Upload your proposal in the comment before 26th April: you may post separately if your post is too long -student name & id -topic -research question -summary -Annotated
Bibliography
Student name and ID: Chan Man Hwong, Edward 1003P78575
Topic: The Study of Evolution of Feng Shui from Traditional to Contemporary Chinese Residential Spatial Layout in Malaysia
Research Question(s): 1. What is the future of Feng Shui in Malaysian architecture? 2. What are the similarities between the Feng Shui of traditional and contemporary chinese residential? 3. What are the differences between the Feng Shui of traditional and contemporary chinese residential? 4. How does Feng Shui affect daily life of the chinese residence in Malaysia? 5. What are the limitations of architecture and design in Malaysian Chinese Residential when Feng Shui is being applied into it?
Outline a summary of the topic: Feng Shui which means “wind” and “water” is the art of decorating based upon proper alignment and harmony within one's home. This art hails from ancient China, and it has been held that the usage of Feng Shui in residence to ensure a better life. In Malaysia, one of the most significant traditional Feng Shui residential is Cheong Fatt Tze Mansion in Penang which constructed before the end of the 19th Century. The classical symmetry of the house ensures the feng shui 'heart' which is located in the middle of the central courtyard, thereby retaining the point from which the greatest 'Chi' energy emanates. Nowadays, Feng Shui is trendy and it has been utilized by many architects and interior designers. A comparative study of Feng Shui spatial layout between the traditional Cheong’s Mansion and a contemporary Malaysian Chinese bungalow in Kajang, Selangor to contrast the evolution of residential of different centuries. In contemporary Chinese residential, layout has become more simplified by removing the decorative elements yet remaining the basic principles of Feng Shui :wood, fire, earth, water and metal which send out a virtual clarion call to the Gods of prosperity, health and good luck.
Annotated Bibliography 1. Lillian Too's Feng Shui Workbook: Transform Your Home for Health and Happiness 2. Feng Shui for Your Home: An Illustrated Guide to Creating a Harmonious, Happy and Prosperous Living Environment by Sarah Shurety
Student name and ID : SHALINI A/P VIJAYAKUMARAN (1003P78795) Topic:Symbolism & Spiritual Elements in Architecture (Ornaments ,wood carving in Tanah Gajah,Bali) Research Questions(s) : • Does the position of the different sculpture ornaments has any spiritual symbol? • What are the stories behind each different sculpture ornaments? • Does the order of the ornaments tell a specific story? • What is the different between wood carving ornaments in bali compared to Malaysian ornaments? Outline a summary of the topic: Traditional Indonesia architecture,found mostly in the provinces,has elevated timber construction to fine art.The traditional house has evolved form very early origins. Wood carving panels and fenestration elements are higly prized for their elaborate craftsmanship.The decorative art has remained and importand part of the Indonesian artistic tradition.Handicrafts,in the form of wood and stone carving,metal-smithing exibit diversity of form and design.The decorative motifs used in these objects reflect the various religious influces in the country. Indonesia’s in herent mysticism and rich heritage hold a pecial fascination for foreigners,while a different,yet perceptible sense of mysticism infuses the sensibilities of all Indonesians.Over the cinturies,the country has acculturalized all kinds of religions into practices with their own unique characteristics.Here,ancestors are deified,as are the forces of nature.It is a land strongly connected with spirit belief and magic,palace ceremonies and religious practices.Mythical symbols are often related to one another.For example,the mountain theme is often linked with fertility myths.Scared terraces on mountain slopes are linked to rice growing,which are further linked to fertility and sources of prosperity. Indonesians lives in a world of gods and demons.Wood and stones sculptures are used on public buildings,temples and palaces as an adjuct to architecture.The East Javanese perios form about the twelfth until the fifteenth centuries produced many exquisite bas-reliefs and portrait sculpture in stone.But Bali must surely rank as one of the most importand centres for sculpture and cravings.The Balinese believe that the sculpture is more then mere work of man.Thus,images of various gods in different forms ahs its own meaning.One of the Bali most famous monumenst,the Goa Gajah encapsulates the classical mix of Hinduism and Buddhism in ancient Bali.It consists of an fantastically carves monstrous face at the entrance to a cave. Beckoning the visitor to enter the mysterious worls of Balinese myths,it encapsulates a mystical realm populated by god and demons and heroes.A former watering place was discovered next to it in 1954.A statuesque figure typically found at the entry gate to most Balinese complexes.This decorative sculpture acts a s a protecting force.Decorative ceiling treatment applied by artists to this building at the Kertagosa, east Bali. Each element is derived from the contrast in heaven and earth and between materialism and the mystical. The diverse range of Balinese masks depicting historical and mythical personalities is staggering.Sculptural objects and verdant landscape blend in a harmonious whole at the front entrance.Immaculately carved demons and mysthical being decorate pillars,door panels,lintels and windows shutters with the aim of protecting the buildings from evil intruders. Scenes of legendary figures placed within floral décor set a more pleasant and educational tone.In Malaysia,Terengganu,there are five different types of motifs,namely cosmic motif floral motif,faunal motif geometric motif,and calligraphy.Both cosmic and faunal motifs are remnants of the pre-Islamic cultural tradition. Annotated Bibliography : http://www.bali-paradise.com/arts/woodcarving/index.cfm http://www.Indonesian accents architecture.interior design.art .cfm http:www.vacationtourz.com/malay_exotic_wooden.htm
Topic: The Influence of Traditional Bali Houses Spatial Layout in Contemporary Bali style Resort design in Malaysia
Research Question(s):
1. What is the spatial layout of traditional Bali houses? 2. What are the factors that contribute to the formation of spatial layout in traditional Bali houses? 3. What is the spatial layout of contemporary Bali style resort in Malaysia? 4. How does the spatial layout of traditional Bali houses been apply to contemporary Bali style resort in Malaysia? 5. What is the difference in term of factor that contribute to the formation of spatial layout? 6. Is there any changes after it had been apply to contemporary Bali style resort?
Outline a summary of the topic: Spatial layout of traditional Bali houses with cultural and contextual element. 1. It had been separate into many parts with particular function 2. The arrangement are based on Balinese belief and cultural factor. 3. Most of the material used can be found on site easily. 4. There are many open spaces and rooms. There are a lot of resort in Malaysia that had tried to apply this layout and style in Resort design, for example Tanjung Jara Resort. With the introduction of new materials and ease to aquire, many natural material had been taken out to replace with finishes. In contemporary resort design, the designer intense to expose more landscape and surrounding to the user and at the same time blending into the surrounding with the use of material and spatial layout. No doubt there will be changes between traditional Bali house and contemporary Bali resort in Malaysia, with designer intense and effort the significance of Bali houses had been bring over into their design. Because of the difference in cultural, typology, context and era, parts of the layout and functionality had been abandon, and this somehow affect application in design.
Annotated Bibliography 1. Architecture of Bali : a source book of traditional and modern forms , by Made Wijaya 2. Bali Houses: New Wave Asian Architecture and Design, by Gianni Francione, Luca Invernizzi Tettoni, Luca Invernizzi
Topic: A study of the symbolism of animal figures as roof ornamentation in Taiwan’s temples.
Research Question(s):
Introduction
- What is the meaning of ornament? - What is the purpose(s) of ornament? - Why is the roof ornamental? - Why are animal figures chosen as the roof ornament? - Where do these animal ornaments originated from? - What was the early architecture in Taiwan? - What is the history behind the migrant of ornament from China to Taiwan?
Body
- What types of animals are chosen as roof ornamentation? - What is the story behind these animals? - What is the meaning of beliefs? - What is the meaning of FengShui? - What are the beliefs behind these animals? - How the beliefs and FengShui in it influence the people? - How the beliefs and FengShui in it influence the temple itself? - Where is the position of the ornaments on the roof? - How do the contemporary temples look like? - Are animal figures still applied on roof ornamentation nowadays? - How they apply the elements (beliefs, FengShui) in contemporary temples? - Is there any spiritual transformation of ancient temples to contemporary temples?
Conclusion
- What is the advantage(s) of conserving the culture and beliefs? - What is the example of temple which is culturally conserved? - How to practice conservation? - What is the reason(s) of conserving the culture of the temples?
Roofs play vital roles in early Chinese architecture. It protects against heat, sunlight, snow and wind. It is also a symbol of status. As a consequence, more attention is paid to the roof design because the Chinese buildings pursue “a magnificent and glorious view”. There are many forms of ornamentation used to beautify visual effect. Animal figures are used as ornamentation in Taiwan’s temples. The animal ornaments are auspicious creatures intended to beckon good fortune are places on the roof. Animal’s figure appears in the ornamental scene of roof long ago. From the both sides’ Chi-Wei on the early Wu-Ji to the celestial being and beast of the four corners’ Jiao-Ji, after lots and lots of years of development, the animal from the auspicious beast of gods in the legend to the real world, is rich and varied gradually. These auspicious roof ridge creatures entered Taiwan with immigrants from China’s coastal Fujian province at an early date. The craftsmen of the mainland China came to Taiwan to engage in the ornamental work of temple roof in the early years of Ching Dynasty. After several hundred years of evolution under the influence of Taiwan’s unique geographical and social environment, the development of these ornamental forms in Taiwan has diverged from that in China. These animal ornaments are classified into 4 categories which are the Gods’ fortunate beast , general animals, aquatic organisms and insects. For example, the dragon, phoenix, beast, Chinese unicorn, birds, gold fish, shrimp and more. Different types of animal symbolize different culture and beliefs. They are positioned at different place on the roof according to its beliefs and FengShui. As regards ornamental angle, they have enriched the appearance of building; as regards its content displayed, fully reflect the traditional morals value, folk traditional custom and people’s ideal hope to life. Animal figures as roof ornaments are still applied on contemporary temple design, the culture and beliefs are still conserved. It is important to practice conservation no matter the animal is from the legend or true, all these have explained that culture impacts on folk art and brings abundant folk culture subject matter to us. Annotated Bibliography: - - The Language of Ornament, James Trilling (2001) - Unlocking the Secrets of Chinese Fortune Telling, Lillion Too (2007)
Topic: Symbolism of the Nine Dragon Screen Wall at Forbidden City, Beijing, China.
Lecturer: Nor Hayati Ramli
Research Question(s):
• Introduction -Why chosen this screen wall as the specific study among the other screen wall ? -Who want to build this wall and it belongs to who? -What’s the legend and main purpose according chinese culture behind this wall? -What’s the feature of this screen wall? When does it build? -Why there’s Nine Dragon on the screen wall and the reason of the position and why it was built?
• The Feng Shui and significance of the ornament on screen wall . - What’s the design concept of the screen wall and how does it build according the chinese symbolism and belief? -How many type of ornament that used on this wall? What is the feature & characteristic? -How does the ornament affect the Feng Shui of the emperor & the palace? -What kind of material that used on the carvings and how does it related to chinese culture and superstitious? - There’s different colour on each the dragon. How does the different colour of same ornament represent and affect the belief of chinese Feng Shui? -How does the position of the carving reflect the culture and belief? -Did the culture, function and belief of the screen wall still exist and applied on the contemporary building? - Why the main ornament element on the wall is dragon? What’s the reason of chosen it and what’s the symbolism of dragon? -There’s dragon ornament on the roof on the screen wall. What is the difference of it compared to the dragon on the wall?
• Conclusion - What does the other ornament that usually appear on the screen wall? What’s their feature and symbolism and how does it help on improving the Feng Shui according chinese’s belief? - There’s a lot of dragon ornament used on this screen wall, what does dragon symbolize in the ancient time and why it was used to represent emperor? -What’s the development of the Feng Shui purpose of screen wall? -What’s the chinese culture of the ornament that applied on contemporary building?
Outline a summary of the topic: Screen wall is called Yin Bi or Zhao Bi in Chinese. A screen wall is a special wall in front of the gate of a courtyard house or inside the courtyard. It is used to keeping passers-by from peeping into the courtyard. Screen wall also known as "the front wall", it can be made of any material –brick, wood, and stone or glazed tile. The wall is a common structure that can be found in any traditional Chinese architecture house like courtyard house. The most common screen wall types include straight-line walls, detached walls and stand alone wall (E.g. Nine-Dragon Wall). In terms of architectural style, screen walls can be divided into gable walls and splay walls. The screen wall could also be function by the visitor, who would get off from his carriage and, standing behind the wall, tidy up his dress before going in. Later private houses began to have screen walls. The Ying Bi dates back at least to the Western Zhou Dynasty (11century B.C. to 771 B.C.). Archaeologists have discovered in recent years from tombs of that period in Shanxi Province what remains of a screen wall. It measures 240 cm long and 20 cm high. This is the earliest known wall of its kind in China at the time of writing. In ancient times, the Ying Bi was a symbol of rank. According to the Western Zhou system or rites, only royal palaces, noblemen's mansions and religious temples could have a screen wall. Nine-Dragon screen wall was built in 1773 as a part of a large renovation of the northeastern section of the palace to create a retirement villa for Emperor Qianlong (1735-1796). The Nine Dragon Screen Wall, was built to provide privacy by blocking the view through the Gate of Imperial Supremacy (Huang Ji Men) into the Palace of Tranquil Longevity (Ning Shou Gong). Such walls also denied access to evil spirits, which must travel in straight lines. The wall was built in 1756, the Nine-Dragon Screen is about 27 meters (about 88.6 feet) long, 6.65 meters (about 21.8 feet) high and 1.42 meters (4.66 feet) thick. It is composed of 424 seven-color glazed tiles that embossing the screen. There are nine huge coiling dragons on each side of the screen and big or small dragons in different postures decorating the two ends and the eaves, making a surprising total of 635 dragons. Even after 200 years, the Nine-Dragon Screen is still bright in color and complete in appearance, showing the high techniques of Chinese arts and crafts in ancient times. Yellow, blue, purple and white are applied to the carvings to depict the writhing dragons, and make the wall very attractive. The face of the wall has 270 pieces of colored glaze, five ridges and another nine small dragons on the main ridge. We know that 270 is a multiple of 9×5. Wondering about the significance of this? In ancient China, the numbers nine and five, when combined, signified the supreme status of a sovereign. An emperor was also called “Majesty of Nine and Five”. In ancient time, the dragon is the symbol of power, but is also symbolic of luck, prayers for rain, a god to control floods, and in some cases, is symbolic of longevity. One of the dragons is swimming in the ocean waves. The Chinese dragon does not breathe fire and kidnap maidens. The Chinese dragon is a benevolent creature that saved mankind from drought by making it rain. The dragon also has the power to calm waters, so when a river floods, a dragon is called upon to dispel the waters.
Annotated Bibliography 1. http://scenery.cultural-china.com/en/122S6008S11875.html 2. http://www.cits.net/china-guide/places/nine-dragon-wall.html 3. Forbidden City, by Caroline Courtauld, May Holdsworth 4. Architecture of ancient China / adapted by Zhu Kang ; illustrated by Hong Tao and Feng Congying
Student name and ID: ZAHRA HABIB NURU, 0301391 …………………………………………………………………. Topic: THE COMPARISON OF WOOD CARVINGS OF PALACES IN MYANMAR AND MALAYSIA. ……………………………………………………………………….
Research Question(s): What is the origin of wooden carvings in Myanmar and Malaysia? The evolution of the wooden carvings in Myanmar and Malaysia. What are the significance of the wooden carvings? How are the wooden carvings affected by the climate? What are the raw materials used?
Outline a summary of the topic: Wood carvings in Malay architecture can be traced down from the descriptions of the Malay Istana found in a few old manuscripts. The Malay records (Sejarah Melayu) described reflections and quality of Malacca palace in the 15th century during Sultan Mansur Syah was in throne.Also the Misa Melayu is old text written by Raja Chulan Ibni Raja Hamid which states the magnificent architecturet at the time of Sultan Iskandar Zulkarnain (Ruler of Perak 1756-1770). The work of wooden carvings was also used as the decorative arts in architecture, weapon design, boats, household items and the list goes on.
Compared to Malaysian wooden carvings in Myanmar can be traced way back in the first millenium and before. Though no carvings remain from that period, those on the main entrance to the shrine of the 11th century Nagayon, Bagan show evidence in their sophistication that they were a product of a long lineage of wood carvings. Small images of what may be vidhyadhara (heavenly beings who have attained wisdom and majical powers and can fly through air) are seen as fast moving figures within rondees inside lozengas and within ellipsoids, the interiors and exteriors are ornamented with delicately carved flowers and what maybe clouds.
Malaysian architecture reflects the society's belief (Islam), ideology and way of life. The strength of it is always based on principles of materials used and its expressiion of the site, surrounding the design of its spaces. Hence as part of the cultural and societal expression, wood carvings plays important roles in traditional Malay archutecture. In the carvings, the main categories of design are cosmic, mystical, floral, fauna, geometrical and calligraphical. This differs in Myanmar since a bigger percent of people are buddists the carvings mostly involves stories of the past buddists. To mention a few examples; Scenes from the Mahaummagga Jataka, the story of the sage Mohasadha or the two woden figures serve as gong holders each wearing his lower garment tucked in like the buddists.
Malaysia has hot and humid tropical climates and this governs the shapes, desugns and ornamentations used in palaces. Open spaces, high ceiling is needed to provide good ventilation and airy space. This causes the carvings to be cut out nprmally used on tebar layar (gables), lubang angin (literary means wind holes at higher level of partition), kepala pintu (meaning door head ; timber panel above doors) and kepala tingkap (window head ; timber panel above doors) must perform their environmental functions appropriately to create a liveable and comfortable spaces within the palace. Myanmar has a largely tropical climate with three seasons: the monsoon or rainy season, from May to October; the cool season, from November to February; and the hot season, generally from March to April. This causes the carvings to be more concentrated with no random spaces.
Raw materials used in the wooden carvings in Malaysia are mostly timber which is the same as Myanmar though they paint them with gold which makes it look more appealing
Annotated Bibliography Myanmar style ART, ARCHITECTURE AND DESIGN OF BURMA. Pg 145- 151
MALAY WOOD CARVINGS, ORNAMENTATIONS AND THE AESTHETICAL ELEMENTS OF THE TRADITIONAL MALAY ARCHITECTURE. Prof. Madya Dr. Mohd Sabrizaa B Abd Rashid.Sufian Che Amat
Topic: The Adoption Of Ornamentation Elements of The Baba Nyonya Peranankan Houses .
Research Question(s):
1 : What are the cultural influences on Baba Nyonya Peranakan Houses ?
2. What does the special features on the ornaments such as lions ,phoenix , floral designs , dragons symbolizes in Peranakan houses architecture ?
3. Describe the types of materials used for the ornaments and the access of the materials ?
4. Comparison of the Peranakan Houses and typical Traditional Malay houses in Malaysia .
Outline a summary of the topic: 1. The Peranakan are the Chinese immigrants who intermarried with the locals and settled in states like Malacca ,Georgetown, Penang during the early 1400ss. They assimilated the culture and tradition of the local , Malay language , customs into their lives and created a fusion culture of their own . The men is the Baba and the woman as the Nyonya. Malay influence is very strong in their food and clothing , and retained the culture, ethnic and believe of the Chinese . The architectural style of the peranakan houses has been influenced by the Victorian , Chinese and Malay elements . Peranakan houses are very fond of intricate designs and pastel colours . The baba nyonya museum in Penang has been reserved in such a way to preserve and conserve the eclectic design and architecture . The courtyard house was much like a typical Baba’s home of eclectic design , incorporating Chinese carved-man wood panels , which are the ornamentation of the house and English floor tiles ,as well as Scottish ironworks .
2. Impressive ornaments in peranakan houses such ad wood carvings on wood panels , partitions , balustrades , railings , door , window , ceiling, and etc. The most frequently used motifs are dragons ,phoenix, rooster, floral designs , which according to the believe of peranakan people , symbolizes luck , longevity, happiness, prosperity , while shop fronts has the name of the proprietors name carved on . Every ornamentation in the house are carved with rose-wood , ornaments are covered with red lacquer and gold leaf .
3. Wood panels , rose-wood , iron railings , steel leaf , gold paint , are widely used in the ornaments in baba nyonya house . The materials are imported from different countries according to the desire of the mansion owners , for example wood from Burma , steel form Western countries , tiles from China and etc .
4. Similarities of the Peranakan Houses and typical Malay houses in Malaysia . Both uses timber or wood as a major architectural element in the houses . Both houses taken into considerations of the design principles in the contemporary such as shading and ventilation . Differences of both the houses , peranakan houses gives importants to the carvings and ornamentation as it evolved the belief of the baba nyonya . Whereas the malay houses gives less priorities for ornamentation as it serves purpose less in these houses . Peranakan houses architectural has multicultural influences by the Chinese, Malay, Dutch but the malay house is influenced by the indigenous ethic Malay and Orang asli . The Peranakan Houses uses variety of materials accessed from various countries , whereas in Malay house is given less importance for it . The ornamentation on Peranakan Houses has chinese symbols such as dragon , lion , phoenix , but Malay houses has carved ornaments of mainly floral designs . Peranakan houses has courtyards or air wells for extra lighting and ventilation but Malay houses does not have courtyards , the material of the house itself is made to serve the purpose , which is timber.
Annotated Bibliography 1. www.phoenixandpeony.com 2. www.peranakanmansion.com.my 3. Jonathan M.Bloom , Sheila Blair . The Grove Encyclopedia Of Islamic Art And Architecture , Volume 2 . 4. chriscctan.wordpress.com
STUDENT NAME : Nur Farahin Bt Abdul Jalil STUDENT ID : 1003P79081 TOPIC : The Adoption Of Eclectic Cultural Elements Of Traditional Chinese Shophouses In Penang RESEARCH QUESTIONS : 1. What do you understand about conservation and preservation ? 2. How is the urban development in Penang, effect the residents ? 3. Why developers prefer to demolish heritage shophouses rather than conserve it ? 4. Does the existance of the heritage building effect the growth of Penang economy ? 5. What are the possible ways to make the heritage buildings looks new in order for Penang to develop towards urban development ? 6. If we want to conserve the heritage building, is there any available land the developer can use to build new building ? 7. In your opinion, is it cheaper to build new building rather than conserve it ? 8. Will the effect be the same if new shophouses are build and chinese cultural elements is implemented in the building ?
Outline a summary of the topic: Culture can be defined as having a symbolic meaning. Culture can be regarded as human value. The culture of certain indivudual or race in this case depend on the culture of the whole society to which the group or race belong to. Cultural elements represent the view and outlook of that cultural group. In this case, the shophouses in Penang reperesnt the outlook and a brief view of Chinese people. The design of the shophouses in every era has it own meaning depending the culture at that moment. Apart from that, reader will understand the meaning of shophouses, shophouses features and shophouses style that existed in Georgetown, Penang. The main reason why Georgetown, Penang was pick for my investigation area because George Town was accorded the prestigious UNESCO World Heritage List of Cities and Sites for its "outstanding universal value" on 7th July 2008. There are many heritage buildings that are still in a great condition. To make it easier for tourist, the city council drew up a plan by dividing the city into several zones. The zones were divided into six areas. The six areas were categorized according to the most prevalent economic or cultural activities. Chinese shophouses fall under Seven street precinct. The time frame for the shophouses will be from 1790 to 1970. There will be 6 shophouses style starting from the Early Penang Style and ended with Early Modern Style. This topic is important to me because i will be learning something new about my hometown and appreciate it. The focus of this topic is to make people undertand the culture of the olden days. Besides that, the creativeness and the amount of hardwork they put to decorate the facade, for aesthetic value that are lacked these days. Moreover, each styles has distinctive features to differenciate from one style to another.
CASE STUDY : Allowing Future Development of Penang Towards Modernism But Maintaining The Cultural Elements. Large scale development and bringing the modern business centre, poses danger towards Penang. The development pressure Penang to grow and development has meant demolition of buildings and not renewal. In 2008, destruction of a large area of shophouses happend because to solve demand of new commercial space besides KOMTAR to develop Georgetown towards modernization. Shophouses can be modernized easily because of the simple structure and open space. As for now, renovation project only for colonial adminstration only in heritage zone are protected. Buildings in the buffer zone can be demolished without permit, as an example, Mansion of Khaw Bian Cheng and bunglows on Burma Lane which belonged to former Prime Minister of Thailand. Methodology : Interview : To get opinions. Ex: students, conservation architects, owner, developer Observation - Sketch, photo and analyse Document review : MPPP. Ex : heritage zone and heritage shophouse floor plan
Topic: Lacking of wall decorations and ornamentations in contemporary Chinese temple in Malacca, Malaysia.
Research Question(s):
1. What are the causes of the lacking of wall decorations and ornamentations in contemporary Chinese temple? 2. Comparison of wall decoration between old and contemporary Chinese temple. 3. Why are wall decorations and ornamentations in Chinese Temple important to Chinese culture and beliefs? 4. How to preserve the importance of wall decorations and ornamentations in Chinese Temple in future?
Outline a summary of the topic:
Lacking of wall decorations and ornamentations in contemporary Chinese temple in Malacca are caused by several factors, such as high construction cost and time, lack of good craftsmen and influence of Malaysian residential architecture style. Wall decorations and ornamentations impose high construction cost and time, as carving and painting process on the walls require high concentration and time, indirectly, the labor cost becomes very high. Besides that, highly intricate ornaments and carvings require good craftsmanship and skills. The lack of experienced craftsman who can produce good sculptures and ornamentations made of different materials, such as stones, clay and timber contribute to the problem. As time goes by, Malaysian architects or designers become more familiarize with typical Malaysian residential architecture style that eliminates excessive ornamentation to reduce construction cost. This causes the ignorance for the use of wall decorations and ornamentations in temple design.
Walls decoration and ornamentation shows great differences between the old and contemporary Chinese temples. Timber walls of old Chinese Temple are decorated with unique windows and fine porcelain shardwork, while, walls in contemporary Chinese temple are inserted with glass windows which do not add any aesthetic or culture values to the buildings. Moreover, the walls in old Chinese Temple are painted beautifully with murals, depicting scenes from Chinese historical and religious themes. However, contemporary Chinese temple walls are painted white or other colors which show the influence of typical residential architecture style in Malaysia. Unlike the contemporary Chinese temple which is constructed by bricks, timber which can be carved is used in the wall construction of old temple, allowing ornamentation with different forms and shapes to be carved. Thus, different wall materials used cause the architectural accent in the old and contemporary Chinese temple to be different as well.
Wall decorations and ornamentations in Chinese Temple have great importance to chinese culture and beliefs in Malaysia. The temples house murals depicting the myth and folklore of China to convey moral or philosophical lessons and record history. For example, Chinese philosogpher Lao Tse’s story and teaching is painted on the wall. The wall decorations and murals teach Chinese descendants to behave in a good manner and not to repeat the mistakes which had been done in past. Furthermore, sculptures on the walls or better known as Chien Nien show the beliefs of Chinese ancestors in ‘Feng Shui.’ For example, mythical dragons and lions offer vigilance and security while deer and cranes symbolize longevity. Not only these sculptures are decorative, they have importance in the temple architecture as well because these creature sculptures cleverly disguises the temple gutter.
In order to convey philosophical lessons and cultural messages to the new generations, wall decorations and ornamentations in old Chinese Temple must be preserved and recorded. Original form, materials, and architectural style, traditional methods of construction should be preserved to maintain the authenticity of the wall decorations and ornamentations. Colors and painting methods should be carefully studied so that the restoration process of mural painting can be carried out effectively. The documentation can be utilized and referenced in the construction of contemporary Chinese temple to preserve the importance of wall decorations and ornamentations in Chinese culture and beliefs.
Annotated Bibliography Nyen, Robert Tan Sin. Historic Malacca Pot-pourri Aim Press Sdn Bhd., 1990. Melaka Pintado, M.J. A Stroll Through Ancient Malacca Loh Printing Press (M) Sdh Bhd., 1978. Melaka
Student name and ID: Kala Wani A/P Selvaraja (0300503)
Topic: A Comparative Study Of Influnces Of FengShui And Vatsushastra On Modern Residential Spatial Layout.
Research Question(s):
1: FengShui and Vashushastra?
2. How valuable it was at ancient time and contemporary architecture among the believers of FengShui and Vatsushastra?
3. Spatial layout of Fengshui and Vatsushastra in Malaysian Architecture?
4. Comparison of FengShui house and Vatsushastra house in Malaysia.
Outline a summary of the topic: FengShui is an ancient Chinese art, science and also known as ancient Chinese study of natural and built environment. The meaning of Fengshui is wind and water in English. FengShui has been practised for thousands of years. It is originated by ancient shaman who developed a village by understanding of the vital importance of strategic location. The areas that exposed to mild wind would generate plentiful harvests while the areas which exposed to strong wind would destroy the harvest. Village that is near to flowing water and river would maintain and develop growth of crop and human beings. As the centuries passed, shaman combined wind and water with the teachings of Daoism, thus creating the practise of FengShui. FengShui is based on principle of Yin and Yang. Fire, wood, earth, metal and water is the Five Elements of Yin and Yang. FengShui also uses The Eight Triagrams. Vatsushastra is a science of construction or the instruction laid down for building a structure and it is an ancient Indian Architecture. It is also mainly applied in Hindu Architecture. Vatsushastra is based on five elements of nature which is wind, fire, water, earth ad space and also based on four directions which are north, south, east and west. It is mainly used in Hindu Temples. FengShui and Vatshushastra in ancient time were not strong among the believers. As the centuries passed, the believers were exposed to FengShui and Vatshushastra and became famous among the believers. In Malaysia, many people constructing houses using FengShui and Vatshushastra to feel comfortable and harmony in their life. Spatial layout in Fengshui based on Five Chinese elements which are water, fire, and metal, wood and earth. This will create balance and harmony in all areas of your life for success. House is functioning like human body. It is because doors and windows are acting like our mouth and eyes respectively. The layouts have clear passage to have effective movement of air and energy. Fengshui also believe in timing. It has specific time and date to start certain project, renovation and to conduct events. Spatial layout in Vatshushastra based on five elements in nature and four directions. Number of doors, windows, pillars in the house should be in even numbers. There should be no windows at south-west corner and no attic in north and east main walls and others. It can be design without demolishing and renovating the house. Perfect spatial layout gives good energy flow and the distribution of elements. FengShui and Vatshushatra have a same aim which is to achieve stage of harmony, properity, health and happiness. In addition, both elements in FengShui and Vatshushatra are symbolising the cosmic energy. FengShui mainly based on planetary forces like water and wind whereas Vatshushastra based on energy flow in nine planets. FengShui believes that rearing fish gives luck to the owner while Vashushastra does not allow rearing of fish in aquarium or ponds. Annotated Bibliography
ASIAN ARCHITECTURE ARC2213 Topic & Issue Proposal (10%)
Prepare a two-page type-written proposal, including a summary of the topic and/or issue to be explored, some of the questions you hope to address, along with a title, and an annotated bibliography of sources.
This proposal is due on 26 Apr 2012.
Student name and ID: Putri Sylfarezza, 1001P77112
Topic: Door Designs In The Culture Of Bali, Indonesia ……………………………………………………………………….
Lecturer: Pn. Yati…………………………………………………………………
Research Question(s):
1. How has religion and culture influenced the layout and structure of Balinese doors
2. How has door design evolved in modern Bali
Outline a summary of the topic:
Hinduism has made a big impact on Balinese architecture. Acheologists have found megalithic stones in Bali oreiented towards one of the 3 main mountains (Gunung Agung, Gunung Batukaru, Gunung Batur), which suggests the ancient Balinese were looking at more than the view when they designed their structures. The Hindu idea that the universe is divided into 3 parts (Tri Loka) which are the realm of the Gods, the realm of the humans and the realm of demons, transfers over to temple layout. In many cases, certainly with the larger temples, there are 3 courtyards, outer, middle and inner. In Balinese architecture, one of the important yet significant elements would be the door. In Bali, carved wooden door is what they are known for. Every single carving symbolizes something that relates to their culture. Since every carving symbolizes something, every building or structure in Bali are different from one another in terms of function. In the modern days, the form and design of a Balinese door has evolved to fit into contemporary design.
4/23/2012
Annotated Bibliography
Julian, D., 2003. Introduction to Balinese Architecture. Tuttle Publishing. Julian, D, Bruce,G., 1993. Balinese Temples. Tuttle Publishing. Rio, H., Barbara Walker., 1996. Bali Style. Vendom Press.
Topic: The Important of courtyard of Chinese and Japanese architecture
Research Question(s): 1.What are the functions of courtyard in both Chinese and Japanese architecture? 2. What are the differences and similarities between the Chinese traditional courtyard and the Japanese traditional courtyard? 3. Why there are not courtyard in modern contemporary design houses? 4. How to sustain the usage of courtyard in modern contemporary design houses?
Outline a summary of the topic:
This research report is focus on the courtyard of Chinese and Japanese architecture. Courtyard plays a very important role in traditional Chinese and Japanese architecture because of it useful functions, but it didn't 'survive' in modern contemporary design. The issue to be explored for this report is why courtyard plays important role in traditional Chinese and Japanese architecture but not in modern contemporary design? Therefore, this report will explain about the functions of courtyard, the similarities and dissimilarities between the Chinese and Japanese courtyard, to find out the reason of the abscent of courtyard ,and how to sustain courtyard in modern contemporary design?
What are the functions of courtyard in Chinese and Japanese architecture? The traditional chinese courtyard house called siheyuan, it act as a square area that divide several rooms. A chinese courtyard always incorporating a garden and water feature, thus it create a certain level of privacy to the family. Some of the houses have more than a courtyard whereby the outermost courtyard is for the guests , an the inner one is for the family members or close friends. In traditional Japanese architecture, different spaces are arrangement around the courtyard, but a series of gates were introduced. These gates usually have a pair of large guardian statues called Nio.
What are the similarities and difference between the Chinese and Japanese architecture courtyard? Chinese architecture have a great influence on Japanese architecture due to various factors. The languages of the traditional Japanese courtyard is so different form the traditional Chinese . This can he shown in the materials used, layout , construction method and etc. Besides that, the symbolism for having a courtyard in Japanese architecture is difference from the Chinese architecture, thus this might affect the ways to sustain courtyard in two different countries.
Why there are not courtyard in modern contemporary design houses? From the previous research area, generate the reasons to explain the disappear of courtyard in modern design. Many factors might affect the disappear of courtyard such as the price of land, the enormous influence of western architecture style and etc. Furthermore, do research on the problems found in a house without a courtyard, and do a comparisons of it.Find out the true reason to explain and explore it in more detail and conclude it in a sufficient way.
How to sustain the usage of courtyard in modern contemporary house? Based on the advantages for having a courtyard , redesign a courtyard that suitable for the modern site context. From the reason found, study and solve it by introducing a new style courtyard that preserve the functions of courtyard and is suitable for modern contemporary design.Create connections between courtyard with the modern design, this is one of the most sufficient way to encourage people to have a courtyard in their houses.
As an Asians, we should preserve the significant architecture element or languages rather than influenced by the western. The rich architecture element of eastern should be emphasize and explore it to the others.
Annotated bibliography
Atrium: Five Thousand Years of Open Courtyards, by Werner Blaser 1985, Wepf & Co. Alex, William. Japanese Architecture. New York: George Braziller, 1963. NEW JAPAN ARCHITECTURE,TUTTLE, MEHTA,MacDonald
Topic: THE INFLUENCES OF CONTEMPORARY WESTERN ARCHITECTURE STYLE ON CHINESE ARCHITECTURE PRACTICE IN CHINA.
Lecturer: PN. NOOR HAYATI RAMLI
Research Question(s):
1.What is the factor that led China to allow the input of contemporary Western architecture style into their current Chinese architecture practice?
2.When did the Western architecture style progress into Chinese architecture?
3.What are the changes made on the ancient Chinese architecture style by the Western?
4.Should the ancient Chinese architecture style to be conserve in current architecture practice in China?
5.What are the ways to conserve the Chinese architecture style in the current architecture practice in China?
Outline a summary of the topic:
In this modern era, Western contemporary architecture style had been introduce around the world and it is the one of the popular architecture style which represent the modernism 21th century style of architecture language that most of the architects, planners and developer would like to input it in their design. It is also an issue that bring forwards to the China architecture style which is gradually losing its post and the ancient architecture style are tend to be left a part in this generation. According to the news of China, the reporter Daniel Allen was phasing this article with the title of “China chasing an urban utopia “, as he mentioned in the article: “Beijing's widespread transformation over the past 15 years clearly demonstrates that most of the capital's planners and developers have adopted this as their principal working philosophy. Nonetheless, many have complained that a lot of the old that has now disappeared were good, sacrificed for some pretty ugly, third-rate, un-Chinese architecture. “ This has tended to be an serious issue which is happening in the past and the present era. If the issue of conserving historical Chinese architecture was not plan and the developer would not take it as an issue, would China lost their identity of its architecture language and forming another world of western architecture style of city? Further more, due to the rapid increase of population appearing in China, there are many historical village and buildings had been demolish to create a new development and sufficient large building to feed its need. We should be considering to look further in to the issue and to preserve the historical architecture building and its style.
Annotated Bibliography:
1.Daniel. A. (2007). China chasing urban utopia. Asian Times Online Ltd. http://www.atimes.com/atimes/China/IE18Ad01.html
2.Schinz, Alfred (1996), The magic square: cities in ancient China, Edition Axel Menges, pp. 428, ISBN 3-930698-02-1http://www.historyforkids.org/learn/china/architecture/
3.Steinhardt, Nancy Shatzman. "Liao: An Architectural Tradition in the Making," Artibus Asiae (Volume 54, Number 1/2, 1994): 5–39.
4.Neville.A , Martha.D (2002). Principles for the Conservation of Heritage Sites in China. Los Angeles: Getty Conservation Institute
5.Luigi.F.G , Bruno .F, Maria.C, Pasquale.D.T, Fabiana.F (2003) . The human sustainable city. USA: Ashgate Publishing company
6.Schriften .H.U, Fakultal .V.P ( 2011). Bringing urbanities reflections on urban design in Shanghai and Berlin. Munster : LIT Verlagkontakt
Student name and ID: RIKKY FALANTINO 1001p77173 Topic: Raising awareness to the vulnerable heritages in Malaysia from being demolished. Focusing on comparing two specific heritages located in Melaka. The Jongker street, and The Red house Melaka. Lecturer: Pn Yati
Research question 1. What is happening to the condition of our local heritage? 2. How do we make the heritages interesting enough for the local younger generation to participate in saving the heritage? 3. In the same time, not harm the heritage’s culture, historical footprint and especially architectural remains during its change/growth. 4. How can we learn from another heritage, which seems to be more successful in terms of attracting daily local visitors?
Outline a summary of the topic: The term ‘heritage’ is generally associated in the public mind with the past, history and the historic built environment, as well as the cultural dimension such as music and language. Jongker street is surprisingly popular among the ridiculously amount of current generations of teenagers and young adults. Not to mention non-local tourist finding Jongker Street as one of their favorite places to relax in Melaka. From Day to night, it has the highest number of occupant counts for heritages found in Melaka. During weekdays, there are some antique shops that sell reasonable and cheaper goods such as Jongker. Gallery and Wah Aik Shoe Maker. Meanwhile, on the weekends, the tourists can enjoy the longest night market along Jongker Street. Current present culture has merge with the heritage offering a more inviting environment for the young people to adapt to the heritage. The main backbone behind the Jongker Street is its old shop houses. It is still being occupied by the original owner of the shop, keeping the business going up till now, thus keeping the culture present. New building around the Jongker Street has also joined its culture of opening a shop lots selling food and souvenir. If not, small stalls are set up by the linier circulation for the occupants to visit they move along, selling from cloths to toys. Historical footprints and culture wasn't disrupted in the whole growth and considered to be somewhat developed in the heritage genre. The Red house has been the places where only mostly tourist appears and local group of family comes to visit for its cultured food and museum. Not to say it isn’t a successful heritage, but it deserve more support from the locals. Other than its interesting historical footprint and beautiful environment it provides, it isn’t enough to attract more people, especially the young ones. It is mostly alive during the day, and the amount of tourist still depends on their holiday season. Having only tourist as its main income in visitor can lead to a problem in the future, it may lead to the demolition of The Red House. Unless with the help of local community, making The Red House as a local hotspot for everyday leisure and not only for its history in the same time, not damage the heritage, The Red House safety can be assured. Issue Local has lose it interest towards they're local heritage, and is giving insufficient awareness to they're historical heritage site, as they are the main key for letting the heritages alive. The modern pace of life, and an increasingly urban and mobile society, which leaves little time for interest in heritage matters or involvement in heritage groups/organizations, this results from heritage conservation not being perceived as an issue which affects people readily in their daily lives.
Student name and ID: Veronica Tan Yen Ching (1001P77051)
Topic: The Adaptation of Feng Shui in Spatial Layout of Contemporary Residential Houses in Malaysia
Research Question(s): 1.Feng shui has been practiced in Malaysia for a long term, but does the practice occurs blindly or there is a careful consideration Malaysia’s context as well in the adaptation? 2.What is the definition of feng shui and its major roles in Malaysia? 3.What are the factors or issues that cause the adaptation of feng shui into contemporary residential housing design in Malaysia? 4.What are the strategies and methods used to incorporate feng shui into contemporary residential housing design in Malaysia? 5.What are the residents’ opinions about incorporating feng shui into their house design? 6.What are the similarities and differences of spatial layout of contemporary residential houses that adapted feng shui between Malaysia and other Asian countries? 7.What are the factors that contribute to the same/different adaptation pattern between Malaysia and other Asian countries? 8.What are the challenges and advantages of having feng shui elements in contemporary residential housing design?
Summary: Geomancy system can be traced back to ancient civilizations. The current feng shui system is made by the core principles of Chinese geomancy system which originated during the Zhou Dynasty of China. The development continues and reaches its peak during the Han Dynasty where written consultations appeared. Feng Shui as a refined Chinese system geomancy is crafted and implied during the Jin Dynasty. Now, it has been practicing worldwide in architecture especially in the Asian countries. In Malaysia, feng shui is not only practiced in sacred buildings like temples but also in contemporary office building and residential housing. This proves that feng shui has been taken to a level that the value is appreciated by societies and families at the current time due to their demand of living where Feng shui Masters and Architects are involved in this matter. The adaptation in contemporary living may not be agreed by the whole household; husband, wife, son, daughter, maid as they have their own perception and believe towards feng shui. There are several methods in practicing feng shui in the spatial layout of contemporary residential houses by modifying the electromagnetic energy, ‘chi’ that runs through everything adhering to principles like five elements, eight trigrams, the flying stars, yin and yang. The adaptation of feng shui in Malaysia is combined with its own context in terms of the climate, residential values, economy, and beliefs. Feng shui approach and adaptation in spatial layout of contemporary residential houses Malaysia may vary with other Asian countries like Hong Kong and Korea. Challenges incorporating feng shui in the spatial layout of contemporary residential house may occur especially when the house is ready-built. Therefore, high level of creativity is needed in finding the best solutions. Nevertheless, modification or implementation will pose benefits to the residents.
Student name and ID: Veronica Tan Yen Ching (1001P77051)
Annotated Bibliography:
Brown, S. (2002). Feng Shui in a weekend: transform your life and home in a weekend or less. Sterling Publishing Co., New York. pg. 130-147. -Brown explained the definition of feng shui and the use of magnetic compass in floor plan to in determining the relation of spaces to the five elements, magic square, and trigram.
Brown, S. (2009). The Feng Shui Bible: The definitve guide to practicing feng shui. Octopus Publishing Group, London. pg. 12-15, 24-25, 28-42, 106-123, 292-298, 336-349. -Brown provided diagrams on furnitures positioning in living room, bedroom, bathroom, study room and dining room to avoid taboo.
Freeman, M. (2006). The New Oriental Style. Thames & Hudson Ltd, London. pg. 246-249. -Freeman described principles of Chinese layout implied in contemporary residential house without feng shui influence in Mid-Level Apartment, Hong Kong by Johnny Li .
Joh, H. (2010). P-house: Architecture for 'Difference' & relation. Retrieved, April 25, from, http://blog.naver.com/jluke313 -Joh from HAHN Design explained the incorporation of feng shui into the P-house design, a contemporary residential house in Korea.
Pertubuhan Arkitek Malaysia. (2008). Architecture Malaysia. Malaysian Institute of Architects, Malaysia. pg. 44-49, 53-59 -Understanding of basic spatial layout in contemporary residential house without feng shui influence in Malaysia by floor plans example on New Beach House Wing, Kuching, Glenmarie Residences (Zone C), Shah Alam, Twin Villa in East Ledang, Gelang Patah, House at Pearl Hill, Tanjung Bungah.
Powell, R. (1998).The Urban Asian House: Living in Tropical Cities. Select Books Pte Ltd., Singapore. pg. 86-95, 126-131, 136-142. -Understanding strategies of incorporation of nature and environment in contemporary residential house in Malaysia by stuying Dialogue House by Architron and Lem House by William Lim Associates.
Saluja, K. (n.d.) Principles of Vaastu and Feng Shui series in Building Construction. Synergy Media, Kuala Lumpur. -Saluja described the application of feng shui principles in the spatial layout of a house.
Skinner, S., Graham, P. (2003) Feng Shui Style: The Asian Art of Gracious Living. Singapore. pg. 32-35. -Skinner and Graham described classic feng shui and contemporary feng shui influence in Malaysia.
Too, L. (2002). Flying star feng shui for the master practitioner. HarperCollins Publishers, London. -Too explained the method of using flying star feng shui.
Yeo, C. (2012). Landscape Feng Shui. Design and Feng Shui. The Space Dimension. Retrieved April 19, 2012 from,http://www.wofs.com/index.php?option=com_content&view=article&id=865&catid=32&Itemid=50 -Yeo explained the feng shui in climate-oriented sustainable design solutions.
Yeo, C. (2012). Landscape Feng Shui. Feng Shui for better kitchens. Retrieved April 19, 2012 from,http://www.wofs.com/index.php?option=com_content&Itemid=50&task=view&id=481 -Yeo explained the steps that could be taken in feng shui terms of modifying layout in a kitchen for fortunes.
Asian Architecture ARC 2213 Topic & Issue proposal (10%) Name: Lee Wan Teen 1001P75949 Topic: A Comparative Study of the similarities of FengShui and VatsuSastra on Modern Residential Spatial Layout in Malaysia. Lecturer: Pn Hayati bt Ramli
Research Question(s): 1. What caused VastuSastra to be categorised under FengShui? What makes them different? 2. Why do people think both are similar? 3. How does the concept of both elements affect modern residential room layout? 4. What can prove VatsuSastra to be different from FengShui? Summary of Topic: Issue: Vastu - Indian FengShui – Raymond Catchpole, Saturday 29 October 2011 - Highlights of the FengShui Society It was said that Vastu is often described as 'Indian fengshui' which is unfair to both disciplines. Many believed that FengShui and VastuSastra are the same in terms of architecture in residential room layouts. Vastu has its own origins, history and applications. Some believe it even predates fengshui, but both disciplines have some fundamental principles in common. Vastu is an ancient Indian architectural tradition, with a strong philosophical and spiritual foundation, that recognises a building should be a living organism to be designed in harmonic resonance with the underlying structure of the universe. Such a building becomes a generator, attuning its occupants to natural energy, increased health, wealth, well-being and productivity. Through many similarities we can see that Vastu and FengShui must have been influencing each other over a long period of time. While FengShui is considered to be at least 4,000 years old, Vastu has already been systematically described in early parts of the Vedic scriptures like the Rig Veda, and those scriptures are more than 5,000 years of age. From this we can conclude that Vastu is even older than FengShui, and it is highly probable that it has influenced the development of a similar science in China. The different cultural and climatic conditions in China may be responsible for the differences between Vastu and FengShui. To find out who's more authentic and beneficial, we must know everything about the two first. Vastu, which literally means to live, works on the premise that the earth is a living organism, out of which other living organisms emerge.
This life energy is known as VastuPurusha. The main aim is to form a balance between the outside atmosphere and the atmosphere within the premise. Vastu makes use of five elements - prithvi (earth), agni (fire), tej (light), vayu (wind) and akash (ether), the earth's magnetic fields i.e. the north and the south pole and the sun's rays. FengShui literally means wind and water, is based on the idea that individuals should live in harmony with their environment. It was believed that if we live in balance with the order of the world, we could attract fortune and prosperity. This science makes extensive use of the wind and the water - the former is supposed to carry the energy and the latter is supposed to retain it. In addition, FengShui also makes use of five elements - earth, fire, water, wood and metal. So even as the basic premise of both seems to be the same - living in harmony with the environments and seeking equilibrium with it - both sciences have vast differences in the way they operate. Probably due to the fact that they have originated in two geographically and culturally different areas, and different times. Thus in conclusion, VatsuSastra is different from FengShui, and it has its unique way in expressing its own spatial layout.
Annotated Bibliography: “What is Vastu Shastra and How Does it Compare to Feng Shui?” http://fengshui.about.com/od/glossaryofterms/f/feng-shui-vastu-shastra.htm Learn about the knowledge of the origins and believes and also concepts within both Vastu and Fengshui.
“Vastu vs. Feng Shui: Difference and Similarities” http://www.maxabout.com/fitness/alt_med/holistic/vastu/vastu_vs_fengshui.aspx Study the comparison between two believes according to research studies.
“Vaastu and Feng Shui” http://www.fengshuitoday.org/features/vaastu-and-feng-shui This website illustrates the study related to fengshui and vastu and how it is like today.
“Vastu: Transcendental Home Design in Harmony with Nature” by Sherri Silverman Experience how Vastu can blend in with nature and harmony. “The Vastu Home: Harmonize Your Living Space with the Indian Feng Shui” by Juliet Pegrum Talks about ways to improve home living at the same time providing a better quality of life through understanding Vastu.
TOPIC: THE MODERN INTERPRETATION OF TRADITIONAL CHINESE ORIENTAL STYLE ORNAMENTATIONS AND WOOD CARVINGS IN CONTEMPORARY ARCHITECTURE
RESEARCH QUESTIONS:
1. What is the significance of the ornamentations commonly found in Chinese buildings?
2. How is the symbolism of the ornaments linked to cultural beliefs and religion?
3. How extensive are the ornaments being adopted into modern contemporary architecture in modern day China?
4. What are the materials usually used for the ornaments and why are they being preferred over other available materials?
5. How do the ornamentation elements respond to the form and function of the space?
6. What effort has been taken towards conservation of the Chinese style in architecture?
SUMMARY OF THE TOPIC
The Chinese Oriental Architecture has always boasted a sense of mysteriousness and inaccessibility to those who come across it. It holds a firm cultural approach to ornamentation that can be easily transpired and adapted into modern day architecture. Not only is it an extensive decorative style that embodies the traditional Chinese aesthetic, it also projects the profound historical and cultural aspects of one of the world’s oldest and most established civilizations. Chines Oriental style usually gives way to complex patterns, motifs, vibrant colors and carvings that are very generous in symbolism. These came from a strong cultural belief that was etched into the minds of the ancient Chinese that proposed China to be the land of the middle kingdom that connects Heaven and Earth. Hence, the Chinese tried their best to mimic what they thought Heaven ought to look like in their buildings and landscape as well as culture, resulting in highly sophisticated and extravagantly expressed beauty in art, furniture and architecture. The Chinese style in architecture continues to fascinate many as they did in the early centuries and is still practiced today. Hence, what better way to make a comparison than in the heart of it all; comparing the values of ancient China and how these ornamentations have descended to the modern day Chinese lineage. The symbolism of the ornamentation varies depending on the function of the space. For example, carvings and ornamentations of dragons and mythical creatures are usually found at the main doors as the Chinese believed that they are effective in warding off evil spirits while the dragon sometimes symbolizes power and longevity. The ornamentations are usually installed in Chinese buildings for several purposes, citing cultural beliefs, aesthetics and superstitions among the few. Having said that, the ornamentations and carvings are often done using wood due to its smoothness and natural aromatic scent. Jades and ceramics are also heavily used too. In general, the Chinese prefer smooth finish on the materials that they use.
Solution We must learn the circumstances to adapt the current generation, using successful heritages like The Jongker street in attracting locals as an example. Awareness of heritage both nationally and locally should be promoted more actively through schools, via heritage input in the curriculum and extra-curricular sponsorship of school projects. A more coordinated approach is required by government and all state authorities involved in the protection and promotion of the national heritage, to ensure that their functions and responsibilities are clearly communicated to the public. Furthermore, all government and state authorities involved in spending money on heritage should be required to make a more concerted effort to raise awareness about their activities and about the benefits of heritage protection to overall quality of life. To work in partnership with the tourism sector to ensure that heritage is not only perceived as being for tourists. Current development towards sustainable tourism will contribute to this process. To encourage the production of quality television programs which aim to promote a greater level of awareness of our heritage, and a more critical attitude among the viewing public, as to its future protection and management. Community should promote the positive educational and information roles of museums, and other collection-based institutions, at national and local levels.
Annotated Bibliography http://fspu.uitm.edu.my/cebs/images/stories/cebs/av3n7jan2012c7.pdf Malaysian cultural heritage sites, Malacca and Georgetown, were listed since 2007. Since World Heritage Lists is not an ultimate benchmark for heritage street revitalization performance therefore, this research will provide a set of attributing variables to investigate the revitalization attributes in creating a great heritage street. The research employed unobtrusive method of content analysis and obtrusive method. http://eprints.ptar.uitm.edu.my/2938/1/NUR_FISYA_FISHOL_HAMDI_11_24.pdf In Malaysia, the scenario of appreciating and awareness towards heritage conservation was still lacking of support and guidance especially on the colour scheme for historical building. Looking the situation at Jalan Tunku Abdul Rahman with a colourful heritage shop houses and façade treatment decreasing original characteristic whereby every owner insisted to promote their commercial value rather than heritage value. http://eprints.utm.my/9960/ The main drawback of urban conservation in Malaysia is hypothesized by the conflicting ways in which various stakeholders perceive the role of urban conservation. They failed to see that conservation is directed among other things to; maintaining places of cultural significance i.e., a whole neighborhood, part or even the entire town, and it focuses on ensuring a harmonious relationship of old and new. The key to a common goal in achieving successful urban conservation is in the understanding of the appropriate approaches towards tackling the complex issues of 'living city' as in the case of the World Heritage City of Melaka. The principles for the development of practical conservation guideline is lacking especially in the aspect of enhancing the 'liveliness' in a semi run-down urban areas that was once the hub of a particular town. http://journalarticle.ukm.my/3491/ The marketing of heritage coincides with the emergence of marketing as an academic discipline in the 1950s. This research seeks to determine domestic and international tourists' expectations and perceptions of the heritage site of Melaka in Malaysia by measuring their satisfaction level using eight travel attributes. This study examines the overall satisfaction among international and domestic tourists who visited Melaka using a conceptual model that combines the concepts of the Expectancy Disconfirmation Paradigm and Service Quality framework.
Heya¡my very first comment on your site. ,I have been reading your blog for a while and thought I would completely pop in and drop a friendly note. . It is great
stuff indeed. I also wanted to ask..is there a way to subscribe to your site via email?
Student name and ID: Chan Man Hwong, Edward 1003P78575
ReplyDeleteTopic: The Study of Evolution of Feng Shui from Traditional to Contemporary Chinese Residential Spatial Layout in Malaysia
Research Question(s):
1. What is the future of Feng Shui in Malaysian architecture?
2. What are the similarities between the Feng Shui of traditional and contemporary chinese residential?
3. What are the differences between the Feng Shui of traditional and contemporary chinese residential?
4. How does Feng Shui affect daily life of the chinese residence in Malaysia?
5. What are the limitations of architecture and design in Malaysian Chinese Residential when Feng Shui is being applied into it?
Outline a summary of the topic:
Feng Shui which means “wind” and “water” is the art of decorating based upon proper alignment and harmony within one's home. This art hails from ancient China, and it has been held that the usage of Feng Shui in residence to ensure a better life. In Malaysia, one of the most significant traditional Feng Shui residential is Cheong Fatt Tze Mansion in Penang which constructed before the end of the 19th Century. The classical symmetry of the house ensures the feng shui 'heart' which is located in the middle of the central courtyard, thereby retaining the point from which the greatest 'Chi' energy emanates. Nowadays, Feng Shui is trendy and it has been utilized by many architects and interior designers. A comparative study of Feng Shui spatial layout between the traditional Cheong’s Mansion and a contemporary Malaysian Chinese bungalow in Kajang, Selangor to contrast the evolution of residential of different centuries. In contemporary Chinese residential, layout has become more simplified by removing the decorative elements yet remaining the basic principles of Feng Shui :wood, fire, earth, water and metal which send out a virtual clarion call to the Gods of prosperity, health and good luck.
Annotated Bibliography
1. Lillian Too's Feng Shui Workbook: Transform Your Home for Health and Happiness
2. Feng Shui for Your Home: An Illustrated Guide to Creating a Harmonious, Happy and Prosperous Living Environment by Sarah Shurety
Student name and ID : SHALINI A/P VIJAYAKUMARAN (1003P78795)
ReplyDeleteTopic:Symbolism & Spiritual Elements in Architecture (Ornaments ,wood carving in Tanah Gajah,Bali)
Research Questions(s) :
• Does the position of the different sculpture ornaments has any spiritual symbol?
• What are the stories behind each different sculpture ornaments?
• Does the order of the ornaments tell a specific story?
• What is the different between wood carving ornaments in bali compared to Malaysian ornaments?
Outline a summary of the topic:
Traditional Indonesia architecture,found mostly in the provinces,has elevated timber construction to fine art.The traditional house has evolved form very early origins. Wood carving panels and fenestration elements are higly prized for their elaborate craftsmanship.The decorative art has remained and importand part of the Indonesian artistic tradition.Handicrafts,in the form of wood and stone carving,metal-smithing exibit diversity of form and design.The decorative motifs used in these objects reflect the various religious influces in the country.
Indonesia’s in herent mysticism and rich heritage hold a pecial fascination for foreigners,while a different,yet perceptible sense of mysticism infuses the sensibilities of all Indonesians.Over the cinturies,the country has acculturalized all kinds of religions into practices with their own unique characteristics.Here,ancestors are deified,as are the forces of nature.It is a land strongly connected with spirit belief and magic,palace ceremonies and religious practices.Mythical symbols are often related to one another.For example,the mountain theme is often linked with fertility myths.Scared terraces on mountain slopes are linked to rice growing,which are further linked to fertility and sources of prosperity.
Indonesians lives in a world of gods and demons.Wood and stones sculptures are used on public buildings,temples and palaces as an adjuct to architecture.The East Javanese perios form about the twelfth until the fifteenth centuries produced many exquisite bas-reliefs and portrait sculpture in stone.But Bali must surely rank as one of the most importand centres for sculpture and cravings.The Balinese believe that the sculpture is more then mere work of man.Thus,images of various gods in different forms ahs its own meaning.One of the Bali most famous monumenst,the Goa Gajah encapsulates the classical mix of Hinduism and Buddhism in ancient Bali.It consists of an fantastically carves monstrous face at the entrance to a cave. Beckoning the visitor to enter the mysterious worls of Balinese myths,it encapsulates a mystical realm populated by god and demons and heroes.A former watering place was discovered next to it in 1954.A statuesque figure typically found at the entry gate to most Balinese complexes.This decorative sculpture acts a s a protecting force.Decorative ceiling treatment applied by artists to this building at the Kertagosa, east Bali. Each element is derived from the contrast in heaven and earth and between materialism and the mystical. The diverse range of Balinese masks depicting historical and mythical personalities is staggering.Sculptural objects and verdant landscape blend in a harmonious whole at the front entrance.Immaculately carved demons and mysthical being decorate pillars,door panels,lintels and windows shutters with the aim of protecting the buildings from evil intruders. Scenes of legendary figures placed within floral décor set a more pleasant and educational tone.In Malaysia,Terengganu,there are five different types of motifs,namely cosmic motif floral motif,faunal motif geometric motif,and calligraphy.Both cosmic and faunal motifs are remnants of the pre-Islamic cultural tradition.
Annotated Bibliography :
http://www.bali-paradise.com/arts/woodcarving/index.cfm
http://www.Indonesian accents architecture.interior design.art .cfm
http:www.vacationtourz.com/malay_exotic_wooden.htm
Student name and ID: Ng Yi 1003P79071
ReplyDeleteTopic: The Influence of Traditional Bali Houses Spatial Layout in Contemporary Bali style Resort design in Malaysia
Research Question(s):
1. What is the spatial layout of traditional Bali houses?
2. What are the factors that contribute to the formation of spatial layout in traditional Bali houses?
3. What is the spatial layout of contemporary Bali style resort in Malaysia?
4. How does the spatial layout of traditional Bali houses been apply to contemporary Bali style resort in Malaysia?
5. What is the difference in term of factor that contribute to the formation of spatial layout?
6. Is there any changes after it had been apply to contemporary Bali style resort?
Outline a summary of the topic:
Spatial layout of traditional Bali houses with cultural and contextual element.
1. It had been separate into many parts with particular function
2. The arrangement are based on Balinese belief and cultural factor.
3. Most of the material used can be found on site easily.
4. There are many open spaces and rooms.
There are a lot of resort in Malaysia that had tried to apply this layout and style in Resort design, for example Tanjung Jara Resort. With the introduction of new materials and ease to aquire, many natural material had been taken out to replace with finishes. In contemporary resort design, the designer intense to expose more landscape and surrounding to the user and at the same time blending into the surrounding with the use of material and spatial layout. No doubt there will be changes between traditional Bali house and contemporary Bali resort in Malaysia, with designer intense and effort the significance of Bali houses had been bring over into their design. Because of the difference in cultural, typology, context and era, parts of the layout and functionality had been abandon, and this somehow affect application in design.
Annotated Bibliography
1. Architecture of Bali : a source book of traditional and modern forms , by Made Wijaya
2. Bali Houses: New Wave Asian Architecture and Design, by Gianni Francione, Luca Invernizzi Tettoni, Luca Invernizzi
Topic & Issue Proposal
ReplyDeleteStudent name and ID: BONG SING XIAN 1003P78586
Topic: A study of the symbolism of animal figures as roof ornamentation in Taiwan’s temples.
Research Question(s):
Introduction
- What is the meaning of ornament?
- What is the purpose(s) of ornament?
- Why is the roof ornamental?
- Why are animal figures chosen as the roof ornament?
- Where do these animal ornaments originated from?
- What was the early architecture in Taiwan?
- What is the history behind the migrant of ornament from China to Taiwan?
Body
- What types of animals are chosen as roof ornamentation?
- What is the story behind these animals?
- What is the meaning of beliefs?
- What is the meaning of FengShui?
- What are the beliefs behind these animals?
- How the beliefs and FengShui in it influence the people?
- How the beliefs and FengShui in it influence the temple itself?
- Where is the position of the ornaments on the roof?
- How do the contemporary temples look like?
- Are animal figures still applied on roof ornamentation nowadays?
- How they apply the elements (beliefs, FengShui) in contemporary temples?
- Is there any spiritual transformation of ancient temples to contemporary temples?
Conclusion
- What is the advantage(s) of conserving the culture and beliefs?
- What is the example of temple which is culturally conserved?
- How to practice conservation?
- What is the reason(s) of conserving the culture of the temples?
Outline a summary of the topic:
ReplyDeleteRoofs play vital roles in early Chinese architecture. It protects against heat, sunlight, snow and wind. It is also a symbol of status. As a consequence, more attention is paid to the roof design because the Chinese buildings pursue “a magnificent and glorious view”. There are many forms of ornamentation used to beautify visual effect. Animal figures are used as ornamentation in Taiwan’s temples. The animal ornaments are auspicious creatures intended to beckon good fortune are places on the roof. Animal’s figure appears in the ornamental scene of roof long ago. From the both sides’ Chi-Wei on the early Wu-Ji to the celestial being and beast of the four corners’ Jiao-Ji, after lots and lots of years of development, the animal from the auspicious beast of gods in the legend to the real world, is rich and varied gradually. These auspicious roof ridge creatures entered Taiwan with immigrants from China’s coastal Fujian province at an early date. The craftsmen of the mainland China came to Taiwan to engage in the ornamental work of temple roof in the early years of Ching Dynasty. After several hundred years of evolution under the influence of Taiwan’s unique geographical and social environment, the development of these ornamental forms in Taiwan has diverged from that in China. These animal ornaments are classified into 4 categories which are the Gods’ fortunate beast , general animals, aquatic organisms and insects. For example, the dragon, phoenix, beast, Chinese unicorn, birds, gold fish, shrimp and more. Different types of animal symbolize different culture and beliefs. They are positioned at different place on the roof according to its beliefs and FengShui. As regards ornamental angle, they have enriched the appearance of building; as regards its content displayed, fully reflect the traditional morals value, folk traditional custom and people’s ideal hope to life. Animal figures as roof ornaments are still applied on contemporary temple design, the culture and beliefs are still conserved. It is important to practice conservation no matter the animal is from the legend or true, all these have explained that culture impacts on folk art and brings abundant folk culture subject matter to us.
Annotated Bibliography:
-
- The Language of Ornament, James Trilling (2001)
- Unlocking the Secrets of Chinese Fortune Telling, Lillion Too (2007)
Student name and ID: TEOW KER LOO 0301647
ReplyDeleteTopic: Symbolism of the Nine Dragon Screen Wall at Forbidden City, Beijing, China.
Lecturer: Nor Hayati Ramli
Research Question(s):
• Introduction
-Why chosen this screen wall as the specific study among the other screen wall ?
-Who want to build this wall and it belongs to who?
-What’s the legend and main purpose according chinese culture behind this wall?
-What’s the feature of this screen wall? When does it build?
-Why there’s Nine Dragon on the screen wall and the reason of the position and why it was built?
• The Feng Shui and significance of the ornament on screen wall .
- What’s the design concept of the screen wall and how does it build according the chinese symbolism and belief?
-How many type of ornament that used on this wall? What is the feature & characteristic?
-How does the ornament affect the Feng Shui of the emperor & the palace?
-What kind of material that used on the carvings and how does it related to chinese culture and superstitious?
- There’s different colour on each the dragon. How does the different colour of same ornament represent and affect the belief of chinese Feng Shui?
-How does the position of the carving reflect the culture and belief?
-Did the culture, function and belief of the screen wall still exist and applied on the contemporary building?
- Why the main ornament element on the wall is dragon? What’s the reason of chosen it and what’s the symbolism of dragon?
-There’s dragon ornament on the roof on the screen wall. What is the difference of it compared to the dragon on the wall?
• Conclusion
- What does the other ornament that usually appear on the screen wall? What’s their feature and symbolism and how does it help on improving the Feng Shui according chinese’s belief?
- There’s a lot of dragon ornament used on this screen wall, what does dragon symbolize in the ancient time and why it was used to represent emperor?
-What’s the development of the Feng Shui purpose of screen wall?
-What’s the chinese culture of the ornament that applied on contemporary building?
Outline a summary of the topic:
ReplyDeleteScreen wall is called Yin Bi or Zhao Bi in Chinese. A screen wall is a special wall in front of the gate of a courtyard house or inside the courtyard. It is used to keeping passers-by from peeping into the courtyard. Screen wall also known as "the front wall", it can be made of any material –brick, wood, and stone or glazed tile. The wall is a common structure that can be found in any traditional Chinese architecture house like courtyard house. The most common screen wall types include straight-line walls, detached walls and stand alone wall (E.g. Nine-Dragon Wall). In terms of architectural style, screen walls can be divided into gable walls and splay walls. The screen wall could also be function by the visitor, who would get off from his carriage and, standing behind the wall, tidy up his dress before going in. Later private houses began to have screen walls. The Ying Bi dates back at least to the Western Zhou Dynasty (11century B.C. to 771 B.C.). Archaeologists have discovered in recent years from tombs of that period in Shanxi Province what remains of a screen wall. It measures 240 cm long and 20 cm high. This is the earliest known wall of its kind in China at the time of writing. In ancient times, the Ying Bi was a symbol of rank. According to the Western Zhou system or rites, only royal palaces, noblemen's mansions and religious temples could have a screen wall.
Nine-Dragon screen wall was built in 1773 as a part of a large renovation of the northeastern section of the palace to create a retirement villa for Emperor Qianlong (1735-1796). The Nine Dragon Screen Wall, was built to provide privacy by blocking the view through the Gate of Imperial Supremacy (Huang Ji Men) into the Palace of Tranquil Longevity (Ning Shou Gong). Such walls also denied access to evil spirits, which must travel in straight lines. The wall was built in 1756, the Nine-Dragon Screen is about 27 meters (about 88.6 feet) long, 6.65 meters (about 21.8 feet) high and 1.42 meters (4.66 feet) thick. It is composed of 424 seven-color glazed tiles that embossing the screen. There are nine huge coiling dragons on each side of the screen and big or small dragons in different postures decorating the two ends and the eaves, making a surprising total of 635 dragons. Even after 200 years, the Nine-Dragon Screen is still bright in color and complete in appearance, showing the high techniques of Chinese arts and crafts in ancient times. Yellow, blue, purple and white are applied to the carvings to depict the writhing dragons, and make the wall very attractive. The face of the wall has 270 pieces of colored glaze, five ridges and another nine small dragons on the main ridge. We know that 270 is a multiple of 9×5. Wondering about the significance of this? In ancient China, the numbers nine and five, when combined, signified the supreme status of a sovereign. An emperor was also called “Majesty of Nine and Five”.
In ancient time, the dragon is the symbol of power, but is also symbolic of luck, prayers for rain, a god to control floods, and in some cases, is symbolic of longevity. One of the dragons is swimming in the ocean waves. The Chinese dragon does not breathe fire and kidnap maidens. The Chinese dragon is a benevolent creature that saved mankind from drought by making it rain. The dragon also has the power to calm waters, so when a river floods, a dragon is called upon to dispel the waters.
Annotated Bibliography
1. http://scenery.cultural-china.com/en/122S6008S11875.html
2. http://www.cits.net/china-guide/places/nine-dragon-wall.html
3. Forbidden City, by Caroline Courtauld, May Holdsworth
4. Architecture of ancient China / adapted by Zhu Kang ; illustrated by Hong Tao and Feng Congying
Student name and ID: ZAHRA HABIB NURU, 0301391
ReplyDelete………………………………………………………………….
Topic: THE COMPARISON OF WOOD CARVINGS OF PALACES
IN MYANMAR AND MALAYSIA.
……………………………………………………………………….
Research Question(s):
What is the origin of wooden carvings in Myanmar and Malaysia?
The evolution of the wooden carvings in Myanmar and Malaysia.
What are the significance of the wooden carvings?
How are the wooden carvings affected by the climate?
What are the raw materials used?
Outline a summary of the topic:
Wood carvings in Malay architecture can be traced down from the descriptions
of the Malay Istana found in a few old manuscripts. The Malay records
(Sejarah Melayu) described reflections and quality of Malacca palace in the 15th century during Sultan Mansur Syah was in throne.Also the Misa Melayu is old text written by Raja Chulan Ibni Raja Hamid which states the magnificent architecturet at the time of Sultan Iskandar Zulkarnain (Ruler of Perak 1756-1770). The work of wooden carvings was also used as the decorative arts in architecture, weapon design, boats, household items and the list goes on.
Compared to Malaysian wooden carvings in Myanmar can be traced way back in the first millenium and before. Though no carvings remain from that period, those on the main entrance to the shrine of the 11th century Nagayon, Bagan show evidence in their sophistication that they were a product of a long lineage of wood carvings. Small images of what may be vidhyadhara (heavenly beings who have attained wisdom and majical powers and can fly through air) are seen as fast moving figures within rondees inside lozengas and within ellipsoids, the interiors and exteriors are ornamented with delicately carved flowers and what maybe clouds.
Malaysian architecture reflects the society's belief (Islam), ideology and way of life.
The strength of it is always based on principles of materials used and its expressiion of the site, surrounding the design of its spaces. Hence as part of the cultural and societal expression, wood carvings plays important roles in traditional Malay archutecture. In the carvings, the main categories of design are cosmic, mystical, floral, fauna, geometrical and calligraphical. This differs in Myanmar since a bigger percent of people are buddists the carvings mostly involves stories of the past buddists. To mention a few examples; Scenes from the Mahaummagga Jataka, the story of the sage Mohasadha or the two woden figures serve as gong holders each wearing his lower garment tucked in like the buddists.
Malaysia has hot and humid tropical climates and this governs the shapes, desugns and ornamentations used in palaces. Open spaces, high ceiling is needed to provide good ventilation and airy space. This causes the carvings to be cut out nprmally used on tebar layar (gables), lubang angin (literary means wind holes at higher level of partition), kepala pintu (meaning door head ; timber panel above doors) and kepala tingkap (window head ; timber panel above doors) must perform their environmental
functions appropriately to create a liveable and comfortable spaces within the palace.
Myanmar has a largely tropical climate with three seasons: the monsoon or rainy season, from May to October; the cool season, from November to February; and the hot season, generally from March to April. This causes the carvings to be more concentrated with no random spaces.
Raw materials used in the wooden carvings in Malaysia are mostly timber which is the same as Myanmar though they paint them with gold which makes it look more appealing
Annotated Bibliography
Myanmar style ART, ARCHITECTURE AND DESIGN OF BURMA. Pg 145- 151
MALAY WOOD CARVINGS, ORNAMENTATIONS AND THE AESTHETICAL ELEMENTS OF THE TRADITIONAL MALAY ARCHITECTURE.
Prof. Madya Dr. Mohd Sabrizaa B Abd Rashid.Sufian Che Amat
http://go2travelmalaysia.com/tour_malaysia/wd_crvg.htm
Copyright © 2011-2012 Capslock Sdn Bhd. All rights reserved.
This comment has been removed by the author.
ReplyDeleteStudent name and ID: Shireen A/P Selvaraju
ReplyDeleteTopic: The Adoption Of Ornamentation Elements of The Baba Nyonya Peranankan Houses .
Research Question(s):
1 : What are the cultural influences on Baba Nyonya Peranakan
Houses ?
2. What does the special features on the ornaments such as lions ,phoenix , floral designs , dragons symbolizes in Peranakan houses architecture ?
3. Describe the types of materials used for the ornaments and the access of the materials ?
4. Comparison of the Peranakan Houses and typical Traditional Malay houses in Malaysia .
Outline a summary of the topic:
1. The Peranakan are the Chinese immigrants who intermarried with the locals and settled in states like Malacca ,Georgetown, Penang during the early 1400ss. They assimilated the culture and tradition of the local , Malay language , customs into their lives and created a fusion culture of their own . The men is the Baba and the woman as the Nyonya. Malay influence is very strong in their food and clothing , and retained the culture, ethnic and believe of the Chinese . The architectural style of the peranakan houses has been influenced by the Victorian , Chinese and Malay elements . Peranakan houses are very fond of intricate designs and pastel colours . The baba nyonya museum in Penang has been reserved in such a way to preserve and conserve the eclectic design and architecture . The courtyard house was much like a typical Baba’s home of eclectic design , incorporating Chinese carved-man wood panels , which are the ornamentation of the house and English floor tiles ,as well as Scottish ironworks .
2. Impressive ornaments in peranakan houses such ad wood carvings on wood panels , partitions , balustrades , railings , door , window , ceiling, and etc. The most frequently used motifs are dragons ,phoenix, rooster, floral designs , which according to the believe of peranakan people , symbolizes luck , longevity, happiness, prosperity , while shop fronts has the name of the proprietors name carved on . Every ornamentation in the house are carved with rose-wood , ornaments are covered with red lacquer and gold leaf .
3. Wood panels , rose-wood , iron railings , steel leaf , gold paint , are widely used in the ornaments in baba nyonya house . The materials are imported from different countries according to the desire of the mansion owners , for example wood from Burma , steel form Western countries , tiles from China and etc .
4. Similarities of the Peranakan Houses and typical Malay houses in Malaysia . Both uses timber or wood as a major architectural element in the houses . Both houses taken into considerations of the design principles in the contemporary such as shading and ventilation .
Differences of both the houses , peranakan houses gives importants to the carvings and ornamentation as it evolved the belief of the baba nyonya . Whereas the malay houses gives less priorities for ornamentation as it serves purpose less in these houses .
Peranakan houses architectural has multicultural influences by the Chinese, Malay, Dutch but the malay house is influenced by the indigenous ethic Malay and Orang asli . The Peranakan Houses uses variety of materials accessed from various countries , whereas in Malay house is given less importance for it . The ornamentation on Peranakan Houses has chinese symbols such as dragon , lion , phoenix , but Malay houses has carved ornaments of mainly floral designs . Peranakan houses has courtyards or air wells for extra lighting and ventilation but Malay houses does not have courtyards , the material of the house itself is made to serve the purpose , which is timber.
Annotated Bibliography
1. www.phoenixandpeony.com
2. www.peranakanmansion.com.my
3. Jonathan M.Bloom , Sheila Blair . The Grove Encyclopedia Of Islamic Art And Architecture , Volume 2 .
4. chriscctan.wordpress.com
STUDENT NAME : Nur Farahin Bt Abdul Jalil
ReplyDeleteSTUDENT ID : 1003P79081
TOPIC : The Adoption Of Eclectic Cultural Elements Of Traditional Chinese Shophouses In Penang
RESEARCH QUESTIONS :
1. What do you understand about conservation and preservation ?
2. How is the urban development in Penang, effect the residents ?
3. Why developers prefer to demolish heritage shophouses rather than conserve it ?
4. Does the existance of the heritage building effect the growth of Penang economy ?
5. What are the possible ways to make the heritage buildings looks new in order for Penang to develop towards urban development ?
6. If we want to conserve the heritage building, is there any available land the developer can use to build new building ?
7. In your opinion, is it cheaper to build new building rather than conserve it ?
8. Will the effect be the same if new shophouses are build and chinese cultural elements is implemented in the building ?
Outline a summary of the topic:
Culture can be defined as having a symbolic meaning. Culture can be regarded as human value. The culture of certain indivudual or race in this case depend on the culture of the whole society to which the group or race belong to. Cultural elements represent the view and outlook of that cultural group. In this case, the shophouses in Penang reperesnt the outlook and a brief view of Chinese people. The design of the shophouses in every era has it own meaning depending the culture at that moment. Apart from that, reader will understand the meaning of shophouses, shophouses features and shophouses style that existed in Georgetown, Penang. The main reason why Georgetown, Penang was pick for my investigation area because George Town was accorded the prestigious UNESCO World Heritage List of Cities and Sites for its "outstanding universal value" on 7th July 2008. There are many heritage buildings that are still in a great condition. To make it easier for tourist, the city council drew up a plan by dividing the city into several zones. The zones were divided into six areas. The six areas were categorized according to the most prevalent economic or cultural activities. Chinese shophouses fall under Seven street precinct. The time frame for the shophouses will be from 1790 to 1970. There will be 6 shophouses style starting from the Early Penang Style and ended with Early Modern Style. This topic is important to me because i will be learning something new about my hometown and appreciate it. The focus of this topic is to make people undertand the culture of the olden days. Besides that, the creativeness and the amount of hardwork they put to decorate the facade, for aesthetic value that are lacked these days. Moreover, each styles has distinctive features to differenciate from one style to another.
CASE STUDY : Allowing Future Development of Penang Towards Modernism But Maintaining The Cultural Elements.
Large scale development and bringing the modern business centre, poses danger towards Penang. The development pressure Penang to grow and development has meant demolition of buildings and not renewal. In 2008, destruction of a large area of shophouses happend because to solve demand of new commercial space besides KOMTAR to develop Georgetown towards modernization. Shophouses can be modernized easily because of the simple structure and open space. As for now, renovation project only for colonial adminstration only in heritage zone are protected. Buildings in the buffer zone can be demolished without permit, as an example, Mansion of Khaw Bian Cheng and bunglows on Burma Lane which belonged to former Prime Minister of Thailand.
Methodology :
Interview : To get opinions. Ex: students, conservation architects, owner, developer
Observation - Sketch, photo and analyse
Document review : MPPP. Ex : heritage zone and heritage shophouse floor plan
Annotated Bibliography :
ReplyDeleteWEBSITES :
http://www.capturingpenang.com/2010/06/penang-shophouses-architectural.html
http://thestar.com.my/metro/story.asp?file=/2008/4/7/north/20860458&sec=North
http://penangshophouse.blogspot.com/
http://thestar.com.my/metro/story.asp?file=/2008/4/7/north/20860458&sec=North
BOOKS :
History of Architecture, Fracis D.K Ching
This comment has been removed by the author.
ReplyDeleteStudent name and ID: Yoong Chern Li 1003P78481
ReplyDeleteTopic: Lacking of wall decorations and ornamentations in contemporary Chinese temple in Malacca, Malaysia.
Research Question(s):
1. What are the causes of the lacking of wall decorations and ornamentations in contemporary Chinese temple?
2. Comparison of wall decoration between old and contemporary Chinese temple.
3. Why are wall decorations and ornamentations in Chinese Temple important to Chinese culture and beliefs?
4. How to preserve the importance of wall decorations and ornamentations in Chinese Temple in future?
Outline a summary of the topic:
Lacking of wall decorations and ornamentations in contemporary Chinese temple in Malacca are caused by several factors, such as high construction cost and time, lack of good craftsmen and influence of Malaysian residential architecture style. Wall decorations and ornamentations impose high construction cost and time, as carving and painting process on the walls require high concentration and time, indirectly, the labor cost becomes very high. Besides that, highly intricate ornaments and carvings require good craftsmanship and skills. The lack of experienced craftsman who can produce good sculptures and ornamentations made of different materials, such as stones, clay and timber contribute to the problem. As time goes by, Malaysian architects or designers become more familiarize with typical Malaysian residential architecture style that eliminates excessive ornamentation to reduce construction cost. This causes the ignorance for the use of wall decorations and ornamentations in temple design.
Walls decoration and ornamentation shows great differences between the old and contemporary Chinese temples. Timber walls of old Chinese Temple are decorated with unique windows and fine porcelain shardwork, while, walls in contemporary Chinese temple are inserted with glass windows which do not add any aesthetic or culture values to the buildings. Moreover, the walls in old Chinese Temple are painted beautifully with murals, depicting scenes from Chinese historical and religious themes. However, contemporary Chinese temple walls are painted white or other colors which show the influence of typical residential architecture style in Malaysia. Unlike the contemporary Chinese temple which is constructed by bricks, timber which can be carved is used in the wall construction of old temple, allowing ornamentation with different forms and shapes to be carved. Thus, different wall materials used cause the architectural accent in the old and contemporary Chinese temple to be different as well.
Wall decorations and ornamentations in Chinese Temple have great importance to chinese culture and beliefs in Malaysia. The temples house murals depicting the myth and folklore of China to convey moral or philosophical lessons and record history. For example, Chinese philosogpher Lao Tse’s story and teaching is painted on the wall. The wall decorations and murals teach Chinese descendants to behave in a good manner and not to repeat the mistakes which had been done in past. Furthermore, sculptures on the walls or better known as Chien Nien show the beliefs of Chinese ancestors in ‘Feng Shui.’ For example, mythical dragons and lions offer vigilance and security while deer and cranes symbolize longevity. Not only these sculptures are decorative, they have importance in the temple architecture as well because these creature sculptures cleverly disguises the temple gutter.
ReplyDeleteIn order to convey philosophical lessons and cultural messages to the new generations, wall decorations and ornamentations in old Chinese Temple must be preserved and recorded. Original form, materials, and architectural style, traditional methods of construction should be preserved to maintain the authenticity of the wall decorations and ornamentations. Colors and painting methods should be carefully studied so that the restoration process of mural painting can be carried out effectively. The documentation can be utilized and referenced in the construction of contemporary Chinese temple to preserve the importance of wall decorations and ornamentations in Chinese culture and beliefs.
Annotated Bibliography
Nyen, Robert Tan Sin. Historic Malacca Pot-pourri Aim Press Sdn Bhd., 1990. Melaka
Pintado, M.J. A Stroll Through Ancient Malacca Loh Printing Press (M) Sdh Bhd., 1978. Melaka
http://en.wikipedia.org/wiki/Temple_(Chinese)
http://www.buddhanet.net/e-learning/history/buddhist-art/chinese_temple.htm
http://geoffbraunsberg.hubpages.com/hub/chineseculture
http://www.hbp.usm.my/conservation/chinese__architecture.htm
http://borneotip.blogspot.com/2011/08/cheng-hoon-teng-temple.html
http://www.hbp.usm.my/conservation/SeminarPaper/peranakan%20cina.html
http://nlliew66.blogspot.com/2011/01/cheng-hoon-teng-oldest-temple-in.html
Student name and ID: Kala Wani A/P Selvaraja (0300503)
ReplyDeleteTopic: A Comparative Study Of Influnces Of FengShui And Vatsushastra On Modern Residential Spatial Layout.
Research Question(s):
1: FengShui and Vashushastra?
2. How valuable it was at ancient time and contemporary architecture among the believers of FengShui and Vatsushastra?
3. Spatial layout of Fengshui and Vatsushastra in Malaysian Architecture?
4. Comparison of FengShui house and Vatsushastra house in Malaysia.
Outline a summary of the topic:
FengShui is an ancient Chinese art, science and also known as ancient Chinese study of natural and built environment. The meaning of Fengshui is wind and water in English. FengShui has been practised for thousands of years. It is originated by ancient shaman who developed a village by understanding of the vital importance of strategic location. The areas that exposed to mild wind would generate plentiful harvests while the areas which exposed to strong wind would destroy the harvest. Village that is near to flowing water and river would maintain and develop growth of crop and human beings. As the centuries passed, shaman combined wind and water with the teachings of Daoism, thus creating the practise of FengShui. FengShui is based on principle of Yin and Yang. Fire, wood, earth, metal and water is the Five Elements of Yin and Yang. FengShui also uses The Eight Triagrams.
Vatsushastra is a science of construction or the instruction laid down for building a structure and it is an ancient Indian Architecture. It is also mainly applied in Hindu Architecture. Vatsushastra is based on five elements of nature which is wind, fire, water, earth ad space and also based on four directions which are north, south, east and west. It is mainly used in Hindu Temples.
FengShui and Vatshushastra in ancient time were not strong among the believers. As the centuries passed, the believers were exposed to FengShui and Vatshushastra and became famous among the believers. In Malaysia, many people constructing houses using FengShui and Vatshushastra to feel comfortable and harmony in their life.
Spatial layout in Fengshui based on Five Chinese elements which are water, fire, and metal, wood and earth. This will create balance and harmony in all areas of your life for success. House is functioning like human body. It is because doors and windows are acting like our mouth and eyes respectively. The layouts have clear passage to have effective movement of air and energy. Fengshui also believe in timing. It has specific time and date to start certain project, renovation and to conduct events.
Spatial layout in Vatshushastra based on five elements in nature and four directions. Number of doors, windows, pillars in the house should be in even numbers. There should be no windows at south-west corner and no attic in north and east main walls and others. It can be design without demolishing and renovating the house. Perfect spatial layout gives good energy flow and the distribution of elements.
FengShui and Vatshushatra have a same aim which is to achieve stage of harmony, properity, health and happiness. In addition, both elements in FengShui and Vatshushatra are symbolising the cosmic energy. FengShui mainly based on planetary forces like water and wind whereas Vatshushastra based on energy flow in nine planets. FengShui believes that rearing fish gives luck to the owner while Vashushastra does not allow rearing of fish in aquarium or ponds.
Annotated Bibliography
http://www.vasthusastra.com/feng_shui.asp
http://en.wikipedia.org/wiki/Vastu_shastra
http://www.traditionalfengshui.com/what-is-feng-shui/
http://www.ask.com/health/galecontent/feng-shui
http://www.9starfengshui.com/consulting.php
ASIAN ARCHITECTURE ARC2213
ReplyDeleteTopic & Issue Proposal (10%)
Prepare a two-page type-written proposal, including a summary of the topic and/or issue to be explored,
some of the questions you hope to address, along with a title, and an annotated bibliography of sources.
This proposal is due on 26 Apr 2012.
Student name and ID: Putri Sylfarezza, 1001P77112
Topic: Door Designs In The Culture Of Bali, Indonesia ……………………………………………………………………….
Lecturer: Pn. Yati…………………………………………………………………
Research Question(s):
1. How has religion and culture influenced the layout and structure of Balinese doors
2. How has door design evolved in modern Bali
Outline a summary of the topic:
Hinduism has made a big impact on Balinese architecture. Acheologists have found megalithic stones in Bali oreiented towards one of the 3 main mountains (Gunung Agung, Gunung Batukaru, Gunung Batur), which suggests the ancient Balinese were looking at more than the view when they designed their structures. The Hindu idea that the universe is divided into 3 parts (Tri Loka) which are the realm of the Gods, the realm of the humans and the realm of demons, transfers over to temple layout. In many cases, certainly with the larger temples, there are 3 courtyards, outer, middle and inner.
In Balinese architecture, one of the important yet significant elements would be the door. In Bali, carved wooden door is what they are known for. Every single carving symbolizes something that relates to their culture. Since every carving symbolizes something, every building or structure in Bali are different from one another in terms of function. In the modern days, the form and design of a Balinese door has evolved to fit into contemporary design.
4/23/2012
Annotated Bibliography
Julian, D., 2003. Introduction to Balinese Architecture. Tuttle Publishing.
Julian, D, Bruce,G., 1993. Balinese Temples. Tuttle Publishing.
Rio, H., Barbara Walker., 1996. Bali Style. Vendom Press.
4/23/2012
Student name and ID: Pang Yong Xiang (1003P78318)
ReplyDeleteTopic: The Important of courtyard of Chinese and Japanese architecture
Research Question(s):
1.What are the functions of courtyard in both Chinese and Japanese architecture?
2. What are the differences and similarities between the Chinese traditional courtyard and the Japanese traditional courtyard?
3. Why there are not courtyard in modern contemporary design houses?
4. How to sustain the usage of courtyard in modern contemporary design houses?
Outline a summary of the topic:
This research report is focus on the courtyard of Chinese and Japanese architecture. Courtyard plays a very important role in traditional Chinese and Japanese architecture because of it useful functions, but it didn't 'survive' in modern contemporary design. The issue to be explored for this report is why courtyard plays important role in traditional Chinese and Japanese architecture but not in modern contemporary design? Therefore, this report will explain about the functions of courtyard, the similarities and dissimilarities between the Chinese and Japanese courtyard, to find out the reason of the abscent of courtyard ,and how to sustain courtyard in modern contemporary design?
What are the functions of courtyard in Chinese and Japanese architecture? The traditional chinese courtyard house called siheyuan, it act as a square area that divide several rooms. A chinese courtyard always incorporating a garden and water feature, thus it create a certain level of privacy to the family. Some of the houses have more than a courtyard whereby the outermost courtyard is for the guests , an the inner one is for the family members or close friends. In traditional Japanese architecture, different spaces are arrangement around the courtyard, but a series of gates were introduced. These gates usually have a pair of large guardian statues called Nio.
What are the similarities and difference between the Chinese and Japanese architecture courtyard? Chinese architecture have a great influence on Japanese architecture due to various factors. The languages of the traditional Japanese courtyard is so different form the traditional Chinese . This can he shown in the materials used, layout , construction method and etc. Besides that, the symbolism for having a courtyard in Japanese architecture is difference from the Chinese architecture, thus this might affect the ways to sustain courtyard in two different countries.
Why there are not courtyard in modern contemporary design houses? From the previous research area, generate the reasons to explain the disappear of courtyard in modern design. Many factors might affect the disappear of courtyard such as the price of land, the enormous influence of western architecture style and etc. Furthermore, do research on the problems found in a house without a courtyard, and do a comparisons of it.Find out the true reason to explain and explore it in more detail and conclude it in a sufficient way.
How to sustain the usage of courtyard in modern contemporary house? Based on the advantages for having a courtyard , redesign a courtyard that suitable for the modern site context. From the reason found, study and solve it by introducing a new style courtyard that preserve the functions of courtyard and is suitable for modern contemporary design.Create connections between courtyard with the modern design, this is one of the most sufficient way to encourage people to have a courtyard in their houses.
As an Asians, we should preserve the significant architecture element or languages rather than influenced by the western. The rich architecture element of eastern should be emphasize and explore it to the others.
Annotated bibliography
Atrium: Five Thousand Years of Open Courtyards, by Werner Blaser 1985, Wepf & Co.
Alex, William. Japanese Architecture. New York: George
Braziller, 1963.
NEW JAPAN ARCHITECTURE,TUTTLE, MEHTA,MacDonald
Student name and ID: AMANDA MORENE TEO 0807P68399
ReplyDeleteTopic: THE INFLUENCES OF CONTEMPORARY WESTERN ARCHITECTURE STYLE ON CHINESE ARCHITECTURE PRACTICE IN CHINA.
Lecturer: PN. NOOR HAYATI RAMLI
Research Question(s):
1.What is the factor that led China to allow the input of contemporary Western architecture style into their current Chinese architecture practice?
2.When did the Western architecture style progress into Chinese architecture?
3.What are the changes made on the ancient Chinese architecture style by the Western?
4.Should the ancient Chinese architecture style to be conserve in current architecture practice in China?
5.What are the ways to conserve the Chinese architecture style in the current architecture practice in China?
Outline a summary of the topic:
In this modern era, Western contemporary architecture style had been introduce around the world and it is the one of the popular architecture style which represent the modernism 21th century style of architecture language that most of the architects, planners and developer would like to input it in their design. It is also an issue that bring forwards to the China architecture style which is gradually losing its post and the ancient architecture style are tend to be left a part in this generation. According to the news of China, the reporter Daniel Allen was phasing this article with the title of “China chasing an urban utopia “, as he mentioned in the article: “Beijing's widespread transformation over the past 15 years clearly demonstrates that most of the capital's planners and developers have adopted this as their principal working philosophy. Nonetheless, many have complained that a lot of the old that has now disappeared were good, sacrificed for some pretty ugly, third-rate, un-Chinese architecture. “ This has tended to be an serious issue which is happening in the past and the present era. If the issue of conserving historical Chinese architecture was not plan and the developer would not take it as an issue, would China lost their identity of its architecture language and forming another world of western architecture style of city? Further more, due to the rapid increase of population appearing in China, there are many historical village and buildings had been demolish to create a new development and sufficient large building to feed its need. We should be considering to look further in to the issue and to preserve the historical architecture building and its style.
Annotated Bibliography:
1.Daniel. A. (2007). China chasing urban utopia. Asian Times Online Ltd.
http://www.atimes.com/atimes/China/IE18Ad01.html
2.Schinz, Alfred (1996), The magic square: cities in ancient China, Edition Axel Menges, pp. 428, ISBN 3-930698-02-1http://www.historyforkids.org/learn/china/architecture/
3.Steinhardt, Nancy Shatzman. "Liao: An Architectural Tradition in the Making," Artibus Asiae (Volume 54, Number 1/2, 1994): 5–39.
4.Neville.A , Martha.D (2002). Principles for the Conservation of Heritage Sites in China. Los Angeles: Getty Conservation Institute
5.Luigi.F.G , Bruno .F, Maria.C, Pasquale.D.T, Fabiana.F (2003) . The human sustainable city. USA: Ashgate Publishing company
6.Schriften .H.U, Fakultal .V.P ( 2011). Bringing urbanities reflections on urban design in Shanghai and Berlin. Munster : LIT Verlagkontakt
This comment has been removed by the author.
ReplyDeleteStudent name and ID: RIKKY FALANTINO 1001p77173
ReplyDeleteTopic: Raising awareness to the vulnerable heritages in Malaysia from being demolished.
Focusing on comparing two specific heritages located in Melaka.
The Jongker street, and The Red house Melaka.
Lecturer: Pn Yati
Research question
1. What is happening to the condition of our local heritage?
2. How do we make the heritages interesting enough for the local younger generation to participate in saving the heritage?
3. In the same time, not harm the heritage’s culture, historical footprint and especially architectural remains during its change/growth.
4. How can we learn from another heritage, which seems to be more successful in terms of attracting daily local visitors?
Outline a summary of the topic:
The term ‘heritage’ is generally associated in the public mind with the past, history and the historic built environment, as well as the cultural dimension such as music and language.
Jongker street is surprisingly popular among the ridiculously amount of current generations of teenagers and young adults. Not to mention non-local tourist finding Jongker Street as one of their favorite places to relax in Melaka. From Day to night, it has the highest number of occupant counts for heritages found in Melaka. During weekdays, there are some antique shops that sell reasonable and cheaper goods such as Jongker. Gallery and Wah Aik Shoe Maker. Meanwhile, on the weekends, the tourists can enjoy the longest night market along Jongker Street. Current present culture has merge with the heritage offering a more inviting environment for the young people to adapt to the heritage. The main backbone behind the Jongker Street is its old shop houses. It is still being occupied by the original owner of the shop, keeping the business going up till now, thus keeping the culture present. New building around the Jongker Street has also joined its culture of opening a shop lots selling food and souvenir. If not, small stalls are set up by the linier circulation for the occupants to visit they move along, selling from cloths to toys. Historical footprints and culture wasn't disrupted in the whole growth and considered to be somewhat developed in the heritage genre.
The Red house has been the places where only mostly tourist appears and local group of family comes to visit for its cultured food and museum. Not to say it isn’t a successful heritage, but it deserve more support from the locals. Other than its interesting historical footprint and beautiful environment it provides, it isn’t enough to attract more people, especially the young ones. It is mostly alive during the day, and the amount of tourist still depends on their holiday season. Having only tourist as its main income in visitor can lead to a problem in the future, it may lead to the demolition of The Red House. Unless with the help of local community, making The Red House as a local hotspot for everyday leisure and not only for its history in the same time, not damage the heritage, The Red House safety can be assured.
Issue
Local has lose it interest towards they're local heritage, and is giving insufficient awareness to they're historical heritage site, as they are the main key for letting the heritages alive.
The modern pace of life, and an increasingly urban and mobile society, which leaves little time for interest in heritage matters or involvement in heritage groups/organizations, this results from heritage conservation not being perceived as an issue which affects people readily in their daily lives.
Student name and ID: Veronica Tan Yen Ching (1001P77051)
ReplyDeleteTopic: The Adaptation of Feng Shui in Spatial Layout of Contemporary Residential Houses in Malaysia
Research Question(s):
1.Feng shui has been practiced in Malaysia for a long term, but does the practice occurs blindly or there is a careful consideration Malaysia’s context as well in the adaptation?
2.What is the definition of feng shui and its major roles in Malaysia?
3.What are the factors or issues that cause the adaptation of feng shui into contemporary residential housing design in Malaysia?
4.What are the strategies and methods used to incorporate feng shui into contemporary residential housing design in Malaysia?
5.What are the residents’ opinions about incorporating feng shui into their house design?
6.What are the similarities and differences of spatial layout of contemporary residential houses that adapted feng shui between Malaysia and other Asian countries?
7.What are the factors that contribute to the same/different adaptation pattern between Malaysia and other Asian countries?
8.What are the challenges and advantages of having feng shui elements in contemporary residential housing design?
Summary:
Geomancy system can be traced back to ancient civilizations. The current feng shui system is made by the core principles of Chinese geomancy system which originated during the Zhou Dynasty of China. The development continues and reaches its peak during the Han Dynasty where written consultations appeared. Feng Shui as a refined Chinese system geomancy is crafted and implied during the Jin Dynasty. Now, it has been practicing worldwide in architecture especially in the Asian countries. In Malaysia, feng shui is not only practiced in sacred buildings like temples but also in contemporary office building and residential housing. This proves that feng shui has been taken to a level that the value is appreciated by societies and families at the current time due to their demand of living where Feng shui Masters and Architects are involved in this matter. The adaptation in contemporary living may not be agreed by the whole household; husband, wife, son, daughter, maid as they have their own perception and believe towards feng shui. There are several methods in practicing feng shui in the spatial layout of contemporary residential houses by modifying the electromagnetic energy, ‘chi’ that runs through everything adhering to principles like five elements, eight trigrams, the flying stars, yin and yang. The adaptation of feng shui in Malaysia is combined with its own context in terms of the climate, residential values, economy, and beliefs. Feng shui approach and adaptation in spatial layout of contemporary residential houses Malaysia may vary with other Asian countries like Hong Kong and Korea. Challenges incorporating feng shui in the spatial layout of contemporary residential house may occur especially when the house is ready-built. Therefore, high level of creativity is needed in finding the best solutions. Nevertheless, modification or implementation will pose benefits to the residents.
[CONTINUATION]
ReplyDeleteStudent name and ID: Veronica Tan Yen Ching (1001P77051)
Annotated Bibliography:
Brown, S. (2002). Feng Shui in a weekend: transform your life and home in a weekend or less. Sterling Publishing Co., New York. pg. 130-147.
-Brown explained the definition of feng shui and the use of magnetic compass in floor plan to in determining the relation of spaces to the five elements, magic square, and trigram.
Brown, S. (2009). The Feng Shui Bible: The definitve guide to practicing feng shui. Octopus Publishing Group, London. pg. 12-15, 24-25, 28-42, 106-123, 292-298, 336-349.
-Brown provided diagrams on furnitures positioning in living room, bedroom, bathroom, study room and dining room to avoid taboo.
Freeman, M. (2006). The New Oriental Style. Thames & Hudson Ltd, London. pg. 246-249.
-Freeman described principles of Chinese layout implied in contemporary residential house without feng shui influence in Mid-Level Apartment, Hong Kong by Johnny Li .
Joh, H. (2010). P-house: Architecture for 'Difference' & relation. Retrieved, April 25, from, http://blog.naver.com/jluke313
-Joh from HAHN Design explained the incorporation of feng shui into the P-house design, a contemporary residential house in Korea.
Pertubuhan Arkitek Malaysia. (2008). Architecture Malaysia. Malaysian Institute of Architects, Malaysia. pg. 44-49, 53-59
-Understanding of basic spatial layout in contemporary residential house without feng shui influence in Malaysia by floor plans example on New Beach House Wing, Kuching, Glenmarie Residences (Zone C), Shah Alam, Twin Villa in East Ledang, Gelang Patah, House at Pearl Hill, Tanjung Bungah.
Powell, R. (1998).The Urban Asian House: Living in Tropical Cities. Select Books Pte Ltd., Singapore. pg. 86-95, 126-131, 136-142.
-Understanding strategies of incorporation of nature and environment in contemporary residential house in Malaysia by stuying Dialogue House by Architron and Lem House by William Lim Associates.
Saluja, K. (n.d.) Principles of Vaastu and Feng Shui series in Building Construction. Synergy Media, Kuala Lumpur.
-Saluja described the application of feng shui principles in the spatial layout of a house.
Skinner, S., Graham, P. (2003) Feng Shui Style: The Asian Art of Gracious Living. Singapore. pg. 32-35.
-Skinner and Graham described classic feng shui and contemporary feng shui influence in Malaysia.
Too, L. (2002). Flying star feng shui for the master practitioner. HarperCollins Publishers, London.
-Too explained the method of using flying star feng shui.
Yeo, C. (2012). Landscape Feng Shui. Design and Feng Shui. The Space Dimension. Retrieved April 19, 2012 from,http://www.wofs.com/index.php?option=com_content&view=article&id=865&catid=32&Itemid=50
-Yeo explained the feng shui in climate-oriented sustainable design solutions.
Yeo, C. (2012). Landscape Feng Shui. Feng Shui for better kitchens. Retrieved April 19, 2012 from,http://www.wofs.com/index.php?option=com_content&Itemid=50&task=view&id=481
-Yeo explained the steps that could be taken in feng shui terms of modifying layout in a kitchen for fortunes.
Asian Architecture ARC 2213
ReplyDeleteTopic & Issue proposal (10%)
Name: Lee Wan Teen 1001P75949
Topic: A Comparative Study of the similarities of FengShui and VatsuSastra on Modern Residential Spatial Layout in Malaysia.
Lecturer: Pn Hayati bt Ramli
Research Question(s):
1. What caused VastuSastra to be categorised under FengShui? What makes them different?
2. Why do people think both are similar?
3. How does the concept of both elements affect modern residential room layout?
4. What can prove VatsuSastra to be different from FengShui?
Summary of Topic:
Issue: Vastu - Indian FengShui – Raymond Catchpole, Saturday 29 October 2011 - Highlights of the FengShui Society
It was said that Vastu is often described as 'Indian fengshui' which is unfair to both disciplines. Many believed that FengShui and VastuSastra are the same in terms of architecture in residential room layouts. Vastu has its own origins, history and applications. Some believe it even predates fengshui, but both disciplines have some fundamental principles in common. Vastu is an ancient Indian architectural tradition, with a strong philosophical and spiritual foundation, that recognises a building should be a living organism to be designed in harmonic resonance with the underlying structure of the universe. Such a building becomes a generator, attuning its occupants to natural energy, increased health, wealth, well-being and productivity.
Through many similarities we can see that Vastu and FengShui must have been influencing each other over a long period of time. While FengShui is considered to be at least 4,000 years old, Vastu has already been systematically described in early parts of the Vedic scriptures like the Rig Veda, and those scriptures are more than 5,000 years of age. From this we can conclude that Vastu is even older than FengShui, and it is highly probable that it has influenced the development of a similar science in China. The different cultural and climatic conditions in China may be responsible for the differences between Vastu and FengShui.
To find out who's more authentic and beneficial, we must know everything about the two first. Vastu, which literally means to live, works on the premise that the earth is a living organism, out of which other living organisms emerge.
This life energy is known as VastuPurusha. The main aim is to form a balance between the outside atmosphere and the atmosphere within the premise.
ReplyDeleteVastu makes use of five elements - prithvi (earth), agni (fire), tej (light), vayu (wind) and akash (ether), the earth's magnetic fields i.e. the north and the south pole and the sun's rays.
FengShui literally means wind and water, is based on the idea that individuals should live in harmony with their environment. It was believed that if we live in balance with the order of the world, we could attract fortune and prosperity.
This science makes extensive use of the wind and the water - the former is supposed to carry the energy and the latter is supposed to retain it. In addition, FengShui also makes use of five elements - earth, fire, water, wood and metal. So even as the basic premise of both seems to be the same - living in harmony with the environments and seeking equilibrium with it - both sciences have vast differences in the way they operate. Probably due to the fact that they have originated in two geographically and culturally different areas, and different times.
Thus in conclusion, VatsuSastra is different from FengShui, and it has its unique way in expressing its own spatial layout.
Annotated Bibliography:
“What is Vastu Shastra and How Does it Compare to Feng Shui?”
http://fengshui.about.com/od/glossaryofterms/f/feng-shui-vastu-shastra.htm
Learn about the knowledge of the origins and believes and also concepts within both Vastu and Fengshui.
“Vastu vs. Feng Shui: Difference and Similarities”
http://www.maxabout.com/fitness/alt_med/holistic/vastu/vastu_vs_fengshui.aspx
Study the comparison between two believes according to research studies.
“Vaastu and Feng Shui”
http://www.fengshuitoday.org/features/vaastu-and-feng-shui
This website illustrates the study related to fengshui and vastu and how it is like today.
“Vastu: Transcendental Home Design in Harmony with Nature” by Sherri Silverman
Experience how Vastu can blend in with nature and harmony.
“The Vastu Home: Harmonize Your Living Space with the Indian Feng Shui” by Juliet Pegrum
Talks about ways to improve home living at the same time providing a better quality of life through understanding Vastu.
STUDENT NAME AND ID: YEOH TING EN , 0300628
ReplyDeleteTOPIC: THE MODERN INTERPRETATION OF TRADITIONAL CHINESE ORIENTAL STYLE ORNAMENTATIONS AND WOOD CARVINGS IN CONTEMPORARY ARCHITECTURE
RESEARCH QUESTIONS:
1. What is the significance of the ornamentations commonly found in Chinese buildings?
2. How is the symbolism of the ornaments linked to cultural beliefs and religion?
3. How extensive are the ornaments being adopted into modern contemporary architecture in modern day China?
4. What are the materials usually used for the ornaments and why are they being preferred over other available materials?
5. How do the ornamentation elements respond to the form and function of the space?
6. What effort has been taken towards conservation of the Chinese style in architecture?
SUMMARY OF THE TOPIC
The Chinese Oriental Architecture has always boasted a sense of mysteriousness and inaccessibility to those who come across it. It holds a firm cultural approach to ornamentation that can be easily transpired and adapted into modern day architecture. Not only is it an extensive decorative style that embodies the traditional Chinese aesthetic, it also projects the profound historical and cultural aspects of one of the world’s oldest and most established civilizations.
Chines Oriental style usually gives way to complex patterns, motifs, vibrant colors and carvings that are very generous in symbolism. These came from a strong cultural belief that was etched into the minds of the ancient Chinese that proposed China to be the land of the middle kingdom that connects Heaven and Earth. Hence, the Chinese tried their best to mimic what they thought Heaven ought to look like in their buildings and landscape as well as culture, resulting in highly sophisticated and extravagantly expressed beauty in art, furniture and architecture.
The Chinese style in architecture continues to fascinate many as they did in the early centuries and is still practiced today. Hence, what better way to make a comparison than in the heart of it all; comparing the values of ancient China and how these ornamentations have descended to the modern day Chinese lineage.
The symbolism of the ornamentation varies depending on the function of the space. For example, carvings and ornamentations of dragons and mythical creatures are usually found at the main doors as the Chinese believed that they are effective in warding off evil spirits while the dragon sometimes symbolizes power and longevity. The ornamentations are usually installed in Chinese buildings for several purposes, citing cultural beliefs, aesthetics and superstitions among the few.
Having said that, the ornamentations and carvings are often done using wood due to its smoothness and natural aromatic scent. Jades and ceramics are also heavily used too. In general, the Chinese prefer smooth finish on the materials that they use.
Solution
ReplyDeleteWe must learn the circumstances to adapt the current generation, using successful heritages like The Jongker street in attracting locals as an example.
Awareness of heritage both nationally and locally should be promoted more actively through schools, via heritage input in the curriculum and extra-curricular sponsorship of school projects.
A more coordinated approach is required by government and all state authorities involved in the protection and promotion of the national heritage, to ensure that their functions and responsibilities are clearly communicated to the public. Furthermore, all government and state authorities involved in spending money on heritage should be required to make a more concerted effort to raise awareness about their activities and about the benefits of heritage protection to overall quality of life.
To work in partnership with the tourism sector to ensure that heritage is not only perceived as being for tourists. Current development towards sustainable tourism will contribute to this process.
To encourage the production of quality television programs which aim to promote a greater level of awareness of our heritage, and a more critical attitude among the viewing public, as to its future protection and management.
Community should promote the positive educational and information roles of museums, and other collection-based institutions, at national and local levels.
Annotated Bibliography
http://fspu.uitm.edu.my/cebs/images/stories/cebs/av3n7jan2012c7.pdf
Malaysian cultural heritage sites, Malacca and Georgetown, were listed since 2007. Since World Heritage Lists is not an ultimate benchmark for heritage street revitalization performance therefore, this research will provide a set of attributing variables to investigate the revitalization attributes in creating a great heritage street. The research employed unobtrusive method of content analysis and obtrusive method.
http://eprints.ptar.uitm.edu.my/2938/1/NUR_FISYA_FISHOL_HAMDI_11_24.pdf
In Malaysia, the scenario of appreciating and awareness towards heritage conservation was still lacking of support and guidance especially on the colour scheme for historical building. Looking the situation at Jalan Tunku Abdul Rahman with a colourful heritage shop houses and façade treatment decreasing original characteristic whereby every owner insisted to promote their commercial value rather than heritage value.
http://eprints.utm.my/9960/
The main drawback of urban conservation in Malaysia is hypothesized by the conflicting ways in which various stakeholders perceive the role of urban conservation. They failed to see that conservation is directed among other things to; maintaining places of cultural significance i.e., a whole neighborhood, part or even the entire town, and it focuses on ensuring a harmonious relationship of old and new. The key to a common goal in achieving successful urban conservation is in the understanding of the appropriate approaches towards tackling the complex issues of 'living city' as in the case of the World Heritage City of Melaka. The principles for the development of practical conservation guideline is lacking especially in the aspect of enhancing the 'liveliness' in a semi run-down urban areas that was once the hub of a particular town.
http://journalarticle.ukm.my/3491/
The marketing of heritage coincides with the emergence of marketing as an academic discipline in the 1950s. This research seeks to determine domestic and international tourists' expectations and perceptions of the heritage site of Melaka in Malaysia by measuring their satisfaction level using eight travel attributes. This study examines the overall satisfaction among international and domestic tourists who visited Melaka using a conceptual model that combines the concepts of the Expectancy Disconfirmation Paradigm and Service Quality framework.
Heya¡my very first comment on your site. ,I have been reading your blog for a while and thought I would completely pop in and drop a friendly note. . It is great
ReplyDeletestuff indeed. I also wanted to ask..is there a way to subscribe to your site via email?
Fengshui – Vedic Folks