ACCU Nara
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2023

CONTENTS
Bangladesh - Tania Sultana
Attach Portrait(Face Photo)
3cm x 4cm

Assistant Director, Department of Archaeology, Ministry of Cultural Affairs“Problems and Need Identified for the Conservation of a Swampy Wooden
Schooner”-1

Bhutan - Dorji
Project Manager, Heritage Sites and Archaeology Division, Department of Culture andDzongkha Development, Ministry of Home Affairs‐5“Challenges and Concerns in the Preservation of Wooden Heritage Sites in
Bhutan: A Case Study on the Restoration Project of Wangdue Phodrang Dzong.”

Cambodia - In Crisna Sothea
Attach Portrait(Face Photo)
3cm x 4cm

Officer, Safeguarding and Preservation of Monuments, General Department of Heritage,
Ministry of Culture and Fine Arts

‐8

“Challenges and necessity in wooden build heritage conservation in Cambodia”

India - Maulishree Mishra
Attach Portrait(Face Photo)
3cm x 4cm

Principal Architect, Studio MANDALA; Artefacts and Habitats Sustainable Solutions LLP“The Need for protection of the Lesser-known Indigenous Earthquake ResistantWooden Heritage of Northern India”‐ 10

India - Sneha Borate
Attach Portrait(Face Photo)
3cm x 4cm

Consultant Architect, World Heritage, Archaeological Survey of India, Ministry of Culture“Challenges faced during restoration of Durbur Hall, British Residency inHyderabad, India”‐ 15

Indonesia - Galih Sekar Jati Nagari
Attach Portrait(Face Photo)

Data Processor /Archaeologist, Directorate of Cultural Protection, Directorate General of
Culture, Ministry of Education, Culture, Research, and Technology

3cm x 4cm

“Heritage Restoration as part of Traditional and Vernacular Construction
Technique Transmission in Indonesia”

Attach Portrait(Face Photo)
3cm x 4cm

‐ 20

Iran – Atefeh Amraei
Executive Advisor/ Head of International Affairs, World Heritage Office, Ministry of Cultural
Heritage, Tourism, and Handicrafts‐ 24“Issues and Needs Identified in the Restoration Process of Ali Qapu Mansion in
Meidan Emam World Heritage Site”

Kiribati - Eriata
Attach Portrait(Face Photo)
3cm x 4cm

Assistant Cultural Officer, Culture and Museum Division, Ministry of Internal Affairs“Issues faced in the preservation and revitalization of Wooden built Heritage in
Kiribati: Case study – Preserving and Reviving Maneaba in South Tarawa”‐ 27Lao PDR - Orlany Phanthavong
Attach Portrait(Face Photo)Technical Staff, Monuments and Sites Division, Department of Heritage, Ministry ofInformation, Culture and Tourism

3cm x 4cm

“Restoration of Wooden Structure ‘Case of Royal Palace Museum of Luang
Prabang’”‐ 31

Malaysia - Rohaya Che Amat
Attach Portrait(Face Photo)

Senior Lecturer, Science, Management and Design Department, Universiti Teknologi Malaysia“Townscape Wooden Cultural Heritage Conservation Challenges in Kampung
Bharu Kuala Lumpur and Kampung Morten Melaka”‐ 35

3cm x 4cm

Mongolia - Ariunzaya Batdorj
Attach Portrait(Face Photo)
3cm x 4cm

Architectural drafting specialist for architectural monument, Historical building andarchitectural monuments, National Center for Cultural Heritage‐ 38“Conservation Management Problems on Bogd Khaan Museum”

Nepal - Arpan Bhuju
Attach Portrait(Face Photo)
3cm x 4cm

PhD Scholar/Lecturer, Social Science division, Department of Nepalese History, Culture andArchaeology, Tribhuvan University“Vernacular wooden built heritage in Kathmandu: Joinery System, Protection
Challenges, and Preservation Strategies”‐ 41

Philippines - Donking Obdin Roque
Attach Portrait(Face Photo)Architect II, Architecture Section, Historic Preservation Division, National Historical
Commission of the Philippines‐ 48“The Conservation and Rehabilitation of General Emilio Aguinaldo Shrine”

3cm x 4cm

Attach Portrait(Face Photo)
3cm x 4cm

Timor-Leste - Joanita do Rêgo Soares
Archaeologist, Archaeology Historia and Ethnography (DAHE), Secretariat of State for Art andCulture (SEAC)‐ 51“The Utilization and Management of Conservation – UMA LULIK”

Uzbekistan - Tokhir Norkobilov
Attach Portrait(Face Photo)
3cm x 4cm

Head of the Department, The Department of Art and Ethnography, The State Museum ofHistory of Uzbekistan“Development of woodcarving in Uzbekistan”‐ 57

Bangladesh

Problems and Needs Identified for the Conservation of a Swampy Wooden Schooner
Tania Sultana
A submerged wooden 'schooner' was found on June 2012 in Jhaubagan seabed of Kuakata seabeach (Patuakhali
District) at Bangladesh. An expert committee consisting of 11 (eleven) members was formed from the Ministryof Cultural Affairs to rescue this ancient artefact. Later, in the light of the committee's recommendations, anothertechnical committee was constituted for the archaeological excavation and conservation work for the salvage of
the 'schooner' headed by boat expert from France Mr. Eves Mare. Under the supervision of the said expert
committee and technical committee members and with the cooperation of various organizations of the
Bangladesh government excavation was carried from 23/12/2012 to 27/02/2013 AD.

Figure 1: Phases of lifting the submerged wooden 'schooner' during the excavation time at seabed

Brief Description of the Schooner:
Inside the 'schooner' were found iron and copper nails, broken pieces of pottery, copper sheets, iron chains, jutesacks, coconut garlands, ropes made of coconut husks, remnants of mats etc. At the time of salvage the schooner
was determined to have a wet weight of about 90 tons and a length of 72 feet. About 3 km from the excavationsite. Such heavy and large artifact was shifted to a place called Battala (about 3km away from the excavationsite) on the eastern side of the Kuakata Buddhist Temple. It has been possible to successfully complete thiscomplex and risky task due to the relentless efforts of the Bangladesh Armed Forces.

Figure 2: After excavation the 'schooner' is transported by a temporarily constructed railway line.
If the work could not be completed, the precious artifact might have been lost to the seabed forever. Therefore,taking the initiative and successfully completing this excavation work was undoubtedly a groundbreaking andcommendable decision.
Swamp wood and its historical importance:
Waterlogged wood refers to wood that has been under soil or water for a long time and whose internal pores,
capillaries and micro capillaries are filled with water. Besides, these places contain different types of harmful
substances including microorganisms along with the water.

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Bangladesh

Through scientific research, it is possible to reveal many important information about ancient culture andcivilization from swamp wood and other historical artifacts found with it. For example: In ancient times, a clear
idea can be obtained about the trade relations of one state with another state, information about the migration ofa certain community or group of people, and even information about important directions to prevent
environmental disasters can be obtained from all these historical records. So swamp wood is of special
importance among the archaeological remains. Conservation treatment and maintenance of any wetland woodspecimen requires greater attention to long-term management.
Present condition of the Schooner:
The decision to place waterlogged wood in a completely different environment i.e. in the open after excavation,
which has been in a certain environment for a long time under soil or water, was not correct. In this case, special
precautions were required before excavation under the direct supervision of conservationists specializing inswampy wood. For example: ensuring the safety of the schooner after excavation, ensuring a suitableenvironment for keeping it and making all preparations for conservation treatment mandatory, etc. Such matterswere not followed properly and various physical changes were made in the timbers of various parts of theschooner. These physical changes are usually unidirectional, which greatly hinders proper conservation
treatment of submerged wood. In some cases waterlogged wood loses its preservation capacity forever.

Figure 3: Cracks in wood caused by exposure to storage prior to conservation
At present several parts of the schooner's planks are missing in the middle and down the right side. New woodadditions in many places done. The decision to add new timber to facilitate safe lifting and transport of theschooner during excavation was a sound one.

Figure 4: New wood additions in many places.
Later, after the work, the new timbers were removed and the shape of the original structure could be fixed byusing supports in different parts of the schooner in the rehabilitation method. Due to not removing new woodfrom various parts of the schooner, various changes have taken place in its physical structure. The main structureof the schooner is not in its original shape, many of the timbers have bent and distorted the structure. However,there are many other factors that cause a schooner's main structure to bend.
It has already been mentioned that if a wood is left for a long time in a different environment i.e. in soil or water,
it undergoes extensive decay and its strength is severely reduced. On the other hand, the stiffness of new woodis relatively high. In this case, adding new wood of higher strength to the waterlogged wood of low strength,2

Bangladesh

creates additional stress on the waterlogged wood. Due to which the stability of the main structure is severelycompromised. That is exactly what happened to the schooner. For this reason it is advisable to add any type of
new wood to waterlogged wood without proper preservation treatment and testing.
A few places on the schooner, examined with a small cellular microscope, showed extensive white coating on
the surface of the wood. Despite several attempts with water, the white spots could not be completely removed.
These are known as salt deposits.

Figure 5: Examination the small wood cellular with a microscope and trying to remove thewhite spots with water.
Several parts of the schooner were found to be rotting and infested with wood. This attack is quickly spreading
to other parts of the wood.

Figure 6: Rotting wood

Figure 7: Infested wood

Recommendations:In order to recover the properties of the soaked wood, it is first necessary to determine the mass of eachpiece of wood. Then the wood should be periodically submerged in water for long periods of time.
However, if you keep the wood in running water, it will be much easier to remove the impurities
accumulated in their internal holes, small spaces and capillary channels. In this case, different sizes ofstainless steel trays can be used depending on the shape of the wood chunks. Periodically, after cleaning
the wood with a soft brush, after removing the old water, reweigh it and immerse it in clean water. This
process needs to be continued as long as the mass of the wood continues to grow. This period may be
5/6 years or more.
After a certain time, it will be seen that the mass of the wood does not increase even after being
immersed in water, then comparing the initial mass of the wood with the final mass, it will be known
how much the characteristics of the water-logged wood have been restored. In this way, after converting
each piece of schooner wood to as much waterlogged wood as possible, their conservation treatment
steps can be started sequentially.
The stages of conservation treatment are: water removal, replacement, solidification and controlled
drying. There are many well-known methods around the world to implement these steps, out of which
five methods have been mentioned earlier. All these methods use different types of chemicals, modern

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Bangladesh

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machinery and other materials. Generally, the most convenient method can be selected considering thefeasibility of implementation and the availability of the necessary materials related to conservation
treatment in the local market of Bangladesh. However, since these treatment methods are very
expensive, time-consuming and hazardous to human health and the environment, various strategies andprecautions are required in their implementation.
In order to ensure the safety of the schooner, first of all, chemical treatment of wood affected by rotting
and insect attack can be undertaken urgently.
The same treatment can be applied to other woods to protect them from rotting and insect attack later
on.
Water soluble chemicals can be used in wood rot and insect infestation treatments. As a result, it will
be possible to easily remove these chemicals from various parts of the schooner before starting the main
treatment of the submerged wood.
Due to uncontrolled drying, the schooner's timbers have lost the characteristics of waterlogged wood.
Therefore restoring the properties of waterlogged wood can be seriously considered.
The chemicals used in the preservative treatment of wet wood are generally very hazardous to humanhealth and the environment. Appropriate measures may be taken regarding taking special precautionsin this regard.
In order to ensure the safety of the juncture after conservation treatment, its long-term management canbe seriously considered.
A long-term (approximately 10 to 15 years duration) project may be considered for proper completionof all works, including efforts to restore lost swamp wood properties from schooner timbers, proper
conservation treatment and post-treatment maintenance of the schooner.

4

Bhutan

Challenges and Concerns in the Preservation of Wooden Heritage Sites in Bhutan:
A Case Study on the Restoration Project of Wangdue Phodrang Dzong.
Dorji

Wangdue Phodrang Dzong is a historic fortress located in central Bhutan. It holds significant historical andcultural importance in the country's
history.
Wangdue Phodrang Dzong was built
in 1638 by Zhabdrung Ngawang
Namgyal, the spiritual and politicalleader who unified Bhutan. It was
strategically constructed on a ridge
between the Puna Tsang Chu andDang Chhu rivers to oversee andcontrol the routes connecting
western and central Bhutan. The
dzong served as an essential defense
against potential Tibetan invasions
and internal conflicts among regional rulers.

Photo 1. Strategic location of the Dzong (Fortress)

The Dzong follows traditional Bhutanesearchitectural styles, characterized by massive stone
walls, and intricate woodwork. It has a distinctive
three-courtyards: 2/3rd of the first courtyard houses
administrative offices and 1/3rd houses monk's
accommodations and shrines, the middle courtyard
contains temples and the monks’ residence, and thethird courtyard with the main tower or Utse and an
assembly hall for the monks.
Over the centuries, Wangdue Phodrang Dzong
underwent several renovations and expansions.
Unfortunately, On June 24, 2012, a fire broke out
in the Dzong and quickly spread, destroying theentire complex. The fire was a major loss for Photo 2. Aftermath of the tragic fire incidence.
Bhutan, as the Dzong was one of the mostimportant cultural and historical sites in the
country.
What caused the fire and why couldn't the fire be contained in time?
The fire's cause remains uncertain, though speculation points to a potential electrical short circuit originatingfrom one of the administrative offices in the first courtyard. While past fires in Dzongs were attributed to butter
lamps, modern facilities present the current hazard. With electrification prevalent in nearly all dzongs, subpar
wiring or inadequate maintenance of aged systems could lead to short circuits – a predicament that came to theforefront. Since the incident occurred on a Sunday when the office was unoccupied, the fire gained momentum
unchecked.
Perched atop a hill with limited access points, Wangdue Phodrang overlooking the Punatsang Chhu and Dang
Chhu rivers on three sides, rendering it challenging for firefighters to combat the blaze. The very inaccessibility
designed to repel adversaries ironically impeded firefighting efforts. The fire hydrant, although installed, proved
non-functional due to a lack of regular maintenance and fire drills. This oversight could have been avoided with5

Bhutanvigilant oversight and drills conducted by the responsible authorities, potentially salvaging the structures in thesecond and third courtyards.
At the command of His Majesty the 5th King, the Royal Government of Bhutan began planning to rebuild theDzong to its former glory immediately after the fire. The reconstruction project was launched in 2014 withfunding support from the Government of India. The reconstruction aimed not only to restore the physicalstructure but also to maintain its historical and cultural significance.
Starting from 2015, I was reassigned to the Wangdue Phodrang Dzong Reconstruction Project (WDRP), where
I was tasked with overseeing the technical aspects of the project and assisting the project director in managing
it. This marked my initial involvement with Cultural heritage sites. Despite Bhutan not having any designatedWorld Heritage sites, we have 12 locations on a tentative list, with Wangdue Phodrang Dzong being one of them.
During my time as a project engineer at Wangdue Phodrang Dzong, our team achieved the following milestones
while also identifying certain areas for improvement:
Accomplishments:
1. Effective Modern Technology Integration: In order to ensure the durability and safety of the structure,
we incorporated modern technology to enhance its resilience against seismic activity and fire hazards.
Given Bhutan's susceptibility to earthquakes, it was crucial to understand the risks involved. The project
implemented earthquake-resistant techniques like base isolation in the Utse and used Reinforced
Concrete (RCC) rafting in the 2nd courtyard. Precast RCC bond stones were also used to withstandseismic forces. Additionally, fire alarm systems and emergency evacuation procedures were put in place
to swiftly respond to fire incidents and protect the Dzong. Today, regular inspections are being
conducted to maintain the effectiveness of fire safety measures. This comprehensive adoption of modern
technology and best practices set a precedent for preserving historical sites and demonstrated how
embracing advancements in construction technology can safeguard cultural heritage.

Photo 3. Modern Technology Integration

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Bhutan

2. Revitalization of Cultural Etiquette: The completion of the Dzong had a positive impact on Bhutanesecultural practices and traditional attire. Prior to the completion of the reconstruction, people often visitedoffices wearing informal and convenient western-style clothing. However, the restoration of the Dzong
sparked a positive change, encouraging a return to traditional attire and etiquette. The presence of thissignificant structure renewed pride in cultural heritage and led to increased adoption of formal dress,
contributing to a resurgence of Bhutanese identity rooted in tradition.
3. Sustainable Strategies of Wangdue Phodrang Dzong: The Dzong’s sustainability was evident in its
design, which balanced traditional architectural elements with modern functionality. The Dzong
supported monastic life and administration with suitable living spaces and facilities, ensuring thecontinuity of spiritual practices and efficient administrative operations. The project also aimed to
manage visitor numbers effectively. From December 30, 2022, to June 20, 2023, the Dzong hosted
numerous visitors, including foreign tourists, locals, and monks. Introducing entrance fees for visitors
was proposed as a sustainable solution to both generate funds and regulate visitor numbers, preserving
the Dzong's integrity.
Challenges:
1. Insufficient Planning and Estimations: Thorough planning, including comprehensive blueprints andprecise projections, should have been a fundamental aspect of the project's preparation. Regrettably, theproject commenced without a Detailed Project Report (DPR) and relied solely on approximate
estimations. This issue has consistently plagued all Dzong Construction and Renovation endeavors
overseen by the Ministry of Home Affairs, primarily due to the frequent necessity for modifications.
Precise architectural schematics and accurate financial assessments are imperative to ensure the project's
successful completion. They play a crucial role in allocating the appropriate resources and attaining the
project's objectives. An evident illustration of these deficiencies was the extension of the project
timeline. Although the project was initially slated for completion by December 2018, it had to be
postponed to December 2022 due to the inadequacies in the initial planning stage.
2. Challenges in obtaining the rates for traditional construction materials: The reconstruction projectof Wangdue Phodrang Dzong encountered difficulties in determining rates for traditional construction
materials and artifacts. These challenges had wide-ranging impacts on the project, affecting aspects suchas budgeting, procurement, project schedules, and allocation of resources. Common items like red mud,traditional door latches, statues, and religious articles lacked standardized pricing in the market. Thisabsence of established cost structures posed challenges for project planners and managers in accurately
estimating expenses and allocating funds.
Recognizing these obstacles, the Department of Culture and Dzongkha Development has taken theinitiative to establish standardized rates for materials used in cultural heritage buildings and artifacts.
This effort is a strategic response to the difficulties faced during the Wangdue Phodrang Dzong
reconstruction. Through collaboration with relevant authorities, the Department aims to enhancepractices related to budgeting, procurement, and project management. This endeavor ultimately seeks
to ensure the successful implementation of projects focused on cultural preservation and constructionin the future.
ReferenceCentre for Bhutan and GNH Studies. 2023. “Wangdue Phodrang Dzong Terminal Evaluation
Report”.

7Cambodia

Challenges and necessity in wooden build heritage conservation in Cambodia
In Crisna Sothea

Since ancient times, building in wood has been a symbol of Cambodian culture, including traditional
wooden architecture. It represents a significant part of Cambodia's cultural heritage. There are pieces ofevidence regarding the trace of using time as a component inside the stone temple, dating back more than athousand years ago. Khmer wooden buildings including houses, have been constructed with a raised floor
and rounded ends. In the Cambodian heritage protecting zone, the existing resident can apply to rebuild
their wooden house which follows the plan issued by the authority. This aims to harmonize the old and thenew, the townscape can retain its unique character, aesthetic, and appearance which plays an important rolein attracting visitors and boosting economic growth. It helps to preserve the cultural space and identity of acommunity.
Case study: Kratie Province The 100 Columns House
There is no actual record to determine how old this house is. Anyway, according to some sources from thedescendant of this family, it is believed to be over 150 years old. It is occupied by three families living
together. The land property had to be sold in 2020 to divide the assets. The house will be dismantled as
there is no intention to include the wood components in the selling agreement. Unfortunately, it seems thatthe local authorities are unable to purchase these land properties as they lack the necessary funding to do so,but only wooden house structures. This is caused by the potential increase in the financial value of
properties in conservation areas, through local market demand for development and tourism.

Fig.1 House original location as the roof were added

Fig.2 Dismantling Process

The MCFA initiated the purchase of the wooden structure with the intention of rebuilding it in anotherlocation. A survey was conducted to undergo structural and architectural assessment of this building before
dismantling. This involves accurately documenting the building's features, including measurements,
photographs, and drawings. This documentation helped to inform the dismantling and reconstruction job.
The whole building was carefully dismantle, as some part of the component damage were required to be
repaired or replace by the same material. Then the building was reassembled to its original state.

Fig.3 Cross Section Plan
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Cambodia

Fig.4and 5(Left to Right) Building after rebuilt on
new location and Artifacts stored inside
Problem 1: Damaged components and replacing material
When it comes to weather conditions in Cambodia, due to the
hot and humid tropical climate, wooden buildings are prone
to decay over time. Mold, rot, and insect infestation can
all cause damage and decay, while high temperatures canlead to warping and splitting of the wood. Furthermore, the choice of materials and treatment methods
used for the preservation of wooden objects in cultural heritage is another challenge here especially thewooden pillar which those kinds of high quality timber is no longer exist due to deforestation. Moreover,unlike Japan, we do not have a reserve forest for heritage timber used in conservation work. It appears thatthe restoration of a wooden heritage building might require more funds because the materials are limited.
As a result, the total cost of the project could potentially increase too. So, dismantling was performed very
carefully. Many components needed to be replaced as they were not reusable.
Problem 2: Townscape and function
The relocation of the structure has had a significant impact on the identity of the original community where
it was situated, which is now over 20 kilometers away. The community has had to adjust to the loss of thisimportant landmark, and it has changed the character of the area. Furthermore, after finishing thereconstruction, this house has been transformed into a community museum and a gathering place fortraditional ceremonies. This means the function of the building is completely changed from the previous
one as a residential house to a public property.
According to the above-mentioned problem, there are two important necessities should be done such as:- Improve the role of communities to get involved in valuing and protecting their local heritage andrecommend that this be supported through the involvement of heritage interest groups and through theorganization of seminars and workshops, publications and exhibitions, training and work with young
people, technical advice, media events, and programs. Heritage conservation plans of heritage woodenbuilding across Cambodia should be conducted for inventory purposes and should be supported by theoccupants of the historic area.
-I think that offering more government subsidies could assist property owners to maintain their woodenbuilding. This help to keep them from being sold off too quickly and preserve them for future generation.

References:-The Ministry of Culture and Fine Arts of Cambodia, General Department of Heritage, Department of
Safeguarding and Preservation of Monuments.
-Assessing the condition of traditional Khmer timber houses in Cambodia, Professor Adi-Irfan Che-Ani.

9

IndiaThe Need for protection of the Lesser-known Indigenous Earthquake Resistant Wooden
Heritage of Northern India
Maulishree Mishra
Introduction
India is home to Heritage of varied cultures spanning different time periods and this Heritage is the pride
and reflection of the diverse cultures that coexist here. But sites of Historical importance in a country like
India are often left to neglect due to the massive numbers, lack of knowledge and resources, leading to a
decay of evidences over a period of time which might have otherwise helped in developing an understandingof history of a specific region/area giving an insight into our past and also become potential generators of
local economics in the long run.
Most of India’s genius Indigenous heritage (Tangible/Intangible/Processes) is unidentified or partly
identified heritage and needs more attention, research as well as protection as the case discussed focuses on
one such type of Wooden Heritage, the associated processes, as well as the communities associated with it.
In the long list of unidentified heritage, the least recognised is the Wooden Heritage of the Himalayan
Region. The typology of this varies amongst the sub-regions and is community specific as does theornamentation reflecting the culture, beliefs, traditions and life of its inhabitants but majorly three styles canbe broadly noticed the first prevailing in the northern most part of the country i.e the cold dry region ofhigher Himalayas i.e. Spiti and Ladakh (which is on tentative WH List), the second prominent in the lush
green snow covered meadows of Jammu and Kashmir and the third situated in the middle Himalayan
region of Himachal and Uttarakhand. The earthquake resistant system of building in this region isfamously referred to as the Kath-Khuni in Himachal and Koti-Banal in Uttarakhand.
Although located in the area of high seismic activity, the traditional Stone and wood buildings of this area
are said to have witnessed earthquakes of high magnitudes over the last 8-10 centuries and still standunmoved by the tremors that strike the region from time to time. It is said that some of these structures datearound 1000 years and many of them have been built over pre-existing foundations of older structures whichmust have stood in their place (radiocarbon dating of the wood from the base of these structures was carriedout around the year 2000).
The importance of the koti banal as an instrumentof learning can be well understood after going
through the following information: “The entire
Himalayan terrain is recognized as being highly
vulnerable to earthquakes (Bilham et al., 2001;
Feldl and Bilham, 2006) and in the past the region
has been jolted by four great earthquakes (withlocal magnitudes > 7.5): 1897 Shillong Plateau
earthquake, 1905 Kangara earthquake, 1934
Bihar/Nepal earthquake and 1950 Assamearthquake apart from Kumaun earthquake of1720 and Garhwal earthquake of 1803 (Thakur,
2006). Regions between the rupture zones of thegreat earthquakes are recognized as seismic gapsthat are interpreted to have accumulated potential
slip for generating future great earthquakes. The
entire state of Uttarakhand falls in the seismic gapof the 1934 Bihar/Nepal earthquake and the 1905
Kangra earthquake and is categorized into Zone IV
and V of the earthquake zoning map of India (IS1893 - Part1: 2002).”(Rautela and Joshi 2008 )Figure 1. Seismic zoning Map of India.

10

IndiaKoti Banal Structures of Uttarakhand

Figure 2 The Traditional Wooden Houses in the settlements of Mukhba and Bagori in the Bhagirathi(Ganga) valley at Harsil.
Location
The pockets of Koti Banal Architecture in Uttarakhand are spread parallel to the course of the two most holy
rivers of India, Ganga and Yamuna in parallel to the upper and middle course of the rivers. The settlements,
hamlets closer to the main highways have already been completely lost/replaced with modern construction
due to developmental activities as no law protects them, while those located at a distance of more than 5-10
kilometer’s from the main connecting road are still present with some of the traditional buildings abandoned
while others being slowly replaced with modern construction, due to difficulty of maintenance.

Figure 3 The transforming landscape of the settlement of Mukhba located on the banks of river Ganga. Manyof the traditional timber houses have drastically been reconstructed with modern materials.

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IndiaFigure 4 The rear elevation with the horizontal
wooden beams and stone infill.

Figure 5 The front entrance and veranda of a typicaldwelling

Understanding The Unique Earthquake Resistant Koti Banal Construction
The locations where the settlements of Koti Banal flourished had three major resources at hand i.e. a flowing
river from where the river stone could be easily procured, dense Devdar forests (Cedrus Devdara isconsidered an auspicious tree as it can stand for well over a 1000 years without being impacted by insects
and termites), and mountains in the vicinity for procuring slate stone for cribbage and roofing. The houses
are mostly follow the natural slope of the landscape or are placed on small flat patches facing the sunny side.
The houses or temples built in this style can have 3-7 stories. The communities associated with such
structures probably selected these locations due to fresh water supply of glaciated waters, forests in vicinity
for livestock and gentle slopes for agricultural activity, moreover since the locations were close to dense
forests and high mountain ranges it was important to consider safety, comfort and protection from the natural
as well as human elements and that could have been a major reason that these structures were built like
impenetrable isolated forts with only one entrance to inside and very small openings on upper floors to theoutside.

Figure 6 The side elevation of a
traditional koti banal structurewith the horizontal wooden beams
and stone infill

Figure 7 Five storied high koti banal structure at koti village ofUttarakhand (Ref : Rautela, P., et.al.: Housing Report: Timberreinforced Stone Masonry (Koti Banal Architecture) of Uttarakhand andHimachal Pradesh, Northern India. World Housing Encyclopedia

In koti banal construction the walls are made of dressed stone and wooden beams which are alternatively
stacked up, using a system of dry masonry with wooden beams after every 3-5 courses of stone. The

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Indiaconstruction of such structures was largely done by local artisans and involved laying two wooden beams
longitudinally parallel to each other with a gap in between which is filled with stone infill/cribbage packed
as a filler. The wooden beams interlock at the corners and the external and internal beams of the wall areheld together by wooden cross braces or dovetails (Fig 7). The joining of the alternate courses of beams
was done using wooden pegs to allow movement at the time of earthquakes. The cribbage inside adjusted
and helped in dampening of the vibrations at times of an earthquake.

Fig 8. An image showing the construction and joining detail. (Ref: Thakkar, Jay & Morrison, Skye. (2008).
Matra: Ways of Measuring Vernacular Built Forms of Himachal Pradesh)Fig 9. Represents the front elevation of an evolved version of koti banal dwelling from a settlement inYamuna valley, while Fig 10 represents the section of the same dwelling indicating the various parts of thehouse, where the lowermost floor is used for keeping sheep & goat and the upper floors are used as living
areas.

Fig 11. and Fig 12. Apart from construction of the structure, a remarkable level of wood carving andornamentation can be found in the door frames, brackets, pillars, panels and other parts of the structure indeodar wood which comprises of mostly of geometrical patterns.
In 1991 the city of Uttarkashi in Uttarakhand was jolted by an earthquake of magnitude 6.6. What amazed
the geologists and researchers was that the traditional koti banal structures at the villages of Koti and Raithal
which were just 30 km away from the epicenter were completely unharmed while all the modern constructionthat dotted the area was completely destroyed. The big question was that how did the builders of these13

Indiastructures figure out centuries ago that the area was highly seismic and then develop a technology that could
withstand the movements caused by high magnitude earthquakes. The question needs more research andthese structures need more protection and maintenance.
Conclusion
The issues specific to the case in discussion are as follows:(1) The wooden buildings of Koti banal, kath khuni style are not protected by any common heritage policy
specific to type of architecture which talks about the preservation and maintenance of indigenous
heritage and the communities related with it.
(2) Lack of knowledge about heritage amongst local communities and pride for their heritage, as newer
generations are more aspired by the modern lifestyle of cities and often migrate abandoning theirheritage.
(3) No Laws in place means no long-term planning for improving the context and economics of theseindigenous places resulting in haphazard mushrooming of structures within the historic settlements
hence damaging their aesthetic value overtime and also impacting the general condition of
infrastructure which falls below livable condition overtime.
(4) Prolonged non-maintenance and neglect has taken its toll and many of them have turned structurally
unsafe to be put to human use, due to a number of factors like :a) Poverty as there are no subsides/incentives for maintaining such heritage,b) Scarcity of wood as most of the forest cover has already been lost and there are no regulations formaintaining forest supplies for upkeep of such settlements,c) Lack of skilled artisans and no regular maintenance and general living inconvenience due to whichmore and more people are leaving for a life in the cities.
(5) There exists no formal documentation of the settlements and thestructures that exist, although some of it has been documented byresearchers and historians(6) The repairs and maintenance that happens is more cosmetic as the
skilled craftsman are hard to find, due to which more harm than
good happens to these centuries old structures.
(7) Such settlements are rooted to their settings and should beconserved as a whole but sadly modern constructions anddevelopments threaten their very existence.
(8) Absence of a planned sustainable development model for tourism
and other activities as it holds potential of being developed as ecotourism sites.
(9) Lack of motivation and support for trained craftsman to carryforward traditional knowledge.
A major chunk of India’s heritage in the indigenous regions with theindigenous communities is still undocumented and remains to beresearched upon and rescued. Sites comprising of indigenous settlements
and communities, petroglyphs, historical artefacts etc. are often
destroyed unknowingly during infrastructure development or Fig 13. Someshwar Devta
construction activities due to lack of knowledge and proper laws with Temple at Mukhba after being
regards to its management.
painted with synthetic paints
and cosmetic additions
References
Rautela, P., et.al.: Housing Report: Timber-reinforced Stone Masonry (Koti Banal Architecture) of Uttarakhand and Himachal Pradesh,
Northern India. World Housing Encyclopedia, India (2008) ( https://www.world-housing.net/wp-content/uploads/2011/08/1501.jpg)
Thakkar, Jay & Morrison, Skye. (2008). Matra: Ways of Measuring Vernacular Built Forms of Himachal Pradesh
Nirmal Sengupta, Springer (2019) : Traditional Knowledge in Modern India
Mishra,M.(2021) Dehradoon An Illustrated Journey of a City (1st ed). Copal Publishing Group, India
Handa, O.C. 2009. Himalayan Traditional Architectur e. New Delhi: Rupa & Co .

14

IndiaChallenges faced during restoration of Durbar Hall, British Residency in Hyderabad, India
Sneha Borate

INTRODUCTION
The current Osmania University College for Women (OUCW) in Hyderabad, was once known as the British
Residency. The British residency complex comprises Durbar Hall, the main residence for the British Residents
and many other heritage ancillary structures like servants' quarters, barracks, gardens, cemetery, gates, etc. The
construction initially took place between 1803 and 1806 under the direction of James Achilles Kirkpatrick, thefifth British Resident to Nizam's Government. Subsequent Residents expanded and developed the Residency
complex over time. The Nizam oversaw periodic building construction and interior refurbishments. The
architecture of the Durbar Hall showcases a Palladian or Neoclassical style, adorned with English furnishings
sourced from London's Carlton House, the former residence of the prince Regent. Some of the building
materials such as I sections, floor tiles, and metal ceiling panels were imported from England. In 1949, as the
British departed Hyderabad, the decision was made to hand over the Residency Campus to the Women'sCollege of Osmania University, which was established in 1924. Since then, the Residency buildings have been
subject to ad hoc modifications and adaptations to suit the needs of the Women's College. Following its
nomination to the World Monuments Watch List, a conservation management plan was developed for thecomplex, leading to the commencement of the restoration of the Durbar Hall in 2015.
CHALLENGES
This report focuses on the challenges encountered throughout the execution of the restoration of historic
wooden components of the British Residency in Hyderabad. The issues identified are interrelated and hence
need to be looked at together.
Organic Nature of Wood and Accelerated Deterioration
British Residency is a composite structure consisting of stone andbrick masonry along with wood. The organic nature of wood meantthat it reacted sensitively to changes in its environment, making it
more prone to decay and deterioration compared to inorganic
materials like stone, brick and metals. These issues arose from avariety of factors, including prolonged environmental exposure,
infestations by termites and other pests, and destructive fungal
attacks. This vulnerability added an extra layer of complexity to theconservation and restoration efforts for wooden components in
British Residency. The lack of maintenance also took a greater toll
on historic wooden components leading to significant deterioration.
Without proactive maintenance, even minor issues escalated into
extensive structural problems. Changing weather patterns andincreased humidity levels in certain areas further accelerated the
decay and degradation of the historic wooden components.
A significant number of historic wooden members serve as structuralmembers embedded within or supporting the masonry. As a result of
all of the above factors, wooden members deteriorated faster than themasonry structure. Due to severe deterioration in situ repair of thesemembers was not possible in most cases. Therefore, the restorationof the historic wood required careful dismantling and subsequent
reconstruction of the surrounding historic masonry, which could
have otherwise been repaired in situ.

Sneha Borate, India
15

Rotten wooden joists

Deteriorated wooden panels
supporting papier mache ceilingIndiaChallenges faced during restoration of Durbar Hall, British Residency in Hyderabad, India
Characterization and Sourcing of Historic Wood
Historic flooring in Durbar Hall consisted of plain teakwood boardings and a distinctive parquet bordercomprising of plain as well as black wooden pieces. While a few pieces from the parquet border showed severe
signs of deterioration and decay, many pieces were also missing. Geometric patterns and existing wooden
pieces from the parquet border were examined to determine the restoration approach for missing wooden
pieces. Upon initial visual inspection, it seemed that the black wooden pieces belonged to a distinct woodspecies; however, the species of this wood could not be identified. Although the species was speculated to beebony, no archival records or local flora substantiated this hypothesis.
Finding suitable wood of a similar species and quality as the original, especially if it is rare or not readily
available, proved to be difficult. Consequently, a decision was made to match the historic pieces bytransforming teakwood pieces into ebony counterparts through the application of black colour.

Process of restoration of a parquet border
Restoring severely deteriorated wood, ensuring integrity but compromising authenticity
With the collapse of the beam supporting the Madras terrace roof in theWestern Oval Room, the project team was faced with the decision ofwhether to replace the beam with a new one or repair and reuse as muchof the beam as possible. After a thorough examination of the conditionof the old beam, and discussion with structural experts and carpenters, it
was concluded that the good parts of the old beam would be reused tothe maximum possible extent and new wood will be added to it tocomplete the beam to the required size.
A similar methodology was followed while conserving other woodenbuilding components as well; however, the approach had to be adapted
as per the context, significance and condition of wooden members. Thiswas particularly critical in cases of structural members. The following
order of approaches was used.
1. Retrofitting historic teak wood using recycled teak wood and/or new
wood (used in the case of the mentioned beam)
2. Replacing historic teak wood with recycled or new teak wood
3. Replacing historic teak wood with recycled or new other easily
available species
4. Replacing historic teak wood with I-sections and other materials

Retrofitted beam

Retrofitted beam in place

It was realized that due to the severe condition of wooden members because of their organic nature andaffordability and availability of teakwood, approaches 2 and 3 were exercised more. This ensured structural
stability and sustainability and affordability but did compromise on authenticity to various degrees.

Sneha Borate, India
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IndiaChallenges faced during restoration of Durbar Hall, British Residency in Hyderabad, India
In the instance of the mentioned beams, they were retrofitted and reused. As time passed, cracks appeared in
the roof above. To provide extra support, I sections were introduced. These additions kept the original beams
in position but made them functionally unnecessary. This lead to exercising approach 4 more in the following
conservation strategies.

Additional support of I sections added to the system of wooden beams

I sections being used to replace

Authenticity vs Sustainability
The restoration journey of the historic wooden members prompted a contemplation regarding the balance
between sustainability and authenticity. As the restoration process unfolded, the fundamental question
emerged: What holds greater significance, the preservation of authenticity or the embrace of sustainable
practices? The restoration process extended beyond just material choices.
1. Procuring specific wood species from far away - Obtaining particular wood species from distant locations
with the aim of replicating the original historic wooden elements might not align with sustainable
conservation practices. While the intention to maintain historical authenticity was there throughout the
project, several ecological and environmental factors warrant consideration when evaluating the viabilityof such an approach.
2. Forests as part of the supply chain for timber - Wood is the only significant building material that isgrown, however growing and processing wood for construction is a tedious process. Trees, the primarysource of wood, require a considerable span of time to mature. The potentially deleterious consequences ofexcessive deforestation and indiscriminate tree felling for construction purposes become evident whenscrutinizing the principles of sustainable conservation. These practices can lead to deforestation, aphenomenon marked by the widespread removal of trees without allowing for adequate naturalregeneration.
Lack of Expertise and CraftsmanshipThe process of reviving the Residency's historical
grandeur required craftsmen who possessed anunderstandingof
traditional
woodworking
techniques. However, identifying such skilledcarpenters proved to be a challenging task. Various
strategies were employed to address the shortage ofskilled carpenters. Collaborative efforts were
initiated with local vocational schools and artisan
communities to identify and train individuals who
displayed a keen interest in traditional
woodworking. The recruitment of skilled carpentersfrom neighbouring regions was also explored.

Carpenters reproducing missing wooden posts

Sneha Borate, India
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IndiaChallenges faced during restoration of Durbar Hall, British Residency in Hyderabad, India
Achieving Uniform Surface Finishes – Aesthetic Dilemmas and Preservation
Stripping away numerous layers of later-added paint from historical wooden members posed a challenging
task. This process frequently resulted in unintended harm to the wood's surface during the cleaning process.
Varied approaches were required for distinct surfaces, influenced by factors such as their placement within thebuilding (whether internal or external), the functions of the wooden components, and the number of paintlayers to be removed.

Different techniques used for removing multiple pain layers
Achieving a match between the restored
surface finish, whether it was paint or
polish, and the historic original presented
a complex task. This difficulty arosefrom factors like restored and retrofitted
areas, whether the surface was inside oroutside, and the direction it faced (suchas the southern facade getting discoloredfrom sunlight.

Process – Finishing layer of flooring

Samples for final coat forlouvers

Samples for final coat for
floor

Louvers Southern facade

Lack of documentation of conservation works for reference
As mentioned above, wood deteriorated faster than non-organic
materials, leading to more frequent restoration. However, earlier
repairs and restoration were carried out in a disorganized manner,
only when necessary, without considering long-term conservation.
We noticed that various parts like floors, doors, and windows were
fixed or swapped with different types of wood, but there were norecords of these actions. We only discovered these changes during
the restoration process, without any documentation. Developing a
conservation plan was tough because we didn't know when thechanges were made, what kind of wood was used, and how to
improve upon past fixes without reversing them.

Sneha Borate, India
18

Earlier repairs – Wooden piece painted
black to replace original colored woodIndiaChallenges faced during restoration of Durbar Hall, British Residency in Hyderabad, India
CONCLUSION
In conclusion, the restoration of the historic wooden components of the British Residency in Hyderabad poseda series of intertwined challenges. The Residency's composite structure, combining wood with stone and brick,highlighted the organic nature of wood, rendering it susceptible to decay and environmental changes compared
to inorganic materials. Factors such as prolonged exposure, pest infestations, and fungal attacks complicatedthe restoration process, exacerbated by the absence of proper maintenance. This fragility necessitated careful
dismantling and reconstruction of wooden components amidst the masonry. The quest to restore authenticity
while ensuring sustainability raised fundamental questions about the balance between historical fidelity andenvironmental responsibility. The shortage of skilled craftsmen, achieving consistent surface finishes, and theabsence of documentation further added to the intricacies of the project. Ultimately, the restoration effort
highlighted the challenges of preserving history while adapting to modern concerns.

Sneha Borate, India
19

Indonesia

Heritage Restoration as part of Traditional and Vernacular Construction TechniqueTransmission in Indonesia
Galih Sekar Jati Nagari

Heritage restorations (or revitalization or rehabilitation) in Indonesia are mostly conducted by central and local
government. This involves participation and cooperation with experts from different disciplines such asarchaeologist, architect, engineer, chemist, etc. to craftsmen including stonemason, carpenter, and brickmason.
It starts from preparation, work, and evaluation. Those involved experts and craftsmen can be part ofgovernmental staffs or outsourced persons. The persons who will be participated are professionals and skilled intheir own field.
Heritage restoration in Indonesia usually divided base on the main material or component of the heritage
construction, i.e. stones, woods, and bricks. Heritage restoration for wooden architecture as well as the othercomponent construction involves skillful staffs including carpenters. They were recruited by our agencies in the
Directorate General of Culture from several restoration projects to become regular employees. They can recruit
more craftsmen to participate in the project if necessary. There is different mechanism for heritage restoration
conducted by local government agencies. Because they don’t have competent employee, they usually ask ouragencies for assistance and collaboration, or the usually use third party companies to conduct the restoration
projects. The companies have to be independent, they can hire experts and skillful craftsmen.
As mentioned before, those craftsmen who involved in wooden heritage restoration are skillful persons in theirfield. They gain their expertise of carpentry from experience or transmitted from generation to generation. Mostor probably all of them don’t get those knowledge from formal education. The common carpentry works inIndonesia related to transmission. The craftsmen will bring their relative to assist them and to become apprentice,and from the projects they can transmit the knowledge. As well as in the professional works, seniors will do theguidance and ask juniors to assist them during the restoration. The mechanism of carpentry works especially inwooden heritage restoration can be contributor in the safeguarding of transmitting traditional technology.
Case Examples in Yogyakarta:
1. Rehabilitation of Dalem Prabeya• traditional Javanese construction, part of Yogyakarta palace complex, built in 1916 and still functioning
as palace’s royal kitchen• the project was conducted by Regional Office for Cultural Properties Preservation in Yogyakarta
Special Region Province in 2016
• semi-major restoration, repaired damage on the roof that can lead further damage to other parts of thebuilding• involved senior and junior staffs and an outsourced carpenter• several senior staffs were carpenters before joining the agency

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Indonesia

Picture 1. a senior staff demonstrated how to replace girders by lifting the roof
Source: Regional Office for Cultural Properties Preservation, 2016

Picture 1. a senior (carpenter) worked together with a junior staff for replacing ceiling braces
Source: Regional Office for Cultural Properties Preservation, 2016
2. Rehabilitation of Grhasia Hospital Pendhapa• a modern vernacular building from 1930s, part of a hospital in Sleman Regency, Yogyakarta• the project was conducted by Cultural Agency of Yogyakarta in 2018 with a third party company• semi-major restoration, repaired damage on the roof that can lead further damage to other parts of thebuilding• the company involved skillful carpenters or craftsmen both seniors and juniors• they also competent for building traditional Javanese house, and took part in several restoration projects
in Yogyakarta palace21

Indonesia

Picture 3. skillful workers demonstrating replacement of new girder
Source: Galih Nagari, 2018

Picture 4. skillful workers demonstrating replacement of new rafter
Source: Galih Nagari, 2018
Issues:1. The safeguarding of traditional or vernacular wooden buildings have not been a major concern for many
heritage experts. Most of traditional wooden buildings being safeguarded are grandiose architecture
related to religion and palaces, other buildings such as common or communal houses haven’t been
considered as part of tangible heritage. Traditional technology including wooden architectures aremostly part of intangible heritage inventory. Central and local government can facilitate heritage
restoration projects. In this case, due to the lack of designation and concern of vernacular woodenbuildings as tangible heritage, they don’t have base to initiate the projects.
2. New system doesn’t allow each agency to recruit staff by its own, then agencies can’t enlist certain
competent workers depends on their needs.
3. Central and local government, as well as other institutions often conducted heritage restoration with
community participation. But the availability of skilled carpenters or craftsmen are decreasing. It is hardfor governments or other institutions to find craftsmen from community and to learn about theirknowledge.

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Indonesia

General Recommendation:
1. We need to follow up regulation for heritage restoration and conservation to put in traditional knowledge
and community participation by making guidelines or standard operating procedure.
2. Cultural agencies or any institutions need to engage communities or competent outsourced craftsmen as
part of their traditional heritage restoration projects. By participating, agencies and communities canlearn together about the knowledge of traditional buildings. Youngsters from community or agencies
can be involved and get the experience from senior craftsmen, then the knowledge can be transmitted.
3. Conducting more technical training for young professionals in heritage restoration with detailed
workshops and include traditional knowledge as part of the learning material.
4. Many communities today prefer modern materials and technique to traditional or vernacular wooden
construction, then the craftsmen change their skill and can’t transmit their knowledge. To prevent theextinction in this urgent situation, cultural agencies need to conduct more detailed documentation orrecords of traditional building knowledges in every area in Indonesia, including the oral knowledge,
practices, even the rituals. If there is absence of any particular tradition, it can be revived.
Traditional heritage can belong to both tangible and intangible heritage and need to be safeguarded. It’s notnecessary to differentiate them. Experts need to think more holistic to preserve wooden heritage because it is not
only about the physical elements but there is also traditional knowledge lie in it. Transmission of traditional
technology occurs during heritage restoration works. Thus, restoration of wooden architecture as traditional orvernacular heritage conducted by cultural agencies can be a great way to safeguard our heritage.

References:
Cultural Agency of Yogyakarta. 2018. Grhasia Hospital Rehabilitation Report. Yogyakarta: Cultural Agency
of Yogyakarta.
Education and Training Center of Ministry of Education and Culture. 2018. Technical Training Module ofCultural Heritage Restoration for Cultural Heritage Conservators. Jakarta: Ministry of Education andCulture.
Regional Office for Cultural Properties Preservation. 2016. Dalem Prabeya Rehabilitation Report. Yogyakarta:
Regional Office for Cultural Properties Preservation of Special Region of Yogyakarta Province.

23

Iran

Issues and Needs Identified in the Restoration Process of Ali Qapu Mansion in Meidan
Emam World Heritage Site (Iran)
Atefeh Amraei

Ali Qapu Palace (or Ali Qapu mansion) is one of the important historical elements located in Meidan Emam.
This building was gradually built between 1617 and 1659 by Shah Abbas I in six floors. The restoration of
the pillared hall of Ali Qapu was done in different years, starting in 1964. Continuing the previous measures,the restoration and strengthening project of the pillared porch of Ali Qapu was carried out from 2005 to 2019by the Meidan Emam World Heritage office under the supervision of the General Directorate of World
Heritage Site and the Iranian Ministry of Cultural Heritage, Tourism and handicrafts. At that time, due to thesignificant worn-out of the wooden columns of Ali Qapu Hall, as well as the fractures created between thecolumn and the capital and the aggravation of the situation due to atmospheric factors, there were noticeable
structural problems that required immediate action. Because the lack of stability of the columns had led tothe movement of the porch to the north. Considering that at the time of the project, the Disaster Risk
Management Plan for the property was not prepared, it was necessary to assess the structural condition of
the hall and prepare a preservation plan and stabilize the wooden structure. This work was done by aprofessional team in several stages, which included strengthening the wooden columns and their bases,
cleaning and strengthening the wooden decorations of the ceiling, and rebuilding the wooden fences of thehall.

Picture1. Geographical location of Meidan Emam World Heritage site in Esfahan, Iran

Picture2. (Left) View of Ali Qapu Palace on the west side of Meidan Emam (Source: Meidan Emam World Heritage Office archive) Picture3.
(Right) 3D model of Ali Qapu's pillared hall (Source: Meidan Emam World Heritage Office Archive)

The main problems and challenges identified regarding this building are summarized in the following table:
Table 1: Identified problems and needs regarding the wooden structure of Ali Qapu's pillared hall

Problems

Needs

Structural Factors
Instability of wooden structure
Reinforcement of worn wooden columns
Exhaustion of wooden columns and insufficient strength
Natural Factors

24

Iran

Problems
Needs
Climatic changes and the expansion and contraction ofUsing protective layers
wooden structures due to extreme cold and heatControlling the climatic factors
Atmospheric factors such as rain and dust
Human Factors
Crowd of visitors and increased risk of destruction ofControlling the number and behavior ofstructures
visitors and continuous monitoring
Development of Disaster Risk
Lack of fire extinguishing system in case of fireManagement Plan
Biological Factors
Biological degradation of wooden structure of the roof
Repairing destroyed structures anddue to the activity of termites
preventing the activity of termites
The presence of birds and damage caused by droppings
Non-invasive and nature-friendly methods
on the ceiling decorations
to prevent bird nesting like using passive
elements
Biological factors and their silent activity, such as insects,
Biological control of insect attack andwood-eating beetles and termites
biological protection
Removing the basic need of insects
The destruction of wooden decorations and paintings
Continuous restoration of decorations byremoving the destruction factors and using
protective layers
The loss of the Layeh-Chini decorations on the columns
More investigation is needed
and the lack of sufficient evidence for their restoration
Pests’ resistance to pesticide
Integrated Pest Management (IPM)
1- Structural problems, including the lack of stability of the columns and the porch structure: The
strengthening of the wooden columns of the porch was successfully completed as one of the most complex
stages of this project. This work was done by taking down the desired columns with protective and security
measures and carving and emptying the inside of the column and installing an iron beam inside it in order tostrengthen the column, correct the bending of the column and install it again. In addition, due to the column
destruction and subordination corrosion under the columns and the subsequent settlement of the columns
and the roof, these parts were strengthened by creating a resistant foundation.

Picture 4, 5, 6, 7, 8: Restoration and strengthening of wooden columns (source: Meidan Emam World Heritage Office archive)

2- Natural problems caused by climate change: Due to the intensification of climate changes in recent
years and the abnormal increase and decrease in temperature, the process of contraction and expansion
caused by temperature changes damages the structures and wooden decorations of the hall. Also, the rain
and its penetration from under the roof causes damage to the wooden decorations and the roof structure
through gradual decay. This issue can intensify the activity of biological factors.
3- Human problems: Meidan Emam of Esfahan is one of the most visited historical monuments in Iran,and many domestic and foreign tourists come to visit it every year. It seems that due to the age of the building
and the vulnerability of the decorations, paintings and wooden columns, the number of visitors to the Ali
Qapu mansion needs more control and supervision. In this regard, the need to develop a Tourism
Management Plan is strongly felt. In addition to this, the building is exposed to risks such as fire, which is

25

Iran

still being protected with fire extinguishers, and due to the large number of tourists, this issue can be very
dangerous. In 2021, a draft of Disaster Risk Management Plan for Meidan Emam has been prepared, but it
has not yet been implemented. Apart from this, the placement of this property in the urban context has
exposed it to all kinds of development and damaging projects.
4- Biological problems caused by the activity of insects and bird droppings: one of the biggest challenges
that the Ali Qapu building is currently dealing with in terms of wooden structures and decorations is theactivity of insects, especially wood-eating beetles and termites, which seems to be in a poor controlling
condition. Despite the structural repairs, the existence of these insects is destroying the wooden columns andthe roof structure, causing the instability. Measures have been taken in this regard, but none of them havebeen effective so far. These damages are especially detected during the restoration of decayed parts. Due tothe historical value of the Aali Qapu’s roof, and the use of plantain wood and colorful decorations andluxurious gilding, it is unfortunately not possible to separate, treat and re-install it. In addition, the use of
insect controlling methods such as spraying and injection of poison is not effective due to the depth ofpenetration of the insect. Also, due to the dust in the city of Esfahan and the atmospheric factors, the existing
solutions are not responsive, so currently, no suitable treatment has been found to solve this problem.
Moreover to the issue of pests, nesting of birds or their droppings also damages the decorations andappearance of the roof.

Picture 9 and 10: Holes and damage caused by pest activity (source: Meidan Emam World Heritage Office Archive)

According to the stated problems, I have concluded the following needs:
Requirement 1: Implementation of the Disaster Risk Management Plan (DRMP): One of the problems
that has led to more exposure of the property to the risks is the lack of implementation of the Disaster Risk
Management Plan. For this reason, it is necessary to implement the risk mitigation program, including
reducing the risk of fire or monitoring development activities, with the cooperation of institutions such as
the municipality and the fire department as soon as possible. Also, it seems that attention to the current
conditions of the property and the risks caused by biological factors should be specially seen and reviewed
in the DRMP of the property. The immediate action in this regard is strongly needed.
Need 2: Biological control of insect attack and biological protection: due to the complexity, extent andworsening of the problem of the presence of wood-eating beetles and termites, the formation of a professionaland specialized team in this field and the use of experienced domestic and foreign consultants are strongly
needed. In this way, the type of pests and damages can be accurately identified and appropriate treatment
can be started. One of the basic needs of this work is to identify an effective substance that can prevent thepenetration of insects and moisture by stabilizing the top layer of the wooden elements.
References:
General Directorate of World Heritage Sites, Ministry of Cultural Heritage, Tourism and Handicrafts of Iran.
2021. “Management Plan of Meidan Emam”
General Directorate of World Heritage Sites, Ministry of Cultural Heritage, Tourism and Handicrafts of Iran.
2021. “Disaster risk management plan of Meidan Emam”
Meidan Emam World Heritage Site. 2019. “Report of restoration and preservation plan of Ali Qaou mansion”

26

Kiribati

Issues faced in the preservation and revitalization of Wooden built Heritage in Kiribati:
Case study – Preserving and Reviving Maneaba in South Tarawa,
Tawake Eriata

The ‘MANEABA’ is a traditional meeting hall for I-Kiribati and it is a great architectural workof I-Kiribati ancestors. A traditional maneaba has a huge roof formed from coconut andpandanus woods, held together with coconut string. It represents traditional features of creativity,
both in architectural form and structural design. It also portrays many types of unique traditional
artwork, skills and culture for Kiribati such as local bindings, weaving and building skills, and a
traditional leadership system known as ‘te maneaba system’. In Kiribati culture, the building(called ‘Te maneaba) is very unique and common in all islands but the architectural form andstructure is vary depending on the skills/knowledge specifically from a family or village. It has
cultural significances that related to the customs and cultural norms on the island.
Brief background of the case study – Tokanuean Auriaria maneaba, Eita – South Tarawa
Tokaniuean Auriaria maneaba is the only place on the island to perform a traditional welcoming
to guest and a ritual practice known as ‘katoka bunna’ (protection from spirit effects). A place
for cultural festivals and for elderly to meet for decision-making.
Since the early nineties, the building was constructed in its original architectural form and local
structural design. It constructed using local materials and traditional skills and knowledge, as
well as cultural practices associated with. People of Eita village continue to engage and respect
the traditional leadership system and traditional customs of this mwaneaba. The property is wellmaintained and preserved through regular maintenance from a responsible family known on thevillage, with the support of village members. Elderly or unimwane of the village are involved in
the management such as reconstruction planning and enforcing the traditional laws of Eita
village.
Unfortunately, later in 1980s people from outer islands migrate to South Tarawa (urban area) andEita was becoming overpopulated by mixed people with their own cultures. People living on Eita
are not interested to participate in the preservation of Tokanuean Auriaria maneaba and so thedeterioration of this building has increased. In 2019, the building was completely collapsed.
Since then, the government encouraged local people in Eita village to revive this tangible
heritage including intangible heritages associated with. In 2022, the reconstruction work was
done.

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Kiribati

Issue #1: Lack of community participation in restoration work
The restoration work for the maneaba usually carried out by locals in every three to five years.
The activities involve replacing old thatches with new ones to protect local timbers fromexposure to heat and wet. In the past, the timbers can remain strong within almost hundred years
if maintenance to local thatches was done regularly.
In the case of restoration activities for Tokanuean Auriaria maneaba, the involvement of local
communities has become a major issue since people have lost interest to participate, given thatthe majority of people living on Tarawa came from different islands.
On the other hand, due to the lack of support from community members, local architects locally
named as “taan kateitei” would feel demotivated and think that their skills and knowledge wereuseless. This may result in the lack of interest for knowledge holders in restoration orreconstruction activities.
The government through its three sectors, Ministry of foreign affairs and immigration, Ministryof infrastructure (carpenter division) and Ministry of internal affairs through the culture andmuseum division are now responsible for the maintenance and restoration work of this built
heritage. Government representatives led by the culture office engaged locals from Eita village
and knowledge holders to work together in the planning and implementation phases to restore
this unique building and to maintain the intangible heritages connected to it.
Issue #2: Reconstruction of built heritage - loss of authenticity
Another major issue is the change to the original structure and features of the maneaba building
including materials used for construction and its value to the community. A traditional maneaba
is not just about the building design but more importantly is its cultural values and its purpose forpromoting peace and stability at the community level.
In South Tarawa, only in Eita village that the maneaba was constructed in traditionalarchitectural skills with local materials while in other villages, maneaba were changed tocontemporary or modern designs. In the 1990s, local maneaba in almost all villages on South
Tarawa have been demolished given the fact that people could not able to provide new local
thatches to preserve the local timbers, which causes the timber to rot from being exposed to heat

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Kiribati

and excess moisture. During these times, the reconstruction plan has been changed as elders withmembers of local communities decided to construct a modern maneaba. As a result, tangible
heritage and cultural practices were lost. The current situation is that most of the maneaba on
South Tarawa were built with imported materials and used for church gatherings and parties,
except for Eita village.
The original and local structure:

The new modern structure:

The maneaba in contemporary or modern structures and features are not authentic. The cultural
significances of the built heritage with cultural practices associated with the traditional
procedures of constructing the maneaba have lost. These includes the intangible heritages such asarchitectural skills, weaving and binding skills and cultural festivals.
Recent activities for preservation and revitalization of wooden built heritage led by the Culture
office is focussed only on traditional Maneaba such as ‘Tokanuean Auriaria maneaba’ in Eita
village and ‘Te Umanibong maneaba’ located at the Museum compound. However, the challenge
faced is the conflict between local builders (knowledge holders) and Architects from thegovernment sector (those who graduated with architectural modern skills/knowledge). Localarchitects felt demotivated to work with government architects thinking that theirskills/knowledge are not considered and undermined. This would result in the delay of
restoration or reconstruction work and the lack of interest by local architects in the activities.

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Kiribati

Issuse #3: Poor Documentation and Transmission of traditional architectural skills andknowledge
It is a concern that the documentation of the complete traditional procedures for building the
maneaba is very poor. In the past, knowledge holders transmitted their skills through informal
verbal transmission and hands on practical training within their family or village. The
documentation through video producing is a new method and some knowledge holders would
not accept this. In some instances, it is a cultural taboo that knowledge holders must not share
their skills/knowledge for it is a family secret. They have to follow the traditional protocol orrules for sharing these unique skills.
Therefore, it is a challenge we faced now that documenting these traditional architectural skills
and knowledge are not that easy. Another issue is that the information we currently have in themuseum library are not complete and need further work to complete.
Needs to address the issues:
Establishing a management plan for preservation and revitalization of wooden built
heritage
The need to establish a management plan or guidelines for preservation and restoration activities,
and to conduct a proper consultation to local communities and other bodies that may involve inthe planned activities, in order for them to understand their roles and responsibilities. This isimportant to ensure that the implementation of planned activities would goes smoothly andachieved.
Support for collaboration between local builders and government architects
This is indeed required given the current situation where the conflicts is always happen between
local builders and government architects throughout the restoration work to the Maneaba andeven during the community consultation for preservation of the maneaba in South Tarawa andalso in outer islands. The Ministry of internal affairs through the culture and museum division
would encourage architects from the Ministry of infrastructure to respect the traditional values
and methodologies for the maneaba construction and to motivate local builders and appreciate
the value of their skills and knowledge.
Capacity building
A formal training is needed for culture and museum staffs to learn and acquire skills andknowledge related to preservation, conservation and managing of wooden built heritage andother necessary skills so they can apply in their work. This is also important so they can sharewith knowledge holders and locals who may involve as they are the government sector that leadthese activities at the national level.

30

Lao PDRRESTORATION OF WOODEN STRUCTURE‟CASE OF ROYAL PALACE MUSEUM OF LUANG PRABANG ”

By: Ms. Orlany Phanthavong
Department of Heritage
Ministry of Information, Culture and Tourism Lao PDR

1. OUT LINE HISTORY OF THE PALACE BUILDINGThe Royal palace was built between 1904 and 1909 as a residence for King
Sisavang Vong and his family. The building was commissioned by the French colonialadministration to enhance the loyalty of the king and to ensure the continued French
influence in the region. By the 1930 s the palace appeared at its best in keeping with theoriginal design intentions, providing maximum comfort to the royal family in the warm
tropical climate.
When king Sisavang vong died in 1959, he was succeeded by his Sun Savang
Sattana. Subsequently, in the course of a few years several alterations and additions
were made to the palace. A subsequent period of modernization took place in 1968 on
which occasion „glass bricks‟ were put up in several places blocking the original arched
opening of the ground floor porches. As a matter of more prominence and were prestige
the stair and open terrace in front of the main wing were covered with marble flags.
During a short period from 1958 to 1960 the exterior facades were color washedwith a pale ochre hue, possibly as an effort to subdue the glaring reflections of bright
sun light from the otherwise white washed facades. On the front facade the stone
revetment has been washed with cement giving a dull gray appearance.
As a result of more recent repair works the top of the spire was renewed in 1976
after storm damage. In 1990 the gutter and fascia boards a long the front of the main
wing was renewed, unfortunately not matching in colour and detail with the original
structure.
The compound of palace, taking up an area of about 35.000 square meters, issurrounded on call four sides by a high brick wall, plastered and regularly white washed,at least towards the main streets.
The former Boat House, adorned with the royal symbol of three elephants at thepediment, is situated immediately outside the palace compound on the backside
overlooking the Mekong. Unfortunately, this attractive building is presently used asrather inferior store rooms.
The „winter „house and the tennis court date from the period of modernization.
Built as a simple structure and roofed with corrugated asbestos sheets, the building has
no particular architectural merit. likewise the kitchen building, the staff housing , thegarages and maintenance building as well as the guard‟s quarters are constructed
between 1963 and 1975 as reinforced concrete structures in a rather simple design.
These economy building are not included in the actual restoration project, but properly31Lao PDR

maintained, they compose an indispensable part of the total museum environment
providing of the museum.
The Luang Prabang conference hall, situated in the southern corner of the palace
compound, was originally intended to become the reception hall for the coronation ofking savang vattana, but the ceremony was preceded by 1975 revolution. The
conference hall is now used for public meeting and conferences.

2. THE RESTORATION PROJECT
Considering the complexity of restoration plan which presented by the Department ofmuseums and Archaeology, ministry of information and culture, the restoration work for
the Royal Palace Museum of Luang Prabang which funded by SIDA (Sweden) was
conducted in 1992 – 1995 and the main duties of this project were:
2.1 The roof structure
Existing roof tiles, handmade from clay were taken up from the roof slopes andput back in place. The surveyor was direct that each tile was handled with great careand cleaned mechanically with a hard brush to eliminate lichens, possibly in
combination with diluted ammonia, horticultural tar or a similar toxic wash. As many as
30 % were in need of replacement by new tiles of equal format, color and texture. A testarea was set the standard of required replacement and the contract was adjusted
accordingly. Old tiles have been used on outward facing roof surfaces and new tiles
mainly on the surfaces turning towards the inner courtyard.
As plain tiles have nibs which enable them to be hung on the battens nails not
generally used. However, at corners above overhanging eaves in very exposed
situation every third course of tiles have been applied with corrosion resistant nails two
nails in each tiles, to avoid misplacement due to wind pressure
Once the tiles have been stripped from the roof a thorough investigation can be
carried out of rafters and battens. Insect Infected timber or fungal decayed members
have been treated with liquid insecticides and fungicidal solution. The surface havebeen flooded but without causing excessive off causing staining, special attention was
required to all timbers embedded in positioned near a wall. Structural timber (hard wood
“Mai Du” ) in need of replacement have been calculated and accounted separately on
approval by the site architect. All new timber was hard wood and well seasoned.
Cat walks have been laid out under the plane sloping roofs for inspection
purposes and mounting of electrical wiring, altogether 185 running meters including two
ladders to reach the roof above the throne Hall.
All exposed and visible timber under the first floor eaves have been painted withoil based in traditional red brownish color. Existing paintwork which was still intact but
was due for repainting have been washed with soap or detergent and water, and rinsed
thoroughly with clean water. The surface was then be rubbed down with abrasive paper,
rinsed clean before applying undercoat and topcoat. New joinery requires complete
paint system including priming. It was Important that all End grains, edges and faces
were properly coated.
All timber that were exposed at gables and under eaves above first floor level
have been treated twice with an colorless organic solvent preservation and „ teak oil „to substitute loss of substance due to weathering and ultraviolet radiation.

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Lao PDR

Any decayed and structurally weakened timber has been repaired, preferably by
new timber to be sliced or scarped to the original member.
All ridges, his finials were repaired in traditional way by use of hydraulic lime
mortar, lime cement mortar, subsequently were white washed and consolidated withclear lime water. All mortar fillets between the brick vertical surfaces and roof coverings
have been repaired and renew with lime mortar that were allow certain elasticity.
Existing cracks and fissures in masonry were raked out, cleaned and repointed. Gables
and walls above plane sloping roofs were repaired in the same process when
scaffolding was erected. Loose lime have been brushed down, plaster repaired, whitewashed and consolidated with two application of clear lime water.
2.2 Roof drainage
The average life span of 14 gauge zinc sheeting of 40 years were sharply bymany factors , such as bad craftsmanship and atmospheric pollution, to about half of
this period. The actual condition of zinc requires complete renewal. Any work thatinvolves gutters, valleys, downpipes and flashings in zinc was the professional craft of aplumber, not generally found in Luang Prabang.
Stripping off the fabric of existing gutters, valleys, zinc flashings and fascia
boards have been punched below the possible. At best felt was recommended as anunderlay for new zinc flashings allowing free movements from thermal expansion.
All gutters, valleys and flashings have been renewed in the appropriate zinc.
Defects in the construction have been adding a tie rod between the boards and thefascia by every 1.80 meters to secure half round gutter and fascia in correct position toprevent sagging when gutter is full of water.
Screen or strainers to prevent debris from clogging leaders have been put to use.
Fascia boards were replaced.
Valley gutters of zinc were renewed. Existing timber boarding have been
examined for any sings of decay before new zinc sheeting was applied.
2.3 Central spire and pediment above main entrance
The extend of structural repairs of spire were determined after the scaffolding
has been put up. Renewal of structural timber and cladding have been determined inliaison with the site architect.
Loose varnish, paint and gold leaves were brushed away. Paint which wasseriously decayed has been rubbed down with abrasive paper. Existing surfaces which
was still intact but was due for new treatment were washed with soap to provide evenand clean ground for application of gold leaves. Lacquering according to traditional
methods by used of „Nam Kiang‟ as a ground for application of gold leaves; earlyordering and procurement required.
The elephants and snakes (royal ensigns and symbols for the protection against
any evil respectively) at the pediment have been coated with gold leaves in similar way
according to established traditions, the setting treated with oil paint added traditional red
pigments.

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Lao PDR

2.4 External facades.
All gables and external facing above plane sloping roofs were repaired when
scaffolding was erected for renewal of roofs covering. Rake out all old lime pointing form
cracks and fissures, clean repaint; plaster to be repaired with lime mortar, surfaces
white washed and consolidated twice with clear lime water.
Red plastic paint was stripped off from the foundation wall. The surface brushedclean of loose plaster not adhering well to the backing, plaster repairs with lime mortar,
color washing and consolidation of surface with clear lime water. Lower part of leadersof cast iron has been repainted with old paint matching color with the foundation walls.
Brick paving surrounding the palace were repaired with cement, lime .sand
mortar to ensure that they remain watertight. Special attention was needed to faulty
joints between vertical and horizontal surfaces to avoid water percolate foundation Extra
storm water drainage required along facade of new extensions from 1963 ( alternatively, renewal of bad repair work carried out after removal of former stairs to throne hall,obviously water become stagnant here due to insufficient slope towards storm waterdrainage ).
Champa trees growing to each side of the eastern stairway have been cut down
and replaced with „Nam kiang‟ and new gold leave foliation. Old varnish have been
removed and rubbed down by abrasive paper to clean and even surface. Existingglazing repaired, repaired, new sprigs and putty.
Main entrance double leave door : Removal of old varnish, hand scraping andgrinding with abrasive paper to obtain clean and even surface for new treatment with
„Nam kiang‟ priming, undercoat and finishing coat with intermediate abrasion. Renewedof gold decoration according to existing pattern.
Twenty two new iron grilles (lattice work) (mild steel) have been mounted in frontof glazed window at first floor of main wing and extension in replacement of existingones.
All inward opening windows were furnished with drip nose (weather board) andweather brass bar to prevent wind blown rain to penetrate the interior.

Thank you very much

34

Malaysia

Townscape Wooden Cultural Heritage Conservation Challenges
in Kampung Bharu Kuala Lumpur and Kampung Morten Melaka
MALAYSIA
Rohayah Che Amat
Kampung Bharu Kuala Lumpur, a long-established Malay town tucked within the bustling modern city, is aliving witness to the clash of tradition and modernization. This town displays the continuing legacy of Malayarchitectural heritage with its array of traditional wooden dwellings. Kampung Morten Melaka, on the other
hand, is located in the buffer zone historical centre of Melaka, UNESCO World Heritage Sites, and bears theechoes of multicultural influences portrayed its identity over generations. There are obstacles that these twoplaces face in their efforts to preserve their wooden Malay cultural legacy. The complicated backdrop ofurban development demands, shifting community dynamics, architectural integrity, and the requirement forsustainable utilisation necessitates novel preservation measures. The potential loss of cultural heritage sites
such as Kampung Bharu Kuala Lumpur and Kampung Morten Melaka as a result of development pressures
is a legitimate concern. Many historic regions around the world face the issue of striking a fine balance
between maintaining these sites and accommodating urban expansion. While there is always a risk of cultural
heritage being lost due to rapid development, it is also crucial to emphasise that awareness and attempts toconserve history are increasing.
Historical and Cultural Significance of Townscape Heritage
Kampung Bharu was founded as a Malay farming village on Kuala Lumpur's outskirts in the late 19th century
during British colonial authority. The village promoted Malay culture and lifestyle. The Malaysian
government developed a master plan for Kampung Bharu in 1956 to preserve its Malay culture while adding
modern facilities. A 2004 redevelopment plan sought to modernise Kampung Bharu with high-rise structuresand commercial centres. The project was opposed by citizens worried about losing their culture. In 2011, thegovernment created a comprehensive development plan to balance urbanisation and history. The design
includes infrastructural modernization, green spaces, and historic housing preservation. The government
established the Kampung Bharu Development Corporation (KBDC) in 2020 with the KBDC Act 2011(Act733). The KBDC coordinated development and cultural preservation. Development activities focus onpreserving Kampung Bharu's culture and improving infrastructure and services. Community engagement isstressed to ensure citizens' perspectives are heard in planning. Kampung Bharu development plans mustcombine modernization and historical preservation, address land ownership issues, and sustain community
cohesion despite changing urban dynamics.

Figure 1 : Kampung Bharu’s townscape setting (left) and development proposal for Kampung Bharu (right).
Source of photos : https://www.pkb.gov.my/

Kampung Bharu Kuala Lumpur, as a communal settlement for Malay agriculturalists is a testament to thetenacity of tradition in a city that is swiftly modernising. Its continued existence among Kuala Lumpur's
skyscrapers is indicative of its cultural and historical significance. The wooden houses of Kampung Bharu,
constructed on stilts to accommodate to the surroundings reflect the ingenuity of the Malay community. The
dwellings' open layout promotes cross-ventilation, making them suitable for the tropical climate of Malaysia.
The intricate wood carvings that adorn the houses are not merely ornamental; they also convey tales of local
myths, beliefs, and social order. The cultural identity of Kampung Bharu is intricately intertwined with the35

Malaysia
Malay way of life. Its communal spaces, such as the mosque and the market, foster cultural practices,
religious rituals, and social interactions.

Figure 2 : Kampung Morten’s townscape setting (left) and one of the traditional Malay house in Kampung Morten (right).
Source of photos : Malay Mail

As it explores viable development options, Kampung Morten has halted its progress. Urban dynamics impede
comprehensive plan implementation, posing challenges. Kampong Morten has their own identity.
Traditional Malay wooden house. This village is located in the midst of Malacca's cities, yet it retains its
traditional characteristics, such as architecture, decoration, and landscape, among others. The majority ofbuildings are constructed from native wood and have a single-storey. Kampung Morten Melaka provides a
glimpse of Malaysia's maritime history and cultural heritage. During the time of the Melaka Sultanate, thisvillage, which is situated along the Melaka River, grew into a commercial area and residential. The wooden
homes of Kampung Morten have gabled roofs, intricate embellishments, and louvred windows. Thesearchitectural features reflect both local craftsmanship and the influence of the colonial powers that occupied
Melaka in the past. The homes are not static artefacts; they serve as living manifestations of the village's
evolving cultural tapestry. The cultural significance of Kampung Morten extends beyond its architecture.
The village's proximity to the once-bustling Melaka River trade route highlights its historical position as a
hub of commerce and cultural exchange. The riverfront way of life and traditional activities continue toflourish, providing a link to the past while catering to modern requirements.
Wood is fundamental to Malay traditional architecture, symbolising the culture, environment, and technologyof the region. The quantity and versatility of wood have left an attractive and practical architectural legacy.
Malaysia's abundant forests and wood's versatility make it a viable building material. As a result, several
Malay traditional building architectural styles have emerged. Wood's adaptability allows to express
themselves while still building utilitarian buildings, from elaborate carvings that reflect cultural history to
post-and-beam structures. “Rumah Panggung”, or elevated stilt homes, are Malaysia's architectural identity.
These stilt-raised homes are ideal for humid climates because they reduce floods, enhance circulation, andcreate open spaces below. Complex joinery in traditional Malay construction employs hardwood pegs forconnections, demonstrating a commitment to environmentally friendly architecture. Malay culture andbeliefs are depicted on wood for reasons other than practicality. Through rituals and community
collaboration, traditions are integrated into building. The wood connection is imperceptible. It defines anation by connecting nature, legacy, and identity. Wood art in Malay traditional architecture recounts stories,
preserves culture, and leaves a legacy.

Figure 1 : Kampung Bharu’s traditional houses (left) and Malay wooden house architecture (right).
Source of photos : https://sg.news.yahoo.com/kampung-baru (left); Lim, 1991 (right)

36

Malaysia
Envisioning A Sustainable Heritage Conservation Path Forward
Kampung Bharu faces complex issues as it embraces urbanisation while preserving its traditions. Maintaining
its cultural identity while modernising is a tricky balance for the community. Metropolitan aesthetics threaten
overshadowing Kampung Bharu's uniqueness. Development's rising property values could remove long-term
residents due to unaffordability, unravelling the community's social fabric and breaking ancestral links. This
shift could lead to commercialization in common places, undermining generations-old bonds. Economic
factors may persuade locals to sell their properties to developers, changing the kampung's demographics andcohesion. To guarantee critical services continue, strategic planning is needed as urban infrastructure may
buckle under metropolitan lifestyle demands. The environmental footprint is considerable, requiring
judicious development to reduce pollution and preserve green places. During this process, conserving oldwooden buildings is difficult since modernity could change or obliterate architectural heritage. Thechangeover may also attract wealthy people and change the neighbourhood. Community inclusion drives
educated decision-making, solidarity, and avoidance of divisions to manage these complexities. Kampung
Bharu can create a sustainable future that honours its heritage and embraces urbanisation by balancing growthand cultural preservation.
As it preserves its cultural heritage, Kampung Morten faces unique challenges posed by the changing urban
environment. The combination of historical value and contemporary development is complex and requires
thorough study. Its efforts to preserve its culture coexist with urban development. Modernization threatens
to diminish the allure of Kampung Morten. It is difficult to preserve old wooden structures with intricatearchitectural details while meeting contemporary requirements. The delicate equilibrium between
architectural heritage and contemporary comforts calls for distinctive approaches. Investment anddevelopment have the potential to alter socioeconomic dynamics and displace long-term residents. Amongthe challenges facing Kampung Morten is maintaining communal cohesion in the face of changing urban
dynamics. As the state confronts these complex issues, community involvement becomes essential for
inclusive, value-sensitive decision-making. Kampung Morten's unique blend of history, culture, andarchitecture demonstrates how to reconcile modernization and the past in the face of these obstacles.
Finally, the townscape heritage conservation in Kampung Bharu Kuala Lumpur and Kampung Morten
Melaka elucidates the complex interplay between preservation, community participation, and adaptation
measures. Townscape heritage conservation is important not just for the physical preservation of structures,
but also for the preservation of history, identities, and cultural linkages. While there are problems, there iscause to be optimistic that Kampung Bharu Kuala Lumpur and Kampung Morten Melaka may be conserved
for future generations to appreciate and cherish with concentrated efforts, strategic planning, and community
involvement. The conservation of both case studies go beyond the physical structures; it safeguards thecultural practices and social bonds that define the community. The juxtaposition of Kampung Bharu Kuala
Lumpur's urban surroundings with Kampung Morten Melaka's historical and multicultural milieu provides
an intriguing lens through which need to analyse the various tactics adopted to assure the continued presenceof these precious heritage sites.
References:• Abd Malek, M. I. (2018) The Typo-Morphology Analysis in relation to Socio-Spatial
Transformations of Kampong Bharu, Malaysia. In Research Student Conference 2018 Faculty ofTechnology, Design and Environment Oxford Brookes University• Fee, C.V. (1998). The Encyclopaedia of Malaysia: Architecture. Kuala Lumpur: Archipelago Press• Law of Malaysia, Act 733, Kampung Bharu Development Corporation Act 2011
• Lim, J.Y. (1991). The Malay House : Rediscovering Malaysia’s Indigenous Shelter. System.
Malaysia : Institute Masyarakat• Ibrahim, M et al. (2020). Planning Malaysia: Malay Urban Design, Architecture, Conservation and
Heritage. Planning Malaysia Vol. 18 Issue 2• Ujang, N. (2016). The Malay Enclave of Kampong Bharu as a Living Tradition: A place of
uncertainty. Environment-Behaviour Proceedings Journal 1(2):197• Perbadanan Pembangunan Kampung Bharu - https://www.pkb.gov.my/

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Mongolia

Conservation management problems on Bogd Khaan Palace Museum
Ariunzaya Batdorj
The imperial residence of the eighth Jebtsundamba Khutughtu Bogd khaan’s “Green palace” is built between 1893
and 1903, located in capital city Ulaanbaatar Mongolia, it has 20 objects that’s inscribed on the Mongolian heritage
registration information list. In 1924 this palace turned in to Mongolia’s first museum after Bogd khaan died. In 2022
Ministry of Culture initiated 3 of building to restore project because several buildings were restored only once in 1974,
since then there had been issues about documenting and monitoring also maintaining management was not enough.
We focus on Bogd’s winter palace which is timber framed building built in 1910. Wall made with horizontal
wooden boards. This type of building is called Russian influenced built style. In early 1900 Russians started building thistype of buildings, but until 2023 there’s not much architectural characteristic significance research being done. One of thereasons that makes this building valuable is the historic value of the building. Bogd khan lived there for 20 years with hisqueen. Balcony, its architectural style. Bogd khan palace resembles an old capital city that was called khuree before
socialism.

Pic 1. Site’s location

Pic 2. Winter palace’s location

Pic 3. Bogd’s winter palace

In 2023 summer National center for cultural heritage (NCCH) of Mongolia and National research institute ofcultural heritage (NRICH) of Republic of Korea had joint project for the Documentation of Architectural Cultural
heritage continuing since 2014 in Bogd Khaan palace musuem, I worked and participated training course in architecture
team.
During the traditional method measurement we found some serious problems in this building:Conservation management system problem:
Mongolian government funding sources for heritage are not sufficient and our own conservation management system is
not well developed. Heritage buildings are not maintained well under the Stalinist repressions in Mongolia and 1990
Democratic Revolution era. In 1972 first government department called Department for Historical and cultural monument
restoration established and privatized in 1995. In 2020 the Government of Mongolia established Ministry of Culture, afterthat in 2022 Architectural heritage protection department established in National center for cultural heritage under
Ministry of culture. Ministry of Culture now working on main conservation principles for the first time. If funds are
embezzled or misused, heritage sites may suffer from neglect, inadequate maintenance, and lack of proper care. Overtime, this neglect can lead to irreversible damage and deterioration of cultural heritages.
Building construction problem:
Building’s west and east sides of exterior walls are sinked 100-150 mm, which has a serious negative impact onstability. Since it was built there was restoration project done in 1982. According to the restoration report they raised thewest and east sides of the walls at once but didn’t reinforce the foundation. It means there’s serious problems with weakfoundations because of harsh climate melting and freezing and low drainage system causes leaking and it makes land
subsidence. Foundation traditional techniques are not use thick enough stone material.

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Mongolia

Pic 4. Section

Pic 5. First floor plan

Center wall is not sink because this entire wooden building has 6 brick structure stove in center wall for heat the interior
took all loads stable. Upper structure is wooden framed metal roof.

Pic 6. Rain water pipe with no drainage system Pic 7,8. Painting of khuree, Sharaw 1912
A painting by Marzan Sharaw 1912 shows small blue barrels placed under the rain gutters of the Winter Palace(Pic 7.8). But now there is no gutter and drainage system. In Pic 6 there is plinth crack around a building foundation. Rainwater and harsh climate could be main cause of wall sink.
The Utilization Management problem:
During the measurement there were excessive numbers of visitors 20-30 tourist every 30-40 minutes in abuilding can lead to negative impact on stability, which poses safety risks. Wooden floors were shaking, museum
manager answered they only set limits on special event days in a year. In the event of an emergency, such as a fire or
evacuation, overcrowding can impede the safe and swift movement of people, potentially causing injuries or fatalities.
There is no dedicated post for a separate building for the museum, as there are very few people working there.
The treasurer documents the current situation and informs the Ministry of Culture.
For the musuem main 3 buildings are under restoration. It’s important for the museum that theyshould have theirown authority to use museum income for consevation.

39

Mongolia

References:
1. Winter palace restoration report 1982, Department for Historical and cultural monument restoration
2. Documentation of Architectural Cultural heritage “Choijin lama temple” 2019, National center for cultural
heritage (NCCH) of Mongolia and National research institute of cultural heritage (NRICH) of Republic of Korea
Source:Pic 1.
https://www.google.com/maps/dir/Parliament+of+Mongolia+%D0%97%D0%B0%D1%81%D0%B3%D0%B8%D0%B9%D0%BD+%D0%B3%D0%B0%D0%B7%D1%80%D1%8B%D0%BD+%D0%BE%D1%80%D0%B4%D0%BE%D0%BD/Bogd+Khaan+Palace+Museum,+Bogd+Khaanii+Ordon,+Ulaanbaatar/@47.9100647,106.9064815,15z/data=!3m1!
4b1!4m14!4m13!1m5!1m1!1s0x5d9692438c74ce17:0xd67030cf142c1b4d!2m2!1d106.9172868!2d47.9205896!1m5!1m1!1s0x5d9693b76a0c4c1f:0xbabf01c6008859b7!2m2!1d106.9070462!2d47.8973418!3e0?entry=ttu
Pic 2. https://www.google.com/search?sca_esv=558536999&sxsrf=AB5stBivw0s8T961dwwPxXR9gEtuhKlRA:1692527764275&q=%D0%B1%D0%BE%D0%B3%D0%B4+%D1%85%D0%B0%D0%B
0%D0%BD%D1%8B+%D0%BE%D1%80%D0%B4%D0%BE%D0%BD+%D0%BC%D1%83%D0%B7%D0%B5%D0%B9&tbm=isch&source=lnms&sa=X&ved=2ahUKEwi02qWhheuAAxWTOnAKHdodB_MQ0pQJegQIDRAB&biw=1
920&bih=933&dpr=1#imgrc=BnRkaquotI58OM&imgdii=Nz6AaPgvOoR0_M
Pic 3. Ariunzaya 2023
Pic 4. Архивйн ерөнхий газар, Зураг төслийн баримтын архив, Богд хааны ордон музей 1974, 8
Pic 5. Архивйн ерөнхий газар, Зураг төслийн баримтын архив, Богд хааны ордон музей 1974, 8
Pic 6. Ariunzaya 2023
Pic 7. Bogd khaan palace museum, winter palace, Sharaw 1912
Pic 8. Bogd khaan palace museum, winter palace, Sharaw 1912

40

NepalVernacular wooden built heritage in Kathmandu: Joinery System, Protection
Challenges, and Preservation Strategies
Arpan Bhuju

Kathmandu, the capital city of Nepal, serves as the political, cultural, and economic
center of the nation. Its name is derives from its ancient wooden buildings, “…..which was
originally and is still known among Newars 1 as Kathmandu, from (kath) ‘wood’ (of whichmaterial it is predominantly composed), and mandi, or Mandan, ‘an edifice, house, or temple’.”(Slusser&Vajracarya, 1980). These classical buildings are renowned for their intricate wood
carvings and artistic sensitivity, reflecting the cultural and artistic traditions of Nepal. However,
over time, many of these wooden structures have been lost, and the city now features a diverse
range of architectural styles.

`
Figure 1 Location map of Kathmandu valley; the left inset map shows the geographical location of Nepal(Ghimire et al., 2018)

Source:The vernacular architecture in the city had been influenced by the environment, choice ofmaterials, and craft activities. It differs from other Asian countries with similar cultures andtraditions, primarily due to the prominent use of two construction materials: timber and brick.
Classical construction rich in physical and cultural expressions, involves load bearing brick wallswith secondary timber frames.
"Kasthamandapa," an illustrious exemplar of the traditional architecture found in the
Kathmandu Valley, stands as Nepal's oldest heritage of wooden structures, dating back to theperiod between the 3rd- 7thcenturies A.D. Distinguished by its fusion of a wooden frameworkwith finely crafted masonry walls, this iconic pavilion was ingeniously built using the timber of asolitary tree. The elaborate carvings adorning its pillars, brackets, and frames are a testament tothe artistry of the era. The exceptional amalgamation of wood and masonry in this unique style
serves as a definitive manifestation of the rich cultural heritage of the Newar civilization.
1

Newars are an indigenous ethnic group in Nepal, particularly known for their significant cultural, historical, andartistic contributions to the Kathmandu Valley and surrounding regions.

41

NepalThough there are various logical and scientificfeatures of the construction technology ofvernacular wooden heritage, such as traditional
masonry brick walls, roof systems, verticalcomponents, doors, and windows, it is the
meticulous wooden joinery that lies at theessence of these structures. Timbers serve as
essential structural elements, meticulously
assembled with special joints for various
connections. This elaborate wooden joinery not
Figure 2 Front façade of Kasthamandapa
Source: (Khabarhub.com.July 29, 2023)

only enhances the flexibility and strength of thestructures but also bolsters their seismic resistance.

Figure 3 Ground floor plan (Bottom) & Section (top) of Kasthamandapa Source: (Bonapace and Sestini, 2003)

42

NepalJoinery system

Figure 4 Connection of Structural elements

Source: (Bonapace and Sestini, 2003)

Wooden built heritage in Nepal is distinguished by its use of timber as the primaryconstruction material. Timbers serve as essential structural elements, including windows,
doorways, purlins, joists, batten, planks, brackets, posts (tham), beams (nina), cornices, andrafters, and struts are interconnected using interlocking joints and secured with wooden pegs
(Chukuls), imparting flexibility and strength to the structures. Intricate wood carvings adorn thepillars, brackets, frames, adding to the aesthetic beauty of the structures. The timber structural
system is not always visible, as the decorative carvings often conceal its essential support role.

Figure 5 Different types of joints used in Newari Wooden built heritage

Source: (Shilpakar et al., 2021)

This meticulous wooden joinery enhances the structures' flexibility, bolstering their seismic
resistance. A variety of woods, such as Gwaichasi (SchimaWallichi), Salla (PinusRoxburghi),
Utis (AlnusNepalensis), and Sal (ShoreaRobustus), are employed, with hardwood species likeSal and Gwaichasi preferred for load-bearing components due to their exceptional strength andtermite resistance, eliminating the need for additional treatments. Commonly utilized joinery
systems include double notched, dovetail (for tying up to inner and outer wall plates),
tabling/scrift (for ridge, purlin, and joists), dog matching (for beam joints), and mortise and tenon(for posts & meth), supported by the widespread use of wooden pegs in traditional construction.

43

NepalProtection Challenges
The people of the Kathmandu valley in Nepal have a rich wooden built heritage that isrenowned for its unique style and structural innovation. Despite the significance of thevernacular wooden built heritage, these structures face various challenges in their protection andpreservation:
Issue 1: Urbanization, Gentrification, and Changing Urban Fabric:

Figure 6: Rapid Urbanization seen in Kathmandu City Source: The Himalayan Times, March 2017

The rapid urbanization and gentrification in Kathmandu are endangering the city's
wooden heritage. Unplanned construction, modern building materials, and the changing urban
fabric pose threats to traditional buildings. Strict zoning regulations and enforcement are
essential to prevent further deterioration and maintain the historical integrity of the urban
landscape.

Figure 7: Traditional wooden built heritages of Kathmandu

Issue 2: Lack of Skilled Manpower and Traditional Knowledge:
Preserving and restoring Kathmandu's wooden heritage requires the expertise of skilledcraftsmen with extensive knowledge of traditional building techniques. However, there is a
scarcity of such craftsmen, and the dwindling number of individuals who possess this specialized
knowledge poses a significant challenge in effectively carrying out restoration efforts. The
absence of a sufficient pool of skilled and experienced manpower hinders the accurate andauthentic restoration of these heritage structures, potentially leading to the loss of traditional
craftsmanship and architectural authenticity. To address this issue, efforts should be made totrain and empower a new generation of craftsmen in traditional building techniques, ensuring thecontinuation of this valuable cultural heritage.

44

NepalIssue 3: Preservation of Traditional Techniques and Materials:
The scarcity of skilled craftsmen and the dwindling knowledge of traditional building
techniques pose significant challenges in restoration efforts. The absence of comprehensive
documentation of these techniques makes it difficult to undertake accurate restoration, leading topotential loss of authenticity. Ensuring the preservation and transmission of traditional building
methods and materials becomes crucial to maintain the authenticity of the vernacular wooden
heritage.
Issue 4: Financial Constraints, Disaster Vulnerability, and Climate Change:
Preserving Kathmandu's wooden heritage requires substantial financial resources, which
are often limited. The cost of restoration, especially for large and intricate structures, can beprohibitive, hampering preservation efforts. Additionally, the vulnerability of these structures toearthquakes, along with the challenges posed by climate change, necessitates urgent action tosecure high-risk structures. The need for robust disaster preparedness plans and the incorporationof climate-resilient strategies are paramount to safeguard these cultural landmarks.
Issue 5: Inadequate Regulations, Enforcement, and Changing Ownership:
Weak implementation of building by-laws, coupled with inadequate enforcement, can leadto unauthorized development or inappropriate alterations to heritage buildings, compromising
their authenticity and historical value. The encroachment of heritage spaces and changes inownership can further exacerbate these challenges, necessitating comprehensive regulations tosafeguard these structures and their historical contexts.
Preservation Strategies
To protect and preserve the Vernacular wooden built heritage in Kathmandu, thefollowing strategies are proposed:i.
Public Awareness, Education and Training Course:
Raising public awareness about the cultural significance of these wooden structures canbe achieved through engaging local communities, stakeholders, and policymakers in educational
programs and various training course. By showcasing the historical value and architecturaluniqueness of these structures, we can foster a sense of ownership and pride among thecommunity. Also, conducting regular and thorough scientific research will further contribute toour understanding and preservation efforts. This approach will ensure that the cultural heritage
embodied in these wooden structures is valued and protected for generations to come.
ii.
Heritage Regulations and Incentives:
Implementing well-planned conservation and restoration projects, considering thehistorical significance and architectural integrity of each building, can help revitalize andsafeguard these structures for future generations. National and International conservation
agencies such as UNESCO, IUCN, ICCROM, ICOMOS, etc. can plays a pivotal role by offering
technical expertise, best practices, organizing training course, funding support for comprehensive
conservation and restoration projects. Collaborative efforts with these agencies can ensure theimplementation of globally recognized conservation standards while respecting the local culturalcontext. Proper mapping and the establishing of buffer zones around heritage sites can contributeto effective planning and safeguarding against incompatible development.
iii.
Adaptive Repair, Reuse and Sustainable Management:
One approach to conserving these wooden buildings involves adaptive repair and reuse,
where traditional structures are repurposed for contemporary use while retaining their historicaland cultural values. Sustainable management practices, such as various surveys, regular repair,maintenance and monitoring, play a crucial role in ensuring their longevity.

45

Nepal

iv.

Public Participation on Wooden Heritage Renovation, Rehabilitation, andReconstruction:
Engaging the local community in the renovation,
rehabilitation, and reconstruction efforts of thesewooden structures fosters a sense of ownership andresponsibility. Involving local residents especially withactive women participation in decision-making
processes can lead to better preservation outcomes anda deeper appreciation for their cultural heritage.
Conclusion:
Figure 8 Women participation in renovation
The case study report on "Vernacular
Wooden Built Heritage in Kathmandu: Joinery System, Protection Challenges, and Preservation
Strategies" sheds light on the invaluable cultural and architectural heritage of the woodenbuildings in Kathmandu. Through a meticulous analysis of their historical significance,
distinctive joinery system, and the challenges they face in preservation, the report provides acomprehensive understanding of the unique architectural legacy of Nepal.
The report underscores the critical need for preserving these traditional wooden structuresin the face of rapid urbanization, modernization, and the scarcity of skilled craftsmen. Itemphasizes the urgency of enacting stringent heritage protection regulations and implementing
incentive programs to encourage property owners to actively participate in the conservation andrestoration efforts.
One of the key strengths of the report lies in its proactive approach to fostering publicawareness and education about the cultural value of the vernacular wooden built heritage. By
engaging local communities, stakeholders, and policymakers through educational initiatives,training courses, and awareness campaigns, the report aims to instill a sense of pride andownership among the people of Kathmandu in safeguarding their heritage.
The proposed preservation strategies, encompassing conservation and restoration projects,
adaptive repair and reuse, and sustainable management practices, present a holistic and balanced
approach to protect and revitalize these iconic structures. Furthermore, the inclusion of public
participation especially women in renovation, rehabilitation, and reconstruction efforts is pivotal
in fostering a sense of community responsibility towards the preservation of their cultural legacy.
In conclusion, the case study report serves as a valuable resource for the government,
policymakers, and local communities in their collective endeavor to preserve and celebrate thevernacular wooden built heritage in Kathmandu. By implementing the recommended strategies
and fostering a deeper appreciation for their architectural heritage, Kathmandu can continue tocherish its cultural identity while ensuring the longevity of these remarkable wooden structures
for generations to come. The case study report stands as a testament to the importance of heritage
preservation and the vital role it plays in shaping a sustainable and culturally rich future for thecity of Kathmandu.

.
References

46

NepalBaniya, B., Techato, K., Ghimire, S. K., &Chhipi-Shrestha, G. (2018).A Review of Green Roofs
to Mitigate Urban Heat Island and Kathmandu Valley in Nepal. Applied Ecology andEnvironmental Sciences, 6(4), 137-152. doi:10.12691/aees-6-4-5.
Bonapace, C. & Valerio, S. (2003). Traditional Materials and Construction Technologies usedin Kathmandu Valley. 7 Place de Fontenoy, 75352 Paris 07 SP: paragraphic for theUnited Nations Educational, Scientific and Cultural Organization.
Khabarhub.com. (July, 2023). Kasthamandup reconstruction gains momentum. Retrieved fromhttps://www.google.com/url?sa=i&url=https%3A%2F%2Fenglish.khabarhub.com%2F20
19%2F25%2F375%2F&psig=AOvVaw3LzSQVkVk0TRZakK9fAEhP&ust=169072332
4101000&source=images&cd=vfe&opi=89978449&ved=0CBEQjRxqFwoTCJC0yqqBtI
ADFQAAAAAdAAAAABAE
Shilpakar, R., Maskey, P., &Silpakar, P. (2021, May 01). Construction technology of multitiered temples and their rehabilitation after 2015 April Earthquake in Kathmandu.
Progress in Disaster Science, 10, 100177.https://doi.org/10.1016/j.pdisas.2021.100177.
Slusser, M. S., &Vajracarya, G. (1974).Two Medieval Nepalese buildings: An architectural andcultural study. ArtibusAsiae, 36(3), ArtibusAsiae Publishers, Ascona.

47

Philippines

The Conservation and Rehabilitation of the General Emilio Aguinaldo Shrine
Ar. Donking O. Roque (Philippines)

The General Emilio Aguinaldo Shrine, standing at a total height of 24.00 units, is located in Kawit,
the oldest municipality in the province of Cavite, Philippines. This shrine holds the distinction of being
recognized as a National Shrine of the Philippines under Republic Act 4039, enacted on June 18, 1964. The
act mandates the establishment of a National Shrine in Kawit, Cavite, named the Freedom Shrine orAguinaldo Shrine, in honor of the country's first president, General Emilio F. Aguinaldo. The official
residence of General Emilio F. Aguinaldo during his presidency, the Aguinaldo Shrine is a remarkable
testament to Filipino Architecture, showcasing a blend of Hispanic and American Colonial influences. Thishistorically significant edifice also marks the site where the proclamation of Philippine Independence took
place, an event celebrated by Filipinos every June 12th.

Picture 1-2: Left, façade of Emilio Aguinaldo Shrine (2022), Right, Orthographic photo of Emilio Aguinaldo Shrine (2022)

The Aguinaldo Shrine is now under the authority of the National Historical Commission of thePhilippines (NHCP, former National Historical Institute or NHI). Pres. Emilio Aguinaldo and family donatedthe house in 1963. The original house was built from wood and thatch and was reconstructed in 1849. A
major renovation took place in 1920 and was later developed into a museum, and a park was added in 1998.
The main building is now composed of three main components, the family wing, the main house, and thetower.
Although declared a National Shrine, the Aguinaldo shrine usually gets a minimal maintenancebudget. Aside from the yearly operational costs, budgeting for the restoration and conservation of the site isusually subject to approval from the National Government. Proving that there is a need to protect the sitealways falls on the owners, and the prioritization of the budget for restoration is always up for debate by
Congress. Due to this limitation on budget availability, the Commission reinforces all its efforts to provide
minor works that need to preserve and conserve the site with the last repair works done in 2022, which
includes the general repainting of the exterior sides of the building and replacement of damaged andweathered wooden components. This minimal conservation work helps the EAS thrive and survive its
surroundings' fast urbanization and development.

Picture 2-4: From left to right (Emilio Aguinaldo Shrine circa 1970s, restoration work of EAS in 1984, EAS in 2023)

It is essential for National Agencies and local authorities to work together to find the balance between
heritage protection and conservation with urban development. This will ensure that the future generations
will still be able to look back, learn and enjoy their history through preservation of this historic site.
With all the matters discussed above, two problems are identified with three proposals stated as thesite needs.

48Philippines

Problem 1: Protecting the site from Nature and Man-Made destruction.
The topography and slope of Kawit is generally flat. The nature of the topography is due to the fact that
Kawit is a coastal municipality where the average land elevation is just over a meter above sea level. There
was an increased occurrence of above-average high tide in the coastline barangays, which has been observed
from 1990 to 2000. From the average tidal level of three (3) up to four (4) feet, this has increased by almost
two (2) feet. The Above-average sea level rises were observed along barangays close to the coastline of theMunicipality of Kawit. During flood occurrence in these areas under low-tide conditions, flood waters last
up to eight (8) hours, but during high-tide conditions, the water level rises more and lasts longer. It usuallytakes about 24 hours before water levels subside. This is a significant threat to the protection andconservation of the site since the Emilio Aguinaldo Shrine is constantly subjected to high-tide flooding.

Picture 5-6: Left and right, inner streets that surround the EAS.

Picture 7-9: EAS complex flooded by high tide (July 2022)

The possibility of sinking of the site is yet to be studied by professionals, but with the signs of continual
flooding and the current approved land use that surrounds Cavite, the natural ground level where EAS isbuilt will be left behind since the majority of the main roads and inner roads that connects the surroundingsite of EAS is already in the process of being elevated. There is an observed 0.40m± level differencecompared to the national road and the natural grade line of Emilio Aguinaldo Shrine which makes the EAS
lower compared to all the current existing natural grade lines.

49

Philippines

Problem 2: Aging Infrastructure and Tourism Pressure.
Since establishing the EAS as a museum, it’s rare for the establishment to take a long break to conduct
thorough conservation and maintenance works. The museum schedule is every Tuesday-Sunday, withMondays off for the staff and museum personnel. Since the site of EAS holds a significant role in the historyof Philippine Independence, museum tours are booked throughout the year, making it impossible to be closed
for an extended period. Even though there is a maintenance program approved and scheduled, the museum
only closes a partial area of it, making the execution of work limited and slow. With these factors present,
the continual aging of materials cannot be monitored vigilantly, making the conservation and restoration
efforts retroactive rather than proactive.

Picture 10-12: Deteriorated wooden components at one of the rooms of at the tower of Emilio Aguinaldo Shrine.

Need 1: Formulation of Conservation Management Plan.
Based on the established cultural significance of the Emilio Aguinaldo Shrine, a thorough documentation
procedure is needed as soon as possible. Creating a Conservation Management Plan is an ideal avenue fordocumenting every possible detail we can record on this structure. Successfully creating a conservation
management plan of this site will give a nudge to heritage documentation practice in the Philippines. Thiscan be a framework to other historical sites to follow this documentation procedure until it will be a norm in
the practice of heritage conservation. The Aguinaldo Shrine architecture is a prime example of quality design
execution and craftsmanship during the time it was built. Documenting the structure can help the future
generation learn about the techniques and materials that may not be available anymore in the modern way
of construction and conservation in the future.
Need 2: Declaration of Kawit Cavite as Heritage Zone.
There is a need to implement stringent heritage zone protection on at least the immediate surroundings ofEmilio Aguinaldo Shrine. Suppose the National Government continues giving permits to reclamations of thedifferent locations around the Cavite Province, there is a high possibility that the site of Emilio Aguinaldo
Shrine will be subject to submerging within the next 50-100 years. This is the kind of threat that is irreversible
and has big impact on the heritage protection and conservation not just in Cavite but also in the whole
Philippines. It is important to note that Aguinaldo Shrine contributes to the people of Cavite to have a senseof pride and belongingness because, in comparison to the other structure that surrounds the EAS, it stands
outs and exudes an extravagant
Need 3: Constant Rehabilitation Schedule and Budget Allocation.
In relation to Problem No. 2 and Need No.1, if a Conservation Management Plan is established, a budget
proposal for rehabilitation and a budget breakdown for conservation and rehabilitation needs will be madeand can be a guide to the national budgeting office and NHCP to produce a conservation program for thewhole Emilio Aguinaldo Complex say for 5-10 years as part of short- or long-term plans for conservation.

References: Comprehensive Land Use Plan of Kawit 2012-2022.

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Timor-Leste

THE UTILIZATION AND MANAGEMENT OF CONSERVATION - UMA LULIK(TIMOR-LESTE)
Joanita Soares do Rego

Timor-Leste is a new country with its own historical and cultural values, as well as its own diverse andrare cultural manifestations in the Southeast Asian region. Its people carry a strong cultural identity with its
diverse expressions, both of cultural objects and of daily social coexistence.
The cultural identity element that is praiseworthy and the primordial support for the daily life of the Timorese
people is Uma Lulik (Sacred House). Its presence is not only limited to the material, but its significance andmeaning are obviously interconnected in all aspects of life. In addition, it is a very important space for family
reconciliation, fraternization between generations, and is also considered a special place for communication
and worship with the ancestors, and thus with the natural divines.
The settlement of Uma Lulik is deliberately strategic according to each ethnic group or indigenous tribe
custom. The eastern region is mostly located in remote particularly on the mountain top, the central easternregion is mostly in a group and isolated by the community, and in the west there are predominantly two typesof settlement: one is in a group located in the middle of the community and the other is isolated located in
the middle of the community.
Traditionally, The physical structure of Uma Lulik been built with materials from natural resources, halfof this architectural heritage is still maintained, however, the use of industrialized materials in theconstruction of Uma Lulik is now very common, especially in the west of the country. Its architectural style,both traditional and contemporary, varies from group to group and region to region.
Uma Lulik in East Timor is constantly being displaced by social, economic, socio-political, and natural
factors. These alterations interfere immensely with its traditional essence of space (principle of spatial
identity), which is lulik or sacred meanings.
The legal regulations implemented are still limited for the management on the conservation, restorationand promotion of Uma Lulik in Timor-Leste, while on the other the government have ratified the three
UNESCO conventions to reinforce the safeguarding of the country's cultural heritage. These three culturalconventions were ratified in 2015 by the National Parliament of Timor-Leste: UNESCO Convention
Concerning the Protection of the World Cultural and Natural Heritage, 1972; UNESCO Convention for the
Safeguarding of the Intangible Cultural Heritage, 2003; and UNESCO Convention on the Protection andPromotion of the Diversity of Cultural Expressions, 2005.
Furthermore, it reinforced with Decree-Law no. 15/2023 Legal Regime of Cultural Heritage. Base of these
legal regulations, the government implements a number of programs to safeguard the country's cultural
heritage. One of these programs that the government implements to preserve cultural heritage is through thefinancial support to the owners of a lulik for reconstruction and recuperation.
Overall, this case study aims to identify the problem of conserving the architectural structure of Uma
Lulik, particularly some of the elements: pillar, roof structures and the technical management ofconservation.

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Timor-Leste

Architectural Model of Traditional House

Figure 1-Uma Lulik with the type ofground floor, in Aileu; Source:
SEAC, 2021

Figure 2-Uma Lulik with Pillars
raised/supported; Source: SEAC,
2021

The model of the uma lulik of Timor-Leste is originated from various forms that have been transmitted
through the creativity of the peoples and the tradition in each place. In addition, the resource of nature is also
considered the main element for the construction of this house. The disposition of these elements not only
comes from the particular ecology of each place, but from the different symbolic formulations thatmaterialize in the house. For this reason, the houses in East Timor are presented in various forms such as
ground floor (in western part of Timor) or raised and supported on pillars (mostly in eastern Timor), circularor square plan, houses with terraces or without them, with one or several doors.
Therefore, on the study of the conservation of the Uma Lulik, is focus more in the part of the foundation
structure and the roof. These two structures are also as the most important part for the support of a lulik in
the long period. In Timor-Leste, there are many problems of the conservation of uma lulik particularly thedeterioration of the roof which is caused by the growth of plants on top of the roof and the deterioration of
the columns caused by physical and biological agents etc.
The problem of Utilization and Conservation of Uma Lulik in Timore-Leste

Figure 3Uma Lulik Latuloho
with pillars cemented andpainted, in Camea
Dili/Capital, originated from
Tutuala-Lautén; Source:
SEAC, 2022

Figure 4Uma Lulik Katuas Figure 1Uma Lulik Asumeta with the roof used by Zinc
with pillars cemented, in and its column support by the Iron, in Camea Dili;
Source: SEAC, 2022;
Fahinehan-Manufahi
Municipality; Source: SEAC,
2021

52

Timor-Leste

Figure 3- Uma Lulik Darlau Aimet and Berhunu with plants
growth on the top of Roof in Manutasi, Ainaro; Source: SEAC,
2019

Figure 2 The roof of Uma Lulik Berhunu andLeouis Keruaton that were in a poor condition of
repair; Source: SEAC, 2019

Figure 4The condition of uma lulik of Leobesi Karketu Mota Ain: The Column that partially destroyed; The collagen of
cement to the column; Partly structure that were painted by the oleo; Source: SEAC, 2023; .

Currently, some of Uma Lulik in East Timor is reconstructed or rehabilitated totally or partially bymodern materials, especially regarding to the problem presented in this thematic, such as the utilization of
the pilars/foundation, some of this was cemented and painted by the modern materials, and the roof covering
as well, used by the zinc and iron materials, as result these industrialized elements don’t represent values
and customs of the significance of Uma Lulik, therefore, it is critical for this particular typical architectureof Uma Lulik to recognized and using resources that come entirely from nature, human beings and the divine.
Basically, the materials that are used for the major structural elements of the maintenances (Pillars,
Clunes and beams) are vary depending on the regions and characterized by various types of forests such as:
ai-ru, (eucalyptus urophylla), ai-teca (tectona grandis), Ai-ná/ Ai-mean, Ai kadus/Ai-besi and other robust
woods such as Ai-bubur (eucalyptus alba) etc. This wood should be found above 25 years of age, according
to Lia Nain /Owners of Uma Lulik, its more suitable for construction, but before finding this wood, it willproceed first to ritual ceremony (offer the animal to nature and worship the ancestors). So this is the way ofpeople consensus to find quality wood. In Timor, the appropriation of the ritual tradition is the one which
determines the endurance of the construction quality.
The first phase of starting the construction is to prepare the wood that have been cut based to the type ofstructure. Normally for the column, it has 4m the measure from the foundation to the roof, then the wood iscovered and kept with the leaves in the appropriate place until it is dry and light before taking to theinstallation. The foundation usually consists of four (4) columns: two at the front (representing Umane andFetosan) and two at the back ( representing East and West of mountain and sea). Most of the foundation
construction is the responsibility of the Umane. After putting the column/Pillars , there is an entire groundfloor covered by the house that is slightly raised and protected from the rain penetration by a small of loosestone.
With this long process, both in terms of technical construction and ritual, has caused some of the houses
to be rebuilt with modern materials. For examples, the Uma Lulik Leobesi (Fig. 8) is in poor condition andthey have used a bit of a cement to support the column, and partly structures have also been painted withoils to keep the resistance of wood until they are rebuilt again. In other case, like the Uma Lulik Latuloho(Fig. 3), in Dili, its base/foundation used by cement and painted as such as said the generations, in Dili as
the city/Capital it is difficult for accessing the local material and the distance is also far, so, the generations
that came to concentrated in the capital built themselves Uma Lulik as a symbol to be able to reunite andcelebrate the importante ceremonies while staying away from their original Uma Lulik in Munipality. In the
Municipality as Uma Lulik of Katuas in Manufahi Municipality (Fig. 4), its column was built with cement,

53

Timor-Leste

but the Government, through the Secretariat of State for Art and culture, is still emphasizing the generations
to change the structure of the base by using local materials, because this Uma Lulik is already as a SEAC
beneficiary.
The other structure is the roof, which is one of the elements facing the same problem as the foundationin East Timor. The process of finding the forage and palm leaf for the roof covering is also the same as forthe foundation, it starts with the ritual ceremony to o protect from animal and fire. There are two basic types
or roof covering. The firs consists of using forage /grass to cover the house with a larger amount. To cover
the roof, the forage is laid out in the bundles, which are called boan in Mambae. The boan are then placed inrows of several superimposed layers on the roof, fitting one row with the other as if they were roof tiles. The
cover formed by the boan varies in thickness from 25 to 40. Somehow, the good insulation from the heat
due not only to the nature of the material but also to its thickness, which reaches around 0,5metrs and ismade up of alternating layers of grass/forage and Gamuti /Tali Metan.
Basically, the rood in Timor-Leste is usually laid in on layer, but in some Municipalities such as OssuViqueque, the roof is in seven layers. The roof structure consists of a base of thin trunks called ai-Tuar in
Tetun. They are arranged vertically and radially from the upper part where there is a roof to the lower part,joined transversally by several levels of rings formed by more resistant flexible plant elements (certain typesof branches, thin trunks, in some Bamboo etc.), which allow the radial structure forming the ai-Lua to be
fixed and joined . These radial trunks are usually of ai-Ru or other similar species. ´The second type is the palm leaf which has two separate leaves. The way of putting this leaf is to lay one
side to the right and another one to the left of the roof. The process of using this palm leaf is to cut and divide
them into two separate parts, and bathe them in salted water before drying. The process of fitting the structureis also the same as the first one.
With all this if this process, noted that, the use of local materials for foundations and roofs is less common
by local people. And the utilization of industrial materials is now considered as the biggest problem that
Timor-Leste has been facing for several reasons, mainly in Municipalities, where communities no longer
use local materials due to a lack of traditional knowledge of techniques and ritual practices and insufficientfunding; in contra to the City or Capital, everything has been renovated with industrial materials due to alack of acces to lcal materials and long distances. Such as the utilization of modern roof material of Uma
Lulik Asumeta ( Fig. 5), located in Dili, is also made of zinc and pinned with iron. It's surprising thatspreading modern materials such as zinc cause more leaks than this traditional system. In the other case, aspresented in (Fig. 6, 7)is in a poor state of repair because the roof has been partially destroyed by the weather;
the plants growth etc.
Management for the Conservation of Uma Lulik;

Figure 5-The pillars covering by arenga pinnata palm (tua metan or tali metan in Tetun), of uma lulik Hatumeo Koluli in Mota
ulun Bazartete, Likisa; Source: SEAC, 2023

54

Timor-Leste

Figure 6The seven alternating layers of grass and tali metan/arenga pinnata palm (tua metan or tali metan in Tetun), in Ossu
Viqueque ; Source: SEAC,2018;

Figure 7The materials that are not used and kept
beside the house/Uma Lulik Katuas, FahinehanManufahi; Source: SEAC,2022

With this problems mentioned above, it’s supposed to be applied some methods that are consideredappropriate for the conservation plan of Uma Lulik. This implementation is based on an example of Uma
Lulik that has the resistance and durability of being almost a hundred years old. The structures of someexamples of this Uma Lulik, particularly the roof and foundation, are described in the following methods:
For the roof and the foundation, both of which require the use of braided fibras of arenga pinnata/palm (tuametan or tali metan in tetun) as the covering to better impermeabilize the roof of the house, making the roof
endure for more years by preventing water from entering through the grass, preventing it all from rotting.
As well as covering the base of the pillars (Fig. 9) that are in contact with the ground, using tali metan toprotect them from destructive agents, thus prolonging their durability.
The technique for using this arenga on the roof, is to place it in the covering of upper part of the vault,
interlace it with each of the layers of grass that cover the roof; overlapping up to seven alternating layers ofgrass and arenga/tali metan to get great thicknesses as shown in (fig. 10) also place it in the closing of theroof or part of the ridge.
In addition of using tali metan, it is proposed that all the materials of Uma Lulik that are already damaged
and not used (Fig. 11), instead of being kept under the Uma Lulik in respect of the sacred, should be recovered
and reused for other functions so it can preserved and maintained in its originality.
Possible Solution:• Conduct a data survey in the area to identify the problems of Uma Lulik that is damaged, thealteration of its structure, and the cultural objects that have all been taken to other destinations.
• Create coordination services between the relevant entities that handle both cultural heritage andtourism in order to develop the country’s economic sustainability through socialization andcommunity awareness, and promote Uma Lulik for its tourist destination.
• Local materials are the base for the construction of Uma Lulik. For this reason, to conserve andprotect the origin of Uma Lulik, the Secretariat of State for art and Culture, in collaboration with theSecretariat of State for Land and Property, to create space for the cultivation of tress; the industry´sCentre for the production of local materials; and the protection of forest or trees that are used as raw
materials for construction. The protection can be created through the strict law of Tara Bandu, which
is a traditional law of our ancestors to protect all the resources that exist from each owner. This

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protection action is significant for facilitating and encouraging the community to build or
rehabilitate their Uma Lulik that have been destroyed or damged by wars and climate change
The Ministry of Education and the Secretariat of State for Art and Culture need to creat training in
the conservation of material heritage (Tangible and Intangible), especially the management of woodconservation.

Reference
Cinatti, R., De Almeida , L., & Sousa , M. (1987). Arquitectura Timorense . Lisboa: Instituto deInvestigação Cientifica Tropical Museu de Etnologia.
UNESCO’s Cultural Conventions ratified by the National Parliament of Timor-Leste. (15 de August de2022). Obtido de http://timor-leste.gov.tl/?p=13392&lang=en&n=1
LOCAL KNOWLEDGE OF TIMOR! (14 de August de 2022). Obtido de
http://www.unesco.or.id/download/summary%20of%20LINKS%20book_English_finale%20(2).pdf56

Uzbekistan

Development of woodcarving in Uzbekistan

Tokhir Norkobilov

Wood carving has been progressive since time immemorial. Widespread in t
he Ancient East, in the architecture of the ancient world, a wide range of styles eme
rged in the countries of Europe, Asia. In the territory of Uzbekistan, wood has also
been widely used in architecture and rye products since time immemorial. The man
ufacture of wooden sanams flourished in Movarunnahr until the spread of Islam. The scholar-historian Narshahi writes in his work "History of Bukhara" that doo
rs were decorated with carved images in the 8th century.
The Uzbek land has long been famous all over the world for its rich cultural
heritage, ancient traditions, folk and applied arts. Masterpieces created specificallyin the direction of wood carving have not lost their value for several centuries.
Unfortunately, ancient examples of wood carvings have not survived due tothe fact that wood is much more resistant to the environment. The oldest surviving
one dates back to the 9th-12th centuries. These are the mausoleums of Kusam ibn
Abbas, Rukhabad and Amir Temur in Samarkand, the mausoleum of Saifiddin
Bokharzi in Bukhara and the Ulugbek Madrasah.
In the applied art of Uzbekistan, wood carving is characterised by originality,
as its masters were active not only in household items, but also in the fact that, in
addition to the architectural part (column, door, wicket door, etc.), the design ofhousehold appliances became extensive.
The extensive use of wooden posts, door gates and other architectural details
can be seen in the architecture of Khiva, Bukhara, Samarkand, Shakhrisabz,
Kokand and Tashkent, which are considered ancient cities of our country.
There are mainly four schools of woodcarving in Uzbekistan (Kokand,Samarkand, Tashkent, Khiva), which differ in their styles and directions.
In particular, the art of Khiva woodworkers are the columns and doors of thestructures of the Ichan-Kala complex (for example, the monument of the Friday
Mosque with carved columns in the interior). In the 19th century the flourishing of
Khorezmian style is noticeable in the stonework of Khiva balconies, in muqarnas,
in the decoration of doors worked on the protrusions of columns in their rooms.
Mahogany wood carving is widespread in Khiva, characterised by subtlety ofpattern, sparseness of covering, playfulness, masters preserved the natural colourof the wood.
The traditions of the Kokand school of wood carving include various
everyday objects such as doors, panels, friezes, architectural elements in the formof columns, carved table, curses, book stand, pencil cases.
In the 19th and 20th centuries, Tashkent was a major centre of wood carving.
Artistic finishing and household carving of large architectural structures occupied asignificant place in the work of Tashkent masters. Tashkent masters widely usedflat relief, baseless designs in carved patterns.
Samarkand masters varnished the bases and the ledge. The door in Kokand
and Fergana is varnished after decorating the columns with deep flat relief patterns
giving the surface of the pattern a darker colour.
Bukhara masters decorate carved patterns with gold, silver water, paint thebase of the pattern with colours.
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The craft of woodcarving requires the craftsman to study several fields toperfection. He must be a technologist well versed in the quality of wood, an
experienced carpenter, a skilled engraver with sufficient knowledge ofmathematics. The wood goes through several complex stages until a wood carving
product is ready to be made.
The most commonly used woods in this art are spruce, caragach, walnut,
mulberry, apricot, chinara, willow and poplar. Since they contain a lot of resin anddo not rot quickly, the board turns out straight and long, smooth and easy to work.
All the more that the equipment made of nuts is resistant to water, various weather
conditions, it will last for many years. Usually, experienced craftsmen choose atree that has grown in a sunny place and has a low bush for processing. Products
made of solid wood (lug) may crack after years.
The wood is available in two different versions: hollow or cut to measurewith special equipment. The timber is soaked in water for three to six months tomake the colour appear uniform, and it is cleaned of various waste materials. Then,over a period of six to ten years, a chess-shaped shade is applied to the spot. The
most important thing in wood carving is to dry the wood thoroughly. Today, somemasters dry the wood in special kilns brought from abroad..
To make a product from moderately dried wood, boards of the required sizeare cut and glued together. The surface of the semi-finished product is then sandedwith fine sandpaper and wiped with a velvet cloth. There should be no scratches orgaps between the logs. Depending on the complexity of the work, it takes thecraftsman two to two months to create a single work of art..
Initially, the craftsman draws a pattern template based on the size of thepiece, designed for hard and heavy paper, and transfers the sketch to special
Chinese paper. Then pierce the dots one by one, using the needle over the patterns.
The Chinese paper will stick to the piece, and rub charcoal powder wrapped in acloth into it. This will create a pattern on the surface of the wood. When thecarving is finished, the piece is varnished twice.
In wood carving, doors, columns, fences and tabletops are decorated in thestyle of "islimiy" (a composition formed from images of plants, i.e. leaves, flowers,
branches), "pargori" (a type of pattern applied to wood with a whirlpool and thencarved), "Baghdadi" (a set of patterns consisting of the sum of various geometricfigures). The more carefully and tastefully worked out the pattern, the more elegant
and unobtrusive the product will be. In a variant of pattern execution, girih andIslami patterns are used harmoniously, independently of each other girih is rarely
used.
There are more than 50 specialised tools used in the art of woodcarving.
Including scoop chisel, straight chisel, club, etc. After the base of the pattern iscarved, it is pierced with a pin.
The restoration of wooden objects. The restoration of wooden objects
refers to the conservation of works of art and artefacts made of different types ofwood. When preserving wooden objects, their chemical and physical properties
such as strength, structure are very important. The strength of wood varies
according to its type. In general, the wood core, regardless of the type of wood, is58

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more durable than its bark because the wood core contains many extractive
substances, including tannins.
Rotting and deterioration of wooden objects is mainly caused by
microorganisms, insects and sea moths such as fungi and bacteria. Microorganisms
often penetrate wood where the moisture content is above the cell saturation point,
but insects attack not only wet wood but also air dry wood. Insects such as termites
end up eating a wide range of wood, from live trees and weakened trees to green
wood (undisturbed wood) and dried wood. Insects such as long-horned beetles(anobiidae or áicydae) can even feed on completely dried wood.
When exposed to air, wood undergoes physical and chemical decay causedby exposure to light, moisture, pollutants, wear, heat and other factors, also known
as weather-related degradation. This type of deterioration is characterised by rapid
discolouration along with cracking and surface erosion. Almost all of the changes
in wood composition caused by exposure to air will be due to ultraviolet rays.
Objects that may belong to dry wood found in archaeological excavations
include columns and beams of traditional buildings, wooden sculptures, etc. Wood,as an organic matter, is damaged by pests such as fungi, termites and wood-boringrodents (lyctus). Fungi and pests reduce the strength of wood, resulting inphenomena such as bending, twisting.
Conservative treatment of cultural heritage objects made of wood, i.e. taking
into account the fact that the original form of the artefact is not disturbed and isdurable, implies painting such heritage objects with natural varnishes or oil paints
rather than chemical reagents. However, in order to keep the monument stable for along time, it is necessary to find a new way of managing cultural heritage objects.
Therefore, preservation is applied to dry wood.

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