks affecting the yellow
sandstone, the w idespread use of cem ent as a convenient m eans
of repairing the buildings w as a m ajor concern. Not only did the
grey cem ent m ortar deface the yellow buildings, by setting rm ly,
it causes the stone to crack in tim es of therm al stress, thereby
com pounding the problem of structural instability. In order to
address this issue, a num ber of residents agreed to rem ove the
cem ent and replace it w ith traditional lim e m ortar. Existing facades
w ere cleaned and then lim ew ashed in traditional colours. In other
cases, how ever, an aesthetic com prom ise w as achieved in w hich
the cem ent w as painted yellow.
Jaisalmer Streetscape Revitalization Project / 2002
249
The m ost direct bene ciary of the project w as the local
com m unity, w ith a restored public environm ent and im proved
m odern services. In addition, the project created m uch-needed
em ploym ent opportunities for local residents and raised
aw areness of the im portance and viability of m aintaining heritage
architecture. Furtherm ore, through the projects insistence on
traditional m ethods and m aterials, there has been an overall
aesthetic im provem ent in the city, greater structural stability and
a revival of the traditional skills of local craftsm en and artisans
w hich w ere in danger of dying out.
Overall, the restoration project has raised living standards and
forti ed com m unity spirit. In addition, the project has directed
international attention to the threats facing Jaisalm er and the
need to protect the fort. In this w ay, the project has given the fort
and its inhabitants the possibility of a sustainable future.
Award Citation
Therst phaseof thestreetscaperevitalization project in thehistoricfort cityof J aisalmer
represents an exemplaryholisticapproachtoconservingthelivingpublicrealm. Startingwith
thebasic gestureof harmoniouslyintegratinginfrastructural amenities, suchas drainage
systems, intothetraditional streetscape, theproject seeks toaddress a completerangeof
conservation issues, includingfaaderestoration andtheprovision of hygienicfacilities. The
integratedconservation effort will establisha mechanismfor educatinglocal propertyowners
andupgradingtheentirefort in terms of modern functioning, whilemaintainingJ aisalmers
uniqueurban character andprevailingtraditional ways of life. Theproject has thepotential
tocreatethemomentumtodrivea larger conservation project, servingas a best practicecase
studyfor other communities tolearn from.
Far left andleft: The project resulted
in improved drains and paving.
250
250
Thecontribution of theproject has been
vital tothecommunityin givingthema
sustainablefutureandvital toJ aisalmer
in conservingits uniqueheritage. It has
successfullyestablisheda framework within
whichthearchitectural heritageof thecity
maybeprotectedfor futuregenerations.
Topright: The golden fortress walls rise from
Trikuta Hill with commanding grandeur.
Right: Artisans repairing latticed carvings on
one of the haveli faades.
Far right: One of the alleyways under repair.
Kow Plains Homestead
252
Area map
Oppositeleft andright: The
homestead before and after
restoration.
Location
Cowangie, Victoria, Australia
Size
180 square metres
Cost
ResponsibleParty
Kow Plains Homestead Management
Committee
HeritageArchitect
Pip Giovanelli
Contractor
Terry Gibson Builders
Dateof Completion
September 2001
Project synopsis
Built around 1879, the Kow Plains hom estead is located in Cow angie
tow nship, in an area of northw est Victoria know n as the M allee.
Fam ous for its harsh clim ate, the M allee has a long history as a
grazing area w ith a num ber of large stations (pastoral properties).
Im portant as a rare exam ple of a rural residential building, the Kow
Plains hom estead has been listed on the national and state historic
building registers. It is architecturally signi cant in its use of local
m aterials and drop-log construction m ethod. This m ethod involves
placing upright posts approxim ately 1.2 m etres apart, to w hich
saplings are attached on each side to form a vertical slot. Unsaw n
pine logs w ith their bark intact are then dropped into the slots.
Surrounded by a deep verandah, the building is a sim ple rectangular
structure containing a lounge, kitchen, hall and bedroom . The
oors and w alls in the m ain room s are plastered in lim e cem ent.
The roof w as possibly m ade of thatch originally but the roo ng
m aterial w as replaced w ith corrugated iron betw een 1879 and
1899. The building is part of a com plex w hich also includes the
privy, cookhouse, stables, a w ell and a long stone w ater trough.
A conservation analysis w as com pleted in 1993 but because of
issues over ow nership of the building, it w as not until 1997, after
the purchase of the property by the M ildura Rural City Council,
that form al conservation w orks w ere proposed. Funding w as
subsequently secured and w orks nally began in 2001.
The restoration process w as divided into tw o stages. The rst
stage involved structural stabilization, roof replacem ent, interior
repairs and reinstatem ent of the verandah, w hile the second
stage involved the reconstruction of the cookhouse, privy and the
im plem entation of an interpretation policy.
The objective of the project w as to conserve the site, enable utilization
of the building and to provide the public w ith an effective illustration
of the distinctive local architecture and the unique characteristics of
M allee settler life from the past to the present. At the sam e tim e, the
project sought to encourage com m unity involvem ent and to foster
the developm ent of specialized construction skills.
Due to the structures advanced state of decay, the initial conservation
strategy called for building a roof over it and m anaging the site as
a protected ruin. How ever, as it w as recognized as the areas rst
occupied dw elling, the policy w as revised to conserve the fabric and
reinstate the form in order to interpret its value in a m ore holistic
w ay and to a w ider audience. In accordance w ith the Burra Charter,
the conservation approach called for adhering as closely as possible
to the original construction m ethods and m aterials, as evidenced by
physical and docum entary inform ation.
During the restoration process all original fabric w as recorded and as
m uch w as reused as possible. Any new m aterial introduced into the
building w as discreetly date-stam ped. The use of m odern m aterial
w as m ainly lim ited to concrete footings and steel bracing and ties,
w hich w ere added for structural stability. Restoration com m enced
w ith the stabilization of the structure. The building w as realigned
using ropes and chains, and the foundations of decaying tim ber w ere
reinforced w ith concrete.
The roof w as also substantially dam aged prior to restoration w orks,
in part by blasts from the nearby quarry. In lieu of retaining the
dam aged iron sheets and patching the num erous holes, it w as
decided that a longer-term solution w ould 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 w ere still in good
condition w ere also recycled. New roo ng sheets w ere installed in
the rest of the building.
As a result of neglect and w eathering, the verandah had collapsed
and m any of the fram ing elem ents had gone m issing. The verandah
w as reinstated to its historic form based on rem aining elem ents
and old photographs. Deteriorated w alls w ere also rebuilt. M issing
tim ber posts and battens w ere replaced w ith treated hardw ood
m em bers of m atching size and form . To ensure authenticity, local
builders had to learn traditional bush carpentry skills, such as
adzing and axing, along w ith conservation principles.
In the interior, the w alls w ere replastered, replaces re-bricked and
the m antlepiece restored. The entry foyer retained rem nants of its
Kow Plains Homestead / 2002
253
original hessian-covered ceiling. A conserved sam ple of the original
m aterial, a type of canvas cloth, w as stitched onto new pieces of
hessian and reattached to the ceiling using tacks and battens w hich
w ere found in situ.
W ithout the support of the local com m unity (represented by the
Kow Plains Hom estead M anagem ent Com m ittee) and various
governm ent agencies, the project w ould never have com m enced
or been seen through to com pletion. Neighbouring farm ers
and residents volunteered over tw o thousand hours to the
restoration project, lent various form s of construction equipm ent
and contributed old building m aterials from other sim ilar
structures. Now fully restored and functioning as a m useum ,
the hom estead is an educational resource and a venue for social
gatherings. Over 400 people, am ounting to the total population
along the M allee Highw ay, attended the opening cerem ony. The
ongoing m aintenance of the building has also been entrusted to
volunteers, w ith funding from adm ission tickets, venue rental
and fundraising. W ith the success of the project, the rem aining
buildings in the com plex w ill also be conserved as w ell.
Award Citation
TherestoredKow Plains Homesteadis a testament totheresilienceof thesmall Mallee
communityandserves as a physical reminder of Australias pioneeringsettlements. A rigorous
approachof reinstatingboththeformandfabricof thebuildingas faithfullyas possible
totheexistingphysical anddocumentaryevidencewas practisedconsistentlythroughout the
project. Throughrevitalizingabandonedbuildingtechniques andcareful attention tomaterial
authenticity, theproject clearlydemonstratedsolidunderstandingof conservation guidelines
set forthbytheICOMOS Burra Charter. Thecommunitys initiation andownershipof the
project deserves praisefor thecollectiveefforts at conservation. This project clearlyexemplies
how thecooperation between individuals, communityandall tiers of government can contribute
towards a common goal: theprotection of local heritage.
254
254
TherestoredKow Plains homesteadhas
ensured that this important part of our
pioneeringhistorylives on totell its story.
This is oneproject wherethelocal heritage
brought a communitytogetherliterally.
Above: Floor plan.
Topright: Elevation after restoration.
Right: Workers salvage wooden logs for reuse.
Far right: The drop-log construction technique
was used.
1
2
Excellent Project
Guangyu Ancestral Hall, Conghua City,
Guangdong Province, China
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
Dalongdong Baoan Temple, Taipei, China
Gota de Leche, Manila, Philippines
Guangyu Ancestral Hall
258
Context
The Guangyu Ancestral Hall is located in Qiangang village in
Guangdong province. Established by descendants of Lu Xiufu, the
fam ous prim e m inister of the Southern Song dynasty (960-1279),
Qiangang village is listed by the Guangzhou governm ent as one
of 21 villages protected for their historical and cultural values.
Believed to be built in the M ing Dynasty, either in the fourth year
of the Yongle period (1406) or during the Xuande era (1426-
1435), the Guangyu Ancestral Hall has endured for alm ost 600
years. Although built during the M ing Dynasty, the style and
construction m ethods com e from earlier eras, including the Song
Dynasty. The roof, for exam ple, is an overhanging gable roof w ith
raised purlins. Som e features of the hall are unique in Guangdong
province, such as the w ing w alls and the screen w all, and are a
valuable source of inform ation about historical north-south
m igration in China.
The integrity of Guangyu Ancestral Hall is protected under the
Antiques Conservation Law of the Peoples Republic of China
and the Law on the Protection of Cultural Relics of the Peoples
Republic of China (1991), as it is classi ed as a special-care
building and belongs to the Lu clan. According to article ve of the
Law on the Protection of Cultural Relics, the property rights of
m em orial buildings, ancient buildings and precious antiques,
w hich belong to a public or private entity, are protected. This
law also speci es that the Lu clan is responsible for the usage,
m aintenance and repair of the building.
Building history
Inscriptions on the building itself indicate that prior to its
restoration in 2002 the hall had been renovated a total of ve
tim es, m ost recently in 1915. The earliest record w as found
engraved on a beam in the m iddle bay, noting that restoration
took place in the 32nd year of the Jiajing period of the M ing
Dynasty. The latest alterations w ere only super cial, not structural,
and w ere m ade during the Cultural Revolution. To prevent the hall
from being destroyed by the Red Guards, villagers had covered
som e of the elaborate w ood carvings of the hall w ith lim e plaster,
w hile of cials painted proclam ations onto the w alls of the hall.
Project history
During a three-m onth survey to identify im portant cultural relics
in Conghua city in April 2000, Qiangang village, and the Guangyu
Ancestral Hall in particular, w ere recognized as being extrem ely
valuable. How ever, at the tim e, the hall w as in an extrem ely
dilapidated condition and w as no longer in use by the villagers.
Structural deterioration w as pervasive, w ith part of the roof
collapsed, tim ber beam s and colum ns badly decayed, and som e of
the w alls leaning precariously.
Restoration of the ancestral hall w as to be the rst step in
preserving the cultural heritage and ancestral know ledge of the
Qiangang com m unity. It w as hoped that the restoration w ould
foster a sense of com m unity pride and unity by revitalizing
cultural traditions and integrating them into the m odern lifestyles
of the villagers. It w as intended that villagers w ould begin to reuse
the hall for w orshipping ancestors and for village gatherings.
In October 2000, the restoration project w as initiated under the
expert guidance of the South China University of Technology. A
thorough archaeological and historical study of the building w as
rst undertaken, to provide a basis for planning the conservation
w orks. In July 2001 the rst draft of the restoration plan w as
com pleted and in Septem ber of that year the construction plan
w as nalized. Restoration w ork began in late 2001 and w as
com pleted on 6 February 2002, in tim e for the villagers to use the
hall for the Spring Festival that year.
Village map
Location
Qiangang Village, Taipi Town, Conghua
City, Guangdong Province, China
Size
816 square metres
Cost
ResponsibleParty
The Lu Clan Committee
HeritageArchitect
Lu Yuanding
Contractor
Guangzhou Company
Dateof Completion
6 February 2002
Guangyu Ancestral Hall / 2003
259
The restoration of Guangyu Ancestral Hall aim ed to restore and
reveal its layers of architectural, social and historical signi cance.
In order to invest the lim ited resources m ost effectively, the team
w ent to great lengths to identify the various elem ents of the
building w ith the highest signi cance. These w ere consequently
restored during the actual restoration w orks, under strict guidelines
concerning authenticity, so as to best retain the buildings structure,
form and its em bodied historical inform ation. As such, the m ain
w ooden fram e and w alls w ere not altered in any signi cant w ay.
Im portant repairs m ade during previous restorations w ere retained,
along w ith changes m ade by users of the building over its 600
year history.
and materials
The restoration plan speci ed that renovations w ould be conducted
w ithin the fram ew ork of national law s and international conservation
charters, notably the Venice Charter. In accordance w ith Article
9 of the Charter, the project w ould opt for m inor repairs rather
than m ajor repairs in order to retain the structural form of the
building as m uch as possible. Furtherm ore, in keeping w ith Article
14 of the Law on the Protection of Cultural Relics, all signi cant
historic rem ains w ould be preserved, w ithout unnecessary intervention,
thus obeying the principle of not changing the original stateof
cultural relics. Finally, all replacem ents or repairs w ould be m ade
to integrate harm oniously w ith the w hole but at the sam e tim e
be distinguishable from the original so that the restoration w ould
not falsify the artistic or historic evidence.
The conservation team felt that restoration did not necessarily
equate w ith unity of appearance. Instead of returning the entire
building to its condition at one point in tim e, they believed that it
w as m ore im portant to portray the authentic historical progression
of the building. The elem ents added to the building over the
course of various restorations, for instance, w ould be retained.
M ore recent layers of the buildings history w ere also deem ed im portant.
Aboveandleft: From its former
deteriorated condition, the re-
stored hall has been rejuvenated
as a community space.
260
These included the notices m arked on the gable during the Cultural
Revolution w hich w ere kept intact, rather than being erased to
restore the gables to their M ing Dynasty appearance. After
consultations w ith experts from the Departm ent of Cultural Relics
and Guangzhou Culture Bureau, a num ber of the proclam ations
painted on the w alls in the 1960s w ere also kept. Now, after restoration,
the various parts of the buildings brick w all re ect the buildings
evolution from its establishm ent to its recent history.
The team endeavoured to use traditional craftsm anship, m aterials
and construction m ethods in the restoration process w herever
possible. In order to differentiate betw een original and new m aterials,
replacem ent m aterials w ere indicated by subtle variations in the
tone or texture in both tim ber and m asonry elem ents.
The urgent task in the project centred on returning the building to
a structurally sound state. As a rst step, the leaning sections of
the w alls w ere recti ed and som e areas of structure and foundation
w ere stabilised. Blue bricks from the sam e historical period w ere
salvaged from nearby sites to restore the w alls of the structure,
using the original type of m ortar. Basic w orks also included the
repair of the peripheral drains, since they not only com prised part
of the drainage system of the w hole village, but also affected the
stability and vulnerability of the w alls foundation.
The roof in the m ain hall w as in an extrem ely dilapidated condition
and needed extensive repairs. Rather than undertake in situ repairs
to the dam aged w ooden m em bers, it w as decided to adopt the
m ethod of luo jia (top-dow n repair technique) w hich involved
disassem bling the structure, recording each com ponent, repairing
dam aged com ponents, and reassem bling the parts in their original
positions.
In other sections of the roof, the disassem bly m ethod w as deem ed
inappropriate due to the potential for dam age to the roof and
decorative w orks. For these cases, the tim ber purlins w ere carefully
rem oved and new tenon tongues w as spliced on. Rotten horizontal
beam s in the roof truss w ere repaired by grafting, to preserve
as m uch of the original fabric as possible. Sim ilarly, broken and
split rafters w ere replaced, w hile reusable m em bers w ere salvaged
w here possible. W hen new m aterials w ere used, they w ere m arked
w ith a contem porary stam p, indicating the m aterial and the date,
as per Article 9 of the Venice Charter.
The docum ented ash m oulds and coloured decorations on the
roof ridges w ere restored according to their original appearance.
Non-docum ented parts w ere not restored, retaining their aged
appearance.
Interior tim ber m em bers also suffered w ater dam age. Three
w ooden colum ns in the second and third sections had to be com pletely
replaced in order to ensure the stability of the structure. Traditional
m aterials w ere used in the construction of the new pillars and the
original texture and colour w ere closely m atched, but w ith visible
differences. Tim ber colum ns w hich had split w ere repaired w ith
w ood chips, bam boo slices and epoxy, using custom ary m ethods.
The colum ns w ere coated w ith Chinese w ood oil as a preservative,
to protect them against term ites and restore the original colour.
The new w ood and bam boo pieces w ere m ade to integrate harm oniously
into the w hole but w ere differentiated by adding som e verm ilion
or pollen to stain the w ood oil.
The red sandstone bases of the pillars w ere severely w eathered. In
order to ensure the safety and durability of the structure, these
bases w ere replaced w ith new ones m ade w ith the sam e style and
type of stone. The original bases w ere kept and placed beside the
new colum ns for com parison purposes.
The m ain gate and the screen door in the second section had long
been lost. To m aintain the spatial integrity of the layout it w as
decided to reconstruct them on the basis of historic evidence and
descriptions provided by village elders.
The nal step w as restoring the hard-ram m ed red sandstone soil
oor using traditional techniques. Experim ents w ere perform ed in
getting the right ratio of red sandstone soil and lim e in order to
m atch the colour and intensity of the original red sandstone oor.
The traditional m an-pow ered frog-typeram m ing m achine w as
used. The w ater content w as controlled, w hile churning cycles
and sequence of ram m ing w ere precisely tim ed. To test the consistency,
sam ple m ixtures w ere gathered into a ball by hand and pinched
loose.
Top: Floor plan.
Middle, bottom: Auspicious rituals were held to
celebrate the completion of restoration.
Opposite: Cross section.
261
In order to ensure that the Guangyu Ancestral Hall and its
surroundings w ere not dam aged by the construction process,
certain environm ental factors w ere taken into consideration.
W ater w as sprinkled on the construction w aste and the road w as
paved w ith pebbles in order to m inim ize dust and air pollution.
Sim ilarly, w aste w ater w as recycled and sew age w as correctly
disposed of to m itigate w ater pollution. M easures w ere also taken
to m inim ize noise pollution in accordance w ith the regulations of
the Noise Lim it for Construction Sites Law.
Important issues
Mobilizing resources and people
The villagers of Qiangang participated actively in the project,
through the m obilization of the village headm en and the head
of the Lu Clan Com m ittee. Together they facilitated m eetings,
and ensured that villagers w ere inform ed, thereby enabling the
villagers to express their view s and provide feedback to the project
m anagers.
The tw o m ain sources of nancial resources for the project w ere
voluntary donations from villagers and governm ent contributions.
Villagers also provided useful input by augm enting historical
inform ation about the building and by giving advice in construction
m atters.
The hall w as traditionally a place of ancestral w orship and a com m unity
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 com m unity centre and is currently used for its
intended purposes, such as gatherings during Lunar New Year and
clan m eetings. The hall has therefore been successfully integrated
w ith the contem porary life of the villagers.
Since the restoration of the hall, alterations and additions to
the building have been forbidden. Painting on the w alls and
hanging of objects are prohibited. Also, practical adjustm ents in the
practice of traditional cerem onies have been encouraged. For exam ple,
Award Citation
In themidst of therapidly-changingPearl River delta region, therestoration of Guangyu
Ancestral Hall stands out as an exemplar for local heritageconservation. Thecooperation
of thevillagers, government agencies andtechnical advisors has overcomethechallenges of
limitedfunding, resultingin a buildingwhichdisplays thoughtful choices in restoration and
a highlevel of traditional craftsmanship. Byconsciouslyadheringtotheprinciples of the
VeniceCharter andtheNara Document on Authenticity, theproject teamhas successfully
demonstratedmethodical rigour andsensitivityin documenting, assessingandinterpretingthe
buildings heritagevalue. Thewidelyinclusiveandtransparent approachtomobilizingsup-
port for therestoration project ensures that this historicbuildingwill continuetoplaya key
rolein thecommunityfor manyyears tocome. In carefullypreservingthelayers of historical
changeseen in thebuilding, theLu clan ancestral hall has not onlybecomea livingrecordof
thehistoryof Qiangangvillage, but has alsocapturedthesweepof Chinesehistoryfromthe
Songdynastytothecurrent Peoples Republic.
262
the burning of candles and ignition of rew orks are only carried
out in the light w ell and front yard and are supervised in order to
ensure safety.
Lessons learned
Certain unique technologies and m ethodologies w ere found to
assist in prolonging the lifespan of traditional m aterials w ithout
affecting the authenticity and original form of those m aterials or
of the building. For exam ple, all tim ber pieces and bam boo strips
used in repairs w ere rst steam ed w ith brine in order to eradicate
im purities and m oisture. These m aterials w ere then aired to ensure
they had elasticity com parable w ith existing parts. Sim ilarly, by
frying the bam boo sticks and nails in kerosene and peanut oil,
enzym es w ere elim inated and rigidity w as im proved.
The com m unity has taken the initiative to ensure the upkeep of
the hall. For ongoing repairs and m aintenance, villagers established
the Guangyu Ancestral Hall Restoration and M anagem ent
Fundw ith com m unity donations. Furtherm ore, a com m unity
representative w as elected to take part in the Fund M anagem ent
Com m ittee, w hich ensures active input by the villagers in the
nancial m anagem ent of the building.
This enthusiasm of the com m unity and the extent of the buildings
use suggest that the Guangyu Ancestral Hall w ill continue to
rem ain in use and w ill increasingly becom e a central part of the
villagerslives.
Project impact
The project has fostered a keen sensitivity to the com m unitys
cultural resources such as building techniques and traditions that
are em bedded in com m unity fabric. The project has also brought
opportunities to further enhance the econom ic 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 w ill be follow ed
by the restoration of the four village gatew ay buildings and
guardhouses.
The project also raised aw areness in other nearby villages regarding
preservation of their ancestral heritage, such as Deng village and
M ulan village in Shengang tow n. These villages have restored the
Dengshi Ancestral Hall and the W uyue Tem ple, respectively.
Above: A slogan from the Cultural Revolution era
was retained.
Middleandfar right: Severely deteriorated roof
timber members were salvaged and repaired with
epoxy or replaced.
263
ByrestoringtheGuangyuAncestral Hall,
wehavesuccessfullypreservedthecultural
heritageandhistorical informationof the
villagers ancestors, thereby promoting a
spirit of unityfor thevillagers.
Far left andleft: Blue bricks compatible with the
original were used to repair the wall.
Below: Artisans restore the lime plaster decorative
elements along the roof ridge.
264
Technical Brief
Top-down method of repair
Only in the case w here the stability of the structure is endangered
do w e adopt the traditional m ethod luo jia, or the disassem bly and
re-assem bly of tim ber structures, thereby reducing the potential
dam age to the building structure and the architectual form .
To start on the roof repairs, the tiles from the roof w ere rem oved,
cleaned, dried under the sun and stored. Then w e deliberated on
the best repair m ethod for the roof fram e after the exam ination
of the rafters, purlins and the beam conditions.
Som e tim ber purlins betw een the gable w all and w ood colum ns
w ere very rotten on the outer ends, w hile the inner ends w ere
dislodged from the tenon due to the dislocation of roof truss or
the inclination of w all. W e adopted the traditional m ethod of
rem oving the purlinand grafting the beam to protect the in-
tegrity of the overhanging gable roof, the rolling grass decoration
and the vertical ridge.
The purlins w ere carefully rem oved, w ith the rotten inner parts cut
off and a new tenon tonge added. Then the rotten gable ends of
the purlin w ere also cut off. The purlin w as reinserted into place,
w ith a new w ooden section added to connect it to the gable.
Stainless steel strings w ere used to keep the tenon in place.
Som e horizontal beam s that connect the tw o m iddle pieces of roof
truss w ere seriously rotten due to rain intrusion and subsequent
collapse of the roof. W e kept the original com ponents and grafted
new partial replacem ents, held in place by bolts. The position is
located one third into the length of the ridgepole. Each side of
the notch w as at least six centim etres w ide in order to receive the
force from the bolts.
The roof of the m ain hall had been very seriously dam aged.
M oreover, som e hidden problem s have em erged in the course of
restoration, thus com plicating the extent of w ork and increasing
the degree of dif culty. How ever, due to the potential structural
instability and loss of authenticity, w e decided to partly adopt the
m ethod of luo jia.
First, the roof truss of the m iddle bay w as disassem bled, and
each com ponent w as m arked by a serial num ber. The m ore sound
com ponents w ere cleaned and strengthened, w hile the dam aged
parts w ere replaced w ith new w ood. At the sam e tim e, dam aged
colum n bases w ere replaced, colum ns repaired and w ood fram es
adjusted. After this phase in the w ork, the dism antled roof truss
w as re-assem bled in the reverse order.
The next step in the process w as to replace the dam aged rafters.
Priority w as given to the reuse of original salvaged m aterials
w herever possible, w ith new m aterials used only in case of
insuf cient num ber of reusable sections. A contem porary stam p
w as placed on the new m aterial.
Then the tiles w ere laid and the rem oved roof ridge w as xed.
Bam boo strips w ere em bedded in the pantiles, running through
the corrugated tiles to enhance the shear resistance of every unit
of the corrugated tiles.
Adapted fromGuangyu Ancestral Hall
UNESCOAsia-Pacic HeritageAwards 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
266
Town map
Location
Khanqah Settlement, Khaplu, Baltistan
Pakistan
Size
49 square metres
Cost
US$10,000
ResponsibleParty
Syed Muzahir Ali
HeritageArchitect
Masood Khan
Contractor
Dateof Completion
June 2000
Context
The Astana (tom b) of Syed M ir M uham m ad is located in Khanqah
settlem ent, one of eight historic settlem ents in the tow n of
Khaplu. Situated in northern Pakistan, Khaplu characterizes the
particularly rich and diverse cultural and architectural heritage
of the region.
Craftsm en and artisans from Kashm ir and other parts of South
Asia originally settled Khanqah in the fourteenth century. These
settlers cam e w ith the early preachers of Islam , w ho built the
initial m osques and other religious buildings in Baltistan. Hom e
to 40 fam ilies, Khanqah has a w ell-de ned com m unity but has
w itnessed changing lifestyles and loss of social cohesion. This has
led in turn to a decline in the popularity of com pact villages and
a dem and for m ore space and m odern services, w ith the result
that historic structures and surrounding farm lands are facing
increasing developm ent pressure.
In various areas of Baltistan, old w ooden m osques and religious
buildings are being torn dow n and replaced w ith unsightly new
concrete structures. This dem olition of historic buildings re ects
the lack of aw areness of the enorm ous w ealth of heritage of
the region, w hile the replacem ent of ancient structures w ith
contem porary buildings, using foreign m aterials, disregards the
accum ulated traditional know ledge of the com m unity.
Although Pakistans 1975 Antiquities Act (am ended in 1991)
protects listed sites, land-use law s and developm ent are under the
jurisdiction of a different agency and there is little co-ordination
betw een the tw o. Other ordinances and local regulations can be
invoked, but indiscrim inate developm ent, lack of resources and
poor im plem entation place sites such as the Astana at risk.
Building history
Astanas are am ong the m ost 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
years ago by Syed M ir M uham m ads descendants, the Astana of
Syed M ir M uham m ad is considered one of the nest in the area.
Like m ost astanas in Baltistan it is a square building topped w ith
a conical tow er. The astana has an inner square cham ber enclosed
by w ooden jallie (carved lattice-w ork screens) in the Kashm iri
style, w ith geom etrically-shaped perforations.
Project history
The project w as initiated by the Aga Khan Cultural Service
Pakistan (AKCSP), the operating arm of the Historic Cities Support
Program m e of the Aga Khan Trust for Culture (AKTC). In furthering
culture-based developm ent and heritage conservation, the AKCSP
prom otes the upgrading of com m unity buildings in order to foster
pride in custom ary w ays of life, thereby encouraging traditional
village clusters and reducing pressure on farm lands. In such projects
the AKCSP encourages use of traditional building m aterials and
prom otes custom ary building techniques and skills, such as w ood
craftsm anship, w hich have been dying out in the region. The
AKCSP believes that revival of long-held skills in Baltistan w ould
strengthen com m unity pride and generate incom e.
Due to its religious and historic signi cance, the Astana of Syed M ir
M uham m ad w as one of three sites selected by the AKCSP in the late
1990s as a pilot dem onstration project to preserve architectural
heritage in Baltistan. The restoration w as the result of a successful
collaboration betw een the AKCSP, tw o international consultants
and the Khanqah com m unity. The AKCSP and consultants provided
the planning and conservation expertise w hile the com m unity
provided local building skills, labour and m aterials.
In 1999 w hen the technical study of the astana w as carried out,
the building w as in an advanced state of deterioration. The entire
structure w as fragile and out of alignm ent, leaning 30 centim etres
to the southw est. Half the roof tow er w as m issing and the erosion
of the top layers of tam ped earth on the roof had resulted in the
267
Astana of Syed Mir Muhammad / 2003
Left andabove: The astana before and after
stabilization and restoration.
decay of circular roof beam s, tim ber m em bers and jallie pieces. The
aim of the project w as to restore the Astana Syed M ir M uham m ad
to its original condition. In the process, the structure w as to be
realigned and m ade stable and the decorative and historical
elem ents of the building repaired and reinstated.
M inim um intervention and m axim um retentionw as the team s
guiding principle throughout the project. W ithin this fram ew ork,
original features w ere m aintained w hile structural changes
w ere m inim ized, except those needed to increase strength and
durability. Salvaged and indigenous m aterials w ere to be used
w herever possible. The restoration project w as expected to take
12 m onths to com plete, but w as com pleted in just six m onths.
and materials
The entire structure w as rst docum ented and all the tim ber
pieces num bered for the replacem ent of deteriorated m em bers.
As a precautionary m easure, the structure w as supported w ith
w ooden posts. Tw o options for realigning the building w ere
considered. The rst option involved dism antling, repairing
and re-assem bling the structural m em bers, w hich raised the
possibility that the pieces m ay not have tted together again or
that som e w ould be dam aged during the dism antling process,
thus increasing the am ount of intervention required. The second
option, arrived at through consensus, w as to nudge the w hole
structure back into proper alignm ent. This w as feasible as no
iron nails w ere used in the structure, only w ooden pegs, w hich
allow ed for structural exibility and for the slotted w ooden
pieces to m ove as one unit.
First, m ost of the load w as taken off the structure, enabling it to be
realigned m ore easily and safely. The tow er w as dism antled in units
to ensure the sequence of the tow er details w ould not be disturbed.
The rem aining m ud thatch and beam s from the tow er roof w ere also
rem oved, leaving only the w ooden dow elled fram e of the building.
The structure w as then pulled using w ire ropes tightened through
turnbuckles. Plum b bobs w ere used to record the extent of w all
deviation from vertical throughout the process.
268
During this process it w as discovered that the building lacked a
rm foundation. The existing w ooden base w as decayed, causing
the entire structure to sink. In order to upgrade the strength and
durability of the building, a foundation of stone slabs w as laid
beneath the existing w ooden base in order to distribute the load
and prevent the structure from sinking further. These slabs also
provided protection for the structure against w ater seeping up
from the ground.
The original lling of the cribbage w alls w as not rm ly packed
and as a result rats had been able to m ake holes in the structure.
To repair the cribbage w alls, the lling w as stabilized w ith cem ent
m ortar, boulders and straw. The w alls w ere then plastered w ith a
m ix of cem ent, soil and straw in a ratio of 1:10:2.5.
Another m ajor decision w as w hether or not to com plete the building
by constructing a new roof tow er. The extent of deterioration of
the existing roof tow er m eant that know ledge of the original
design w as lim ited so a new roof m ight have com prom ised the
buildings authenticity. After extensive discussions w ith artisans
and elder m em bers of the com m unity and thorough research of
sim ilar buildings in the region, a decision w as m ade to reconstruct
the tow er on the basis of other astanas.
Because the project aim ed to revive and develop traditional
skills and im prove the capacity of the com m unity to successfully
m anage their cultural heritage, local m aterials w ere used
w herever possible and artisans w ere trained in traditional
skills. For exam ple, the roof w as w aterproofed in the vernacular
m ethod, w ith a layer of m illet straw covered w ith birch. This w as
then overlaid w ith m ud thatch, w hich w as com pacted by foot.
Another local m aterial, w alnut rind, w as applied to the w ood of
the new tow er roof in order to help it blend in w ith the rem aining
elem ents of the astana. The planks of the inner roof w ere treated
w ith linseed oil to preserve the w ood and protect against term ites.
The ve replacem ent w ooden jallie w ere carved by local artisans.
In repairing the broken jallie, artisans used traditional m ethods and
salvaged recycled w ood.
Top: Delicate geometry of the
wooden lattice screens.
Right: The oor plan shows the
lattice screen surrounding the
inner chamber.
Opposite: Section through the tomb.
269
Important issues
The astana is co-ow ned by the Sadaat fam ily, com prising seven
households in the com m unity, and by follow ers of Syed M ir
M uham m ad. Once m obilized by the AKCSP, com m unity m em bers
becam e enthusiastic about the restoration process. They donated
m aterials and their labour as hom age to their religious leader and
also helped to collect and transport local m aterials to the site.
By assisting in the restoration of the Astana of Syed M ir
M uham m ad and encouraging restoration rather than dem olition
and replacem ent, the AKCSP helped the Khanqah com m unity
learn about its w ealth of heritage and traditional know ledge, thus
fostering a sense of ow nership.
Lessons learned
The project dem onstrated to com m unity m em bers that historic
structures have heritage value and that their preservation can have
positive social and econom ic im pacts. It w as show n that success
is m ore likely w hen the com m unity has both tangible bene ts
from the project (useful skills) as w ell as intangible bene ts
(com m unity pride). Furtherm ore, this project dem onstrated that
w hen heritage preservation is integrated w ith developm ent
policy, such efforts have a greater chance of being successful in
the long term .
Due to com m unity involvem ent and subsequent com m unity-
driven heritage conservation efforts, the project is likely to
be sustainable. Com m unity pride in the Astana of Syed M ir
M uham m ad w ill encourage upkeep of the structure w hile the use
of local m aterials and the developm ent of local artisan skills w ill
ensure that the structure can be affordably m aintained.
Award Citation
Thenoteworthyrestoration of the300-year oldmausoleumof SyedMir Muhammadre-
turns an important architectural andcommunitylandmark toits former prominencein the
northern Pakistan highlandsettlement of Khaplu. Thebuildings agedpatina andhistoric
character havebeen carefullyretainedthroughskillful andsensitiveconservation techniques.
Themeticulous documentation andlow-intervention approachin stabilizingthebuildingand
repairingdeterioratedparts demonstrategreat respect andmaximumretention of theoriginal
buildingfabric. A modest approachusinglocal materials andconstruction techniques ensures
that therestoration work is carriedout in accordancewithvernacular architectural practices,
andcan bemaintainedsustainablyunder thestewardshipof thelocal villagers. In seekingto
revivelocal buildingcrafts as part of theoverall conservation agenda, theproject demonstrates
how heritagepreservation can becomea catalyst for local economicdevelopment.
270
Project impact
Com m unity participation, revitalization of original building skills
and articulation of heritage values to other com m unities w ere
the hallm ark achievem ents of the project. A w oodcraft w orkshop
w as established to train new apprentices on carving and jallie-
m aking skills. This breathed life into a dying handicraft tradition,
w hile the additional skills increased em ploym ent prospects for
local people in undertaking conservation and repair w orks in the
future.
Another profound effect resulting from the conservation project
w as the support given by AKCSP to repair an adjacent, larger
m osque, the Khaplu Khanqah. Destined for repair using m odern
m aterials, the lessons learned w hile w orking on the astana have
encouraged the com m unity to rethink their approach and adopt
a less intrusive repair m ethod.
The astana project also prom pted residents in Khaplu to upgrade
and im prove historic buildings surrounding their traditional
settlem ents. The Khaplu Tow n M anagem ent and Developm ent
Society w as created to enable planning of future projects w ith
com m unity consensus and the input of indigenous w isdom .
Region-w ide, the restoration has provided a m odel for good
practice in conservation for other tow ns in Baltistan.
Clockwisefromtopleft: Reconstruction of the roof tower. Mud thatch
compacted by foot over a straw layer on the roof. The rehabilitated roof.
271
Technical Brief
Restoration of wooden elements
The w hole building is a w ooden fram e structure w ith cribbage
colum ns on the corners. These colum ns are tied to the w alls
w ith w ooden ring beam s w hich, in turn, are inserted into the
cribbage colum ns and pegged w ith hidden w ooden dow els
inserted vertically. (See draw ing.) Together w ith the roof beam s
and planks, the m em bers constitute a uni ed exible structure
w hich has the ability to m ove w ith, and during, seism ic w aves.
Wood staining
For staining w ood, people traditionally used the rind of w alnut
cooked w ith w ater. This m ethod has been used for centuries
w ith rem arkably effective results. These stains protect the
tim bers from w eathering by sun rays and m oisture penetration.
This m ethod is cheaper than alternatives because the outer
rind of w alnuts is available in the village, and can be collected
easily w hen the w alnuts ripen. For staining all exposed tim ber
elem ents, the sam e m aterials and m ethods w ere applied. This
m ethod achieves m atching colour for all the tim ber elem ents.
It also im parts an aesthetically pleasing appearance to the
m em bers. For staining internal tim bers, linseed oil m ixed w ith
20 percent turpentine w as used to protect against term ites and
insects.
Roof repair
M ost of structural elem ents such as beam s and rafters w ere
badly decayed. Approxim ately 30 percent of the beam s and
rafters w ere replaced. Som e 10 percent of the roof boards w ere
spliced on the decayed portions. All these beam s w ere pegged
w ith w ooden dow els. M illet stalks and birch bark w ere used as
roof covering, in accordance w ith existing evidence.
A traditional roo ng of m ud thatch w as applied, w ith som e
additions to prolong the soaking tim e and m inim ize erosion
because of the pitched slope of the roof. The available soils in
Khaplu are sandy soils w hich need the addition of clay content
to harden the top layer of thatch. For this purpose som e studies
w ere carried out and m ock-ups developed. These sam ples w ere
show n to and discussed w ith local m asons and villagers for
their com m ent and input. The approved sam ple w as a m ix of
clay, w heat straw and local soil in a ratio of 1:1:4, w hich w as
applied on the roof of the tom b. The thickness of the thatch is
four inches, w hich is an appropriate dim ension and w ill prevent
leakage in heavy rain and snow. Finally, tw o coats of soil w ash
w ere applied to ll the cracks due to shrinkage of the top layer
of m ud thatch.
This project is a signicant milestonein
nurturinglocal institutional development,
demonstratingrehabilitation benets, in-
creasingsenseof ownershipfor signicant
architectural heritageand creatinga re-
sourcebasefor continuedandself-reliant
management of cultural heritage.
272
Building realignment
To correct the 30-centim etre m isalignm ent, the local team decided
to realign the w hole structure as one unit, w hich allow ed for the
easier realignm ent of the tilted parts using turnbuckles and w ire
ropes. This is an easy and non-risky m ethod of realigning any
sm all size cribbage tim ber structure. The procedure w as carried
out w ith extrem e caution and in sm all alignm ent correctional
increm ents. About ten m inutes later it w as observed that the
structure w as m oving to its original position and the team did
not even hear any distorting sound. This process saved not only
tim e but also allow ed for the use of original joineries especially in
the cribbage colum ns and ring beam s.
Sher Ghazi
Above: The realignment was undertaken using
a simple method of pulling the structure using
wire ropes and turnbuckles.
Water Towns of the Yangtze River
274
Site map
Location
Zhouzhuang, Tongli and Luzhi
Nanxun, Wuzhen and Xitang
Cost
Approximately US$1,000 per house
ResponsibleParty
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
HeritageArchitect
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
Dateof Completion
December 2001
Context
The six w ater tow ns, Zhouzhuang, Tongli, Luzhi, Nanxun, W uzheng
and Xitang, are located south of the Yangtze River in the Jiangnan
region of China. These tow ns are situated along the border of tw o
provinces, occupying the far south of Jiangsu province and the far
north of Zhejiang province.
The six tow ns are each surrounded by lakes and m arshes and have
stream s and w aterw ays branching through them . Dictated by the
shape of the w aterw ays, these tow ns broke the traditional rules
of regularity and sym m etry in their layout. Belt-shaped tow ns
grew up along a single w aterw ay w hile star-shaped tow ns, such
as Nanxun, Luzhi, and W uzhen, w ere form ed around crossing
w aterw ays. Zhouzhuang, a square-shaped tow n, is ringed by w ater,
w hile circular tow ns, such as Tongli and Xitang, w ere bounded by
net-shaped w aterw ays.
The tow ns share the characteristic style of houses am idst sm all
bridges and m urm uring brooks. The com m ercial streets are parallel
to w aterw ays, w ith a w idth of betw een one and three m etres.
Sm all lanes run perpendicularly, connecting the streets to the
canals. Stone arch bridges connect across w atercourses. M ostly
constructed betw een the fteenth and early tw enty century, the
buildings are arranged in row s along the w aterw ays and stone-
paved roads. Usually one or tw o storeys high, m ost are courtyard
buildings constructed of brick and tim ber. The light coloured w alls
and dark roofs of the buildings lend the tow ns their distinctive
black and w hitem otif.
In recent tim es, a grow ing population, changing lifestyles and
increased dem and for m odern services had put im m ense stress
on the ancient structures and layouts of the w ater tow ns. These
factors, com bined w ith a lack of developm ent controls and urban
planning, had resulted in the deterioration of the ancient tow ns
physical and social fabric, w ith residents m oving out to m ore
com fortable settlem ents.
Com prehensive urban planning and m anagem ent w ere required in
order to provide a higher standard of living to residents and ensure
protection of the historic structures and character of the tow ns.
W ork w as carried out in accordance w ith the Urban Planning Law
and the Historic Heritage Law, w hich regulated the construction
m ethods and m aterials. All rights to the properties are under the
protection of the Law of Inheritance of Citizen Properties and Law
of M anagem ent of Property.
Town and building history
First settled over tw o thousand years ago in the fertile Yangtze
river delta, the tow ns becam e agricultural centres during the Sui
and Tang dynasties, w ith villagers engaged in rice cultivation,
cotton and m ulberry farm ing, shing and husbandry. In addition,
they also raised silkw orm s and produced silk. Yielding better
pro ts than rice cultivation, com m ercial crops and cotton and silk
handicrafts becam e dom inant in the fteenth century. The tow ns
grew into m ajor trading centres linked into a regional trading
netw ork, serving as conduits betw een big cities and rural areas.
Zhouzhuang, Tongli and Luzhi, for exam ple, w ere m arkets for rice
and vegetable oil, w hile Nanxun and W uzheng w ere silk m arkets.
Driven by early capitalistic activity, the w ater tow ns took on a
different social pattern from other Chinese tow ns under feudal
rule, w ith a m ix of landlords, governm ent of cials, m erchants,
upper class people, ow ners of handicraft w orkshops and handicraft
people, and farm ers. The three traditional types of building
re ect the social m akeup of the tow n. The houses of w ealthy
landlords and governm ent of cials are large and splendid, w ith
spacious courtyards, painted and engraved beam s, sculptures and
engravings. The buildings built by w ealthy m erchants have shops
in the front and residential houses in the rear. These buildings are
m ore com pact, typically three or four storeys high, and are not as
ornately decorated as the rst type of building. Ordinary residential
buildings m ake up the third type. These buildings have one or tw o
shop room s at the front, w ith living areas at the rear. Different
houses show different styles depending on their location.
The prosperity of the tow ns enabled a rich and thriving culture to
develop. Over m any years people w ere attracted to the lifestyle
of these tow ns. Retired of cials and intellectuals sought peace
and isolation and gradually the region brought together an elite
275
Water Towns of the Yangtze River / 2003
com m unity, including fam ous w riters and artists. Local custom s,
such as drinking granny teaw ere established and proudly
preserved.
Declared historic tow nsin their respective provinces in the early
1990s, the six w ater tow ns w ere included on Chinas Tentative List
in 1999, and thus have the potential to be nom inated as a W orld
Heritage site in the future.
Project history
After centuries of change, by the 1980s the tow ns w ere beginning
to show signs of dilapidation. The M ing and Qing dynasty era
buildings w ere in a state of disrepair and public w orks w ere sorely
lagging in com parison to neighbouring tow ns.
The m ajor dilem m a facing the tow ns w as the pressing need
to introduce m odern services and facilities w hile at the sam e
tim e protect and restore the cultural heritage. M oreover, the
requirem ents of the local residents and the dem ands of the grow ing
tourism industry also had to be balanced. Solutions to these tw o
issues had to be proposed bearing in m ind the challenges of the
existing urban m anagem ent system , high conservation expenses,
lim ited scal resources and the land tenure system .
In response to the situation, in the m id-1980s the authorities
of the six w ater tow ns com m issioned a conservation and
developm ent plan for the tow ns in order to prevent further
dam age to their historic fabric and establish effective urban
planning m echanism s. The plan focused on protecting the ancient
tow ns, opening up new areas, fostering tourism and developing
the econom y. They sought to restore as m uch as possible of the
tow nsvaluable cultural heritage by restricting redevelopm ent,
upgrading services and im proving the standard of living of the
residents. Under expert guidance, the tow ns have continued to
im plem ent conservation planning at various levels, spanning
urban aspects as w ell as architectural w orks.
Left andabove: 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.
Topandbottomright: Traditional woodworking
techniques are used to create folding door screens.
276
Individual restoration plans for the six tow ns w ere undertaken
w ithin a sim ilar scope of w ork, but w ith adaptations to t the
individual situation of each tow n. The project addressed each tow n
holistically as a living urban organism instead of as a series of
discrete m onum ents, and therefore placed a priority on preserving
the larger historic setting and the overall character of the tow n.
At the sam e tim e, the project also sought to renew the intangible
heritage w hich de ned each tow ns character. Especially in the
context of tourism , the project placed an em phasis on ensuring
that traditional crafts, festivals and custom s w ere supported in their
authentic traditional form , to avoid their em pty com m ercialization.
Built elem ents w hich w ere historically signi cant w ere carefully
restored, w hile those w hich w ere com pletely dam aged w ere
reconstructed in a harm onious m anner. This called for re-establishing
the original layout of the ancient tow ns, w hile also restoring
the original form and appearance of the buildings, streets and
w aterw ays. Strict urban planning regulations w ere established on
building heights and new construction. Guidelines w ere also draw n
up for detailed aspects such as faade colour and signage in order to
preserve the original character and feel of the w ater tow ns.
Finally, in order to upgrade the quality of life of the residents, services
such as new electricity cables and a m odern sew age system w ere
installed in the six tow ns in a discreet and unobtrusive m anner.
and materials
The conservation m ethodology applied to the historic buildings,
structures and landscape w as based on the principle of respecting
the original state. Four aspects of authenticity w ere strictly
preserved, nam ely, original context, original structure, original
m aterials and original techniques. As such, historic fabric w hich
w as intact w as m aintained in its original condition, w hile original
m aterials and techniques w ere used w hen restoration or repair
w as deem ed necessary.
277
Award Citation
Thelarge-scaleconservation planningof thehistoricwater towns at themouthof theYangtze
River sets an important milestonein theprotection of livingcultural landscapes. Thecompre-
hensiveapproachadoptedbytheproject allows for thoroughunderstandingandinterpretation
of theareas natural andcultural heritageat boththelocal andregional levels. Operating
withan overall conservation masterplan, a clear policyframework andsoundmethodology, the
project restores theauthenticsignicanceandfunction of thetowns waterways andhistoric
settlements, whileaccommodatingmodern needs andanticipatedgrowth. Major investment by
thegovernment for publicworks andbyresidents for individual structures creates a commend-
ablemodel of sustainablelong-termpublic-privatepartnership. Theambitious scopeof the
project promises tohavea major impact on shapingfuturedevelopment in thetowns as well as
conservation practicethroughout China.
In order to develop a deep understanding of the historical
structures and urban layout, a detailed exterior and interior
inventory of all built elem ents w as undertaken. This has proved
to be an invaluable reference during the course of the restoration
w orks and serves today as a perm anent historical record.
In order to preserve the environm ental setting and m aintain the
ecological viability of the tow ns, a regim en has been established
to dredge out canals on an annual basis. Key rivers are also being
dredged for ood protection. Control of pollution in the nearby
Taihu Lake, w hich is linked to all the interconnected w aterw ays,
has also been initiated. A w astew ater system has been planned.

At the urban scale, land use guidelines w ere draw n up to ensure
that m odern functions w ould be com patible w ith the historic
tow ns. In tow ns w here the historic core w as intact, the strategy
developed called for separating new developm ent from the historic
area, such as in Zhouzhuang and Luzhi. In order to accom m odate
changing m odes of transport, such as the introduction of cars and
m otorcycles, the road netw ork has been adjusted and auxiliary
roads built outside the historic area. For instance, in Luzhi, a
northern bypass road w as constructed, w here new governm ent
facilities and public buildings are located. Traf c restrictions on
the entry of m odern vehicles into historic areas have been enacted
for the protection of ancient bridges and streets. These practical
m easures have allow ed the tow ns to accom m odate reasonable
industrial grow th and good accessibility, w ithout dam aging their
unique characteristics.

278
Morethan a decadeof trials andefforts
havefostered an integrated conservation
ideologyanddevelopedconservation plan-
ningwith Chinesecharacteristics, which
provides a valuablereferencefor thecon-
servation of cultural relics in China.
To im prove the quality of life, streets w ere repaved and original
layouts restored by rem oving inappropriate structures and other
additions. W ater, sew age and storm w ater drainage pipes w ere
installed, along w ith pow er, telecom m unications, and m unicipal
electricity lines. Public am enities w ere constructed. A re-
m anagem ent system w as devised, w ith the installation of pum ps
and hydrants along the riverbanks in order to com bat the risk of
re in the context of high density neighbourhoods w ith narrow
streets.
At the building scale, guidelines w ere enforced on the use of
exterior m aterials to ensure architectural integrity, being strictly
restricted to the traditional grey bricks, butter y-shaped tiles, r
and pinew ood, and slate stones. The governm ent arranged for the
production of traditional building m aterials and the salvage of
historic m aterials from other areas.
Individual buildings w ere restored in accordance w ith appropriate
traditional Chinese architectural styles, such as the Shaoxing,
Xiangshan and Anhui styles. Buildings w ere repaired and repainted
in accordance w ith their historic appearance. On the exterior,
the original building proportions (w idth and height), nishes
(colours and paints) and elem ents (w indow s, doors, ridges, roofs
and eaves) w ere closely adhered to. Decorative elem ents, such
as carved w indow -shutters and balcony railings, w ere m ended
and replicated, w here necessary, using traditional m aterials and
techniques. On the other hand, in the interior m ore leew ay w as
allow ed, w ith m odern alterations being perm itted, to allow
residents to live a m odern lifestyle.
Important issues
The projects w ere funded by a com bination of public and private
investm ent. The governm ent subsidized the restoration of public
w orks, such as infrastructure, shared facilities, roads, bridges and
w ater courses, w hile local com m unity m em bers invested in the
restoration of their ow n hom es.
The governm ent w as m ainly responsible for m onitoring at the
m acro level, regulating and directing the restoration projects.
For this purpose, m anagem ent agencies have been established to
take responsibility for the ongoing conservation of the ancient
buildings. Residentscom m ittees participated throughout the
conservation process, w hile individual hom eow ners w ere charged
w ith the im plem entation 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 w orks, and transferred
know ledge about conservation m anagem ent and techniques to
the local of cials and residents.
W hile m any traditional buildings in the six tow ns w ere originally
designed as shops, the econom ic and social changes over the
past few hundred years have resulted in m any buildings losing
their original use. Today m ost of the old shop buildings serve as
residences or of ces. The renovated houses serve a num ber of
different purposes (residential, com m ercial and cultural) according
to their location, surroundings and property rights. In this w ay,
these buildings have been integrated into the living context of
each tow n. Som e buildings are now being used as m useum s to
illustrate the lifestyles and interior decoration of earlier tim es.
Lessons learned
In the process of restoring the tow ns it w as discovered that in order
to ensure ef ciency and consistency a professional restoration
team is necessary. Therefore in such projects a team m ust be set
up and trained. Furtherm ore, an effective m anagem ent system
should be established in order to ensure the conservation plan
is follow ed and optim al results are achieved. In addition, a long-
term plan for the m anaging of funds should be m ade in order to
avoid any delays and cash- ow dif culties.
Previouspage: A street section showing the close
relationship with the water.
Above: A oor plan of a residence showing
access to a waterway at far left.
Opposite
Top: Elevation of a restored faade.
Right andfar right: An alleyway upgrade in
process, and upon completion.
279
The project has dem onstrated to residents that ancient tow ns
are capable of com fortably accom m odating m odern lifestyles
w hile retaining charm and individuality. Residents have gained
aw areness of the distinctiveness of their cultural and built
heritage and have therefore developed greater pride in it. As
a result they are now m ore likely to act to m aintain the built
fabric of their tow ns. Furtherm ore, grow ing tourist interest in
the unique heritage values of the area, in part as a result of the
restoration project, w ill provide econom ic incentives for residents
to continue to protect the heritage of the w ater tow ns.
Project impact
As one of the rst large-scale conservation projects to integrate
m odern facilities into ancient tow nships, the project has
enhanced residentsquality of life through the provision of
upgraded services together w ith im proved housing. The project
has also generated greater com m unity appreciation of their built
heritage.
The plan for the Conservation and Developm ent of Ancient
Tow ns South of the Yangtze Riverw as aw arded the third prize
for Science and Technology by the M inistry of Education. Som e
tow ns have received individual aw ards, w ith the Conservation
of Zhouzhuangw inning rst prize and the Conservation of
Tongligarnering second prize for M ost Outstanding Planning.
As a result of the recognition it has received, the project now
serves as a valuable reference and benchm ark for sim ilar future
projects in China.
280
Technical Brief
Conservation planning
Since 1985, w e have been undertaking conservation planning
for these tow ns and helped them w ith the renovation of historic
buildings and the developm ent of tourism . Consequently, these
tow ns have found their historic values w hile the local econom y
has been im proved. The tow nspeople are now enjoying a m uch
better life. The experience w e gained during the course of the
project is as follow s.
Enhancetheawareness of theimportanceof
conservation among thelocal people
It has been m ade clear to the local governm ent of cials,
policy-m akers and residents that w hat they have is not ruins
or curiosities, but is just as precious as underground m ines or
the natural environm ent. The key point is w hether people can
m ake good use of them and develop these tow ns properly.
Outside in uence has enhanced public aw areness of the
im portance of conservation. Som e conferences have been held
in these ancient tow ns. M any in uential governm ent of cials,
scholars and foreigners have been invited to these tow ns. The
research, visitations, com m ents and propaganda that have
been carried out in these tow ns have had great in uence on
the local people, w ho have gradually built a rm belief in the
im portance of conservation and have com e to realize the value
of their tow ns. Thus their enthusiasm for conservation has been
inspired and they have given up any idea of tearing dow n these
historic buildings to m ake room for new ones. Once the general
agreem ent on conservation has been reached, efforts w ill be
m ade to specify different functions for different organizations
and resolve various con icts.
Makea point of seeking conservation
in thecourseof development
Great em phasis should be placed on econom ic developm ent
and prosperity in these tow ns. Besides the general aw areness of
the im portance of conservation and speci c m easures, nancial
strength is an indispensable factor in the im plem entation of
conservation planningfor m aintenance, repair and renovation.
Therefore, priority should be given to the com prehensive study
of econom ic developm ent in these tow ns.
In this situation w e have put forw ard a guiding principle for these
tow ns: Conserve the old tow ns and build new tow ns; develop
the econom y and tourism industry. For som e of the tow ns in
w hich good conservation w ork 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 developm ent. Reasonable planning of the
new area has guaranteed reasonable industrial layout and good
transportation, w hich in turn favours econom ic developm ent in
the new area. Backed by strong nancial support by the new
area, the old tow n can be m uch better off w ith conservation
and renovation.
Recognizedifferent situations and act accordingly
Since there is no conservation plan that w ill t all cases, w e
have assessed the cultural relics and scenic spots inside and
outside these tow ns. W e have assigned different values to them ,
on the basis of w hich w e determ ine their conservation needs.
Conservation is classi ed into three levels: top conservation, key
conservation and average conservation. Conservation areas have
been carefully de ned and conservation regulations have been
m ade. For som e speci c cultural relics and traditional buildings,
conservation m easures w ill be carried out at four levels:
conservation, renovation, alteration and m aintenance. Various
levels of conservation are m eant to distinguish different cases
so that proper m easures can be taken.
Plan to makepossibleappropriateconservation
and development
The priceless cultural relics these tow ns have inherited from
the past are being threatened by natural and hum an factors.
W ith a view to conserving the cultural relics, rstly, great efforts
need to be m ade in term s of surveying and m apping old
buildings and building com plexes, including their exterior
appearance and interior structure. Secondly, reasonable
and feasible plans and im plem entation guidelines
are needed in the m anagem ent of construction and
conservation. W hat needs to be done includes industrial
adjustm ent, planning for transportation, planning for
the construction of residential sections and planning
for tourism developm ent. Special attention should be
paid to the conservation of im portant old buildings.
The role of traditional culture should be underscored
since the conservation of these old tow ns should be
com prehensive, including not only m aterial heritage but
also spiritual or cultural heritage. W e should m ake a point
of handing dow n the local custom s, 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, w here
traditional cultural activities can be observed, should be
m aintained.
Co-operatewith thelocal government and residents
It takes som e tim e to establish public aw areness of
the im portance of conservation. W e have gained
approval from the higher levels of governm ent on every
conservation plan w e have undertaken. W e have also
w on support from farsighted of cials and local residents.
The plans w e have m ade w ill function as a blueprint for
the future developm ent of these tow ns and they w ill be
im plem ented strictly. Im plem entation of the plan w ill be
a long process, w here som e adjustm ents w ill have to be
m ade to keep up w ith any changes, requiring the planners
to m aintain constant concern for conservation.
Ruan Yisan
Cangqiao Historical Street
282
City map
Oppositeleft andright: The canal-side settle-
ment before and after the improvements.
Location
Yuedu Residential Quarter, Shaoxing City
Size
1.5 kilometres in length
6.4 hectares in area
Cost
US$5,000,000
ResponsibleParty
All residents of Cangqiao Street
HeritageArchitect
Zhong Huahua, Zhong Hai, Wu Jianrong
Ruan Yisan, Que Weimin
Contractor
Li Bo
Dateof Completion
August 2001
Project synopsis
Located in historic, 2,500-year-old Shaoxing city, Cangqiao Street
consists of a m ix of residences and businesses built along a
w aterw ay. Buildings in this street w ere largely rebuilt during the
nineteenth and early tw entieth centuries and are predom inantly
in the traditional style w ith w hite w alls and black roofs.
Prior to the restoration project m any buildings had fallen into
disrepair and in som e cases old buildings had been dem olished and
replaced w ith m odern structures, inconsistent w ith the traditional
style and character of the tow n. Furtherm ore, Shaoxings high
population density and shortage of m odern facilities w as straining
the capacity of the citys fabric and infrastructure. Dem and
for m ore residential buildings m eant that the spatial layout of
existing structures w as being altered by the addition of shacks in
courtyards and other spaces. Furtherm ore, the lack of a central
sew erage system m eant w aste w as being im properly treated and
often dum ped into the river. These factors com bined to create
a situation w hich greatly threatened the citys built heritage.
Historic streetscapes w ere m arred by a tangle of electrical cables
and poles, bright signboards and a variety of door types.
Seven historic streets w ere chosen for the Ancient City Protection
Program m e, a project designed to preserve and restore ancient
Shaoxing city. A collaboration betw een the city governm ent and
local residents, the program m es m ain aim s w ere to im prove the
residentsquality of life w hile preserving the citys valuable ar-
chitectural heritage and traditions. This called for the renovation
of all houses along the street and the upgrade of services and
infrastructure. Cangqiao Street w as the rst street in w hich the
Ancient City Protection Program m e w as im plem ented. Com pleted
in August 2001, in just ve m onths, the project restored buildings
and provided m odern services. By restoring w harfs on the river-
banks and facilitating environm ental im provem ents, the project
has also reinstated the picturesque South-East China traditional
w aterfront lifestyle. As the rst com pleted task of the Program m e,
the project is an exam ple from w hich sim ilar projects can learn
valuable lessons and serves as a tribute to the unique heritage of
Shaoxing.
The project aim ed to restore the original appearance of buildings
and to coordinate the style of the street. Traditional construction
techniques and m aterials w ere utilized w herever possible and
inappropriate additions w ere rem oved.
Of the 43 residential com pounds along the street, six w ere
classi ed in term s of heritage value as rst 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. W hile the overall w ooden structure w as relatively
intact in m ost houses, the roofs, w alls, oors, doors and w indow s
w ere in need of repair. In the restoration of buildings, outer w alls
w ere repaired w ith salvaged bricks, w hile traditional w ood and
m asonry skills w ere utilized to repair the interiors, using recycled
w ood and stone. Existing roof ridges and skylights w ere retained
and repaired w hile broken roof tiles w ere replaced w ith replicas of
the original. Cem ent door and w indow fram es w ere rem oved and
replaced w ith the traditional m aterials of w ood or stone. Those
buildings w hich w ere severely dam aged or w ere built during the
last 50 years w ere dem olished and rebuilt in the original style.
To im prove the residentsquality of life and ensure no further
dam age to the built fabric, new sew age pipelines, electrical,
telecom m unications and television cables w ere buried under the
streets and new public am enities w ere constructed. Once the
services w ere installed, the historic streetscape and canals w ere
restored. The streets w ere relaid w ith slabs of irregularly shaped
stones. The sm all w harfs on the river banks of the Huanshan River
w ere restored using the original type of stones, thus helping to
restore view sand m aintain the continuity of com m unity life.
The focus on im proving the com m unitys quality of life w as an
incentive for the local people to get involved and com m it to
the project. Forty- ve percent of the costs of the residential
renovations w ere paid by the residents and the House M anagem ent
283
Cangqiao Historical Street / 2003
Of ce. The rem aining balance, along w ith the cost of public w orks,
w as funded by the city governm ent. In order for the w orks to be
carried out safely and ef ciently, residents m oved out during the
restoration process and w ere com pensated by the governm ent.
As a result of the project, living conditions, streetscape, potable
and river w ater quality have im proved. Each fam ily now has their
ow n electricity and w ater m eters along w ith private sanitary
facilities. Im portantly for the com m unity, the restoration of
the street and of river access has enabled residents to continue
custom ary activities, including the tradition of w ashing their
clothes in the river.
Although the project w as not carried out to enhance tourism
prospects, since its com pletion Cangqiao Street has generated
m uch public interest. The street has begun attracting tourists and
has even been featured as a backdrop for the lm ing of a local
television series. Such outside interest has generated econom ic
opportunities for residents and is a further incentive to m aintain
and preserve their heritage.
Award Citation
Theurban renewal andarchitectural conservation of CangqiaoHistorical Street marks an
important rst stepin protectingtheuniqueamphibious landscapeof historicShaoxing. The
conservation project sets rigorous standards in documentingandpreservingthetowns built
heritage, andpays great attention tomaterial authenticity. Theproject thoroughlyaddresses
boththepublicrealmof streets andcanals as well as theprivatedomain of houses andshops
throughcomprehensiveinfrastructureupgrades anduniformdesign guidelines for property
owners. Byprovidingimprovedurban services whilerespectingthehistoricfabric, thecon-
servation project successfullydemonstrates theviabilityof thehistorictown as a livingand
vibrant showcaseof Chineseheritage.
284
Aboveandtopright: 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.
Walkingon thestoneroador boatingon
theriver, visitors will feel that theyarein
thepast. Byprovidinga series of methods
andmeasures usedfor conservation poli-
cies, plans andpractices, theproject has
a pioneeringandpositiveimpact in pro-
tectinghistorical andcultural cities in the
future.
The Medina Grand Adelaide Treasury
286
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
ResponsibleParty
Department for Information and Adminis-
trative Services, Toga Group of Companies
HeritageArchitect
SJB Architects
Danvers Schulz Holland Architects
Contractor
Multiplex Construction (SA) Pty. Ltd.
Dateof Completion
August 2002
Project synopsis
Built on the site of one of the earliest colonial buildings in South
Australia, the Adelaide Treasury Building rem ains signi cant to the
state culturally, socially and architecturally. The original building
on the site, designed by George Strickland Kingston, a prom inent
statesm an and colonial architect, w as constructed in 1839, only
three years after settlem ent of the colony. In the subsequent 70
years the site underw ent eight m ajor construction phases, w hich
saw the alm ost com plete dem olition of the Kingston building and
the construction of a num ber of additional buildings to accom -
m odate the increasing need for governm ent of ces. Since 1909,
how ever, the site has retained a consistent style and layout.
The com plex today consists of six buildings, constructed pre-
dom inantly of brick and rendered stone and connected via linking
structures. Since the m id-1990s the buildings have been vacant
and neglected, prom pting a private developer to team up w ith the
ow ner, the State Governm ent of South Australia, to rejuvenate the
site and the surrounding neighbourhood by transform ing it into
hotel suites for the M edina Grand chain.
The ow ners aim w as for the building to be converted for a use
that w as com patible w ith its historic fabric. This w as consistent
w ith the view of the developers w ho w anted to create a w orld-
class hotel that w ould retain the buildings historic features. Both
parties realized that the greatest asset the building had to offer
w as its historic signi cance, thus no effort w as spared to ensure
this distinguished building w as fully restored, displayed and
returnedto the public.
The project w as divided into three stages: research, design and
physical w orks. Extensive research w as carried out in order to
determ ine how to best carry out the restoration project and
integrate new building services into the existing fabric. Physical
w orks com m enced on-site in July 2001 and the nal stage of the
project w as com pleted in August 2002.
The revival of interest in the Treasury Building has raised
aw areness about cultural heritage and sparked interest in other
heritage buildings in Adelaide. Im portantly, the restoration of the
building has dem onstrated that it can be econom ically feasible to
convert heritage buildings and that heritage buildings can play an
active part in m odern city life.
The building had been m arred by unsym pathetic t-out w orks that
had resulted in the loss of m uch of the original building fabric and
decorative features. The scope of w orks called for the rem oval of
inappropriate additions, the recovery of historic features and the
careful insertion of m odern services and facilities needed for the
buildings operation as a hotel.
During the restoration w orks, all previous service installations
w ere rem oved as they w ere physically intrusive. For instance, air-
conditioning ducts from the 1970s, w hich had been concealed in
low ered false ceilings, w ere replaced w ith individual air-handling
units. This allow ed the dropped ceilings to be raised, revealing
the original detailed plasterw ork. Sim ilarly, cast iron arches in
one section of the building, w hich had been encased in plastered
colum ns, w ere revealed by rem oving the plaster. The arched
colonnade now form s a unique architectural elem ent w ithin one
of the apartm ents.
Delicate areas of the site w ere quarantined(separated from the
surrounding construction) in order to allow for detailed investiga-
tions and cautious repair w ork. For exam ple, an eight-m etre frag-
m ent of the original building faade w all w as revealed behind a layer
of later m asonry. The soft sandstone w all had been covered w ith a
very hard dash coat w hich had to be m anually chipped aw ay w ith a
1.5 m illim etre tip chisel by a specialist conservation m ason. It now
form s the focal point of the m ain entry lounge. W orkers also uncov-
ered a sm all area rich in old objects, such as glass bottles and ceram ic
plates. Som e of these nineteenth-century artefacts are displayed in
the hotel lounge.
In the new construction w orks, m aterials w ere selected on the basis
of their com patibility w ith the original m aterials. How ever, the nal
nishes w ere deliberately juxtaposed w ith the original fabric, w ith
ultra-m odern ttings and bold w all colours com bined w ith period
architecture to create an eclectic m ix of old and new.
287
Te Medina Grand Adelaide Treasury / 2003
The conservation com m unity w as closely involved during the
project. In addition to conservation architects and archaeologists,
all three levels of the state Statutory Heritage Control w ere in-
volved in discussions regarding proposed restoration techniques.
Statutory Heritage Advisers w ere provided w ith unrestricted
access to the site and w ere invited to participate in discussions
w ith the architects before im plem entation of plans.
The conversion of the building into a hotel has facilitated public
access to the building, especially to areas that w ere previously
highly restricted, such as the form er State Cabinet room . Since the
restoration of the building, public interest in the building has soared,
w ith tours of the com plex regularly booked out.

Interest in the once neglected building is also dem onstrated by
the high occupancy rate since the hotels opening. The hotel
has led to the revitalization of the surrounding area. As greater
num bers of people are draw n to the locality, new business op-
portunities have arisen and shops and restaurants have opened
in the neighbourhood.
Award Citation
Thesophisticatedconversion of thehistoricAdelaideTreasuryBuildingintoa luxuryhotel
complex successfullydemonstrates thecommercial viabilityof reusinghistoricbuildingstock.
Theproject displays exemplarytechnical standards of conservation work, witha thorough
archaeological surveythat has guidedtherestoration andinterpretation work. Modern services
havebeen sensitivelyinserted, respectingtheintegrityof theoriginal fabric. Byopeningthe
buildingtothegeneral public, this conservation project has enabledappreciation for cultural
heritagetodevelopandhas securedan important chapter in thehistoryof SouthAustralia.
288
Thesheer sizeandcomplexityof theproject
resulted in a widevariety of specialist
conservation techniques beingimplemented.
Onceneglected, thesiteis now embraced
bythepublicandhas revitalisedthecity
precinct within whichit sits.
Aboveandtopright: Floor plan and elevation.
Right: The restored entry foyer.
Far right: The former basement cellar now
displays artefacts.
The Virtuous Bridge
290
City map
Opposite: The bridge before and after refurbishment.
Location
Zainul Arin Street, Medan, Indonesia
Size
Cost
US$7,028
ResponsibleParty
Sumatra Heritage Trust
HeritageArchitect
Diagram Consultant
Contractor
Muhammad Zaini
Dateof Completion
April 2001
Project synopsis
Located in M edan, the third largest city in Indonesia, the Virtuous
Bridge crosses the Babura River near the intersection of Zainul
Ari n Street (Calcutta Street) and Gajah M ada Street (Coen
Street) in an Indian neighborhood know n as Kam pong M adras.
The city w as founded as a Dutch plantation centre on Sum atra
and em ployed w orkers from various local ethnic groups as w ell
as from the island of Java. Im m igrant w orkers w ere also attracted
there from m any other Asian countries. Today M edan has a diverse
com m unity w ith European, Arab, Indian, Chinese, Javanese, Batak,
M alay, Acehnese, M inangkabau, Karo and M andailing cultural
in uences. Built in 1916, the Virtuous Bridge re ects this diversity
through the three languages inscribed on its pillars, M andarin,
Jaw i and Dutch.
The bridge com m em orates the legendary m ayor of M edan,
Tjong Yong Hian, a virtuous m an of Chinese descent, w ho lived
from 1850 to 1911. A respected m em ber of the com m unity, he
is rem em bered for his cross-cultural philanthropy. Tjong Yong
Hian and his younger brother, Tjong A Fie, constructed a m osque,
tem ples, a leprosy hospital, school and even railw ays.
Because Tjong A Fie built the bridge in m em ory of his brother
m any people knew the bridge as Tjong A Fie Bridge. Locals also
called it Jew ellery Bridge, because it originally had sparkling
ornam entation. Later the bridge also cam e to be know n as Tjong
Yong Hian Bridge.
W ith four black m arble pillars, golden ornam ents and 16 decorated
lam ps, the bridge had been beautiful and m uch adm ired w hen it
w as rst constructed. How ever, in 2000, the bridge had becom e
very rundow n after years of neglect follow ing its relocation due to
the w idening of Zainul Ari n Street. The text on the m arble pillars
w as no longer legible, the ornam ents had lost their sheen and the
decorated lam ps had been rem oved. Furtherm ore, the history and
m ulticultural signi cance of the bridge w ere no longer know n by
m any of the current residents of M edan.
The restoration of the bridge w as initiated by the Sum atra Heritage
Trust as part of its third anniversary celebration and w as seen as an
opportunity to revive the spirit of m ulticulturalism in M edan. The
projects m ain objective w as to restore the bridge w hile ensuring
that all those involved gained a sense of belonging, celebrating not
only the bridges physical refurbishm ent but harm ony am ong the
different ethnic groups. All w ork w as undertaken by com m unity
m em bers using contributions from local businesses. The project
w as com pleted in three m onths. Upon com pletion, the bridge w as
subm itted for protection under Local Regulation No. 6/1988.
The original condition of the bridge w as established from
photographic records. A crew of local volunteers w as m obilized to
clean up the bridge. The four m arble pillars w ere repaired and one
w as repositioned. The illegible inscriptions w ere repainted. Based
on a photo taken in 1916, the 16 lam ps w ere reproduced and re-
installed on the pillars. The railings w ere restored, w ith m issing
parts reconstructed, and com pletely repainted.
Although a sim ple project in technical term s, involving
predom inantly cleaning and repainting of inscriptions and
ornam ents, a m ajor part of the project w as to help the com m unity
learn m ore about the bridge. A tem porary display board w as
installed during the w orks, until a perm anent interpretation
board w as erected beside the bridge. Designed by a local graphic
designer w ho volunteered his services, the board tells the history
of the bridge and of Tjong Yong Hian in Bahasa Indonesia and
English. It w as the rst public interpretation board ever in M edan
and from the inform ation provided by the board, the im portance
of the bridge has becom e clear to the younger generations of the
M edan com m unity. This board has also paved the w ay for public
education about local heritage.
This project w as very m uch a com m unity effort and not only
w ere a spirit of m ulticulturalism and appreciation of heritage
revived, those involved gained a sense of stew ardship and
belonging. M any sectors of the com m unitybusinesses, religious
291
Te Virtuous Bridge / 2003
institutions, individuals and ethnic associationscontributed in
som e w ay. Consultants and contractors donated their expertise
and tim e. Com panies provided paint, steel and equipm ent.
Cafes and restaurants hosted m eals and snacks, w hile a hotel
donated rubbish bins. Free publicity w as provided by local m edia
outlets and the M edan m unicipal governm ent agreed to provide
electricity for the bridges lam ps inde nitely. The residents living
around and under the bridge have volunteered to m aintain
the structure in the long-term and w ill report to the Trust for
assistance w hen required.
On 29 April 2001, upon the com pletion of the project, the
Sum atra Heritage Trust hosted a street party to celebrate the
successful joint effort. Re ecting the close cooperation of the
citys com m unity m em bers, the food bazaar w as organized by
the local neighborhood, w hile different ethnic groups in M edan
put on cultural perform ances. A photo and sketch exhibition
show cased the new ly restored bridge. The party culm inated w ith
a Chinese dragon dance to the bridge led by the Deputy M ayor,
w here the new interpretation board w as unveiled and the new
lam ps turned on.
Award Citation
Thesuccessful restoration of theVirtuous Bridgestands as a movingtestimonytotheunprec-
edentedcooperation between residents, businesses andgovernment agencies in themulticultural
cityof Medan. Careful historical researchhas been translatedintoa thoughtful restoration
andinterpretation schemethat is rmlyrootedin thecommunity. In theprocess of restoringthe
historiccondition of thebridge, thepeopleof Medan havealsouncoveredan important chap-
ter in their sharedhistoryandawakeneda new consciousness about their local heritage. The
newlyrestoredbridgehas becomea uniquesymbol of thecitys multicultural legacy, andis a
model for futurecommunity-driven efforts in conservinglocal heritagethroughout theregion.
292
Topleft andabove: Elevation drawing and details of the
re-created lamps.
Far left, middleandleft: Moving the lamp base in place.
Applying decorations and inscriptions in three languages.
The lamps after installation.
Catholic Cathedral of
Immaculate Conception
294
City map
Opposite: The main faade before and after
conservation.
Location
16 Caine Road, Hong Kong SAR, China
Cost
US$1,119,100
ResponsibleParty
Reverend Dominic Chan
HeritageArchitect
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.
Pacic Construction Ltd.
Dateof Completion
8 December 2002
Project synopsis
Constructed betw een 1883 and 1888 and in continuous use
for over 115 years, the Catholic Cathedral of the Im m aculate
Conception is a leading centre of religious activities in Hong Kong
SAR, a source of inspiration to the com m unity and a sym bol of
religious diversity.
Designed by Craw ley and Com pany of London, the Cathedral is an
im posing Gothic Revival style building in a cruciform shape w ith
a tow er at the intersection of the nave and transepts. The building
is constructed predom inantly of bricks and stone over a granite
platform and is supported by external buttresses. The Cathedrals
original tim ber roof w as replaced w ith a concrete roof in 1952
and the m ain altar w as reconstructed in the early 1980s. W ith
four m ain chapels, a collection of statues and relics and intricate
stained glass w indow s, the Cathedral is a signi cant attraction on
the Central district heritage w alk. In view of its historical, architec-
tural and cultural signi cance, the Cathedral w as listed as a Grade
I Historical Building by the Antiquities Advisory Board in 1981.
The Cathedrals conservation program m e began in 1997 w hen
m ajor roof leakages w ere reported. The overall goals w ere to
preserve the Cathedral as a living structure and ensure that the
needs of the com m unity continue to be m et w hile enhancing the
character and signi cance of the building. The project focused
on reinforcing the structural stability of the building, restoring
historic and artistic elem ents and im proving building services.
Spanning a period of ve years, the project w as com pleted in
Decem ber 2002. It has revived com m unity interest in liturgical art
and architecture and has becom e a m odel for the restoration of
other religious buildings.
Thorough research and docum entation established the historical
and liturgical signi cance of the Cathedral before any construction
plans w ere m ade. M onitoring checkpoints w ere set up throughout
the building and underground infrared scanning w as carried out
to m onitor changes in the w ater level. Defects in the structure
w ere analysed and an array of options carefully discussed and
tested before deciding on repair m ethods. For instance, in repairing
the roof, w hich w as the m ajor part of the restoration project, a
w aterproo ng liquid m em brane w as applied over a section of the
roof and its perform ance w as tested for tw o years before it w as
im plem ented for the w hole roof.
In conform ity w ith the Venice Charter, the project rem oved incom -
patible elem ents in the nam e of architectural integrity. Specialists
w ith traditional skills w ere appointed to undertake replacem ents
and repairs using com patible m aterials and techniques. For ex-
am ple, the blue m osaic backdrop in the niche for the Statue of the
Im m aculate Conception that had been added during the 1980s
w as rem oved. Sim ilarly, the railing previously installed in the
grotto w as rem oved and redesigned so as to be m ore com patible
w ith the setting. Concrete paving in the front portico, sacristy
and the side entrance w as replaced w ith granite paving sim ilar
to the granite of the Cathedral pillars. This paving w as laid by
a specialist m ason in the traditional m anner. The Statue of Our
Lady of Lourdes w as repaired and redecorated by one of the few
surviving local artisans w ith traditional skills in restoring statues.
So as to acknow ledge the im portance of Chinese m artyrs and
saints, the Chapel of Our Lords Passion w as renam ed the Chapel
of Our Lords Passion for the Chinese M artyrs. A Chinese artist
w as com m issioned to replace the geom etric design on the stained
glass w indow s w ith new im ages depicting the Chinese m artyrs. In
keeping w ith the character of the building, the new stained glass
w indow s w ere produced using traditional stained glass techniques
and craftsm anship.
In order to enhance the am bience of the Cathedral the lighting
and acoustics of the building w ere redesigned to enhance liturgical
functions. The Cathedral w as zoned into different sections in order
to achieve the desired lighting effects, w ith the m ain 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 w ere highlighted w ith lighting.
To ensure the ongoing m aintenance of the structure, the ad hoc
restoration com m ittee w as given a perm anent role, charged w ith
295
Catholic Cathedral of the Immaculate Conception / 2003
overseeing regular m aintenance of the building in a m anner w hich
w ould reduce the need for expensive future repairs, w hile at the
sam e tim e allow ing the building to develop its patina of age.
Project m anagers sought to ensure that all levels of the church
com m unity w ere actively involved in the project in order for the
restored Cathedral to truly m eet the needs of the stakeholders.
Inform ation about the renovation w as publicly displayed and
consultation sessions w ere held to enable parishioner feedback.
Various age groups of the parish com m unity w ere invited to
evaluate such aspects as the lighting design and to test the
illum ination and acoustic levels.
A steering group w as form ed to appeal for donations and to
organize fundraising events such as w alkathons. Donations w ere
m atched on a dollar-to-dollar basis by Cheung Kong Property
Developm ent Ltd.
The system atic and sensitive approach to conservation planning
and the involvem ent of the com m unity has m ade this project a
m odel for the restoration of other historic churches and religious
buildings, as w ell as for the construction of new churches in
Hong Kong.
Award Citation
Thepreservation of theCathedral of theImmaculateConception has revitalized this
religious landmark, whichhas a historyof continuous usefor 115 years. Thenon-intrusive
investigation of thebuildingandthesystematicprocess of testingpossiblesolutions displays
technical competenceanda keen understandingof thecomplexityof workingwithhistoric
buildings. Byundertakingnecessaryrepair work andupgradingtheservices in theCathedral,
theconservation project has not onlyconsolidatedthephysical historicfabricof thebuilding,
but has alsorenewedthespiritual lifeof HongKongs Roman Catholiccommunity.
296
Responsibilityfor thecareandupkeepof
theCathedral ispassedontoeachsucceeding
generation. Goodmaintenancebeginswith
goodhousekeeping. Theproject remindedthe
churchcommunitythat pro-activeprevention
andrecticationof buildingdefectsshould
bebasedontheprincipleof a stitchin
timesavesnine.
Above: The Greek cruciform plan with 32
columns.
Topright: Section through the nave.
Right: Inappropriate nish was removed from
the side chapels.
Far right: The refurbished altar at the nave
and transept intersection.
Catholic Cathedral of the Immaculate Conception / 2003
297
Technical Brief
Lighting and acoustic design
The Cathedral w as rst illum inated by candlelight, then by gas
lam ps and, eventually, by m odern electrical ttings, w hich w ere
introduced during num erous phases of subsequent refurbish-
m ents.
Prior to the renovation of the Cathedral the lighting w ith respect
to qualities such as uniform ity, lighting level and glare control
w as not suitable for the am bience of liturgical cerem onies. Rather,
the aesthetics of the lighting equipm ent appeared to have been
chosen to m erely m eet the functional illum ination requirem ent.
In 2001 local lighting experts w ere invited to subm it ideas for
im proving the lighting design. The lighting im provem ents w ere
as follow s:
The m ain altar w as given a dom inant lux level, appropriate for
the altars position as the focus of liturgical cerem onies.
Indirect lighting w as established in the rest of the church, w ith
a relatively low and uniform lux level.
Architectural features such as arches, roof trusses, m ouldings
a nd the liturgical art and statues w ere highlighted.
After long discussion am ong the various stakeholders, including
the parish priest, the parish com m unity, the technical advisers
and the lighting consultants, the decision w as m ade to:
Install high colour rendition, energy saving, and w arm colour
m etal halide lam ps for the general upw ard oor lighting, to cre-
ate a peaceful am bience.

Above: Services continued during
restoration works.
Left: The new scheme provided better
illumination and highlighted the interior
Gothic arches.
Use 100% colour rendition tungsten halogen lam ps for the
accentuation of statues and arches.
298
Use different lum ination, w ith a variety of photom etrics, to
achieve the lighting effect required in the celebration of the
Eucharist and other liturgical cerem onies.
Ensure visual com fort, uniform ity, low contrast, good glare
lim itation and energy efficiency as w ell as ease of m aintenance.
Choose lum ination carefully so that they blended w ith the archi-
tecture of the Cathedral, keeping the aesthetic disruption of the
ttings to a m inim um .
Arrange zoning and control to suit the various liturgical cerem o-
nies yet put aside m oney for expensive and sophisticated dim -
m ing system s. The circuitry and control w ere arranged w ith the
greatest care.
In Septem ber 2002, a trip to M acao SAR w as organized to study the
lighting effect in St. Josephs Sem inary, St. Dom ingo Church and
other sites.
As in m any large-scale churches, the Cathedral w as a huge
challenge for acoustic im provem ent as the large volum e of air
and extensive re ective surfaces m ade the church acoustically
reverberant. Echoes w ere a com m on problem for the congregation
as they struggled to hear the serm on and join the choir.
The m ost com m on solution, using sound absorption treatm ent to
decrease the reverberation over ve seconds (RT60 m id-band as
m easured), w as considered inappropriate as the introduction of
w all insulation panels w ould signi cantly affect the character and
atm osphere of the Cathedral. This option w as also expensive.
A specialist acoustic consultant w as asked to assist in the design of
a new system . The design objectives w ere:
Control echoes to ensure clarity of speech.
Distribute sound to ensure an even level of sound at all loca-
tions in the Cathedral.
High quality audio products of neutral character to keep the
visual im pact to a m inim um .
Ensure the new audio equipm ent w ould cause least intrusion
in the Cathedral and be reversible.
The suggested solution w as to use the line array principle to focus
a w ide but very at energy pattern so as to concentrate the sound
and to lim it the energy spilling into the upper part of the church
w here large re ective w all surfaces w ould re ect unw anted sound
energy. The tw o line array colum n speakers, each consisting of 12
sm all speakers, w ere set up at the m ain colum ns in front of the
m ain altar at listeners ear-height to test if the system w ould m eet
the requirem ents before com m issioning the audio expert. The
church com m unity and priests w ere invited after the Sunday m ass
to see and listen to the test perform ance and evaluate its possible
effects on the historic building.
To devise an optim um design for the sound system , acoustic
m odeling com puter program s w ere used. A com plete com puterized
3D m odel of the interior of the Cathedral acoustics w as built and
different audio system design approaches w ere tested. The sound
levels and speech intelligibility of the Cathedral w ere recorded at
all spots and inputted into the m odel for com parison. Parish priests
and m em bers of the repair com m ittees w ere invited to the audio
studio in Decem ber 2000 to speak into the m icrophone, hear the
sim ulation and com pare the different designs according to different
speakers placem ents, before ordering the audio equipm ent.
W ith the system installed, the results have proven consistent w ith the
com puter sim ulations and the effect of reverberation has been reduced
dram atically, thus achieving the required speech intelligibility.
Adapted fromCatholic Cathedral of theImmaculateConception
UNESCOAsia-Pacic HeritageAwards entrysubmission
Top, middle, above: Lighting schemes for the
interior and main faade were modeled using
computer programs.
Dalongdong Baoan Temple
300
City map
Opposite: Before the restoration the main hall
was obscured by a modern structure.
Location
61 Hami Street, Datong District
Taipei, China
Size
Cost
US$7,430,000
ResponsibleParty
Liao Wu-Jyh
HeritageArchitect
Gao Er-Pan, Wang Song-Yong, Tsai Ming-
Che, Chu Yao-Qin, Wang Huey-Jiun
Contractor
Committee of Historic Relics Restoration of
Dateof Completion
February 2002
Project synopsis
Established in 1805, the Dalongdong Baoan Tem ple enshrines
deities from local folk religions, the m ost im portant being Baoshen
Dadi, the God of M edicine. Built to ensure the w ell-being of the
settlers on the island, the tem ple w as nam ed Baoan, literally
m eaning protection. The land on w hich the tem ple is built w as
donated by the W ang clan. The tem ple is a tim ber and m asonry
structure w ith elaborate ornam entation. It faces south and
consists of three m ain halls and tw o w ings. Com bining different
architectural styles, including northern Chinese, southern
Fujianese and Hakka, the tem ple em bodies ethnic diversity.
Prior to this restoration, the tem ple had been renovated four
tim es, m ost recently in 1967. Since then few repairs w ere carried
out and the tem ple had deteriorated. By the early 1990s, it w as
in a highly dilapidated condition. A banyan tree had sprouted up
on the ridge of the m ain hall. Term ite infestation, roof leakages
and hum an im pact, such as build-up of incense soot, all had a
deleterious effect on the internal structure and the decorative
w orks. Incom patible m odern elem ents had also been added
over tim e, such as a platform in front of the entrance hall and a
reinforced concrete w ater tow er.
In 1994, the Baoan Tem ple Com m ittee proposed a restoration plan
to repair the roof and w ooden structures, rem ove inappropriate
elem ents and restore religious ornam entation. W ork began in 1995,
w ith the m ost vulnerable parts of the com plex being restored rst.
Entirely funded by the tem ples follow ers, the restoration project
w as com pleted in 2002.
Traditionally the tem ple w as not only a place of w orship but also
a com m unity hall. Since the renovation, its traditional function
has been revived and the tem ple is now used as a gathering place
by m any com m unity groups, for exam ple reading groups, English
conversation classes, the Baoan Tem ple Chinese Orchestra and the
Cultural History W ork Association.
The goal of the project w as to restore the original spatial layout
and structure w hile m aintaining the highest level of authenticity.
The project em phasized the recovery of original m aterials w here
possible, and incorporated the use of m odern conservation
technologies w ith traditional m aterials and construction m ethods.
Team s of craftspersons w ere recruited for the project, including
carpenters, roof specialists, painters and artisans. New m aterials
and techniques w ere perm itted only in special circum stances, such
as for the provision of m odern services, and only if com patible
w ith the preservation of the historic fabric of the tem ple.
In keeping w ith conservation protocols, careful docum entation
w as undertaken throughout the project to record the buildings
condition, the historic fabric and the repair w orks. For exam ple,
w hen the paint from recent renovations w as rem oved, the original
paintings underneath w ere photographed as a reference before
the artw ork w as restored. The structural system of the tem ple w as
also carefully m odeled w ith 3D softw are to better understand the
stresses on the tim ber fram e. The strength of the w ooden m em bers
w as tested using non-invasive ultrasonic techniques.
Prior to the com m encem ent of w orks, a protective structure w as
erected over the building in order to protect it during the course
of the project. Boards w ere erected to protect signi cant pillars
and w alls, w hile projecting w ood carvings w ere w rapped to avoid
inadvertent dam age.
The rst stage of the construction w orks included the rem oval of
incom patible elem ents, such as the 1950s-era canopy in front of
the m ain hall. The original stone paving in front of the entrance
hall w as uncovered, w hile auxiliary buildings such as the bell
pavilion w ere restored to their original tim ber structure.
The roof of the dilapidated m ain hall w as disassem bled to allow
for the repair of rotten w ooden m em bers, w hich required the
stabilization of the decorative roof ridges, rem oval of roof tiles
and the step-by-step rem oval of the beam s, rafters and purlins.
Replacem ent tim ber parts w ere m illed using hand tools and
hoisted back into position, and the roof reassem bled.
Dalongdong Baoan Temple / 2003
301
In the interior, the later use of m odern paints, non-ventilating
doors, cem ent plaster and ceram ic bricks in the w alls and oors
had led to high levels of hum idity, w hich exacerbated the term ite
problem . They w ere rem oved, either revealing the original
m aterials, such as the intact original brick w alls, or replaced w ith
traditional m aterials. The replacem ent door panels w ere new ly
carved w ith the original perforated latticed designs. M odern
concrete colum ns w ere rem oved and replaced.
The tem ple is renow ned for its elaborate decorative w orks. The
principle of m aintaining original colour and appearanceguided
the repair of the colourful frescoes, m oulded plaster w orks,
intricate w ood carvings, glazed ceram ic ornam ents, golf leaf and
lacquer appliqu, and porcelain m osaics. Previous attem pts at
restoring the paintings during earlier renovations had produced
unsatisfactory results so experts w ere invited from Japan and
Austria for this project. A w ood-carving expert from Zhangzhou
w as also brought in to repair the w ood carvings. W here the
original pieces w ere beyond repair, replicas w ere created using
cam phor w ood.
In the restoration of the intricate chien nien (porcelain m osaic)
roof ridge decorations, the glass and acrylic fragm ents used in a
previous restoration w as replaced w ith the traditional porcelain
bow l shards. Likew ise, a lim e-based bonding agent w as produced
Award Citation
Theconservation of the1805 DalongdongBaoan Templerepresents a major technical
accomplishment andis tobecommendedfor its ambitious scopeandthedepthof its conservation
work. Theproject has taken a balancedapproachbetween usingmodern scienticconservation
methods andtraditional architectural anddecorativematerials andskills, in order torecover
as muchof thehistoricbuildingfabricas possible. Themeticulous attention todetail and
thegenerous sponsorshipof theproject has resultedin thecomprehensiveconservation of the
structures religious andarchitectural signicance.
302
Top: The elevation shows the richly
ornate faade.
Above: Floor plan.
Left: The crew hoists up a roof beam.
on site in lieu of cem ent m ortar. This consists of oyster shell
ash m ixed w ith glutinous rice, black sugar, w hite ash and linen,
w hich is im m ersed in a tank until it reaches a thick and sticky
consistency.
M odern facilities such as w ater pipes, electricity, air-conditioners
and a re control system w ere installed. In order to m inim ize visual
disturbance, they w ere buried underground and are controlled
through a centralized com puter system . Efforts w ere also m ade
to protect the building against term ites and m ildew. Term ites w ere
considered to be the m ost serious problem . New w ood m em bers
w ere soaked in pesticide. Old tim ber w as injected w ith pesticides
and in areas w here injections w ere not possible, such as betw een
the rafters and beam s, a spray treatm ent w as used. Inspections
for term ites have becom e routine and reapplications of pesticides
have been scheduled for every ve years.
During the restoration process the com m unity gained invaluable
know ledge about conservation both through their ow n activities
and through interaction w ith restoration experts. In addition,
a series of sem inars about cultural relics w as conducted in the
tem ple grounds, creating opportunities for the exchange of
know ledge betw een overseas and local consultants.
The use of the tem ple grounds for com m unity gatherings and
classes has led to the revival of local traditions. Furtherm ore,
classes such as Traditional Puppet Show Cam phave breathed
new life into once-forgotten skills and perform ing arts.
M edia coverage of the restoration w orks and about the renew ed
tem ple has sparked tourist interest in the area, increasing the
possibilities of developing tourism -related businesses and
creating new econom ic opportunities for the local com m unity.
Gota de Leche
304
City map
Opposite: The ne Italianate building before
and after conservation.
Location
859 S H Loyola Street, Sampaloc, Manila
Philippines
Size
337 square metres
Cost
US$71,201
ResponsibleParty
La Proteccion de la infancia, Inc.
HeritageArchitect
Augusto Villalon
Liliane Rejante Manahan
(Wall nishing consultant)
Contractor
Felicisimo M. Consuelo
Dateof Completion
September 2002
Project synopsis
Situated in the congested university beltof M anila, the Gota de
Leche building is an exceptional structure surrounded by m odern
m edium -rise buildings of nondescript architecture. Com pleted in
1917, it is one of the few rem aining buildings designed by Arcadio
Arellano, one of the founding fathers of Philippine architecture.
M odeled after the Ospedale degli Innocenti, an orphanage in
Florence created by renow ned Renaissance architect Brunelleschi,
the Gota de Leche is an exam ple of a successful adaptation of
Italian Renaissance architecture to the tropics. The building
incorporates an arcaded loggia w ith glazed terracotta spandrels,
providing a w ide verandah that shades the large w indow s of the
building from the tropical sun. Since its construction in 1917, the
Gota de Leche building, w hose nam e m eans Drop of M ilk, has been
the hom e of La Proteccion de la Infancia, a charitable organization
providing free pediatric care and m ilk to indigent children.
W hile the Gota de Leche has long been regarded as an icon in
Philippine architecture, in recent years it had begun to show signs
of signi cant decay and, due to high land values, the site w as a
target for real estate developers. W hile m ost heritage buildings in
M anila are being dem olished to m ake w ay for m odern structures,
the ow ners of Gota de Leche w anted 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 dam age during W orld W ar II,
so the foundations and structural system of the building w ere
still in sound condition at the tim e of restoration so no m ajor
structural w orks to the m ain building w ere required. As a result of
the project, the elegance of the Gota de Leche building has been
restored, w ith the building now sitting in stark contrast to the
urban decay of the surrounding environm ent.
Authenticity w as the m ain principle guiding the restoration
process, so the rst step w as to rem ove additions and changes
m ade 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 w ith three other structures built to
house classroom s used by the neighbouring university. These w ere
rem oved, thereby re-establishing sightlines from the street to the
historic building as w ell as providing vehicular access to the rear
parking lot. The com plexs historic layout w as further enhanced by
the restoration of the front garden w ith period landscaping.
In the interior, the full m ezzanine on the ground oor w as
replaced by one covering only half the area. Dropped ceilings
installed during the 1950s for air-conditioning purposes w ere
also rem oved, revealing the original w ooden ceilings, w ith the
m ouldings, carving and exposed trussw ork com pletely intact.
M ost of the m aterials used in the original construction are still
available in the Philippines today, so alm ost all m aterials used in
the restoration process w ere the sam e as the original. The ooring
tiles, for exam ple, w ere replaced w ith the sam e tiles as the originals,
w hich w ere even produced by the sam e com pany. Sim ilarly, the
w ooden-fram ed kapis (placuna placenta) shell w indow s, a typical
vernacular feature, w ere also duplicated. No longer available in
M anila itself, they w ere sourced from Albay province w here the
traditional skills and raw m aterials still exist.
Local construction skills w ere revived and conservation know -
how w as transferred to the builders as part of the process. The
general contractor selected for the project w as him self a skilled
w ood craftsm an w ho had experience in a num ber of previous
restoration w orks and w as therefore fam iliar w ith the need
for em phasizing authenticity in the w orks. For exam ple, in the
repair and replacem ent of broken grillw ork, the project architect
w orked w ith local iron forgers. Based on an exam ination of the
existing exam ples on site, they em ployed the traditional m ethod
of attaching steel bars w ith rings and riveting, along w ith the
m anufacture of cast lead decorative elem ents. Likew ise, in order
to undertake hand- nishing of w all and ceiling surfaces, local
305
Gota de Leche / 2003
painters w ere trained by the heritage consultant in classical w all
nishing techniques.
Open for public access, this landm ark building continues to be
used for a charitable function. It now also houses the rst national
centre for w om ens rights, w hich provides counseling services for
local w om en. A perm anent exhibition inform s users and visitors
about the history of the building. The re-landscaped front garden
is a w elcom e green space in the congested and polluted inner-
city neighbourhood. Providing a venue for various com m unity
activities, the site continues to have social signi cance not only
for nearby residents but also for people from around the city.
The restoration project has dem onstrated to the public the
m odern viability of heritage structures, and has thereby raised
public aw areness of the value and use of historic buildings, as an
alternative to dem olition. In M arch 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 signi cance
in October 1977.
Award Citation
Thecareful restoration of the1917 Gota deLechebuildingprovides a welcomemodel for
preservingManilas richarchitectural andsocial history. Theremoval of unsympathetic
additions, therestoration of theoriginal landscaping, andtheuseof traditional crafts in
repairingthedilapidatedbuildinghavebeen undertaken within a clear andlow-intervention
conservation framework. Returningthebuildingtoits original appearanceandprominencein
theUniversityBelt neighborhoodprovides a worthyandappropriatesettingfor thesustained
operation of Gota deLeches charitableprogrammes, whiledemonstratinga commendable
commitment toadvancingthelocal conservation agenda.
306
Gota deLechedemonstrates that oneof
themost important ways toimprovethe
qualityof Manila lifeis througharchi-
tectural restoration. It is hopedthat this
project will set an examplefor other proj-
ects in Manila andtherest of thecountry.
Top: Ground oor plan.
Topright: Side elevation showing the colonnade.
Right, far right: Restored upper landing area,
which was marred by decay and grafti before
conservation.
1
2
Excellent Project
Baltit Fort, Karimabad, Hunza Valley, Pakistan
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
Gongziting, 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
310
Village map
Location
Hunza, Pakistan
Size
5,000 square metres
Cost
US$1,034,482
ResponsibleParty
Baltit Heritage Trust (BHT)
HeritageArchitect
Aga Khan Trust for Culture
Contractor
Aga Khan Housing Board for Pakistan
Dateof Completion
October 1996
Context
Baltit Fort is situated dram atically on an outcropping overlooking
Karim abad village in the Hunza valley. Now part of the Northern
Areas of Pakistan, the Hunza w as once a princely state ruled by a
succession of M irs until 1974. The valley, located betw een China
and India, is dom inated by the Ultar glacier and Rakaposhi, one of
the highest peaks in the w orld.
A m assive stone structure w ith intricately carved tim ber details,
the Fort has stood for centuries as the sentinel to the valley,
protecting the traditional settlem ents w hich are gathered below
it. As an architectural m onum ent and the residence of the form er
ruling fam ily of the Hunza, it form s a signi cant part of the
cultural heritage of the valley and of Pakistan.
Although still rem ote, the area is experiencing a rural to urban
transform ation w hich 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
im portance of preserving the integrity of the cultural and natural
heritage in the context of sustainable developm ent.
Building history
By local accounts, Baltit Fort is believed to date back over 700
years w hen it form ed part of a royal dow ry for the m arriage of
a princess of Baltistan to the reigning prince of Hunza. Radio
carbon testing has con rm ed this date. The earliest historic
docum entation w as undertaken by occupying British forces in the
late nineteenth century and provides valuable reference of the
historic state of the fort in w ritten and photographic form .
The plan of the structure show s that it w as originally built around a
core of one or tw o forti ed houses, w hich then evolved into a fort.
Over tim e, a second storey and subsequently a partial third storey
w ere added. Until 65 years ago, the fort rem ained the residence of
the M irs of Hunza and w as only vacated w hen the last M ir and his
fam ily m oved to a m odern residence below the village.
Project history
In 1989, the form er M ir of Hunza donated the fort to the Baltit
Heritage Trust (BHT), a com m unity-based public organization
w hich w as established by the Governm ent of Pakistan for the
purpose of ow ning and operating the fort. This donation to a
public entity enabled the Aga Khan Trust for Culture (AKTC) to
sponsor the restoration project. The w ork w as undertaken by the
Aga Khan Cultural Service Pakistan (AKCSP), w hich is the operating
arm of the Historic Cities Support Program m e (HCSP) of the AKTC
in northern Pakistan.
By that point in tim e, the building condition had deteriorated,
facing serious structural and geotechnical problem s from the steep
slope and lack of soil stability. The project had to overcom e m ajor
logistical challenges due to the rem oteness of the area and the
lim ited access to the site. The dif culty w as further com pounded
by the discovery of signi cant structural defects during the course
of w orks. The project w as undertaken over a six-year duration, and
w as com pleted in the spring of 1996.
In keeping w ith the m andate of the AKTC, the project aim ed to
prom ote both heritage conservation and cultural developm ent
at the sam e tim e. The project w as part of a larger program m e
to safeguard the cultural heritage of the m ountainous regions
through the inventory and preservation of historic m onum ents
and traditional settlem ents. The revival of cultural heritage w ould
allow it to becom e an instrum ental tool to im prove the living
standards of the local residents and revitalize com m unity life
around the fort. Proactive heritage m anagem ent w ould enable
the local com m unity to bene t from new incom e and enterprise
opportunities, for instance, from tourism developm ent and
handicraft prom otion.
The project adopted a grassroots conservation approach w hich
allow ed heritage concerns to be integrated seam lessly into
the com m unity developm ent agenda. For exam ple, traditional
311
Baltit Fort / 2004
livelihoods w ere revived by training local builders and w oodcarvers
in vernacular construction and w oodw orking skills.

At the sam e tim e, in addition to supporting traditional
construction know -how, the project also aim ed to introduce and
dissem inate international conservation practices in the country.
Architects, engineers and craftsm en bene ted from on-site
training, w hich w as supplem ented by additional courses overseas
at York University and ICCROM .
The physical shell of the fort w as stabilized through strengthening
bearing w alls, oors and roofs. The buildings tim ber cage structure
w as reinforced to w ithstand seism ic shocks and continued
w eathering. M inor interventions and the installation of m odern
services w ere required to convert the building into its new use as
a m useum and cultural centre.
and materials
The conservation of Baltit Fort w as planned in stages. The m ost
urgent task w as to identify and then rem edy the structural problem s
related to the foundations and load-bearing w alls. The structural
stabilization then allow ed for the subsequent conservation of
architectural fabric and nishes. The stabilization w orks w ere often
undertaken in conjunction w ith repairs to the fabric. For instance,
w hile a w all at the south end w as still being underpinned w ith new
foundations, the em ergency stairs at the north end w ere patched
and w hitew ashed. Finally, new elem ents required for the m odern
use and safety of the structure w ere inserted.
To enable w orks to be undertaken in parallel, the fort w as divided
into 13 w orkstations w hich operated as structurally-independent
units. Each station com prised a portion of the m ain facade and
the set of room s located behind it. At each of the stations, w ork
progressed through the stages of w ork in the sam e sequence,
beginning w ith tem porary and preparatory w orks, follow ed by
reinforcem ent of the foundations. Next, w ooden w all elem ents
form ing the structural cages w ere restored. This w as follow ed
by the consolidation, replacem ent or reinforcem ent of stone and
Left andabove: The fort complex before
and after conservation.
312
Topleft andright: The projecting balcony
Above: The oor plan shows the intercon-
nected rooms and courtyards.
Opposite: Cross section through the fort.
m ud m ortar used as in ll in the w alls. The surrounding retaining
w alls w ere also reinforced. Finally, roofs and oors w ere restored
or replaced, and nishes w ere reinstated. W henever possible,
traditional construction techniques and m aterials w ere used for
repairs. Sam ples of the original m aterials w ere taken from the
w alls, oors and ceilings for investigation and to be preserved
for future study. Based on the studies, m atching local stone,
m ud and tim ber w ere selected. The traditional m aterials have the
advantage of being locally available, affordable and providing
good therm al com fort. Over centuries of use, they have proven
to be both earthquake resistant and long-lasting. M oreover, local
builders and artisans w ere m ostly fam iliar w ith these m aterials
and techniques. The restored building show cases years of hard
w ork by a dedicated group of m asons and w orkm en from Hunza
and adjoining areas.
The exterior facade of the fort w as m aintained w ith its characteristic
soft w hite render, w hich dates back to approxim ately 1900 w hen
313
Baltit Fort / 2004
Award Citation
Therestoration of themajestic700-year-oldBaltit Fort exemplies excellencein large-scale
conservation practice. This challengingproject was therst of its kindin northern Hunza,
reversingthetrendof neglectingheritage, andbecominga model for therevitalization of other
historicstructures in theregion. Themonumental woodandmasonrystructurewas carefully
repairedusinga combination of traditional local knowledgeandstate-of-the-art conservation
techniques. Theforts restoration has fosteredtherevival of traditional buildingtrades, while
an associatedhandicrafts project is providingimprovedlivelihoodopportunities in thearea.
In its new useas a cultural centreandmuseum, thefort attracts thousands of visitors tothe
provinceandhas contributedtoreinvigoratingthelocal communitys pridein their heritage.
M ir M oham m ed Nazim Khan had the w alls w hitew ashed, possibly
under British in uence. Discussions ensued about the possibility
of returning the fort w alls to their traditional state, exposing the
tim ber and rubble structure, or their later nish of m ud render. It
w as ultim ately decided that the w hitew ashed facades, providing
a dram atic contrast against the grey m ountainside, had becom e
one of the distinguishing characteristics of the fort, and should
therefore be retained.
In certain cases, m odern techniques w ere required w hen the
traditional technologies could not achieve adequate levels of
safety. Follow ing considerable research and experim entation, it
w as deem ed necessary to use m odern tie ropes, soil-reinforcem ent
and stabilization techniques, and w ood preservatives. Indeed,
the use of Para l tie ropes and Geo-m esh soil-reinforcem ent
technology w as the rst application of these technologies
in historic buildings anyw here in the w orld. None of these
conservation w orks involved alteration of the original structure
or its proven resistance to earthquakes.
W hen new architectural elem ents w ere required, such as the
m etal grill oor and the em ergency staircase, they w ere fashioned
from m odern m aterials in a contem porary design and inserted in
w ays sym pathetic to the original structure. All m odern insertions
w ere designed to be irreversible w ithout dam aging the adjacent
original fabric. A new suspended oor w as added in the area
planned for use as the public library, and allow s occupants to
inspect the underlying archaeological features uncovered during
excavation w orks. The project also installed m odern electric and
plum bing services, a sm all pantry, toilets and an em ergency exit.
The fort w as converted to house a m useum 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, ve old houses in the im m ediate vicinity of the fort w ere
acquired and restored to accom m odate an exhibition of traditional
w ays of living, a coffee shop and a sm all adm inistrative of ce. The
functions, exhibitions and interior t-out w ere carefully designed
to be com patible w ith the forts form er use and to highlight its
unique historic character.
314
Important issues
Since this w as the rst conservation project of this scale to be
undertaken in the Northern Areas, it w as conceived as a learning
process for everyone involved. To m axim ize the long-term bene t
from the project, the site w orkers, m asons and other craftsm en
w ere all draw n from the local com m unity. The range of conservation
issues w hich em erged through the course of the project required
careful consultations and innovative approaches from both the
craftsm en and the professional consultants. Hunzas distance
from regional adm inistrative and nance centres in Karachi, as
w ell as from the AKTCs headquarters in Geneva, added operational
com plications w hich had to be overcom e by the team .
The BHT ow ns and operates the Baltit Fort. A team of professionals
looks after all aspects of operations and m anagem ent, including
repair and m aintenance. Additionally, a reserve fund has been
created for the forts upkeep and em ergencies. Facilities in the
m useum and library are continuously enhanced and im proved
in order to diversify incom e opportunities. M eanw hile, the local
com m unity is responsible for m aintaining the surrounding built
environm ent and the road leading to the fort, organizing cultural
festivals and ensuring security.
Project impact
The restoration of the fort has transform ed Baltit into a focus
of interest in the Northern Areas, w hile lending local culture a
renew ed legitim acy in the face of pow erful 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 betw een international
institutions in need of a base for their eldw ork in the region.
315
Baltit Fort / 2004
The project w as also seen as an opportunity for training young
conservationists from Pakistan, as w ell as for the revival of
traditional crafts. For instance, the w oodcarving 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 enhancem ent and training
program m es. A reservoir of conservation expertise has thus been
created w hich w ill bene t other projects in the Northern Areas
and beyond.
In term s of direct econom ic bene ts, in the rst eight years since
com pletion of w orks over 120,000 visitors have visited the fort,
w ith foreigners accounting for 40 percent of this group. These visits
translate into incom e of over US$300,000. In indirect term s, the
restoration of the fort has been a catalyst for associated projects,
such as the Karakoram Handicrafts Developm ent Project, w hich
focuses on providing incom e-generating opportunities for local
craft w orkers through prom otion of the traditional handicrafts
of the region. Currently, this project provides additional incom e
to m ore than 3,000 w om en and direct em ploym ent to over 70
w om en, w hile its rehabilitation centre provides w ork therapy to
60 disabled m en.
As a result of the restoration, aw areness about and respect
for cultural heritage has im proved. In particular, traditional
settlem ents are now recognized for their ecologically-friendly
nature and ef cient land use patterns. Consequently, dem and
for conservation of architecturally and historically signi cant
buildings and settlem ents has increased in the region. Traditional
building techniques and skills are now in high dem and. The
m ost signi cant im pact of conserving the fort on m ainstream
developm ent policy is that cultural heritage has been recognized
as an effective tool to achieve sustainable developm ent.
Opposite
Top: Musicians perform on the restored
terrace.
Bottomleft andright: Ground oor entrance
before the restoration.
Aboveleft, middle: The waiting room of the
former Mir before restoration. Exhibits
feature displays of local crafts and clothing.
Aboveright: Kitchen utensils and agricutural
tools displayed on the ground oor.
316
Technical Brief
Foundation consolidation
One of the m ajor restoration issues concerning Baltit Fort w as
the consolidation of its foundation. Early investigations show ed
that the m ost signi cant defects of the fort resulted from the
interaction of the structure w ith the ground. Som e of these
defects are the result of the siting, since the earliest phases of
the building w ere erected on top of the m oraine, w here the soils
are hard in surface and feature large boulders. Deep foundations
are required on slopes w here in situ soils are loose, and thus
the foundations w ere designed also to act as retaining w alls.
Sim ilarly, deep foundations w ere required in areas w here ll had
been deposited to extend the size of the site, or throw n off the
roofs onto the slopes during m aintenance. In som e instances
ground w orks did not exist, such as in the case of later additions
that w ere put up as m inor extensions or room s built over pre-
existing retaining w alls of unknow n foundation character.
Generally, the original foundations w ere roughly form ed w ith
rubble stone and w ith longitudinal tim ber beam s placed casu-
ally. The overall footing system is therefore fairly discontinuous
from the w alls above. The increased load pattern of additional
room s helps to explain the structural deform ation w hich oc-
curred at different tim es throughout the history of the fort.
The greatest problem s w ere presented by the m ain w est faade,
w hich show ed active and old signs of severe tilting and bow ing.
The com plex series of w alls w hich com prise the w est faade w as
rst stabilized at the tw o ends, thereby helping to anchor the
m iddle section w here the problem s w ere the greatest. The w est
w all, being less than 40 centim etres w ide, had to be restrained
w ith tem porary Para l ropes across to the other side of the fort.
This perm itted excavation of the high ground-level in the room s
behind, and the w alls w ere dism antled as necessary and then
perm anently tied or slightly pushed back. The in ll of the w alls
could then be replaced, and the inside ground levels re-estab-
lished, incorporating Geo-m esh reinforcem ent. This is a high-
strength polym er m esh that helps redistribute horizontal loads as
vertical forces, thereby relieving lateral pressure on the w alls.
The south faade w as stabilized w ith the insertion of new
foundations at both ends. The m iddle section w as left to span
the new foundations, easily achieved w ith the horizontal tim ber
cators. The new foundations are vertical colum ns of cribbage,
tim ber and stone sunk to hard m oraine, six m etres below ground
level. The tw o southeast tow ers w ere found to be pulling aw ay
from the m ain structure, w hich w as not surprising since they
turned out to have been built w ith no foundations at all. The
tow er w alls w ere suspended w hile new foundations w ere
inserted beneath them . The new reinforced concrete bases
w ere m ade as large as possible, allow ing the load to be w idely
distributed and not, as before, only vertically dow nw ards. The
w alls above w ere then tied to the m ain structure in order that
they effectively act as buttresses.
W hile it w as relatively easy to detect localized soil w eaknesses
that had been signaled by defects, it w as som etim es not possible
to rectify the underlying problem s. This w as due to several
reasons. First, som e areas of loose soil w ere very deep, often
m ore than ve m etres, and excavation to such depths w ould
have jeopardized m ore stable soils in adjacent areas. Second,
drilling holes for grouting to stabilize the foundations w as ruled
out, as w ater ush system s w ould have caused soil settlem ent,
and air ush m ight possibly have m oved the stones around
and dam aged the drill holes. Third, grouting of cavity-prone
m aterial w ould have risked surcharging the ground, thereby
m aking settlem ent greater, not sm aller; it could also have
caused bow ing in nearby retaining w alls as the grout found its
w ay dow nw ard into uncharted soil conditions. In cases w here
w alls w ere found to be settling or w here the soil w as particularly
loose, one technique em ployed w as to increase foundation
w idths to stepped strip footings, thereby reducing bearing
pressures. Another technique w as to span w eak areas below the
foundations w ith tim ber cators, in a fashion sim ilar to placing
lintels above w indow openings.
Salman Beg
Fromtheinception of this project, it was
recognized that thenew economic forces
associatedwithdevelopment andtourism,
if not properlycontrolled, couldspoil the
beautyof thenatural settingandthecul-
tural heritagewhicharetheareas main
resources. Economic progress and well-
beingaretoa certain extent dependent on
Karimabads environmental qualities and
thereforedevelopment must beguided in
order topreservetheseessential assets.
Church of Our Lady of Mount Carmel
318
Town map
Location
Mullewa, Western Australia, Australia
Size
450 square metres
Cost
US$187,500
ResponsibleParty
Parish of the Church of Our Lady of Mount
Carmel
HeritageArchitect
John Taylor, Katrina Chisholm
Contractor
Roof and Wall Doctor Pty. Ltd.
Admiration Homes
Dateof Completion
May 2003
Context
The Church of Our Lady of M ount Carm el and its attached
priesthouse are located in the tow nship of M ullew a in rural
W estern Australia. The area saw a population boom in the early
tw entieth century w ith the construction of the railw ays, w hich
brought new settlers w ho farm ed w heat and raised sheep. Today
the church rem ains a landm ark for the rem ote com m unities in
M ullew a and the M id-W est region.
Designed in Rom anesque style and built in local stone and
tim ber w ith accented hand-m ade concrete corners, reveals and
m ouldings, the church is noted for its m onum ental character
and rustic hand- nished surfaces. Com posed in sim ple geom etric
volum es, the building is adorned w ith stained glass w indow s. The
Priesthouse is connected to the m ain building by a colonnade and
shares the sam e stylistic attributes. Together, they are listed on the
Australian Heritage Com m issions Register of the National Estate,
the Heritage Council of W estern Australias Register of Heritage
Places, the Shire of M ullew as M unicipal Inventory of Heritage
Places, and the National Trust of Australia (W A) List of Signi cant
Heritage Places.
Building history
The church w as designed and constructed betw een 1921 and
1930 by M onsignor John Cyril Haw es, w ho served as the rst
resident parish priest in M ullew a for over tw enty years in the
period after W orld W ar I. Trained as an architect, the British-born
Haw es gained renow n for his church architecture, w hich w as
characterized by recasting classical form s to suit the local context.
He noted, A proper church is no m ere assem bly hall, theatre or
auditorium for preaching and com m unity singing; but it is rst of
all a place of sacri ce It should breathe forth an atm osphere of
prayer, or religious aw e and supernatural m ystery.In designing
the Church of Our Lady of M ount Carm el, he w as inspired by the
churches of southern France during the transition period from
Rom anesque to Gothic architecture, in com bination w ith the
Spanish Franciscan m issions of California. Haw es w orked as the
builder, m ason, laborer and general procurer of ttings, as w ell as
raising funds to pay for the construction. W ith increasing support
from the parishioners, both in term s of funds and assistance in the
construction, and the additional hands of a professional m ason,
the w orks w ere accelerated, allow ing the church to be opened
in M ay 1927. The Priesthouse w as built from 1927-1930, and
a north transept w as added in 1962 to m eet the seating needs of
the grow ing parish.
Rising, falling and penetrating dam p over tim e had led to
m aintenance problem s, evidenced in ef orescence on the oors.
By the 1950s, the m ortar w as decom posing, w ith sandy m aterial
falling out of the m ortar joints copiously. Attem pts to render
and seal the w alls w ith cem ent-based m ortar only aggravated
the problem by forcing the stone-destroying w ater-borne salts
further up the w alls, as w ell as altering the appearance of the
buildings.
Project history
In the early 1990s, the continuing deterioration of the m asonry,
transm ission of m oisture through the church oor and w alls, and
increasing vandalism of w indow s led the parish to seek advice
on the ongoing care of the place. An assessm ent w as conducted
in 1994 of the building, w hich led to its listing on the W estern
Australian State Register of Heritage Places, and a conservation
plan w as prepared in 1995 to guide conservation w orks.
Once the conservation plan w as approved and adopted by the
parish and the Heritage Council of W estern Australia, the parish
acted im m ediately to secure initial conservation funding from the
Heritage Council. W orks w ere undertaken over a decade, ending in
2003, in order to m inim ize disruption to the ongoing use of the
church, as w ell as to am ortize the heavy conservation costs for the
parish and allow tim e for ongoing fundraising.
It continues to serve as the local Catholic church w hile the
Priesthouse is used as a m useum displaying m em orabilia relating
to Haw es. A parish council assists the priest in m aintaining the
church, Priesthouse and grounds.
319
Church of Our Lady of Mount Carmel / 2004
W ithin the fram ew ork of the Burra Charter, the project sought
to preserve the original fabric in its original state and retard
deterioration w hile rem oving intrusive and destructive elem ents.
M issing elem ents w ere recovered and w eathered fabric restored.
The project scope included the urgent repair and protection of
the stained glass w indow s, replacem ent of the oor, restoration
of the external m asonry faade, rem oval of cem ent render and
m ortar on the internal and external surfaces, and repairs to the
dom e. Other conservation-related issues included the installation
of a security system and a term ite control system , lighting design,
boundary w all reconstruction, archiving of historic artifacts, and
restoration of the choir loft organ, artw ork and bellow s.
and materials
The architect conducted extensive research of photographic
archives, oral interview s and on-site investigations of the building
prior to com m encem ent of w orks, w hich w ere docum ented in
video and photographs as a perm anent record and a reference
for the ongoing w orks.
Due to their critical condition, the stained glass w indow s w ere
repaired rst. In order to protect the w indow s from strong sunlight
and vandalism , different solutions w ere considered. Ultim ately,
screens w ere fabricated from fram eless polycarbonate sheets,
w hich w ere installed using galvanized xings w ith allow ance
for therm al expansion. The screens w ere designed to protect the
w indow s from ultra-violet rays and accidental breakage, control
insects and dust, and t in w ith the style and character of the
church.
At the end of the w inter of 1996, the project architect and a
m aterials chem ist carried out tests on the m asonry to determ ine
the cause of its deterioration and direct the course of the
Left andabove: Incompatible cement
renders were removed from the church.
320
Above: Floor plan.
Topleft andright: Before and after photos
show the cement render removed from
masonry entrance.
Opposite: Side elevation.
restoration w orks. The m asonry w alls of the buildings had originally
been constructed w ith a com bination of random ly coursed local
stone and coursed concrete blocks, bound by lim e, cem ent and
sand m ortar. The w alls had been laid on stone footings, on a gravel
and clay com bination foundation, w ith a bitum inous dam p-proof
course built into the w all at approxim ately oor level. A portion of
the cem ent render and intrusive concrete apron around the building
w as chipped off to locate the dam p-proof course and footings.
The sam ples w ere tested for m oisture, salt and com position, along
w ith sam ples of the original m ortar. As suspected, rising dam p,
on account of these inappropriate m aterials, had w eakened the
stonew ork.
Stone and concrete blocks that had been cosm etically destroyed
by salt action w ere replaced. The original rock quarry and source
for the m ortar sand w ere located and used. The external cem ent
render w as rem oved, exposing the historic stonew ork underneath.
Internal cem ent render w hich had been added in the nave, choir
loft, porch, baptistery and pulpit w ere rem oved, along w ith
the restoration of the sanctuary, south transept w alls, dom e
and sacristy. M ortar pointing w as rem oved and the joints w ere
repointed. New m ortar w as m ixed by the m asons to m atch the
old m ortar w hich w as applied w ith a rustic nish in accordance
w ith historic photographs. The bell tow er w as repointed and the
dom e repaired.
The porous concrete oor in the nave and narthex, and the
poor draining soil underneath, w as rem oved in order to install
a w aterproo ng m em brane before reinstalling a new reinforced
concrete oor. The contractors w ere careful to m atch the existing
levels and reproduce details of the original oor.
The w orks w ere undertaken in a total of eight stages. At each
stage, the w orks w ere approved by the Heritage Council of
The respect for the original architects
work is expressed in faithful and
meticulousinterpretationof thehistoricand
physical evidence. Thework demonstrates
theattention todetail anddepthof courage
requiredtobringa project of this natureto
fruition.
321
Church of Our Lady of Mount Carmel / 2004
W estern Australia. Photographic recordings of the existing fabric
w ere m ade prior to the com m encem ent of w orks. All m oveable
objects w ere rem oved tem porarily w hile oors and fragile church
property w ere protected. All the com pleted w orks w ere inspected
by representatives from the parish, along w ith the architect and
the Heritage Council.
Important issues
The church parish has been instrum entally involved in the
project from the com m issioning of the conservation plan to the
execution of conservation w orks over the years. Their decade-long
com m itm ent to the project, and their support in term s of labour
and funding, have allow ed the project to be carried through to
successful com pletion. They have contributed in m anpow er for
jobs, such as shifting furniture and rem oving debris from the site,
recalling the original days of construction, in w hich the architect
w orked alongside local parishioners.
The parish w as able to leverage recognition of the heritage
signi cance of the building into funding assistance by the
Australian Heritage Com m ission, the Heritage Council of W estern
Australia and the Lotteries Com m ission of W estern Australia.
The local authorities, notably the Heritage Council, have been
involved in review ing and vetting the project at each stage. Their
support has allow ed the w ork to be carried out in an otherw ise
econom ically depressed rural com m unity.
As a non-com m ercial building, there w as no need to prove future
com m ercial viability, as the value of the project is in its social
and spiritual bene t to the com m unity of M ullew a and in the
conservation of the regions cultural heritage. Ongoing w orks w ill
be funded by the parish and the project donors.
Award Citation
Theconservation of theChurchof Our Ladyof Mount Carmel has restoredthedistinct
rusticcharacter of this signicant historicbuilding, thefocal point of therural community
of Mullewa. Thorough scholarship about thelocal context and thecollected works of
thebuildings priest-architect has guidedthesensitiveconservation approach. Thecareful
restoration of thehistoricbuildingfabric, includingthemagnicent stainedglass windows, and
theremoval of inappropriatenewer elements, has reinstatedthebuildings intendedspirituality.
Thecommendabletechnical execution of theproject, alongwithits detaileddocumentation,
sets a standardfor therestoration of similar buildings in theregion.
322
Project impact
The restoration w orks have provided a m ore con-
ducive environm ent for prayer and w orship for
the parish and safeguarded an im portant living
m onum ent of high historic and social signi -
cance. The project has provided a deeper appre-
ciation of the oeuvreof Haw es and set a bench-
m ark for the preservation of buildings in W estern
Australia, particularly religious and regional
heritage sites. The project has been recognized by
the Royal Australian Institute of Architects (RAIA)
w ith the Lachlan M acquarie Aw ard for Heritage
in 2003. The conservation reports and valuable
docum entation such as the recipe for the historic
m ortar m ix are accessible as public records at the
Heritage Council, w hich could prove to be useful
for other projects in the future.
Topandbelowleft: Removal of cement render
highlighted the remarkable masonry vaulting.
Middleandfar right: Cement renders removed
and stained-glass windows restored.
Lakhpat Gurudwara
324
Site plan
Location
Lakhpat Village, Kuchchh District, Gujarat, India
Size
374 square metres
Cost
US$43,200
ResponsibleParty
Department of Archaeology, Government of
Gujarat
HeritageArchitect
Gurmeet Rai, Paromita Desarkar, Ajaydeep Singh
Contractor
Cultural Resources Conservation Initiative
Dateof Completion
September 2003
Context
The Gurudw ara is a Sikh house of w orship in Lakhpat, one of
the historic forti ed settlem ents of Gujarats Kuchchh district.
Located near the India-Pakistan border, Kuchchh has been prone
to natural disasters since ancient tim es, m ost signi cantly w ith
periodic earthquakes. The tow n w as a prosperous port and trading
centre until the early nineteenth century, w hen the Indus River
changed its course after an earthquake in 1819. Traces of palatial
houses in the older parts of this settlem ent date back to this
earlier period, before the subsequent decline of com m ercial and
agricultural activity. Today, the arid region is extrem ely hot in the
sum m er, w ith scarce rainfall and vegetation.
Due to the harsh surroundings, econom ic conditions are poor
in general and have been exacerbated by natural disasters, m ost
recently a cyclone in 2000 and a m ajor earthquake in 2001. A
recent tw o-year drought curtailed farm ing activity and m any of
the villagers are hired as casual laborers in civil w orks. Som e are
lucky enough to ow n sm all plots of land, w hile a few fam ilies
derive their livelihood from shing.
Lakhpat has a population of approxim ately 400, w ith the
m ajority being M uslim s and the rest being Hindu. The villagers
are very closely-knit and form a close social support netw ork for
each other. Despite the recent increase in com m unal tensions
in Gujarat, the village has rem ained peaceful throughout the
escalating violence.
Re ecting the m ulticultural com position of the tow n, the Gurudw ara
stands alongside other signi cant religious m onum ents, including
the Tom b of Ghaus M uham m ad and the Tem ple of Hatkeshw ar
M ahadev. Closely associated w ith the Udasi sect, the Gurudw ara
has historically been a pilgrim age site for travelers en route to
M ecca, m ost notably the rst Guru of the Sikhs, Guru Nanak Dev,
w ho is believed to have visited in the sixteenth century.
In recognition of its historic and architectural signi cance, the
Lakhpat Gurudw ara w as listed as a protected m onum ent in 1992
under the Gujarat Ancient M onum ents and Archaeological Sites
and Rem ains Act.
Building history
The present Gurudw ara building dates back to the nineteenth
century. Initially, the caretakers of the building w ere draw n from
the Udasi sect. Later, the Sikh com m unity from the Gurudw ara
Nanak Singh Sabha in nearby Gandhidham started taking care of
the site. Religious functions w ere organized periodically to ensure
the continuity of rituals and to m aintain the historic im portance
and religious sanctity of the place.
The courtyard com plex is entered through a double-storey gatew ay
w ith a large pointed arch, w hich has m assive w ooden doors. The
m ain building com prises tw o room s w ith a long continuous
verandah attached to an adjacent one-room w ing. Built w ith
local lim estone and red sandstone laid in lim e m ortar and nished
w ith a ne coat of lim e plaster, the external w alls are accented by
projecting carved stone balconies and perforated panels. The roofs
are supported by a w ooden fram e covered w ith bam boo strips,
m ud m ortar and traditional tiles. The w alls are adorned w ith line
paintings in oral m otifs. Other features include intricately carved
w ooden colum ns along the verandahs and stone sculptures in the
m asonry structure.
The Gurudw ara houses relics such as a decoratively carved w ooden
cradle, w ooden sandals that are believed to have belonged to Guru
Nanak Dev and m anuscripts of tw o of the im portant leaders of the
Udasi sect. The largest room in the m ain building contains a w ooden
sw ing decorated w ith elaborate polychrom e oral paintings.
Over tim e, the m onum ent has undergone im m ense physical
deterioration due to its rem ote location, neglect and m an-m ade
interventions, com pounded by adverse clim atic conditions. The
effects of the high salt content in the air and harsh clim ate dam aged
the w all plaster, underlying m asonry and tim ber m em bers. W ater
seepage caused extensive dam pness in the building, leading to a
thick external build-up of algae deposits. M any of the decorative
stone elem ents (carved brackets, lintels, sculptures and so forth)
w ere also broken or m issing.

A num ber of inappropriate repair w orks w orsened the condition
of the building and com prom ised its authenticity. These included
325
Lakhpat Gurudwara / 2004
the use of cem ent-based plaster on the w alls, cem ent concrete
in the courtyard oor, enam el paint on the w oodw ork, coats of
lim ew ash obscuring the w all paintings and plants along the outer
w alls.
Project history
The 2000 cyclone and 2001 earthquake accelerated the buildings
structural decay, resulting in cracks in the w alls and partial
dislocation of the structural m em bers. In the w ake of these
disasters, the Sikh com m unity in Gandhidham proposed the
restoration of the site in 2001. W ith technical support from the
Cultural Resources Conservation Initiative (CRCI), the project w as
funded by the Archaeological Survey of India (ASI) as part of a
larger post-earthquake restoration program m e in the district. The
project w as further assisted by the United Nations Volunteers
Program m e of the UNDP, w hich provided conservation architects.
Conservation w orks com m enced in February 2003 and w ere
com pleted in Septem ber that year.
The project sought to restore the building to its original
con guration and to check its deterioration. Historic building
elem ents w ere preserved to the extent possible, w hile
inappropriate additions and alterations, especially those that had
an adverse effect on the building structurally and aesthetically,
w ere rem oved. In order to m eet the grow ing dem ands of visitors
and pilgrim s, som e m odern am enities w ere put in place.
In undertaking the restoration, an em phasis w as placed on
reviving the use of traditional building m aterials and techniques
as m uch possible, especially since m any w ere on the verge of
disappearance. Expert craftsm en w ere brought in to undertake
the w orks and train local villagers in these ancient construction
m ethods, as a m eans of em pow ering them to look after the
building after the physical restoration had been com pleted.
Left andabove: Before and after
restoration.
326
The project w as intended to provide a platform for dialogue and
joint action concerning the villages shared cultural heritage
am ongst the local residents, the caretakers, the Sikh com m unity,
the State Departm ent of Archaeology and the Archaeological
Survey of India. Through the exchanges, local com m unity m em -
bers w ere able to better understand the conservation guidelines
protecting the site, w hile the governm ent of cials also developed
a greater recognition of the needs of the villagers and users.
and materials
Before com m encing conservation, the Gurudw ara w as extensively
docum ented by conservation architects w ho m ade m easured
draw ings, assessed the building condition and took photographs.
Lim e m ortar and plaster w ere tested for their com position. A survey
and assessm ent w as also conducted before each phase of w ork.
W herever possible, deteriorated m em bers w ere repaired rather
than replaced. If necessary, deteriorated elem ents w ere replaced
using m aterial that m atched the original in com patibility,
colour, texture and other visual and physical aspects. W here the
original feature w as lost due to severe deterioration, the form
w as replicated.
M ost of the m aterials w ere sourced locally, m aking ongoing
m aintenance m ore econom ical and replicable by the local
com m unity in the future. Local residents supplied inform ation
about resources that could be used for the construction w ork. A
w ork yard w as established w ith a slaking pit and m ortar m ill to
m ake lim e m ortar w ith slaked lim e, locally-available sm all shell
aggregate, and coarse and ne sand. A tractor w as used to pull
the stone-grinding w heel m ade of local sandstone. A stacking
platform w as constructed for the lim e plaster and m ortar.
All inappropriate additions and alterations w ere dism antled.
Vegetation on the w alls and courtyards w as uprooted. A platform
at the base of the w ooden sw ing w as rem oved, along w ith the
concrete block in- ll in the w ooden door and w indow s. Electrical
w iring and w oodw ork in the niches w ere taken dow n. The cem ent
Top: Aerial view of the Gurudwara compound.
Above: Floor plan.
Opposite: Section through the building complex.
327
Award Citation
Therestoration of this Sikhhouseof worshipdemonstrates a sophisticatedholisticunder-
standingof boththetechnical andsocial aspects of conservation process andpractice. Careful
attention todetail andsensitiverepair work haveensuredtheretention of thebuildings his-
toriccharacter. Most signicantly, theemphasis on involvingandempoweringthecommunity
ensures thelong-termsurvival of thehistoricbuildingandits associatedcultural traditions.
Traininggiven tolocal youthin correct conservation methods emphasizingtraditional construc-
tion techniques has revitalizedlocal craft skills andrevivedtheuseof indigenous materials.
Therestoration of theGurudwara returns it toits placeof pridein theLakhpat community,
showcasingthedistinctiveness of their Sikhheritagebothlocallyas well as nationally.
concrete ooring in the room s w as replaced w ith lim e concrete to
m atch the original oor nishes revealed during the dem olition
process. Likew ise, cem ent-based plaster and m ortar w ere also
chipped aw ay, allow ing the dam pness trapped in the oors and
w alls to evaporate.
Layers of lim ew ash w ere rem oved from external and internal w alls
and stone ornam entation, revealing the delicate line paintings
on the w all and a painting of a richly-attired couple aboard a
ship. M essages left by ancient travelers also em erged, providing
rst-hand historic accounts of the historic pilgrim ages. They also
show the evolution of the traditional gurmukhi script, used in
w riting the Punjabi language.
Decayed soft lim estone and sandstone w as replaced. The exposed
stone plinth w as given a poultice treatm ent to draw out salt
from the stone surface. Structural cracks w ere stitched and
the stone surfaces w ere thoroughly w ashed and repointed. The
porous m asonry w as then grouted w ith a lim e-based consolidant
consisting of a m ixture of m ilk casein, ltered and slaked lim e,
m arble pow der and y ash in a ratio of 1:3:1:1. Lim ew ash w as
prepared in the traditional m ethod and coloured w ith ground
yellow ochre to m atch the original tone.
Decorative carved stone elem ents w hich had decayed badly
w ere restored. Those deem ed beyond repair w ere replaced w ith
m atching new replicas. The carved stone in the sw ing base and
courtyard w all w as consolidated and given a protective coating of
lim e adhesive. Paint over the stone sculpture w as rem oved and a
coat of lim e w ash w as applied to reduce the erosion of the stone.
Likew ise, a coat of lim e w ash w as applied on all the new plaster
surfaces, w ith instructions for reapplication in a years tim e.

The roof w as dism antled and terracotta tiles w ere salvaged for
resue. Decayed purlins and roof rafters w ere replaced. A layer of
bitum en felt w as installed to im prove the w aterproo ng of the
roof. The original tiles w ere then relaid, w ith lim e m ortar applied
along the ridge and eaves.
M issing and dam aged w ooden doors and w indow s and other
w ooden elem ents, such as the ceilings in the gatew ay structure
328
and the w ooden ladder to the terrace of the m ain building, w ere
also restored. Enam el paint that had been applied on the w ooden
sw ing, the w ooden planks on the ceiling of the verandah, carved
pillars and doors in the m ain building, w as stripped to reveal the
w ood surface, w hich w as then given a protective coat of varnish.
New electrical w iring w as installed, along w ith an upgraded
lighting system . The building grounds w ere also adjusted in order
to ensure adequate drainage of rainw ater aw ay from the building.
Plans w ere also draw n up to replace an inadequate m odern
com m unity building w ith a new building to house com m unity
kitchens and accom m odation for visitors and volunteers. In
contrast to the existing building, the new one is to be built at
an appropriate scale and using traditional m aterials, in order
to conform w ith the regulations governing developm ent of a
historic m onum ent.
Important issues
Local artisans skilled in traditional roof building and stonew ork
w ere identi ed to participate in the project. A craftsm an from
the nearby village w as identi ed to repair the w oodw ork. Skilled
craftsm en from outside the region w ere also brought in, including
m asons from Punjab w ho had extensive experience in other
conservation sites and played an im portant m entoring role. Stone
carvers cam e from central India and plasterers from Jaipur.
Throughout the course of the on-site w orks, local unskilled
w orkers w ere trained in various building and conservation
techniques. Representing different religious groups in the village,
m ost of them w ere prim ary-school educated, w ithout any past
experience in this area. Young m en w ere taught techniques such
as raking m ortar joints, cleaning m asonry for pointing, rem oving
lim e w ash from plain and decorated surfaces, stripping paint
from w oodw ork using chem icals, and grouting. They w ere also
trained in preparing lim e plaster, m ortar and grouting m ixtures,
thereby raising both aw areness and practical skills in a traditional
building technique, as an alternative to the use of cem ent in
repairing old buildings.
Above: The stone plinth was re-
grouted and walls replastered and
limewashed.
Right: Severe deterioration of the
masonry walls prior to
restoration.
329
The interaction betw een the local w orkers and the outside crafts-
m en and conservation specialists proved to be m utually bene cial,
leading to a constructive partnership. Not only did the local
residents gain practical skills, the skilled craftsm en also bolstered
their self esteem in taking on a m entoring role, w hich proved that
they w ere capable of replicating results in another region.
The local com m unity participated actively in the conservation
process, in particular, the Sikh kar sewak groups (volunteers for
com m unity w ork) w ho function as the caretakers of the building.
Travelling to the project site from different places both near and far,
they played an instrum ental role in contributing both com m ents
and inputs throughout the process of planning and im plem enting
the project. One group also ran a com m unity kitchen to feed the
conservation team .
In addition to learning the techniques required for future
m aintenance, the local peoples effort in this conservation project
deepened their sense of belonging to the historic building and
reinforced aw areness of their responsibility tow ards safeguarding
it and sim ilar sites in the settlem ent. Som e older m em bers of the
M uslim com m unity recalled fond m em ories of past events, w hich
helped to revitalize their sense of association w ith the place.
Project impact
The project has dem onstrated the bene ts of constructive dialogue
betw een the governm ent, local residents and representatives from
the larger Sikh com m unity. This has set a precedent in of cially
recognizing the m odern role of traditional institutions and the
local com m unity in safeguarding their ow n heritage, of w hich
they have historically served as the caretakers. As a living sacred
site, special perm ission has been granted by the governm ent 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 allow ed it to be used to its full capacity, and
visitors are inform ed about guidelines for appropriate behaviour
in the historic building.
Right: Community members lend a hand.
Top, middlefar right: Enamel paint was
removed to reveal exquisite oral paintings
on woodwork.
Bottomfar right: A craftsperson replicates
a decorative stone element.
330
Technical Brief
Lime mortar production
It is com m only supposed that the function of m ortar is
to join m asonry units together, but this is only one of its
attributes. The joint betw een the units provides a cushion
to spread the load evenly, particularly w ith soft bricks and
stones. Lim e m ortar and plaster also serve as a good surface
for evaporation.
The basic com position of lim e m ortar is lim e, w ater and
aggregate. Lim e m ortar can be com bined w ith the follow ing
m aterials: different classes of lim e, aggregates, pozzolans,
w ater, hair or other reinforcem ents, pigm ents and air-
entraining additives.
Prior to the production of the lim e m ortars for this project,
sam ples of the original m ortars and plasters w ere taken and
sim ple laboratory tests w ere carried out to determ ine the
physical com position, colour and texture of the lim e and
aggregates used for the original lim e w ork. This investigation
allow ed for generating the right m ix for the repair, restoration
and consolidation w ork.
The sim ple m ortar analysis involved the follow ing steps.
First, pieces of m ortar and plaster (m inim um 10 gram s) w ere
rem oved from the w all. Care w as taken to ensure that the
sam ples w ere of the original m ortar, w ere in good condition
and w ere representative of a large section of the w orks.
Second, a close exam ination w as m ade of the sam ple for
texture, colour and bits of ash, charcoal, coal, lum ps of lim e,
etc. A 10x m agnifying glass w as used. Third, the sam ple w as
lightly crushed. Fourth, the sam ple w as m ixed w ith w ater in a
calibrated ask (a jam jar and a ruler w ould also suf ce) and
stirred thoroughly. Fifth, the m ixture w as allow ed to stand
for approxim ately tw elve hours. Next, the com ponents of
the residue w ere m easured and the proportions calculated.
Finally, the aggregate sizes and colours of the com ponents
w ere assessed.
The tests revealed that the original lim e m ortar w as a fairly
uniform com position of lim e and aggregates w ith no brous
m aterial. The lim e used for preparing the m ortar w as of high
quality, being ivory w hite in colour, and used in a ratio of 1:2
w ith w ell-graded aggregate. A suitable lim e-aggregate ratio
of 1:2.5 w as then devised, w here the aggregate w as com posed
of ne sand (red sand), coarse sand (crushed shell norm ally
used for cem ent m anufacture) and shells (round disc shaped).
Sim ilarly for the lim e plaster, the lim e-aggregate ratio w as
1:2, w here one part w as lim e and tw o parts w ere com prised
of ne sand and coarse sand.
The choice of the type of lim e to be used w as based on the
existing m ortar in the historic building and the nature of
the w all m aterial, w hich w as porous lim estone. The m ortar
had to be m ade softer than the stone to allow the m ortar
to breathe, to stop m oisture from rising in the w all and to
prevent the stone from eroding. The choice of sand and other
ne aggregates w as determ ined by its suitability in term s
of physical and geological characteristics, by colour and by
m atching w ith the sand in the existing m ortar. The sand w as
freshw ater sand from a dry riverbed in a nearby village. Care
w as taken to ensure that the sand and other m aterials used
w ere hard, clean and free from vegetable and anim al m atter
or salt. The coarse aggregate w as m ade from nely-crushed
shells found in the area around Lakhpat. Air-entraining
carbonate aggregates w ere used to increase the durability of
the lim e m ortar, and have historically been used in m any of
the buildings in Lakhpat.
In producing the lim e m ortar, slaked lim e in the form of lim e
putty w as used. In order to ensure consistency of production,
to achieve uniform perform ance and appearance of the lim e
m ortar, the putty w as accurately m easured in one cubic
foot m easuring containers m ade w ith m etal sheets. This
guaranteed that the lim e putty used w as not thin or w atery,
w hich w ould result in the m ixture having less lim e and m ore
w ater.
The m ortar w as m ixed in a traditional m ortar m ill. W hile the
m ill w as in m otion the lim e and aggregate m ixture w as turned
over m anually w ith a shovel. To check for the consistency of
the m ortar, a ball of the m ixture w as throw n from a distance
at a w all. If the m ixture stuck to the w all, it w as considered
ready. If it shattered or slid off the w all, it indicated that it
needed to be w orked m ore.
The lim e m ortar w as then stored in a stacking platform and
covered w ith thick plastic sheets. The m ortar w as stacked for
a m inim um of six to seven days for m aturing. Before use, the
m aterial w as beaten vigorously to a good consistency. This
w as done w ith a shovel and by stam ping on it w hile w earing
gum boots.
The m ortar left over at the end of the w ork (m ost of w hich fell
beside the w all on the oor) w as stacked up separately and
covered w ith m oistened hessian cloth. This m ix w as later put
into the m ill w hile preparing a fresh lot of lim e m ortar.
In applying the lim e m ortar, the m asonry w as cleaned of dust
and dirt and w ell-dam pened. W herever dam aged m asonry w as
replaced, the stone unit w as dipped in w ater w ell before use.
For repair w orks and repointing, the background w as sprayed
w ith w ater several tim es in the hours before repointing.
Agriculture spray pum ps w ere used for judicious use of w ater,
as fresh w ater is a very precious and scarce com m odity in the
region. The ne m ist produced by the sprayer has a greater
surface area than the larger drops and picks up carbon
dioxide from the air, w hich assists in carbonation. New ly
repaired m asonry w orks w ere protected against the sun and
strong w inds w ith w et hessian and from heavy rains during
the m onsoon w ith plastic sheeting.
Adapted fromWhat areLimeMortars,
Gurmeet Rai and Paromita Desarkar
St. Ascension Cathedral
332
City map
Opposite: Southern faade before and
after restoration.
Location
Almaty, Kazakhstan
Size
1/200 square metres
Cost
US$344,000
ResponsibleParty
State Institute for Scientic Research and
Planning on Monuments of Material Culture
HeritageArchitect
Timur Turekulov, Natalia Turekulova
Contractor
Vladyka Alexyi, Bishop of Almaty and
Simipalatinsk Eparchy
Dateof Completion
2000
Context
Dating back over a century, the St. Ascension Cathedral historically
served as the seat of the Russian Orthodox Church in Alm aty,
w hich w as once the political and cultural centre of the Turkestan
region. It stands in a park in the citys historical core and is
the m ain urban landm ark of Alm aty. At 41 m etres tall, it is the
tallest w ooden building not only in the country but also in the
neighbouring region.
The building saw revolutionary change under Soviet rule, w hen it
w as deconsecrated and converted into a radio station and later a
republican historical m useum . After the dissolution of the Soviet
Union, the new ly-independent Republic of Kazakhstan initiated
the revival of traditional cultural and religious expression. The
restoration of the cathedral, one of the citys m ost signi cant
religious and architectural m onum ents, w as undertaken w ith
an outpouring of support from private individuals and the
governm ent. It has now resum ed its historic function as a place
of w orship and continues to draw devotees, citizens and tourists
alike. St. Ascension Cathedral has been listed as a m onum ent and
is therefore protected at the highest national level.
Building history
The construction of St. Ascension Cathedral began in the m iddle
of the nineteenth century w hen the adm inistration of the Russian
Orthodox Church Eparchy m oved to Alm aty from Tashkent.
How ever, construction w as delayed for decades due to nancial
problem s and the earthquake of 1887 that destroyed a large part
of the citys brick and stone structures.
In accordance w ith new guidelines issued to protect im portant
buildings from seism ic dam age, the cathedral w as one of the rst
large public buildings in the region to be constructed entirely out
of w ood (local Tyan Shan spruce). Nonetheless, it m aintains the
architectural form s and features of m asonry construction, w ith a
num ber of innovations in design and construction. For instance,
an elaborate system of internal ventilation w as installed, w hich
drew air in from the outside to ventilate the entire building. The
builders w ere faced w ith the challenge of designing a high-rise
structure w hich required new structural solutions and the use of
m aterials such as reinforced concrete to ensure seism ic resistance.
Com pleted in 1907, the cathedral proved to be structurally sound,
em erging relatively unscathed from the strong 1911 earthquake.
During the 1930s, parts of the building w ere dam aged or destroyed
as a result of anti-religious sentim ent. The elaborate gilded three-
tiered iconostasis w ith carved decorations w as destroyed, along
w ith icons, church equipm ent and the library. The brilliant colours
of the cupolas w ere m asked w ith green paint and the ochre-hued
interiors w ere repainted in revolutionary pink. The building w as also
substantially m odi ed for reuse, w ith m ajor reconstruction taking
place inside the building and the grounds. Due to the tem porary
occupation of the building during this era, little m aintenance w as
undertaken, w hich resulted in the decay of the historic fabric. In
the 1970s efforts w ere m ade to partially restore the building as
part of its conversion into a m useum , but the use of inappropriate
m aterials and m ethods resulted in further dam age.
Project history
In 1994 St. Ascension Cathedral w as one of the rst 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 docum ents and structural analyses. Funds w ere allocated by
the governm ent to initiate w orks, w hich w ere supplem ented over
tim e by private donations. W orks w ere com pleted in 2000.
The project sought to return the building to its original function
and appearance by restoring the external faade, internal spatial
con guration, structure and setting. At the sam e tim e, it aim ed
to upgrade building services and establish a long-term system
for m aintaining the historic m onum ent, w hich w ould involve the
333
St. Ascension Cathedral / 2004
occupants closely. It w as also hoped that the project w ould have a
positive im pact in draw ing attention from locals and visitors alike.
The project w as carried out in ve stages. In the rst stage
(1994-1995), the focus w as on reviving the original function
of the cathedral by restoring the interior plan and appearance
to facilitate w orship by the public, along w ith undertaking
em ergency w orks to repair the roof, reduce ground w ater and
rehabilitate the ventilation system . As part of this initial step, the
m anagem ent plan and m onitoring system w ere developed and
put in place.
In the second stage (1995-1996), the bell tow er w as restored to
its authentic condition and reinforced w ith an eye to structural
stability as w ell as re safety. In the third stage (1997-1998), the
interiors w ere further enhanced through the addition of a tem po-
rary replacem ent iconostasis and other liturgical elem ents. In the
fourth stage (1999-2000), the exterior appearance of the cathe-
dral w as addressed, w hich called for the restoration of the roof,
cupola structures, facades and original paint schem es. Finally, in
2000, seism ic reinforcem ent of the bell tow er w as carried out.
334
and materials
W ork on the m onum ent w as done in accordance w ith international
standards of conservation m ethodology. Archival studies, based on
historical docum ents and on-site structural investigations of the
building structure, m aterials, seism ic resistance and geological
conditions, helped to reconstruct the original structure and
appearance of the cathedral. Careful attention w as paid to the
preservation of the original building fabric. The project m ade
extensive use of authentic building technologies and m aterials.
It w as determ ined that the original reinforced concrete founda-
tions and w ooden structure of the building w ere generally w ell
preserved and in good condition. How ever, the building had
suffered lingering effects of dam age from the 1911 earthquake,
w hich had caused subsidence in the southeastern corner, leading
over tim e to cracks in the tim ber fram ing structure. New steel
Topleft: Main faade of the church.
Middle: The top cupola was repaired with new metal sheets.
Right: Restored ceiling under the dome.
Opposite: Side elevation.
335
Award Citation
This project has successfullyrestoredthesacredSt. Ascension Cathedral, returningAlmatys
spiritual centerpiecetotheOrthodox community. Thoroughstudies of the1907 cathedrals
structureandhistory, undertaken beforeworks began, haveensuredtheauthenticityof the
restoration, therebyretainingthestructures tremendous architectural andhistoricsignicance.
An emphasis on theuseof appropriatematerials andtechniques andthemethodical removal
of incongruous additions demonstrates goodconservation practiceandhas successfullyrestored
thehistoriccharacter of this uniquetimber monument.
reinforcem ents w ere added to strengthen the w ooden elem ents,
w hile existing steel clam ps and ties w ere also forti ed.
Tim ber repairs w ere undertaken in the sm all southw estern cupola,
rafters and other roof fram ing m em bers. W ooden beam s in the
southeastern corner of the basem ent of the bell tow er w hich had
deteriorated w ere replaced. W ood of the sam e type as the original
w as used to replace the beam s. To ensure the long life of the
w ooden elem ents, efforts w ere m ade to reduce w ater ingress and
prom ote im proved ventilation.
All later additions m ade to the building, such as partition w alls
and oors, w ere dism antled, and the w ood w as salvaged for reuse
in the ongoing w orks. M istakes from the 1970s-restoration w ere
then recti ed. Cem ent plaster, w hich had been accelerating the
decay of the w ooden structure, particularly in dam p areas, w as
rem oved and replaced by lim e plaster m atching the historic plaster
com position. W ork was also carried out to x inappropriate roof repairs
which had led to m ajor water leakage and decay of the roof. W ooden
elem ents affected by m ould were cleaned, and deteriorated m em bers
were replaced. The m etal covering of the roof and cupolas was repaired,
and m irror m osaics were reapplied on the m etal crosses.
The original system of passive ventilation had been disrupted by
the closure of ventilation w indow s and changes to the building
levels and roof. This prevented the w hole w ooden structure from
airing out from the basem ent to the top and led to the build up
of hum idity. Ventilation holes in the basem ent and w indow s w ere
reopened, and ventilation channels cleared out.
The w ater supply system and the re extinguishing system from the
later renovations also proved to be problem atic, w ith leaks causing
decay in the building. For instance, the w ooden joists in the base-
m ent of the bell tow er, housing the w ater pum p, had rotted, caus-
ing the entire bell tow er to lean precariously. To protect against
further dam age and to upgrade the functionality of the cathedral,
the leaking re extinguishing system w as dism antled and replaced
w ith a m odern system w hich w as connected directly to the re
station. Interior doors, w hich had functioned as re doors, w ere
also reinstated. A new re resistant electrical system w as installed,
along w ith a new w ater supply, heating system and telephone
336
w iring. The original lightning protection w as also repaired.
Restoring the colours of the roof, cupolas and faades w as
im plem ented after special research done into the original appearance
of the building. The research revealed that the 1970s restoration of
the exterior colours w as very approxim ate. Deteriorated w ooden
surfaces w ere repaired and the original lim e render w as restored on
the facade. The external paint schem es w ere then returned to m atch
the original yellow and w hite colours.
Restoration of the interior involved returning the building to
its 1907 appearance and function. Structural elem ents w hich
had been destroyed, such as arches, capitals, colum n bases,
doorw ays, staircases and oors w ere reconstructed. The cathedral
had originally been adorned w ith m osaic ceram ic oors, ceiling
paintings in the prayer hall, papier m ache rosettes and cornettes,
bronze and copper lam ps, and m ovable religious artefacts. The
m osaic oors w ere cleaned and som e restoration w as done using
salvaged original tiles. The paintings on the ceilings w ere cleaned.
The rosettes and cornices w ere restored. The lam ps, restored in
the 1970s using old photos and docum ents, w ere repaired and
cleaned. The original lim e plaster rendering w as restored w ith
ochre lim ew ash on the w alls. Original fragm ents of painted panels,
im itating oak w ood, w hich could be salvaged w ere cleaned. Lost
parts w ere restored using the original m aterials and techniques.
The w ooden oors in the altar and service prem ises w ere repaired.
W indow s and doors w ere cleaned and partially restored. A new
iconostasis w as designed to replicate the appearance of the
original one.
The perim eter of the building w as also consolidated. Ground levels
w ere adjusted throughout the site to im prove w ater drainage. In
order to m anage im pacts from visitors, off-site parking facilities
w ere installed, along w ith repairs to the drinking fountains and
toilets in the surrounding park.
Important issues
For the rst tim e in the country, the construction w orks w ere
planned to be carried out alongside regular church services, w ith
relatively m inim al disruption to the daily function of the building.
Open for public visits, the building site attracted great attention
and raised aw areness 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.
A long-term building m anagem ent system w as established for
the building, including the provision of a core team of trained
staff. As the project progressed, a group of w orkers and m anagers
w as form ed w ithin the Eparchy w hich took an active part in the
conservation process. This trained group w as incorporated into
the perm anent staff of the cathedral. The trained personnel now
provide round-the-clock supervision the building, overseeing its
m aintenance and keeping an eye on any possible em ergencies such
as re. Their specialized experience and know ledge about w ooden
m onum ents w ill becom e a valuable resource to be transm itted to
future generations.
Project impact
Since its restoration, the cathedral once again functions as a
place of w orship for the Russian Orthodox com m unity of Alm aty.
It has provided a good exam ple of how to undertake built heritage
conservation through a public-private partnership, and has also
set technical standards in term s of research and execution of
w ork. The project has becom e a m odel for the conservation for
other old churches in the country.
337
Thecathedral was restored only thanks
to documents fortunately saved in the
archives. Theneed for conservation was
urgent, andwassupportedbythegovernment
andmanypeoplereadytomake donations
with theaimof returning theoriginal
appearance and glory to St. Ascension
Cathedral.
Aboveandleft: Wood panels and painted ceilings
were cleaned and restored in the prayer hall.
Opposite
Topandabove: The main altar before and
after restoration.
338
Technical Brief
Colour conservation
Conservation w orks on the facades of St. Ascension Cathedral w ere
a m ajor com ponent of the project. W ide-ranging research in the
archives of Alm aty, Tashkent and St. Petersburg w as carried out.
This research w as expanded to cover archives in Om sk, Orenburg
and Kiev and other places w here inform ation concerning
the building could be found, starting from details about its
construction. At the sam e tim e, the Eparchy requested its parishes
and all citizens to look in private archives for docum ents related
to the church. As the result of these attem pts, an excellent visual
collection of the buildings dram atic story w as gathered. Along
w ith the w ritten historical sources, com prehensive 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 m etal-covered dom es m ade it
possible to de ne m ore precisely the original look of the m ulti-
coloured rhom bic ornam entation m ade w ith oil paints. The
building had been restored in the 1970s, w hen, after m any years
of reconstruction, the building w as prepared for conversion into
a historical m useum . This partial restoration renew ed the original
bronze paint of the top cupolas and the design of the sm all dom es
and bell tow er roof, w hich for about half a century had been
covered under layers of green paint. How ever, due to the brevity
of the research undertaken at that tim e, the restoration m issed
various bronze details, m isinterpreted som e of the patterns in the
dom e, coloured parts of the m ain dom e incorrectly, and m ade
new additions such as a belt of bronze ow er im ages. 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 m ake a decision about its replacem ent. W e
faced a choice: to m ake a replica w ith bronze paint, w hich w ould
need repainting in a couple of years, or to m ake a new plating
of m odern m etal w ith an im itation gold surface. In the process
of discussions and negotiations, it w as agreed that the use of
such new m aterial w ould not contradict the original technique
used on the top cupola to im itate a gold nish. M oreover, its use
w ould correspond to the condition of reversibility. The fact that
in Russian church tradition bronze paint is used as a tem porary
m aterial, in anticipation of future gilding of the surface, assisted
in m aking this decision.
W e undertook surface studies to exam ine the use of colour on
the facade w alls, w hich w ere w ooden structures covered w ith
lim e plaster. The studies show ed that in the original layers
the predom inant colours of the w alls w ere ochre and yellow,
contrasting w ith the pink paint w hich had been applied m ost
recently. Original paint layers in three coloursw hite, blue
and redw ere found under later layers of w hite paint on the
decorative m oulding of the facade cornices, in the base of dom es
and top cupolas. In the sam e com bination as the Russian ag,
these colours originally sym bolized the presence of the em pire
and its pow er over this territory in a subtle w ay.
During the rst repair w orks, w hich took place after the earthquake
in 1911, the builders changed the original colour palette of the
dom es to the Russian ag tri-colour, in com m em oration of the
upcom ing 300-year anniversary of Rom anov dynasty in 1913.
This chapter in the buildings history can be read in the second
paint layers of the dom es and w as con rm ed by old photos.
How ever, after the 1917 revolution, the USSR began its ght
w ith religion and all its m aterial evidence. M ost of the churches
and m osques of the city w ere destroyed by the 1930s. Only a
few of them survived, being transform ed into buildings of other
functional uses. This required m ajor changes in their appearance,
internal planning and structure. The cathedral w as lucky to be
preserved during this struggle, surviving rst the threat of
destruction and then m ajor reconstruction, w hich totally changed
its original structure and appearance.
Timur Turekulov and Natalia Turekulova
Above: The original Russian ag tri-colour was
discovered and retained in the cornices, domes
and cupolas.
Dadabhai Naoroji Road
Streetscape
340
City map
Oppositeleft andright: Building faade
before and after the enforcement of
signage regulations.
Location
Fort Precinct, Mumbai, India
Cost
Approximately $10,000
ResponsibleParty
Mumbai Metropolitan Region Development
Authority
Mumbai Municipal Corporation
Heritage Mile Association
Times of India Group
HeritageArchitect
Abha Narain Lambah
Contractor
Street furniture M/S Universal Designs
Dateof Completion
Signage regulation May 2001
Pilot street furniture project August 2001
Project synopsis
Dadabhai Naoroji Road, a nineteenth-century streetscape
characterized by arcaded bazaars and Victorian-era buildings,
is one of the busiest com m ercial corridors in M um bai. The
road is a prim ary artery w ithin the historic Fort Precinct and is
anchored by the UNESCO-listed Victoria Term inus (renam ed
Chhatrapati Shivaji Term inus) in the north and by Flora Fountain
in the south. M illions of pedestrians pass along the road every day.
W ith the dem olition of the fort w alls in the 1860s, large com m ercial
plots becam e available along Hornby Road, as it w as know n at
that tim e. By the 1890s, fashionable new com m ercial buildings in
the Neo-Classical, Gothic Revival and Indo-Saracenic styles had
been constructed. Each building w as required to have a ground
oor pedestrian arcade, w hich acted as the unifying elem ent tying
together the various building faades.
Over the decades, due to erce com petition am ong the streets
shopkeepers, the handsom e facades had been concealed by
unregulated signage such as billboards and other form s of
advertisem ent. Street furniture, too, proliferated w ithout any
form of coordination, resulting in road dividers, benches and other
public am enities detracting from the am bience of the historic
streetscape.
The conservation project began as an initiative, in 1998, by the
M um bai M etropolitan Region Developm ent Authority to prepare
a design handbook for regulating the historic streetscape. In 1999,
these urban conservation guidelines w ere im plem ented on a
voluntary basis by local stakeholders, w orking in conjunction w ith
the local m unicipal of cer and the project architect. The redesign
of the shop fronts and signage in a historically-appropriate
m anner w as achieved for the entire w estern side of the road by
M ay 2001.
In 2001, the Tim es of India, a leading new spaper group w hose m ain
of ces are located on the street, sponsored the im plem entation
of a heritage-sensitive street furniture schem e for the 100-m etre
stretch outside its building, a pioneering project in India.
Designated as a Grade Il Heritage Streetscape by the Heritage
Regulations of Greater Bom bay (1995), the area has im m ense
value as a historic urban streetscape. Since the restoration, a
veritable open-air exhibition of architectural facades representing
various episodes in the history of M um bai can be w itnessed along
this route.
In the preparation of the handbook, extensive surveys w ere
undertaken to docum ent the existing streetscape condition.
M easured draw ings w ere m ade of the heritage facades, noting
the location of all signage, air-conditioners and other features,
w hile street furniture and paving w ere also recorded. In addition,
the land use, ow nership patterns and occupancy rates w ere also
m apped. The guidelines recom m ended the redesign of signage
to t in existing form s such as arch openings and fascia bands,
instead of obliterating the historic features w ith hoardings of an
inappropriate size, m aterial and colour. Individual designs w ere
draw n up for each shopfront, proposing alternative designs, w hich
ensured that each new sign retained the original square footage.
The guidelines also provided recom m endations on the design of
kiosks, litter bins, telephone booths and other elem ents populating
the sidew alks.
W ithout w aiting for governm ent funding, the project architect
began to advocate for the im plem entation of the guidelines.
The idea w as to actively involve the shopkeepers, residents, local
executive bodies, service providers and potential sponsors in the
im provem ent of the urban infrastructure and restoration of the
heritage streetscape. The local m unicipal of cers cooperated by
calling all the 150 establishm ents to a public m eeting w here the
entire design schem e w as presented to them . Through a consensus
by the stakeholders, the signage schem e w as im plem ented. Under
the fram ew ork of existing legislation, this involved rem oving all
hoardings and signboards im pairing the appearance of the heritage
buildings and their architectural details. Even m ultinational
corporations such as M cDonalds and Thom as Cook participated.
W ith the ornate arcades and facades exposed, the architectural
integrity of the Victorian streetscape has been restored.
341
Dadabhai Naoroji Road Streetscape / 2004
The upgrade of the street furniture also utilized the design
recom m endations laid out in the handbook. Iron railings, litter
bins, telephone stands and tree guards w ere m anufactured in cast-
iron. A four-foot band of granite cobblestone paving w as installed
in lieu of the m otley assortm ent of M inton tiles, basalt pavers,
and m arble or granite ooring w hich had earlier characterized the
existing pavem ents. Set in a sand bed, the cobblestones are easily
rem ovable in case the electrical ducts and service lines underneath
needed to be serviced. Granite benches, inform ation signs and
building plaques rounded out the historic am bience.
Com m unity involvem ent at every stage has been the key factor in
the projects success. Both the signage w orks and the installation
of street furniture w ere com pleted w ith the voluntary and
active participation of the local com m unity. Each establishm ent
shouldered the cost of relocating and redesigning their ow n
shop sign w hile the Tim es of India group bore the expense of
fabricating and installing the cast iron street furniture.
Encouraged by the initial success of the signage redesign schem e,
the various stakeholders of Dadabhai Naoroji Road cam e together
to form a citizens association, the Heritage M ile Association. This
is a non-pro t group that aim s to restore the heritage character
Award Citation
Therst of its kindin India, this ambitious streetscapeproject has revivedthehistoricambience
of Dadabhai Naoroji Roadof Mumbai throughtherestoration of shopfronts, signageand
street furnituretoreect theareas Victorian-era commercial heritage. Througha bottom-up
participatoryapproachthis project has galvanizedlocal shopowners andresidents, leadingto
thecreation of citizens associations whichsustain andexpandconservation work in historic
Mumbai. Startingwithgrass-roots advocacy, andcontinuingthroughstakeholder consensus,
theproject has succeededin gainingcommitment fromthemunicipal government toadopt
urban design guidelines for theentirehistoricprecinct, settingan important precedent. The
projects success has generatedwidespreadappreciation of theaesthetic, social andcommercial
values whichhaveresultedfromthepreservation of thestreets historiccharacter. Throughits
inuenceon urban policyandcontribution tothecommercial vitalityof theneighbourhood,
this project sets thestandardfor futureurban streetscaperevitalization throughout India.
342
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 500-
m etre stretch of the road, w ith m ore people and establishm ents
com m itting their nancial and physical support. The long-term
responsibilities in term s of m aintenance, cleaning and security
have also been taken up by the Association.
Topleft: A sample streetscape signage scheme.
Below, left to right: Billboards once obscured many
of the roads historic buildings. Signage, street furni-
ture and paving patterns were coordinated to revive
the roads historic character.
Dorje Chenmo Temple
344
Village map
Opposite: The temple before and after
restoration.
Project synopsis
The Dorje Chenm o Tem ple is located in the historic village of
Shey in the form er kingdom of Ladakh in the north of India. The
tem ple enshrines the eponym ous goddess, the protective deity of
the village, and contains valuable w all paintings. W all paintings
w ithin Buddhist tem ples 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
w ould have follow ed prescribed rituals and techniques, and m ade
use of m ineral and stone pigm ents now rarely found in Ladakh.
Although no historic records exist about the tem ple, scholars
have ascribed an age of betw een 250 and 300 years to these w all
paintings, based on the iconographic representation, style and
technique of execution, w hile the building itself is thought to date
from an earlier period.
According to Buddhist beliefs, an incom plete or dam aged im age
of a deity is no longer sacred and should therefore be renew ed.
Renew al efforts elsew here have often focused on com plete
repainting of old paintings rather than on refreshing through
restoration m ethods. In m any tem ples in Ladakh, dam aged w all
paintings have been repainted using new synthetic pigm ents
w hich yield a vastly different effect from the original artistry.
The project sought to raise aw areness of the value of these ancient
w all paintings and to dem onstrate the potential of restoration
approaches, w hich could then be applied in m any historic structures
in Ladakh. The scope of w orks focused on the restoration of the
w all paintings w ithin the tem ple, along w ith lim ited architectural
conservation. Dam aged sections w ere consolidated, painted
surfaces w ere cleaned and badly deteriorated sections w ere
retouched. Restoration w orks w ere com pleted in four m onths.
Extensive involvem ent of the local residents, including m em bers of
the m onastic com m unity, the village head and the Shey Gandhuns
Tsogspa, w as em phasized throughout the course of the project in
deciding upon conservation and reuse decisions. Upon com pletion,
the project has show n how abandoned heritage structures can be
restored and reintegrated into com m unity life.
Built in m ud brick w ith m ud m ortar, the tem ple w as lim ew ashed
on the exterior and nished on the interior w ith a ne m ud plaster
containing sand and kaolin (w hite river clay) w hich had been
burnished to create a sm ooth surface for painting. The tem ple had
been abandoned w ith 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 cham ber, new beam s and colum ns
had been inserted, w hich dam aged the ceiling plaster and som e
w all paintings. The ceiling w as sagging from excessive loads and
rainw ater stagnation, due to inadequate drainage, w as causing
erosion at the base of the cham ber.
The paintings had also suffered from neglect, w ith soot, dust and
grim e caked across the surfaces, and extensive delam ination and
cracks detected in the w all surface. The cracks w ere thought to
have been caused by the new construction w orks; they included
structural cracks extending into the m ud brick base layer, m ajor
cracks affecting the plaster and m inor cracks on the paint and
prim er layer. The painted surfaces w ere prim arily w orn aw ay in
the low er regions due to hum an contact, w ith localized decay near
the new beam s, around the door and in high-stress areas like the
corners. There w as lim ited dam age from w ater seepage, but som e
of the blue and verm ilion pigm ents had oxidized.
As a rst step in the building conservation w orks, the cham ber w as
excavated to rem ove rubble and to drop the oor level closer to
its original depth. The exterior circum am bulatory path around the
structure w as also low ered, leveled to enable access and proper
drainage, and repaved in local stone. New storm w ater outlets
w ere installed to allow the run-off to drain through the rear of
the tem ple. W ooden colum ns w ith traditional-style capitals w ere
installed to support the roof load, enabling the rem oval of the
obtrusive colum n in the centre of the cham ber. Steel purlins w ere
introduced to reinforce the existing w ooden beam s. The front w all
w as stitched to the side w all to stabilize the structure. A false
ceiling w as created from tw igs and local grass to contain dust and
leaves dropping from the roughly-m ade old ceiling. Stone ooring
w as laid inside the cham ber to reduce dust.
Location
Shey Village, Jammu and Kashmir, India
Cost
US$7,021
ResponsibleParty
Raja Thinlas Namgyal
HeritageArchitect
Divay Gupta, Munish Pandit
Sanjay Dhar (Painting conservator)
Contractor
Sanjay Dhar
Dateof Completion
June 2003 (First phase of painting restoration)
345
Dorje Chenmo Temple / 2004
Detailed docum entation and photography to record the condition
of the paintings and the surface w as undertaken. On the basis
of this, a conservation strategy w as devised, w hich attem pted
to incorporate scienti c conservation m ethodologies w ith local
m aterials and techniques. Cracks in the w all surfaces w ere treated
and areas w ith structural dam age w ere replastered. Patches of the
paint layer w hich w ere aking w ere consolidated. The surfaces
w ere carefully cleaned using gentle solvents.
In som e areas there w as a com plete loss of the painted surface
and the sacred im ages w ere therefore dam aged and incom plete.
As a com prom ise betw een the Buddhist belief in renew al and
m odern conservation standards, it w as decided to com plete the
im ages by outlining the dam aged sections w ithout repainting
them com pletely, thereby clearly differentiating betw een the
original painting and the repainting. In areas w ith substantial
deterioration, the colours applied w ere of a different hue, clearly
noticeable on close exam ination. The villagers w ere given tim e to
get accustom ed to this m ethod of retouching the sacred im ages
and ultim ately approved of the nal results.
Award Citation
Therestoration of DorjeChenmoTempleandits superbwall paintings demonstrates the
valueof an integratedandinclusiveconservation approachtopreservingcultural heritage.
Technical aspects of thework on theonce-abandonedvillageprayer hall wereguidedbyarchi-
tectural andart restoration experts, whilea keycatalyticrolein theproject was playedbythe
villageoracle, whoframedtheproject within a traditional devotional context. Workingwith
theproject management team, theoracleencouragedextensiveinvolvement bytheresidents of
Sheyin theconservation work, resultingin thereintegration of thetempleintocommunitylife
andtherenewal of an appreciation for traditional construction techniques anddecorativearts
as appropriatetothecontinuityof local heritage. This project sets an exemplarymodel for
best practicein theconservation of theextensivereligious heritageof Ladakh.
346
The tem ple of Dorje Chenm o traditionally form ed an integral part of
the local com m unity life. Even today the villagers gather at the new
tem ple for daily prayers and during festivals, rituals are perform ed
by the resident m onk. Every year betw een August and Septem ber,
the deity enters the body of the village oracle and processes through
the village from the tem ple to Shey Palace, w here prophecies for
the village are then pronounced. Upon com pletion of the w orks, the
oracle conveyed the deitys great satisfaction w ith the restoration
and praised the villagers for their efforts. This endorsem ent has had
a m ajor im pact on the com m unitys attitude tow ards conservation.
It w as decided after the festival to re-establish the linkage of the
restored cham ber w ith the deity by displaying the cerem onial
vestm ents and ritual paraphernalia of the oracle in the room .
The project has provided an opportunity for the w ider com m unity to
view paintings from their past Ladakh heritage. M onks from other
m onasteries visited the site regularly during and after the restoration.
Regular site visits w ere organized for school children from Shey and
Leh, along w ith students and lecturers from the Central Institute of
Buddhist Studies. The im pact of the restoration on the com m unity
is evident from the increased interest in preserving other historic
structures in the village. Several other villages have also show n an
interest in restoring the w all paintings w ithin their tem ples.
347
Dorje Chenmo Temple / 2004
Muchof Ladakhs built heritagecontinues
tobein usebythecommunityandtherefore
oneof themajor lessons learnedis theneed
for a exibleapproach whiledeveloping
theconservation strategy. Understanding
thecommunitys needs andperceptions of
this heritagewas critical andat thesame
timetheywereintroducedtocontemporary
conservation approaches.
Far left andleft: 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.
Topright: Workers prepare twigs to make the
new ceiling.
348
Phra Racha Wang Derm Palace
350
City map
Opposite: The palace complex before
Location
Bangkok, Thailand
Size
4.8 acres
Cost
US$3,000,000
ResponsibleParty
Phra Racha Wang Derm Restoration Foundation
HeritageArchitect
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)
Dateof Completion
October 2002
Project synopsis
Located on the w est bank of the Chao Phraya River, the Phra Racha
W ang Derm Palace w as the residence of King Taksin the Great
of the Thonburi Dynasty, w hich w as founded in 1767 AD. In the
succeeding Rattanakosin era, the palace w as still used by m em bers
of the royal fam ily and household, notably King Ram a IV, King
Ram a II and King Pinklao. The com plex w as later bestow ed by King
Ram a V on the Royal Navy to serve as the Royal Naval Academ y,
and w as subsequently transform ed into the headquarters of the
Royal Navy. Today, the historic com plex includes the Throne Hall,
tw o Chinese pavilions, the Shrine to King Taksin, King Pinklaos
residence, W ichaiprasit Fort, the palace w all and gatew ays,
and num erous auxiliary buildings. The historical signi cance
of the com plex is indisputable, given the circum stances of its
establishm ent 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 re nem ents of royal
craftsm anship, w ith ne building and decorative w orkm anship.
The com plex w as designated a national m onum ent by the Fine
Arts Departm ent in 1949.
Over the years, new structures and buildings had been added to the
palace com plex, w ith repairs and m odi cations carried out m any
tim es to serve various purposes. Its location next to the riverbank
posed a serious problem to the foundations of various buildings,
w ith rising dam p, periodic ooding and siltation. W eathering
and term ites added to the m aintenance problem s. A survey
undertaken in 1994 revealed the vulnerable condition of m any of
the buildings and the need to undertake conservation w ork. M any
of the roofs w ere leaking, leading to dam pness, term ite infestation
and structural dam age. The problem s w ere especially severe in
the tw o Chinese pavilions and King Pinklaos residence. The Phra
Racha W ang Derm Restoration Foundation w as established to
oversee and undertake the restoration of the palace, w ith HRH
Princess M aha Chakri Sirindhorn graciously presiding as the Chief
Adviser to the project.
W orks began in 1995 and w ere com pleted in 2001. The palace
com plex has been transform ed into a cultural and educational
resource centre about a signi cant period of m odern Thai history.
The conservation project em ployed a tw o-phase approach,
starting w ith structural stabilization, follow ed by architectural
rehabilitation. The project sought to restore the traditional
architecture of the palace com plex and its setting through a
com bination of m odern conservation techniques and traditional
construction m ethods. The physical restoration w orks w ere
planned in conjunction w ith an educational m ission to prom ote
historical research and inform ation related to the palace and the
Thonburi era.
An extensive condition survey of each building w as conducted in
order to determ ine the course of w ork. The survey started w ith
an archival study of historic evidence of the buildings original
state and the changes over the years, m aking reference to annals,
m em oirs and old photographs. The existing condition of the exterior
and interior buildings w as investigated and recorded. Drilling w as
carried out to assess m aterial conditions. Extensive archaeological
excavations w ere conducted on-site. Finally, thorough analysis of
all historical paint layers allow ed for m atching on-site sam ples
w ith contem porary paints, in som e cases especially com m issioned
to m atch the in situ sam ples. On the basis of this investigation,
recom m endations w ere m ade for conserving each building. The
historic research form ed a valuable reference for the ongoing
w orks.
In the stabilization phase, the buildings w ere repaired and restored
to good condition. This included dam p-proo ng, roof repairs,
structural repairs and shoring up foundations to stop subsidence.
In the rehabilitation phase, the buildings w ere restored to their
original form and to be suitable for their present-day uses. This
required the rem oval of inappropriate accretions w hich had been
undertaken over the years.
During roof repairs, rotten w ooden rafters and ceiling planks
w ere repaired or replaced w hen necessary. Vapour barriers w ere
installed to prevent m oisture seepage and control rising dam p.
Roof tiles w ere replaced w ith exact replicas in form , m aterial and
colour. Decorative w orks on the gable ends and roof ridges, such as
m oulded stucco designs, w oodw ork and Chinese-style paintings,
351
Phra Racha Wang Derm Palace / 2004
w ere restored using expert traditional artisans. A 10-centim etre
high dam p-proof course w as inserted into the base of the w alls
to deter rising dam p. Sagging door and w indow lintels w ere
corrected through the addition of reinforced concrete tie beam s.
W indow shutters and door panels w ere repaired in accordance
w ith evidence from historical photos.
The project attem pted to preserve as m uch of the authentic building
fabric as possible, such as partially dam aged beam s. How ever, in
m any cases, the buildings had been added onto or renovated in
w ays w hich w ere not in keeping w ith their architectural integrity
or w hich interfered w ith their natural functioning. Traditional
m aterials w ere used to solve problem s arising from these
inappropriate decisions. For instance, the use of cem ent plaster
on the w alls and colum ns restricted m oisture ventilation; this w as
recti ed by substituting traditional lim e plaster that had been
slaked on-site. Flooring nishes had also been changed over tim e,
and these w ere restored in line w ith historical evidence.
In circum stances w here the original structures them selves w ere
inadequate, supplem entary solutions w ere devised, such as the
addition of vapour barriers in the roofs to control seepage from
rainw ater. In King Pinklaos residence, supplem entary m etal
structures w ere used to replace the w eakened and term ite attack-
prone w ooden colum ns and beam s.
Award Citation
Therestoration of this signicant royal palacecomplex, Phra Racha WangDerm, sets a
new precedent for conservation in Thailandanddemonstrates theenormous potential of
privatesector-ledefforts tosaveimportant parts of thecommunitys heritage. Theproject has
successfullypreservedthis valuableensembleof structures whichrepresent over 300 years of
transformation, includingthemain coreof palacebuildings whichwerethecentreof royal
political andmilitarypower duringtheThonburi Era. This multi-facetedandambitious
project has effectivelyincorporatedtheuseof traditional methods andcraftsmanshipandhas
conservedimportant examples of royal decorativenearts. Attention todetails of theoriginal
structures andtoaccuracyin colours has preservedtheauthenticityof individual buildings
within thecomplex, whicheachrepresent a historicperiod. Exposureof earlier features through
archaeological excavation andtheuseof landscapeelements tointerpret thosefeatures have
successfullycreateda palimpsest of historyat thesite. Withthedevelopment of a historical
museumanda libraryon-site, thecomplex is a center of publicoutreachandeducation into
thehistoryof thenation. Therestoration of thepalacecomplex highlights theachievements of
theThonburi Era andraises awareness of an important periodin thedevelopment of Siamese
statehoodandforeign relations.
352
Clockwise, frombottom: King Pinklaos residence
under restoration. Installing waterproong mem-
brane on the roof. Crews repair the ceiling. Before
To allow the buildings to serve their m odern m useum and
exhibition functions, upgrades in the building services w ere m ade.
The new services w ere carefully designed in order to prevent them
from detracting from the historic interiors. New w iring for electricity,
telephones, lighting and security w as concealed in m etal conduits
buried in the w alls and colum ns, both for aesthetic and safety
reasons. An under oor air-conditioning system w as installed w here
deem ed absolutely necessary. For instance, the throne hall rem ains
naturally ventilated, at the speci c behest of the Chief Adviser.
The rehabilitation of the built structures w as undertaken to allow
them to harm onize w ith the setting. Archaeological excavation w as
carried out in the law ns, roads and gardens covering the com plex,
w hich had been silted up and planted w ith decorative trees. The
excavation uncovered traces of brick foundations of pavilions,
verandahs and retaining w alls w hich have since fallen into ruin,
along w ith num erous ceram ic and m etal artefacts. Fragm ents
of roof tile and paving stones w ere used to inform the choice of
restoration m aterials. The areas adjacent to the buildings w ere
excavated 30 centim etres in depth to expose the original level of
the plinths. The excavated areas w ere covered w ith a vapour barrier
and the pits re lled. Hedge plantings and paving m aterials w ere
designed to denote the underlying foundations, thereby interpreting
historical layers of the site to visitors. To prevent further ooding,
tw o large sum ps w ere installed to drain oodw ater to the river.
Project details
The Throne Hall w as constructed in 1768, com prising tw o adjacent
buildings in a T-con guration. Once an open-air pavilion used by
the king to hold court, the south building w as later enclosed. The
north building, w hich served as the Kings headquarters, is believed
to have retained its original plan and tiered Thai-style roof w ith
three gable ends. The roof structure and decorative details w ere
repaired. Internal w alls added to conceal the service areas w ere
replaced w ith lightw eight partition w alls. New er m arble ooring
tiles w hich did not m atch w ith the original oors w ere rem oved.
The building services w ere m odernized.
King Pinklaos residence, one of the earliest royal residences inspired
by European architecture, had been built in a hybrid m anner w ith
a Thai w ooden fram e enclosed w ith brick w alls, w hich the Navy
subsequently surrounded w ith another layer of concrete blocks,
leading to serious dam p issues and recurrent term ite problem s.
A com bination of m etal and reinforced concrete colum ns w ere
installed to stabilize the building. W ooden w all panels w ere
repaired and repainted in their original dark green w hile the teak
oor planks w ere restored or replaced w ith m atching boards. The
entry stairs w ere restored to their original appearance.
353
Phra Racha Wang Derm Palace / 2004
The tw o Chinese-style pavilions, also dating back to King Pinklaos tim e,
had been built in a m ix of Thai and Chinese architecture, w ith Chinese
decorations on the pedim ent but Thai carved w ooden w indow s. They
w ere in poor condition prior to restoration, having been used as
storeroom s. Their roofs w ere repaired w ith concealed rain gutters and
teak ceiling planks w ere installed. Traditional artisans w ere com m issioned
to repair the decorative plaster m oulding and Chinese-style paintings
using the existing fragm ents as evidence of the original m otifs. The
oors w ere re nished w ith terracotta tiles. New air-conditioning and
other system s w ere installed.
The 26-square m etre Shrine to King Taksin w as built in the late 1880s
in a m ixture of w estern and Thai styles, and houses a statue of King
Taksin bearing a sw ord. It also required repairs to the roof. Shutters
w ere added to the basem ent-level doors to facilitate ventilation,
the w alls w ere replastered and iron w indow grills w ere recreated.
Decorative lim e plaster on the exterior and interior crow n m oulding
w ere restored. The dam aged ends of the w ooden joists on the upper
oor w ere repaired and supplem ented w ith m etal beam s. The layers of
siltation deposits in the basem ent oor w ere excavated and cem ent
tiles w ere installed, leaving channels lled in w ith gravel to allow for
ventilation.
W ichaiprasit 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 dam p. The retaining w alls w ere threatening
to split apart. Over 900 concrete piles w ere added to shore up the
foundation of the fort and a new drainage system w as installed. The
stabilized structure w as then replastered and relandscaped.
Prior to restoration, the 1906 Green W ooden House, w hich once
served as the in rm ary, w as com pletely infested w ith term ites.
Its rear building had been used as a canteen, resulting in general
decay. M oreover, its open porch had been enclosed and its historic
kite tiles had been replaced since the original roof structure w as not
built strongly enough to support the heavy kite tiles. The porch w as
re-opened and the roof structure w as strengthened to support the
original type of tiles. Term ites w ere treated and old w ooden panels in
the building w ere repaired or replaced as necessary.
This w as the rst project of this scale to be funded entirely by private
contributions, both for restoration w orks and for the preparation of
the m useum s. Relying on private conservation consultants and experts,
the project set standards w ith rigorous docum entation prior to and
during the course of w orks, international conservation m ethodologies
and em phasis on the use of traditional construction techniques, hand
tools and original m aterials. During the restoration, a team of highly-
ThePhra Racha WangDermis the
linchpin of a signicant historic era.
This signicance is revealed both
throughtherestoration works as well
as through the carefully-curated ex-
hibits andarchaeological sites located
throughout thecomplex.
Far left andmiddle: The two Chinese-style
residences before and after restoration.
Above: Replastering the walls.
354
skilled labourers w as em ployed and received further training in
conservation techniques. Currently, they are still involved w ith
the ongoing m aintenance of the palace com plex, w hile also taking
on other im portant conservation projects in the country, such as
Phayathai Palace.
The buildings that had cerem onial functions have retained their use,
such as the Shrine to King Taksin and the Throne Hall. King Pinklaos
residence and the tw o Chinese pavilions have been adapted for
educational use as m useum s about King Pinklao and King Taksin,
respectively. The m useum s focus on four collections: ceram ics,
arm s, coins and niellow are. They have becom e an im portant
destination for outside visitors, in particular school groups. Along
w ith the m useum s, the buildings also include a research library and
an of ce to house the ongoing w ork of the Foundation.
The restoration of the Palace and extensive advocacy and public
outreach w ork, in term s of publications and the production of
visitor guides, have sparked a renew ed interest in the Palace, in
King Taksin and the Thonburi Era. This revival has affected the
historic com m unity surrounding the com plex, the general public of
both Thais and overseas visitors, as w ell as the local Thai-Chinese
com m unity, 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.
St. Thomas Cathedral
356
City map
Opposite: The masonry fabric before and
after restoration.
Location
Mumbai, India
Cost
US$178,000
ResponsibleParty
St. Thomas Cathedral Trust
HeritageArchitect
Brinda Somaya, Sandhya Savant
Kairmein Deboo
Swati Chandgadkar (Stained glass conservator)
Contractor
Savani Construction Co.
Dateof Completion
October 2003
Project synopsis
Constructed over a 42-year period betw een 1676 and 1718, St.
Thom as Cathedral w as the rst Anglican church to be built in the
city of M um bai. A charity school for Protestant children w as also
established at the sam e tim e in the vestry of the church, w hich
later m oved to a nearby building in the Fort Precinct. Upon its
consecration as a cathedral in 1837, a clock tow er w as added,
w hich dom inated the skyline of M um bai for decades. Over the next
century, the building w as altered several tim es, m ost signi cantly
w ith a Victorian Gothic extension to the apse built to house the
choir and organ room . As part of an im provem ent program m e in
1921, the original pitched, tiled, w ooden roof on the apse end w as
replaced w ith a reinforced concrete slab supported by steel beam s,
utilizing w hat w as the m ost m odern technology at the tim e.
By the late 1990s, the slab roof had deteriorated considerably,
causing leakages and ooding inside the cathedral. W ith the roof
verging on collapse, the trustees of the church w ere galvanized
into action. The m ain focus of the project w as the rem oval of the
slab roof and its replacem ent w ith the original 1865 pitched roof
form in order to prevent w ater seepage and further dam age to the
building fabric. It w as decided by the trustees to also undertake
the conversion of the old parish hall and staff quarters into a
kindergarten, w hich w ould serve local needs as w ell as provide
revenue to help nance the restoration w orks. In addition to
restoring the roof, conservation of the grounds and decorative
elem ents, such as stonew ork and stained glass w indow s, w as also
undertaken.
The project w as initiated in 2001 and successfully com pleted in
2003. Listed as a Grade I building by the Heritage Regulations
of the M um bai M unicipal Corporation (1995), the cathedral
continues to serve as a m ajor religious institution and a signi cant
architectural landm ark. The restoration w orks have consolidated
the grounds, the buildings structural stability and its elaborate
Victorian Gothic interiors containing carved m arble m onum ents,
sculpture, iron w orks, choir stands and pew s, and stained glass
w indow s.
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 em barking on the reconstruction, the
trustees w ere required to undertake detailed docum entation of the
church, including m easured draw ings of the m ain building and the
ancillary buildings.
The restoration of the roof proved to be challenging w ithout any
detailed historical photographs or architectural draw ings. The tw o
gable w alls had to be restored to their original pro le. The project
team exam ined the old stones, m any of w hich had been reused
w hen the w alls w ere dism antled and rebuilt to support the at
roof. A study of other Gothic Revival apses also furnished clues
concerning detailing for the nials, cornices and coping stones,
enabling an inform ed reconstruction design. The stone w alls w ere
diassem bled dow n to the level of the old kneeler, w hich w as kept
intact as a visual m arker. The old stones from the w all w ere kept
and reused as m uch as possible. During the process, the historic
nial pieces and cornice details w ere uncovered, w hich w ere
found to closely m atch the proposed reconstruction designs, thus
reaf rm ing the investigative results. The roof w as reconstructed
w ith a steel structural system , w ith rafters spanning the vault and a
ring beam running along the apse w alls. W ooden boarding, coated
w ith a bitum inous w aterproo ng m em brane, w as laid over the steel
to support the clay tiles. The roof w orks w ere expedited in order to
be com pleted before the onset of the m onsoon rains in June.
In the conservation of the apse, the prim ary concern w as repairing
the m asonry fabric. The apse addition had been com pleted in a
rushed m anner due to the crash of the cotton exchange in the late
nineteenth century, hence the m aterials and craftsm anship w ere
not of high quality. How ever, in order to preserve the historic fabric,
only w rongly bedded or deteriorated stones w ere replaced. On the
exterior, the Porbunder lim estone faade had been repointed in
epoxy w hich had caused the joints to spall, thus dam aging the
stone. The epoxy pointing w as carefully rem oved and replaced w ith
lim e m ortar. Other w orks included the repair of decorative details
such as the stained glass w indow s.
357
St. Tomas 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. Thom as
Cathedral w as one of the rst Grade I buildings to be granted
perm ission for adaptive reuse. The tw o buildings w ere in a poor
state prior to the com m encem ent of w orks. The staff quarters
building w as reconstructed w hile the parish hall w as upgraded
w ith refurbished interiors and new toilets in order to m eet m odern
classroom needs.
The grounds had been largely neglected, resulting in changing
ground levels, w ater logging and lack of sym m etry. The project
undertook the correction of the ground slopes and the installation
of a storm w ater system and French drains around the building. The
haphazard landscape w as re-ordered into a sim ple Victorian garden
by transplanting trees. A low sliding bollard gate w as installed to
separate the kindergarten from the church during school hours.
Throughout the project, traditional building m aterials and
construction techniques w ere used. The badly-eroded carved cornice
details w ere restored by rem odeling details w ith m ortar in lieu of
replacing the stone. Only in areas w here the erosion w as extrem e
w ere replacem ents m ade. New m aterials w ere kept to a m inim um
and w ere m ostly used for structural reinforcem ents. These w ere
af xed to the old m asonry in a w ay such that they could be rem oved
at a later stage, if necessary, w ithout dam aging the older fabric.
The restoration has encouraged the com m unity to participate
m ore actively in church activities. To educate the public about
the conservation w orks and Victorian-era architecture, the organ
room has been transform ed into an interpretation centre. M any
details about the stone m asonry w ork w ere docum ented w hich
provide an insight into Gothic Revival construction m ethodology.
Old artefacts, providing evidence of historical construction details,
w ere collected and displayed. The restoration and site interpretation
have added a new dim ension to the sites tourist potential.
The num ber of visitors had increased m arkedly, dem onstrating
renew ed interest in this im portant city m onum ent.
Award Citation
Therestoration of St. Thomas Cathedral, constructedbetween 1676 and1718, has rescued
oneof Mumbais most important landmark buildings andhas contributedtorevitalizingthe
built heritageof thecitys historiccentre. Theprojects thoroughdocumentation, theremoval
of incongruent elements andtherestrainedrepair work displaya soundunderstandingof
conservation theoryandmethodology. Byreinstatingtheoriginal siteplan, theproject has
restoredthehistoriccoherenceof thecomplex andgrounds. Furthermore, thecreativeadaptive
reuseof somebuildings within thecomplex has reinforcedthefunction of thecathedral as a
placeof communitylearning, whiledemonstratingthemodern-daysocio-economicviability
of historicstructures.
358
Therestoration enhances thesenseof char-
acter andromanceof thecitys heritage,
whichis often overlookedin a commercial
environment. Therestoration of a Cathe-
dral of such historic importanceto the
cityinstills a senseof pridenot onlytothe
parishioners, but alsotothecityat large.
Above: Site and oor plan of the cathedral.
Topright andmiddle: The reconstructed gable
roof replaced the 1921 at roof.
Right: The cathedrals restored nave.
Far right: Elevation at apse side.
Vietnamese Traditional
Folk Houses
360
Location, SizeandCost
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
House of Tran Ngoc Du Family
Bien Hoa City, Dong Nai Province
House of Worship of Dang Xuan Family
Hanh Thien Village, Nam Dinh Province
House of Pham Ngoc Tung
Vinh Tien Village, Thanh Hoa Province
House of Tran Van Binh
Dong Hoa Hiep Commune, Tien Giang Province
ResponsibleParty
Ministry of Cultureand Information
Japan International Cooperation Agency
Showa Womens University
HeritageArchitect
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
Dateof Completion
June 2003
Project synopsis
Due to rapid econom ic developm ent and change in Viet Nam in
recent years, traditional houses are being dem olished and replaced
by m odern structures that do not re ect the rich culture and
history of the country. In recognition of the vulnerability of the
rem aining buildings, the project sought to identify and conserve
typical traditional folk houses throughout the country.

Through a collaborative partnership betw een the Vietnam ese
M inistry of Culture and Inform ation, the Japan International
Cooperation Agency and Show a W om ens University,
com prehensive architectural surveys of traditional folk houses in
each province have been conducted since 1997. In the rst stage,
betw een 300 and 900 houses in each province w ere docum ented
w ith sim ple plan draw ings, photographs and interview s w ith the
residents. These w ere supplem ented by m ore detailed m easured
draw ings at the second stage. The surveys presented a valuable
opportunity not only for discovering the num ber of existing
traditional houses, but also for raising aw areness am ong the
residents about the cultural value of their properties.
From this shortlist, approxim ately six houses in every province
w ere selected to be designated as national cultural assets. The local
com m unities played an active role in identifying and nom inating
the houses to be designated. They subm itted entries for the initial
list of traditional houses that w ere used in the prelim inary survey.
Further selection w as carried out through consultation w ith the
M inistry of Culture and Inform ation, provincial Departm ents of
Culture and Inform ation and Show a W om ens University.
Finally, six houses in six separate provinces w ere chosen for
restoration. The houses w ere chosen on the basis of factors such
as feasibility of training local building contractors, the educational
im pact of the restoration, reuse options for the restored buildings
and balanced regional representation.
The key objective of the project w as to upgrade the capacity of
local artisans, construction com panies and architects in restoring
traditional w ooden buildings, w hich w ould ensure sustainability
of conservation efforts in the future. To facilitate the transfer of
know ledge, one Vietnam ese restoration supervisor, one Japanese
restoration supervisor and one staff m em ber from the provincial
Departm ent of Culture and Inform ation w ere perm anently
stationed at each project site. In addition, upon the com pletion
of w ork on each house, all those responsible for the conservation
of cultural assets in nearby provinces w ere invited to attend a
one-w eek training sem inar in order to further inculcate technical
expertise and conservation principles.

For each building, a prelim inary survey w as carried out in order
to determ ine w hich parts of the building should be restored to
its original form . Restoration plans w ere then draw n up, calling
for the retention and reuse of as m uch of the original fabric as
possible. In keeping w ith the standard approach to restoring
traditional w ooden structures, the building structures w ere then
disassem bled, w ith individual tim ber m em bers recorded and stored.
Detailed observations undertaken during this process, especially
to inspect parts of w ooden m em bers that w ere not visible prior
to dism antlem ent, such as joints. M odi cations w ere m ade to the
original restoration plan on the basis of the new inform ation.
Each w ooden com ponent w as then carefully restored. Restoration
supervisors w orked closely w ith local carpenters to devise
solutions to repair or replace decayed parts using a com bination
of traditional w oodw orking skills and new techniques. For
instance, in Bac Ninh province, stainless steel coach-bolts w ere
used to connect the rem aining parts of the structure w ith the new
m aterial, thereby structurally reinforcing the fram e com ponents.
Prior to reassem bling the structure, the foundations of the
buildings had to be stabilized. In traditional houses, the pillars
usually rest on stone foundations. How ever, it w as found that in
m any of the project sites, m any of the pillars w ere set on stone
bases resting directly in the soil, leading to uneven settlem ent.
Reinforced concrete w as added under the stone bases to prevent
Opposite: House of Tran Ngoc Du
Family in Dong Nai province
361
Vietnamese Traditional Folk Houses / 2004
further settling. These additions w ere im plem ented w ith care so as
not to affect the external appearance of the building.
Once the foundations w ere in place, the w ooden fram ew ork of the
houses w ere reassem bled. The team w as m indful of the unique
fram ing structure of Vietnam ese houses, w hich m ake extensive
use of the principal rafter beam s and diagonal beam s, unlike the
vernacular w ooden architecture of China and Japan. M oreover, the
team w as also careful to select reassem bly m ethods appropriate to
the different w ays in w hich beam s are used and tim ber m em bers
assem bled in the three regions of Viet Nam .
Through interview s w ith the residents of the houses and surveys of
sim ilar houses nearby, efforts w ere m ade to determ ine the original
form of oors, w alls and architectural ttings. W here the restoration
to the original form w ould greatly hinder the m odern lifestyle of the
current residents, discussions w ere held w ith them and efforts w ere
m ade to incorporate the requests from the residents into the restora-
tion plan w hile not dim inishing the cultural value of the house.
Finally, in m ost cases, external w ork w as also carried out to im prove
the appearance of the property as a w hole. Careful attention w as paid
to m ake a clear distinction betw een the old and the new elem ents
in refurbishing garden plantings, pavem ent, folding screens, w ater
basins and other elem ents of the houses.
Award Citation
Spanningsix provinces in Viet Nam, this ambitious, innovativeandoutstandingproject has
successfullypreservedseveral typologies of vernacular timber buildings representinga rangeof
Vietnameseregional buildingcrafts andarchitectural traditions. Methodical documentation
and research prior to thecommencement of thework haveensured theretention of the
architectural authenticityof eachbuilding, andset a regional standardfor appliedresearch
in conservation practice. Theprojects emphasis on thetransfer of technical know-how and
teachingof conservation principles has upgradedthecapacityof local builders andcraftsmen
in undertakingsimilar projects in their communities, thus ensuringthelongtermsurvival of
their buildings andtraditions. Thegeographical distribution of thesites promises tohavea
widerangingimpact on theconservation of local heritagethroughout Viet Nam.
362
Project details
Three houses w ere selected from northern Viet Nam , w here the in u-
ence of Chinese culture is re ected in the built heritage.
The House of W orship of the Nguyen Thac clan in Bac Ninh Province
w as built in 1734 and considered to be the oldest existing folk house
in the country. Its design is characteristic of the traditional northern
Vietnam ese house. M easuring 13 m etres w ide, it has a gabled thatch
roof. The restoration w ork w as started in Decem ber 2000, w ith no
m ajor alterations except for stabilizing the foundation w ith rein-
forced concrete. Upon com pletion, the house has been opened to
the public.
The House of W orship of the Fam ily of Dang Xuan in Nam Dinh
Province is com posed of a large m ain house w ith detailed sculptural
w ork, displaying the characteristics of a high status house typical to
the region. Dating back to 1866, it is considered the oldest w ooden
house in the province. The house m easures nine m etres w ide, and is
com posed of a m ain hall anked by side room s. W orks w ere started
in Novem ber 2001. Based on a survey of original construction traces,
new er brick w alls and other interior architectural ttings w ere
rem oved, restoring the house to its authentic historic condition.
The House of Pham Ngoc Tung in Thanh Hoa Province possesses
m agni cent sculptured elem ents sim ilar to that of the Nguyen
Dynasty. In addition, due to its proxim ity to a Ho Dynasty palace
earm arked for extensive reconstruction, it w as thought that by
choosing this house for the project, the skills and pro ciency of the
artisans and architects w ould be suf ciently upgraded to help w ith
the palace project. Thought to be approxim ately 150 years old, the
house contains a m ain room used to house the fam ily altar and side
room s used for dw elling. Starting in October 2002, the restoration
project rem oved inappropriate features such as the entrance and
Topandtopright: Truong clans house of
worship during and after conservation.
Oppositepage
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.
363
Vietnamese Traditional Folk Houses / 2004
w indow s from the northern brick w all and reinforced the foundation
w ith concrete.
In the central region, w hich is the seat of the Nguyen Dynasty culture,
the House of W orship of the Truong clan in Quang Nam Province
w as selected. Built in 1840, this house is considered to be one of the
m ost culturally signi cant in the province. It possesses the charm of
aristocratic-style housing and is unique com pared to the other tow n
houses in Hoi An. In addition, as it is the clans house of w orship,
kinsfolk gather here on festive occasions, thereby m aintaining the
traditional use of the building.

Tw o houses w ere selected from southern Viet Nam ; strong French
in uence is evident in the houses of this region. The house of the Tran
Ngoc Du fam ily in Dong Nai Province w as constructed in the early
nineteenth century on the Dong Nai River. The faade has W estern
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 w ithin 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 w as in a
severely dilapidated state and near collapse. The roof and front brick
w all w ere partially destroyed and w ooden elem ents dam aged due
to w ater leakage and term ites. Starting in October 2001, restoration
w orks w ere undertaken, using old photographs as a guideline.
Located on a canal, the house of Tran Van Binh in Tien Giang Province
w as speci cally selected for the project because of its W estern
appearance, due to later additions of a brick arched entrance and
w indow s. Built in the early tw entieth century, the house w as thought
to have had a w ooden faade originally. Based on old photographs
and architectural traces, the restoration rem oved the brick w all
and replaced it w ith a tim ber paneled w all. Traditional carpentry
techniques, tools and m aterials w ere used, w hich w ere transported
via the canal.
The project has helped to raise the aw areness of cultural heritage
conservation am ong ow ners of cultural heritage, of cials responsible
for cultural heritage m anagem ent and the public. As part of the
m anagem ent of the project, the house ow ners agreed to entrust
their houses to the M inistry of Culture and Inform ation as a cultural
asset and to undertake their continuous m aintenance. In som e cases
there w as evidence that the ow ner of the property has undergone
a shift of aw areness from sim ply m aintenance of cultural value to
enhancem ent of cultural value.

The im pact of this restoration project as an im petus to further
conservation is evident. The year after the restoration of the Dang
fam ily house in Nam Dinh Province, Secretary-General Truong
Chinhs house, located in the sam e village, w as restored w ith funding
from the provincial governm ent. The w ork w as carried out by the
sam e contractor and carpenters w ho w ere responsible for the Dang
fam ily project. Likew ise, in Bac Ninh Province, since the restoration of
the House of W orship of Nguyen Thac clan the num ber of restoration
w orks on traditional houses in the surrounding area has increased
dram atically. There is now a m ovem ent tow ards conservation of
the w hole village, centred around the Dinh Bang Assem bly Hall.
The aw areness and involvem ent of the local com m unity in cultural
heritage has been greatly enhanced.

Vietnam ese experts responsible for heritage conservation absorbed
m odern conservation techniques and approaches and Vietnam ese
architects learned m any lessons from the w orking m ethods of their
Japanese counterparts. For instance, the restoration of the house in
Thanh Hoa Province, w hich contains m any im portant cultural assets,
has provided invaluable training in conservation principles to the
of cials of the provincial governm ent, local building contractors and
carpenters.

The tourism industry, too, has bene ted from this project. After the
restoration of the house in Tien Giang Province, it has becam e a new
tourist spot and is now included as one of the m ain attractions in
a regular canal cruise. In general, the restored traditional houses
are not only seen as cultural assets, but can also becom e potential
destinations. Through tourism developm ent such as this, the
appreciation of the cultural value of Vietnam ese traditional folk
housing can increase and the local econom y can be stim ulated.
364
If wecan transfer thetechnical know-
how of restoration of traditional wooden
housing, many Vietnamese traditional
folk houses can besavedfromvanishing,
and thereby be passed on to the next
generation.
Aboveandtopright: Floor plan and elevation of
Truong clans house of worship.
Right andfar right: Exterior and interior photos of
the restored Dang Xuan residence.
Elphinstone College
366
City map
Opposite: The impressive Victorian Gothic Revival
building before and after rehabilitation.
Location
Mumbai, India
Size
4,000 square metres (faade)
170 square metres (front porch)
Cost
US$52,330
ResponsibleParty
Government of Maharashtra
HeritageArchitect
Abha Narain Lambah
Contractor
M/s Construction Techniques
Dateof Completion
September 2003 (Phase 1)
Project synopsis
Established in 1824, Elphinstone College is am ong the oldest
colleges in M um bai and one of the pioneering educational colleges
of the British system in India. Som e of its alum ni are am ong the
greatest nam es of the Indian nationalist m ovem ent, strongly
establishing this institutions contribution tow ards shaping the
history of the Indian subcontinent.
A Grade I heritage building, Elphinstone College is a m ajestic
Victorian Gothic Revival building that form s part of the ensem ble
of cultural institutions in the Fort Precinct. Designed by Jam es
Trubshaw and Khan Bahadur M uncherjee M urzban, it w as
com pleted in 1888 by John Adam s, executive engineer in the
Bom bay Governm ent.
The building is a distinguished architectural com position of
golden basalt and lim estone w ith a dynam ic fenestration schem e,
ordered by anking stone turrets w ith pyram idical roofs. Finely
articulated balconies, brackets and balustrades, along w ith
intricately designed surface m otifs, add to the decorative features
of the building.
For decades the building stood neglected, w ith layers of soot
and grim e concealing the ornate stone faade and cus grow th
causing cracks in the stone m asonry. The front porch w as in
need of structural stabilization. Years of insensitive repairs and
additions had greatly com prom ised the buildings integrity. Added
to this, som e w ell-m eaning but insensitive repair m ethods had
taken their toll.
Through the establishm ent of the Kala Ghoda Association,
a citizens initiative founded in 1998 w ith the objective of
revitalizing this urban space as an art district, the restoration of
the Elphinstone College building becam e possible. For the rst
tim e in India, a citizensgroup w as allow ed to fund, oat tenders
for and undertake restoration w orks on a governm ent-ow ned
building. The Association w as responsible for the outer shell, w hile
the repairs w ithin the building w ere under the jurisdiction of the
Public W orks Departm ent (PW D) w ith technical expertise provided
by the Associations consultants. The rst phase of the restoration
w as started in January 2002 and com pleted in Septem ber 2003.
The Association oversaw the restoration of the faade and the
porch, w hile the PW D undertook the w aterproo ng of the terrace
and w indow restoration.
The restoration project w as driven by the principle of respect
for the buildings historic, social and architectural signi cance.
A com bination of scienti c conservation techniques and local
building crafts w as used. The architectural integrity of the building
w as recovered by the rem oval of incongruous additions such as
ad hoc w indow aw nings, sheds and service pipes that had been
increm entally added to the structure.
Stone cleaning on the 90-m etre w ide faade w as undertaken
w ith a gentle w ater m isting system rather than high pressure
jets or chem ical surfactants. The rst project in M um bai to use
this m ethod, it helped prevent any possibility of stone abrasion
or dam age and kept intervention to a basic m inim um . The stone
w as cleaned w ith soft nylon brushes to rem ove super cial dirt,
before being sprayed w ith a ne m ist of w ater for three seconds
at three m inute intervals, to ensure that encrustations w ould
be detached w ithout over-w etting the stone. After three days,
the stone m asonry w as cleaned w ith soft brushes, revealing the
underlying golden basalt base layer. In lieu of expensive im ported
equipm ent, a locally devised system w as rigged up, w ith the
sprinklers m ounted on a scaffold set three feet aw ay from the
faade and a solenoid sw itch equipped w ith a tim er.
In cleaning the sulphate encrusted decorative lim estone m ouldings,
capitals and sculpted panels, am m oniacal paper poultices w ere
applied to the stone for tw o to three days, follow ed by w ater
w ashing. Surfaces prone to algae and lichen grow th w ere coated
w ith an am m oniacal solution. Ficus plants w ere uprooted and the
stum ps treated w ith a traditional paste of lim e and asafetida.
Local craftsm anship and m aterials w ere m obilized in the repair
of the dam aged faade elem ents. The stone m asonry had been
repaired earlier w ith hard cem ent m ortar and epoxy, leading to
Elphinstone College / 2004
367
the delam ination of the stone due to the trapped w ater w hich
w as unable to evaporate. The joints in the stone m asonry w ere
repointed using a traditional lim e m ortar m ix dyed w ith kathha (a
natural colorant) to m atch the basalt color, w hich w as achieved
after 50-odd trials w ith different com binations of various additives
such as brick dust and stone pow der. Dam aged lim estone stringer
courses w ere replaced w ith new hand-carved sections, w hile
decorative panels w ere either restored using lim e m ortar or, in
cases of severe dam age, new sections. Discreetly inserted stainless
steel pins w ere used to x the new panels, since corrosion is an
issue, given the hot and hum id clim ate of M um bai.
In the front stone porch, the ends of tim ber rafters set in the
m asonry w alls w ere greatly dam aged by w et rot. Replacem ent
m em bers, in old Burm a teak w ere sourced and installed. Stainless
steel C-sections w ere inserted as additional supports on alternate
ends, w hich have been exposed as a contem porary intervention.
Award Citation
Therestoration of thefaadeof theVictorian landmark, ElphinstoneCollege, was undertaken
as a result of a community-ledcampaign anddemonstrates best practicein collaborative
private-public conservation. Settingthestandard for conservation work on theVictorian
buildings of Mumbai, theprojects cautious andmethodical conservation approachand, in
particular, its useof non-invasivetechniques haveensuredthepreservation of thebuildings
fragile, historicfabric. Themethodologyusedin this project serves as a model for therestoration
of themanysimilar structures in Mumbais historicFort District. Theproject has returned
this landmark buildingtoits former magnicenceandhas preservedoneof themost valuable
parts of thecitys historyandbuilt heritage. Byillustratingthearchitectural splendour of
theFort District of Mumbai, this project has contributedtoconsolidatingthedistrict as a
showcasefor Mumbais wealthof Victorian heritage.
368
Above: Floor plan of the main building.
Topleft: The elevation shows the articulation of arcades,
balconies and turrets.
Far left: Deteriorated pilaster of Porbunder limestone.
Middleandleft: The colonnaded entry before and after restoration.
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, allow ing for greater public interaction
w ith the building. In addition, a strong sense of ow nership has
been cultivated in the w ider com m unity w ith active participation
in the restoration of the building by the college faculty, alum ni,
State Governm ent, neighborhood residents and the citizens of
M um bai at large. As a result, the various stakeholders of the
college feel a renew ed sense of pride in the building.
An im portant im pact of this conservation project has been to
expose the PW D engineers to restoration practices and the
basic prerequisites of docum entation, investigation both prior
to and during the w orks, an approach of sensitive and m inim al
intervention as w ell as a concern for authenticity of m aterial and
design. Resulting in a set of guidelines for future use, restoration
and m aintenance of the building, the project has led to a new
w orking m ethodology and a successful public-private partnership
w ith the PW D, w hich is charged w ith the upkeep of m any of
M um bais historic buildings.
Female Orphan School
370
City map
Opposite: Before and after restoration.
Location
Rydalmere, New South Wales, Australia
Size
750 square metres
Cost
US$1,250,000
ResponsibleParty
University of Western Sydney
HeritageArchitect
Tanner & Associates
Contractor
St. Hillers
Dateof Completion
June 2003
Project synopsis
The Fem ale Orphan School is an architectural landm ark located
in the University of W estern Sydneys Parram atta cam pus. Built
in 1813, it is the oldest three-storey public building and one of
the m ost im portant surviving structures from the earliest period
of European settlem ent in Australia. W ith an im posing Palladian
facade, the design of the colonial Georgian building w as m odeled
upon the childhood hom e of the w ife of Governor Lachlan
M acquarie. The building w as constructed in brick, using lim e shell
m ortar, and accented w ith sandstone stringcourses, quoins and
w indow sills. The oors, roof structure and operable w indow s w ere
built in w ood.
Historically, the building and its site have seen three signi cant
phases of developm ent. Built to house the Fem ale Orphan School,
it w as later transform ed into the Protestant Orphan School for
boys and girls in 1850 and nally the Rydalm ere Psychiatric
Hospital in 1888. It w as vacated in 1969 before the w hole site w as
transferred to the University of W estern Sydney in 1993.
By the tim e of the handover, the building w as derelict as a result
of over 40 years of neglect and vandalism . Rising dam p had
dam aged the brickw ork and plaster. Tim ber lintels w ere either
rotten or term ite-eaten. The dow npipes w ere leaking or m issing.
W indow panes w ere sm ashed and glazing bars broken. Alterations
m ade to the building over its history had, in som e cases, detracted
from the original design or function of the building.
The University em barked on the restoration of the building in 2001
and w orks w ere nished in 2003. The building has now entered its
fourth m ajor phase of use as part of the University of W estern
Sydney, taking its place in the new m illennium w hile preserving
its history from the earliest years of the colony.
In adapting the building for use by the University, the proposed
functions and occupants w ere carefully vetted to ensure that
they w ould t in w ith the existing spaces. The alterations deem ed
necessary w ere designed so that they w ould not im pact the historic
fabric negatively either in their installation or their on-going use.
The approach of the project w as 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 accom m odate its m any uses.
The conservation w orks focused on revealing the various layers of
signi cant historic fabric. In som e cases, this entailed the rem oval
of obtrusive elem ents w hich had been added on. This w as carried
out literally in the restoration of the interior paint schem es. In order
to resurrect the paint rem nants from the orphanage and hospital
periods, the later layers of enam el and acrylic paints w ere carefully
rem oved using an organic poultice. W hen uncovered, the historic
pow dery paint layers w ere then stabilized w ith pure acrylic to
protect them and prevent further deterioration. The dappled w alls
clearly show case the three historic phases of the building.
The building had suffered w ater dam age from rising and falling
dam p and the associated problem of term ites. In order to provide
a long term solution, the cem ent render covering the fretted
brickw ork w as rem oved, and the brickw ork w as desalinated. The
m oisture content of the foundation w as stabilized, and a chem ical
dam p-proof course w as inserted into the solid brick w alls. The roof
plum bing and storm w ater drainage w ere both repaired, and the
sub- oor space w as cleared out to increase sub- oor ventilation.
In the repair of the historic elem ents, m aterials w ere selected to
m atch the original fabric as closely as possible. The northeast w all
w as reconstructed using m atching sandstock bricks, w hich w ere
salvaged from another dem olished building. How ever, as they w ere
larger in size than the extant bricks, they w ere trim m ed dow n to t
into the w alls. The new sandstone trim and w indow sills w ere also
selected to m atch the extant pieces.
A num ber of lost elem ents w ere reconstructed in order to
reestablish the buildings historic spatial layout and function. M ost
371
Female Orphan School / 2004
signi cantly, a new set of double stairs w as inserted into the m ain
atrium space to replace the original stairs that had been rem oved
earlier. Likew ise, the reconstruction of the dem olished northern
verandah has also reconnected the building to the courtyard.
The new elem ents w ere designed in a m odern vocabulary using
contem porary m aterials, allow ing them to be read distinctly from
the earlier elem ents. The stairs, for instance, w ere built in the
con guration of the colonial Georgian stairs but using a light
structure of tim ber treads and stainless steel balusters, w hich had
m inim al im pact on the historic w alls. Likew ise, a new concrete lift
tow er clad w ith vitrepane, steel fram ed lift lobbies, and glazed
operable partition w alls w as also designed in a sym pathetic
contem porary m anner. M odern services w ere installed discreetly in
the interior spaces to allow the building to function com fortably.
The University of W estern Sydney has transform ed the Fem ale
Orphan School into a centre for university and com m unity
exchange. The building is now used as an exhibition space and
m eeting room s by diverse groups w ho are better able to appreciate
the heritage signi cance of the building through their personal
interaction w ith it. The rental fees contribute to the m aintenance
of the building, w hich is overseen by the University.
Award Citation
Theconservation andadaptation of theFemaleOrphan School has revitalizedoneof the
most important survivingbuildings fromtheearlyperiodof European settlement in Australia,
andhas ensuredthat this historicstructurewill continuetobeutilizedfor years tocome. This
project displays a soundtechnical approachin theconservation of existingsignicant fabric,
whilethepreservation of all phases of thebuildings historycaptures in palimpsest its 190-
year historyof varieduse. Reintroduction of original elements, suchas thepairedstaircase,
hasreinstatedtheoriginal circulationpatterns, restoringfunctionality, whilethenew ttings
andaccessmechanismssuchasthelightingsystemandlift tower havefacilitatedthebuildings
continueduseina contemporarycontext. Sensitiveconservationof wall paintingsfromone
periodof occupationhasretainedthebuildingshistoricpersonalityevenasitsfunctioninthe
communityhaschangedover time. Ever mindful of itssenseof place, theuseof thishistoric, but
oncederelict, buildingaspart of theUniversityof WesternSydneycampushasprovideda means
bywhichthepubliccanaccessandappreciatethissignicant nineteenthcenturystructure.
372
Wewerecommitted to conservingevery
traceof earlyconstruction, original oor-
ing, windows, stencil decorations andthe
like, whichwouldshow thepatina of his-
toryandwhichwouldenablethoughtful
interpretation of thebuildings story.
Aboveandtopright: Ground oor 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.
Gongziting
374
City map
Opposite: The complex before and after restoration.
Project synopsis
The oldest structures on the Tsinghua University cam pus, the
Gongziting com plex com prises 25 Chinese vernacular buildings
linked w ith covered w alkw ays set in a form al landscape. The cen-
tral axis is anchored by a three-bay entry gatew ay at the southern
edge of the com pound and by the m ost prom inent structure, an
H-shaped hall, on the northern side. The site once form ed part of
the early eighteenth century Tsinghua Gardens, w hich w ere cre-
ated in the Qing Dynasty during the reign of Em peror Kangxi at
the sam e tim e as the nearby Yuanm ingyuan. The com plex survived
the w ar w ith the French and British arm ies in 1860 and w as later
converted, under the term s of the 1908 treaty w ith the United
States, into a preparatory school for students heading off to study
abroad. During its years as an academ ic institution, it w as used for
faculty accom m odation and recreational facilities. After 1949, the
com plex housed the of ces of the president of Tsinghua Univer-
sity and has also becom e a popular site for visitors.
Over the years, the com plex has seen a num ber of changes.
The entry gatew ay, w hile retaining its original structure, had
been patched w ith tiles from different periods. Som e historic
covered w alkw ays had been dem olished, w hile others had been
badly repaired. The courtyards had been repaved w ith m odern
cem ent bricks. In the side courtyard, the original layout of the
space had been overw helm ed w ith new buildings. The w hole
com plex suffered from structural deterioration of the w ood and
brick com ponents. The garden had been replanted over tim e and
enclosed w ith m odern green fences in a m anner that w as not in
keeping w ith its historic Chinese garden design. In addition, large
trees w ere found to be underm ining the foundations.
The project w as initiated in 1998 in order to address the conservation
and functional issues of the com plex. A m ulti-disciplinary expert
team of historians, architects, conservators and horticulturalists
w as form ed. The team investigated the condition of the structures
and undertook a docum entary and archival survey, w hich form ed
the basis for developing a conservation strategy for the buildings
and grounds. The on-site w orks com m enced in April 2000 and
w ere com pleted in one year.
The project placed prim ary em phasis on retaining the historical and
cultural value of the com plex, encom passing both the Qing Dynas-
ty buildings as w ell as the gardens. Since the buildings, like m any
traditional Chinese structures, had been built or repaired over vari-
ous periods, the challenge faced by the project team w as to identify
the key de ning elem ents to be preserved in each building.
M any of the traditional building crafts (tiling, carpentry, architec-
tural painting, and m asonry w orks) are still alive in China. Senior
craftsm en w ere invited to take part in the building survey in order
to determ ine the state of the existing structures and also to iden-
tify the m aterials and techniques used originally. It w as found,
for instance, that the w ooden colum ns, beam s and purlins w ere
still in sound condition, and therefore new replacem ents w ere
not needed. As m uch as possible of the existing fabric deem ed
historically valuable w as saved. W here repair or replacem ents
w ere found necessary, the appropriate traditional techniques and
m aterials w ere used. For instance, in restoring the architectural
paintings on w ood com ponents, the faded paintings w ere re-
freshed and m issing panels w ere repainted. Likew ise, broken stone
com ponents w ere restored w hile heavily dam aged pieces w ere
replaced w ith new ly carved ones.
M ajor restoration w orks w ere undertaken in the buildings along
the central axis, notably the entry gatew ay, the central hall and the
H-shaped hall. For the latter, the roof w as retiled and the doors and
w indow s restored to their historic form . The buildings anking the
central courtyard and along the faade w all w ere restored to their
original condition as per historical draw ings. For m inor buildings
around the perim eter, sim ple repair w orks w ere m ade to upgrade
their functionality. The covered w alkw ays had m ostly been rebuilt
w ith a historical appearance but w ithout proper structural support.
These w ere disassem bled and reassem bled after the foundations
w ere stabilized and the colum n bases replaced.
In order to allow the building to function w ithin a tw enty-
rst century context, a num ber of alterations w ere m ade. New
m aterials w ere added to im prove the insulation of the traditional
w indow s and doors, and ensure the w aterproo ng of the w all
375
Gongziting / 2004
nishes in the bathroom s. All m odern insertions w ere designed
to be recognizable as such and easily rem ovable.
An historical record dating from 1909 concerning the gardens w as
found in the archives and used to guide the landscape restoration.
Box hedges and a num ber of trees w ere uprooted and replaced w ith
peonies, m agnolia, w illow, elm , m ulberry and the Chinese scholar
tree, am ong other species. The Tengyinghesheng courtyard at
the northw est corner of the com plex w as relandscaped w ith a
pond and rockery. M odern paving w as rem oved in favour of the
original stone pavers. Discreet outdoor lighting w as installed to
allow the garden to be lit up at night.
Throughout the process, close cooperation w as sought w ith the
University com m unity, in particular, the staff w orking in the
com plex. After long consultations, the stakeholders agreed to
retain the function of Gongziting as the presidents of ce, as
it has been for the past 50 years. All vestiges of the com plexs
past have been carefully retained, including not only the Qing
Dynasty structures, but also later com m em orative steles and
other m onum ents. As such, Gongziting, em bodying the rich
historical m em ories of the site, has been renew ed as a sym bol of
the University for its student, faculty, staff and alum ni.
Award Citation
Therestoration of Beijings historic Gongzitingpalacegarden complex demonstrates a
clearlyarticulatedconservation strategycombiningthoroughresearchandminimal intervention
undertaken within a well developedtheoretical framework guidinglandscapeconservation in
theChinesecontext. Throughjudicious useof traditional materials andmethods, thebuildings
andgrounds havebeen restoredtoreect their signicant historicstatus andcultural value.
Meticulous restoration of thehistoricgardens of theGongzitingcomplex calls attention to
theimportanceof theconservation of historicgardens andlandscapes within Chineseculture
andis testimonytotheprojects important contribution tocultural continuity. Reuseof this
historicgarden complex within thecontext of theTsinghua Universitycampus has madethis
valuableheritageasset availableas an educational resourcefor communityandensures its long
termsurvival.
376
Aboveandtopright: Ground oor plan and
elevation of the main hall.
Right: Landscaping was an integral part of
the restoration project.
Far right: The refurbished interior.
Theproject wasbasedonthoroughinvestiga-
tionintothestatusquo, in-depthstudiesof
historical records, and activeinvolvement
of Chinesetraditional craftsmen and the
administrationgroupwhichistheowner as
well as theuser of thecomplex.
Namuna Ghar
378
City map
Opposite: The residence before and
after restoration.
Location
Bhaktapur, Nepal
Size
85 square metres
Cost
US$17,000
ResponsibleParty
Rabindra Puri
HeritageArchitect
Rabindra Puri
Contractor
Rabindra Puri
Dateof Completion
March 2001
Project synopsis
Located near Dattatreya Square in the ancient tow n of Bhaktapur,
Nam una Ghar (M odel House) is a three storey brick and w ood
structure that typi es the traditional New ari architecture of the
Kathm andu Valley. Once a farm house, the building is estim ated to
be around 150 years old and features elaborate carved w ooden
w ork and a tiled pitched roof.
W hen restoration w ork began in 1999 the house w as in a highly
dilapidated state, having been abandoned by its ow ners for over
ten years and later used as a chicken shed. Restoration w orks w ere
carried out over a period of 18 m onths and w ere com pleted in
M arch 2001.
The m ain purpose of the restoration project w as to raise aw areness
w ithin the com m unity of the value of heritage buildings and
to encourage their protection. The project also intended to
dem onstrate to the public that historical buildings can be adapted
for use w ithout sacri cing either m odern com forts or their
heritage value.
Since restoration, the house has been used as a residence and also
a venue for exhibitions and cultural events. M any old houses in
the Bhaktapur area have been restored follow ing the exam ple of
the M odel House.
Prior to restoration, the house had suffered from neglect as w ell
as inappropriate repairs. The ground oor had been plastered w ith
cem ent, along w ith the w alls on the third oor. W indow s had
been covered up and som e of the w alls w ere very w eak, w ith long
cracks in the brickw ork.
The house w as largely restored to its original design w ith a
few changes introduced to m odernize the interior. The eastern,
northern and southern exterior w alls w ere rebuilt and w indow s
w ere restored. All the oors, ceilings and inner partitions w ere
retained. The cem ent paving w as rem oved and replaced w ith stone
pavers. During this process, an old rice husker w as discovered
on the ground oor, w hich w as then restored for exhibit in the
house. Extrem e caution w as exercised in handling the existing
fabric. Eighty percent of the m aterials w ere reused, including old
bricks and w ooden artefacts. The old bricks w ere salvaged and
cleaned before being relaid using traditional m ortar. The m ortar
w as produced on site, containing a m ixture of brick pow der and
lim e, w hich w as tested m any tim es to get the original colour and
quality.
W here the original m aterial w as not reusable, replacem ent m aterial
w as sourced, largely from the architects ow n private collection
that had been salvaged over the years from dem olition sites. For
exam ple, the roof had been partly covered w ith tin sheets, ruining
its original character. During restoration, the tin w as rem oved and
replaced by old tiles. Likew ise, the decayed w ooden colum ns on
the second oor w ere substituted w ith old colum ns.

The farm house w as adapted to serve a m odern function. The
living quarters on the rst and second oor w ere retained. New
bathroom s w ere added by converting the storeroom on the ground
oor and a sm all portion of the second oor. On the third oor
the kitchen w as kept, w hile the grain storage room w as adapted
into a m eeting room . The patio, characteristic of New ari buildings,
w as enlarged slightly to allow m ore light into the kitchen and the
adjoining room . The farm yard w as re-landscaped as a garden.
Traditional and local m aterials w ere used for the interior t-
out. Traditional furniture and crafts displayed in the w all niches
enhance the atm osphere. All w ooden parts of the house w ere
painted w ith linseed oil for durability and beauty. The use of
m odern m aterials w as lim ited to the new am enities added in
the bathroom and the kitchen. In addition, as Nepal is in an
earthquake-prone zone, m odern tie-beam s w ere introduced for
im proved seism ic perform ance.
379
Namuna Ghar / 2004
In addition to being the architects w orkspace, the house is a
m useum open to all visitors. The house also hosts exhibitions and
cultural events. The guest room is available to scholars w ho com e
to Bhaktapur to do research.
The restoration of Nam una Ghar set a precedent in the m unicipality.
The house w as restored at a m om ent w hen Nepalese w ere slow ly
forgetting their traditional architecture, and the project initiated
a greater aw areness am ongst both local residents and visitors.
An in ux of visitors, num bering over six thousand in the rst
four years after the house w as restored, have com e to the house.
Architecture students have studied the house to learn about the
Valleys vernacular architecture. M edia attention w as also directed
at the project w ith alm ost all the new spapers in Nepal and ve
different docum entary lm s featuring the house.
In uenced by this project, restoration of traditional architecture
is taking place m ore frequently, w ith hom ebuyers expressing
interest in restored historic buildings as a residential alternative.
In the im m ediate vicinity, a neighbouring hom e ow ner w as
pressured by the com m unity and the m unicipality to rebuild in
the traditional style.
Award Citation
Therestorationandrevitalizationof thisarchetypal Newari villagefarmhousehassuccessfully
preserveda fundamental buildingtypecentral tothetraditional architectural vocabularyof
theKathmanduValley. Intheprocess, publicawarenesshasbeenraisedabout thevalueof
suchtraditional vernacular structureswithina contemporarysetting. Thecareful preservation
of vernacular materialshasretainedthestructuressenseof placeandoriginal charmwhile
modest, low-cost changesandthesensitiveintroductionof contemporaryfacilitieshaveimproved
livingconditionsinthehouseandtherebyenableduseof thebuildingina moderncontext.
Demonstratingthefeasibilityandaffordabilityof conservingandadaptingvernacular houses
for continuedresidential use, thisproject haspavedthewayfor theconservationof similar
traditional buildingsthroughout Nepal.
380
Manynational andinternational organi-
zations arespendingmillions of rupees on
different kinds of awareness campaigns
andprogrammes. Thereis nobetter way
than restoringan oldbuildingyourself to
make people aware about conservation,
traditional architecture, thevalueof tradi-
tional knowledgeandreal beauty. It is so
effectivebut costs solittlemoney.
Aboveandtopright: Floor plan and section of the house.
Right andmiddle: The former upper grain storage room
was transformed into a meeting room.
Far right: The restored Newari balcony.
Suzhou River Warehouse
382
City map
Opposite: The Suzhou River warehouse before and
after restoration.
Location
Shanghai, China
Cost
US$120,000
ResponsibleParty
Fruit Limited Company, Teng Kun-Yen
HeritageArchitect
Teng Kun-Yen
Contractor
Da Yang Environmental Design Ltd.
Dateof Completion
October 1996
Project synopsis
Along the banks of the Suzhou River in Shanghai lie clusters of
old w arehouses and factory buildings from different eras, som e
dating back over a hundred years. M any of the buildings w ere
constructed in a utilitarian m anner using a com bination of tim ber
and red and grey brick. Historically called the W ushong River, the
Suzhou River w as once the m ain w aterw ay for Shanghai, w ith the
now -dom inant Huangpu River serving as a m ere tributary. W hen
Shanghai functioned as a foreign treaty port, the river w as part of
an im portant transportation and logistics netw ork linking into the
interior of China as w ell as to the rest of w orld. After 1949, the
river nurtured a m ajor m anufacturing base, w ith factories located
w ithin easy reach of the w aterw ay.
During the reform era, the m anufacturing industries w ithdrew
from the city and the w arehouses and factories w ere abandoned.
Reduced to a fraction of its size by the late 1980s due to siltation,
the river w as heavily polluted from the previous industrial activity,
deterring redevelopm ent in the surrounding area. For m any
years, the w arehouses rem ained em pty and grew increasingly
dilapidated. Starting in 1992, the Shanghai governm ent began to
clean up the river and their plans included a full-scale dem olition
of the old w arehouses.
The project architect proposed a different solution to revitalizing
the w arehouse area. In 1993, he decided to rent one of the
w arehouses, rehabilitate it and convert it into a design studio for
his personal use. The 1930s building, previously a grain w arehouse,
w as designed in the Art Deco style. The exterior w all is constructed
w ith grey and red brick. The oors and colum ns are m ade from
pinew ood, w hile the roof is red tile. The restoration project w as
com pleted in three years.
The project approach w as to restore everything to its original
state. The restoration retained the historic m aterials found in
situ and salvaged m aterials for repair from other buildings from
a sim ilar tim e period that had been dem olished. In this w ay, the
historic building fabric w as preserved.
W hen it w as found, the w arehouse had been hom e to over 150
m igrant w orkers, after having been abandoned for m any years. The
interior had been partitioned into sm all living spaces w ith lim ited
facilities. Flim sy aw nings had been af xed to the brick exterior
of the building, sheltering a w holesale fruit vendor. The roof w as
leaking and has been patched w ith corrugated roo ng sheets,
the tim ber roof fram e w as dam aged and the interior w alls w ere
w ater stained. Electrical w iring had been m ounted in a careless
and unsafe m anner. Over 100 carts of rubbish w ere rem oved from
the building. Hum an excrem ent and soot buildup from the open
kitchens had to be cleaned out, w ith high-pressure air and w ater
jets used to w ash aw ay the em bedded dirt.
The structure w as leaning slightly, so the tim ber structure w as
reinforced and later constructions w ere rem oved to relieve the
load on the oor. Inappropriate additions such as the front
aw ning w ere rem oved and the exterior brickw ork w as restored.
To transform the dim interior into a light- lled space, a skylight
w as installed, w hich provided natural light and also w arm th.
Three sm all staircases w ere rem oved to optim ize the space for
its function as an architectural design studio. All alterations w ere
undertaken in a discreet m anner in order to m aintain the integrity
of the historic structure.
The skeletal structure of the cavernous space w as left exposed, to
fully acknow ledge the industrial character of the building. W here
partitions w ere needed, they w ere designed to be lightw eight
and rem ovable. The exposed oorboards w ere retained and w all
nishes w ere left intact, w ith the application of a light layer of
lim ew ash. Interior ttings like light xtures w ere chosen in a
m odern industrial vocabulary, to enhance the am bience of the
w arehouse w hile providing a contem porary counterpoint to the
historic building shell. In addition to the architecture studio, the
building also houses a design publisher and bookstore.
383
Suzhou River Warehouse / 2004
Follow ing this pioneering initiative, the area has since becom e
a fashionable enclave for artists, m any of w hom have opened
studios and galleries in the abandoned buildings. Despite being
hailed as Shanghais SoHo, in the context of the citys boom ing
real estate m arket, the area w as still under the threat of im m inent
dem olition to m ake w ay for m odern high-rise buildings. How ever,
m edia attention for the successful renovation project, subsequent
interest by the public and sustained lobbying by the architect for
the rehabilitation of the w hole area contributed in part to the
ultim ate designation of a four-kilom etre stretch of the Suzhou
River as a protected m odern heritage zone by the Shanghai
m unicipal governm ent. This extends from the elevated bridges
in the w est to the W aibaidu bridge to the east, adjoining the
Huangpu River. A pedestrian prom enade now runs in front of
the w arehouse, allow ing local residents and visitors to appreciate
both the restored river and the adjacent historic buildings.
Award Citation
Theconservation andadaptation of this archetypical warehouseon theSuzhou River demon-
strates thelargescaleimpact that an individual, pioneeringrestoration project can havein fo-
cusingpublicattention andpolicy-makingon new conservation agendas, in this case, Shang-
hais industrial history. A minimalist approachandcareful retention of thedeningfeatures
of thestructurehavepreservedthebuildings ambience, whiletheinnovativeadaptation of the
warehousefor reuseas a design studiohas demonstratedthefeasibilityof recyclingindustrial
buildings andthepracticabilityof rehabilitatingsuchheritagestructures for modern use.
384
Above: Floor plan.
Right: The new loft workspace.
Topandbottomright: Interior views before
and after conversion for reuse.
Thewarehousewas likea widow in black,
whosegureremains charmingbut covered
in dust. I wantedher tobeelegant and
modern. Shecouldthen bethesymbol of the
new Shanghai that is now in thelimelight
of thewholeworld, just liketheShanghai
of 1933 when shewas born, whichwas
at its most brilliant andshining. I rmly
believedthat shewouldcometolifeagain.
Today, shestands on thegreySuzhou River
bank assuminga magnicent pose.
Tak Seng On Pawnshop
386
City map
Opposite: The building before and after
rehabilitation.
Location
Macao SAR, China
Size
1,543 square metres
Cost
US$250,054
ResponsibleParty
Companhia de Desenvolovimento
Imobiliario leng Vo, Limitada
HeritageArchitect
Chan Chak Seng, Cheong Cheok Kio
Chan Kin Seng, Lui Chak Keong, Carla Figueiredo
Contractor
Companhia de Decoracao San Neng
(phase 1)
Vo Tin Engineering (phase 2)
Dateof Completion
March 2003
Project synopsis
Established in 1917, Tak Seng On Paw nshop originally belonged
to a prom inent local m erchant, Com endador Kou Ho Neng.
The adjoining tow er at the rear of the paw nshop, used for the
safe storage of valuables, w as estim ated to have been built in
the 1920s. The front part of the building had delicate Art Deco
architectural details m ixed w ith Chinese elem ents. The tow er w as
designed to be im penetrable, constructed on m assive granite
foundations from Chinese grey bricks, incorporating steel panel
inlays and narrow slit w indow s.
The paw nshop business in China dates back over 2,000 years
and played an im portant econom ic role by functioning as early
banking facilities. In M acao SAR, the industry peaked during
W orld W ar II and in the 1960s, w hen the gam bling industry w as
established and legalized. Located in the m iddle of the historic
Chinese bazaar area, Tak Seng On Paw nshop w as classi ed as a
m edium -level paw nshop and w as an integral part of the socio-
econom ic developm ent of the city. The property is included in the
heritage zone of Alm eida Ribeiro Avenue and the tow er is listed as
a building of architectural interest.
W ith the later decline of the paw nshop industry, the property
w as closed dow n. Early proposals by the building ow ner, w hich
w ere never im plem ented, called for gutting the interior in order
to construct residential units. In 2001, an inspection of the
building revealed that it had rem ained surprisingly intact, w ith
artefacts from its paw nshop operations found in situ, such as
log records, unopened safes and registration tags. The Cultural
Institute entered into a partnership w ith the ow ner to develop the
building into an exhibition space dedicated to the m em ory of the
paw nshop business, as w ell as a private com m ercial enterprise,
the Cultural Club.
The project com m enced in Decem ber 2001 w ith structural
consolidation and architectural restoration. Detailed repairs and
interior t-out w ere undertaken betw een October 2002 and M arch
2003, and the building opened to the public on 21 M arch 2003.
The projects prim ary concern w as to preserve the authenticity
of the original construction, restore as m uch as possible of the
historic fabric using appropriate m aterials and techniques, and
m inim ize m odern intrusions on the structure.
Prior to com m encem ent of w orks, detailed docum entation w as
undertaken, w ith an inventory of furniture and artifacts, com plete
m easurem ents of existing architectural elem ents, execution of
rigorous survey draw ings, and archival research into the buildings
background and history.
The condition survey revealed that the tow er w as in relatively
sound condition. How ever, the front building had suffered from
settling and deterioration, w ith cracks in the w alls and ceilings,
uneven pavem ents, rainw ater in ltration, degradation of the
plaster, term ite dam age of w ooden m em bers, broken w indow s and
w orn decorative m otifs.
In the rst phase of w orks, rubble and dirt w ere cleared aw ay and
structures that w ere not part of the original architectural concept
w ere rem oved. The term ite problem w as addressed and decayed
w ooden m em bers w ere repaired, using partial replacem ents in
dam aged areas w herever possible. The sidew alks w ere leveled and
debonded plaster w as stabilized. Traditional construction skills
w ere used in all aspects of the w ork.
M odern services w ere introduced to allow the building to
accom m odate its new functions. To m eet re safety and public
accessibility codes, an auxiliary staircase w as integrated into
the void betw een the building and the neighboring property. To
m aintain the entry of natural light into the space, skylight panels
w ere installed over this space and over the gap betw een the front
building and the tow er. An upgraded drainage system , w ater
supply, toilets, electrical w iring and lighting w ere installed in an
unobtrusive m anner.
In the second phase of w orks, the repair of w ooden w indow s and
doors, ceram ic tiles and original furniture w as undertaken by
team s of skilled craftsm en. An air-conditioning system w as added,
387
Tak Seng On Pawnshop / 2004
w ith 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 w ere carefully
inserted into the historic interior.
The Paw nshop M useum now occupies the tow er structure and
the front buildings ground oor, once the paw nshops reception,
accounting and storage preparation areas. The Cultural Club takes
up part of the ground oor and extends over the top tw o oors.
The property has becom e 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 w ith a practical
success story for viable developm ent of a heritage property
w ithin the fram ew ork of M acao SARs heritage conservation
policies. The partnership betw een the Cultural Institute and the
private property ow ner has also dem onstrated the potential for
such joint efforts in adaptive reuse, w hich can balance econom ic
and cultural interests. The long term viability of the property is
governed by an agreem ent signed betw een the tw o parties.
Award Citation
Therestoration of theTak SengOn pawnshopandtower has preserveda neexampleof a
uniquesouthern-China buildingtypeandhas therebyprotectedthecultural memoryassociated
withtheregions commercial andnancial history. Given theimportant historicroleplayedby
this typeof nancial institution tothecommunities of thePearl River delta, bysafeguarding
this buildingtypetheproject has madean important contribution tocultural andcommunity
continuity. Theconservation of original features suchas themain buildings interior structures
as well as thetower has retainedthekeyelements of thebuildings intendedfunctional form.
Theconservation approachhas nevertheless acknowledgedtheevolvedstateof thebuilding
over timebypreservingevidenceof previous renovation work. Theproject captures theliving
practices of thepawnshopin an on-sitemuseum, byshowcasingoriginal objects discovered
duringtherestoration process. A pioneeringadaptivereuseproject, therestoration project
has madethepawnshoponeof thekeylandmarks on Macaos heritagetrail, stimulating
conservation of other commercial structures in thecity.
388
Theproject has provedtobea tremendous
success on various levels, enablingthecon-
servation of oneof MacaoSARs most
signicant heritage buildings, preserving
thehistoryof thelocal pawnshopbusiness
andensuringa viableshoppingexperience
that offers continuumtothearchitectural
charmof theoldbuilding.
Above: The oor plan shows the buildings
narrow footprint.
Topright: Side elevation.
Right: The new souvenir shop has been
popular with visitors.
Far right: Many of the buildings elements
were found intact.
Zargar-e-Yazdi House
390
City map
Oppositeleft: The residence in ruins.
Oppositeright: 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
ResponsibleParty
The Urban & Revitalization Organization
HeritageArchitect
Ali Amiri Ardakani
Contractor
Maskan Sazan Corporation
Dateof Completion
October 2003
Project synopsis
The Zargar-e-Yazdi House is located next to Fort M osque in the
historic city of Yazd in central Iran. The city dates back to about
3,000 BC and contains m any buildings of historic and architectural
signi cance.

Com m issioned by a local prince, the original building w as built
at the end of the Safavid Era (1502-1736). Alterations w ere later
m ade during the Qajar (1794-1925) and Pahlavi (1925-1979) Eras.
The oldest rem aining sections, notably the sm all courtyard, are
m ore than 250 years old.

Featuring stained glass w indow s and other artistic elem ents,
Zargar-e-Yazdi is signi cant as a ne and rare exam ple of a
traditional vernacular residence, re ecting historic custom s and
cultural in uences. The building illustrates the vernacular approach
to architecture, w hich is w ell adapted to the environm ental and
social context. The house is internally focused, w ith a solid outer
perim eter and open inner spaces. It is organized around tw o
courtyards. The public area of the house, used for receiving guests,
encloses the sm aller front courtyard, w hile the private living
quarters surround the larger rear courtyard. W ater bodies in the
courtyards create a cooling m icroclim ate.

Before restoration, the house had been abandoned for a long tim e
and had fallen into ruin. The w alls w ere intact but m uch of the roof
had collapsed. The courtyards and gardens had been left untended
for m any years. The project m anagers restored the house w ith a
view to dem onstrating the value of past architectural styles. The
project w as com pleted in tw elve m onths in M arch 2004, w hich
included one m onth for equipping the w orksite.
Conservation Approach
The artistic and architectural value of this structure is related to its
sim plicity and subtle geom etrical pattern. As retention of this sig-
ni cance w as param ount, the architectural integrity of the building
w as carefully preserved throughout the restoration process.
The project focused on restoring m uch of the building to its
original Safavid Era design and decoration. There are few exam ples
of architecture from this period of Iranian history, and therefore
the restoration of this part of the houses identity w as considered
valuable. In addition, the changes that w ere m ade in the Qajar Era
w ere also preserved to show the transform ation of the house at
certain historical periods during its lifetim e.
Detailed research and study of the house w ere carried out prior
to the restoration w ork, delving into the buildings condition and
the original design and function of the w ater, sew age system
and other services. The project then used the ndings from the
research to undertake the restoration. By carefully exam ining the
different m aterials used in this building, the project team w as
able to distinguish the parts of the house constructed at different
stages. For exam ple, earlier w alls w ere built in m ud brick and clay,
w hile later w alls w ere form ed in bricks. Likew ise, it w as possible
to uncover the previous existence of certain design elem ents, for
exam ple, the chim ney, by using clues in the existing structure.
The rem oval of incongruous m aterials, such as paving, w as
undertaken rst. The courtyards w ere excavated and repaved w ith
bricks. The roofs w ere repaired using traditional m aterials such as
brick and plaster, w ith special attention paid to w aterproo ng and
adjusting the slope to allow for ef cient run-off. Leaning w alls
w ere restored w ith the forti cation of foundations and the repair
of cracks. Decayed bricks w ere replaced w ith new bricks and a
traditional m ortar m ixture w as applied.
In the interior, the oors w ere repaved and re nished, w hile w alls
and ceilings w ere replastered. Doors w ere restored and returned
to their original locations. Changes to the original structure
w ere lim ited as m uch as possible and included the installation of
necessary m odern facilities such as w ater pipes, air-conditioning,
electricity and a sew age system .
M uch of the dam age to the structure had com e from rising dam p
and rainw ater ingress. The house had an extensive system of
subterranean channels under the courtyards that w as not w ater-
tight and had resulted in w ater seepage. To address the problem in
a perm anent w ay, the channels w ere excavated and lined w ith an
Zargar-e-Yazdi House / 2004
391
im pervious layer. In addition, drainage channels w ere introduced
around the bases of the w alls to facilitate evaporation, w ith
different designs depending on the level of m oisture in the
area. W ater gutters and spouts w ere cleared. The associated
problem of term ites w as resolved by traditional techniques.
After exterm inating the term ites, decayed tim ber m em bers w ere
replaced w ith term ite-resistant varieties. Som e m em bers w ere
encased in gypsum , w hile exposed surfaces w ere treated w ith oil
extracted from w ild rocket plants. Tobacco w as m ixed in w ith the
plaster to w ard off term ites.
Different options for adaptive reuse w ere considered, including
a w orkshop and shop for ornam ents and gold, a shop for Yazd
textiles or an anthropology m useum . Ultim ately, the house w as
adapted for use as a hotel and restaurant, w hich w as found very
suitable for the buildings layout and large existing kitchen. It
is planned that the open areas in the low er oors w ill be used
for fairs and other cultural activities. In addition, the house
has becom e popular w ith the local com m unity as a location to
m eet socially. W ith 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.
Award Citation
Throughidentifyingandshowcasingtraditional Iranian architectural techniques, this restora-
tion project has accuratelypreservedandconvincinglyconveyedhistoriccontinuityin local
vernacular built heritage. Theproject exemplies how authenticuseof traditional materials
andcraftsmanshipcan contributetothecontinuityof botharchitectural andsocio-cultural
identity. Theadaptation of theZargar-e-Yazdi housefor useas a hotel has demonstratedto
thelocal communitytheviabilityof usingvernacular structures within a modern andcom-
mercial context andhas enabledthewider publictogain understandingof andappreciation
for Iranian built heritagewhilesecuringthefutureof this handsomebuilding.
392
392
Aboveandtopright: Floor plan and section.
Right: The small inner courtyard.
Far right: Deteriorated archways under
restoration.
Werespect thepast andits constructions
becausethroughit, you can seeour identity.
Oldbuildings reveal thethoughts andopin-
ions of their builders. Soduringrestoring,
thebuildingitself has been veryimportant
tous. Weunderstoodthehidden values of
thehousethroughresearchandstudies, but
themain goal was toexplain thesevalues
toothers.
Zhangzhou City Historic Streets
394
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
Responsibleparty
All building owners along Taiwan and
Hong Kong historical streets
HeritageArchitect
Li Bing, Chen Yuehong, Que Weimin
Zhu Zhihong
Contractor
Shen Maoran
Dateof Completion
December 2002
Project synopsis
Settled in 686, Zhangzhou w as one of Chinas m ost active
com m ercial harbours in the past. As a trading entrept, the city
incorporated external cultural in uences alongside its traditional
culture, resulting in hybrid architectural styles seen along the
streetscape. In recognition of its historic and cultural legacy,
Zhangzhou w as certi ed as an Historic City by the state in 1986.
How ever, in the past tw enty years, the city has seen m odern
encroachm ents threaten its traditional architecture and layout.
In response to this trend, in 1990 the city governm ent com -
m issioned the Plan of Renovating the Traditional Dow ntow n of
Zhangzhou City.
The junction betw een tw o historic com m ercial corridors, Taiw an
and Hong Kong Streets, w as selected as the pilot intervention for
the plan, to provide an exam ple for the eventual renovation of
all the historic streets in the city. Construction w ork started at
the end of 2001, focusing rst on Hong Kong Street and then on
Taiw an Street, and w as com pleted one year later.
Oriented east-w est, Taiw an Street is the m ost prosperous
com m ercial street located in the centre of the traditional dow ntow n
of Zhangzhou. Running north-south, Hong Kong Street intersects
w ith Taiw an Street and provides a connection to the harbour and
Jiulong River. Com m ercial activity naturally evolved on Hong Kong
Street as goods w ere carried along the street. Together, the tw o
intersecting streets have form ed Zhangzhous m ain com m ercial
core for over 1,000 years. The m ajority of the citys residents
still shop prim arily in Taiw an and Hong Kong Streets due to the
abundance of goods that can be found here.
The streets are lined w ith narrow tw o to three-storey shophouses,
know n in the local dialect as zhutongcuo (bam boo pole house).
M easuring betw een three and four m etres w ide, the buildings
house a shop and w orkshop on the ground oor and living
quarters above.
Along Taiw an Street, the m ajority of houses date from the
eighteenth century to the 1920s, w ith a sm all num ber built after
the 1950s. They display a num ber of architectural styles, com prising
traditional, European, m ixed local-European and m odern styles.
M ost of the houses along Hong Kong Street included in the project
w ere constructed in the eighteenth century and later renovated in
the 1920s in the qilou form , w ith a covered street-level arcade
possibly borrow ed from either Guangdong or South-East Asia. The
street is m arked by tw o sixteenth-century m em orial archw ays.
The signi cance of Zhangzhous architecture is not geographically
lim ited to the city itself, since it also took root in other parts of
China, notably Hong Kong SAR and M acao SAR, w ith the w aves
of em igration from Zhangzhou. To this day, the historic quarters
of these settlem ents still re ect the in uence of this distinctive
architectural style.
In order to conserve the living com m ercial environm ent of the
streets, three m ain objectives governed the project, nam ely,
to restore the authenticity of the built historic streetscape, to
m aintain the integrity of the tradition of shopping along the
streets and to ensure the continuity of the local shophouse
lifestyle. Detailed project planning entailed docum enting the
architectural com ponents of the buildings to serve as a data bank,
along w ith the design of a speci c conservation proposal for each
individual shophouse.
Four m ain conservation m ethods w ere em ployed in restoring the
buildings. For faades w hich had retained their historic authen-
ticity but w ere w eathered by the passage of tim e, the dam aged
sections w ere repaired and the faades cleaned. Seriously dam aged
building parts w ere replaced using a com bination of traditional
building techniques and m aterials. In a num ber of houses, interior
and exterior parts and nishes had been replaced w ith m odern
equivalents, such as alum inum -fram ed sliding w indow s, cem ent
render and ceram ic tiles. These w ere rem oved and replaced w ith
vernacular architectural features and nishing m aterials. Finally,
obtrusive m odern constructions w hich had been added in the past
thirty years, such as signboards and additional oors, w ere also re-
m oved, in order to recover the original building form and faade.
The project carefully adhered to the traditional building m aterials
395
Zhangzhou City Historic Streets / 2004
of Zhangzhou streets and houses. For instance, the local Yanzhi
brick, distinctive for its red colour w ith brow n veins, w as used
exclusively in all the renovation w orks. The original form of the
brick w as adapted in tw o new variationsas a sm aller size and
as a thin veneer type, w hich w as applied on faades. Both new
variations are distinguished from the original bricks by a tw o-
tone m arking. Likew ise, typical red tiles, carved stone lintels,
tim ber plank doors and carved w ooden w indow panels w ere
consistently retained in the project in order to m aintain the
authentic character of the buildings.
In the public realm of the street, poles and electricity and telephone
w ires w ere rem oved and laid underground, along w ith w ater
pipes and sew age lines. The asphalt road surface w as replaced
w ith the historic type of stone pavers. Signage w as regulated,
w ith shopow ners encouraged to install signs that enhanced the
streetscape. The historic red-and-w hite colour schem e of the
historic streets w as enforced. For instance, the brickw ork qilou
passagew ays along Hong Kong street had been plastered and
painted in blue in the 1970s, and these w ere restored to their
original appearance. Later constructions abutting the m em orial
arches w ere also cleared, restoring their prom inence as local
landm arks and opening up the adjacent areas as public spaces.
Award Citation
Basedon a preciseandwell-consideredplan, this project torestoreandrevitalizetwohistoric
streets in Zhangzhou Cityhas holisticallypreservedan urban ensemblecomprisinga rangeof
important architectural styles. Therestoration has providedthelocal residents withimproved
facilities andconditions whilestimulatinga signicant increasein commercial activityin the
area. Theemphasis on conservingoriginal materials, theremoval of inappropriateadditions
andtheuseof prudent conservation techniques has commendablyrestoredthebuildingfaades
andrevivedthehistoricstreetscapewithin an urban renewal context. Thecommunitysupport
andsatisfaction withtherestoration work is suchthat thelocal government has formulated
a policytoundertakesimilar works in other historicstreets in Zhangzhou City, exemplifying
thecatalyticsuccess suchprojects can havein producingconditions conducivetoheritage
conservation.
396
Top: The townscape now reects Zhangzhous
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 faades.
Left: The restored faades now reect the towns
historic ambience.
The conservation project of Taiw an and Hong Kong Streets
required a high level of coordination betw een residents and
relevant governm ent units in charge of planning and public
w orks. The cost for renovating public installations w as borne by
the governm ent, w hile the cost of renovating the houses w as
undertaken on a cost-sharing basis betw een the governm ent and
local hom eow ners, w ho shouldered 40 percent of the expenses.
The project has w idely contributed to the cultural continuity of
Zhangzhou city. According to a survey done after the com pletion
of the project a vast m ajority of the residents are satis ed w ith
its outcom e. Furtherm ore, m ost occupants felt that the project
increased the com m ercial activity in dow ntow n Zhangzhou and
has therefore enhanced the ongoing social and econom ic life of
the area.
397
Preservation of theworld heritageis such a vast undertaking that, in thelong run, it can only besuccessful if thereis active
participation by local communities. New approaches must bedeveloped in theareas of conservation and sitemaintenance,
drawing on local traditions, techniques and knowledge.
Federico Mayor, UNESCODirector-General (1987-1999)
W ith the m ajority of historic properties in the hands of private individuals and groups, the UNESCO Asia-Paci c Heritage
Aw ards for Culture Heritage Conservation program m e has show n that the increased participation of civil society w rit large
is critical for the long-term sustainability of the regions heritage.
The outstanding projects docum ented in this book have countered the gradual disenfranchisem ent of local com m unities
from heritage properties that has occurred over the past century. They have m oved resolutely aw ay from a centralized
top-dow n process reliant largely on the public sector, w hereby local com m unities w ere unable to continue traditional
practices of m aintenance and authorities w ere hard-pressed to step in w hen required due to the lack of political w illpow er,
funding and technical input. The w inning projects have successfully negotiated the return of heritage into the hands of
traditional caretakers, social and cultural institutions, local businesses and hom eow ners. Furtherm ore, m any of the projects
have em erged from the bottom up. Private sector entities, often in co-operation w ith local governm ents, have becom e
active stakeholders at all stages, from m apping vulnerable heritage, developing safeguarding strategies, im plem enting the
conservation w orks, to identifying contem porary uses.
The UNESCO Asia-Paci c Heritage Aw ards program m e has brought to public attention historic structures that have been
saved from decay and abandonm ent, often under heroic circum stances. New life has been breathed into old buildings
in innovative and sensitive w ays. The projects offer an alternative to the process of gentri cation and pastiche develop-
m ent that have often stripped aw ay the authentic cultural and social m eanings associated w ith traditional architecture
and sites, and refashioned them for super cial consum ption. Indigenous know ledge and traditional practices regard-
ing m aterials, environm ental adaptations, and social rituals em bedded in local spaces, have been revived. As a result of
these conservation initiatives, the local com m unities w ho are the putative guardians of these tangible and intangible
legacies are no longer m ere actors on heritage stage sets and have been culturally, socially and politically re-em pow ered.
The Aw ard-w inning projects have dem onstrated how to capitalize on the rich potential of heritage spaces, particularly in
the ongoing production of both econom ic value and social m eaning. In lieu of tabula rasa approaches to redevelopm ent,
private initiatives, frequently supported by appropriate public policies, have retained and adapted signi cant building stock
and urban quarters to serve contem porary uses. Not only has this process created a physical palim psest of each sites
historical developm ent, it has also allow ed for the accretion of m eanings over tim e, w hereby 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 w ay to sustain traditional livelihoods and to
m aintain the very buildings them selves.
The conservation success stories from the region w hich have been recognized by the UNESCO Asia-Paci c Heritage Aw ards
have proven to be both strong in technical achievem ent and visionary in social im pact. These outstanding projects ensure
not only the conservation of the built environm ent, but also the survival of living traditions w hich form an inalienable part
of the continued cultural life and identity of local com m unities everyw here.
Conclusion
Sources of Knowledge and
Sources of Continuity
Conclusion
The designations em ployed and the presentation of m aterial on this m ap do not im ply the expression
of any opinion w hatsoever 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 approxim ately the Line of Control in Jam m u and Kashm ir agreed upon by India
and Pakistan. The nal status of Jam m u and Kashm ir has not yet been agreed upon by the parties.
398
Australia
1 Church of Our Lady of M ount Carm el,
2004 Aw ard of Distinction
2 Fem ale Orphan School, 2004 Honourable M ention
3 The M edina Grand Adelaide Treasury,
2003 Aw ard of M erit
4 The Australian Hall, 2002 Aw ard of Distinction
5 Sydney Conservatorium of M usic,
6 Broken Hill Heritage and Cultural Tourism Program m e.
2002 Honourable M ention
7 Kow Plains Hom estead, 2002 Honourable M ention
8 Bushells Tea W arehouse, 2001 Aw ard of Distinction
9 St. Patricks College, 2000 Outstanding Project
10 M aw sons Huts Historic Site,
Cambodia
11 Centre for Khm er Studies, 2002 Honourable M ention
China
12 Gongziting, 2004 Honourable M ention
13 Suzhou River W arehouse, 2004 Honourable M ention
14 Tak Seng On Paw nshop, 2004 Honourable M ention
15 Zhangzhou City Historic Streets,
16 Guangyu Ancestral Hall, 2003 Aw ard of Excellence
17 W ater Tow ns of the Yangtze River,
18 Cangqiao Historical Street, 2003 Aw ard of M erit
19 Catholic Cathedral of the Im m aculate Conception,
20 Dalongdong Baoan Tem ple, 2003 Honourable M ention
21 No. 125 Huajue Alley, 2002 Honourable M ention
22 King Law Ka Shuk, 2001 Aw ard of M erit
23 Xijin Ferry Project, 2001 Aw ard of M erit
24 Zhongshan Road, 2001 Aw ard of M erit
25 Jin Lan Tea House, 2001 Honourable M ention
26 St. Josephs Sem inary Church,
27 Ohel Leah Synagogue, 2000 Outstanding Project
28 Hung Shing Old Tem ple, 2000 Outstanding Project
29 Residence of Zhang Yunpen, 2000 Outstanding Project
India
30 Lakhpat Gurudw ara, 2004 Aw ard of Distinction
31 Dorje Chenm o Tem ple, 2004 Aw ard of M erit
32 Dadabhai Naoroji Road, 2004 Aw ard of M erit
33 St. Thom as Cathedral, 2004 Aw ard of M erit
34 Elphinstone College, 2004 Honourable M ention
35 Ahhichatragarh Fort, 2002 Aw ard of Excellence
36 Jaisalm er Streetscape Revitalisation Project (Phase I),
37 Krishan Tem ple, 2001 Aw ard of Distinction
38 DBS House, 2001 Aw ard of M erit
39 University of M um bai Library Building,
40 Chanw ar Palkhiw alon-ki-Haveli, 2000 Excellent Project
41 Hotel de lOrient, 2000 Outstanding Project
Indonesia
42 Virtuous Bridge, 2003 Aw ard of M erit
43 National Archives Building, 2001 Aw ard of Excellence
44 Residence of Charles Prosper W olff Schoem aker,
Iran
45 Zargar-e-Yazdi House, 2004 Honourable M ention
46 Polsheer House, 2002 Aw ard of M erit
Kazakhstan
47 St. Ascension Cathedral, 2004 Aw ard of Distinction
Malaysia
48 Cheng Hoon Teng M ain Tem ple, 2002 Aw ard of M erit
49 Cheong Fatt Tze M ansion, 2000 M ost Excellent Project
50 Rum ah Penghulu, 2000 Honourable M ention
Nepal
51 Nam una Ghar, 2004 Honourable M ention
Pakistan
52 Baltit Fort, 2004 Aw ard of Excellence
53 Astana of Syed M ir M uham m ad,
54 Yarikutz, Rupikutz, Kuyokutz,
M am orukutz M osques, 2002 Aw ard of Distinction
Philippines
55 Gota de Leche, 2003 Honourable M ention
56 Nielson Tow er, 2001 Honourable M ention
Singapore
57 Convent of the Holy Infant Jesus (CHIJM ES),
58 Thian Hock Keng Tem ple, 2001 Honourable M ention
Sri Lanka
59 Tea Factory Hotel, 2001 Aw ard of M erit
60 Harischandra Building, 2000 Honourable M ention
Thailand
61 Phra Racha W ang Derm , 2004 Aw ard of M erit
62 W at Sratong, 2002 Aw ard of M erit
Viet Nam
63 Vietnam ese Traditional Folk-Houses,
64 Hoi An Tow n Preservation Cooperation Project,
2000 Excellent Project
Regional Map of Winning Projects
399
Regional Map
400
Danvers Schulz Holland Architects
1 W aym outh Place, Adelaide, SA 5000, Australia
Medina Grand AdelaideTreasury, 2003
Godden Mackay Logan, Heritage Consultants
78 George Street, Redfern, NSW 2016, Australia
Mawsons Huts Historic SiteConservation Project, 2000
Graham Brooks and Associates Pty. Ltd.
Level 1, 71 York Street, Sydney, NSW 2000, Australia
TheAustralian Hall, 2002
Howard Tanner & Associates
52 Albion Street, Surry Hills, NSW 2010, Australia
St. Patricks College, 2000
Bushells Tea Warehouse, 2001
Sydney Conservatoriumof Music, 2002
FemaleOrphan School, 2004
J ohn Taylor, Katrina Chisholm
PO Box 490, W est Perth, W A 6872, Australia
Church of Our Lady of Mount Carmel, 2004
McDougall & Vines, Conservation and
Heritage Consultants
27 Sydenham Road, Norw ood, SA 5067, Australia
Ohel Leah Synagogue, 2000
Broken Hill Heritageand Cultural TourismProgramme, 2002
NSW Department of Public Works and Services
Level 19, M cKell Building, 2-24 Raw son Place, Sydney
NSW 2000, Australia
Pip Giovanelli, Heritage and Conservation
Consultant
PO Box 570, Curtin, ACT 2605, Australia
Kow Plains Homestead, 2002
Robyn Dyke Pty. Ltd.
64 Rose Street, Chippendale, NSW 2008, Australia
SACON International Heritage Unit
(Bruce Pettm an)
GPO Box 1072, Adelaide, SA 5001, Australia
SJ B Architects
25 Coventry Street, Southbank, VIC 3006, Australia
Contractors
A.W. Edwards Pty. Ltd.
131 Sailors Bay Road, Northbridge, NSW 2063, Australia
Bushells Tea Warehouse, 2001
AAP Mawsons Huts Foundation
PO Box H76 Australia Square, NSW 1215, Australia
Mawsons Huts Historic SiteConservation Project, 2000
Admiration Homes
76 Anderson Street, W ebberton, W A 6530, Australia
Australia
Architects/Designers
Telephone, fax and email contact details
have not been included as they are frequently
subject to change.
Regional Directory
Heritage Architects
Designers
Contractors
Directory
401
Cambodia
Francois Tainturier, Chhim Phet, Chea Phally
0426 W at Bo Street, Salakram Roek, Siem Reap, Cam bodia
Centrefor Khmer Studies, 2002
Contractors
Chea Sarin Construction Company
0320 W at Dam nak, Salakram Roek, Siem Reap, Cam bodia
Centrefor Khmer Studies, 2002
Lend Lease Development
Australia Square, George Street, Sydney 2000, Australia
St. Patricks College, 2000
Multiplex Construction (SA) Pty. Ltd.
Level 22, 91 King W illiam Street, Adelaide, SA 5000, Australia
Roof and Wall Doctor Pty. Ltd.
16 Essex Street, Frem antle, W A 6160, Australia
St. Hilliers
Ground Floor, 88 Cum berland Street, Sydney
NSW 2000, Australia
FemaleOrphan School, 2004
St. Hilliers Interiors Pty. Ltd.
830 Elizabeth Street, W aterloo, NSW 2017, Australia
TheAustralian Hall, 2002
Terry Gibson
1 Gibson Road, Cow angie, VIC 3506, Australia
Kow Plains Homestead, 2002
Walter Construction
Level 3, 100 Paci c Hw y, St. Leonards, NSW 2065
Australia
Antiquities and Monuments Ofce
Leisure and Cultural Services Department
136 Nathan Road, Tsim Sha Tsui, Kow loon
King Law Ka Shuk, 2001
Architecture Design and Research Institute
(Lu Zhou, W ei Qing, Liu Chang, Chen Yiren, W u Yi, Liu Jiulin)
Tsinghua University, Beijing 100084, China
Gongziting, 2004
Architectural Services Department
5-9/F, APB Centre, 9 Sung Ping Street, Hung Hom , Kow loon
Bureau of Planning Urban & Rural Areas
(Li Bing, Xie Hongw ei, Chen Yuehong)
Zhangzhou City, Fujian Province 363000, China
Zhangzhou City Historic Streets, 2004
China Cultural Relics Research Institute
(Yang Xin)
2 Gaoyuan Road, Beijing 100049, China
Xijin Ferry Project, 2001
61 Ham i Street, Datong District, Taipei 103, China
Dalongdong Baoan Temple, 2003
Construction Bureau
(Zhong Huahua, Zhong Hai, W u Jianrong)
Shaoxing City, Zhejiang Province 310028, China
Cangqiao Historical Street, Shaoxing City, 2003
China
402
Cultural Heritage Department
(Carla Figueiredo, Chan Chak Seng, Cheong Cheok Kio,
Lei M an Fong, Liu Chak Keong)
Rua Pedro Coutinho, 27 Queens Court, 2/F, M acao SAR, China
St. Josephs Seminary Church, 2001
Tak Seng On Pawnshop, 2004
DaYang Environment Design Ltd.
(Teng Kun-Yen)
2/F 1305 Suzhou Road South, 200003, Shanghai, China
Suzhou River Warehouse, 2004
Ding Hongwei
Departm ent of Architecture, Southeast University, 2 Sipailou
Nanjing 210096, China
Diocesan Building and Development Commission
(Anna Kw ong, SL Lam , W C M ak)
Rm 901, 16 Caine Road, M id-Levels, Hong Kong SAR, China
Catholic Cathedral of theImmaculateConception, 2003
Dong Wei
Departm ent of Architecture, Southeast University
2 Sipailou, Nanjing 210096, China
Zhongshan Road, 2001
Gao Xuemei
Kunm ing Urban Planning and Design Institute, Tang Jia Ying
Bai Ta Road, Kunm ing 650041, China
Jin Lan Tea House, 2001
Geoffrey Rex Hassell
12/F Vita Tow er B, 29 W ong Chuk Hang Road, Aberdeen
Guangdong Provincial Institute of Cultural Relics
and Archaeology
9/F Block B, Yangyin Building, 34 Shuiyin Si Heng Road
Guangzhou, China
Lin J ingsong
Quanzhou City Planning Research Institute, Feng Zhe Road
Quanzhou, Fujian Province, China
Liu Guiting
Departm ent of Architecture, Southeast University, 2 Sipailou
Lu Yuanding
Departm ent 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 M ingm ing
Sun M eng, M iao Yang)
Tongji University, Siping Road, Shanghai 1239, China
Water Towns of theYangtzeRiver (Zhouzhuang, Tongli, Luzhi,
Nanxun, Wuzheng, Xitang), 2003
Ofce of Xian Drum-Tower Muslim
Historic District Protection Project
(Yang M ingrui, Gao Xiaoji, Tong Zhongren, M ao Zhongan
Shi Xiaocheng, Jing Bin, Li Hongyan, Cheying)
No. 144 Beiyuanm en Street, Xian 710003, China
No. 125 HuajueAlley, 2002
Rocco Design Ltd.
(Bernard Hui, Charles Kung, TF Lo)
38/F AIA Tow er, 183 Electric Road, North Point
Tan Gangyi, Liao Zhi
Research Building, South China University of Technology
4/F, No. 663, Tianhe Bei Lu, Guangzhou 510630, China
Zhang Songben, Zhang Songxiang
69 Cangxiang Daxi Road, Zhenjiang City, Jiangsu Province
China
Residenceof Dr Zhang Yunpen, 2000
Zhao Chen
Graduate School of Architecture, Nanjing University
Directory
403
Bureau of Planning Urban & Rural Areas
(Shen M aoran)
Zhangzhou City 363000, Fujian Province, China
Zhangzhou City Historic Streets, 2004
61 Ham i Street, Datong District, Taipei 103, China
Dalongdong Baoan Temple, 2003
Companhia de Decoracao San Neng
Rua Rebanho, 12 R/C E, Edif. Fai Kw an, M acao SAR, China
Companhia de Fomento Predial Tak Fat Ltd.
13A, R/C, Travessa do Com andante M aya E Oliveira
M acao SAR, China
St. Josephs Seminary Church, 2001
DaYang Environment Design Ltd.
2/F 1305 Suzhou Road South, Shanghai 200003, China
Suzhou River Warehouse, 2004
Department of Construction
Xian Cultural Relics and Landscape Adm inistration Bureau
No. 7 Jin Hua Bei Road, Xian 710000, China
Room 1516, Fortune Com m ercial Building, 362 Sha Tsui Road
Tsuen W an, New Territories, Hong Kong SAR, China
Hung Shing Old Temple, 2000
Fan Ran
Xiaom atou Street No. 4, Zhenjiang 212001
Guangzhou Company
Room 401, No. 26, Yandu Road, Tianhe District
Guangzhou 510507, China
J in Sha Company for Building Renovation Ltd.
145 Qing Nian Road, Kunm ing 650000, Yunnan, China
Protection & Management Ofce of
Historical Streets
(Li Bo)
1 Huanhua-Fang, Shaoxing 312000, Zhejiang Province, China
Cangqiao Historical Street, 2003
Linchai Historical Buildings Restoration Company
Linchai, China
Linhai Ancient Buildings Conservation Company
75 Daqiao Street, Linhai City 317000, Zhejiang Province
China
Gongziting, 2004
Pacic Construction Ltd.
Unit 1406, 14/F Star House, 3 Salisbury Road, Tsim Sha Tsui
Kow loon, Hong Kong SAR, China
Progress Construction Ltd.
2-3/F, 320 Junction Road, Kow loon Tong, Hong Kong SAR
China
Quanzhou No.1 Building Construction Company
Xuchucheng, Quanzhou, Fujian, China
Shanghai Gardens Engineering Company
Shanghai, China
W ater Tow ns of the Yangtze River (Zhouzhuang, Tongli, Luzhi,
Societe Bond (Hong Kong) & Co., Ltd.
Flat A, 14/F, Far East Bank, M ongkok Bldg, 11 Nelson, Kow loon
Suzhou Construction Company of
Classical Gardens
Suzhou, China
W ater Tow ns of the Yangtze River (Zhouzhuang, Tongli, Luzhi
Contractors
404
Tai Yue Engineering Co., Ltd.
Unit I 8/F, On Ho Industrial Building, 17-19 Shing W an Road
Tai W ai, Shatin, New Territories, Hong Kong SAR, China
Tongli Historical Buildings Restoration Company
Tongli, China
Vo Tin Engineering
Rua Com andante Joao Belo, s/n, 5 N5, Edif. Choi Pou
M acao SAR, China
Wenden Engineering Service Ltd.
1402-3 Causew ay Bay Centre, 15-23 Sugar Street, Causew ay
Bay, Hong Kong SAR, China
Wuzhen Historical Buildings Restoration Company
W uzhen, China
Zhenjiang Traditional Architecture Construction
Team
Zhenjiang City, Jiangsu Province, China
Residenceof Dr Zhang Yunpen, 2000
Zhouzhuang Historical Construction Restoration
Company
Zhouzhuang, China
India
Abha Narain Lambah
301, B W ing, Am rit, Carter Road, Khar (W )
M um bai 400052, India
Dadabhai Naoroji Streetscape, 2004
ElphinstoneCollege, 2004
Ajaydeep Singh
C4/64, SDA, New Delhi-16, India
Lakhpat Gurudwara, 2004
Ajit Koujalgi and Renate Hach
Sam asti, Auroville 605501, Tam il Nadu, India
Hotel delOrient, 2000
Brinda Somaya
Som aya & Kalappa Consultants Pvt. Ltd.
National Insurance Building, 27 A.K. M arg, Fort
St. Thomas Cathedral, 2004
Divay Gupta
Delhi, India
DorjeChenmo Temple, 2004
Gurmeet Rai
Cultural Resource Conservation Initiative, 109 Golf
Apartm ent, M aharishi Ram ana M arg, New Delhi
110003, India
Krishan Temple, 2001
Indian National Trust for Art and Cultural
Heritage (INTACH)
71 Lodhi Estate, New Delhi 110003, India
Jaisalmer StreetscapeRevitalization Proiect (PhaseI), 2002
Kulbhushan J ain
AADI Centre, 10A Tolak Nagar, Paldi
Ahm edabad 380007, India
Jaisalmer StreetscapeRevitalization Proiect (PhaseI), 2002
Minakshi J ain
10A Tolak Nagar, M ahalakshm i, Paldi
Ahm edabad 380007, Gujarat, India
Ahhichatragarh Fort, 2002
Munish Pandit
Sanrakshan Heritage Consultants
45 Triveni Apartm ents, W est Enclave, Pitam pura
Delhi 110034, India
Nimish Patel, Parul Zaveri
Abhikram , Am rit-Lila Bungalow, Off Nagari Hospital Road
Near Gujarat College, Ahm edabad 380006, India
Chanwar Palkhiwalon-ki-Haveli, 2000
Paromita Desarkar
Flat No. 66, E-Block
Rohini Sector-18, New Delhi 110085, India
Directory
405
Cultural Resource Conservation Initiative (CRCI)
109 Golf Apartm ent, M aharishi Ram ana M arg
New Delhi 110003, India
D.I. Construction
1 Ashiana Apartm ents, Behram Baug, Jogeshw ari W est
University of Mumbai Library Building, 2001
Dilawar Khan
s/o M r Babu Khan, Silaw aton Ka M ohalla, Nagaur
Rajasthan, India
Emamuddin
s/o M r Babuji Qureshi, Byapariyon Ka M ohalla
Jam a M asjid, Nagaur, Rajasthan, India
Ghewar Chand
V/P Deu, Dist. Nagaur, Rajasthan, India
Hema Ram
J agdish Prasad
s/o M r Bhera Ram , Near Police Thana, Railw ay Station
ABC Contractor
PO Box 1, Jaisalm er, Rajasthan, India
Jaisalmer StreetscapeRevitalization Project (PhaseI), 2002
Abdul Kadir
Sam as Talab Ki Bari, Ajm eri Gate, Nagaur, Rajasthan, India
Advance Engineering Services
M um bai, India
Arjun Prajapati
Ashok Makad
Plot No. 92, Arihant Nagar, Jodhpur, Rajasthan, India
Bhiya Ram
V/P Bhaw ad, Nagaur, Rajasthan, India
Birma Ram
V/P Gotan, Dist. Nagaur, Rajasthan, India
C. Guedjabady
No. 17, 9th Cross, Rainbow Nagar, Pondicherry 605012, India
Hotel delOrient, 2000
Chhawar Lal
M agra Punjala, Jodhpur, Rajasthan, India
Sandhya Savant
Urban Innovations
C/2A, Dalal Estate, M um bai Central
M um bai 400008, M aharashtra, India
DBS House, 2001
Sanjay Dhar
Painting Conservator
C-1818 Sushant Lok-I, Gurgaon
Sudhir Deshpande
Sew ri Consultant Pvt. Ltd.
Appeejay Cham bers, W allace Street, Fort
DBS House, 2001
Vikas Dilawari
273/3 Jaw ahar Nagar, Goregaon - W est
Contractors
406
Keshu Ram
Lakha Ram
s/o Purkha Ram , Khabariyan Surtaliyan Jayal, Nagaur
Rajasthan, India
Latur Ram
s/o Pooja Industries, Opposite Saboo Cem ent, Basni
Jodhpur, Rajasthan, India
M/S Construction Techniques
A/26 Royal Industrial Estate, Naigaon X Road, W adala
ElphinstoneCollege, 2004
M/S Ruchi Meeta Electronics
C-91, Shastri Nagar, Jodhpur, Rajasthan, India
M/S Universal Designs
GNM , Gala No C-57/85, Naik Nagar, LBS M arg
Sion W est, M um bai 400022, India
Dadabhai Naoroji Streetscape, 2004
Manish Mathur
19/303 Chopasni Housing, Jodhpur, Rajasthan, India
Mool Chand
s/o M r Kim a Ram , Lunda Raidna, Nagaur, Rajasthan, India
Pappu Ram
s/o M r Shetana Ram , V/P Budi, Dist. Nagaur, Rajasthan, India
Poonam Chand
s/o M r Ram Kishan, Near Roadw ays Depot, Nagaur
Rajasthan, India
Prakash Anjarlekar and Associates
M um bai, India
Premchand Saini
Near Kunda, Delhi Road, Am ber, Rajasthan, India
Chanwar Palkhiwalon-ki-Haveli, 2000
Sadakat Khan
s/o M hd. Sadik Gori, Ajm eri Gate, Near W ater Tank
Saf Khan
s/o M r Gaffar Khan, Ajm eri Gate, Sindlo Ka M ohalla
Savani Construction Co.
501 Parvati Nivas, Chavrew adi, G.V. Schem e Road
M ulund East, M um bai 400081, India
St. Thomas Cathedral, 2004
Sewri Construction Pvt. Ltd.
Appeejay Cham bers, W allace St., Fort, M aharashtra
DBS House, 2001
Suresh Bhakar
s/o M r Trilok Ram , I-A Indira Colony, Nagaur
Rajasthan, India
Teja Ram
Directory
407
Indonesia
Budi Lim Architects
Jalan Otista II no. 1, Jakarta Tim ur 13330, Indonesia
National Archives Building, 2001
Diagram Consultant
1 Sei Bahasa Street, M edan, Indonesia
Virtuous Bridge, 2003
Dibyo Hartono, Drs.
Jalan Tubagas Ism ail III/13, Bandung 40134, Indonesia
Residenceof Charles Prosper Wolff Schoemaker, 2000
Han Awal
Pondok Pinang Center Blk 8, 18-20, Jakarta Selatan, Indonesia
Contractors
Decorient-Ballast Indonesia
05 Citra Graha Building, Kav 35-36 Gatot Subroto
Jakarta, Indonesia
Muhammad Zaini
1 Sei Bahasa Street, M edan, Indonesia
Virtuous Bridge, 2003
PT Aneka Intimulya
Bandung, Indonesia
Residenceof Charles Prosper Wolff Schoemaker, 2000
Iran
Ali Amiri Ardakani
Renovation and Architecture Of ce, Am iri Ardakani House
M irdam ad Avenue, Ardakan, Iran
Zargar-e-Yazdi House, 2004
99 Tabriziha Alley, Jolfa, Isfahan 81758, Iran
Polsheer House, 2002
Contractors
Maskan Sazan Corporation
Egbal Factory, M otahari Street, Yazd, Iran
Zargar-e-Yazdi House, 2004
J apan
Nobuo Kamei
Japan Agency for Cultural Affairs, 3-2-2 Kasuni Saseki
Chiyoda-ku, Tokyo, Japan
Hoi An Town Preservation Cooperation Project, 2000
Senjiro Masuda
2-25-22 Takasho, Shizuoka City, Japan
VietnameseTraditional FolkHouses, 2004
Ichiro Nagumo
752-2 Shim ofurusaw a, Atsugi City, Japan
Hidetoshi Saito
Tokyo National Research Institute of Cultural Properties
13-27 Ueno-Koen, Taito-ku, Tokyo, Japan
Showa Womens University
Institute of International Culture
(Hirom ichi Tom oda, M ark Chang, Kiyosi Hirai)
1-7 Taishido, Setagaya-ku, Tokyo, Japan
Yukimasa Yamada
Tokyo M etropolitan University
1-1 M inam i Osaw a, Hachioji, Tokyo, Japan
408
Kazakhstan
Kumbez Ltd.
(Tim ur Turekulov, Natalia Turekulova)
Cultural Heritage Conservation, Publishing House
Tazhibaeva Street 184, Of ce 511, Alm aty 480060
Kazakhstan
St. Ascension Cathedral, 2004
Contractors
Andrei Vorontzov and Building Brigade
St. Ascension Cathedral, Park of 28 Pan lovs Heroes
Alm aty 480000, Kazakhstan
St. Ascension Cathedral, 2004
Malaysia
Ideogram Designs
(Lim Huck Chin)
6-03 Plaza 138, 138 Jalan Am pang
Kuala Lum pur 50450, M alaysia
Cheng Hoon Teng Main Temple, 2002
Laurence Loh, Akitek LLA
22 Gerbang M idlands, Penang 10250, M alaysia
Cheong Fatt TzeMansion, 2000
Yahaya Ahmad
Universiti M alaya, Kuala Lum pur 50603, M alaysia
Rumah Penghulu, 2000
Contractors
(in cooperation with the Forest Research Institute
Malaysia, J aya Renovation, Intelu)
2 Jalan Stonor, Kuala Lum pur 50450, M alaysia
Rumah Penghulu, 2000
Syarikat Success Construction
142 Jalan Seang Tek, Penang 10400, M alaysia
Rabindra Puri
Dattatreya Square, W ard 3, Bhaktapur, Nepal
Namuna Ghar, 2004
Contractors
Rabindra Puri
Dattatreya Square, W ard 3, Bhaktapur, Nepal
Namuna Ghar, 2004
Nepal
Directory
409
Pakistan
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
Aga Khan Cultural Service Pakistan (AKCSP)
Shahrah-e-Quaid-e-Azam , Jutial, Gilgit
Northern Areas, Pakistan
Baltit Fort, 2004
Aga Khan Housing Board for Pakistan (AKHBP)
Helicopter Chow k, Shahrah-e-Quaid-e-Azam , Jutial
Gilgit, Northern Areas, Pakistan
Baltit Fort, 2004
Philippines
Augusto F. Villalon
Paci c Plaza Tow ers, Fort Bonifacio, 1630 Taguig
M anila, Philippines
Gota deLeche, 2003
Leandro V. Locsin and Partners
Locsin Building, Ayala Avenue corner M akati Avenue
M akati, M etro M anila 1200, Philippines
Nielson Tower, 2001
Contractors
D. M. Consunji, Inc.
1881 President Quirino Avenue Extension, Pandacan
M anila, Philippines
Nielson Tower, 2001
Felicisimo M. Consuelo
Blk 12, L5, Juana III - B, Binan, Laguna, Philippines
Gota deLeche, 2003
Singapore
J ames Ferrie & Partners
(Alisdair John Ferrie)
21a Boon Tat Street, Singapore 069620
Thian Hock Keng Temple, 2001
Ong & Ong Architects Pte. Ltd.
510 Thom son Road, #10-00 SLF Building, Singapore 298135
Convent of theHoly Infant Jesus (CHIJMES), 2002
Contractors
East Art Design & Engineering Pte. Ltd.
Blk 165 Bukit M erah Central, #08-3683, Singapore 150165
Thian Hock Keng Temple, 2001
Low Keng Huat (S) Ltd.
30 M arine Parade Road, #18-05 Parkw ay Parade
Singapore 449269
410
Sri Lanka
Heritage Conservation Unit of
212/1, Bauddhaloka M aw atha, Colom bo 7, Sri Lanka
Harischandra Building in Maha Vihara Monastery, 2000
Nihal Bodhinayake Associates
241, Thim birigasyaya Road, Colom bo 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 M aw atha, Colom bo 10, Sri Lanka
Tea Factory Hotel, 2001
Thailand
Dearborn Street Design International
(Grittip Sirirattum rong)
88/8 Phaholyothin Soi 7, Phaholyothin Road, Sam sen Nai
Phayathai, Bangkok 10400, Thailand
Phra Racha Wang Derm, 2004
Thada Sutthitham
Faculty of Architecture, Khon Kaen University, Khon Kaen
Thailand
Wat Sratong, 2002
Contractors
Cha Fa Ltd. Partnership
622/5-7 Krung Kasem Road, W at Som anas, Pom prab
Bangkok 10100, Thailand
Preeda Construction Ltd.
259/1-5 Am nuay Songkram Road, Dusit, Bangkok 10300
Thailand
Vietnam
Institute for Architectural Research
(Nguyen Ba Dang)
389 Doi Can Street, Hanoi, Viet Nam
(Nguyen Hung Oanh)
Ministry of Construction Institute for Architec-
tural Research
(Truong Van)
Ministry of Culture and Information
(Dang Van Bai, Nguyen Quoc Hung, Tran Dinh Thanh)
51-53 Ngo Quyen Street, Hanoi, Viet Nam
School of Architecture
(Tran Khang)
196 Pasteur Street, Quarter 6, District 3, Ho Chi M inh City
Viet Nam
State Center for Cultural Building Design and
Monument Restoration
(Hoang Dao Kinh)
Duong Nguyen Trai Thanh Xuan Nam , Hanoi, Viet Nam
(Dang Kanh Ngoc)
Directory
411
Contractors
27/7 Company
Thon Duong Loi, Xa Tan Hong, Tu Son, Bac Ninh, Viet Nam
VietnameseTraditional Folkhouses, 2004
Dong Ha Construction Company
34 A, QL1A, To 5, Tan Hiep, Bien Hoa, Dong Nai, Viet Nam
Duong Thao Construction Company Ltd.
14/68 Duong Bon, Khu Pho 2, Phuong Tan M ai, Bien Hoa
Dong Nai, Viet Nam
Kim An Construction Company Ltd.
628-630, Hai Ba Trung Street, Hoi An, Quang Nam , Viet Nam
Lam Kinh Construction Company
31 Pho Hang Than, Thanh Pho Thanh Hoa, Thanh Hoa
Viet Nam
Nam Dinh Construction Company 1
9 Pho Nguyen Trai, Nam Dinh, Nam Dinh, Viet Nam
Europe
Aga Khan Trust for Culture (AKTC)
(M asood Khan)
1-3 Avenue de la Paix, Geneva 1202, Sw itzerland
Baltit Fort, 2004
Cor Passchier ABV
Schaarhuispad 9, Postbus 3165, 5203 cds Hertogen Bosch
Netherlands
Didier Repellin Architects
47 Avenue M arechal De Saxe, 69006 Lyon, France
Karin Von Wietersheim
Seefeldstrasse 162, Zurich 8008, Sw itzerland
Ofce of Xian Drum-Tower
Muslim Historic District Protection Project
(Eir Crytli, Kjell-Harvard Braten, Bo-Terje Kalsaas, Hallvard
Odegaard, Sveinn Thorolfsson)
N-7491 Trondheim , Norw ay
Trevor J . Holmes
2 Church Lane, South W itham , Nr Grantham , Lincolnshire
NG33 5PL, United Kingdom
Hung Shing Old Temple, 2000
412
Laym en of the m onastery.
An ornam ented pedestal at the top joining
point of a roof.
A building m aterial m ade from clay, w ater
and straw. Usually form ed into large square
blocks, then dried in the sun.
To put a substance on som ething else. For
exam ple, to apply paint to a w all surface.
A decorative plaster nish w ith a cream y
ivory colour, resulting in a m arble-like ap-
pearance.
A style of art and architecture popular from
1920-1945, characterised by stylized geo-
m etric patterns, sleek lines and stream lined
form s w hich express the m odernism of the
period.
A style of ne and applied art that our-
ished from 1890-1914 in Europe and North
Am erica. Characterized by uid, undulating
m otifs, often derived from natural form s.
Tom b.
A tropical hardw ood of the fam ily Diptero-
carpaceae. A very dense, tightly-grained
w ood, balau is heavily laden w ith rich
tropical oils and resins. Its texture is very ne
and even. Know n for its durability, strength,
w eather-resistant and m echanical proper-
ties. For centuries, balau has been used for
shipbuilding, heavy-duty furniture and heavy
construction.
achars
acroteria
adobe
apply
araish
Art Deco
Art Nouveau
astana
balau
A type of m ason w ho carves the stone,
as opposed to a hew er w ho rem oves the
stone from the ground. The banker m ason
carves stone on a banker (bench).
A style of architecture and decoration
w hich developed in seventeenth-century
Europe after the Renaissance. Character-
ized by curving or oval lines, irregularity in
design and am boyant ornam entation.
Thin, narrow strip of w ood covering the
joint betw een tw o parallel boards.
Raised platform s from w hich an orator or
priest addresses an assem bly. Also refers
to the apse or chancel of a basilica. M ost
com m only refers to an elevated platform
in a synagogue on w hich the Torah read-
ing stand is placed.
The Australia ICOM OS Charter for the
Conservation of Places of Cultural Sig-
ni cance. 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 Char-
ter to suit local Australian requirem ents.
Decorative carved panel.
Painting or m urals applied as decorative
elem ents in Chinese tem ples.

banker mason
Baroque
batten
bimah
Burra Charter
caimen
chai hui
Glossary
Glossary
413
A hardw ood w ith even texture and high den-
sity com m only used in peninsular M alaysia.
Often used in construction for its hardness
and durability.
A com m on public space in a village or tow n.
A style of m osaic using shards m ade from
porcelain bow ls w hich are broken w ith pliers.
Originated in Southern China.
A m aterial, usually a nish, applied over
another substrate m aterial.
W indow s placed above the upper part of
a high w all to provide light to the interior
space.
A ceiling w ith recesses, often in geom etric
pattern.
A structure com posed of a series of arches
supported by colum ns, usually form ing a
covered passagew ay.
The discipline involving treatm ent, preventive
care and research directed tow ard the long-
term safekeeping of cultural and natural
heritage. For actions taken to prevent further
changes or deterioration in objects, sites, or
structures, see preservation. For changes
m ade to an object or structure so that it w ill
closely approxim ate its state at a speci c
past tim e, see restoration.
A rudim entary w ooden cage holding the
blocks or bricks of a building in place.
The part of the w all below the chair rail and
above the base skirting, that usually receives
nish treatm ent or is panelled.
chengal
chataq
chien nien
cladding
clerestory
windows
coffered
ceiling
colonnade
conservation
cribbage
dado
Tile decoration applied in the dado section of
a w all.
An im perm eable layer, either plastic or other
m aterial, applied on the base of a w all during
construction to inhibit rising dam p.
Kitchen/dining room in a M alay house.
Also know n as Indian cedar. A soft to m od-
erately hard conifer tree found only in the
Him alayas. Noted for its strength and used
for building religious structures.
A construction m ethod w hich com prises a
num ber of upright poles to w hich saplings
are attached to form slots on opposite sides
of the pole. Unsaw n pine logs are then tted
into the slots.
Plaster w hich has debonded from the under-
lying m aterial.
The edge of a roof, usually extending beyond
the w alls of the structure it covers.
A w all or oor tile m ade w ith tw o or m ore
coloured clays. The pattern is inlaid into the
clay before ring.
Type of synthetic resin used as an adhesive
that sets by chem ical reaction.
dado tiling
damp-proof-
course
dapur/ruang-
makan
deodar
droplog
construction
drummy
plaster
eave
encaustic
tiles
epoxy
Term applied to dom estic designs of Aus-
tralian architecture from around the turn
of the tw entieth century, w hen the states
of Australia joined together as a federation.
These designs featured red bricks, turned
w ood ornam ents, half-tim bering w ith
rough-cast in the gables, shingled w alls
and striking terracotta tiles.
The Chinese tradition of placing buildings
and arranging spaces and furnishings to
achieve harm ony w ithin its surroundings
and provide positive energy (chi) to its
occupants.
The top-m ost cover or coating on a surface.
Also describes the texture and colour of
such a coating.
M ural or w all-painting created by applying
m ineral or earth pigm ents onto w et lim e
plaster.
Architectural term for the plain or sculp-
tured, decorative horizontal band of the
upper part of a w all in a room , located
im m ediately below the cornice.
The cella or inner sanctum of a Hindu
tem ple.
A synthetic plastic m aterial m ade of
interlocking w oven m esh bres used for
stabilizing sloped ground.
To gloss over or cover w ith, often using
thin sheets of gold.
Federation
style
fengshui
nish
fresco
frieze
garbha griha
Geo-mesh
gild
414
A style of architecture that developed in
northern France and spread throughout
Europe betw een the tw elfth and sixteenth
centuries. Characterized by vaulting, pointed
arches, ying buttresses, clustered colum ns
and som etim es elaborate carved stone deco-
rations in the form of m ythical beasts.
An architectural m ovem ent prim arily in
nineteenth century Britain and United States,
characterised by im itation of Gothic form s
and ornam entation.
Also called gur. Jaggery (coarse sugar m ade
from palm sap), used in m ortar as a binding
agent.
A style of architecture originating in
southern China in w hich people speaking
the Hakka dialect live w ho m igrated to the
Guangdong region in the Tang (618-907) and
Song (1127-1279) dynasties.
A m ansion in Northw est India m ore than tw o
storeys high surrounding one or m ore inner
courtyards.
During the rst tw o decades of the tw entieth
century. An intense period of land-based
scienti c research and geographic discovery
on Antarctica, involving 15 expeditions from
nine countries.
A type of canvas cloth used as a backing of
w all papering m aterial.
A style of tem ple architecture that originated
in the area surrounding the M in river in
southern Fujian province, China.
Gothic
Gothic Revival
gud
Hakka style
haveli
Heroic Era
hessian
Hokkien
temple
architecture
In its present location.
Carved screen used for privacy and also to
allow air- ow through a building.
A tree (Eucalyptus marginata) from Australia
noted for its rich brow n-red colour.
A cem ent-injection technique for the stabili-
zation of soil.
A regional school of Pahari m iniature paint-
ing that spread throughout the Him alayan
foothill area from about 1770 to alm ost the
end of the nineteenth century, w ith the nest
w ork painted around 1775-1820. Landscape
and perspective are naturalistic, colours are
subdued, linew ork is delicate and curvilinear
and the overall style is lyrical.
The inhabitants of Cam bodia. From the sev-
enth to the fourteenth centuries, the Khm er
established a pow erful kingdom based at
Angkor from w hich they ruled over m uch of
present-day Indochina.
A type of traditional plaster used in Indian
construction.
Belonging to the Hindu god Krishna.
A recognizable edi ce that has historic
signi cance. In preservation, a building so
designated by law and protected from altera-
tion or destruction.
Narrow strips of w ood used as a base for
applying plaster or tiles.
in situ
jallie
jarrah
jet-grouting
Kangra
Khmer
kody
Krishan
landmark
laths
W indow s m ade w ith sm all rectagular or
diam ond-shaped pieces of glass supported
by lead cam es. Often sim ple in design and
associated w ith vernacular buildings.
A m ixture of lim e putty and sand used
in brick or m asonry buildings. It is softer
and takes a longer tim e to harden than
Portland cem ent m ortars.
A m ixture of aged lim e and w ater, often
including sand or m arble dust.
An im perm anent coating for w alls and
other surfaces. M ade from lim e, w ater and
som etim es glue, our and other ingredi-
ents.
Oil extracted from the ax plant. Used as a
carrier in oil-based paints and as a protec-
tive nish on w ood.
Roofed structure open on one or m ore
sides. The term is also associated w ith a
porch or gallery, as distinguished from
an am bulatory or covered passagew ay.
Loggias w ere especially popular during the
Italian Renaissance.
Chinese goddess of the sea.
A teaching institution for (and by) m onks.
A tropical w ood that is light to m edium
w eight. W idely used for light construction
and for veneers. M any other products are
derived from meranti, including oils, resins
know n as dammar in the m anufacture of
varnishes.
leadlight
limemortar
limeputty
limewash
linseedoil
loggia
Ma Zu Po
Maharihara
Parivena
meranti
Glossary
415
Also know n as fenugreek. A plant w idely
cultivated in South Eastern Europe and W est
Asia w hose seed is used for avorings.
The dried stalks of the m illet plant. A plant
producing round, golden grains.
The type of English porcelain and earthen-
w are produced in Staffordshire beginning in
1793 by Thom as M inton and w hose styles
include m ajolica, Parian w are, Palissy w are
and blue printed earthenw are.
A m ixture of cem ent or lim e, w ater and ne
aggregate such as sand, used as a binding
agent for m asonry and brick w all construc-
tion. Also used to ll in the spaces betw een
the m asonry units.
A rectangular hole m ade to receive a tenon,
thereby form ing a m ortise-and-tenon joint.
Result of the Nara Conference of 1994.
Underscores the im portance of the cultural
context for heritage conservation. Urges
linking judgem ents of authenticity to a
variety of sources of inform ation that perm it
elaboration of the speci c artistic, historic,
social and scienti c dim ensions of the cul-
tural heritage.
A covered portico or porch running the w idth
of early Christian churches. It serves as a
vestibule into the nave.
The m ain or m iddle aisle in a church, running
from the entrance up to the altar.
A style of architecture in the late eighteenth
century that refers to a pared-dow n ver-
sion of Classical orders and ornam entation
methi
millet straw
Minton tiles
mortar
mortise
Nara Document
of Authenticity
narthex
nave
Neo-classical
developed as a reaction to the Baroque and
Rococco style.
Ancient Prakrit language (derived from
Sanskrit) that is the scriptural and liturgical
language of Theravada Buddhism .
High-strength com posite synthetic bre used
as ropes, cables or rigging.
Refers to the m ixed culture and descendants
of Chinese w ho settled in the M alay Straits
and Java from the sixteenth century.
(noun) Soft m ixture of lim e, sand, w ater and
other ingredients that becom es hard w hen
dry and is used for m aking a sm ooth surface
on w alls and ceilings.
(verb) To apply plaster to a w all surface.
A block used as the base of a colum n or
support.
Piece of lead that is tied to a cord and used
to test w hether a w all is vertical.
A process of inserting m ortar into joints after
a m asonry unit is laid in order to achieve
w ater tightness or a desired appearance or
effect.
A type of soft lim estone found in Porbunder,
w estern India.
The w ater-setting m ixture of lim estone and
clay that is kiln-dried and pow dered. It is the
m ain ingredient in m aking concrete.
Days w hich correspond w ith the four phases
of the m oon. A m onth contains four poya
days.
Pali
Paral
Peranakan
plaster
plinth
plumbbob
point
Porbunder
limestone
Portland
cement
poya day
Lavatory.
The large arch above the stage in a prosce-
nium theatre.
A raised, enclosed structure or platform in
a church from w here the serm on or service
is conducted.
The horizontal tim ber pieces laid across
the principal rafters and supporting the
com m on rafters in a roof.
M aterial m ade from PVC, other plasticizers
and ground pigm ents w hich are baked and
fused to produce a non-porous, w orkable
m edium .
A m asonry m em ber form ing the corner
edge of the exterior w all, often different in
scale and texture.
The painting style associated w ith the
Hindu Rajput princes of India, w ho cam e
to pow er in the early eighteenth century.
In contrast to M ughal painting w hich
is realistic, Rajput painting is sym bolic
and suffused w ith poetic m etaphor. The
coloration is typically at and unblended
in a m anner suggesting stained glass. They
fall into tw o m ain groups, Rajasthani and
Pahari.
The return of a structure or site to a
know n historical period by the re-as-
sem bly of fabric and m aterials and by the
rem oval of incom patible accretions.
privy
proscenium
arch
pulpit
purlins
PVC clay
quoin
Rajput
painting
restoration
416
In the tem ple architecture of India, shikhar
refer to dom es, tow ers 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 fteenth century that blends Islam ic
and Hindu elem ents.
Sm all w ooden tiles.
A lim e that has been m ade pow dery or soft
through the action of w ater.
The roughly triangular space betw een the
left or right exterior curve of an arch and the
rectangular fram ew ork surrounding it.
Narrow horizontal bands , either ush or
projecting, that run across the w idth of the
faade of a building. They can be plain or
m oulded.
Also spelled tai chikand da qi. Literally,
big oil.Tree sap applied as a nish to tim -
ber. Affords protection from term ites and a
hardened nish w hich lasts for decades.
Railings.
An ancient liturgical hym n, som etim es called
the Am brosian Hym n, recited publicly on
the last day of the year and on other special
occaisions.
A brand for a range of cleaning, w ashing,
and de-greasing detergent products.
A m ethod of painting in w hich pigm ents are
shikhar
Sikh school
of art
sirap
slakedlime
spandrel
stringcourses
ta cik
takiya
TeDeum
Teepol
m ixed w ith w ater and egg yolk. Som etim es
w hole eggs are used as w ell as glue or m ilk.
This m ethod produces a bright and translu-
cent effect, and is fast-drying.
A projecting piece in a w ood m em ber that
w ill t into the slot of another m em -
ber w ith the sam e dim ension, to form a
m ortise-and-tenon joint.
A hard, sem i-brow n red clay used as
facing brick, structural brick or applied
sculptural ornam ent in buildings.
A type of m osaic ooring m ade by em bed-
ding sm all pieces of m arble or granite in a
cem ent base. The surface is then polished.
The m ain colum n of a M alay house.
Restoration that begins from the top of the
building and continues dow nw ard to the
bottom of the building.
The shorter aisle running perpendicular to
the nave or m ain aisle in a church, thus
form ing the cross plan.
Arches w ith three arcs or lobes.
A hand tool w ith a m etal scoped or at
blade used to spread or form loose and
plastic m aterials such as m ortar and ce-
m ent.
A sem i-drying oil used in hard-w earing
varnish and enam el. Helps to prevent ter-
m ite infestation. Also called chinaw ood oil.
A highly heat-resistant grey m etal w ith
tempera
tenon
terracotta
terrazzo
tiangsen
top-down
restoration
transept
trefoil arches
trowel
tungoil
(noun) A w all surfacing product such as
plaster.
(verb) To apply a substance such as plaster to
a brick or stone surface.

In conservation term s, the rehabilitation
and sym pathetic m odi cation of historic
buildings in order to be utilized for another
function.
The horizontal beam that provides attach-
m ent for the upper end of the rafters and is
the junction of the upper edges of tw o slop-
ing roof structures.
The rise of w ater m oisture from the ground
through the porous w all cavity via capillary
action. The evaporating w ater leaves salt
deposits on the surface, often resulting in
staining and dam age to the interior nish.
M ain house in a M alay residential com plex.
Room in or attached to a church w here the
sacred utensils and vestm ents are kept.
The holiest and innerm ost part in a tem ple
or Jew ish tabernacle.
A joint m ade by notching tw o pieces of
tim ber so that they w ill lock together end-
to-end.
Any tim ber w hich has dried out and from
w hich the sap has gone.
A grey grainy cem ent-based nish w ith exposed
stone aggregate that resem bles granie. Popular
in Shanghai in the 1920s-1930s and in Hong
Kong in the 1950s.
render
reuse
ridge
risingdamp
rumah ibu
sacristy
sanctum
sanctorum
scarf
seasonedtimber
Shanghai
plaster
Glossary
417
great tensile strength.
A board set a short distance from the w all for
decoration or to conceal som ething.
The traditional architecture of a region, built
of local m aterials to suit particular local
needs usually by an unknow n designer and
re ecting local technology and m ethods.
The style in architecture, dcor and furnish-
ings popular during the reign of Queen
Victoria (1837-1901). Characterized by rapid
changes of style from Classicism , Rom anti-
cism and Eclecticism and back to Classicism .
A durable w all cladding system m ade from
sheets of com pressed bre cem ent, pre-
painted and nished on the exterior face.
Traditionally, glass beads used as earrings.
Refers to sm all panes of glass used as orna-
m entation in a Thai tem ple.
In Thailand and Lao PDR, a collection of
buildings that com prise the Buddhist m onks
com pound. Used for religious, educational,
and residential purposes. Also called vatin
Cam bodia.
A traditional red brick m anufactured prim ar-
ily in the Fujian province of China, near
Zhangzhou.
tungsten
valance
vernacular
Victorian style
vitrepanel
wan kaew
wat
Yanzhi brick
418
UNESCO
Convention for theProtection of Cultural Property in the
Event of ArmedConict, 1954
http://portal.unesco.org/culture/en/ev.php-URL_
ID=8450&URL_DO=DO_TOPIC&URL_SECTION=201.htm l
Convention on theMeansof ProhibitingandPreventing
theIllicit Import, Export andTransfer of Ownershipof
Cultural Property, 1970
http://portal.unesco.org/en/ev.php-URL_ID=13039&URL_
DO=DO_TOPIC&URL_SECTION=201.htm lm
Convention ConcerningtheProtection of theWorld
Cultural andNatural Heritage, 1972
http://w w w.unesco.org/w hc/nw hc/pages/doc/dc_f2.htm
WorldHeritageConvention Operational Guidelines
http://w hc.unesco.org/archive/opguide05-en.pdf
Recommendation ConcerningtheProtection, at National
Level, of theCultural andNatural Heritage, Paris1972
http://w w w.unesco.org/culture/law s/national/htm l_eng/
page1.shtm l
Recommendation ConcerningtheSafeguardingand
Contemporary Roleof Historic Areas, Nairobi 1976
http://w w w.unesco.org/culture/law s/historic/htm l_eng/
page1.shtm l
Convention on theProtection of theUnderwater Cultural
Heritage, 2001
http://w w w.unesco.org/culture/law s/underw ater/htm l_eng/
convention.shtm l
Universal Declaration on Cultural Diversity, 2001
http://unesdoc.unesco.org/im ages/0012/001271/127160m .
pdf
Convention for theSafeguardingof theIntangible
Cultural Heritage, 2003
http://unesdoc.unesco.org/im ages/0013/001325/132540e.pdf
Convention on theProtection andPromotion of the
Diversity of Cultural Expressions, 2005
http://unesdoc.unesco.org/images/0014/001429/142919e.pdf
ICOMOS
TheVeniceCharter, 1964
http://www.icomos.org/venice_charter.html.
TheFlorenceCharter, 1982
(Historic gardens and landscapes)
http://w w w.international.icom os.org/charters/gardens_e.htm
Charter on theConservation of Historic Townsand
Urban Areas, 1987
(W ashington Charter)
http://w w w.international.icom os.org/charters/tow ns_e.htm
Charter for theProtection andManagement of the
Archaeological Heritage, 1990
http://w w w.international.icom os.org/charters/arch_e.htm
ICOMOSGuidelinesfor Education andTraining, 1993
http://w w w.icom os.org/guidelines_for_education.htm l
Charter for theProtection andManagement of the
Underwater Cultural Heritage, 1996
http://www.international.icomos.org/charters/underwater_e.
htm
Principlesfor thePreservation of Historic Timber
Structures, 1999
http://w w w.international.icom os.org/charters/w ood_e.htm
International Charter on Cultural Tourism, 1999
http://w w w.international.icom os.org/charters/tourism _e.htm
International and
Regional Charters
ICOMOS
419
International and Regional Charters
National
(Alphabetical by Country)
AUSTRALIA
Australia ICOMOSBurra Charter, 1999
http://w w w.icom os.org/australia/burra.htm l
CAMBODIA
Lawon theProtection of Cultural Heritage, 1996
http://w w w.autoriteapsara.org/en/apsara/about_apsara/
legal_texts/decree4.htm l
CHINA
Principlesfor theConservation of HeritageSitesin
China, 2002
http://w w w.icom os.org/australia/im ages/pdf/china_prin.pdf
INDIA
Charter for theConservation of Unprotected
Architectural HeritageandSitesin India, 2004
http://w w w.intach.org/pdf/charter.pdf
INDONESIA
Indonesia Charter for HeritageConservation, 2003
http://w w w.international.icom os.org/charters/indonesia-
charter.pdf
LAOPEOPLESDEMOCRATIC REPUBLIC
Lao HeritageLegislation, 2006 (in Lao only)
http://w w w.unescobkk.org/index.php?id=2283
Charter on theBuilt Vernacular Heritage, 1999
http://w w w.international.icom os.org/charters/vernacular_e.
htm
ICOMOSPrinciplesfor thePreservation andConserva-
tion/Restoration of Wall Paintings, 2003
http://w w w.international.icom os.org/charters/
w allpaintings_e.htm
ICOMOSCharter-Principlesfor theAnalysis,
Conservation andStructural Restoration of Architectural
Heritage, 2003
http://w w w.international.icom os.org/charters/structures_e.
htm
Charter for theInterpretation andPresentation of
Cultural HeritageSites, 2007 (draft)
http://w w w.enam echarter.org/dow nloads.htm l
Regional
(Asia-Paci c)
Nara Document on Authenticity, 1994
http://w w w.international.icom os.org/naradoc_eng.htm
ASEAN Declaration on Cultural Heritage, 2000
http://w w w.aseansec.org/641.htm
Hoi An Protocolsfor Best Conservation Practicein Asia,
2006 (draft)
http://w w w.unescobkk.org/ leadm in/user_upload/culture/
cultureM ain/Instrum ents/HAP__English_.pdf
MALAYSIA
National HeritageAct, 2006
http://w w w.hbp.usm .m y/conservation/M ainConservation.htm
NEWZEALAND
ICOMOSCharter for theConservation of Placesof
Cultural HeritageValue, 1992
http://w w w.icom os.org/docs/nz_92charter.htm l
PAKISTAN
National Fundfor Cultural HeritageAct, 1994, amended
2002
http://w w w.heritage.gov.pk/
PHILIPPINES
National Commission for CultureandtheArts(Republic
Act 7356)
http://w w w.ncca.gov.ph/about_ncca/history.php
REPUBLIC OFKOREA
Protection of Cultural PropertiesAct, amended1982-
2002
http://english.cha.go.kr/
SINGAPORE
National HeritageBoardAct (Chapter 196A), 1993
Preservation of MonumentsAct (Chapter 239)
http://w w w.m ica.gov.sg/m ica_business/b_heritage.htm l
420
Susan Balderstone PSM LFRAIA is an architect w ho has w orked on the conservation of heritage places for over 20 years. At the De-
partm ent of Infrastructure, Victoria she w as involved w ith the conservation of M elbournes m ajor nineteenth-century public buildings
and other public buildings in rural areas. She has participated in international projects in the Asia-Paci c region, including the Urban
Heritage Conservation Strategy for Tianjin, China, and the AusAid Planning and Developm ent Control Project for Hanoi, Viet Nam .
She has presented papers and participated in conservation w orkshops in the region including in China, Viet Nam , the Philippines and
Australia. She also w orked for the Jordanian governm ent and various academ ic institutions on the investigation and conservation of
archaeological sites and ancient m onum ents in the M iddle East. As an Adjunct Professor in the Faculty of Arts at Deakin University, M s
Balderstone w as instrum ental in setting up the current post-graduate coursew ork program m e in Cultural Heritage. She holds a BArch
(Hons) from the University of M elbourne and a M A in Conservation Studies from the University of York. (Jury m em ber in 2000-2001)
Robert G. Boughey established his architectural practice in Bangkok in 1973. His com pany has been active in the architectural and
design eld since that tim e, and has been the recipient of num erous architectural aw ards for its com pleted projects. M r Boughey w as
form erly a professor of Tropical Studies at Pratt Institute in New York. He has given talks at num erous universities and has been on the
evaluation panels for various international design com petitions. (Jury m em ber in 2000, 2003)
Mark Chang teaches at Show a W om ens University in Tokyo, Japan. Trained in econom ics, he has been involved in collaborative proj-
ects betw een Japan and Viet Nam in conserving cultural heritage in Viet Nam , particularly in the UNESCO W orld Heritage tow n of Hoi
An. He participated in tw o projects, the Hoi An Tow n Preservation Cooperation Project and the Vietnam ese Traditional Folkhouses, w hich
received UNESCO Asia-Paci c Heritage Aw ards in 2000 and 2004, respectively. In 2005, Professor Chang w as recognized w ith a Viet Nam
M inistry of Culture and Inform ation m edal for distinguished service in the eld of cultural heritage. (Jury m em ber in 2005)
William Chapman is the Director of the Graduate Program e in Historic Preservation at the University of Haw aii, M anoa, and a
frequent conservation consultant in the Asia-Paci c region. His w ork has included training projects and assessm ents of heritage sites
throughout the Paci c islands and m ainland South-East Asia. Professor Chapm an, w ho holds a DPhil in archaeology from Oxford Uni-
versity and an advanced degree in historic preservation from Colum bia 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 W orld M onum ents Fund, particularly in their training initiatives in Cam bodia. A four-tim e Fulbright Aw ard holder, he is a regular
lecturer at Silpakorn Universitys International Program e in Heritage M anagem ent and Tourism . (Jury m em ber in 2000-2005)
Proles of
Jury Members
(20002006)
421
Prole of Jury Members
Bundit Chulasai is the Head of the Departm ent of Architecture, Chulalongkorn University. He studied at Chulalongkorn University,
the University of Illinois at UrbanaCham paign and Unit Pedagogique dArchitecture No. 1. His research interests include architectural
and urban conservation and environm ental im pact assessm ent. A m em ber of the Association of Siam ese Architects (ASA), Professor
Chulasai served tw ice as the Chair of ASAs Fine Arts Com m ission, w hich has been prom oting the Thai publics understanding of urban
and architectural conservation since 1982. His architectural practice has also been recognized for its contextual and sensitive design
w ork. His design for the renovation of the Railw ay Hotel in Hua Hin, Thailand is one of the countrys early exam ples of adaptive reuse for
historic buildings. Professor Chulasais other conservation w ork includes the renovation of Chulalongkorn Universitys Ruen Pharotra-
cha in Bangkok and Daraphirom M useum in Chiang M ai. The projects received the ASA Architectural Conservation Aw ard in 1994, 1997
and 1999, respectively. (Jury m em ber in 2005)
Dong Wei is Vice Dean and UNESCO Chair in Cultural M anagem ent at Southeast Universitys Departm ent of Architecture in Nanjing,
China. He w as educated at the Xian Institute of M etallurgy and Building (now Xian Architecture University), the Traditional Architecture
and Garden Design Institute of Xian and Nanjing Institute of Technology (now Southeast University). After obtaining his PhD at the
Norw egian University of Science and Technology, he w as 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, w hich resulted in the 2001
Aw ard of M erit for the restoration w ork. Professor Dong w as also involved w ith the urban restoration of Zhongshan Road in Quanzhou,
Fujian province, w hich w as recognized w ith a 2001 Aw ard of M erit. (Jury m em ber in 2004, 2006)
Richard A. Engelhardt is the UNESCO Regional Advisor for Culture in Asia and the Paci c, based in UNESCO Bangkok. For the past
30 years, he has directed archaeology and heritage conservation projects throughout Asia and the Indo-Paci c region. In 1981, he joined
the United Nations (UN) system and has w orked w ith the Econom ic and Social Com m ission for Asia and the Paci c (ESCAP), as w ell
as a num ber of UN specialized agencies, including the United Nations High Com m issioner for Refugees (UNHCR) w hose of ce in the
Philippines he headed from 1986-1989. From 1991-1994, he re-opened and served as Head of the UNESCO Of ce in Cam bodia, w here
he launched the international safeguarding cam paign for Angkor. In recognition of his services, His M ajesty King Norodom Sihanouk
aw arded him the title of Com m andeur de lOrdre Royal du Cam bodge. He w as 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-W est
Center at the University of Haw aii. (Jury chairperson in 2000-2006)
422
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 w ith students and faculty from over 50 countries, w here he
conducted research and taught in the eld of urban, environm ental and regional developm ent and planning. After leaving AIT, Professor
Kam m eier has continued to m aintain his m ain residence in Thailand, w hile his international consulting w ork takes him to other coun-
tries in South-East Asia and the M iddle East. He also continues to teach and currently serves as a visiting professor in tw o international
program m es at Germ an universities. His long-term interest in urban conservation is re ected in his teaching and research at the post-
graduate program m e in W orld Heritage Studies at the Brandenburg Technical University (BTU) in Cottbus, Germ any. He is also part of
the international postgraduate program m e in Urban M anagem ent at the Technical University of Berlin. (Jury m em ber in 2000-2002)
Pinraj Khanjanusthiti teaches at the Faculty of Architecture, Chulalongkorn University, w here she coordinates the m asters degree
program m e in conservation studies. She has undertaken research to develop a Conservation and M anagem ent Plan for W ater-based
Com m unities as a Cultural Tourist Attraction: the Case Study of Santa Cruz Com m unity, Bangkokand a M aster Plan for Conservation
and Developm ent of Sam Prang Historic District, Bangkokfor the Bangkok M etropolitan Authority. She received her BArch from Chula-
longkorn University, her M Arch from the State University of New York at Buffalo and her M A and PhD in Conservation Studies from the
University of York. (Jury m em ber in 2006)
Spencer Leineweber FAIA is a Professor and Director of the Heritage Center at the University of Haw aii, M anoa. Educated at
Cornell University, she is a licensed architect. Since 1978, her architectural design rm , Spencer Architects Inc, has been recognized for
its sensitive design w ork throughout Haw aii. The of ce portfolio includes projects involving research, new construction and restoration.
The rm is particularly w ell know n for its w ork w ithin historic districts and new w ork on historic buildings. Professor Leinew eber has a
speci c passion for early construction techniques in Haw aii and is the leading expert on the construction of the ABCFM M issions in the
Paci c. Her Plantation Village ethnic history m useum project w as recognized for outstanding research-supported design w ith the rst
Design Honor Aw ard ever given to a project in Haw aii by the national Am erican Institute of Architects (AIA). (Jury m em ber in 2000-2003,
2005-2006)
Budi Lim is a chartered architect and urban designer w ith special interests in conservation and restoration. He studied and w orked in
England in the 1970s and early 1980s. In 1984, he returned to Jakarta to start his ow n practice, PT. Budi Lim Architects. During the late
1980s, he persuaded Universal Bank in Indonesia to purchase m any old buildings and to conserve them for use as their branch of ces. M r
Lim w as the 1998 recipient of the Indonesian Eisenhow er Exchange Fellow ship and the w inner of the highest honour in the 2001 UNESCO
Asia-Paci c Heritage Aw ards for the restoration of Indonesias National Archive Building. (Jury m em ber in 2002-2006)
423
Laurence Loh is a graduate of the Architectural Association School of Architecture in London. He has operated his ow n design
practice in Penang since 1983 and is recognized as one of the leading practitioners in the conservation eld in M alaysia. He directed
the Cheong Fatt Tze M ansion conservation project, w hich w as recognized as the M ost Excellent Project in the inaugural UNESCO Asia-
Paci c Heritage Aw ards in 2000. His w ork on the restoration of the Cheng Hoon Teng Tem ple w as recognized w ith an Aw ard of M erit
in 2003. In addition, he continues to w ork w ith UNESCO as an expert resource person in various conservation program m es. His w ork
has garnered several PAM & Industrial Aw ards for excellence in conservation as w ell as residential building design, interior design, and
the use of m aterials and technology. He is presently the Deputy President of Badan W arisan M alaysia, technical advisor to the Penang
Heritage Trust and a m em ber of the Penang State Heritage Com m ittee. He w as previously Chairm an of the Penang Art Gallery and the
Penang State M useum Board. (Jury m em ber in 2001, 2003-2006)
David Lung w as trained as an architect and is currently Professor of Architecture at the University of Hong Kong. He w as appointed
by the Chief Executive of Hong Kong SAR to chair the Antiquities Advisory Board in 1992 and w as m ade a m em ber of the Cultural and
Heritage Com m ission of the Governm ent of Hong Kong SAR in 2000. In M ay 2001, he w as appointed a non-executive director of the
Urban Renew al Authority and chairs the Planning, Developm ent and Conservation Com m ittee. Professor Lung has been instrum ental
in advising the governm ent in form ulating conservation policies, guidelines and strategies. Over three decades, Professor Lung has
researched, taught and published w idely in the area of cultural heritage w ith reference to Chinese vernacular architecture and Hong
Kongs architectural heritage. He is the founding director of the Architectural Conservation Program m e at the University of Hong Kong,
a key m em ber of the UNESCO-ICCROM Asian Academ y for Heritage M anagem ent netw ork. (Jury m em ber in 2002, 2004-2005)
Nimish Patel studied Architecture at the Centre for Environm ental Planning & Technology (CEPT) in Ahm edabad, India and continued
his post-graduate studies at the M assachusetts Institute of Technology (M IT). After returning to India, he and his partner Parul Zaveri es-
tablished 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 hum an com fort system s
in buildings. They have w on design aw ards for their w ork on educational, residential and public buildings, as w ell as for their conservation
w ork. Their project to restore the Chanw ar Palkhiw alon-ki-Haveli w as recognized as an Excellent project in the 2000 UNESCO Asia-Paci c
Heritage Aw ards. They have given lectures, of ciated on projects, conducted w orkshops and published their w ork nationally and interna-
tionally. They are currently pursuing doctoral studies at CEPT on the subjects of lim e as a building m aterialand heritage as a tool for the
econom ic developm ent of rural areas of Gujarat, respectively. (Jury m em ber in 2001-2004)
424
Chatvichai Promadhattavedi is the Director and Deputy Chairm an of the Executive Com m ittee of the Art and Culture Foundation
of Bangkok. The Foundation undertakes art advocacy w ork in the areas of cultural policy and infrastructure. This includes spearheading
the establishm ent of the Of ce of Contem porary Art and Culture w ithin the M inistry of Culture, Thailand, and the building of the Bang-
kok Art and Culture Centre, for w hich he serves as the Chairm an of the Cultural M anagem ent Policy Sub-com m ittee. During the 1970s
and 1980s he w as the Director of the Bhirasri Institute of M odern Art. He is an Executive M em ber of the Bangkok Sym phony Orchestra
and a Board M em ber of the Bangkok Opera. He is a m em ber of the Siam Society and has served as a Council M em ber. M r. Prom adhat-
tavedi is also the M anaging Director of Pro-Space Com pany, a design com pany specializing in vernacular and m odern architecture and
interior design. (Jury m em ber 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 w orked on conservation projects throughout India, and particularly in Punjab w here she has extensively docum ented historic
buildings in the state. She serves as a m anaging trustee of the Punjab Heritage Preservation Trust. M s Rai directed tw o projects, the Krishan
Tem ple and Lakhpat Gurudw ara, w hich received UNESCO Asia-Paci c Heritage Aw ards in 2001 and 2004, respectively. (Jury m em ber in
2005-2006)
J ohannes Widodo teaches at the National University of Singapore in the Departm ent of Architecture, w ith a joint appointm ent in
the Asian Cities Cluster of the Asia Research Institute (ARI). His areas of specialization include architecture, heritage conservation, ur-
ban history and m orphology of South-East Asian cities. He is a founder and executive of m AAN (m odern Asian Architecture Netw ork),
founder and core m em ber of iNTA (International Netw ork of Tropical Architecture), Registered Architect and professional m em ber of
the Indonesian Institute of Architects (IAI), voting m em ber of the ICOM OS International Training Com m ittee, executive m em ber of the
ICOM OS Indonesia National Com m ittee, af liate m em ber of the UNESCO-ICCROM Asian Academ y for Heritage M anagem ent, editor of
the Journal of South-East Asian Architecture (Singapore) and the ASEAN Journal on Hospitality and Tourism (Indonesia), and a m em ber
of several heritage societies and netw orks. He received his professional degree in architecture (Ir.) from Parahyangan Catholic University
(Indonesia), his M Arch from KU Leuven (Belgium ) and his PhD from the University of Tokyo. (Jury m em ber in 2002-2006)
UNESCO Asia-Pacic Heritage Awards for Culture Heritage
Conservation Regulations
Article1 - Objective
1.1 The UNESCO Asia-Paci c Heritage Aw ards recognize the achievem ent of
individuals, organizations or com panies in the conservation/restoration of a
structure or a series of structures in the private sector w hich is/are m ore than
50 years old. Houses, com m ercial, cultural, religious, industrial or institutional
buildings, gardens and bridges, for exam ple, are all eligible for consideration.
Public-private partnership projects such as historic tow ns, urban quarters and
rural settlem ents w here the essential elem ents are m ore than 50 years old are also
eligible.
Article2 AwardandFrequency
2.1 The Aw ard, w hich is established for an indeterm inate period, shall be aw arded on
an annual basis.
2.2 The Aw ards shall consist of
a. a bronze plaque for a num ber of entries receiving an Aw ard of Excellence
b. a bronze plaque for a num ber of entries receiving an Aw ard of Distinction
a bronze plaque for a num ber of entries receiving an Aw ard of M erit c.
a bronze plaque for a num ber of entries receiving an Honourable M ention d.
Certi cates of recognition w ill be presented to all parties included on the entry
form .
2.3 The form and num ber of the aw ards m ay be varied from tim e to tim e at the
discretion of UNESCO.
2.4 The aw ard w ill be m ade out in the nam e of the project entry.
Article3 Eligibility
To be considered for the Aw ards, the conserved or restored building or buildings 3.1
m ust be over 50 years old.
Buildings m ust be privately ow ned or leased, and restoration m ust be the result 3.2
of private initiative or a public-private partnership. Projects nanced, ow ned and
undertaken w holly by governm ent entities are not eligible.
The w orks m ust have been com pleted w ithin the last 10 years and before the 3.3
announcem ent date of the aw ards. The project m ust also have been occupied or
put to viable use for at least one year.
Article4 Selection of AwardRecipients
4.1 The aw ard recipients shall be selected on the proposal of an internal jury.
Article5 TheJury
5.1 The Jury shall be com posed of
1 representative from UNESCO, and a.
6-8 international conservation experts renow ned for their know ledge of b.
conservation in the Asia-Paci c region.
5.2 The UNESCO Regional Advisor for Culture in Asia and the Paci c shall appoint the
Jury for the full period of the Aw ards process.
Article6 - Conditionsof Entry
6.1 Entries for buildings m ay be subm itted by the registered land and building ow ner,
registered lessee, or conservation consultant, architect or designer, any of w hom
w ould have had to be involved in the process, preferably through the w hole course
of w ork.
6.2 Each entry m ust be subm itted to UNESCO before 31 M arch.
6.3 Subm ission of an entry w ill be taken to im ply the granting of perm ission to publish
all m aterial and particulars of the successful schem es, including the jury report,
w ithout charge to UNESCO.
6.4 The w ording of plaques and certi cates w ill be based strictly on the details given
on the entry form .
6.5 All subm itting persons or rm s w ill be responsible for delivery of their respective
entries. Entry m aterials w ill not be returned.
6.6 One or m ore entries m ay be subm itted by the sam e individual or institution.
Article7 Announcement andPresentation
7.1 W inners of the Aw ards w ill be announced in Septem ber. The person subm itting the
entry w ill be noti ed in strict con dence if their project is selected for an Aw ard.
UNESCO reserves the right to disqualify any entry w hich is subject to unauthorized
prior disclosure.
7.2 Certi cates and plaques w ill be presented to, and w ill record, the nam es of the
project, the architect/designer, building ow ner and the contractor of the UNESCO
Asia-Paci c Heritage Aw ard w inning projects. W hen appropriate, they w ill also
list those consultants w ho w ere key to the realization of the project. Only one
plaque per aw ard w ill be presented by UNESCO. Additional plaques m ay be
ordered at cost.

Article8 - Criteriafor theAwards
8.1 The Aw ard recipients w ill have conclusively dem onstrated excellence in:
the articulation of the structures heritage values in order to convey the spirit a.
of place through the conservation w ork;
appropriate use or adaptation of the structure; b.
the interpretation of the cultural, social, historical and architectural c.
425
signi cance of the structure(s) in the conservation w ork;
the understanding of the technical issues of conservation/restoration in d.
interpreting the structures signi cance;
the use and quality control of appropriate building, artisan, and conservation e.
techniques;
the use of appropriate m aterials; f.
how w ell any added elem ents or creative technical solutions respect the g.
character and inherent spatial quality of the structure(s);
the m anner in w hich the process and the nal product contribute to the h.
surrounding environm ent and the local com m unitys cultural and historical
continuum ;
the in uence of the project on conservation practice and policy locally, i.
nationally, regionally or internationally;
the ongoing socio-econom ic viability and relevance of the project, and j.
provision for its future use and m aintenance;
the com plexity, sensitivity and technical consistency of the project k.
m ethodology.
Article9 - Entrymaterialsto besubmitted
9.1 Entry Form
Each entry m ust be subm itted w ith an of cial entry form together w ith the
follow ing m aterials.
9.2 Draw ings
Required: m aps show ing location of project in neighborhood, in city, in
country.
Required: site plan, oor plans and sections, show ing pre- and post-
restoration condition. All alterations/new additions should be clearly m arked
in color.
Optional: elevation draw ings.
All draw ings should be reduced to A4 size.
9.3 Photographs
A m inim um of 15 high-resolution color photographic prints m easuring 5x 7,
show ing:
a. pre- and post-restoration conditions, including interior and exterior view s and
the overall appearance of the building (m inim um 6 pairs of photographs)
b. details of the restoration project, including m aterials and techniques used in
conservation.
All photographs m ust be clearly labeled. Location of photographs should be
indicated on a oor plan.
9.4 Project Description (in English)
A report of 6-8 pages (A4 sheets) should describe in detail each of the follow ing
points:
synopsis of conservation project (2 paragraphs m axim um )
conservation projects goals and objectives (clients brief)
the background of the property (1 page m axim um )
historical background -
present context, condition, use of the property -
heritage/protection status of the property -
scope of the conservation project
stages in restoration and tim e fram e -
project size (in sq m eters) and cost (in US $) -
The description should explain how the project dem onstrates the criteria of the
UNESCO Aw ards. Please explain separately each criterion in Article 8.
articulation of heritage values and signi cance
appropriate use/adaptation
changes m ade to building (repairs and additions), and relationship of -
new to old
if restoration involved changing original use, rationale for changing use -
interpretation of the signi cance of the building(s) in the conservation w ork
the m ethodology of restoration -
understanding of technical issues of conservation in the interpretation
issues of conservation/restoration considered and justi cations for -
solutions
use of appropriate building, artisan, and conservation techniques
use of appropriate m aterials
how w ell new elem ents and creative technical solutions respect buildings
character
contribution to com m unitys cultural continuum
key stakeholders and involvem ent of local com m unity in project -
im pact of project on conservation practice and policy
ongoing socio-econom ic viability and relevance of the project
regulatory fram ew ork of the project -
m obilization of nancial 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 m aintenance -
the com plexity, sensitivity and technical consistency of the project
m ethodology
The points of the project description should be w ell docum ented through text
and linked to the subm itted photographs and draw ings. A sam ple report form at
is available from the UNESCO Bangkok of ce or the Aw ards program m e w eb site.
426
9.5 Occupant Com m ents
9.6 Ow ner Consent
9.7 Additional M aterials
Article10 Objectiveof theJuryCommendation
10.1 In addition to the announced Aw ards, the Jury w ill, through its special Jury
Com m endation, recognize new ly-built structures w hich dem onstrate outstanding
standards for contem porary architectural design w hich are w ell integrated into
historic contexts. Projects should have been undertaken w ithin the fram ew ork
of a larger conservation project or w ithin a conservation zone w hose essential
elem ents are m ore than 50 years old. Building annexes, new buildings, new
public spaces, and new structures such as bridges, for exam ple, are all eligible for
consideration.
Article11 - AwardandFrequency
11.1 The Jury Com m endation w ill be given at the discretion of the Jury.
11.2 The Jury Com m endation w ill consist of a bronze plaque for a selected num ber of
entries.
Article12 Eligibility
12.1 To be considered for the Jury Com m endation, the w orks m ust have been
com pleted w ithin the last 10 years and before the announcem ent date of the
aw ards. The project m ust also have been occupied or put to viable use for at least
one year.
12.2 The subm ission m ust dem onstrate that no structures of heritage signi cance w ere
altered or cleared from the site for the purpose of the project subm itted for the
Jury Com m endation.
12.3 Projects w hich are new structures built as historic replicas, built against historic
facades, and historic them e parks w ill not be considered w ithin the scope of the
Jury Com m endation.
12.4 Projects w hich are subm itted for consideration to the UNESCO Heritage Aw ards
program m e in the sam e year are not eligible for subm ission for the Jury
Com m endation. Projects w hich are jointly subm itted w ill be disquali ed.
The guidelines for Selection of Aw ards Recipients, Jury, Conditions of Entryand
Announcem ent and Presentation of the Aw ardsshall be subject to Articles 4, 5, 6, and 7,
respectively.
Article13 - Criteriafor theJuryCommendation
13.1 The recipients of the Jury Com m endation w ill have conclusively dem onstrated
excellence in the follow ing areas:
outstanding design concept that dem onstrates critical thinking in articulating a.
an innovative response to the speci c historic context;
how w ell the new structure helps to reveal the qualities of the place, including b.
historical, architectural, cultural, and social signi cance;
the com patibility and appropriateness of the new structures program m e/ c.
function in its context;
how w ell the new structure integrates w ith the existing built and natural d.
context. Factors include, but are not lim ited to, the follow ing: typology,
siting, m assing, form , scale, character, colour, texture;
the justi cation of selection and quality control of m aterials and building e.
techniques (either contem porary, vernacular or a com bination of both);
the m anner in w hich the process and the nal product extend the local f.
com m unitys cultural and social continuum ;
the in uence of the project on architectural practice and design policy locally, g.
nationally, regionally or internationally;
Article14 - Entrymaterialsto besubmitted
14.1 Entry Form
Each entry m ust be subm itted w ith an of cial entry form together w ith the
follow ing m aterials.
14.2 Draw ings
Required: m aps show ing location of project in neighborhood, in city, in
country
Required: concept draw ings in 2D and/or 3D explaining the partiof the
project
Required: site plan, oor plans, sections, perspective(s).
Required: elevation draw ing(s), show ing principal public faade and im m ediate
If possible, please subm it text and im ages in electronic form at (i.e. on diskette or
CD-rom ) as w ell as hard copy.
427
A brief statem ent from the buildings occupants describing their evaluation of
the restored structures usefulness and functionality, and their im pressions of its
contribution to the com m unitys historic continuum m ust accom pany the entry.
A form (optional) for these com m ents is available from the UNESCO Bangkok
of ce or the Aw ards program m e w eb site.
The w ritten consent of the building or property ow ner m ust be obtained prior
to entry. This consent should be subm itted w ith the entry on either the ow ners
letterhead or the Ow ner Consent Form available from the UNESCO Bangkok of ce
or the Aw ards program m e w eb site.
Additional supporting docum entation m ay be subm itted. Slides, CD-ROM s, videos,
articles are all accepted and w elcom e.
9.6 Ow ner Consent
neighboring buildings (if any).
All draw ings should be reduced to A4 size.
14.3 Photographs
A m inim um of 15 high-resolution color photographic prints m easuring 5x 7,
show ing:
a. interior and exterior view s and the overall appearance of the building
(m inim um 6 pairs of photographs)
b. details of the project, including m aterials and techniques used in the
project.
All photographs m ust be clearly labeled. Location of photographs should be
indicated on a oor plan.
14.4 Project Description (in English)
A report of 6-8 pages (A4 sheets) should describe in detail each of the follow ing
points:
synopsis of construction project (2 paragraphs m axim um )
function/program m e -
construction phases and tim e fram e -
project size (in sq m eters) and cost (in US $) -
description of the design concept, w ith reference to concept diagram s
projects goals and objectives (clients brief)
the background of the site (1 page m axim um )
historical background -
description of last structure that occupied the site (if any) and the date -
and justi cation of its dem olition
context of the site (physical as w ell as socio-econom ic) -
heritage/protection status of the area in w hich the building site is -
located
projects dem onstration of the criteria for the Jury Com m endation. Please
explain separately each criterion in Article 13.
The points of the project description should be w ell docum ented through text
and linked to the subm itted photographs and draw ings. A sam ple report form at is
available from the UNESCO of ce or the Aw ards program m e w eb site. If possible,
please subm it text and im ages in electronic form at (i.e. on diskette or CD-ROM ) as
w ell as hard copy.
14.5 Occupant Com m ents
See Article 9.5
14.6 Ow ner Consent
See Article 9.6
See Article 9.7
428
429
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 grow th, 142, 145, 324
Alois Riegl, 24
altar, 104, 152, 153, 216, 294, 298
alum inum , 231
Am sterdam School, 120
ancestral w orship, 152, 153, 258, 261
Ancient M onum ents and Archaeological Sites and Rem ains
Act (India), 78, 142
Ancient M onum ents Preservation Act (India), 78, 142
Anglican church, 356
Antarctic Treaty List of Historic Sites and M onum ents, 116
Antarctica, 19, 20, 31, 116, 117
Cape Denison, 31, 116
Com m onw ealth Bay, 116
Antiques Conservation Law (China), 258
Antiquities Act (Pakistan), 266
Antiquities Advisory Board (Hong Kong SAR), 294
Antiquities and M onum ents Of ce (Hong Kong SAR), 94,152
apartm ent (house, housing, m ansion, residence, residential,
villa) 14, 16, 40
serviced apartm ent (hotel), 14, 16, 40
apse, 41
Arab, 64, 290
araish (lim e 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 Departm ent (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-Paci c region, 23, 25, 27, 35, 38, 51, 56, 58
asphalt, 395
astana (tom b), 266
Astana of Syed M ir M uham m ad, 18, 26, 30, 53, 265-272
Athens Charter for the Restoration of Historic M onum ents,
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
Cow angie, 252
M allee, 35, 252
M anly, 108
M ullew a, 17, 318, 321
New South W ales, 18, 61, 136, 200, 226, 238, 370
Rocks, the, 136
Rydalm ere, 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
W estern Australia, 17, 318
Australian Hall, 48, 62, 63, 199-204
Australian Heritage Com m ission, 136, 318
Austria, 301
Ayutthaya style, 350
B
Badan W arisan M alaysia (Heritage Trust of M alaysia), 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
bam boo, 35, 104, 195, 260, 262, 264, 324
bam boo 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 tow er, 320, 333, 334
Bernard Feilden, 24
bimah, 98
bracing, 206, 252
bracket (dou gong), 152, 169, 190, 191, 193, 216, 324
brass, 120, 157
Index
430
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
brickw ork, 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
m ud brick, 344, 390
reclaim ed 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 Program m e, 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
Bushells Tea W arehouse, 19, 20, 42-45, 49, 56, 135-140
buttress, 195, 294, 316
C
Cam bodia, 242
Siem Reap, 62, 242
W at Dam nak, 242
canal (river, w aterw ay), 274, 277, 363
cane, 35
Cangqiao Historical Street, 18, 58, 281-284
canopy, 79
Canton tile, 94
capped, capping, 116, 213, 252
carved carpentry (carved tim ber, carved w ood), 184
cathedral (chapel, church), 18, 294, 297, 298, 332-336, 338,
356
Catholic, 56, 108, 200, 294, 318
Catholic Cathedral of the Im m aculate Conception, 56, 18,
43, 293-296
cem ent, 37, 38, 90, 144, 195, 208, 268
cem ent concrete, 248
cem ent injection, 180
cem ent m ortar (m ortar), 90, 248, 366
cem ent tile, 230
ceram ic tile, 71, 386
chai hui, 9, 75, 76, 213
cham ber, 206, 226, 344
Chanw ar Palkhiw alon-ki-Haveli, 19, 38, 49, 77-82
chapel (cathedral, church), 55, 180, 218, 219, 294
character-de ning elem ents, 21, 28-30
char bagh, 190
Charles Prosper W olff Schoem aker, 120
chataq, 10, 207-209
chengal, 72, 124
Cheng Hoon Teng M ain Tem ple, 9, 26, 75, 76, 211-216
Cheong Fatt Tze, 11, 70
Cheong Fatt Tze M ansion, 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
Kunm ing, 36, 168
Luzhi, 274, 277
M acao 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 Tow n, 262
Suzhou River, 49, 382, 383
Taipei, 75, 300, 394
Tai Po Tau Village, 152
Teochew, 75, 76
Tongli, 274
W aibaidu bridge, 383
W en M ing Street, W en M ing Protection Area, 168, 169
W uzhen, 274
Xian, 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
431
Index
China Principles (Principles for the Conservation of Heritage
Sites in China, the) 15, 23
Chinese Cultural Relics Research Institute,160
Chinese decorative w orks, 71, 75, 76
Chinese garden, 374
Chinese Historical Cities Research Institute, 160
Chinese w ood 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 M ount Carm el, 17, 317-322
cladding, 118, 156, 201, 371
Classical, 16
clay (kaolin), 344, 348, 390
clay tile, 113, 356
clerestory w indow, 227
clinic, 13
clitorea ternate ow er, 72
clock tow er, 356
coffered ceiling, 172, 201, 202
collective m em ory (cultural m em ory), 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
com m ercial, 13, 16, 18, 54, 120, 148, 164, 219, 274, 278,
340, 386, 394, 396
com m unity centre (com m unity 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 tow er, 176
Convent of the Holy Infant Jesus, CHIJM ES, 19, 217-220
Convention Concerning the Protection of the W orld Cultural
and Natural Heritage (W orld 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 w alkw ay, 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 (M acao SAR), 58, 180, 386, 387
cultural landscape, 13, 63
cultural m em ory (collective m em ory), 13
Cultural Resource Conservation Initiative (India), 143, 325
Cultural Revolution, 10, 48, 234, 258, 260
cultural signi cance (signi cance), 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 Tem ple, 75, 216, 299-302
dam p , 318
dam p-proof course, 53, 98, 102, 320, 350, 370
dam p-proo ng (vapour barrier, w aterproo ng), 102,
350
dam p-proof m em brane, 94, 218
rising dam p, 53, 88, 99, 102, 130, 142, 152, 168, 218,
222, 350, 351, 370
dapur, 124
DBS House, 18, 60, 147-150
Departm ent of Cultural Relics and Guangzhou Culture
Bureau, 260
dom e, 18, 180, 318, 320, 338
Dorje Chenm o Tem ple, 18, 47, 56, 343-348
dorm itory, 219
dou gong (bracket), 76, 216
drop-log construction, 35, 252
dye (pigm ent), 9
E
earthquake, 35, 206, 334, 338, 378
eave, 79, 88, 168, 169, 216, 327
eave board, 94, 152
echo, 298
econom ic value, 41, 51
Edw ardian, 25, 40
Elphinstone College, 54, 365-368
encaustic tiles, 73
England, English, 55, 72, 590
entertainm ent com plex, 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
faade, 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
faadism , 51
factory, 13, 14, 16, 19, 20, 25, 40, 382
fascia, fascia board, 36, 124, 206, 340
Federal Antiquities Act of 1976 (M alaysia), 212
Federation style, 108, 200
Fem ale Orphan School, 52, 369-372
feng shui, 11, 26, 29, 71, 152, 153
fenugreek (methi), 33, 37, 82, 194
breglass resin replica, 231
Filipinas Heritage Library, 50, 177
Fine Arts Departm ent (Thailand), 58, 230, 350
nial, 231
First Aboriginal Day of M ourning Conference, 62, 200
ash, ashing, 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
432
foundation settlem ent, 193, 316
France, French, 84, 90, 218, 219, 242, 318, 363
Paris, 16
Francis Greenw ay, 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-m esh, 53, 313, 316
George Strickland Kingston, 286
Georgian, 370, 371
Germ any, Germ an, 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 m irror, 231
glass pane, 134
jew el 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
Gongziting, 373-376
Gota de Leche, 48, 303-306
Gothic, 70, 108, 226, 228, 318
Gothic Revival, 18, 172, 294, 340, 356, 357
governm ent stable, 226
graf ti, 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
Guangyu Ancestral Hall, 10, 26, 30, 31, 48, 59, 75, 216,
257-264
Guangyu Ancestral Hall Restoration and M anagem ent Fund,
59, 262
Guanyin, 216
gud, gur (jaggery), 82,194
guggal, 194
Gujarat Ancient M onum ents and Archaeological Sites and
Rem ains 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
com m unity hall (com m unity 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 Kalm an, 24
haveli, 19, 38, 78, 79, 80, 81, 248
herbicide, 90
heritage centre, 124
Heritage of M alaysia Trust, 50
heritage place, 24-26
Heritage Regulations of Greater Bom bay, 340
Heritage Regulations of the M um bai M unicipal Corporation,
356
heritage trail (trail), 58, 238
heritage value, 13, 23, 25, 27, 51, 56
Heroic Era, 116
H.E. Ross & Row e, 136
hessian, 253, 330
Hethersett Tea Factory, 156
Him alayas, 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 Tow n Preservation Cooperation Project, 49, 63, 83-
88
horse hair, 71
hospital, 18, 40, 370
hotel (serviced apartm ent), 14, 20, 40, 41, 60, 74, 90, 156,
157, 286, 390
Hotel de lOrient, 20, 89-92
house (apartm ent, housing, m ansion, residence, residential,
villa), 13, 14, 20, 33, 36, 85, 148, 168, 360, 361, 363,378,
390
bam boo pole house (zhutongcuo), 394
courtyard house, 36, 70, 168, 234, 274, 282
farm house, 378
folk house, 360, 361
shophouse, 164, 394
housing (apartm ent, house, m ansion, residence, residential,
villa), 13, 14, 120, 130
Hung Shing Old Tem ple, 17, 26, 75, 93-96, 216

I
ice ingression, 118
illum ination (lighting), 295, 297, 298
im m igrant, 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
Am ber, 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
Jaisalm er Fort, 18, 38, 248
Jam m u and Kashm ir, 344
Kerala, 36
433
Index
Kishankot Village, 10, 11, 26, 32, 142
Kuchchh, 37, 324
Ladakh, 18, 47, 344, 346, 348
Lakhpat Village, 37, 324, 330
M um bai, 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
Jaw a Barat, 120
Krukut River, 130
M edan, 27, 48, 64, 290, 291
Sum atra, 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
academ ic institution, educational institution, 180, 242
m onks teaching institution (M ahavihara 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 M onum ents and Sites, ICOM OS, 15
ICOM OS 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 , Islam ic, 26, 206
Italy, Italian, 48, 219, 304
Florence, 304
J
jaggery (gud, gur), 34, 37, 82, 194
Jaisalm er Streetscape Revitalization Project, 18, 38, 46, 61,
247-250
jallie (lattice), 48, 194, 266, 270
Jam es Kerr, 24
Jam es Trubshaw, 366
Japan, Japanese, 32, 49, 54, 84, 85, 87, 301, 360, 361, 363
jarrah, 156, 157
Jew ish, 25, 47, 98, 148
jian, 216
Jin Lan Tea House, 36, 57, 167-170
John Adam s, 366
Jukka Jokilehto, 24
K
Kangra, 142
kaolin, 344
kapis shell w indow, 304
Karakoram m ountain, 206, 315
kar sewak, 329
Kazakhstan, 18, 332
Alm aty, 18, 332
Turkestan, 332, 338
khaka (ash), 144
Khan Bahadur M uncherjee M urzban, 366
Khmer, 242, 243
Khon Kaen University, 230
khun, 206
kindergarten (institution), 357
King Law Ka Shuk Tem ple, 75, 151-154, 216
kite tile, 353
kody (shell plaster), 194
Kow Plains Hom estead, 19, 35, 251-254
Krishan Tem ple, 10, 11, 26, 32, 141-146, 191
Kunm ing Urban Planning and Design Institute, 168
L
Lahore National College of Arts, 208
Lakhpat Gurudw ara, 32, 37, 61, 323-330
lam p, 157, 290, 291, 298, 336
landm ark, 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 M anagem ent 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 (illum ination), 18, 29, 294, 297, 298, 319, 375
lim e, 35-38, 71, 82, 98, 144, 260, 330, 335, 378
lim e cem ent, 252
lim e concrete, 192, 193, 197, 326
lim e m ortar (m ortar), 33, 37, 38, 47, 53, 71, 90, 142, 144,
145, 173, 194, 195, 197, 248, 324, 326, 330, 367
lim e 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
lim e putty (putty), 38, 148
lim e render (render), 98
lim e shell m ortar, 370
lim e w ash, 37, 38, 142, 145, 213, 327, 336, 382
shell lim e pow der, 90
slaked lim e, 36, 37, 144, 326, 327, 330
434
Lingnan, 26
linseed oil, 30, 134, 208, 268, 271, 378
lintel, 36, 316, 370, 395
loggia, 304
luo jia (top-dow n repair), 260, 264
M
M adras terrace, 90
M aharihara Parivena (m onks teaching institution), 112
M ahasha, 142
M alaysia, M alay, M alaysian, 9, 11, 26, 29, 35, 47, 50, 52, 55,
58, 64, 70, 84, 124, 212, 216, 290
George Tow n, 11, 58, 70
Kedah, 35, 50, 124
Kuala Lum pur, 20, 35, 50, 124
M elaka, 9, 26, 75, 76, 212, 216
Penang, 11, 29, 47, 70, 74, 75, 216
m ansion (apartm ent, house, housing, residence, residential,
villa) 11,12, 19, 52, 70-72
m asonry, 33, 36, 37, 194, 219, 286, 300, 318, 319, 324, 330,
332, 356, 357, 366, 367, 374
M aw sons Huts Historic Site, 19, 20, 31, 115-118
M a Zheng, 168
M azu, M a Zu Po, 184, 216
M edina Grand Adelaide Treasury, the, 19, 41, 44, 45, 285-
288
M ehrangarh M useum Trust, M M T, 190, 196
M elaka Preservation and Conservation of Cultural Heritage
Enactm ent of 1988 (M alaysia), 212
m eranti, 124
methi (fenugreek), 82, 194
M etropolitan Aboriginal Association, M AA, 63, 200
M etropolitan Local Aboriginal Land Council, 62, 200
M ildura Rural City Council, 252
M ilton ooring, M ilton tile, 172, 341
m inim al intervention, 12, 15, 30, 50, 52
M inistry of Construction Institute for Architectural
Research, 85
m onastery, 62, 242
M onsignor John Cyril Haw es, 318
m ortar (lim e m ortar, cem ent m ortar, m ud m ortar), 90, 108,
206, 208, 264, 318, 326, 328, 29, 330, 378, 390
m ortise, 30
m osaic, 52, 212, 301, 335, 336
m osque, 10, 13, 14, 27, 190, 206, 208, 270, 338
m otif, 94, 152, 324, 366
m oulding, 40, 94, 102, 180, 297, 304, 338, 350, 353, 366
m ud, 33, 35, 36, 22, 271, 312, 348
m ud m ortar (m ortar), 311, 324, 344

New Zealand, 16
Norw ay, 234
Norw egian Agency for Developm ent Cooperation, NORAD,
208, 234
Norw egian University of Science and Technology, 234
No. 125 Huajue Alley, 57, 233-236
O
of ce, 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
Karim abad Village, 61, 206, 210
Kashm ir, 266
Khanqah Settlem ent, 266
Khaplu, 30, 266, 270
palace, 13, 33, 48, 190, 197, 248, 350, 354
Palladian, 370
papier mache, 71, 76, 336
Para l tie rope, 313, 316
passagew ay (street, streetscape, thoroughfare), 160
M ughal, 78, 190
M um bai M etropolitan Region Developm ent Authority, 340
M um bai M unicipal Corporation, 148
M unish Pandit, 146
m useum , 19, 20, 27, 31, 42, 44, 50, 80, 86, 161, 192, 253,
278, 311, 314, 315, 318, 332, 351, 353, 354, 387, 390
M uslim , 190, 234, 324, 329
N
naga, 230
Nam una Ghar, 50, 377-380
Nara Docum ent 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 Tow er, 50, 175-178
Neo-Classical, 49, 340
Neo-Gothic, 218
Nepal, Napalese, 50, 378, 379
Bhaktapur, 50, 378
Kathm andu Valley, 378
Netherlands, the, Dutch, 50, 64, 84, 130, 131, 132, 134, 290
New ari, 378
New South W ales Heritage Act, 63, 136, 200
New South W ales Heritage Of ce, 238
435
Index
patio, 378
pavilion, 160, 350, 352, 353
paw nshop, 386
penghulu, 124
Peranakan, 184
Perm anent Conservation Order, PCO (Australia), 62, 200
pesticide, 124, 302
pew, 98, 356
pharee, 209
Philippines, 50, 176, 304
M akati, 176
M anila, 48, 50, 304
M etro M anila, 176
Phra Racha W ang Derm Palace, 19, 50, 58, 349-354
pillar, 18, 79, 88, 180, 190, 216, 290, 294, 300, 328, 360
pigm ent (dye), 94, 344, 348
plaster (cem ent plaster, lim e plaster, m ud plaster), 36, 38,
40, 75, 76, 79, 82, 94, 168, 180, 191, 222, 230, 324, 326,
330, 344, 348, 353, 386, 390
plasterw ork, 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
plum b bob, 267
point, repoint (to plaster), 108, 193, 320, 327, 330, 356
police station, police departm ent, 120, 176
Polsheer House, 18, 20, 221-224
polycarbonate sheet, 319
porch, 320
portico, 206, 294
post of ce, 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 (lim e 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 ram m ing, 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 (apartm ent, house, housing, m ansion,
villa), 14, 18, 112,130, 168, 235, 278, 350-352, 378, 390
Residence of Charles Prosper W olff Schoem aker, 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, w aterw ay), 277, 283
Rom anesque, 318
Royal Australian Institute of Architects, RAIA, 322
Royal University of Fine Arts (Cam bodia), 242
ruang makan, 124
rumah ibu, 124
Rum ah Penghulu, 19, 35, 50, 123-126
Russia, Russian, 338
Om sk, 338
Orenburg, 338
St. Petersburg, 338
Russian Orthodox Church, 332
Eparchy, 336, 338
Russian Orthodox com m unity of Alm aty, 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. Josephs Sem inary Church, 18, 179-182, 298
St. Patricks College, 18, 20, 107-110
St. Thom as 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
scienti c and research value, scienti c value, 23
Scotland, Scottish, 70, 72
Glasgow, 72, 184
sealant, 197
seism ic, 334, 334, 378
seva, 11, 145
Shekw an, 94
sheng, 216
shikhara, 142
shop, 19, 314, 390
souvenir shop, 235, 387
teashop, 20, 168, 169
Show a W om ens University, 32, 360
Shri Gokulram , 191
shrine, 18, 30, 34, 47, 142, 143, 212, 350
436
shuk (study hall), 152
Siam ese, 124
signi cance (cultural signi cance), 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 M aw son, 116
Sir George Gilbert Scott, 172
social value, 13, 23, 25, 26, 40, 51, 52
South China University of Technology, 258
SouthEast 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
Nuw ara Eliya, 156
Kandapola, 25, 42, 49, 156
stainless steel, 117, 173, 184, 193, 367
steel, 38, 45, 138, 156, 213, 219, 252
steel reinforcem ent, 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
agstone, 227
granite, 36, 73, 74, 76, 94, 113, 152, 153, 161, 180, 216,
294, 341, 386
lim estone, 33, 36-38, 144, 148, 194, 324, 327, 330, 366,
367
m arble, 82, 90, 108, 201, 290, 327, 341, 352
Porbunder lim estone, 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
stonew ork, 328
storage, storehouse (w arehouse), 130, 156, 386
street, streetscape (thoroughfare, passagew ay), 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
Sum atra Heritage Trust, 27, 64, 290, 291
surkhi (burnt brick dust), 144
Suzhou River W arehouse, 42, 44, 50, 56, 58, 381-384
Sw itzerland, 57, 168
Sydney Conservatorium of M usic, 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 Paw nshop, 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
tem ple, 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
term ite, term ite 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 Tem ple, 75, 183-186, 216
thoroughfare (passagew ay, street), 160
tiang sen, 124
tie, tie beam , 112, 252
tim ber (w ood, w ooden), 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
Burm a teak, 148, 156, 173, 367
carved tim ber, tim ber carving (carved carpentry, w ood
carving), 72, 75, 76, 84, 104, 310
seasoned tim ber, 124
teak, 32, 36, 72, 133, 181, 352, 353
tin, tin sheet, 378
Tjong A Fie, 290
Tjong Yong Hian, 290
tom b (astana), 26, 30, 266, 271
Tom b of Ghaus M uham m ad, 324
tongue and groove, 118
top-dow n repair, 184, 260, 264
Torah scroll, 99
tourism
cultural tourism , 27, 50, 61
tourism industry, 280, 363
tourism program m e, 238
tow nscape, 18
trail (heritage trail), 27
437
Index
transept, 294, 318, 320
trompeloeil, 73, 76
trow el, 90
truss, trussw ork, 264, 297, 304
Tsinghua University, 374
tung oil, 72, 73, 76
tungsten, 108
U
Ukraine
Kiev, 338
Ultar glacier, 310
UN Developm ent Program m e, 143
UNESCO, 46, 51, 143
UNESCO Asia-Paci c Heritage Aw ards for Culture
Heritage Conservation, 17, 20, 25, 26, 28, 32, 35, 40,
46, 49, 51, 59, 216
UNESCO-ICCROM Asian Academ y for Heritage
M anagem ent, 54
United Nations Volunteers Program m e, 325
United States, 16, 72, 84
United States National Park Service, 16
university (institution, school), 372
University of M um bai Library Building, 38, 55, 57, 171-174
University of Phnom Penh, 242
University of W estern Sydney, 19, 370, 372
Urban Planning Law (China), 274
Urban Redevelopm ent Authority, URA (Singapore), 218
V
valance, 113
vapour barrier (dam p-proo ng, w ater proo ng), 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 Com pagnie (Dutch East India
Com pany), 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 , Vietnam ese, 32, 36, 49, 54, 84, 85, 87, 242, 360-
363
Bac Ninh, 360
Bien Hoa City, 360
Dinh Bang Village, 360
Dong Hoa Hiep Com m une, 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
Vietnam ese M inistry of Culture and Inform ation, 32, 360,
363
Vietnam ese 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 (jew el glass), 231
w arehouse (storage, storehouse), 42, 44, 139, 382
W ashington Charter, 22
W at Dam nak, 62
w aterproo ng (dam p-proo ng), 18, 33, 145, 148, 169, 197,
268, 327, 366, 374, 390
w aterproof m em brane (dam p-proof m em brane), 294,
320
w aterproof sealant (sealant), 134
W ater Tow ns of the Yangtze River, 18, 55, 63, 273-280
w aterw ay (canal, river), 130, 274, 276, 277, 382
W at Sratong, 18, 49, 55, 229-232
w harf, 282
w indow sill, 112, 370
W ood, w ooden (tim ber), 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 w ood, w ood carving (carved tim ber, tim ber
carving), 52, 61, 300, 301, 315, 324, 353, 395
deodar w ood, 208
oak w ood, 336
Tyan Shan spruce, 332
w oodw ork, 120, 350
W orld Heritage, 84
W orld Heritage Convention (Convention Concerning the
Protection of the W orld Cultural and Natural Heritage), 15
X
Xian Cultural Relics Bureau, 234
Xijin Ferry Area Project, 159-162
Y
Yarikutz, Rupikutz, Kuyokutz, M am orukutz M osques, 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 (bam boo pole house), 394
zinc, 124
zincalum e, 118
w rought zinc ceiling, 120
Zovelian House, 222
438
Photographic Credits
All photographs by the respective entry subm ission dossier, except for the follow ing:
Entry subm ission dossier/Yori Antar p. 131
Entry subm ission dossier/Ray Joyce pp. 19 (bottom ), 23, 52, 140
Entry subm ission dossier/Pieter Stroethoff p. 15
Entry subm ission dossier/Geoff Sum ner pp. 201(above), 202
Illustration Credits
All rendered perspectives, plans, sections, elevations and m aps UNESCO/Sorasith Bootsingkhon, except for the follow ing:
UNESCO/Fanny Ang pp. 81, 138, 162, 214, 321
UNESCO/Kachain Chanjaroen pp. 69, 115, 141, 147, 151, 155, 179, 221, 237,
281, 299, 369, 394
UNESCO/Ernesto Endrina pp. 70, 94, 108, 176, 288, 378, 398
Sher Ghazi p. 271
UNESCO/Siyanee Hirunsalee and
Chonthicha Tham asith p. 398
UNESCO/Thananart Kornm aneeroj pp. 77, 93, 103, 107, 111, 123, 159, 177, 229,
233, 251, 289, 309, 331, 349, 373, 381
Laurence Loh p. 216
Sum atra Heritage Trust p. 292 (right)
UNESCO/Attakit Uthaikarn pp. 83, 118, 129, 135, 167, 205, 217, 265, 293,
359, 365, 377
UNESCO/Akekaraj W erunit pp. 124, 136, 148, 156, 184, 218, 226, 340
350, 366, 370, 374, 382, 390, 394
UNESCO/Pongsakorn Yim saw at pp. 163, 285, 233, 317, 355, 389
For perm ission to reproduce photographs and illustrations, please contact UNESCO Bangkok at culture@ unescobkk.org.
Requests w ill be forw arded to the subm itters of the respective projects.
All the inform ation included in this book has been sourced from the UNESCO Asia-Paci c Heritage Aw ards
entry subm ission dossiers and re ect the opinions of the individuals and institutions responsible for the
project. They do not necessarily represent the view s of UNESCO.
439
References
References
Publications
Aga Khan Cultural Service Pakistan. 2002. Ganish VillageIntegrated Conservation and Rehabilitation Project.
Gilgit, Pakistan, Aga Khan Cultural Service Pakistan.
Agnew, Neville and M artha Dem as, eds. 2002. Principles for theConservation of HeritageSites in China.
Los Angeles: Getty Conservation Institute.
CRCI. 2000. Krishan TempleConservation Report. New Delhi, CRCI.
Ebbe, Katrinka and Lee Joanna Harper, eds. 2000. Cultural HeritageManagement and Urban Development:
Challengeand Opportunity, International ConferenceProceedings, Beijing, China, July 5-7, 2000. Beijing:
SACH/UNESCO/W orld Bank.
Feilden, Bernard. 1994. Conservation of Historic Buildings. Oxford: Architectural Press.
Fow ler, Daryl et al. 2000. Appropriate Use of Cultural Heritage Sites: Developing M anagem ent Plans.In Cultural
HeritageManagement and Urban Development: Challengeand Opportunity, International Conference
Proceedings, Beijing, China, July 5-7, 2000, edited by Katrinka Ebbe and Lee Joanna Harper, 73-91. Beijing:
SACH/UNESCO/W orld Bank.
Godden M ackay Logan. 1998. Mawsons Huts Conservation Report. Redfern, Australia, Godden M ackay Logan.
Jain, M inakshi. 2001. Ahhichatragarh Conservation Project Report. Jodhpur, India/Los Angeles: M ehrangarh
M useum Trust/Getty Grant Program m e.
Jokilehto, Jukka. 1999. A History of Architectural Conservation. Oxford: Butterw orth-Heinem ann.
Kalm an, Harold. 1980. TheEvaluation of Historic Buildings. Ottaw a: Parks Canada.
Kerr, Jam es. 2000. Conservation Plan: A Guideto thePreparation of Conservation Plans for Places of European
Cultural Signicance. Sydney: National Trust of Australia.
Loh-Lim , Lin Lee. 2002. TheBlueMansion: TheStory of Mandarin Splendour Reborn. Penang: LPlan Sdn Bhd.
M cDougall & Vines. 1996. Conservation Plan for Ohel Leah Synagogue. Adelaide, Australia, M cDougall & Vines.
Rai, Gurm eet and Parom ita Desarkar. 2006. What areLimeMortars? New Delhi: INTACH UK Trust/Lim e Centre/
CRCI.
Riegl, Alois. 1988. Neue Strm ungen in der Denkm alp ege. In Konservieren, nicht restaurieren. Streitschriften
zur Denkmalpegeum1900 (von Georg Dehio und Alois Riegl). Braunschw eig: Friedr. View eg. & Sohn.
UNESCO. 2007. UNESCOHeritageHomeowners Preservation Manual for Hoi An World HeritageSite. Hoi An:
Hoi An Centre for M onum ents M anagem ent and Preservation/Show a W om ens University/UNESCO.
(forthcom ing)
Electronic Publications
Australia ICOM OS. 2000. TheBurra Charter: TheAustralia ICOMOS Charter for Places of Cultural Signicance
1999. Australia ICOM OS Incorporated. http://w w w.icom os.org/australia/burra.htm l
ICOM OS. 1964. TheAthens Charter. Centre de Docum entation UNESCO-ICOM OS. http://w w w.icom os.org/athens_
charter.htm l
ICOM OS. 1964. TheVeniceCharter: International Charter for theConservation and Restoration of Monuments and
Sites. Centre de Docum entation UNESCO-ICOM OS. http://w w w.international.icom os.org/charters/venice_e.htm
440
ICOM OS. 1994. Nara Document on Authenticity. Centre de Docum entation UNESCO-ICOM OS. http://w w w.
international.icom os.org/naradoc_eng.htm
ICOM OS. 1987. Washington Charter: Charter for theConservation of Historic Towns and Urban Areas. Centre de
Docum entation UNESCO-ICOM OS. http://w w w.international.icom os.org/charters/tow ns_e.htm
ICOM OS Canada. 1983. Appleton Charter for theProtection and Enhancement of theBuilt Environment. ICOM OS
Canada. http://canada.icom os.org/appleton_charter.htm l
ICOM OS New Zealand. 1996. Charter for theConservation of Places of Cultural HeritageValue. ICOM OS New
Zealand. http://w w w.icom os.org/docs/nz_92charter.htm l
UNESCO. 1972. Convention Concerning theProtection of theWorld Cultural and Natural Heritage. http://w w w.
unesco.org/w hc/nw hc/pages/doc/dc_f2.htm
UNESCO. 2006. Hoi An Protocols for Best Conservation Practice. UNESCO Bangkok. http://w w w.unescobkk.org/
leadm in/user_upload/culture/cultureM ain/Instrum ents/HAP__English_.pdf
Websites
UNESCO Asia-Paci c Heritage Aw ards for Culture Heritage Conservation
http://w w w.unescobkk.org/culture/heritageaw ards/
UNESCO-ICCROM Asian Academ y for Heritage M anagem ent
http://w w w.unescobkk.org/culture/asian-academ y/
Of ce of the Regional Advisor for Culture in Asia and the Paci c, UNESCO Bangkok
http://w w w.unescobkk.org/culture/
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.
L
e
s
s
o
n
s

L
e
a
r
n
e
d

f
r
o
m
t
h
e

U
N
E
S
C
O

A
s
i
a
-
P
a
c
i
f
i
c

H
e
r
i
t
a
g
e

A
w
a
r
d
s
f
o
r

C
u
l
t
u
r
e

H
e
r
i
t
a
g
e

C
o
n
s
e
r
v
a
t
i
o
n

(
2
0
0
0
-
2
0
0
4
)
Lessons Learned from
the UNESCO Asia-Pacific Heritage Awards
Supported by the Lord Wilson Heritage Trust
Back cover images from top to bottom:
St. Ascension Cathedral, Kazakhstan
Dorje Chenmo Temple, India
Gongziting, China

Asia Conserved (For Web)

Uploaded by

Copyright:

Available Formats

Asia Conserved (For Web)

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Asia Conserved (For Web)

Uploaded by

Copyright:

Available Formats

Spanning diverse cultures and building traditions, Asia Conserved:

Lessons Learned from the UNESCO Asia-Pacific Heritage Awards for

You might also like