Training Course on Cultural Heritage Protectionin the Asia-Pacific Region 2011

Preservation and Restoration of
Wooden Structures
30 August - 29 September, 2011, Nara, Japan

Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
Agency for Cultural Affairs, Japan
National Institutes for Cultural Heritage,
National Research Institute for Cultural Properties, Tokyo
Nara National Research Institute for Cultural Properties
International Center for the Study of the Preservation
and Restoration of Cultural Properties (ICCROM)

Edited and Published by
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
757 Horen-cho, Nara 630-8113 Japan
Tel: +81-(0)742-20-5001
Fax: +81-(0)742-20-5701
e-mail: nara@accu.or.jp
URL: http://www.nara.accu.or.jp
Printed by MeishinshaⒸ Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU) 2012

The opening ceremony

Practical training in Tanaka Family ResidenceInspection in Takayama Preservation District

The closing ceremony

Preface
The Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO(ACCU) was established in August 1999 with the purpose of serving as a domestic centre forpromoting cooperation in cultural heritage protection in the Asia-Pacific region. Subsequent to its
inception, our office has been implementing a variety of programmes to help promote cultural heritage
protection activities, in cooperation with the Agency for Cultural Affairs, Japan (Bunkacho); theInternational Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM);
National Research Institute for Cultural Properties, Tokyo and Nara; the Nara Prefectural Government;
the Nara Municipal Government; universities, and museums.
The ACCU Nara’s activities include training programmes in Nara for the human resources
development; international conferences and symposia; the regional training workshop; updating
website for the dissemination of information relating to cultural heritage protection; the system of“International Correspondents” for promoting information exchange and networking with the countries
in the region; and the world heritage lectures in local high schools.
In particular, the training courses on cultural heritage protection in the Asia-Pacific region havecomprised a significant part of our activities for heritage protection, with two themes on alternate year:“Preservation and Restoration of Wooden Structures” and “Research, Analysis, and Preservation ofArchaeological Sites and Remains”. This was the twelfth training course on wooden structures andfifteen participants from across the Asia-Pacific region gathered in Nara to join the course.
The areas surrounding Nara are blessed with wealth of wooden structures, some of which have been
inscribed on the World Heritage List such as Horyu-ji Temple. These old wooden structures havebeen preserved, repaired time to time, and handed down to us in a thousand years. Therefore muchinformation about techniques and materials for the sustainable preservation of wooden structures has
been passed down and accumulated. In addition, the philosophy or principle of the preservation andrestoration was also developed.
Thus in the Nara region, there survives a large number of ancient wooden structures which are uniquein the world; there are ample human resources working on a daily basis to carry out conservation; andthe philosophy of restoration has been cultivated through year’s experience and is widely accepted by
the local community. So, ACCU Nara has chosen “Nara” as the training venue because we can takefull advantage of its environment.
I believe the participants were able to learn not only the techniques and knowledge relating toconservation and restoration of wooden structures but also the important role of local community byvisiting the cultural heritage on-site: the way how local people cared for the cultural heritage; theirviews and willingness to protect heritage and hand it down to posterity; and their daily society-wide
efforts. Cultural heritage cannot be protected solely by the efforts of experts or governments. I am surethe participants understood the need and importance of respecting the views and initiative of the local
community as well as joining hands with them in the conservation activities.
Finally, I would like to express my profound appreciation to the distinguished lecturers who kindly
offered their expertise and to the organisations which provided us with generous support as wellas to all participants who actively took part in the programme and helped each other in a friendly
atmosphere to acquire latest knowledge and techniques in a far foreign country, Japan. I believe they
have established friendship and network of connections in the meantime, which is valuable for their
future activities as experts in the cultural heritage protection field. It is also hoped that this publication
will benefit those who are making strenuous efforts in the field of cultural heritage protection
throughout the region.

NISHIMURA Yasushi
Director
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)Contents
I.

Introduction
1. General Information ………………………………………………… 3
2. Programme Schedule ………………………………………………… 7

II.

Proceedings
1. Opening Ceremony ……………………………………………… 11
2. Summary of Training Course …………………………………… 13

III.

Country Reports by Participants ……………………………… 27

IV.

Final Reports by Participants …………………………………… 233

V.

Appendix
A. List of Participants ………………………………………………… 317
B. List of Lecturers …………………………………………………… 320
C. Acknowledgements for Cooperation …………………………… 321
D. Interpreter and Assistants… ……………………………………… 322
E. Staff Members, ACCU Nara ……………………………………… 322

Introduction

I.

Introduction
1. General Information
2. Programme Schedule1. General Information
Training Course on Cultural Heritage Protection in the Asia and the Pacific Region 2011
- Preservation and Restoration of Wooden Structures (30 August - 29 September 2011, Nara)

1. OrganisersThis course is jointly organised by Agency for Cultural Affairs, Japan (Bunkacho); the Asia-Pacific
Cultural Centre for UNESCO (ACCU); the International Centre for the Study of the Preservation
and Restoration of Cultural Property (ICCROM); and the National Research Institute for Cultural
Properties [Tokyo and Nara], in cooperation with The Japanese Association for Conservation ofArchitectural Monuments (JACAM); Japan Consortium for International Cooperation in Cultural
Heritage (JCIC-Heritage); Ministry of Foreign Affairs of Japan; the Japanese National Commission for
UNESCO; Nara Prefectural Government; and Nara Municipal Government.

2. Background
In Asia and the Pacific region, there are various forms of cultural heritage including those made ofwooden structures which are of great value from a global point of view. Proper investigation, analysis,
and preservation of this important cultural heritage are required by heritage professionals, in orderto safeguard them for future generations. ACCU Nara in partnership with ICCROM and Bunkacho
has been organising training courses since 2000 on this topic with a view to building the capacities
of professionals who have been working on cultural heritage protection in the region. This training
course aims to provide participants with the latest methods and techniques for investigation, analysis,preservation, restoration and management of wooden structures.

3. Date and Venues
Course dates: From 30 August (Tue.) to 29 September (Thur.) 2011
Venue: Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO[Nara Prefectural Government North Branch Office, 12 Noborioji-cho, Nara, Japan]

4. Objectives
The objectives of the training course are:- to provide participants with a knowledge of recording/documentation and analytical methods forwooden architecture;- to provide participants with a knowledge of principles and methodologies for preservation ofwooden structures;- to provide participants with a practical knowledge of technology/techniques and hands-on training
for preservation and restoration of wooden structures;- to provide participants with a knowledge of maintenance, utilization, and risk management ofhistorical wooden structures;- to provide participants with an opportunity to network with colleagues from the region and shareexperiences.
3

5. Training Curriculum● Lectures- Introduction to wooden architecture in Japan- Introduction to Asian wooden architecture- Protection system of cultural heritage in Japan- International context of conservation and related conventions and charters- Survey methods on conservation of vernacular houses and historic towns- Principles for preservation and restoration- Design and implementation of conservation projects- Management and utilisation of wooden structures- Risk management of cultural heritage● Practical Training and On-site Lectures- Practical training on research and documentation of wooden structures- On-site lectures at the conservation sites of wooden structures- Fieldwork: restoration and utilisation of architectural heritage (a three-day study tour)
Presentations and Discussion- Presentations on the present status of preservation and restoration of wooden structures in eachcountry followed by exchange of views- Future issues and views on preservation and restoration of wooden structures- Recapitulation of the training session

6. Participants in the Training Course● Application Procedure
The training course is offered to participants from the following 37 signatory countries of the UNESCOWorld Heritage Convention (see below). The application form should arrive at ACCU Nara no later
than 31 May 2011 along with the endorsement of the UNESCO National Commission or UNESCO
Liaison Office in the country concerned or the endorsement of the member of Japan Consortiumfor International Cooperation in Cultural Heritage. The documents necessary for application are thefollowing.
(1) Application Form (Form 1)
Please attach a copy of the passport, if an applicant has a valid passport.
(2) Report Relating to the Applicant’s Achievements in Archaeological Heritage Conservation.
This achievement report should be written by the applicant and should be a brief summary ofpresent and previous work related to the theme of archaeological heritage conservation. This report
should be no longer than 5 – 7 pages and will be weighted heavily in selection of the participants.
(3) Letter of Recommendation by NATCOM or by the member of Japan Consortium for International
Cooperation in Cultural Heritage(4) Letter of Recommendation by the head of the organisation to which the applicant belongs (Annex 1)(5) Documentation Indicating English Proficiency (if obtained)

4Completed applications should be sent to the secretariat of the ACCU Nara Office at the address below
by post or/and e-mail. Only complete application with all necessary documents will be considered.
The following are the 37 signatories of the World Heritage Convention from Asia and the Pacific:
Afghanistan, Australia, Bangladesh, Bhutan, Cambodia, China, Fiji, India, Indonesia, Iran,Kazakhstan, Kiribati, Kyrgyz, Lao P.D.R., Malaysia, Maldives, Marshall Islands, Micronesia,
Mongolia, Myanmar, Nepal, New Zealand, Pakistan, Palau, Papua New Guinea, Philippines, Rep. of
Korea, Samoa, Solomon Islands, Sri Lanka, Tajikistan, Thailand, Tonga ,Turkmenistan, Uzbekistan,Vanuatu, and Vietnam.

● Qualification Requirements
Applicants should be:1) those who are professionals, 45 years old or younger, who are engaged in the conservation,
preservation, restoration or management of archaeological sites and who can make effective use of
the results of the training course upon returning to his or her home country;2) those who have a good command of English, the working language for all lectures, so that they
can deliver presentations and write reports from the training sessions (ACCU Nara Office and
ICCROM shall be allowed to utilise all contents of presentations and reports, including drawings
and photographs, for future publication and cultural heritage protection programmes);3) those who can attend the entire training programme;
4) those who submit all of the required documents (listed above) within the deadlines outlined;5) those who will most likely continue exchanging information and interacting with ACCU after
returning to their home countries;6) those who were not previous participants in training courses organised by ACCU Nara Office(however those who have participated in International Youth Exchange Programme andInternational Education Exchange Programme can apply for this programme).

7. Notification of Screening Results
After consulting with other organisers, ACCU Nara will select 16 people (one participant per nation, in
principle) from among all applicants around the early in July. Successful applications will be informedof the results along with each National Commission for UNESCO and the Japan Consortium forInternational Cooperation in Cultural Heritage.

8. Certificate of Completion
Each participant will be awarded a certificate upon completion of the course.

9. Language of the Training Session
English will be the working language throughout the course.

510. Expenses
Expenses during the Training Course shall be borne by ACCU Nara, as follows:(1) Travelling expenses:
Each of the participants (except those from Australia, Republic of Korea, and New Zealand) shallbe provided with an economy class return air ticket from the nearest international airport from theirresidence to Kansai International Airport, and transportation fees between Kansai International Airport
and Nara.
(2) Living expenses:
Participants shall be provided the basic living expenses incurred during the training course from 29
August (Mon.) to 30 September (Fri.) 2011 according to ACCU Nara’s regulations. Arrangements foraccommodations (a room for single occupancy) will be made by ACCU Nara.

11. Secretariat
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU Nara)
757 Horen-cho, Nara 630-8113 JAPAN
Tel: +81-742-20-5001
e-mail: nara@accu.or.jp

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Fax: +81-742-20-5701

2. Programme Schedule
Month Date

August30 Tue.

Morning (9:00-12:00)(Lecturer / Venue)
Opening Ceremony

Afternoon (13:00-16:00)(Lecturer / Venue)

Orientation Session / Lecture: Historic Monuments of(Nara Pref. Women's Hall) Ancient Nara (NAKAI Isao / (Nara Pref. Women's Hall)

31 Wed. Introduction to Architectural Heritage in Asia
(Gamini WIJESURIYA / Nara Pref. Women's Hall)
1

Thu. Presentation and Discussion: Country Reports by Participants I

2

Fri.

3
4
5

(INABA Nobuko & Gamini WIJESURIYA / Nara Pref. Women's Hall)
Sat.
Sun.
Mon. History of Wooden Architecture in Japan / Cultural Heritage Protection System and Current Status of Conservation in Ja

6

Tue.

7

Structures (MURAKAMI Jin'ichi /Nara Pref. Women's Hall) Repairs(AOKI Koji /Nara Pref. Women's Hall)
Wed. Practical Training: Recording/Documentation of Tanaka Family Residence

8(AOKI, NAKAMURA, TAKAMIYA and YAMAGUCHI / Tanaka Family Residence, Nara City)
Thu. Practical Training: Damage/Deterioration Survey and Planning for Restoration

9

Fri.

(INABA Nobuko & Gamini WIJESURIYA / Nara Pref. Women's Hall)
Presentation and Discussion: Country Reports by Participants II

pan
Restoration Systems and Project Planning for Wooden(KANAI Ken / Nara Pref. Women's Hall)
Orientation for the Practical Training: Overall Process of(AOKI, NAKAMURA, TAKAMIYA and YAMAGUCHI / Tanaka Family Residence, Nara City)
Practical Training: Materials Survey for Sustainable Conservation and Planning a Management Policy(AOKI, NAKAMURA, TAKAMIYA and YAMAGUCHI / Tanaka Family Residence, Nara City)
10 Sat.
11 Sun.
12 Mon. Buddhist Monuments in the Horyu-ji Area (World Heritage On-site Lecture: Preservation of Vernacular Houses and
Site)

September

13 Tue.

( Horyu-ji Temple) Historic Townscape in Practice I (UEDAI Akira/ Gojo City)

Introduction to Townscape Survey and Planning for Preservation On-site Lecture: Preservation of Vernacular Houses and Historic(Guidance for Group Work)(MASUI Masaya / Imai-cho) Townscape in Practice II(MATSUNAGA Nobuo / Imai-cho)

14 Wed. Practical Training: Townscape Survey and Planning for Preservation (Group Work)(MASUI / Imai-cho)
15 Thu. Practical Training: Townscape Survey and Planning for Preservation (Presentation by Each Group)
16 Fri.

On-site Lecture: Citadel Preservation in Practice(MASUI / Imai-cho)On-site Lecture: Risk Management of Cultural(KOBAYASHI Masahiro / Himeji City)
17 Sat.
18 Sun.
19 Mon. Practical Training: Recording of Wooden Structures (Photography)
20 Tue.

Prevention of Insect Damage to Wooden Structures

Heritage(MURAKAMI Yasumichi / Kobe City)(SUGIMOTO Kazuki / Imai-cho)Introduction to Dendrochronology(KOMINE Yukio / NNRICP)
21 Wed. Study Tour: Preservation of Modern Architecture in Practice(MITSUTANI Takumi / NNRICP)(ISHIKAWA Shintaro /The Museum Meiji-mura )22 Thu. Study Tour: Preservation of Vernacular Houses and Townscape III - Takayama
23 Fri.

(USHIMARU Takehiko and TANAKA Kyohei / Takayama, Gifu Pref.)Study Tour: Preservation of Vernacular Houses and Townscape IV- Shirakawa(ASO Miki / Shirakawa, Gifu Pref.)24 Sat.
25 Sun.
26 Mon. On-site Lecture: Survey on Painting and Plans for Painting Restoration(KUBODERA Shigeru / Todai-ji Temple)
27 Tue.

Future Tasks in the Preservation of Cultural Properties (Theory and Practice) I(Joseph KING / Nara Pref. Women's Hall)
28 Wed. Future Tasks in the Preservation of Cultural Properties (Theory Writing Final Report
and Practice) II(Joseph KING / Nara Pref. Women's Hall)

29 Mon. Submission of Final Report

Closing Ceremony(Nara Pref. Women's Hall)(Nara Pref. Women's Hall)ACCU Nara: Cultural Heritage Protection Cooperation Office, Asia/Pacific Cultural Centre for UNESCONNRICP: Nara National Research Institute for Cultural Properties

7

8

Proceedings
1. Opening Ceremony
2. Summary of Training Course

ProceedingsII.

1. Opening Ceremony
The opening ceremony of the 2011 training course was held on August
30th at the Nara Pref. Women’s Hall in Nara. The members who
attended this year were the 15 participants from Asia-Pacific region
and honorable guests from the Agency for Cultural Affairs, Japan(Bunkacho), International Centre for the Study of the Preservation
and Restoration of Cultural Property (ICCROM), Nara National
Research Institute for Cultural Properties (NNRICP), Nara Prefectural
Government and Nara Municipal Government.
Speeches from the honorable guests were given by Ms SASAKI

Ms SASAKI,
on behalf of the SecretaryGeneral of ACCU

Mariko, Director, International Exchange Division, Asia-Pacific Cultural
Centre for UNESCO (ACCU), on behalf of the Secretary-General; Mr
NISHIMURA Yasushi, Director, ACCU Nara; Mr MINAMI Shimpei,
Director, Office for International Cooperation on Cultural Properties,
Cultural Properties Department (Bunkacho); Mr Gamini WIJESURIYA,
Project Manager, International Centre for the Study of the Preservation
and Restoration of Cultural Property (ICCROM); Mr NAMBA Yozo,
Head, Department of Planning & Coordination, Nara National ResearchInstitute for Cultural Properties; Mr FUKUI Yoshinao, Director,

Mr NISHIMURA,
Director of ACCU Nara

Department of Culture and Education, Nara Prefectural Government;
Mr FUKUOKA Yoshio, Chief, General Affairs Department, Nara
Municipal Board of Education. These guests delivered speeches ofwelcome to the participants, and wished all of the participants would
enjoy this training and gain valuable experience through it. Then,ACCU staff members were introduced and the participants made selfintroductions. At the end of the ceremony, a group photograph was
Mr WIJESURIYA,
Project Manager of ICCROM

taken with the guests.

Mr MINAMI from Agency
for Cultural Affairs, JapanMr NAMBA
from NNRICRMr FUKUI from Nara
Prefectural Government

Mr FUKUOKA from Nara
Municipal Government11

After the ceremony, the participants visited the Nara Prefectural Government Office Building and met
the Deputy Governor of Nara Prefecture, Mr INAYAMA Kazuya. He welcomed them and explained
Nara’s history and cultural heritage. Then they went to the rooftop area of the office building,and enjoyed a panoramic view of Nara city. In the afternoon, the orientation session was held andexplanations of the schedule and matters that require attention in this course were given.

122. Summary of Training Course

Various experts delivered a series of lectures during this Training Course. The following is a complete
list of the lectures with a brief description of their contents.

■ Historic Monuments of Ancient Nara (30 Aug.) NAKAI Isao (Nara Municipal Board of
Education)
Introduction to traditional wooden monuments and cultural heritage in Nara
- Lecture on classification of cultural heritage, and conditions for historical monuments being
registered as World Heritage- As reference for how they could succeed in registering an ancient palace site, an introduction to the
Nara Capital site (Heijokyo) and ancient wooden structures in Nara

Lecture by Mr Nakai■ Introduction to Architectural Heritage in Asia (31 Aug.) Gamini WIJESURIYA (ICCROM)
Introduction to ICCROM, formation and activities of ICCROM- Introduction to wooden architectural heritage in the Asia-Pacific Region- Explanation of features of wooden architectures such as materials, structure, techniques, andtraditional context- Explanation of conservation issues for wooden architectures such as preservation and maintenance- Reference to charters about architectural heritage

Lecture by Mr Wijesuriya■ Presentation and Discussion / Country Report (1-2 Sep.)
INABA Nobuko (Tsukuba University) and Gamini WIJESURIYA (ICCROM)
Participants gave presentations about traditional architecture and heritage in their home countries.
Through these presentations, they referred to local conservation issues and their activities in dealing
with them. After each presentation, other participants, along with Mr Wijesuriya and Ms Inaba, asked
the presenter many questions, such as the following.

13

- What kind of problems do they have regarding preservation?
- What are the features of traditional architecture?
- Should local craftsmen be used or not for conservation activities?
- Should local or imported materials be used?
- What organisation supervises conservation?
- How should architecture be evaluated?
- What criteria should be used to judge architecture as heritage?
Following this, Ms Inaba gave a lecture about conservation related to authenticity in Japan. Throughthis lecture, she encouraged participants to consider what the meanings of “authenticity” and “value”.

Presentation by participants

Mr Wijesuriya and Prof. Inaba■ History of Wooden Architecture in Japan / Cultural Heritage Protection System andCurrent Status of Conservation in Japan (5 Sep.)
KANAI Ken (Agency for Cultural Affairs, Japan)
Introduction to Japanese traditional architecture chronologically and the protection system of wooden
structures as cultural properties in Japan- Explanation of how to construct each type of architecture- Reference to the historical backgrounds of structures- Explanation of architectural conservation under the Law for the Protection of Cultural Properties- Explanation of the procedure for restoration work

Lecture by Mr Kanai■ Restoration Systems and Project Planning for Wooden Structures (6 Sep. Morning)
MURAKAMI Jin'ichi (JACAM)
Introduction to restoration and the history of cultural properties in Japan- Explanation of the system of repair projects, such as the legal system for the protection ofarchitecture, associations in charge of the conservation of architecture, training programs forconservation architects- Explanation of work plans, including the procedure for restoration, and how owners of traditionalarchitecture can apply for subsidies
After the lecture, participants asked the lecturer some questions, as follows;14

- What is the organisation in charge of deciding which pieces of architecture should be important
cultural properties?
- What kind of plans did people in ancient times devise?
- Do local people object to plans for designating preservation districts?
■ Orientation for the Practical Training: Overall Process of Repairs (6 Sep. Afternoon)
AOKI Koji (JACAM)
Explanation of the procedure of renovation work using the Nishioka family residence as an example
was given, participants asked the lecturer some questions as follows;- When can owners of traditional architecture receive subsidy payments?
- Should new timbers used for restoration be painted to match the old ones?
- Are chemicals used to protect materials from termites?
- How can architecture be used after restoration?

Lecture by Mr Murakami

Lecture by Mr Aoki

■ Practical Training: Recording/Documentation of Tanaka Family Residence (7 Sep.)
AOKI, NAKAMURA, TAKAMIYA and YAMAGUCHI- Explanation of the Japanese drawing instructions for each part of the structure- Drawing a floor plan in accordance with these instructions

Lecture and practical training at Tanaka Family Residence■ Practical Training: Damage/Deterioration Survey and Planning for Restoration (8Sep.) AOKI, NAKAMURA, TAKAMIYA and YAMAGUCHI- Drawing a floor plan in accordance with the instructions and taking measurements of the Tanaka
residence house in groups

15

- Receiving comments on the floor plan and measurements from the lecturers- Visit to Tōshōdaiji Temple with Mr NAKAMURA’s lecture of its history and a distinctive
architectural feature while observing how the restoration was done kondo (main hall) and otherstructures■ Practical Training: Materials Survey for Sustainable Conservation and Planning aManagement Policy (9 Sep.) AOKI, NAKAMURA, TAKAMIYA and YAMAGUCHI
Draw a section plan in accordance with the instructions and take measurements in groups- Explanation of how to survey the type and condition of wooden materials- Explanation and demonstration of traditional Japanese carpentry tools- Discussion about sustainable conservation and planning for the Tanaka Family Residence in groups,
with each group making a presentation

16

■ Buddhist Monuments in the Horyu-ji Area, World Heritage Site
On-site Lecture: Preservation of Vernacular Houses and Historic Townscape inPractice I (12 Sep.) UEDAI Akira (Gojo Municipal Board of Education)
After arrival at Hōryūji, participants divided into groups of two, with each pair getting an explanationfrom a Hōryūji temple volunteer guide. Inspected the five-storied pagoda, main hall, etc.

Inspection at Hōryūji

After lunch, went by bus to Gojō Shin-machi, where the participants were given a tour of the Important
Preservation Districts for Groups of Traditional Buildings, led by Mr Uedai of the city government.
The Kuriyama Family Residence, Machinami Dentō Hall were visited, and explanations were givenof the efforts made by the city of Gojō, and the policy being carried out in the preservation district.
Afterwards, a visit was made to a townhouse, prior to construction work there which is said to be forrenovating it as a French restaurant.

On-site lecture in Gojō by Mr Uedai■ Introduction to Townscape Survey and Planning for Preservation (Guidance forGroup Work) (13 Sep. Morning) MASUI Masaya (National Nara Women’s University)
Prof. Masui introduced the method of investigating private houses and urban streetscapes and rurallandscapes, using as examples the districts of Imai-chō, Nara pref.
and Ochiai, Tokushima pref.
- Purpose of the survey- Explanation of the method of investigation and research
procedure- Kinds of conservation for historic townscapes: restoration
for traditional buildings, and façade enhancement for otherbuildings
Lecture by Prof. Masui

17■ On-site Lecture: Preservation of Vernacular Houses and Historic Townscape inPractice II (13 Sep. Afternoon)
MATSUNAGA Nobuo (Imai Townscape Scenery Preservation Office)At first, Mr Matsunaga explained aspects of the history of Imai-chō, such as the time when this area
was registered as an Important Preservation Districts for Groups of Traditional Buildings. Then theparticipants went around Imai-chō and observed the interiors and exteriors of traditional houses suchas the Imanishi and Toyoda family residences. The topics of the on-site lectures are as follows.
- History of each traditional houses- The structural features of each house- How people in former times lived in and used the houses
Then Prof. Masui explained the contents of the group task that is to make plan for a community facility
that utilizes the Imai-chō district. Each group selected the plot of land as the object for this design
which were prepared for the purpose of the training.

On-site lecture in Imai-chō by Mr Matsunaga■ Practical Training: Townscape Survey and Planning for Preservation (Group Work) (14Sep.) MASUI Masaya (National Nara Women’s University)
At the Kauntei guesthouse in the preservation district, renovation of a traditional town house machiya,
the participants immediately split into the following groups and began work.
Group A: Namgay DORJI, Vicheasachara PHIN, Kunkumadevi SIVARAMAN, Ilyasov RUSTEM,
Poon KHWANSUWANGroup B: She WONG, Mahirta, Ar-bi ARCIAGA, Soungwon KANG, Ram SHRESTHAGroup C: Htun Htun Win, Nicola JACKSON, Rupika RANASINGHE, VO Trung, Yulianto Prihatmaji
Each group gathered information on Imai-chō’s history, demographic changes, and on the plot of
land they were working on plus the surrounding buildings through old maps and photographs, andexchanged ideas about their group’s plan. They subsequently made an on-site inspection, walking
the neighbourhood of their plot and investigating shops, heritage buildings, and open spaces, andinterviewing the residents.
In the afternoon, each group held discussions to develop their restoration plan. They debated theutilization, using floor plans, façade design sketches, and perspective drawings. Concrete preparations
were made for the purpose of the following day’s presentation. After the training was over, these
preparations were apparently continued late into the night by the participants back in their hotel rooms.

18

■ Practical Training: Townscape Survey and Planning for Preservation (Presentation
by Each Group) (15 Sep.) MASUI Masaya (National Nara Women’s University)
Yesterday’s activities were continued at Kauntei and Hanairaka. Each group put together theirPowerPoint slides, plans and sketches, as the final preparations for their presentations.
At Hanairaka, each group presented its plan. They conveyed their analysis of their plot of land,
their concept for the plan, and concrete details about its utilization. These were debated among theparticipants, and comments and questions were given from the host of Kauntei, Mr Sugimura. At
the end of the presentations, Prof. Masui summarised the group work by giving the comments forparticipant’s plan and future tasks of preservation of townscapes.

Groupwork in Imai-chō and presentation■ On-site Lecture: Citadel Preservation in Practice / Risk Management of Cultural
Heritage (16Sep.) KOBAYASHI Masahiro (Himeji Municipality) / MURAKAMI Yasumichi(Hyogo Prefectural Board of Education)
At Himeji Castle, currently undergoing repair, explanations were received of the outline of the current
repair, and on materials used for the plaster and roof tiles, while walking through the castle site. As
work is being done on the main keep, a temporary building has been put up, but underneath is a facility
for viewing the repairs which is open to the public, making it possible to observe the repair of theroof and walls from up close. This is to avoid driving tourists away during the repairs, by providing
access to the interior. The participants were deeply absorbed in their observations, on this valuable
opportunity to observe repairs of Japanese castle architecture in progress.

On-site lecture at Himeji Castle by Mr Kobayashi

19At the Sawanotsuru Museum, after a brief explanation from Mr Murakami about the earthquake
damage and the seismic isolation system, the participants went in groups of several persons each toinspect the system in the basement. The others viewed the displays in the museum, such as Funaba
Ato, the unique remains of sake-brewing and archives of the restoration work of this building.

On-site lecture at Sawanotsuru Museum by Mr Murakami■ Practical Training: Recording of Wooden Structures (Photography) (19 Sep.)
SUGIMOTO Kazuki (Saidaiji Photo)
At Hanairaka in Imai-chō, at first asking the participants to introduce the opportunities each has to takephotographs for their work or personal interest. Afterwards, there was a lecture on the relation between
the adjustments of the ISO, aperture, and shutter speed when taking a photo of the cultural properties.
Practice training was conducted outdoors using analogue cameras. After everyone received an
explanation at first about the procedure for taking photos, they divided into three groups, each taking
photos at places of their choice. Despite considerable confusion about the procedure, they took photos
with some help from Mr Sugimoto and Ms Jitsukata. Subsequently, returning to Hanairaka, there wasa lecture on the processing of data when using a digital camera. There were many questions about how
to utilize unprocessed data, and about saving in TIFF or JPEG formats.

20

■ Preservation of Insect Damage to Wooden Structures (20 Sep. Morning) KOMINE
Yukio (Japan Institute of Insect Damage to Cultural Properties)
The types of insects like termites which damage wood, and their distributions and characteristics wereexplained, along with how to find insect damage through means such as visual inspection, and aboutcountermeasures. Afterwards, while examining pieces of wood, cord, old documents and newspapers
that had actually been damaged, plus samples of insects and excrement, explanations were given about
each type of damage.
■ Introduction to Dendrochronology (20 Sep. Afternoon) MITSUTANI Takumi (NNRICP)The types of wooden materials used in dendrochronological research at the Nara National ResearchInstitute for Cultural Properties were explained, along with related academic disciplines. For eachwood species a long master chronology is developed, which is used in helping determine the ageof heritage materials. Afterwards, for the actual examples of Hōryūji and Tōshōdaiji, there wereexplanations of how the age was determined with reference to other data such as documentary sources.
As timber is used in architecture several years after it is felled, dendrochronology is an effective meansof determining the age of construction.

Lecture by Mr Komine

Lecture by Mr Mitsutani■ Study Tour: Preservation of Modern Architecture in Practice (21 Sep.)
ISHIKAWA Shintaro (The Museum Meiji-mura)
Departure was made by bus to Gifu, but the study tour of The Museum Meiji-mura, Inuyama city,
Aichi pref. was cancelled because of a typhoon, and the group checked in the hotel early to await its
passing.
■ Study Tour: Preservation of Vernacular Houses and Townscape III – Takayama (22Sep.) USHIMARU Takehiko, TANAKA Kyohei (Takayama City Board of Education)
A lecture was given by Mr Ushimaru at the Kyōdokan in the city of Takayama. Explanations
were heard on the development of Takayama, its current preservation district and association forpreservation of the townscape, the Takayama Festival and yataigumi, which safeguard its floats, andthe firefighting equipment in the preservation district. There were questions about the involvementof yataigumi, float-safeguarding associates in local preservation, and about the owners and users(inhabitants and tenants) of traditional buildings.

21

Afterwards Mr Ushimaru and Mr Tanaka guided a tour of the Takayama Jinya Ato, the Takayama
Local Agency of the Tokugawa Shogunate, the former town hall of Takayama, the Sanmachi and
Shimo Ninomachi and Ōshinmachi preservation districts, and the Yoshijima Family Residence. At thepreservation districts explanations were heard of the firefighting equipment discussed earlier, and theseparate methods taken by the two districts for eliminating telegraph poles.

On-site lecture in Takayama preservation districts by Mr Ushimaru■ Study Tour: Preservation of Vernacular Houses and Townscape IV – Shirakawa (23Sep.) ASO Miki (Shirakawa Village Board of Education)
There were explanations of the Important Preservation District for Groups of Traditional Buildingsof Shirakawa Village, its inscription on the World Heritage List, the local preservation group, The
Association for the Protection of the Natural Environment of Shirakawa-go Ogimachi Village and the
Residential Charter, and environmental features, etc. It was noted that for the goals set by the masterplan of preserving heritage, maintaining the livelihood of the residents, and developing tourism inagreeable fashion, there is a pressing need to develop human resources. Subsequently, after climbing
to the observation deck and hearing an explanation, they moved on to the Wada residence, Important
Cultural Property. After hearing explanations from the owner of this house, Mr Wada on the structureof gasshō style houses and silkworm cultivation, there was free time for strolling around.

On-site lecture in Shirakawa Villege by Ms Aso and Mr Wada

■ On-site Lecture: Survey on Painting and Plans for Painting Restoration (26 Sep.)
KUBODERA Shigeru (Historical Research Institute for Architectural Decoration Technology)
At the Jibutsudō of Tōdaiji, the lecturer Mr Kubodera was asked about the points of caution when
making a survey on painting. As the deterioration and peeling of the paint were severe, it was affirmedthat meticulous attention was needed when making a survey.
Each participant began sketching their assigned portions. As the painting was peeling badly, there wereplaces where the original appearance was hard to discern, but the participants made their sketches
by using ladders and flashlights to access hard to see areas. The sketches finished in the morning22

were then coloured in with pencils. These were finished with supplementary filling using the original
colours, and not just colouring the surviving portions only. This is because since the base coat isgreenish, areas where the painting deteriorates tend to turn green. Each participant then worked on a
restoration plan. These plans were then presented to all, and Mr Kubodera and the participants engaged
in lively discussions.
- Nicola (NZ) suggested two plans, based on consideration for the religious significance of thepainting: (1) maintain the present state, and preserve the surface to prevent further peeling, (2) recolour using the original techniques, but leave one portion only in the present state.
- Poon (Thailand) suggested investigating the process of painting, and re-colouring only one portion of
the painting.
Mr Kubodera recommended keeping the original shape, maintaining it in its present condition withno overlay of painting, out of consideration for its value which has been fostered through history, andbecause of the need to think about the goals of the building’s utilization and preservation.

Practical training and lecture at the Jibutsudō of Tōdaiji by Mr Kubodera■ Future Tasks in the Preservation of Cultural Properties: Theory and Practice I (27Sep.) Joseph KING (ICCROM)- International organizations such as UNESCO, ICCROM, and ICOMOS, for cooperation in preserving
the world’s natural and cultural heritage- ICCROM’s philosophy and its activities- The conventions, recommendations, declarations, and charters of the various organisations- The World Heritage Convention- On the value, authenticity, and integrity of cultural heritage- The difficulty of defining value universally, as the value of an item (cultural heritage) varies with theposition and perspective of the person making the assessment- The principles for the evaluation of authenticity (form and design, materials and substance, use andfunction, traditions and techniques, location and setting, spirit and feeling) proposed by the 1994
Nara Document■ Future Tasks in the Preservation of Cultural Properties: Theory and Practice (28 Sep.
Morning) Joseph KING (ICCROM)- With regard to the monitoring of heritage, the need for: defining the scope of the object and theperiod; simplifying the preparation, data gathering, and analysis; continuing the monitoring- With regard in particular to the gathering of data, it is necessary to continue monitoring of various
elements, and to renew and systematize the data23

- Touching on the situation of cultural heritage preservation in the districts of Takayama, Shirakawa,and Imai-chō that were visited by the participants, there was discussion on situations of local
residents being strongly favourable to maintenance and preservation.

Lecture by Mr King

■ Closing Ceremony (29 Sep.)
After submitting their reports, each participant had Japanese tea prepared by the translator Ms. Hata,
was photographed in ethnic dress, and all having an enjoyable time, regretted the final parting. At the
Closing Ceremony, Mr Nishimura (Director of ACCU Nara), Mr Joseph King (ICCROM), and Mr
Namba (NNRICP) gave remarks on the completion of the program. Next, as representatives of theparticipants, Ms Ah Ken-Eteuati Ailini from Samoa, Mr Poon Khwansuwan from Thailand gave wordsof greetings, looking back over the month of training and expressing their thanks.

Mr NISHIMURA
Director of ACCU Nara

Mr KING
from ICCROM

Ms Ailini AH KEN-ETEUATI Mr Poon KHWANSUWAN
from Samoa
from Thailand

24

Mr NAMBA
from NNRICRAwarding certificates of completion

Country Reports
by Participants

III. Country Reports by Participants

Bhutan
Namgay DORJI
Project Engineer
Division of Conservation of Heritage Site
Department of Culture, Ministry of Home and Cultural Affairs

Structural Heritage of Bhutan
1. Introduction(Source: Google map)
Bhutan is a small developing country situated between China and India with its border extending fromthe southern foothills of India to the greater northern Himalayas. The country is mountainous
with an altitude ranging from 200 to 7000 m above mean sea level, going from south to north.
Altitude is a key factor that contributes to the marked differences in climate among different regionsof the country. Bhutan is also characterized by dense forest growth with the coverage estimated atabout 70 percent.
In the present day, Bhutan is known to the outside world for its unique and time-tested cultural
heritage. The government of Bhutan has in turn laid immense importance on the preservation andpromotion of cultural heritage, which now forms one of the central main streams in Bhutan’s
development planning.
This report mainly focuses on the conservation of heritage buildings of Bhutan, and on wooden
components in particular. Conservation includes survey and documentation, intervention, legal
1

27

protection, and a continuous process of monitoring and maintenance.
It should be noted however that conservation techniques in Bhutan are still traditional and rudimentary.
The idea of modern conservation is at its developing stage and has yet to realize fully its benefit.
Bhutan is today carrying out renovation works extensively, with statistics showing 70 renovations
every year.

2. Architectural heritage in Bhutan
The architectural heritage of Bhutan ranges from simple farmhouses to monasteries and temples, andmagnificent palaces and dzongs (fortresses). Bhutanese architecture also includes chortens (stupas)
and bridges.
The earlier settlements have mostly been in the inner Himalayan regions rather than the southernfoothills where the climate is hot and humid. Thus, thick vegetation, temperate climate, geology andeven topography, besides religion and socioeconomic conditions of the region, have hugely influenced
the development of Bhutanese architecture. Dzongs or fortresses have been built principally for
military purposes such as defense. These towering structures are built at strategic locations—on
hilltops overlooking the valley or surrounded by rivers providing a vantage point over the advancing
army of the enemy. With the transformation of the political situation, these structures later became
centers of religion and civil administration.

(Fig. 2.1) Lhuntsi Dzong(Fig. 2.2) Trashigana Dzong

Temples (lhakhangs) and monasteries are found scattered all over the country by the thousands. They
were built mainly for spiritual reasons but also served political functions. Temples and monasteries
are built through the collective effort of the community, or voluntarily by patrons. Monasteries andtemples are built on rocky cliffs where great saints have meditated in caves or hermitages.
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(Fig. 2.3) Taktsang monastery(Fig. 2.4) Chari monastery

Chortens are one of the most symbolic items of Buddhist architecture. These are built tocommemorate a great feat or event, usually religious, or in memory of eminent saints or personages.
The shape or form of a chorten is usually inspired by a mandala (Buddhist depiction of the cosmos).
Traditionally, chortens are chiefly built of stones or mud with little or no use of timber.

(Fig. 2.5) Stupas (chorten)3

29

Traditional Bhutanese bridges can be grouped under two types: chain suspension, and a wooden
cantilever known as bazam. The former type is normally adopted for wider rivers and the latter fornarrower ones. Traditional bridges not only represent exquisite architectural pieces but also feats ofengineering which have never failed to fascinate foreign visitors. Bazam is a wooden cantilevered
bridge with or without a roof over it, and usually with bridge houses which are tower-like structures oneach end.

(Fig. 2.6) Traditional Bhutanese bridges

A unique and most interesting fact about temples, monasteries, chortens or even dzongs is that there
has been little digression from the functions for which they were originally intended some centuries
back, and still form an integral part of the day-to-day lives of the Bhutanese people.

3. Traditional wooden architecture in Bhutan.
Timber is one of the oldest and most common building materials used from centuries past till today in
Bhutan. With almost two thirds of country’s area covered by forest, timber is intimately associatedwith traditional Bhutanese culture. Besides the extensive resources, it is out of necessity thattimber forms a major part of Bhutanese architecture. It is no exaggeration to say that Bhutanesearchitecture is largely defined by the wooden components of the structures. Timber is used startingfrom finishing material to extremely complex structural complexes. This can be understood from the
non-availability of alternative materials, and at the same time the natural abundance of timber.
In traditional Bhutanese architecture, space, form, texture and the identity of the buildings are largely
430

governed by the method, design and extent to which timber has been used. Windows of different
styles and sizes are constructed corresponding to the type, size, and height of the building. Dzongs
and temples are usually characterized by multi-tiered rabseys (bay windows). Aside from the masonrywalls, traditional buildings are heavily laden with wooden components.
The way wooden columns are used in traditional buildings is quite interesting to know. Tapering
wooden columns with brackets called kachens, decorated to various degrees depending on the natureof the building, are typical of Bhutanese architecture. These columns are introduced to support the
principal beams (dung) and joists for achieving more space inside. The most remarkable aspect ofthese structures is that they have withstood numerous earthquakes and other natural calamities over along period of time. However, there is no record in evidence that these were designed to resist
earthquakes.
Another striking feature of traditional architecture is the pitched roof, made of timber. The different
roof types represent the status in the building hierarchy. Some of the roof types are permissible only
for important buildings such as temples, monasteries, palaces, or government buildings. Traditionalroofs make use of extremely heavy timber members. It is common practice to create a wide attic, andthe space is used for drying and storing crops and meat. Traditional roofs use layers of shingles forroofing, which are kept down with stone boulders.

(Fig. 3.1) Typical Bhutanese architecture

531

4. Wood as a building material
Wooden construction is considered safe, energy efficient, dependable, affordable and environmentallysuperior. Wood forms one of the most versatile and abundant materials in many parts of the world. It
is probably t h e only renewable building material, and can also be recycled. Different species o fwood bear their own beauty, fragrance, color, and texture. As it is widely available and easy to workwith, wood is used from the simple and basic to the most elaborate and intricate types ofarchitecture. Wood is obviously the most widely used material in traditional Bhutanese architecture,and some examples have survived more than 100 years. These structures have also proved efficient
in resisting earthquakes and other forces of nature. However, wood being an organic material, it iseasily perishable when exposed to weathering and deteriorating agents and is highly combustible. The
latter is a major challenge as Bhutan’s traditional buildings abound in timber usage, but the ideas andtechniques of fire safety are little known to Bhutanese society.
Timber is broadly categorized under hard and soft woods. Some of the hard woods available in
Bhutan are oak, teak, sal, walnut, cypress, willow, mahogany and sandalwood. Soft woods are blue
pine, spruce, chir pine, juniper, fir, cedar, poplar and hemlock. Construction with hard wood is sturdy
and durable, but soft wood is easier to work with.

5. Problems with wooden architecture
The most widespread and severe problem that persists for heritage buildings in Bhutan today is the
decay of timber. In certain cases, the stability of the whole structure is put at risk due to decay of key
timber structural members and due to improper structural designs whose shortfalls reveal themselves
over time. For example, there are situations where wooden beams and columns are strained underexcessive load, as the result of which beams sag and columns sink, bringing the whole overlying
structure down with them.
The causes of decay are insects, microorganisms, dampness and weathering agents. Dampness, oneof the most common causes of timber decay in Bhutan, is also aggravated or promoted by poor
planning and construction faults. However, it is noted that different species have different capacities tofare in particular situations.
Apart from natural seasoning, there is no other treatment applied to timbers. One can easily make out
whether timber is well seasoned or not. Timber that is not seasoned well is extremely vulnerable toinsect attack and decay, and also starts to shrink or warp under pressure. Although chemicals andpreservatives are not used, the paintings done on wood have contributed a great deal to protecting
timber for a long time.
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(Fig.5.1) Timber decay(Fig. 5.2) Traditional way of seasoning timber in Bhutan

733

(Fig. 5.3) Poor bonding and bulging(Fig. 5.4) Erosion due to weathering834

(Fig. 5.5) Fungal and insect attack

6. Difficulties encountered during execution of restoration
Difficulties in analyzing traditional buildings structurally comprise one of the biggest problems related
to heritage sites in Bhutan. The characteristics, and problem areas, of restoration are as follows.
•

Almost all work on traditional buildings is done using indigenous knowledge and materials.

•

No factual calculation is done to determine the stability of the building.

•Almost all the massive structures have no foundation, but are built directly on the underlying
stone or ground.

•

Bhutan suffers from an acute shortage of professionals qualified in the structural analysis ofmonuments. It is therefore difficult to convince people of the degree of stability ofmonuments.

•

Accordingly, renovation proposals often seek to stabilize the building with modern materials.

•

Installation of electrical and sanitary fittings.

•

Hazards, especially fire, for which there is insufficient water supply and lack of proper fire
extinguishers.

•

Attitude of the people towards monuments. Many want elaborate monuments, and because ofthis attitude most of the local monuments are considered dilapidated or weak.

•Lack of appropriate legislation and guidelines.

•

Slow erosion of communal sentiments and responsibility.

•

Collision of heritage with external influences and modern development.

•

Insufficient funds.

•

Remote locations of heritage structures.
935

7. Protection and restoration activities
Under this heading, I intend to discuss as far as possible my views based on the experience I
have gained over time working for the only agency in the country that handles the conservation,
restoration, maintenance and rehabilitation of Bhutan’s architectural heritage.
Although conservation of timber in heritage buildings i s widely carried out in Bhutan, thetechniques and materials used are mostly traditional even today. The conservation activities are
explained below in sequence.
NATURE OF THE TIMBER COMPONENT
It is important to establish first the significance of the timber component. One should ascertain theworth in terms of age, use, material and other relevant aspects. Knowledge of the type of construction
and timber species aids in conservation work.
EXTENT AND CAUSES OF TIMBER PROBLEMSFor conservation, the causes and extent of damage should be ascertained. These findings are keys
to the right choice of conservation method.
(a) Decay and insect attacks. Timber is usually the most worn out and affected component inhistoric buildings. The members are affected by termites, dampness rising from below, fire, andwear and tear. For example, timber floors in historic buildings are completely deprived of ventilation,
causing decay. The dampness from below, and poor ventilation which limits air circulation, create afavorable environment for insects and microorganisms that feed on timber.
(b) Structural issues. Besides causes of damage or decay, understanding the extent of damage andstructural implications is essential for determining the course of repair. Timber floor joists and beams
on the upper floor spans of the room are closely studied and only those in critical condition are
replaced. These members are often found to be sagging under the weight. Examination is madewhether this is due to inadequate size of the timber, sinking of the support structure, or excessive point
load.
REPAIR OR CONSERVATION WORK
It is necessary to take great precautions in repairing structural members. At the time of replacing floor
joists, beams, lintels or columns, the horizontal members are jacked up. The removal and replacementof each member is done in succession from a suitable point. The outright replacement of joists orother similar members is refrained from unless it is extremely necessary. It is necessary to study theoriginal timber species and also assess the strength required for the timber.
1036

Total replacement of a unit is carried out mainly for structural components where structural safety
cannot be compromised. However, other non-structural timber elements can be corrected throughconsolidation, repair or replacement of damaged parts, etc. In conservation, every attempt is made topreserve the original material and existing conditions to retain the intrinsic cultural values.
No chemicals or preservatives are used for conservation of timber in Bhutan. Firstly, Bhutan was
introduced to modern conservation just recently and these chemicals were made available only a few
years back. Secondly, since the chemicals are toxic and not environmentally friendly, the government
discourages their use.
Good seasoning and painting after construction are two major activities that helped protect andpreserve timber in Bhutanese heritage buildings. The painting however weathers over time, leaving
timber exposed to agents of decay.
The concept of conservation in Bhutan is still largely traditional and very basic. Though it has proved
to work relatively well enough, it is very urgent for Bhutan to become fully aware of modern
ideas and techniques for conservation. There is not even any legislation in place to protect heritagebuildings and sites against various destructive forces that come hand in hand with urbanization. The
need for legislation is increasingly more pressing now than ever before to protect, conserve, promoteand develop.

1137

(Fig. 6.1) Restoration techniques

8. Conclusions•

Conservation techniques in Bhutan are still traditional and rudimentary.

•

The idea of modern conservation is at its developing stage and it is very urgent for Bhutan to
become fully aware of modern ideas and techniques for conservation.

•

At present Bhutan is carrying out renovation works extensively, with statistics showing 70
renovations every year. But even at this rate there is every danger of losing the authenticity of
the architectural heritage of Bhutan.

•

With real estate and other infrastructure developing at an exhilarating pace, the need toprotect, conserve, develop and streamline conservation work is felt more than ever before.

1238

Cambodia
PHIN Vicheasachara

Technical Officer/Archaeologist
Department of Conservation of Monuments in Angkor Park and Preventive Archaeology
APSARA Authority

Wooden Architecture (Problems and Needs for Cultural Heritage
Conservation and Restoration Activities)
I. INTRODUCTION
Since 1935, domestic and international researchers have focused on and documented traditional
Cambodian wooden architecture. This research has ascertained wooden structures of the preAngkorian and Angkorian periods; wood was blended in the temples with sandstone, laterite, andbricks. Other research (based on the bas-reliefs of Bayon temple, for instance, or Cambodian paintingsof the late nineteenth and early twentieth centuries) has shown that for ancient wooden houses, andbuildings for worship and other religious activities, wood was the preferred material for construction
and ornamentation, etc.

II. WOODEN STRUCTURES
Wood was probably used in the construction of the earliest buildings. During the pre-Angkorianperiod, it was used to make beams in joinery. The wood used in the buildings and palaces of Angkor
has been completely lost. Only in a few temples can fragments still be found of wooden beams andplanks used as lintels over door frames, as is the case in Bakong, Lo Lei and Prasat Suor Prat (Fig. 1,2). Often the wooden beams were placed inside blocks of stone, carefully carved in a U shape. In thesecases the wood has been destroyed by termites or rot, with the consequent collapse of the weakened
lintels. Where the wooden beams were placed outside, under a stone lintel, they are still in goodcondition.
Wooden lintel over doorway: These timbers support the upper load of the doors

Fig. 1 Wooden lintel at Bakong temple

Fig. 2 Wooden lintel at Suor Prat temple

139

At Northern Khleang temple located in the
Angkor Thom compound, researchers foundwooden beams still in their original locations
at two places on the doorways of the central
temple tower. The function of the beams is tosupport the stone over the door lintel (Fig. 3).
According to several researchers, the age ofthe beams is perhaps several hundred years
old. At present, they are in bad condition anddecaying steadily, and they have neither been
repaired nor conserved. In spite of influences

Fig. 3 Wooden lintel, Northern Khleang temple

from India, where numerous wood construction techniques are employed, the Khmers

only used one type of wooden roof, known as “sagging beamwork,” in which the qualities of the wood
are poorly exploited. This technique is based on the observation of the following fact: when supportingan overly heavy weight, a horizontal beam does not give way near its points of support or at its middle,
but at points located at a fifth of its length, known as the shearing points. The sagging beamwork
technique consists of bringing all the weight of the roof between the points of support and theshearing points of the tie-beams (the horizontal beams, Fig. 4).

Fig. 4 A: Schema showing Khmer sagging beamwork.
B: Illustration of sagging beamwork on a side aisle in the
Chiangmai region. (“C” indicates the shearing points.)

Fig. 5 Eastern Mebon: Constructionof a roof covering on one of the longbuildings in the second enclosure

Jacques Dumarçay and Pascal Royère have three sources of information about early beamwork:buildings shown in carved reliefs, tiles discovered near ancient structures, and beams embedded instone structures. Some monuments, in particular those of the tenth century, comprise stone buildings
covered with a tile roof supported by beamwork

240

For one of these constructions, on the Eastern Mebon at Angkor, they have reconstructed the
beamwork (Fig. 5). This reconstructed form is relatively simple, but it is a different matter when it is aquestion of covering a building with a cruciform plan such as very frequently shown in the reliefs. The
entrance pavilions of the second and third enclosures of Banteay Srei have this, and their roof
recovering must be reconstructed with purlins inserted in the gables. These insertions are very similar
to those of a building covered by a roof in two sections. There is some difficulty in reconstructing thecrossing of the two perpendicular elements. The solution proposed is but a probability based on thefollowing observation: often from the twelfth century, the plan of cruciform shrines has in the outercorners an inserted projection which has thecharacteristic, in its roofing, of having a convex
tile placed over the corner (Fig. 6).
This supposes that concave troughs run along
both sides of the beam forming the reflex angle.
From this it can be reconstructed that four beams
rest against each other at the top, and on thecorner projection at the base, and that the beam is
hidden under convex tiles with the troughs placedon each side (Fig. 7, 8).
Fig. 6 Chrei Temple: external corner of thecornice of the north entrance pavilion

Fig. 8 Placing a tiled roof on abuilding of cruciform plan

Fig. 7 Reconstruction of the beamwork
covering a building of cruciform plan

Sometimes terracotta tiles were not used in the roof covering, but stone elements or bricks were
employed, supported by traditional wooden beamwork (for example in the Bakong or the North
Kleang at Angkor), doubtless to allow for the development of a more elaborate model (Fig. 9).

341

This is the case at the palace of Wat Phu, in Laos,
where the main buildings were covered with a roofing
comprising two sections of concave tiles, while theentrance porches were covered with a roof for which theextrados was re-carved in the shape of a covering
resting on hoops, which is almost certainly one of thevery early uses in a Khmer monument of this form.
Due to Indian influences on Khmer monumentalarchitecture, Cambodian master craftsmen produced,
from the eleventh century, a form of roof covering
without completely understanding the techniques
involved, known as hooped roofs (models of such roof
covering are frequently found in the carvings in India,
particularly in Mahabalipuram).
Given this ignorance, these roof coverings werereproduced in Cambodia with considerable incoherence;

Fig. 9 Reconstruction of a roof covering oneof the entrances of the Bakong pyramid

for example, the roof seems to have been covered byconcave tiles which are in practice very difficult toplace on a curved surface.
The buildings appearing in the great reliefs at
Angkor Wat, the Bayon or Banteay Chmar
almost always seem to be made of wood.
Although the elevation can be reconstructedwith some degree of probability, it is not thesame for the plans. However, given the locationof the gables on the elevations, it is certain thatthe cruciform plan was very common (Fig. 10).
The

techniquesofconstruction

of

these

buildings will doubtless be more easily reestablished when the results of recent researchon the site of the royal palace are published.
Nevertheless there are indications of an unusualbuilding, given its situation and significance, inthe pavilion which appeared at the top of theterrace known as that of the Leper King.
Fig. 10 Bayon, internal gallery, example of acarving showing a building with a cruciform plan

When B. P. Groslier excavated the fill of theterrace, he discovered the base of very

442

substantial pillars which rested on a wooden crossing, the whole concealed in the fill. As can be seen,
the Khmers only used wood in compression and never in traction, which avoided the necessity of
having ties other than simple impaction which were held in place by their considerable weight.

III. HOUSES AND RELIGIOUS BUILDINGS OF WOOD
1. Ancient house characteristics
Cambodian vernacular dwellings differ from one another by their roof shapes. A field survey, made by
APSARA in three provinces (Battambang, Kampong Cham and Katie), identified five different types
whose house models were presented by Mr. UONG Vorn, former director of the Department ofCulture of Angkor Conservation. Those houses date approximately from the early twentieth century to
the mid-1940s (based on information provided by the houses’ occupants). They are divided in two
categories: houses of the elite and those of commoners.
The following are the five different house types surveyed.
Phteah keung. The roof shape structure is like a kuti (residence for monks). The two central rows ofpillars of the house are partially relieved of their load-bearing function by two lean-tos on both sides.
The roof is divided into two sections, the upper part with two slopes and the lower part with four. Thishipped and gabled roof is particularly distinctive and shares many similarities with palatialarchitecture developed during Angkorian times.
This type of house was reserved for high-ranking individuals, as Zhou Daguan mentioned.

Fig. 11 Photo and cross-section of a phteah keung

Phteah rông daol. The term rông daol seems to derive from the expression ronphdon tol meaning“house whose roof plates expand,” which may then have been shortened to ron tol. It refers to the roof
plates extending on one of the two small sides of the roof and resulting in an awning; their final length
is more important that the ridge purlin’s length.

543

The phteah rông daol features a wooden structure much less elaborate than the phteah keung: it has notiered roof, and only the extended awning, hâp, at the front of the house, leaving the upper part of theroof plain save for a small gable. The back of the house is left vacant, usually with loosely fixed wood
paneling allowing for possible extensions. In the mid-twentieth century, rông daol houses seem tohave been closely associated with Cham communities. That is why it was always the type of house
inhabited by Islamic Khmer. Regarding interviews conducted with their descendants, most of theoriginal house owners were farmers who supplemented their income with activities such as silkworm
breeding, tobacco production, or cotton and silk weaving. None of the original owners seem to have
had any official title.

Fig. 12 Photo and cross-section of a phteah rông daol

Phteah rông doeung. The term rông doeung may derive from thbal kdoeung, a rice mill that wasstored at the back of the house under a second awning. This would suggest that the rông doeung house
was closely associated with farming activities. In three cases, the house was referred to as rông daol,in other cases, as dâmrey krap (kneeling elephant), and krachom (a term derived from the Thai
language, whose meaning remains unclear). Like rông daol houses, rông doeung houses are oblong inplan, with one of the two small sides serving as the main façade. While rông daol houses have only
one awning, located at this façade, rông doeung houses have two awnings and two gables, one at thefront and the other at the back. A kitchen was either built adjacent to or at the back of the rông doeung
house, which contained the reception area and sleeping spaces.

Fig. 13 Photo and cross-section of a phteah rông doeung

644Phteah pét. The term pét, meaning “oblique,” refers to the hipped roof. Outstanding pét houses havefour panels of roof with the same slope. The pét house seen in this picture is two buildings built one
after the other. So it is called “two buildings pét house.” There has also been a “five buildings pét
house.”
Normally, this house does not have any pediments on both sides in the manner of rông doeung or
keung houses.

Fig. 14 Photo and cross-section of a phteah pét

Phteah kântaing. The term kântaing is associated with migrants originating from China, particularly
from Guangzhou, who brought this type of house to Cambodia via Vietnam making some adaptations
for the local climate.
The kântaing house is similar to the rông house in terms of roof shape, but they are distinct from eachother in terms of internal spatial arrangement. While the rông house has no internal partition, thekântaing house has a mezzanine which accommodates the younger children and is then converted intoa storage space. As in the other types of houses, the kitchen is always at the back or adjacent to themain structure.

Fig. 15 Photo and cross-section of a phteah kântaing

745

2. Religious buildings
These are buildings that are used for religious purposes and venerating the principal gods. Thesebuildings may include the following.
Vihàra, uposothàgàr. These are built with four or six lines of columns that divide the space asfollows: the central section is called the foundation (krüh), the bordering sections on the sides arecalled the corridors (ròbieng), and beyond are the porches (baing sach). In this type of building, mostexamples have two levels of roof and possess at least four roof finials.
An uposothàgàra must have sìmà boundary stones encircling the building. This building is used formonks to perform the uposotha ceremony and other rites. As for the vihàra, it is a large building todisplay the primary Buddha image. Traditionally, this building never had sìmà stones. However,recently villagers commonly build uposothàgàra and vihàra together as a single combined building, sosìmà stones can be seen at many modern vihàra.

Fig. 16 Ancient prayer hall with a roof
structure of wood and core of bricks

Fig. 17 Ancient prayer hall in wood
surrounded by a stone boundary

Sàlà. These are less important buildings than the vihàra
and the uposothàgàra in a wat compound. A sàlà also
has four or six lines of columns and a central foundation
area (krüh), corridors (ròbieng), and porches (baingsach). These buildings are used as the places wheremonks eat, study chanting, and conduct various
ceremonies. The different types of sàlà are the study hall,sàlà bâriyat, for reading; the dining hall, sàlà chhan, formale and female lay members of the local community tocongregate and offer food; and the kitchen, sàlàkamroeun, for cooking.

Fig. 18 Salà chhan

8
46

Kuti. This is a residence for monks. A kuti has a shape similar to that of an ordinary Khmer house(bottom left photograph) but contains some special characteristics of the two roofed house types(keung) (Fig. 20).

Fig. 19 Kuti

Fig. 20 Kuti

In a larger structure it is usually completely open to the central colonnade in order to perform sacredrites. Norma1ly sacred architecture is built on an open plan with central space for the deity and nocentral pillar or support column. The multi-level roof (keung) is sometimes surmounted by a spire roof(mondop), supported by a sub-column (choeng kòk) and cross beam. The tiered roof may have many
levels depending on the status of the building.

IV. DIAGNOSISA diagnosis is presented here of houses in protected zones and elsewhere. Angkor ArchaeologicalPark of Siem Reap province is divided in five protected zones.
Zone I: Monumental sites
Zone II: Protected archaeological reserves
Zone III: Protected cultural landscapes
Zone IV: Sites of archaeological, anthropological or historic interest
Zone V: Socio-economic and cultural development zones of Angkor/Siem Reap province
The royal decree preserving protected cultural zones stated that Zones I and II need to be protectedfrom harmful land use practices and the consequences of inappropriate development, and that new
settlements are absolutely prohibited, but these actions have occurred considerably within these zones.
The decree allows the original villagers to rebuild or renovate their present dwellings to the same scaleand size, but with no extensions. So far, other problems have been arising in every village in thearchaeological park, but here I focus only on problems dealing with dwellings.

1. House painting
According to observations in situ on color use of most of the houses in the protected zones, it does notconform to APSARA’s recommendations. One house was painted in yellow and grey tones on the947

walls and windows. Visibly, the upstairs and downstairs (additional construction) are distinct fromeach other (Fig. 21).

Fig. 21 House situated in the protected zone of
Angkor Archaeological Park

Fig. 22 House in Battambang province

Another house, situated in Battambang province, with new construction at the ground floor whichlooks recently built or repaired, is totally done in brick, in contrast to the old part of the building (Fig.
22).

2. Materials
This ancient prayer hall is situated in Siem Reap province. The walls were recently removed andreplaced with new wooden planks with grills. The walls were completely painted and covered with anadditional layer of zinc. The building as a whole visibly divides into two parts, the roof which
maintains its authenticity, and the main body of the wooden structure which reduces the building’s
historic value.

Fig. 23 One of the ancient pagodas in Siem Reap province

3. Additional construction
These are examples of houses surveyed in Battambang province. In the first one, a verandah has been
added adjacent to the main porch, and in the second, an additional building stands in front of the house,
with architectural characteristics contrasting strongly with the old building located to the rear. Though

1048

differing in degree, both houses illustrate negative historic impact caused by lack of adherence to
Khmer architectural style.

Fig. 24 Houses surveyed in Battambang province

V. PROPOSAL FOR SAFEGARDING
Responding to the problems examined above, I propose the following process for conservation andrestoration.

1. Painting the exterior surface
In order to maintain the ancient architectural forms and landscapes in the parks, we need to take into
account the painting of houses. Materials on the roof (tiles, fibro-cement, and zinc) must be in red,green or light grey tones; white is prohibited. Walls and windows must be coated in brown or should
be kept in the natural color of the wood. In case there is additional construction at the ground floor, it
must be in the same color of the main building or light grey, but pink and white tones are prohibited.
Below are a model house and water color patterns built and produced by the APSARA authority,
which should serve as models for those requesting permission for construction.

Fig. 25 Model house in the protectedzone of Angkor park

Fig. 26 Water paintings in a brochure by the
APSARA authority

1149

The recommendation adopted by the APSARA authority is used to safeguard the ancient dwellings in
the protected zones and elsewhere in Cambodia.

2. Substitution of new materials
It is important to study preliminarily new materials before any intervention. Destruction of oldmaterials threatens the authenticity of the building, and for this reason, to protect the building frommanmade disaster I recommend, in the case of restoration or renovation of old buildings, to usematerials of the same species. In the example given above, the prayer hall’s walls were originally inbrick, for which zinc-plated wooden planks and grills were substituted; the wooden wall and zincplating must be dismantled. Regarding Khmer houses, morphologically any inappropriate intervention
such as modification of the building shape (by which I mean transforming the building to anotherarchitectural style) is absolutely prohibited. All additional construction must be completely removed
so that the ancient building emerges.

3. Architectural decorative elements
The houses surveyed in three different provinces, Battambang, Kratie and Kampong Cham, allowed
me to observe decorative elements that are always present on the roof, and sometimes also sculpted oninternal wooden structures such as joists, etc. These fantastic elements used anciently are rarely foundat present on the roofs of buildings.
They should be recorded and designated properly as architectural achives.

Fig. 27 Ancient decorative elements

VI. CONCLUSION
Day by day, due to lack of conservation and restoration measures, the wooden architecture of
Cambodia is in a dangerous situation, caused by nature and by humans who make interventions
without proper knowledge of its value. Preserving this outstanding wooden architecture has become anational interest. The issue is particularly sensitive for present examples of living heritage buildingsthat still have a use and function and should be preserved that way. Raising awareness of their value as

1250

architectural heritage should be greatly encouraged, with the families and local communities, and atdifferent levels of the administration. The inventory of outstanding wooden buildings was a firstinitiative towards the identification and recognition of this architectural and living heritage. From now
on, the APSARA authority should play a major role to ensure the survival of wooden heritage in
Cambodia for future generations.

VII. REFERENCES
Ang Chouléan, 1998. Angkor: Past, Present, Future.
Jacques Dumarçay and Pascal Royère, 2001. Cambodian Architecture: Eighth to Thirteenth Centuries.
Julio A. Jeldress and Béatix Dayde-Latham, 2002. Le Palais du Roi du Cambodge.
Henri Parmentier, 1939. L’Art Khmer Classique. Monuments du Quadrant Nord-est. 2 vols. Paris:
EFEO.
Vorn UONG, 1996. Ancient Khmer Habitats.
François Tainturier, 2006. Wooden Architecture of Cambodia, a Disappearing Heritage.

13
51

ChinaWONG She (Sharon)

Master’s Student
Architectural Conservation Programme
The University of Hong Kong

Opportunities and Challenges for Heritage Conservation in Hong Kong:
The Case Study of Tsing Shan MonasteryIn contrast to Europe, Japan or Australia, popular awareness of the value of conservation of the built
heritage is a rather young phenomenon in Hong Kong. Although there is now widespread public
appreciation of our surviving architectural heritage, it is always difficult to encourage the retention ofhistoric buildings, especially by way of private participation. As at June 2011, there are a total of 99
Declared Monuments and 154 Grade I historic buildings in Hong Kong (AMO 2011). Less than
one-third of these are Chinese temples, ancestral halls and study halls, and only few of them datingfrom the Qing Dynasty. Many of the best preserved traditional Chinese buildings in Hong Kong are
temples, mostly Buddhist and Daoist, and their preservation owes much to their constant heavy usage.
Located on eastern slope of the Castle Peak (青山) in Tuen Mun (屯門), Tsing Shan Monastery(青山寺) is the home of the oldest Buddhist site established in Hong Kong, surviving from the fifth
century. In the 1920s, shortly after the monastery was last rebuilt, there used to be 100 monks(Savidge 1977). Today, the monastery is still used as a place of worship by the Buddhist community,
and is one of the best hiking spots in the territory. Though the site has been degraded over time, mostof its building elements survive largely intact and the form is still preserved. Through a process of
repeated consultation with the Managing Trustees of the Charitable Trust of Tsing Shan Monastery, arestoration plan was formulated. It is one of the largest and most exciting conservation projects tooccur in Hong Kong for many years. The project has not only prioritized work to be done, but also
helped to understand the monastic site further. Through our modern inquiry into traditional Chinesearchitecture, the physical structures surviving from the period became more clearly tied to theirreligious functions and building history. This project identifies the significance of the built heritage ofthe monastery when this sacred place was revitalized in the early twentieth century, which in turninforms us of the layers of history and memories embedded in the site, place, and space, inextricablyinterwoven with the material aspects of the architecture.

History and Ownership
According to descriptions from various local gazettes and writings by esteemed historical poets andofficials, Master Pei Tu (杯渡), a legendary Buddhist monk from South Asia, arrived in Tuen Mun
harbour at the Pearl River entrance around mid-fifth century. He was welcomed by the local garrison

52

and resided in a cave at mid-level of a local mountain near the harbour, which is believed to be the Pei
Tu Cave in the Tsing Shan Monastery today. The monastery is therefore regarded as one of theearliest points of entry of Buddhism into China via the ancient Sea Silk Road. Later, a nunnery wasbuilt on the mountain in front of the cave according to records dating back to the seventeenth century.
The local To clan began to build a Daoist temple (Tsing Wun Koon 青雲觀) on the site around theearly nineteenth century and embraced the cave site. In 1914, the To clan appointed Chan Chun-Ting
as the Daoist temple head. However, as Chan converted into Buddhism in 1918, he started to acquireland around the cave to build Buddhist buildings, cleverly using the cave, the existing Daoist complex,
and the natural topography to compose a vast formal Buddhist compound. His death in 1932 started a
dispute over land ownership between the interweaving Daoist and Buddhist complexes, until the court
settled it in 1998 by setting up the Managing Trustees of the Charitable Trust of Tsing Shan
Monastery.
In 2004, the Trustees commissioned consultancy research on the care and condition of all earlymonastic buildings contained within the site. This was completed with cooperative assistance from thevillage representatives, the District Council, consultants from the Architectural Services Department,
and the Hong Kong Institute of Architects. The consultancy research highlighted thirteen significant
monastic buildings, dating from the 1910s, which had been established on the site. As the Trustees
own only the footprints of the Buddhist buildings except the courtyards and the paths around them,comprehensive repairs had been hindered. In recent years negotiations finally enabled thecommencement of restoration work. A team of architects, engineers, conservation consultants andcontractors was then appointed by the Trustees to carry out the restoration work from September 2009
to January 2011. As land and resources in Hong Kong are at premium, many owners of private
historic buildings have tended to overlook issues of conservation, especially when pitted against
short-term economic incentives. Although the Tsing Shan Monastery is a privately-owned historic
property built on private land, and it is a great challenge for the owner to bear the additional costs of
having the repair work done using traditional materials and techniques, by virtue of its inherent value
and its status as an important landmark, the Managing Trustees considered it worthwhile to restore
this cultural resource to be enjoyed by the public at large and protected for future generations toappreciate.

Legislation and Grading System
Conservation of the built heritage is never an easy task and by no means an inexpensive exercise,especially when the historic building is located in a heavily developed city like Hong Kong. Hong
Kong has enjoyed rapid economic growth over the past five decades at the cost of losing the cultural
fabric of its cityscape. In Hong Kong, a monument declaration system was only first introduced whenthe Antiquities and Monuments Ordinance was enacted in 1971. Additionally, a grading system, as aninternal administrative mechanism with no statutory authority, was first introduced by the Antiquities
Advisory Board in 1980.

53

Despite the limited land ownership of the Trustees, the terrain that makes up the Tsing Shan
Monastery as a complete Buddhist compound spans an extensive cultural landscape, embracing
government land and including woodlands, fields, streams, rocks, paths, and also other private lands
like the Tsing Wun Koon complex and graveyards, however, none of the buildings or land features
are Declared Monuments protected under the current Antiquities and Monuments Ordinance.
Nevertheless, up to ten buildings are on the current “proposed list of graded historic buildings”
announced by the Antiquities and Monuments Office by June 2010. Among those, five buildings,
namely the Ceremonial Arch, Mountain Gateway, Bodhisattva and Ksitigarbha Hall, Hall of
Dhamapalas, and Main Grand Hall are proposed as Grade I (AMO 2011). As such a culturallandscape is extremely rare in highly urbanized Hong Kong, the monastery should in fact be treatedcomprehensively rather than as a series of individual historic buildings.

Deterioration Factors
Hong Kong lies within the tropics but unlike other tropical places, it experiences distinct seasonalchanges in weather (HKO 2011). The average annual rainfall in Hong Kong is about 2,200 mm,
compared with 620 mm in Beijing and 1,580 mm in Nara. Heavy rain means that historic buildings
need to drain water away quickly. Tropical typhoons are most common from July to September. In an
average year, about five of them can be expected to cause damage such as landslides. The location of
the monastery is of prime concern, as it has steep hills and is exposed to wind, rains and mist, andsustained neglect in recent years has caused leakage and thus progressive rotting of timber members,
threatening partial collapse and potential complete failure. Besides, the monastery also suffered frompast unsupervised repair works which unfortunately concealed and casually altered the originallyintended form and expressions having ritual or artistic significance.

Restoration Work Examples
Each piece of intervention throughout this restoration project was decided on evidence and research.
In all cases, traditional materials and techniques compatible with the existing fabric and historical
craftsmanship were chosen wherever possible, but in case of unsafe or unsustainable past practices,
improvised modified methods using strictly traditional materials borrowed from similar Lingnan
practices or well-tried Hong Kong experience were adopted. Below are a few examples.
Main Timber Frame and Overhang Frame, Main Grand Hall 大雄寶殿之主木樑架及外簷樑架
The Main Grand Hall of the monastery displays a very standard form of timber roof construction for
the Lingnan (嶺南) Region, meaning the cultural region south of the Five Ranges, located in modern
day Guangdong and Guangxi provinces, and part of southern Fujian province. The timber roof isprobably the largest and oldest authentic example of a large-scale traditional Chinese building in
Hong Kong with a timber hipped and gabled (歇山頂) roof form. The two existing main sets of54

timber truss frame, which arise from the four Golden Columns and support the roof of the Main
Grand Hall, are a Lingnan style lifting-beam with strut-column timber frame (Fig. 1). The form of thisextensive cross section is known as the “nine-purlin, double front-rear aisle, six-column section” (九架前後雙廊用六柱) in traditional Chinese architecture.
CONDITION
The existing round purlins, probably of Chinese fir, were supported by the beams of the main truss
frames. Due to their direct contact with leaking roof tiles, the purlins suffered the most deterioration.
Thus rotting of fibre and peeling off of paint were serious. By comparison, the beams andstrut-columns appeared to be in a better state, except at locations where the roof had mostly collapsed.
INVESTIGATIONS
Fragments of the existing timber purlins with painted surfaces were sent to the test centre of
Huazhong University in Wuhan, for testing the nature of both its existing fabric and paint. When the
spectrum of its fabric was tested under infrared analysis, and compared with results for common
timber fabric, it was confirmed to be Chinese Fir. Existing timber beams and purlins appear
homogenous dark brown or black, which could have been the general protective surface paint.
Analysis of the paint specimen excluded the possibility of lacquer, with the result matching that oftung oil (桐油), a common traditional anti-rot treatment.
TECHNICAL CHALLENGES
The seriously rotted rafter battens needed complete replacement. The sustained leakage in recent years
had also seriously rotted and fractured the tops of most purlins. It appeared impossible to repair the
purlins in situ. It was decided to take each down carefully and examine it for damage. Those withminor damage were repaired (Fig. 2), while those which have lost structural capability were replacedby matching timber poles using compatible techniques (Fig. 3).
Techniques of repairing timber. After taking down all purlins for inspection, about half could be
repaired and reused, while the rest need to be replaced. Timber purlins were repaired by: (A)scrapping away and thoroughly cleaning away all rotten debris, and letting dry; (b) treating all reused
purlins with traditional tung oil for protection against mould and insects and drying thoroughly; (C)filling up the hollow parts and gaps with wood blocks and chips mixed with resin (Fig. 4); (D)painting with two coats of raw tung oil until soaked wet just like the traditional Lingnan construction
practice, and letting dry (Fig. 5); (E) installing the purlins into position on the roof frame.
Techniques of preparing replacement timber. For structural timber members deteriorated beyond
repair by minor filling, there was an established method of replacing part of the structural member bytraditional carved jointing (Fig. 6). Any complete replacement by new timber members was also
prepared under traditional methods. The process includes: (A) sourcing Chinese fir poles of matching
lengths and diameters (these should usually be trees already felled and dried for a long time, and55

already ground or sanded into broadly straight and even profiles); (B) painting with insect and mould
repellent, and letting dry; (C) painting with two layers of raw tung oil until soaked wet just like thetraditional method, and leting dry; (D) installing the purlins into position on the roof frame.
Techniques of final paint finishes. The testing by Huazhong University reported that traditionallacquer was not found on the surviving surfaces. This is understandable since full proper applicationof lacquer to structural members was an extremely labour intensive method. Application of raw tungoil as the predominant surface protection is a common practice. Nevertheless, the final surface may
traditionally be painted over with a thin hard layer that shines, sheds moisture, and retains the woodgrain. It may be either: (A) cooked tung oil, (B) lacquer diluted with tung oil, or (C) in later eras,
water-based enamel paints. The first two have short life spans and may have peeled off later. All of theabove are sacrificial if applied as a thin semi-transparent layer, meaning they can be removed later
without damaging the wood fabric which is already well protected by the raw tung oil impregnation.
Considering that the first two methods require well trained workers for a sophisticated technique nolonger practiced in Hong Kong, it was decided that the third method is acceptable, as long as theenamel paint is water-based, breathable, semi-transparent, dark-brownish colour, thinly applied, andthus reversible. This is considered the least interventional method that retains the original design
intent and appearance.
Tou-kong and Structural Timber Frame, Hall of Dhamapalas 護法殿之斗拱及木結構樑架The hipped and gabled roof of the Hall of Dhamapalas is in the recessed-gable style (Shou-shan 收山,
Fig. 7), and is rare in buildings of this small a scale (Fig. 8). The tou-kong of this hall are decorated
with incised carving (陰刻) (Fig. 9), where thin lines are carved into a flat surface, then normallygilded or painted dark. The carvings here show patterns of lotus and “colour-clouds” (祥雲) (Fig. 10),
both Buddhist features, testifying further that the building decorations of this monastery are uniquely
tailored to Buddhist philosophy, and indeed very different from almost all other Chinese temples andancestral halls in Hong Kong, which display customary vernacular auspicious themes only.
CONDITION
Compared with all other buildings in the monastery, the timber roof frame of this hall, including thebeams, purlins and tou-kong, are in a relatively good condition without any major rotting or signs ofcollapse. A fracture was found in the gable purlins, and occasional sections of overhanging purlins
were found to have rotted (Fig. 11). All the tou-kong are in very good condition without any signs ofrot or collapse. The purlins were painted in dark brown apparently with oil-based enamel paint toimitate a traditional tung oil treated surface.
INVESTIGATIONS
Ridge purlin. At start of the project, a main fracture at the middle of the ridge decoration was foundand suspected to be a sign of potential failure of the main ridge purlin (Fig. 12). Fortunately, later56

removal of the tiles found it was only caused by inadequate bedding of the decoration assembly itself,
and the ridge purlin is in fact in good condition, thus not needing replacement.
Gable beams. Fractures in two gable beams would not cause immediate collapse, but they needed to
be strengthened. It was decided to take advantage of modern engineering intervention, and use small
steel channels spanning the existing steel lintels to give support from below, and allow the weakened
existing timber gable purlins to rest on such new steel channels by gravity, thus eliminating any
intervention to the timber fabric.
Eave purlins. Local sections of rotted purlins under the eaves were replaced only locally with new
timber (Fig. 13), and fitted back to the main member by traditional crafted joints (Fig. 14).
Tou-kong. There is no need for replacement due to their good condition. Removal of later
indiscriminately applied enamel paint reveals more clearly the carving details and faint traces of darkgreen. The only sensible decision was to carefully remove all paint without damaging the carving
details, and repainting the tou-kong in red with water-based paint, and with carvings highlighted bydark green paint as in the original design (Fig. 15).
TECHNICAL CHALLENGES
The biggest challenge was the need to preserve the elegant plaster mouldings on the ridge and thegable, which precluded dismantling the timber structure. The restoration of the roof of this hall
adopted a “no dismantling” method, i.e. to re-lay the roof tiles and replace battens without priordismantling and reassembly of all beams and purlins. Fortunately, most of the purlins are in relatively
good condition and do not need replacement except at certain sections of the eaves corners. The
beams supporting the gable walls were found resting on I-section steel lintels between the brick piers(Fig. 16), which indicated a major restoration in past decades replacing that member while reusing
other structural timber members. As mentioned above, the beam that carried the brick gable was mostheavily loaded, which led to visible fracture. Although not leading to immediate collapse, it should be
strengthened in this project.
Tiled Roof, Main Grand Hall 大雄寶殿之瓦作屋頂
The roof of the Main Grand Hall is in the traditional Lingnan style “single roll, single pan” (單板單筒)tile construction, supported by timber rafter battens, in turn supported by timber purlins and beams
below (Fig. 17).
CONDITION
Most of the timber rafter batten pieces were already badly rotted, often reduced to less than a quarterof the original dimension, and thus impossible to repair. The cement mortar joints were mostly
cracked and the tiles were only loosely resting in place by gravity, subject to imminent slipping off
and thus breakage. It was imperative that such a roof be completely re-laid while reusing the mostsalvageable tiles.

57

INVESTIGATIONSIn Chinese building restoration projects, it is common to have around half of the pan tiles salvaged
and reused, while the rest need to be replaced by new matching ones. Each pan tile was found tooverlap the one below by 70% and expose only 30%, in a technique known as “overlap by 7, expose
by 3” (搭七留三). In the Lingnan region, the practice is to use continuous rows of interlocking
convex cylindrical-shaped roll tiles to cover the joint between rows of pan tiles (Fig. 18). The roll tiles
were plastered over as a ridge, using a thick layer of lime mortar mixed with black soot, known as“black-smoke plaster” (烏煙灰). This plaster ridge holds the tiles in position and fills up the gaps
between tiles. Traditionally, the soot is often obtained from the bottoms of the domestic Chinese
cooking wok. Thus the oil-based plaster achieves high water-shedding, dirt resistant, and insect
repellent characteristics. The problem here was the cement mortar applied to the roll tiles in earlier
restorations was extremely difficult to remove. Manual removal with extra care was needed to salvage
such tiles for the reuse (Fig. 19).
TECHNICAL CHALLENGES
The laying of single pan, single roll tile roofs and the application of dark-smoke plaster are stilltechniques processed by workers repairing Chinese temples in Hong Kong, and hence the technicalchallenge is manageable. From experience, tight quality control on site to ensure strict adherence totraditional standards of care in tile laying and thoroughness of lime plaster application is probably
most important for ensuring beauty and durability. However, the conservation team has decided tofurther improve the technique by reintroducing some traditional techniques which are now rarely
practiced in Hong Kong.
Use of bamboo strip reinforcements. Plastered roll tile ridges are often cracked by slight movement,
causing potential leakage. One traditional Lingnan technique is the addition of bamboo strips as
reinforcements buried within the plaster layer (Fig. 20). It was decided to reintroduce this method in
the restoration here.
Use of bamboo nails. Another common failure of Chinese roofs is the collapse of rafter battens that
support the tiles. Modern workers in Hong Kong often use iron nails to fix the rafter battens onto thepurlins below. This non-traditional method creates potential rusting and eventual deterioration of thetimber members. Again, the team reintroduced a Lingnan traditional technique of fixing thecomponents with bamboo nails (Fig. 21). Workers cleverly made their own bamboo nails by cutting
domestic chopsticks (Fig. 22). These need to be dried and then dipped in raw tung oil according totraditional practice to repel insects and mould, and improve moisture resistance.
Preparation of salvaged pan tiles. The salvaged pan tiles were selected and thoroughly cleaned of
bird droppings and mould (Fig. 23). They were then soaked in lime water for up to three times until
they appeared white (Fig. 24). The lime will improve the water shedding properties, repel and prevent
insects and mould, and also prevent plants from growing on the tiles’ surface.

58

Replacement roll tiles. The profile of roll tiles may vary considerable in the degree of tapering and thediameter of the interlocking dovetail. In this restoration, the profile for replacement roll tiles wastested by several mock-ups until it was found to match the majority of salvaged ones.
Decorated Eave Boards and Lintel Frames, Hall of Dhamapalas 護法殿之封簷板及門頭花罩
The incised groove technique of the eave board is one of the representational wood carving crafts inthe monastery. Patterns are not easily identified in shallow incised groove carvings (陰刻), hence
contrasting colour is normally painted into the groves. However, multiple layers of paint applied in
the past have made finding such colour impossible on the existing eave boards.
CONDITION
The existing eave boards were covered with dirt and mould at the start of the project (Fig. 25). Only
shallow incised groove carvings similar to those on the tou-kong were seen, but were blurred by later
applications of thick paint. The cloud profiles at the edge corners of the eave boards were
unfortunately badly rotted. The carvings on the door head lintel frames across columns have a
combination of relief and openwork carving (淺浮雕, 通雕) (Fig. 26). Apart from two thin layers ofpaint and a fracture in the middle, the condition is acceptable without damage to the carving details.
INVESTIGATIONSNormal shallow carvings will not be treated with a base of plaster, but only given thin paint to reveal
the carved patterns. The restoration needs to exemplify such characteristics in order to match theoriginal appearance and maintain the principle of an integrated style. Both boards with shallow groove
and with openwork carving were cleaned to reveal the wood grain, with no application of new colour.
TECHNICAL CHALLENGES
Careless handling by workers at the start caused falling and loss of the rotted corners of one of theeave boards. The construction team brought craftsmen from China in an attempt to remake them, but
the remade pattern turned out to be mismatched with the original. Repeated trial resulted in thedecision to repair in situ (Fig. 27). By referring to the offering table under the Sutra Protector Statue
inside the hall, guild incised groove carvings were painted in the traditional Ciaozhou (潮州) style of“gilt thread drawing” (金線畫) (Fig. 28). In the absence of any other evidence, it is reasonably
assumed that the carvings of the eave boards might have been carried out in a similar technique.
Hence it was decided to restore with such grooves painted with this traditional method.
Carved Wooden Doors, Main Grand Hall 大雄寶殿之雕花木門
The twelve leafs of timber door panels of the Main Grand Hall are carved with elaborated open latticepatterns of Buddhist icons. The Middle Bay has six operable leafs grouped in three pairs, hinged at59top and bottom, in line with the formal design of a Harmony-of-Six Door set (六合門).
CONDITION
The bodies of the existing timber doors are generally in good shape, with little sign of fracture or
rotting (Fig. 29). The surfaces, including the lattice patterns, appearing in bright polychrome, were
obviously painted over many times.
INVESTIGATIONSThe site supervisor carefully scrapped and recorded each pattern layer by layer. It appeared that pastworkers did not always repaint with the exact colour scheme as existed at that time. Hence it isdifficult to determine which scheme was more culturally significant. Nevertheless the combination of
red and blue and green was predominant, and also matched a photo record of the doors taken in 1985.
This was the colour scheme adopted for the restoration work.
TECHNICAL CHALLENGES
There is no substantial technical challenge in repairing the fabric, except for minor repairs of cracks
and chipped off corners by traditional filling with wood dust mixed with mortar (Fig. 30). The main
challenge of the restoration was the colour and texture of the open lattice patterns. It is important thatthe restored colours appear not brand new, nor should it be deliberately made old to falsify historic
evidence. It was decided in the end that the middle main feature patterns be painted in the original
bright colours, while the surrounding vine decorative patterns be made slightly dull. Workers applied
diluted chemical paint remover to the wood surfaces (Fig. 31). It removes all later oil-based orsynthetic paints except the bottommost layer, which is probably half soaked into the wood fabric. It
was decided to leave such faint traces of old paints untouched since further chemical or manual
treatment may risk damaging the wood grain or craftsmanship. Traces of the very bright later colours
left over from when the project started still remain at the edges and corners of these lattice patterns,
and are difficult to remove without risk of damage. It was decided to leave these traces alone, to allow
visitors to see such evidence. All the door leafs were repainted with mineral dye to the original
colours, except one leaf at the far edge, which was deliberately left untouched and remains in the state
before the restoration (Fig. 32). It allows visitors to see the authentic historic evidence.
Ridge Ceramic Ornaments 正脊陶瓷The main ridges of the Main Grand Hall and Hall of Dhamapalas have elaborate decorative Si-wan
glazed ceramic ornaments (石灣釉彩陶瓷) on both the front and rear. The authentic Foshan (佛山)ridge ceramics, dating from the 1920s, are two of the most valuable examples of traditional crafts inthe monastery.

60

CONDITION
Despite occasional cracks and loss of features, the general condition is good and thus illustrates agood quality firing process when originally made. However, the entire composition showed sagging,with vertical fractures caused by failing timber ridge purlins and frameworks below (Fig. 33).
INVESTIGATIONS AND CHALLENGES
Initial trial samples of ceramics bought from Foshan were found to be far inferior in terms of colour
rendering and material quality. The original ridge ceramics were fired in traditional wood-fueled kilns(傳統柴窰), nowadays considered to consume far too much time and natural wood, but produce finequality ceramics with a subtle blending of colour. The team found one in Guangdong, probably among
the extremely few surviving examples in China. Missing portions, limited to those parts with evidenceof the original form (e.g., by replicating a symmetrical part), were made from this authentic
wood-fueled kiln (as opposed to modern electric ones commonly used nowadays).
Lime Plaster and Lime Painted Wall 外牆石灰漿The wall finishes found on most buildings were synthetic paints which prevented breathing, trapping
mineral deposits and deteriorating the brick.
INVESTIGATIONS
On-site investigation revealed the bottom layer to be traditional lime paint applied directly to the barebrick surface, which permits the penetration of vapour. But bare lime paint on a brick surface is easily
washed off by rain and needs to be repainted every two or three years, as was the case for mosttraditional buildings. This frequency of extensive repair is considered unsustainable in modern HongKong. Exposing the brick face is also not feasible due to the poor quality of the brick surface beneath.
TECHNICAL CHALLENGES
After research, a type of traditional plaster common in Lingnan vernacular construction, hemp fibre
lime plaster, was found and was it decided to introduce it here. Similar to the local paper pulp plastertechnique commonly used in Hong Kong until the 1970s, it is basically a lime based plaster reinforcedby the fibre of hemp, thus allowing a layer as thin as 10 mm to properly adhere to a rough bricksurface. The final lime colour paint was applied on the plaster while damp, and the resultant plaster isstrong (due to the hemp fibre reinforcement), permits natural breathing for the bricks (hence they last
longer), and sustains the desired colour of coating. The supply of hemp fibre was readily secured by
cutting hemp ropes into small pieces (Fig. 34). This hemp fibre is then added into a wet lime mixture
and mixed well by mechanical cement mixers. After trial on site, it was considered an appropriate
treatment to address all the various issues of material durability, practical workability, and aesthetic
interpretation at the same time. No modern techniques are needed to resolve this challenge.

61

The Need for Skilled Craftsmen
In Hong Kong, where traditional repair methods do not predominate, the work of craftsmen is notwell respected. At the same time, the need to use modern materials in repair work also results from thelack of competent craftsmen. Construction workers in Hong Kong possess no independent attitude,
are not very well trained and relatively low paid, though they work quickly but with no ambition andsometimes without willingness to learn. Every member of the conservation team should in fact have athorough knowledge of traditional materials, design methods and construction techniques. However it
is an accepted fact that in today's Hong Kong society it is extremely difficult to fulfill all these
conditions, or even a few of them.

Documentation
Investigations and research have shown that many repairs had been carried out without sufficientinsight into the need for continual monitoring and maintenance of the cultural landscape in the past. It
is also very difficult to collect enough information of past alterations from surviving documents, as
there are only limited records and photos that describe the changes. Throughout the conservation
project, the diverse group of conservationists and experts has developed a very conscientious
approach to the recording of details on the monastery before, during and after repair work. The
conservation project for the monastery was carried out with great sensitivity, carefully chosen
traditional materials and conservation techniques, deliberate choices for minimal intervention, andmany of the techniques and materials employed are targeted to address particular challenges forheritage buildings in Hong Kong of similar construction. It is hoped that such experience can serve as
reference and be shared with professionals and stakeholders for possible advancement of know-how
in the future.

Education and Local Interest
In keeping with the restoration objectives, the project has also been of immense educational benefit toa far wider community. The project has been successful in raising the interest and involvement of thegeneral public in conservation matters, and in increasing cultural and historical awareness. Over the
past five years, conservation and study have been ongoing at the monastery with strong local
community involvement. The Guest Hall building is now improved with circulation and fire-safety
facilities, and is intended to be managed as an Interpretation Centre to explain the significance of thisMonastery and the Restoration Project. It will hopefully continue to be a place of interest for its
inherent and exhibited cultural value, historical significance, landscape and architectural beauty, andopportunities for spiritual enrichment.

62

Acknowledgments
Grateful acknowledgment is made to the Conservation Advisers for the Tsing Shan Monastery: Mr.
Edward LEUNG Yee Wah (Academic Director of HKU SPACE Cultural Heritage Management) and
Ms. ZENG Hung, for their permission to use the restoration work examples and illustrations
excerpted from the unpublished Entry Materials for application for the UNESCO Asia-Pacific
Heritage Award, 2011, for Culture Heritage Conservation of the Tsing Shan Monastery.

References
Antiquities and Monuments Office. “Declared Monuments in Hong Kong.”

http://www.lcsd.gov.hk/CE/Museum/Monument/en/monuments.php, (27 June, 2011).
Antiquities and Monuments Office. “List of the Historic Buildings in Building Assessment.”

http://www.lcsd.gov.hk/CE/Museum/Monument/form/AAB-SM-chi.pdf, (15 June 2011).
Hong Kong Observatory, “Climate of Hong Kong.”

http://www.hko.gov.hk/wxinfo/climat/climahk.htm, (15 Aug 2011).
Savidge, Joyce. This is Hong Kong: Temples. Hong Kong: Government Information Services, 1977.

Illustrations

Fig. 1 Supporting the roof of the Main Grand Hall is a
Lingnan style lifting-beam with strut-column timber frameFig. 2 Timber frame with minor damage was repaired
while remaining in place

Fig. 3 Timber frame components with of loss structural
capability were replaced by matching timber poles

Fig. 4 Filling up the gaps with wood blocks and chips mixed
with resin

63Fig. 5

Timber frame painted with two layers of raw tung oil

Fig. 6

Replacing part of the timber structure with new

until soaked wet just like the traditional method

members using traditional carved jointing

Fig. 7

Fig. 8The gable above roof is incised from the exterior

Hipped and gabled roof is rare in buildings of thiswall under the eaves

small a scaleFig. 9Fig. 10

Incised carving

Tou-kong painted in red with faint incised groove

carvings of patterns in lotus and clouds

Fig. 11

Occasional sections of overhanging purlins arefound to have rotted

64

Fig. 12A major fracture at the middle of the ridge decoration

Fig. 13

Local section of rotted purlins replaced by new timber

Fig. 14

Local section of rotted purlins fitted back to themain member by traditional crafted joints

Fig. 15

Repainting tou-kong in red with water-based

Fig. 16

I-section steel lintels between the brick piers

The roof is the traditional Lingnan “single roll,Fig. 18

Using continuous rows of interlocking cylindrical tiles

paintsFig. 17

single pan” tile construction

to cover the joint between rows of pan tiles

Fig. 19

Fig. 20

Cement mortar previously adhering to the roll tiles

was carefully chipped off by hand

Traditional Lingnan technique of adding bamboo

strips as reinforcements was introduced65Fig. 21

Fig. 22

Workers cleverly make their own bamboo nails by

cutting domestic chopsticks

Fig. 23

Fig. 24

The salvaged pan tiles were selected, and thenThe salvaged pan tiles were soaked in lime water forthoroughly cleaned of bird droppings and mould

up to three times until they appeared white

Fig. 25

Fig. 26

The existing eave board was covered with dirt andCombination of relief and openwork carving on the

mould at the start of project

door head lintel frames

Fig. 27

Fig. 28

in situ

66

The team re-introduced a Lingnan traditional

technique of fixing with bamboo nails

The rotted corners of the eaves board were repaired

Restoring grooves painted in “gilt thread drawing”

Fig. 29

The existing timber doors with lattice patterns

Fig. 30

Cracks and chipped-off corners to be repaired by

are in good shape with little sign of fracture or rotting

traditional filling of wood dust mixed with mortar

Fig. 31

Fig. 32

Workers applied diluted chemical paint remover

One leaf of the doors at the far edge was deliberately

on the wood surfaces

left untouched

Fig. 33

Fig. 34

A major fracture is found in the middle of thegroup of Si-wan glazed ceramic

The method of hemp-mixed lime plaster was

eventually tested and applied

67

IndiaKunkumadevi Kishore

Conservation Architect
Development and Research Organization
for Nature, Arts and Heritage (DRONAH)

Cultural Heritage and Its Protection: Restoration Activities in India
India is the cradle of the human race, the birthplace of human speech, the mother of history, thegrandmother of legend, and the great grandmother of tradition. Our most valuable and most
instructive materials in the history of man are treasured up in India only!
——Mark Twain
The cultural heritage of India is an amalgamation of diverse castes, communities, languages, cuisines,
religions, dance, music, art and architectural forms, all of which have evolved over a period of morethan five thousand years of known history. It is beyond the scope of this paper to list each of thesubdivisions under any of the above genres for the sheer number they would come to! With a physicalarea of 3,287,263 square kilometers and a population of 1.21 billion, it would be easier to assimilate
many of the features to be discussed here if the country were broadly divided into north, south, west,
east and northeast, based largely on the fact that the Tropic of Cancer almost divides India into two
halves, and several natural features also contribute to such a division by creating different climaticand environmental zones. Add to these there are also similarities in race, languages spoken, costumes
worn and the food eaten.
India was originally divided into several kingdoms that coincided largely with the above subdivisions,and except for a few occasions that spanned several decades, they were physically united with one
another to form a larger territory only after the fifteenth and sixteenth centuries AD, when the empire
began to be expanded by the Islamic emperors who conquered India and ruled from Delhi as theircapital. This was further expanded during British rule from the nineteenth century onwards and by the
mid-twentieth century the Indian empire extended from Pakistan in the west to Bangladesh in the east,
Kashmir in the north to the southern tip of the Indian peninsula, only to be divided into three in 1947,
while achieving independence.

68Fig. 1 Map of India showing various geographic zones
Source: www.wikipedia.org

The era of Aryans and Dravidians as the two dominant races that occupied India before the Christianera, the birth of the two ancient religions Jainism and Buddhism and the later emergence of Sikhism,
the arrival of Christian missionaries, and several invasions and conquests by the Greeks (BC),Mongols, Persians, Turks, Afghans, Portuguese, Dutch, and the British, all predominantly fallingwithin a period of two thousand years, result in a very complex and rich matrix of historical layersthat together through mutual interaction, and simultaneous and constant internal evolution, today
present a land of myriad colors, yet there are several factors that have constantly governed and eventoday provide unity to such diversity, contributing to the magic of the single nation that is India.
It is beyond the scope of this paper, and almost an impossible task, to draw from a milieu as complex
as this the sheer number of entities that emerge as cultural heritage through these myriad interactions
and as products of such enchanting times! This complexity often presents tough challenges to aconservation architect like myself, who specializes in the preservation, conservation and restoration of69

heritage buildings (and their premises) and of historic urban/rural areas where tangible and intangible
heritage are both present, enmeshed in the various layers of history, and embodying in their form thedifferent religions, cultural beliefs and practices, rulers and ruling dynasties, as well as innumerable
kingdoms and several princely states. The Hindu population comprising eighty percent of India is
divided into numerous castes and communities that follow different customs and traditions, reflectedin traditional architecture in both urban and rural areas. It is hardly sufficient just knowing the historyof India to intervene in such significant areas, rather, it is more essential to research in great depth thehistory and culture of the particular territory under consideration, in order to understand which layer
to restore and how, and what to preserve for the posterity, and if several significant layers are present
how to preserve and interpret them all to the user or the visitor. It has mostly been a top down
approach that is followed, where the national, provincial, regional as well as the local history andculture and their cross influences are studied thoroughly prior to any interventions.
India is one of the fastest growing nations in the world today and with such speedy growth comes amajor threat to all the different components of its culture. Being a conservation architect I shall limit
this paper largely to the cultural heritage that manifests itself in the form of architecture, as a standalone entity as well as entire settlements (urban or rural). I have lived and worked in the northern,western and southern parts of India, and my knowledge of the east and northeast are mostly frombooks, documentaries and peers who have worked there. Most of the historic cities in India haveexisted for at least seven hundred to a thousand years as urban centers, and many of them, such as
Varanasi and Madurai, are much older. There is increasing urban decay in the historic cores of thesecities, especially due to a lack of infrastructure facilities that can support the exploding populations
there. These cities now house people as well as functions that are far above their original carrying
capacity. This inability to support expansion due to area restrictions, the lack of funds to undertake
restoration works (the decades of negligence and lack of maintenance have caused partial collapse andneed for extensive repairs), abandoning of heritage properties, family disputes, lack of knowledge
needed to restore, out-migration of owners and in-migration of functions that attract large volumes oftraffic and people, are all major causes of inner core blight in all historic cities of India, regardless of
their scale and significance. The past few decades have seen totally unplanned growth in these cities,
as the sole focus of development organizations has been to provide facilities for a growing population,
in a manner serving immediate purposes and exhausting the funds allotted, rather than utilizing themin a sensitive manner within the existing historic system. It was simply not considered necessary or
important to preserve the past, when the national market was flooded with construction materials andtechnology that was cheaper and required less time for implementation. It has been observed that
Master Plans for some cities have been drawn carefully, allotting specific zones as sensitive andspecially protected, but while charting out development plans for the same the authorities fail tointervene in a sensitive manner. This is largely due to the absence of officers who are suitably trained.

70

There is an increasing awareness of the loopholes in the existing planning and development
frameworks, and efforts are being undertaken to rectify them.

Fig. 2 British Residency, Hyderabad – a Britishcolonial building from the early nineteenth century

Fig. 3 Entrance gateway to a Hindu temple withstone sculptures, in south India

It has always occurred to me that there is an effort, almost frantic even, to break from ties with a pastthat is looked upon as a hindrance to getting richer and attaining a higher status. This phenomenon
may also have something to do with the colonial subjugation of the masses: once freedom wasachieved it became highly important as a nation to imitate the West and be at par with its latest
inventions, so as to avoid the possibility of being caught unaware and colonized once again.
Those pages of history where every dynasty that conquered and subjugated India fell in love with its
past, and created a new order by marrying the best of the existing with the best of that which was
brought in, were either lost, or read and forgotten. While I fully agree that we have to maintain pacewith advances in technology and the trends of the world, I also feel strongly that it is equallyimportant to adapt these to what suits us best while not losing our cultural values, and in thisparticular context of discussion, not to lose our native and technically sound architectural heritage toinsensitive modern constructions. To draw a balance between the two remains one of the greatest
challenges for a nation where there is tremendous land pressure, exponential growth in population, afast growing economy, and an increasing lack of sensitivity among urban and rural development
organizations.

71

Fig. 4 Plan of a historic temple town (Srirangam, south India) dating from at least the seventh century AD, which
took its final urban form in the sixteenth and seventeenth centuries

Traditionally, undertaking renovation and restoration of buildings was a part of regular maintenance(whitewashing/cow dung flooring/re-thatching etc.). The concept of jeernodharan (to give new life or
to revive) has always been in existence. Kings would undertake restoration works of public buildings,
caves, temples and so forth during times of peace, to generate employment and promote love of art
and architecture through public works. Repairs of major historic monuments like the Taj Mahal and
Akbar’s Tomb were carried out in the early 1800s by keenly interested British officers. The Asiatic
Society was established in 1784 in Calcutta by Sir William Jones to make the public aware of theantiquarian wealth of India. The early nineteenth century cultural renaissance witnessed the first
antiquarian legislation in India, known as Bengal Regulation XIX of 1810. Together with the Madras
Regulation VII of 1817, this legislation empowered the government to intervene whenever publicbuildings were under threat of misuse. Act XX of 1863 enabled the government to prevent injury to72and preserve buildings remarkable for their antiquity or for their historical or architectural value. The
Indian Treasure Trove Act of 1878 was introduced to protect and preserve treasure found accidentally,
but which had archaeological and historical value. The Archaeological Survey of India (ASI) wasestablished in 1861, followed by various stages of development under able British officers such as
Alexander Cunningham, Sir John Marshall, and R. E. M. Wheeler. In 1886 the government forbade
any person or agency to undertake excavation without prior consent of the Archaeological Survey,
and debarred officers from disposing of antiquities found or acquired without the permission of thegovernment.

Fig. 5 Jama Masjid, the largest mosque in India, was constructed in
the early sixteenth century at the peak of Islamic (Mughal) architecture,in sandstone and marble

Fig. 6 Golden Temple at Amritsar in northern
India – the religious seat of Sikhism in India

The Ancient Monuments Preservation Act, 1904, and the Ancient and Historical Monuments andArchaeological Sites and Remains Act (Declaration of National Importance), 1951, helped declare thosemonuments and archaeological sites of national importance as protected. The Ancient Monuments andArchaeological Sites and Remains Act, 1958, is the most important act today that provides for thepreservation of ancient and historical monuments and archaeological sites and remains of national
importance, for the regulation of archaeological excavations and for the protection of sculptures, carvingsand other similar items. Legislation has also been adopted in some states and cities of India that safeguards
heritage buildings of significance and specific urban zones declared as protected, such as in the union
territory of Pondicherry, the fort area of Mumbai, and so forth. Due to pressure from conservation
professionals and non-governmental organizations, initiatives are being taken by the governments ofdifferent states to pass bills and acts that can provide better protection to historic buildings and precincts.
Such undertakings are very slow, however, due to departmental callousness and sometimes even frombeing overshadowed by other portfolios of greater importance, such as poverty, shelter, education andinfrastructure development, in a nation where the population is exploding and political corruption isincreasing daily.

73

The Archaeological Survey of India, functioning under the purview of the Ministry of Tourism and Culture,is the primary custodian of historic monuments of national significance in India. It operates through 24
Circles spread across all the states of India, with a highly capable team of experts including archaeologists,
conservators, epigraphers, architects, chemists and other scientists. The ASI is also the state party
responsible for sending nominations for sites of universal outstanding value to be declared as World
Heritage by UNESCO. While the ASI operates at the central level, the State Department of Archeology
and Museums (SDA) operates at the state level and protects historic monuments of state and regionalsignificance. The monuments protected by the central government are marked with blue sign boards, while
those protected by the state governments have green signs. The ASI protects about 3,650 ancientmonuments and archaeological sites, while the SDA protects more. Although there is no doubt that the ASI
has come a long way in conserving historic monuments and their precincts, there has also been criticism
from conservation professionals about the archaeological and stereotypic approach of the ASI towards thehistoric monuments and precincts across the country. Although it has a very capable team of experts (whospecialize in chemistry and archaeology primarily) that has even helped countries like Cambodia andAfghanistan protect their historic monuments, there is still a dearth of trained conservation architects on
the team. The presence of conservation professionals like myself should help the ASI carry out in-depth
research on traditional materials and construction technologies adopted in each region under purview, andmore importantly help prepare holistic management and conservation plans for historic precincts that will
facilitate better channelization of limited funds, as well as undertake restoration work according tointernational standards while maintaining the principles of authenticity and minimum intervention.

Fig. 7 Ripon building (Chennai, south India) is a classic example of Indo-Sarcenic architecture, which is colonialarchitecture influenced and enhanced by historic Indian architectural elements

74

The Indian National Trust for Arts and Cultural Heritage (INTACH) is a very active organization thatwas set up in 1984 as a registered society and a nationwide nonprofit membership organization, withover 150 chapters across the world. Ever since its establishment INTACH has been hugely proactivein bringing into the limelight and restoring several hundreds of historic properties of all types andtypologies, sizes, and levels of significance. They have been forerunners in not only restoring built
heritage but also in documenting, restoring, as well as reviving several associated tangible andintangible components of cultural heritage. Other organizations such as the Urban Arts Commission,
the Conservation Society of Delhi, and many private organizations headed by practicing conservation
professionals are also actively involved in the protection of architecture as well as other cultural
heritage components. Apart from these organizations, there are several individuals who support theprotection of built heritage, who are either formally trained or are simply passionate and concerned
about the rich heritage they have inherited.
In spite of all these joint efforts there still remains so much to be protected in this ancient nation ofplenty. In my opinion the past two decades have seen a revival of lost arts and crafts and thepromotion of Indian cultural heritage through various channels, especially tourism. However,protection and restoration of the built heritage remains one of the greatest challenges. Apart from theother obvious reasons that have been mentioned above, there is also a lack of a multidisciplinary
approach. The list of stakeholders for any built heritage and historic urban/rural precinct is very
exhaustive, and in a growing nation like India where the amount of discrepancy seen between theideologies, approaches, attitudes and financial status of different individuals is greater than everbefore, it is quite a mammoth task to bring them collectively under one roof and urge them as acommunity and one force to actively take pride in their inherited past, and participate in its protection
for posterity. Like every other country, a serious lack of funds is a major issue as well. There arealways several buildings competing with one another for funds for restoration, but thankfully today a
number of private organizations are making significant efforts towards tapping funding from national
and international organizations like the World Monuments Fund Britain (for the Residency,
Hyderabad), Global Heritage Fund (Hamper, Indus valley civilization-Gujarat), Aga Khan Foundation(Humayun’s Tomb and environs, Delhi), Ambassador's Fund for Cultural Preservation (USA-YMCA
buildings, Mumbai), the Asian Development Bank (socioeconomic studies/surveys), the British
Association for the Preservation of Cemeteries of South Asia (Col. Bailey’s Tomb, Srirangapatna), toname a few. It still would be no exaggeration to write that several projects remain as mere
conservation reports due to the lack of funds to undertake restoration work in this nation ofimmensely rich and numerous heritage buildings and precincts.
The need to conserve these arises from their role as testimony to the many layers of complex historyof a very diverse and ancient country. While the times have changed and the people who made history

75

have long gone, these remain as silent witnesses to various political, social and cultural events of thepast, which have yet to be interpreted, researched and recorded. The architectural heritage of any
country or region can be classified broadly based on the following divisions:-

Defense-Administrative/Political-

Residential-

Religious-

Infrastructure (water facilities, bridges, roadways, cemeteries)-

Recreation-

Open spaces

North- Kubera- Ruled by lord of wealth(Finance)
South- Yama- Ruled by lord of death Yama (Damaging)East- Indra- Ruled by the solar deityAditya (Seeing the world)
West- Varuna- Ruled by lord of water(Physical) Northeast {Eshanya} - uled
by Shiva
Southeast- Agni- Ruled by the fire deity –Agni (Energy Generating)Northwest- Vayu- ruled by the god ofwinds (Advertisement)
Southwest- Pitru/Nairutya,
Niruthi- Ruled by ancestors(History)
Center- Brahma- Ruled by the creator of
the universe (Desire)
The Vastu Purusha is the presiding deityof any site. Usually he is depicted aslying on it with the head in the northeast
and legs in the southwest but he keeps
changing position throughout the year.
Fig. 8 The figure of Vastu Purusha or Mayan determines the principles of Vastu
Shashtra (Source: www.wikipedia.org)

In India several historic buildings from each of the above categories can still be found quite intact,and each of them have been strongly influenced by either religious, social, mythological orsupernatural beliefs, as well as the then prevailing political system. The need to preserve these76

reflections of the many glorious centuries of India’s past also rises from the fact that they are treasure
houses of a fading traditional knowledge system that is constituted by the above beliefs and practices.
One of the most important and ancient practices of Hindu architecture (starting from a simple
dwelling unit to an entire town) is the incorporation of Vastu Shashtra, a treatise on the best principles
and practices of design, planning and construction. There are several other sacred texts that find their
origin in the Vedic period and developed over the succeeding centuries, sometimes forgotten only tobe rediscovered later, that detail traditional principles of planning an entire town as well as every
single structure within it. My Master’s thesis was based on one such town that thrived as a religious
urban center, and it was quite an enlightening experience to discover layers of exemplary traditional
planning principles hidden behind modern constructions. It is already an established fact thattraditional planning and design principles were always a manifestation of a necessary sensitivity tolocal climatic conditions, natural construction materials, as well as communal customs, identity andbeliefs, all governed by principles of sustainability. Every community, irrespective of caste, creed or
religion, had a set of planning principles, which while catering to the components of aesthetics andhuman comfort also took into consideration future expansion as well as sustainability. It is not
sufficient only to conserve these heritage components, but what is equally important is to study,
understand and preserve the planning principles in order to incorporate them in our contemporary
designs, to achieve the goal of sustainability today.

Fig. 9 A stepwell made of sandstone and quartzite in the arid regionof western India, in the state of RajasthanFig. 10 Exquisitely carved architecturalelements of a palace complex, made in
red sandstone77

Fig. 11 Stone sculptures of Hindu gods and goddesses in soapstone ina Hindu temple in south India

Fig. 13 A wooden ceiling of a pavilion in teakwood withina Hindu temple, originally not painted

Fig. 12 Interiors of a Chettinadu mansion(http://scretlover.blogspot.com/2010/04/mychettinad-trip.html)

Fig. 14 Collecting samples of paint from a wooden
sculpture to test the date and constituentsThe most widely used construction materials in the past were stone, brick, wood and lime. India beinga vast country with different climatic and geographical zones (coast, plains, uplands, hills, valleys,
desert and central lands) and several natural features spread well across its length and breadth, has ahuge variety of stone and wood to supply as different components of a building. The most commonlyused stones in the northern and western part of the country were several varieties of marble, quartzite
and sandstone, while granite was used most widely in the south. Other kinds of local stones such as
shahbad, cudappah, kota and soapstone were also used according to availability and need. Stone wasused on the roof, walls and floors extensively. While the northern, western and eastern parts of the78

country experience extreme hot and cold conditions, the temperature in southern part of the country isusually on the higher side and it is very important to note that this factor was given great
consideration when selecting the right kind of stone, as well as determining the thickness of the walls
and ceiling, and size of the openings
The tropical forests of India are the source of a huge variety of hard and soft woods used for different
components of a building. Traditionally the most common types of wood that were and are still usedwidely for construction purposes are teak, sal, sandalwood, rosewood, batak, iruli, jackfruit, bamboo,
neem wood, mahogany, walnut, etc. The most common woods used in the northernmost states on thefoothills of the Himalayas are coniferous in nature. Wood is still a principal construction material inthese areas.
During my five years of work experience I have also noticed that traditionally wood has been moreabundantly used in the south and northeast of India, as well as in the hilly areas. All over the country
wood has been extensively used for the frames and shutters of doors and windows, in the altars andceiling of churches, as well as for all kinds of furniture. Wood as an important construction material
in mainland India was more popular during colonial rule. The hill stations as a concept weredeveloped largely by the British, although natives have always occupied these regions and a deep
knowledge about wood and its strength is highly reflected in the vernacular architecture, and care has
been specially taken to protect against natural disasters by measures such as reinforcing walls withwooden logs, applying principles of construction on piles, etc. The vernacular architecture here uses
wood as a primary material for all major components of a building, such as walls, doors, windows,
ceilings, roofs and flooring. Even today these construction materials and techniques continue to be
used, although severely threatened. These hill stations saw a number of churches, bungalows andhouses that borrowed their primary architectural styles from England (especially due to thesimilarities in the climatic conditions, as well as in the availability of coniferous wood, between the
Indian hill stations and the United Kingdom), which sprang up between the late eighteenth to the midtwentieth centuries. In parts of the country where wood has been used more liberally, it is observed
mostly in the roofs, ceilings, columns, and in many colonial buildings, as the flooring as well.
Kerala, the southernmost state of India, which is more popularly known as “Gods’ own country” andrightly so, due to its bountiful greenery and profuse rains, was an important kingdom in the early andmedieval period, and part of the princely state of Madras during the colonial era. I was born andbrought up in this part of the world and nowhere else in the country have I seen wood used moreabundantly than here. All the traditional buildings have a wooden pitched roof with gable walls
varying from simple to extremely complex, based on their size and functions. These pitched roofs
gave rise to a mezzanine level, created with wooden boards and beams that acted as the ceiling for thefloor below and flooring for the space above. As for many other pitched and gabled roofs that one

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may find in different parts of the world, the joineries and nailing of the purlins and rafters, as well as
the primary and secondary beams and their alignments, are all meticulous. Only a very skilledcarpenter can dismantle and then reassemble them after a restoration. In India we try and follow theminimum intervention technique, and a decision to dismantle all the members is taken only when it isabsolutely necessary.
It is also important to mention at this juncture that ignorance has promoted a great amount of
dismantling and auctioning of top quality wood used in traditional buildings, and replacement withnew wood that may not match the original species. Where trained conservation professionals are not
hired this is still the practice, and poses a huge threat to the authenticity of some significant buildings.
Wooden ceilings, beautifully carved columns, robust beams and perforated screens as a substitute forwalls are common features in historic palaces, temples and palatial houses of Kerala. Wood was used
extensively in all the primary buildings and annexes within a compound. Some of the most skilledcarpenters come from Kerala and are also being trained to adhere to the principles of conservation.
The western coast of the country, constituting approximately 850 kilometers, also follows a similar
type of architectural tradition. Temples along the western coast have used wood expansively, withmost decorative components (which also serve structural purposes) carved with great finesse andextravagance. Teak is the most preferred wood in a scared premise, and one that lasts for centuries
with careful maintenance and takes on carving elegantly. The pillared pavilions and verandahs aroundthe inner sanctum are often a combination of wood, brick and lime.
The Chettinadu region in central Tamilnadu, an adjoining state to Kerala, is also a treasure trove of
exceptionally beautiful woodwork, mostly concentrated along the doors and windows and theirframes and jambs, the columns and beams, as well as the ceiling.

Figs. 15-16 Rafters and purlins of a sloped roof made of well-seasoned and good quality jungle wood, replaced
entirely by new wood in an old temple in south India, due to a lack of knowledge of condition assessment andrestoration80

Lack of maintenance and the pulling down of many of these traditional houses has resulted in thesewooden masterpieces finding their way to the antique market over the past few decades. Similar
treatment of wooden architectural elements is seen in the state of Gujarat as well, where traditional
courtyard houses are equally historic.
The Madras terrace roof is a very common traditional roof construction system across India, withgreater concentration in southern India. This system of construction used robust wooden beams tospan large spaces, above which were placed smaller wooden beams (sizes varying between 8-10 cm inwidth and 15 cm in depth) at a regular center-to-center distance of 30 cm, or one foot, over whichwere placed 2-3 layers of bricks in a diagonal manner with lime mortar. A brick bat coba roof tops
this entire ensemble and acts as water proofing for the ceiling below. I have been involved in restoringthese roofs that had deteriorated to various degrees, especially due to the heavy rainfall that is
witnessed in southern India. Some of these roofs have collapsed due to severe termite attack and/or
due to failure of the primary beams.

Fig. 17 Madras terrace roof with wooden secondary beams andbricks laid at an angle, partially deteriorated due to water seepage

Fig. 18 Wooden columns, carved brackets
and beams, in a historic house

Wood has also been extensively used in India to make exquisitely carved Hindu temple chariots
whose sizes vary according to the importance of the temple in the region and the festivals celebrated.
The chariot circumambulates through the streets with a statue of the presiding deity, symbolically
representing an act of the king visiting his subjects on special occasions to honor their services. The
chariot is an important element of the shrine especially in south India, and standing alongside it all
through the year, visually forms an integral part of the architectural skyline of the temple as well as
the surrounding settlement.

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Fig. 19 Typical section of a Madras terrace roof with insertion of I-sections along the ends to prevent sagging,and further support the primary wooden beam that has deteriorated due to water seepage and lack of renewalof the water proofing layers above

Fig. 20 An exquisitely carved wooden temple chariot base that is usedduring festivals to drive the presiding deity around the settlement

Lime and lime products are also one of the most important traditional construction materials,
especially because of the extensive use of brick and stone in India. Preparation and usage of lime
mortar and lime plastering are a dying knowledge system in India today. Every building until theearly twentieth century in India was constructed using lime and its products, and until the 1970s it was
still widely used in small towns and villages. With the increasing popularity of cement, it has become
very difficult even to find skilled masons today who know the technique of applying lime mortar andplaster, let alone achieving the final fine mirror-polished finish on the walls. Different regions of thecountry used different types of lime, based on the availability of the raw material and the quarry
where it was procured, and the organic and inorganic additives also varied (casein, egg white, animal
glue, gum from trees, jaggery water, etc.).

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Fig. 21-22 Hindu iconography hidden behind layers of lime-wash (left), before careful restoration was undertaken by skilledconservators removing the lime-wash layers with gentle instruments (right)

The final finishes achieved were however impeccable, be it the araish finish in Rajasthan (western
India) or Chettinad plaster in Tamilnadu (southern India). The Archeological Survey of India, State
Department of Archeology, and other individual organizations involved in restoration works ofheritage buildings have now sensitized the masons, and skilled and semiskilled labor, towards theconcepts of conservation and working with traditional materials.

Fig. 23-25 Restoration consisting of vegetation removal, masonry reconstruction/consolidations, lime plastering in coarse
and fine lime mortar, restoring lime plaster embellishments and stone plaques for 300 tombs in a cemetery

The unity in diversity of India often reminds me of a colorful Matryoshka. Having been born andbrought up on its western coast in the state of Kerala, studied in a historic town in the state of Tamilnadu
on the eastern coast and the historic capital city of Delhi, traveled and worked across different parts of thecountry I have personally witnessed and fallen in love with the culture of a nation that speaks
languages that change in their dialect, eats food that varies in its taste and built buildings that changed
their architectural diction almost every few hundred kilometers! As an obsessive traveler what fascinates83

me the most is the way these changes take a new dimension across the stretch of a transition zone. The
complexity of Indian architectural heritage is enhanced by these subtle variations in the culture of thepeople and it is obvious that architecture is one of the biggest and most priceless expressions of any
culture. It is one of the most well preserved by-products of a culture, and it becomes the
responsibility of every individual to ensure that it is passed on to future generations in its original
condition as a symbol of cultural identity.

Fig. 26 Palace of a royal family on the western coast of southern India, on the shoreof the Arabian Sea, fully restored under a public/private partnershipIf the vast amount of historic housing stock that India has inherited today is restored, invested andpromoted wisely and sensitively, many problems related to land pressure can be solved. The attitudeof the majority of Indians towards the built heritage has to be changed while the government must be
made to realize the long term advantage of such measures, as well as be trained to make policies andlegislation favoring protection and sensitive development of historic precincts. In my opinion India
has come a long way in its protection of historic monuments, however, concepts of heritage towns andprecincts, historic landscapes, urban and rural settlements, urban redevelopment in historic contexts,
dealing with inner blight and urban decay, community and stakeholder participation, etc., that arenewer concepts posing greater challenges, have only been introduced recently. Remarkable efforts arebeing undertaken by a small but dedicated group of professionals and individuals to emphasize theneed to protect our heritage and gradually remove the hurdles to doing so. Several mistakes have been
made in the past and still continue to be made, however many lessons are learned from these mistakes
and efforts are being made to understand the models adopted by other countries to tackle similar
problems. There is tremendous pressure on the environment and natural resources, and in my personal
opinion the one promising way to ensure its long survival is to learn from the remnants of ourancestors how to transform eco- and bio-sensitivity into reality, so as to devise sustainable methods ofliving. Now is our best and perhaps last chance to conserve our rich cultural heritage, lest ourposterity will have only a “loss” to inherit.

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Indonesia
Mahirta

Professor/Head of Department
Archaeology Department
Gadjah Mada University

Protection of Rumah Pencu in Kudus (Northern Central Java, Indonesia)
Background
Apart from being well known as a city where one of the nine Sunan (those who spread Islam in Java)are buried, and thus attracting many pilgrims who come to the city, Kudus in Northern Central Java(see map) is also famous for its unique traditional wooden houses, called rumah pencu. This is one
among several types of traditional Javanese wooden houses. The number of this type is quite small
compared with traditional wooden houses in other cities in Java, as most of the houses have been
converted into brick.
The report presented here is the result of a preliminary survey on traditional conservation
practices to maintain wooden architecture that have been carried out so far by the local community,
plus some problems of rumah pencu protection in relation to the protection of West Kudus as acultural district, and some historic context significant for this unique wooden house. The preliminary
research was carried out as part of a proposed plan for a collaborative heritage revitalization project inKudus, especially in West Kudus. Discussion about possible collaboration had been initiated between
representatives of the Archaeology Department, Gadjah Mada University and the staff of Balai
Pelestarian Peninggalan Purbakala (BP3), Central Java. This wooden conservation training program
inspired me to plan the collaborative revitalization project for West Kudus, which is well known as ahistoric old town. It will involve the local community in Kudus to think about this planning more
seriously, so that the revitalization can also benefit the local people.
There are plenty of reports and articles that illustrate the uniqueness and beautify of thearchitectural heritage of Kudus, but action to protect and revitalize the district as a special historic citythat also involves these wooden structures is very limited. An early report by J. E. Jasper with detailed
descriptions of rumah pencu was already available in Nederlandsch Indie Oud & Niew, 1922-1923.
This shows that this type of architecture has been considered to have outstanding beauty ever since thecolonial era in Indonesia. Unfortunately, the numbers of this unique architectural building have reduceover time, because local people sell the houses to other cities in Indonesia and even to places abroad,far from their original context. If this continues to take place, the heritage significance of West Kudus
district will also be reduced. No revitalization program has yet been planned for West Kudus that takes
up its potential as a cultural heritage district. However, the Kudus government has suggested that six

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villages in the West Kudus district, namely, the four villages in the complex of Menara Kudus(Langgardalem, Kauman, Damaran, and Janggalan), and two other villages, Kajeksan and Singocandiaround the Sunan Kudus burial yard, be designated as a conservation area for Kudus traditional houses
to prevent further reduction from acts of selling. The suggestion is based on a letter ofrecommendation from the head of BP3, Central Java, No. 988/988/102.SP/ BP3/P.IX/2005. As aconsequence for the conservation district, the owners are supposed to refrain from selling the gebyok(wooden walls) and have to maintain them (www. cetak.kompas.com, June 2010).

Location of Kudus city (source:Google map)

PurposeThe preliminary survey was carried out as an early fact-finding action to collect data so that further
preparation for the planned collaborative project can meet the ideal standard for the community andgovernment. The result of this preliminary survey will be discussed together among the participants
for further action. This is important, because under the new heritage law in Indonesia, it is explicitly
stated that the maintenance of heritage is a responsibility shared between the government, the private
sector, and local communities (Balai Pelestarian Peninggalan Purbakala, 2010). It is hoped that thispreliminary survey can contribute to the framework for conservation planning of West Kudus as acultural heritage district.

Preliminary survey method
Two methods were used in combination for the preliminary survey. First, library research and direct
observations were conducted to identify the architectural characteristics and degree of deterioration of
rumah pencu. Examples were observed randomly among surviving rumah pencu, based on inventory

86data provided by BP3, Central Java Office, and a bachelor’s thesis in the Archaeology Department,
Gadjah Mada University, by Imam Nazarudin (2011).
Second, in-depth interviews were conducted with rumah pencu owners or people currently
occupying the houses, and government staff involved in the inventory of rumah pencu. The aim was toobtain information about efforts that have been carried out in the community to maintain/treat thesehouses, and to identify problems faced by the house owners. In addition, it was hoped to track factorsthat cause owners to sell these houses. In all, twelve local people, and two staff members of thepreservation department of BP3, Central Java Office, were interviewed to represent stakeholders’opinions about the protection of traditional wooden architecture (rumah pencu) in Kudus. Two
academics as experts involved in the protection of heritage in the Kotagede cultural district, and one
local CBO representative from Kotagede, Yogyakarta, were also interviewed to give some insightabout local community involvement in cultural heritage districts.

SettingRumah pencu is a key heritage element in the West Kudus district, which has an ancient main mosqueand minaret in Hindu style architecture as its center. Geographically, the district is located on the westside of the Gelis river. The west border of the district is Kiay Haji Asnawi street, the north border is
KH. Dahlan street, and the south border is Sunan Kudus street (see map).

Map of Kudus city, separated by Kaligelis River (source: google map)

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Generally, settlement patterns in the cultural district of Kudus divide into two types: a linear
pattern with lines of traditional Kudus houses, and an isolated pattern with one house surrounded by afence. Most architectural features in West Kudus district, consisting of traditional Kudus houses(rumah pencu), colonial buildings, and Chinese style buildings, still keep some of their ancient style,and there are also modern houses. Narrow, shared alleys are another distinctive characteristic ofsettlement in the district. From the place names around the mosque, it is known that several different
groups of professionals lived there in the past, forming settlements of butchers, wayang puppet makers,
gamelan instrument players, and smiths. Other place names, such as Kejaksan, Demangan and
Kauman, inform us that settlements of lawyers, district heads, and religious leaders were also inexistence (Wardani, 1991).
Pictured below are several types of buildings around the main mosque in West Kudus district.

An ancient brick minaret and mosque from the sixteenth century and its brick gate, West Kudus district

Modern house on the main street, Kudus Kullon district88

Left: Setting on the main street in West Kudus district. Right: Rumah pencu complex, facing the insideyard. The kilungan fence and its entrance on the right picture have been adapted for small shops.

Narrow alleys in Kauman village, Kudus Kulon district

Rumah pencu characteristics
Rumah pencu is one of several traditional Javanese wooden house types that are differentiated by theroof. Rumah pencu belongs to the joglo type (JHS, 2007:39), but the roof is higher than ordinary joglo
roofs, from which it derives its name (pencu means “high”). The other important characteristic ofrumah pencu that is shared with all types of traditional Javanese houses is its semi-permanent structure.
All parts of it can be removed.
Rumah pencu is actually a group of buildings consisting of a main building, jogosatru, at thefront, and a pawon (kichen) to the side of main building, and some other structures. In front of themain building is located an open yard. On the left side of the front yard there is a well that functions
for taking showers and a holy wash before praying. The structure of the main building is also an
adaptation from the joglo (Nazarudin, 2011). Structurally, rumah pencu has a roof structure, several

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posts and a multilevel floor. The roof structure consists of the components molo, usuk, reng, dudur,
takir and lumajang. Some roof decorations are usually put on top of the molo. The post system utilized
for rumah pencu consists of umpak (pillar base) and four different rows of posts (saka) i.e: saka guru,
saka geder, saka rawa and saka emper (see picture below). The different levels of floor in rumah
pencu include the lowest as the tritisan (front terrace), a middle floor for the jogosatru (living room,
room for guests), and the highest giving more privacy to the senthong and gedhongan, rooms where
the house owners sleep, pray, and keep important possessions. Between the living room and these
private rooms is a low moveable stair, also made of wood, called bancik. The side of this stair is often
decorated with carving.
A component that makes rumah pencu very special is the semi-permanent wooden walls, calledgebyok, often heavily decorated, serving as a front wall, and an interior wall enclosing the gedhongan
and senthong. The variety of doors is also interesting. Commonly, there are three different types ofdoors. One is a sliding square door that looks like a fence, attached to the wooden wall separating thetritisan and jogosatru. Hinged double doors are attached to the outer wall, and to the wooden wall that
separates the jogosatru and private rooms. Another type of sliding door with different decoration isseen on the senthong and gedhongan, and a swinging door is on the side building used for the kitchen.
Commonly, each door type is also carved (Nazarudin, 2011; personal observation).

Typical main building of rumah pencu

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Left: Decorations on the outer wall and sliding door shape show Chinese influence. Right: Double doors
separating the living room from the inner private rooms; in front there is a low moveable stair (bancik).

Interior carving decorations in the jogosatru room

Sketches of rumah pencu (Nazarudin, 2011) Left: Post and beam construction system, showing the main
components. Right: Side view of the construction system

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Rumah pencu and its significance in the context of Kudus history
The city of Kudus is an important early Islamic city in Indonesia. Its development cannot be separated
from the development of the first Islamic kingdom in Java, the Demak sultanate in northern Java thatdeveloped after the ruin of the Majapahit kingdom in east Java in the middle of the fifteenth century.
For early Islamic Indonesia, three important cities in northern Java are Demak, Jepara and Kudus.
Demak was the center of the Islamic kingdom in that period, while Jepara functioned as its port andKudus as the supplier for both Demak and Jepara (Graff, 1985, as cited in Sardjono et al., 2011).
It is said that Ja’far Shadig was the founder of Kudus. Later becoming more famous as Sunan
Kudus, formerly he was a prime minister of the Demak sultanate. It is hypothesized that political
intrigue in the sultanate made Ja’far Shadiq move to Kudus, where he then built a mosque with atemple style minaret. Another strong hypothesis for his migration to Kudus is a desire to spread Islam.
There are two different inscriptions that inform us when the Islamic community started to
become established in Kudus. The first one, reading Trisula Pinulet Naga (863 H, or 1458 AD), is on
Langgar Dalem mosque. On the mihrab (a place where a person serving as prayer leader stands) at themain mosque, Masjid Menara, there is an inscription informing us that Ja’far Shadiq was founder ofthis mosque, also called Aqsha, in 956 H (1549 AD). The research team from the History Department,
Gadjah Mada University, is of the opinion that an Islamic community possibly existed already in
Kudus in the fifteenth century. The settlement became firmly established from the sixteenth century(Tim Peneliti Jurusan Sejarah, Fakultas Sastra, UGM, 1989/1990, as cited in Nazaruddin, 2011:25).
Currently, the early establishment of Kudus settlement is under reevaluation by an Archaeology
Department research team (Adrisijanti, Musadad and Nur, personal communication, August 2011).
Several houses are built around the minaret mosque. It is likely that the previous community in
Kudus was familiar with brick, bamboo and wood as building materials. By the end of the fifteenth
century, the Javanese were already familiar with brick structures, as this building material had been
known from even earlier, around the fourteenth century in East Java, and also at Kraton and the Sunan
Gunug Jati graveyard in Cirebon (West Java), dated to the fifteenth century. At the Cirebon Sultanate
palace and the Sunan Gunung Jati burial complex, red brick was used for the foundation and the floor.
However, whether such red brick material was used for common people’s houses from the early stageof its development, or just for important buildings such as minarets, palaces, and other monuments,
needs further research. Until recently, many traditional houses in villages in Java had earthen floors.
Sardjono et al. (2011) argue that the distinctive rumah pencu architecture did not develop in theearly stage of the city of Kudus, but later, from the early seventeenth century in conjunction withsocioeconomic development in the West Kudus District. During that period Kudus developed as a
distributor of rice and other plantation products from the inland to Demak, Jepara, and other cities.
This enabled Kudus local traders to increase their economic resources. In the eighteenth century,
Kudus came under Dutch colonial control. The increase in economic activity among traders in Kudus
continued in the nineteenth and early twentieth centuries, when the tobacco industry developed in
Kudus. Historic records suggest that tobacco prospered from the mid-nineteenth century in the Dutch

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colony. Apart from the three tobacco centers in the principalities, Besuki (East Java), and Deli (East
Sumatra), there were also many other producers of Javaanese krosok tobacco in areas such as Kedu,
Rembang Kediri, Lumajang, and elsewhere (Padmo, 1994: 21-22). It is likely that the success of
tobacco industry in Kudus was correlated with this socioeconomic phase in the Dutch colony.
It is inferred that to proclaim their status, rich traders built joglo houses, which is a typical housefor nobles, with some adaptation in the roof and with richly carved decoration (Wikantari, 1996;
Sardjono 2011). One rumah pencu owner I interviewed said that a Dutch coin from the 1700s wasfound under the main post, when the house were renovated. This suggests that some rumah pencu dateback to the eighteenth century. Another owner (Mbah Chadik) said that the heavy selling period ofrumah pencu wooden walls (gebyok) took place around the 1970s. This information agrees with thehistorical facts, since during the 1970s economic conditions for the owners worsened, leading toabundant selling of rumah pencu. Some were sold to other cities in Indonesia, and even to Singapore.
However, this owner also remembered that at one point in the colonial era, around 1935, a house next
to the minaret was sold. Thus, the selling of rumah pencu has taken place since colonial times.
Examining the socioeconomic history of Kudus city in the larger context of Java and Indonesia
generally, there are indications that rumah pencu houses are important historical evidence not only for
local history but for regional history as well. This is because they correlate with the development offood and cash crop plantations in Java. Apart their historical significance, rumah pencu also havearchitectural and aesthetic significance. The structure of rumah pencu belongs among traditional
Javanese houses, but has local uniqueness as a result of the adaptation to economic and social
conditions of rumah pencu owners. They wanted to express their economic success by adopting a
noble lifestyle, by owning a noble style of house that was richly decorated, but they did not adopt allof joglo architecture, in keeping with their own lifestyle.

Traditional conservation practices for treating wood in Kudus
Local people have practiced traditional methods of conservation for generations. Apart from removing
dust from carvings, local people use traditional mixtures to maintain their houses. Most people, as
mentioned by the local people interviewed, use emulsions made with dried tobacco leaves, cloves, andbananas to varnish the wood surface. While the proportions used vary, the mixture of these threematerials is believed to produce the most effective emulsion for protecting a wooden house.
Sometimes an emulsion made only with tobacco and bananas is used. The various compositions areused to produce emulsions for wood treatment depending on the condition of the wood. According to
one person who currently works as a professional for treating wooden houses in Kudus, if thecondition is not too bad, an emulsion made with a mixture of 1 kg dried tobacco and 1 oz of cloves,soaked in water for one night, is good enough. If the condition of the wood is bad, the addition of
bananas is needed. Further, he said that the function of the tobacco is to darken the wood’s surface.
Another person said that tobacco leaves, cloves and bananas, in the proportion of 1:1:1 (usually
one ounce each), are soaked in a sufficient amount of water for three days before being ready to use.

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One person interviewed said it is best if the materials are soaked for up to seven days before use, but
now people only soak the materials for three days. Another treatment mentioned for wooden houses isan emulsion made with burnt rice straws. On person said this mixture was used by his parents during
his childhood, in addition to tobacco mixtures. He said it is not as effective for protecting wood as
emulsions using mixtures of dried tobacco leaves and bananas.
Local people believe this substance keeps insects from eating the wood and maintains thebeautiful color of the wood’s surface. They usually treat their houses with this emulsion once a year byhiring a professional to do it. Currently they have to pay someone Rp. 40,000 (around $5 US) per day
for this work. If they only hire one person, it will require more than a month to finish treating a fully
carved house with wooden walls on four sides, meaning the owner may have to pay around $250,
whereas a plain house can be done more quickly. Ordinary people treat their houses by themselves.
But there is a tendency nowadays for the owners of rumah pencu, especially those who are alreadyelderly and live alone, not to treat their houses anymore, leading to the deterioration of the house.
Considering that this traditional emulsion has been used for years, and seems effective inprotecting wooden houses, the Borobudur Conservation center initiated an experiment on its
effectiveness. This study was carried out by Parwoto and Arif Gunawan (Balai Konservasi
Peninggalan Borobudur, 2010:20-33) at the Borobudur Conservation study center, Central Java,
Indonesia. They found that the mixture of alcaloida available in tobacco leaves (Nicotiana tobacum),plus eugenol, eugenol acetate, and B-varyophyllene available in oil extracted from clove (Syzygium
aromaticum) and bananas (Musa paradisiaca L) is more effective for killing termites in dried woodcompared with only a single-component emulsion made with of any one of the three. However, theoptimum effectiveness of the application, especially in terms of the period of application, needs further
study, considering that the mixture is applied on wood surfaces that are exposed on open air.
Below are pictures showing some current conservation problems of rumah pencu. Apart fromdamage caused by insects and climate which has been identified by local people, there are other causesof deterioration/damage, such as vandalism and fire.

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Examples of deterioration of rumah pencu caused by insects, ultraviolet light, fungi and humidity

Examples of vandalism (left), and damage from ultraviolet light, humidity, and insects (right)

Damage to a the ceiling due to leaking water (left), and to a sliding door from climate and human factors (right)

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Problems for rumah pencu protection
The decline in numbers of rumah pencu in the West Kudus district is alarming since it can reduce its
value as a cultural district comprising a historic old town area. Interviews with local people suggestthat the first selling took place around 1935, but the abundance of selling occurred in the 1970s.
Nowadays, only one or two rumah pencu are sold, and for some it is only parts of the gebyok wall,
which has beautiful decorations, that are sold. The price for an entire house, excluding the land, can be
up to Rp. 2,000,000,000 in 2011, or around $250,000 US, while for the same size of modern houseincluding the land the price is around $25,000.
In 2007, the Tourism Department of Kudus City inventory recorded 63 rumah pencu surviving
in Kudus, spread among 10 different villages. Most rumah pencu were found in Langgar Dalem,
Kauman, and Kerjasan Villages, with 14, 12, and 13 houses respectively, while the total number ofrumah pencu in the West Kudus district was 58. A recent inventory carried out by Nazarudin (2011)shows that only 48 house are available in the original context of West Kudus. If these data are correct,
this means that within four years, 10 houses have been sold.
From my preliminary survey, it is known that there are three different types of ownership status
for rumah pencu, as follows.
1. Single private owners, as in cases when a person buys it from others or inherits it from his/herparents as the only child in the family.
2. Family owners, as in cases when a single private owner of the house has died, but the rights ofownership for the rumah pencu are inherited by all of his/her children.
3. Government ownership, with there being only one case. A private owner, the Jarum CigaretteCompany, bought the rumah pencu and gave it to local government to be displayed to the publicin the city’s museum area. But this rumah pencu has been removed from its original context ofthe West Kudus district to East Kudus.
Local informants cited the following as the main reasons for selling the houses in interviews.
1. Economic reasons. The treatment process for the wooden house is expensive and complicated,and many owners feel they have to meet other needs instead, such as paying for education for
their children, and other daily needs.
2. Social reasons. When children decide to divide their inheritance, including a house, after aparent’s death, they may have to sell the property first, especially if the number of children in
the family makes it impossible to divide the house room by room.
3. Lifestyle changes. Some people tire of living in old rumah pencu, and desire more modern
houses that are easy to clean.
4. Lack of knowledge about heritage and its value, and of the heritage district. Some peopleinterviewed who said the old minaret is important heritage did not consider their own house to
be as important, because it is not ancient or beautiful enough. Two people interviewed, however,96realize that heritage is important and has to be preserved so that future generations know thespecific characteristics of traditional Kudus houses.
5. Lack of knowledge about heritage conservation, especially the concept of authenticity. This
may result in a private institution or company with good intentions preserving and conserving arumah pencu while removing the house from its original setting, even though the value of thehouse and that of the district are more significant if it remains in its original setting.
It is rare that rumah pencu buyers, especially when they live in other cities, also want to buy the land,
and local people prefer to sell the wooden houses only, without the land. This means that more rumah
pencu move from their original setting in West Kudus district.
The above reasons for the case of Kudus are also faced by other cultural heritage districts suchas Kotagede in Yogyakarta, Java. Economic and life style changes have been identified as factors thatare changing the traditional character of Kotagede (Rahmi, 2009:6-7). In addition, lack of knowledge
and social reasons are some of the more challenging factors that have to be faced. An advantage for
Kotagede is that nowadays there are several CBOs and NGOs as mediators who are concerned withthe revitalization of the area’s cultural heritage, and the area has been designated as a Cultural
Heritage District under law. Despite many CBOs still depending on funding from government andprivate institutions, the present condition shows that local community concern in Kotagede for its local
heritage is improving and is good phenomenon (Adisakti, personal communication, August 2011).
That situation is very different compared with conditions in Kudus. Government efforts in
Kudus to conserve the heritage district are still very minimal. Although West Kudus district has
potential, the government has not designated it as a heritage district under law. Until recently, BP3,
Central Java Office, gave more concern to ancient mosques and the minaret as architectural heritage,
while common people’s dwellings have yet to be treated as heritage under law. The only effort that has
been carried out so far is inventory activity for rumah pencu. The preliminary survey showed thatsome awareness of the importance of rumah pencu as heritage has been achieved, but only for several
house owners, which is not effective enough.
There is one positive effort by the Local Cultural and Tourism Department to support a local
rumah pencu owner with an incentive to treat his house. The precise amount of money given was nottold to the interviewer. But unfortunately there is not enough funding, and the incentive was only
given to the owner with the best and most beautiful house, while other rumah pencu considered not as
beautiful and dirty because the owners are not rich enough to treat them received no incentive. If thissystem is continued, more houses in the district will soon be sold. Unlike Kotagede, no tax reduction
system is yet applied to help owners of traditional houses who have conserved their houses properly.
Although the amount of tax reduction is considered minimal by the house owners in Kotagede, thecommunity appreciates such government efforts (Nazir, personal communication, 2011).
Interviews with local people also suggest that there is no local community group/organization
concerned about the heritage conservation. The formation of such an organization needs to be initiated97because community involvement will have greater influence on the sustainability of heritage in the
district now and in the future. However, when this involvement emerges, attention must be given topossible conflicts because of the different preferences and priorities to conserve, and it should be madeclear from the beginning which houses are worthy of being conserved, so that ways of preventing
conflicts can be devised.

Conclusion and further thoughts
By applying direct observation with in-depth interviews, the preliminary survey has identified someproblems in protecting rumah pencu, one of the traditional wooden house types in Kudus. The numberof problems identified may increase when a more extensive survey with more interviews is carried out.
Another important finding of the preliminary survey is that traditional conservation practices whichhave been applied for generations are effective enough in protecting these wooden houses, as shownby one wooden house which survives from the eighteenth century. It is also known that there aredifferent proportions for the mixture of traditional substances used. However, the effectiveness of thistraditional conservation method needs further study, since local people do not undertake theconservation periodically in a systematic way. Thus, the period of effectiveness of the traditional
solution is still questioned.
Traditionally and conceptually, Javanese wooden houses are designed to be moved and theowners of rumah pencu feel they have the right to do anything to their property. These concepts tend
to support local owners who sell rumah pencu, although the new Indonesian cultural heritage law
prohibits the removal of cultural heritage from its setting. This is a difficult contradiction that we haveto face in order to protect a cultural district. Nevertheless, efforts in Kotagede to have it designated asa heritage district were successful, and while they have also been initiated by the local government ofKudus, West Kudus has not yet been designated as a Cultural Heritage District under law.
Government efforts to protect rumah pencu in West Kudus as part of a heritage district are still
very minimal. It is suggested that efforts in the future be maximized with the addition of involvementof the local community for the benefit of all. Local community involvement should be initiated withsome dialog from the beginning, and local views and decisions regarding the conservation of the West
Kudus district should be given special attention by the government. Cases in other cultural heritage
districts in Indonesia, especially those involving the community in the protection of heritage, can beused as reference, provided that we realize there is no precise repetition of problems and solutions
from one case to another.

Acknowledgments
This paper is based on the preliminary survey that was accomplished with significant help frominformants in Kudus, from Dr. Laretna Adisakti of the Architecture Department, Gadjah Mada
University, from Titi Handayani, M.Arch of JHS, and from Prof. Inajati Adisijanti of the Archaeology
Department, Gadjah Mada University, who shared their experience in the conservation field from98

Kotagede. Imam Nazarudin helped do the interviews in the field. I express my appreciation to all ofthem. Special gratitude is due to ACCU-NARA Office for selecting me to participate in this training
program, and the Dean of the Faculty of Cultural Sciences, Gadjah Mada University, for permission toparticipate in the training.

References
Adisakti, Laretna T. 2008. Community Empowerment Problem on the Revitalization of Kotagede Heritage
District, Indonesia Post Earthquake. Vulnerable Cities: Realities, Innovations and Strategies. In Kidokoro, T.
et al. (eds). C.SUR-UT series. Japan: Springer.
Adisakti, Laretna T. 2010. Documentation of Post Disaster Traditional Houses Reconstruction Process in
Kotagede Heritage District, Yogyakarta, Indonesia. Yogyakarta: Yogyakarta Heritage Society.
Balai Pelestarian Peninggalan Purbakala Jawa Tengah, 2010. Undang-Undang Republik Indonesia nomor 11
tahun 2010 tentang Cagar Budaya.
Jasper, J.E. 1922-1923. Het Stadje Koedoes En Zijn Oude Kunst, 7E Jaargang, AFL. 1, Nederlandsch-Indie Oud& Nieuw. 7e Jaargang, afl1: 3-30
Nazarudin, Imam. 2011. Rumah Pencu di Kudus: kajian Arsitektural dn Pola Sebaran. Skripsi. Jurusan
Arkeologi, Fakultas Ilmu Budaya. Universitas Gadjah Mada, Yogyakarta.
Padmo, Soegijanto, 1994. The Cultivation of Vorstenlands Tobacco in Surakarta Residency and Besuki Tobacco
in Besuki Residency and Its Impact on the Peasant Economy and Society: 1860-1960). Yogyakarta: Adietya
Media.
Parwoto dan Arif Gunawan, 2010. Pengujian Efektivitas Bahan Traditional. dalam Konservasi Cagar Budaya
berbahan Kayu dengan Bahan Tradisional. Magelang: Balai Konservasi Peninggalan Borobudur. p. 20-33.
Rahmi, Dwita Hadi dan Titi handayani. 2009. Pedoman Pelestarian Pasca Bencana Kawasan Kotagede
Yogyakarta. Yogyakarta: UNHABITAT.
Sardjono, Agung Budi, Eko Budihardjo, Galih Widjil Pangarsa and Eddy Prianto, 2011. Arsitektur dalam
perubhan Kebudayaan, web upload article. 13 June 2011.
Suranto, Yustinus dan Nahar Cahyandaru. 2010. Pengawetan Kayu Secara Tradisional. dalam Konservasi Cagar
Budaya berbahan Kayu dengan Bahan Tradisional. Magelang: Balai Konservasi Peninggalan Borobudur. p.
12-19.
Yogyakarta Heritage Society. 2007. Kotagede Heritage District, Yogyakarta, Indonesia. Jakarta: UNESCO
House.

Wardani, Lestari. 1991. Pola Perkampungn Kota Kudus Lama (Tinjauan Berdasarkan Toponim).
Skripsi Sarjana. Jurusan Arkeologi, Fakultas Ilmu Budaya, Universitas Gadjah Mada.

99

Kazakhstan
Ilyassov RUSTEM

Structural Engineer
KAZGOR Design Academy

Problems and Needs for Cultural Heritage Protection and Restoration
Activities in Kazakhstan
The government program of the Republic of Kazakhstan, “Cultural Heritage” 2004-2006 (hereafter,“the Program”), developed out of the message of the President of the Republic of Kazakhstan to thepeople of Kazakhstan, on the “Basic Directions of Internal and Foreign Policy for the Year 2004,” andthe Action Plan on Implementation of Government Programs, 2003-2006.
Development of the present Program is necessary as a stimulating influence for the situation ofcultural heritage.
The current state of cultural heritage in Kazakhstan consists of the maintenance of a complex ofmeasures on preservation, and further development of centuries old traditions through the creation of
new cultural and historical monuments, the activation of restoration and preservation works on
mausoleums, ancient mosques, and ancient cities, and the creation of new historical and cultural
museum reserves based on these materials.
At the present time there are more than 25 thousand immovable monuments of history, archaeology,architecture and monumental art, 11 thousand libraries, 147 museums, 8 historical cultural museum
reserves, and 215 archives in Kazakhstan.
A wide network has been created of state museums on history and ethnography, and memorials
dedicated to memorable events in the history of Kazakhstan.
A unique monument of the history and culture of Kazakhstan, the Khodja Akhmed Yassaui
mausoleum in the city of Turkestan, was inscribed on the UNESCO List of the World Cultural
Heritage in June, 2003.
Measures to improve the cultural infrastructure of Astana have been implemented. In recent years in
the capital of the Republic, the Kazakh Theatre of Musical Comedy, and the Presidential Center ofCulture including a museum, library and a concert hall, have been opened. Construction of the
National Library is finished. Construction of a concert hall and circus is underway.
1100Heritage laws of the Republic of Kazakhstan, “On Protection and Use of Historical and Cultural
Heritage,” “On Culture,” and “On National Archival Fund and Archives,” have been passed and are ineffect.
At the same time, the current situation in the sphere of preservation and development of cultural
heritage needs urgent comprehensive measures for further development and to step up efforts in thisdirection.
Many historical, archaeological and architectural objects of great importance for the national history of
Kazakhstan require urgent treatment. Among them are unique monuments of history and culture suchas the mausoleums of Arystanbab in South Kazakhstan, Asan-Ata and Aikozha in the Kzylorda area,
Zharkent Mosque in the Almaty area, historical architectural monuments in Turbat village in South
Kazakhstan, historical architectural and archaeological monuments of the Azret-Sultan museum
reserve, the Zhidebai Borli reserve in the Mangistau area, and the Ordabasy reserve, etc.
Most of these are not protected yet from the destructive effects of urbanization and industrialization.
The system and methods of studying and using intangible and spiritual objects of culture from theearliest times, along with Ancient Turkic written records, as well as the transliteration of traditional
mythemes and characters into modern writings, are underdeveloped.
Since the 1990s, the publication of fundamental works of scientific ideas from the outside world in thefields of philosophy, history, jurisprudence, etc., as well as fiction for Kazakh-speaking audiences has
been practically suspended.
In this connection, in order to educate the current generation in the spirit of Kazakhstani patriotism,and fill in the gaps to enable full-fledged study of our historical and cultural heritage, as well as sum
up the centuries-old spiritual experience of the Kazakh people, publication of comprehensive historical,
artistic, and scientific series in the national language has become an especially critical issue.
Also, the natural ageing process affects the written heritage, especially documents made of organic
materials, such as paper, glue, leather, cardboard, etc. It is also necessary to pay special attention to thephysical condition of records of outstanding musicians of the oral professional tradition, which remain
deposited in the archives of the Kazakh State Conservatory named after Kurmangazy, and otherarchives of the country.
An integrated solution of the abovementioned problems within the framework of the present Program
will promote further development of the educational system, and preservation and popularization of
the cultural heritage of the people of Kazakhstan.
2
101

Reconstruction of monuments of national history will be provided through the organization of
integrated scientific and cultural research, and the realization of measures for the restoration,
preservation, and renovation of monuments with special value for the national culture, such as themausoleums of Abat-Baitak, Aisha-Bibi, objects of the Karaman-Ata and Shopan-Ata necropolises,
the Аkyrtas and Baba-Ata palace complexes, as well as through the revival and development ofhistorical and ethno-cultural environments, and the realization of archaeological research on ancientand medieval sites, mounds, and settlements, such as Koilyk, Issyk, Saraichik, Berel etc.
Preparation for publishing the List of Historical and Cultural Monuments of the Republic of
Kazakhstan will be carried out. Movable objects of history and culture stored in museum holdings ofthe country require regular restoration work. From this consideration, it is necessary to consider the
possibility of creating the Center on Restoration and Formation of Museum Funds, which have great
importance for national history.
With the aim of studying the heritage of outstanding scientific thinkers of the past, as well as
discovering and purchasing rare items, manuscripts, old publications, books and archival documents
having historical value for the cultural heritage of the Kazakh people, research expeditions to archives
and libraries of foreign countries will be organized.
Also, scientific research will be conducted on historical, cultural, architectural and archaeologicalmonuments which are very important for the national culture, in order to provide their preservationand safety, including items in the territories of museum reserves.
For the purpose of preserving unique objects of documentary heritage and organizing free access tothem, it is necessary to continue studying the heritage of outstanding scientists, thinkers of the past,
such as al-Farabi, Yu. Balasagun, M. Kashgari, S. Bakyrgani, A. Yugneki, M. Dulati, K. Zhalairi, Z.
Babur, etc. It is also essential to locate, purchase, or make copies of manuscripts, rare items and books,
including the Kummanikus Code and Kitabi Dedem Korkud (which are in Dresden and the Vatican),Oguz-name (in Paris), Babyr-name, Mukhabbat-name (in London), Kutadghu bili by Yu. Balasagun(in Cairo), and others which have great importance in the cultural heritage of the Kazakh people.
With the aim of ensuring the protection of ancient manuscripts, books, and other sources, it isnecessary to create under the National Library the Center on Discovering, Acquisition of National
Book Rarities, Books and Ancient Manuscripts Restorations.
With regards to information technology, rapid development and implementation of the Electronic Data
Processing Unified System, for preserving and using documents of the National Archival Fund on
updated media, has become a task of high priority. To facilitate the execution of this task it is planned
3102

to create the Center on Insurance Copying and Restoration of Archival Documents under the Central
State Archive of the Republic of Kazakhstan.
The work of discovering and copying Ancient Turkic runic inscriptions, which are found in the
territory of modern Mongolia and other countries of the world, is proceeding. A monument will bebuilt, as the symbol of state integrity and the unity of the peoples of Kazakhstan, on Ulytau Mountain.
Borders of protected zones for cultural and mixed heritage objects included in the preliminary list of
the World heritage will be determined, and a database on such objects will be created. A business planon management and preservation of the mausoleum of Khodja Akhmed Yassaui has to be developed.
Financing the Program will be carried out by means of the Republic’s budget. The total amount offinancing is 1,933.6 million tenge, including 641.65 million in 2004, 631.7 million in 2005, and 660.2
million in 2006. The amount of financing of the Program for 2005-2006 will be specified in theframeworks pro forma the parameters of the Republic’s budget for the appropriate fiscal year.
Issues on financing the large serial editions of national and world scientific knowledge, culture,
literature, which have to be released in the ensuing years, will be considered in accordance with theappropriate procedures.
Implementation of the Program will contribute to increases in the spiritual, intellectual and culturallevels of the nation, to the education of the incoming generation in the spirit of worldwide values andKazakhstani patriotism, and will promote further consolidation of society.
The main achievements to result from implementation of the Program can be summarized as follows.
 Over 30 significant monuments of history and culture will be reconstructed Works on scientific research, preservation, accomplishment and tourist use at 32 ancient andmedieval archaeological sites and settlements will be carried out Cultural infrastructure will be expanded, tourist activity will be developed and spread, work on

propagation and popularization of historical cultural values will become more active
 Measures for the creation of a comprehensive research system of cultural heritage shall be

realized The following will be created:



The Center on Discovering, Acquisition of National Book Rarities, Books and Ancient
Manuscripts Restorations, under the National Library

The Center on Insurance Copying and Restoration of Archival Documents, which will
be equipped with high technology facilities, under the Central State Archive of the
Republic of Kazakhstan
4
103



The Center on Formation and Restorations of Museum Funds, which have special value
for a national history, based on the Presidential Cultural Center Borders of the zones for protection of the cultural and mixed heritage objects, included in the

preliminary list for UNESCO, will be determined and a database on such objects will becreated Old records of outstanding musicians and performers which are stored in funds and archives of

the country will be restored and transferred to modern sound-recording media
At the moment, the restoration of timber houses is a rather urgent procedure with regards to therestoration of old wooden structures. There is a need to preserve the facilities of historical and culturalvalue. Generally special, technologies and programs are used that allow the architecture of suchbuildings to be preserved as much as possible.
Complex structural relationships in conjunction with the effects of architectural changes and otherfactors also require a coherent idea of the functions of each element or condition at the initial,
intermediate and final stages of the operation. The overall complexity challenges the control offractures and the assessment of the load-bearing capability of the aged spacer-bar structures – thearches and vaults – which are determined by the specifics of the vaults as spatial systems withmasonry structure, their dependence on the conditions of the vertical load-bearing members andbraced frames, the variety of possible load transfers and reallocations, and the variability of thefunctional diagram.
The modern approach to reviewing the artistic significance of a monument is based on the assumptionthat the monument always carries its own emotional and aesthetic impact in its particular context. Firstof all, this is in the context of contemporary culture, which includes developed attitudes towards art ingeneral and towards the art of the past in particular.
In the decade of the 60s during the last century, the architects of Alma-Ata carried out grandconstruction along Lenin Avenue for dedication to the 100th anniversary of Lenin’s birth. According to
the design, the renewed avenue was to start from the area in the eastern part of Panfilov Park. The
construction of the House of Officers was started. The House of Officers (the former building of theDistrict Officers’ House) was erected in 1978 according to the design of Kazgorstroyproekt GGPI
(currently the KAZGOR Design Academy, which for the development of the complex was awarded
with the Prize of Council of Ministers of the KazSSR) with participation of such architects as G.
Ratushny, O. Balykbaev, and T. Yeraliev. The District Officers’ House was erected at the city park
entrance and linked with the Eternal Light monument and 28 Panfilov Guardsmen memorial. The
entire complex of buildings forms the town-planning site – the city square, culminating in one of thecity’s arterial highways, Lenin Avenue (nowadays Dostyk Avenue). The main block is made of a cast5
104

in-place reinforced concrete frame with brick-filled walls. The floor slab of the auditorium is of a tentshaped type. The extended curved plan of the façade of the four-story structure contrasts with the strict
rhythm of the vertical pylons crowned with the attic floor at the top. The façade of the pass-throughpassage of the building to the Eternal Light of Fame memorial is shaped with embossed copper
positioned above the white marble colonnade. The combination of colors, the white shell limestone of
the attic floor with the black-streaked flagstone, makes the building both solemn and festive. Stone,
aluminum, decorative plastics, synthetic materials, leather and other materials are widely used in theinterior finishing. The fate of Vernyj house, known as Museum of Folk Instruments, has been regardedfavorably. An age-old building, designed by the architect Yuri Ratushny, it can be thought of as
decorating the concrete mass of the new Officers’ House.

Figure 1. Museum of Folk Instruments building, against the giant concrete Officers’
House as background (for original photo, please visit the Almaty and surroundings
website)Looking at the decorative woodwork of the building’s tower, Almatians say different things about it,
often retrieving from memory preconceived facts and fanciful stories. For some, this house isreminiscent of a place documenting the revolutionary youth of their grandparents, who once sat here
and campaigned for the Soviet powers. Some recollect how their ancestors sent telegrams to families
and friends, when the building hosted a postal telegraph office. Some used to visit it as the Red Star
cinema and during the war, and came here to see performances of actors, all masters of scenes,
evacuated to Alma-Ata. People of different generations could also recollect the celebrated politicalprocesses that have taken place here, the mourning, solemn meetings, and ordinary events, which have
6105

already become milestones of the past century. A newsreel captured a depressed Boris Yeltsin in thehouse as he knew about the August 1991 coup d’état in the Kremlin.
The history of the building itself is unclear. Its designer is unknown, although rumors bear the name of
Andrey Zenkov. This “not low, not high” tower has been standing since 1908. The building was
erected under the order of the Military Assembly – a class club designated for the leisure of theofficers of the Vernyj garrison. The former building was destroyed by an earthquake in 1887, andthereafter the club members had to meet in private apartments. The Officers Club is mentioned in thewhirl of events celebrating the 300th anniversary of the Romanov dynasty. In autumn 1913 it was
decided to hold an exposition of handicraft industry of the Semirechie people here.
The organizer of the architectural part of the anniversary exhibition was the great architect A. P.
Zenkov, a graduate from St. Petersburg Military Engineering Academy. As a student he was fond of
Russian architectural history and studied the issues of material culture monuments protection,conservation, rehabilitation and the renovation of samples of architecture. He brought to Semirechie
the so-called Ropetovsky style, in which elements of old Russian timber architecture were used as
decoration for buildings, but purely ornamentally, without regard to their function in the building.
Under the supervision of Zenkov, in addition to the Military Assembly building, 28 state owned and
15 private pavilions were erected in the city park for the anniversary exhibition to accommodate
expositions of agriculture, industry and commerce. The main park walkway along Kolpakovsky
Avenue was decorated with yurts (nomad tents), wherein all the variety of Kazakh art, life and crafts
was placed. In the eastern part of then Pushkin Garden and at the adjacent streets the builders
constructed pavilions of commercial and industrial houses of Gabdulvaliev in Ropetovsky style,
Shakhvorostov in Moresque style, Pugassov in roman style, and Ivanov pavilion in gothic style. The
ensemble includes timber pavilions, topped by drums and tents, decorated with cornices, cocks, towels
and other dry fretworks, while the roofs of some pavilions have been skillfully covered withconventional shavings that due to their ornamentality were architectural triumphs. When erecting theexhibition halls, the builders applied the latest innovations in construction equipment and materials:
bituminous felt (for roofing), terrofazerit (tile), and linoleum. Reinforced concrete products
manufactured in the local plant of F. I. Titov and successors were used for the first time. In theensemble with the Military Assembly house (perhaps newly constructed especially for the exhibition?),the new types of buildings were characterized by primitive stylization while showing the bright talentsof the builders, by the successful interaction of Russian architectural traditions with a search for
distinctive architecture and construction, and in particular, by earthquake-resistant structures andtechnologies.
The local builders constructed the Military Assembly house in the form of a peasant log-housecovered with planks. Its façades have been heavily decorated with superimposed carving. The designin plan is an oblong rectangle, the central volume has a tent-shaped top increased with a tower/steeple.
7106The building façade facing Zenkov Street (former Proletarskaya Street) is decorated with timber
carving: rectangular windows, cornices, crests, fencing of the sky deck, and false pediments.
In addition, there are motifs of the Kazakh national patterns agash (tree of life), shynzhara (runningwaves), uzilmes (bramble stem), otkizbe (horn-shaped curl), etc. The main entrance is emphasized by akeeled abat-jour resting on carved stands. The original name, the club of officer corps, was changed
from 1918 to the postal and telegraph office, then the cinema house Krasnaya Zvezda, and finally the
Officers’ House (Central Asian Command). In 1918 the building accommodated the VernyjCounty/City Council of workers, soldiers and peasants’ deputies. In October-November 1918, the first
Semirechensky Oblast (province) congress of Soviets was held there (a memorial board is displayed).
At the moment the building is under national protection and is listed as a historical and architecturalmonument of the Republic of Kazakhstan.

8107

Myanmar
Htun Htun Win

Conservator
Department of Archaeology
National Museum and Library (Head Office)Ministry of Culture

Problems and Needs for Cultural Heritage Protection
and Restoration Activities in Myanmar
1. INTRODUCTION
Myanmar is rich in natural resources and also has a diverse cultural heritage. There are many famous
ancient wooden structures which tell the history of Myanmar, especially relating to the role of
Buddhism in daily life. Many tourists usually visit Myanmar to explore its cultural landmarks. Not
only for the benefit of such tourists, but also to conserve Myanmar’s cultural heritage for posterity, theDepartment of Archaeology has been taking responsibility for conserving and maintaining the ancient
structures, and for restoring them to their original forms. The conservation work deals with many
types of buildings such as monuments, temples, stupas, monasteries, and so on. Because our country isrich in valuable timber such as teak, most of the ancient monuments were constructed using teak andbricks. Monasteries in particular are constructed with teak, in which case they are called atha kyaung(athar meaning “wood,” and kyaung is “monastery”). Most of the wooden monasteries were damaged
by insects, fire, war, weathering, and natural disasters. Therefore, the conservation and maintenance of
these ancient structures is an important task for the Ministry of Culture and also the citizens ofMyanmar.
Wood is a useful basic material for construction in Myanmar, from farmers’ dwelling huts to theRoyal Grand Palace. In past centuries, wood was easy to get, long lasting, and strong, and therefore
skillful sculptors made many designs such as floral motifs, mythical animals, and so on to decorate thebuildings.
2. CLASSICATION OF WOODEN STRUCTURES
Wooden structures can be classified mainly into two groups, one being a large number of religious
monuments such as pagodas, temples, stupas, monasteries, tazaungs (a type of shrine), pyatthats(buildings with multi-tiered roofs), and zayats (shelters/assembly halls), and the other being residencessuch as palaces and dwelling houses that have been built throughout the country since the Pyu period.
The religious monuments are made of stone, brick, or wood depending on the availability of thematerials. Among these buildings ancient monasteries are one of the most interesting religious
structures.
1108

In this paper, emphasis is put especially on monasteries. Monasteries are a premier indicator of social
status in Myanmar, and are important buildings in our daily life. When the day starts in the morning,the monastery sounds the call for people to wake up and prepare to cook rice and curry for Lord
Buddha and for the monks. The countryside or village daily life starts with the monastery, and is pacedby it until bedtime.
The majority of Buddhist monasteries were also built of teak. Unlike their masonry counterparts thewooden edifices of Myanmar owe more to an indigenous domestic architectural tradition. To erect ahouse in Myanmar was a relatively simple affair. Building materials, such as palm, bamboo and wood
were readily available. Professional architects and carpenters were not required, for house building
was a skill passed down from generation to generation. With the help of relatives and neighbors, a
simple, four-roomed dwelling made of bamboo and matting, and consisting of a shrine-parlor,
bedroom, kitchen, and store room could be built within a day or so. The average life of such a house
was not more than ten years, since hazards such as insects, fire, flood and war did not encourage theconstruction of structures of a more permanent nature.
For the construction of a monastery (also called hpongyi kyaung, adding the term for a monk), a
contingent of carpenters and wood-carvers would be contacted by the donors, who would specify thelength and breadth of the desired edifice. The master carpenter would then be able to calculate thedimensions of the various component parts, comprising the image room (pyathat hsaung) in the east,
followed by the room for the chief monk or sayadaw (sanu hsaung), the reception hall, school room or
dormitory for monks (hsaung ma gyi) at the back and the surrounding veranda (zinggyan). He wouldbase his calculations on the traditional Myanmar system of measurement that used the approximate
dimensions of various parts of the body.
Once the carpenters had assembled the basic post and lintel skeleton, the carvers would begin thearduous work of carving hundreds of decorative details for the doorways, windows, balustrades, andmultiple roots from planks and blocks of well-seasoned wood. Decorations were carved section bysection and assembled later. They were attached to the building by tenons and nails. A large monasterymight take from three to ten years to complete. Artisans were usually paid in silver and received foodand lodging for the duration of the project.
A classical Myanmar wooden monastery is generally divided into two areas. An official area for
visitors occupies the eastern side of the building with the residential area on the western, private side.
This scheme resembles that of the Bagan monasteries, where the official public hall with a Buddha
statue built of wood adjoins a brick dwelling building. This similarity in the overall general planning
concept is the only common feature to the Bagan and wooden monastery buildings of the 18-19th
centuries. The latter are known only in the form of fully developed examples that have no analogues inIndia, China or in any other neighboring country.

2109

A Myanmar wooden monastery is, as a rule, symmetrical along the east-west axis. Its floor is elevated
2.5–3 m above the ground. The building is surrounded by an open gallery accessed by several massive
plastered brick stairs. Every monastery room is covered with a separate roof. Shwe-in-bin Kyaung in
Mandalay, erected at the end of the 19th century, is a definitive example of traditional monasterycomposition. The main entrance is the eastern one. The King and the abbot were the only persons who
had the right to use the eastern stairway. The first entrance hall formerly enclosed one or several
Buddha images and is crowned with a pyatthat, hence its name pyatthat hsaung. The next small roomsanu hsaung (intermediate room), is sometimes considered the abbot’s residence and was also used byhim for talks with visitors and for receiving presents and donations to the monastery.
The sanu hsaung leads into the maraphin hsaung (hsaung ma gyi), a large hall-like room divided witha partition into western and eastern parts. The name of the hall originates from this partition because
maraphin in Burmese means “partition, dividing a hall into two parts.” It is always the largest room ina kyaung, covered by a separated three-tiered roof, clearly distinct in the composition of the building.
In the eastern section of the maraphin, near the center, a portion is always elevated for two to threesteps, with a low fence usually surrounding this elevated area. This is the scene for various activities.
A monk sitting on the elevated floor delivers sermons, teaches novices and monastery school pupils
who take their place on the lower level. At the western part of the maraphin is a private room, closed
from strangers. Monks used to sleep on the bamboo mats along the walls in the different parts of the
maraphin. The boga hsaung or zanu hsaung (western room) on the main monastery axis separate fromthe maraphin, houses novices and pupils, and it may also be used as a storeroom.
3. CONSERVATION WORK OF WOODEN STRUCTURES IN MYANMAR
The Bagan branch conservation team has conserved the following monasteries.
(a) Myauk Lay Zin Kyaung, Salin Township(b) Yoke Sone Wooden Monastery, Legaing Township(c) Beikmarn Bonthar Koe Saung Kyaung, Salin Township(a) Salin Kyaung (Myauk Lay Zin Kyaung)This monastery lies in Ahnauk Kanswel Taik, Sinkyone Group, Salin Township, Magway Division,
and was donated by Daw Pu in the year 1231 of the Burmese calendar (ME, corresponding to 1869
AD). Salin Kyaung is situated in Salin, and this monastery of approximately 49 m (163 feet) east-west
and 25 m (82 feet) north-south has been built with a total of 244 teak pillars, the largest of which is 20
m in height and nearly 0.5 m in diameter . It was donated to the order in 1868 by Daw O Kyee.
It is in the format of monasteries of the later Kongbaung period style, having a Kyaung Oo Pyathat(pavilion), Sanu Saung (passage), Jatewon Saung (main shrine) and corridors. At the corridors andhand railing, adorned with sculptures of great Jataka (the Buddha’s life stories), there are 244 posts
3110with nayas (a mythical animal in the form of a dragon) supporting the gallery. Owing to its collapsed
condition, the major conservation work was done by Department of Archaeology, National Museumand Library in 2003-04.
To achieve the original condition, the post were lifted up using large jacks and reinforced concrete
blocks were used to fill spaces beneath the posts. Not only parts of wooden components such as floors,
walls and roofs, but also the traditional Burmese wooden decoration and floral designs on the roof
were conserved. The four staircases (in the shape of a mango sprout) were also conserved. The
Buddha image of the Kyaung Oo Pyathat was also conserved and is displayed as a small museum.

Plan view of Salin Kyaung (Salin Monestry)

Before Conservation

Before conservation

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During conservation

During conservation

After conservation(b) Yoke Sone Wooden Monastery, Legaing
This monastery is situated in ancient Laekaing city, Pwint Phyu Township, Minbu District, Magway
Division. It was donated by the Mayor of Laekaing city, U Anhtaw Ni, in 1252 ME (1890 AD). The
carpenter in charge was saya Ngel, who also constructed the Mandalay Palace. This monastery’s
construction cost was 17.5 buckets of silver coins.
This monastery measures approximately 52 m (174 feet) east-west and 21 m (68 feet) north-south, andhas been built with a total of 214 teak posts, the largest of which is 15 m high and nearly 30 cm indiameter. It was donated to the order in 1890 by U Anthaw Ni, whose family had it built. The building
is of classic cruciform proportions consisting of a shrine room (pyatthat hsung), a sanu hsaung, a store
room (boga hsaung), and a corridor. The shrine room collapsed 20 years ago but its posts were5112

decorated with beautiful carvings. The store room had also collapsed before we restored it. The
original composition was in the format of monasteries in the later Kon Baung period style. Along thecorridors was a hand railing adorned with sculptures of great Jatakas, the Buddha’s life stories. At
present, the passage and corridor are left, though all of the parts were either collapsed or damaged. The
work on restoring the hand railing and corridor, decorated with great Jataka, and the traditional
sculpture of the Kyaung Oo Pyathat Saung (pavallion, or shrine room), and other necessary works ofrenovation, restoration and conservation were carried out by the Department of Archaeology, National
Museum and Library, in 2003.

Side view before conservation

During conservation

After conservation

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(c) Beikmarn Bonthar Koe Hsaung Wooden Monastery, Salin
This monastery lies in the Paungnar quarter of Salin Town. The land was donated by Mahathamone U
Paw’s great-granddaughter and his son in 1011 ME (1739 AD), and the monastery was constructed by
Mal Ray, U Paw’s great-granddaughter and her husband U San Khine, mayor of Salin Town in 1108
ME (1746 AD). Later, the monastery was conserved by U Pan and his wife Daw Tok.
This building was donated to the order in 1818 by U Paw and his sons U San Aung and U Aye. The
construction of the building was commenced in 1818 and was completed in 1823. It was restored in1908 by U Pan and Daw Tok O, relatives of the first donor. It measures approximately 30 m from east
to west and 15 m from north to south, has been built with teak posts, the largest of which is nearly 30
cm in diameter. The wooden building is surrounded on all sides by a veranda, which is a brickstructure. There are four stair cases decorated with a mango sprout shape. The wooden flooring, walls,
and teak posts of this building were damaged. The brick chamber with corridor were completely
collapsed.
In 2004-05, the corridor and main brick structures were completely conserved in their original form by
the Department of Archaeology, National Museum and Library. Moreover, all of the damaged parts of
the wooden buildings and posts were completely restored. The finishing work for the floor and wallsof the wooden buildings was carried out in the 2007-08 fiscal year.

6 6 '- 0 "4 9 '- 0 "3 5 '- 0 "2 9 '- 9 "Before conservation
Plan

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During conservation

During conservation

During conservation

After conservation

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4. DETERIORATION AND CONSERVATION
According to our traditional building methods, all of the monasteries were built by digging holes forthe wooden pillars. Accordingly, the parts of the wooden pillars that were in the ground were usuallyruined several years later. Following this, the upper part of the monastery typically leaned in different
directions and eventually collapsed into a heap of wood. As a result, our Department would try ourbest to save the remaining parts of the monastery.
As teak wood is very expensive and not readily available, other types of wood therefore have to be
used as replacements that are not durable in the long run. In terms of further conservation work,
advanced methods of conservation are required, and as there are only a few well-trained technicalassistants in my Department it is difficult to cope with the large numbers of ancient monuments.
5. BENEFITS FROM THE TRAINING COURSE
I hope that I will be able to apply the useful techniques and methods of preservation of wooden
monuments that I study in the 2011 ACCU training, and I will share my experiences with mycolleagues.

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NepalRam Govinda SHRESTHAHead of Section (Architect)
Building Permit Section
Bhaktapur Municipality

Renovation of Navadurga Dyochhen, Bhaktapur: A Short Report

Introduction: Background to the Project
Nepal is 800 km long and 170 km wide and contains most of the Himalayas stretching between Assam,
Bhutan and Sikkim in the east to Kashmir and Jammu in the west. It not only incorporates the highest
mountains in the world, but also a 40-km-wide strip of lowland belonging to the Ganges plain. Nepal
is a country with its own historical and cultural background, for which it enjoys worldwide popularity.
I nnumerable temples within the Kathmandu valley constructed in the ancient period are reason for its
being popular as a country of temples. Of the World Heritage sites in Nepal, the Kathmandu Valley
World Heritage Site and Lumbini, the Birthplace of the Lord Buddha, are both cultural heritage sites,
whereas Sagarmatha and Chitwan National Parks are sites of natural heritage. The Kathmandu Valley
Site is again divided into seven heritage zones, namely Kathmandu, Patan, Bhaktapur, Swayambhu,
Bauddhanath, and the Changu Narayan and Pasupati temples.

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Bhaktapur, one of the three historic royal towns in the Kathmandu valley with rich architectural andurban heritage, was founded in the eighth century AD and is known as Khopa in the Newari dialect
and Bhaktapur in Nepali. It has remained ethnically, religiously and culturally homogeneous ascompared to Kathmandu and Patan. Built urban and architectural heritage has also remained relatively
well preserved in Bhaktapur even today. “Were there nothing else in Nepal save the Durbar Square of
Bhadgaon (Bhaktapur) it would still be amply worth making a journey halfway round the globe tosee,” expressed E. A. Powell of London. Again Swiss Geologist Dr. Toni Hagen wrote, “Bhaktapur isthe cleanest city, others should follow her.” Inspired by such high praise the citizens of Bhaktapur are
engaging in the conservation of their heritage.

Bhaktapur Municipality's conservation efforts
Our cultural heritage is a component of the organic whole of human civilization. Its conservation is amajor and important task. We have understood the cultural and economic value of our heritage only
since the late 1980s. For the past decade and a half, the Municipality has been working with great
concern in the conservation of its heritage. It has not been able to achieve the desired level in this
sector due to constraints on resources.
The Municipality has given highest priority to heritage conservation and environmental improvement,with almost 70 percent of the municipal development budget directed towards the conservation of art,
culture and heritage, along with maintaining the cleanliness of the city. In the past 12 years, Bhaktapur
Municipality has renovated, reconstructed or conserved temples and monuments such as BhairabnathTemple, Nyatapola Temple, Chaturbrarna Mahavihar, Jhaur Bahi, Navadurga Dyochhen,
Tripurasundari Dyochhen, Yaksheswor Temple, Shiva Temple, Ikhalachhi Math, 55 Windows Palace,
Taleju Temple, Patis, and Sattal.
With the sole purpose of conserving cultural heritage within the city we have expressed in our motto
the commitment we try to achieve in operation: “Creation of our predecessors – our art and culture.”

Short descriptions of some renovations by Bhaktapur Municipality
Nyatapola
The tallest temple in Kathmandu Valley, Nyatapola (a five-storied structure) is simply the finest
specimen of traditional Nepalese architecture. Its symmetrical roofs are supported by 108 pillars, alladorned with figures of different Hindu gods and goddesses. The temple houses an elegant
image of Siddhi Laxmi, the goddess representing the most powerful female force. T he 33-stepstairway leading up to the temple is flanked by guarding figures at each level. The bottom plinth has
the legendary wrestlers Jaymal and Patta, each said to have the strength of ten men. On the level above
them are a pair of elephants, then a pair of lions, then a pair of griffins, and finally the pair of deities

2
118Singhrini and Byagrini, with each level ten times stronger than the one below. There are 20 wooden
artistic pillars on the top floor level and 60 dyojhya (goddess windows) fitted on the wall. Nyatapola
has five tiers of receding roofs, each tilting downwards in a 45 degree angle. In 1702, King
Bhupatindra Malla erected this five-tiered temple, which still dominates the skyline of Bhaktapur. Its
design was so elegant and its construction so well done that the earthquake of 1934, which completely
destroyed so many other temples and buildings, caused damage only to the topmost story. The temple
honors King Bhupatindra Malla’s family deity, Siddhi Laxmi.
The temple is 32.93 m in height, and 22.70 m by 22.70 m in length and width. It was in dilapidated
condition before the restoration, with timber members such as joists, rafters, beams, columns, meths(lintels) having become weak and losing their bearing capacity as the result of being eaten up bytermites, fungus, etc. It was renovated by Bhaktapur Municipality in 1997 at the cost of US $25,847.

Nyatapola Temple after renovation

Bhairabnath Temple after renovation

Bhairabnath Temple
Bhairabnath Temple is located at Taumadhi Square of Bhaktapur. It has great historical andreligious importance. The huge three-storied rectangular temple (21.95 m high, 12.80 m long, 8.23 mwide) is dedicated to Bhairav, the ferocious form of lord Shiva. It was made in the period of King
Bhupatindra Malla, 1690-1722. This temple was destroyed by the great earthquake of 1934 andlater rebuilt in the Rana period. Recently, in 1996 it was renovated at the cost of US $42,260 by
Bhaktapur Municipality.
Jhaur Bahi
Among the historic Buddhist monasteries of Bhaktapur, Jhaur Bahi is one of the oldest types ofcomplexes known as bahi in the city. It was badly damaged by the earthquake of 1934, losing its

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original form of bahi architecture, but still retains its religious importance. The religious activities
related to shakyas and bajracharyas, such as nitya puja and chudakarma, are performed in the bahi.
Nepal has harmonious intercultural relation so both Buddhist as well as Hindu people of Bhaktapur
have equally been giving importance to the renovation of Jhaur Bahi and other cultural heritage
examples. Jhaur Bahi is located at Golmadhi Tole, Bhaktapur. It is recoreded that in the year 676 of the
traditional calendar, or about 447 years ago, Jhaur Bahi was built by Jib Chandra Bajracharya in the
period of King Bishow Malla.
Bhaktapur Municipality has supported technically as well as financially the reconstruction of
Jhaur Bahi. About US $3,200 was donated by local people for the reconstruction. Visitors andtourists also contribute indirectly because the Municipality collects money from tourists visiting
Bhaktapur. After about one and half years of hard work by woodcarvers and local masons, thereconstruction of Jhaur Bahi was completed. The religious ceremony to celebrate the finishing of theroof was held in September 2002. The size of the square-shaped bahi is 19 m by 19 m, with a height of
6.5 m. The total renovation cost was US $110,063.

Jhaur Bahi after renovation

Ikhalachhi Math after renovation

Ikhalachhi Math
Math is a social and religious Hindu institution, a house for a priest. Ikhalachhi Math is one of theoldest maths of Bhaktapur, located at Bolachhen Tole, Ward No. 12, Bhaktapur. This math is almost
300 years old. It was badly damaged by several natural disasters such as earthquakes and heavy
rainfall. The first phase of Ikhalachhi Math renovation work has been completed by Bhaktapur
Municipality this year, at an estimated amount of US $36,000. The first phase of Ikhalachhi Mathwork covered an area 14.76 m in length , 6.15 m in breadth and 9.2 m in height. The remaining threephases of renovation work will be completed very soon. After the renovation work, Ikhalachhi Math is
proposed for use as a terracotta museum or an educational institute of art and culture.

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Navadurga Dyochhen Renovation Work
Background: Navadurga Dyocchen
Navadurga Dyochhen is one of the major traditional religious structures among the ancientarchitectural heritage of Bhaktapur. It lies between Gachhen Tole and Kwathandau Tole, in thenortheastern part of Dattatreya Square of Bhaktapur. It is famous for being surmounted by a golden
window and being guarded by two metal lions. It is equally famous for the Chariot window placed in
the first floor of the northern wall. Very huge crowds of devotees visit during Dashain, one of thebiggest Hindu festivals in Nepal.
Unfortunately, Nepal is situated on the Indian Plate of the Indo-Australian tectonic plate, which is
sinking continuously under the Tibetan Plate at the southern edge of the Eurasian Plate. Because ofthis action, Nepal is in a zone prone to earthquakes. Devastating earthquakes in the past have proved
the vulnerability of most vernacular buildings in Nepal. Enormous losses in life and property havebeen due to the collapse of buildings made of low strength masonry as their main bearing elements.
From information gathered from people living nearby the Navadurga Dyochhen, it is known that
this building was badly damaged in the Great Earthquake of 1934 (8.3 on the Richter Scale). As aresult, the inner parts of the building had collapsed completely and were reconstructed with salvage
materials, and not properly following traditional architectural rules. The front part had not collapsed.
The Navadurga Dyochhen was built in the sixteenth century. This dyochhen is religiously important
not only for the people of Bhaktapur but for all Nepalese Hindu. This dyochhen is said to be the houseof Navadurga. Literally translated from Sanskrit Navadurga means nine durgas. Durgas are thevarious demonic representations or manifestations of Parvati, the shakti of Siva in the tantric tradition.
The oldest form of durga is said in Bhaktapur to be the goddess Taleju, who predates the Navadurga.
Taleju is important to the Navadurga even though she is not represented within the Navadurga
pantheon. The Navadurga are subordinate to her and at prescribed times they visit her temple within
the enclosure of the Royal Palace. Though the meaning of Navaduga is nine durgas, there are thirteenmasks used in public ceremonies in which they participate. Only seven masks represent the durgas,
however. Of the nine durgas, those represented in ceremony are Mahakali, Kumari, Varahi,
Brahmani, Mahesvari, Indrayani, Mahalaxmi, and Tripurasundari, and among these, Mahalaxmi is
not represented in public by a mask but by a two-dimensional repoussé silver icon. Another,
Tripurasundari, is not visually represented to the public; her mask is kept inside the Navadurga
Dyochhen with the others, including the “secret” mask of Mahalaxmi.
The remaining six of the thirteen masks represent Siva, his son Ganesha, Bhairab and Seto
Bhairab, who are manifestations of Siva and the guardians Simha and Dumha. Individual gods andgoddesses which collectively form the Navadurga are well known to the people of the Bhaktapur and5121

its surrounding villages. They belong to the Hindu Brahmanical pantheon and are venerated byHindus and many Buddhists.
Dyochhen
The word dyochhen come from two words dyo and chhen, meaning respectively god and house in the
Newari dialect. Accordingly the house of a god is a dyochhen. There are nine other dyochhen of themother goddesses, Astamatrica, including Tripura Sundari in Bhaktapur. They are Bramhayani
Dyochhen in Taulachhen Tole, Maheswori Dyochhen in Inacho, Kumari Dyochhen in Kwachhen Tole,
Bhadrakali Dyochhen in Ichhu, Barahi Dyocchen in Bansagopal, Indrayeni Dyochhen in Khauma
Tole, Mahakali Dyochhen in Bholachhen Tole, Mahalaxmi Dyochhen in Thalachhen, plus Tripura
Sundari Dyochhen in Tulachhen. Each of the first eight mother goddesses above has a shrine which is
palced outside the ancient boundary of the Bhaktapur city core. But Tripura Sundari has a shrine in the
middle of the city. These nine mother goddesses are known as savior goddesses of Bhaktapur city.

Bramhayani Dyochhen

Bramhayani PithMaheswori PithMaheswori Dyochhen

The construction technology
A masterpiece of medieval period architecture, the dyochhen was built by local craftsman and builders
using local technology and materials. The foundations were built with mud mortar joints using roughstone. The load-bearing walls of the dyochhen were built with specially made bricks, such as maapa

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and dachi appa, with mud mortar of high quality.
Structural wooden members such as posts, joists, beams, and wall plate rafters are made of pine andsal wood. Carved windows and doors were normally made of champ or sal wood. Special roofing tiles(jhingati) are used to cover the sloped roofs on timber supports.
Description of the existing structure
The main building of the Navadurga Dyochhen complex is a three-storied structure with anapproximate size of 12 m long by 4.35 m wide and 9 m high from the ground to the ridge of the roof.
The ground floor of the structure has an internal bearing wall 84 cm thick with 14 cm of cladding
using dachi appa terracotta bricks on the front face. The rear side of the building consists of two 1
m thick mud masonry brick piers with a large opening 5.27 m by 2.36 m in the middle. The side walls
are also 1 m thick with mud masonry brickwork. The thickness of the wall is seen to decrease to 74
cm and 60 cm in the second and third floors respectively. Large openings of traditional types suchas doors and windows are situated in the front, back and side walls. The size of the doors andwindows varies from 66 cm by 125 cm to 75 cm by 230 cm.
The floor component of the building consists of traditional brick tiles (telia appa) laid over 10 cm of
mud mortar and supported by timber joists. The span of the joists is between two long front and rearwalls. The joists are supported over two beams above the rear wall opening, above which the second
and the third walls have been constructed.

Navadurga Dyochhen before renovation

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The roof has an approximate slope of 30° on all four sides. The covering of the roof consists oftraditional roof tiles (jhingati) laid over mud mortar and supported by timber rafters which rest on
timber trusses.

Renovation work on Navadurga Dyochhen: Documentation phase
For the renovation of this dyochhen we divided the job into two steps: the documentation phase
described here, followed by the implementation phase.
Collection of relevant data
The data collection forms were filled out. All detailed measurements of the building were taken and an
inventory of the structural components of the building has been prepared. A thorough study andassessment of the materials of the building components has been done regarding their positions,functions and present conditions, as usual.
Exploratory examination was done to confirm the type of foundation, its width and depth, and also
the characteristics of the subsoil.
Current use of the dyochhen
As mentioned above, Navadurga Dyochhen is the dwelling of all the Navadurga ceremonial masks. On
the ground floor is an open hall around an inner courtyard, with the front part also open, bounded bythree walls on the middle, north and south; usually this place is used for visitors and guardians of thedyochhen. But the southern part of this floor is kept separate for male holy buffalo (khan mayen).
The southern and western parts of the first floor are left open for visitors. In the northwestern part is aroom for storing the thirteen Navadurga masks, and the eastern part of the room has the main shrine.
Devotees come here daily for devotional ritual (puja) for the goddesses.

Carved windows with toran at front of Navadura Dyochhen before renovation

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Studies of existing physical conditions
Roof. The roof of the dyochhen was found to leak in a number of places. The continuous alternation of
wet and dry of the rafter in the third floor resulted in decayed timber joists. The leaking waterflows in here and there during the rainy season. This led to the third story being less serviceable.
Certain joints of the rafters and the joists have been displaced due to unusual movements, probably
during earthquakes. Wooden wedges securing the ends of the rafters are ineffective due to theloose fit that leaves gaps between the walls and the wedges. Not all the members are provided
with such wedges, which are important considering the frequency of earthquakes.
Floor joists and wall plates. The floor joists and rafters used low quality timber with poor material
strength. These materials, being much older, have been damaged due to termites and other insects.
Most of the wall plates on the ground floor have decayed due to dampness in the wall. Even the endsof the floor joists have decayed and softened so that certain parts have been eaten by mice. Five
successive joists of the ground floor have been broken due to excessive loading on the weakermembers. Such joists have to be supported directly from the underside as a safety precaution.

Decayed tie timber seen in a wall panel test

Beams and timber posts. The ground floor consists of timber posts and beams to receive the load of theupper story walls, roof, and floor joists. Two parallel rows of posts placed at a certain interval were
found to be tilted in opposite directions. The inner row of posts was found to be tilted to the inside,9
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producing a wider gap with the other at the top than at the bottom. The features built above show theexisting condition as well. Even the beam above the inner posts has tilted to the inside due to thehorizontal thrust developed probably during the 1934 earthquake and the existence of the large
opening on the underside. It was found that most of the joists rest over the inner beam only. The cut
pieces provided for getting a pleasing appearance on outer faces only are found above the outer beam.
This structure shows the unequal loading on the two beams.
Walls. The wall system of the dyochhen has different thicknesses for the walls of different stories.
Each upper storey wall is not constructed exactly above the one below, so that the exterior faces of thewalls do not line up vertically. This led to eccentric conditions in the load transfer system from one
story to the next. All four side walls share the load of the roof. However, the floor loads are transferreddown the two long walls via joists. The front long wall consists of dachi appa brick facing with mud
mortar. The inner walls consists of maapa constructed in mud mortar. Most of the joints in the wall arefilled with mud mortar.

Wall cracks seen in the interior and exterior walls of the dyochhen

The bond between the two successive layers of the brick in a course was found to be very weak. Mostof the internal parts of the walls are open to accommodate different wall panels. The spaces are usedby mice. The south wall has been strengthened outside with a bulk, as the inner wooden wall ties haverotted due to dampness at some places. The exterior front wall face shows a number of vertical as wellhorizontal cracks developed probably due to settlement and shear forces. Most of the diagonal shear
cracks penetrate throughout the entire thickness of the wall. Also, some of the facing bricks are
encrusted. This is probably due to excessive stress concentrating on the outer face of the wall at its
narrower part. Also the bricks in the inner face were found to be loose, showing the load of the wall is
not transferred at that part. The joints of the windows and doors show unequal movement of thedifferent parts. Plumb line checking at various places shows the building to be in tilted in the front face.

10126Some basic measurements
Floor height. The height of the eastern block is 3 m on the ground floor and the main shrine room, andthat of the western block and second story of the eastern block is 2.15 m.
Roof overhang distance. The eastern block is 2 m, and the rest is 1 m.
Preparation of the technical drawings and estimate
In 2001, the Archeology Department formed a technical team of four members to measure thedyochhen in detail. They prepared drawings of the existing structure and a detailed estimate for therenovation work. In 2003, Bhaktapur Municipality formulated another technical team. They were thefour technicians involved in the detailed measurement of the dyochhen. We prepared existing drawingsof the main dyochhen again. We prepared proposed drawings of the sattal and kitchen pati for ordinary
people for the back yard. The newly proposed sattal is space for the Navadurga Shrine, including themasks, at the time of renovation of the main dyochhen. Preparation of proposed drawings for the maindyochhen was difficult for us because we did not know the elevation of the back portion of thedyochhen before the earthquake, and the back portion of the existing structure is roughly made using
salvaged material and not properly following traditional Malla style architecture.

Architectural drawings of Navadura Dyochhen

For this reason we called a committee meeting at the local ward level. I asked the local people “Isthere any evidence for the back portion of the building? Do you have any old photographs? What do
you know about the back portion of the dyochhen?” We discussed with this users’ committee aboutthat portion of the elevation, but no one was able to say what it actually looked like. Then
remembering all these things I began looking for an appropriate architectural façade for this portion. I
found a good example in the same building that could help restore the lost part. I decided to design theback wing like that of the inner courtyard which displayed the old façade, designing the back portionof the courtyard’s west and south wings in the gallery system of the north wing on both the ground11
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Existing and proposed south elevations of Navadura Dyochhen

and second floors, and placing lattice windows in the first floor façade. The completed design wasshown to users’ committee and the municipal authorities. The design was approved. With the help of
the approved design and drawing we prepared a detailed plan and cost estimate. The total cost estimateof this work was 10,104,819.35 Nepalese rupees (about $144,354.56).
Main points of the renovation proposal
The focus of the renovation can be summarized as follows.
 Renovation should be done with reference to detail documentation and records.
 In situ reconstruction of the main east portion of dyochhen.
 Construction of the remaining portion of the dyochhen with the approved new design.
 Maximum reuse of carved items of the dyochhen.
 Decayed wooden structural elements are recommended to be replaced with new sal timber.

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Renovation work on Navadurga Dyochhen: Implemetation Phase
Work started from the west back courtyard by dismantling the backyard hut (tahara) and constructing
a sattal to place the shrine and Navadurga masks from the main dyochhen. After dismantling theexisting dyochhen, the foundation stone-laying ceremony was performed by Mr. Pancha lal Banbala,the oldest of the Navadurga custodians. Then construction was started from the foundation.
The renovation work was carried out with the help of the users’ committee which was established forthe renovation of Navadurga Dyocchen. All proposals with technical drawings were studied by thecommittee with help of the architect and overseer from the municipality, who also implemented thework as instructed by them. The users’ committee was funded by the municipality. They also collected
donations from devotees throughout the country. Besides monetary donations, many local people
participated in the renovation of their most powerful goddess’s Navadurga Dyochhen as a volunteers.

Renovation work going on at the ground floor

Major challenges faced in renovation work of the dyochhen
The challenges encountered during the work can be summarized as follows.
 Storage of shrines from the main building during restoration work. This was a problem since thebuilding had to be repaired from the foundation up and there was no proper place to enshrine thedeities who have to be regularly offered worship.
 Strengthening of the foundation was required.
 The back portion of the building neither survived in original form, nor followed traditional style.
These challenges were met in the following ways.
 In order to transfer the shrine from the existing main building to another place, the users’committee called a meeting with the custodians of the deities, and with devotees. The meetingcame up with the solution of building a new temporary shrine house in the backyard.
 To strengthen the foundation, the foundation strips were given transverse support by

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extending them to adjacent strips after consultation with structural engineers.
 Regarding uncertainties about the architecture for the back portion of the building, I requested
local people to find photographs related to this building. But no such evidence was available, so
we started to study the remaining original portions of the building. I found good examples that
could help to restore the lost part of the same building. I decided to design the back wing likethat of the inner courtyard that displayed the old façade, designing the back portion of thecourtyard’s west and south wings in the gallery system of the north wing on both the groundand second floors, and placing lattice windows in the first floor façade. The completed design
was approved by the users’ committee and municipal authorities.

Newly constructed sattal for the shrine and Navadurga masks

Navadurga Dyochhen during the renovation phase

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Maximum use of old carvings with new timber supporting struts

Main reasons for decay and damage of wooden members of dyochhen
General problems of traditional Newari style buildings are rainwater leakage from the roof, which
results in damage to the wooden rafters and then the entire structure, because of lack of regular
maintenance of the jhingati roof. This problem was also seen in this dyochhen before renovation.
Other reasons for decay and damage found at this dyochhen are as follows.
 The inner and outer frames of the doors and windows on the ground floor were damaged from
dampness from the ground.
 Columns and corner posts were damaged by dampness from the ground, and rainwater thatsplashed onto the bases of their foundation stones.
 Joists, wall plates, and inner wooden tie members were decayed at points of contact with the
mud walls.
 Fungal growth, encouraged by the presence of moisture.
 Most timber members were damaged by insects such as beetles that create holes in the timber.
 Most of the ancient timbers had been attacked by termites.
Problems in conserving traditional Newari style wooden structures in their present condition
 Timber is the main load-bearing element of traditional buildings, which cannot be replaced byother materials.
 Timber is a material which can be subjected to many decaying processes.
 Timber components are often used over large spans and these are continuously subject tovarious stresses and strains.
 The long and large-sized timber members used in monuments are difficult to find in the present
market.
 Because of the lack of timber, a conservation project may take a long period which delays thetarget time.
 There is also a scarcity of skilled craftsmen for the conservation of ancient timber structures,
because of a lack of training in traditional as well as modern techniques of conservation.

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Metal pinnacle (gajur) support (bhangi) and wooden planking before jhingati laying on the roof

Navadurga Dyochhen in the renovation phase

Outer and inner elevations of Navadurga Dyochhen after renovation

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Conclusions
The renovation of Navadurga Dyochhen is a great example of excellent work done by Bhaktapur
Municipality with the help of the users’ committee and huge local participation. The successful
completion of this work proves that local craftsmen are still capable of renovating traditional
structures using traditional materials and technology.
By conducting such renovation work, Bhaktapur Municipality would like to transmit traditional
technology from generation to generation. Accordingly the Municipality is giving wood carving
training to the new generation every year. The Municipality is also giving preference to sharing ourown technology with other countries of the world. It will support both traditional and new technology
for the conservation of wood, according to the nature of the project.

Bibliography
Bhaktapur Development Project. 1979. Bhaktapur Town Development Plan. Heidelberg (Germany):
Bhaktapur Development Project.
Gutschow, Niels, and Bernhard Kölver. 1975. Ordered space concepts and functions in a town of
Nepal. Wiesbaden (Germany): Steiner.
Insall, Donald W. 1968. Chester: A Study in Conservation. London: Her Majesty's Stationery Office.
Korn, Wolfgang. 1976. The Traditional Architecture of the Kathmandu Valley. Kathmandu: Ratna
Pustak Bhandar.
Navadurga Smarika (Users’ Committee). 2066 B.S. (2010). Navadurga Dyochhen Purnasthapan.
Bhaktapur, Nepal.
Scheibler, Giovanni. 1988. Building Today in a Historical Context: Bhaktapur, Nepal. Kathmandu:
Ratna Pustak Bhandar.
Sanday Kentro Associates. 1997. Patan heritage conservation action plan (master plan). Publisher
unnamed.
Voyage to Nepal Peris 1866-Le Bon

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New ZealandNicola Rachel JACKSONNational Heritage Policy Manager
New Zealand Historic Places Trust

Risks and Remedies for Cultural Heritage Protection and Restoration of
Wooden Heritage Structures in New ZealandIntroduction
This report has been prepared for the Preservation and Restoration of Wooden Structures Training
Course (Asia/Pacific Cultural Centre (ACCU) for UNESCO 2011). The report draws on the author’s
experience while employed by the New Zealand Historic Places Trust Pouhere Taonga (NZHPT) forthe past thirteen years. The report provides a brief introductory context within which the conservationof wooden structures can be discussed: the threats to and possible solutions for the long term
conservation of historic wooden structures in New Zealand is a particular focus. The report focuses
mainly on wooden buildings and the issues facing their conservation and restoration.

The Broader New Zealand Context
Wooden structures in New Zealand have resulted from both indigenous and European settler
influences. New Zealand was settled some 800 years ago by Maori, recognised as the indigenous
people of Aotearoa (New Zealand) who have thought to have arrived from East Polynesia. According
to Maori oral traditions a migration known as the ‘Great Fleet’ of seven waka (canoes) is said to havearrived in Aotearoa circa 800, bringing the ancestors of the Maori people (McKinnon, 1997). Waka
affiliations and whakapapa (genealogy) are important to Maori delineations of the iwi (tribes) anddefinitions of inter-tribal relationships. The various iwi spread throughout the country in kinship-based
extended networks. Settlements, both permanent and transitory, were constructed using available
resources, most of which were of perishable material. Hence there are few physical remains of wooden
structures dating from the Maori settlement of New Zealand.
Europeans first arrived in New Zealand from around 1642 and began to formally settle from 1830
(McKinnon 1997; Shaw, 1997; Stacpoole, 1976). The majority of the settlers during this early period
were from Britain. Following the signing of the Treaty of Waitangi in 1840 between Maori and Queen
Victoria, New Zealand became a Colony of Britain and part of the Commonwealth. The years that
followed saw substantial land purchases by companies for newly arriving settlers. The small portsettlements in the Bay of Islands, Auckland, Wanganui, Wellington, Nelson, Lyttelton and Dunedin
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soon became thriving centres. Dependent upon arrival on the knowledge of local Maori, trade featured
prominently although relations were not always friendly. Some iwi willingly sold land and continued
trading with Europeans during the 1850s, but other Maori began to fear the loss of their customs,
territory and mana (dignity), leading to the New Zealand land wars breaking out in 1860 in the North
Island (McKinnon 1997, Salmond, 2010). By 1858 non-Maori outnumbered Maori, and relations
between the races were permanently altered with the customs of the new arrivals taking prominence.
The cities and provincial centres have continued to grow, with residential, civic, commercial andreligious buildings, and infrastructure now dominating the landscape. New Zealand has a strong
pastoral history which has led to a wealth of structures associated with farming activities.
New Zealand has a current population of over 4.4 million (Statistics, 2011) and a land area of 267,710
square km. There are 5,500 entries in the NZHPT Register of Historic Places, Historic Areas, Wahi
Tapu and Wahi Tapu Areas, which comprise some 10,000 structures. Many of these are wooden,
reflecting the most prevalent building material available in New Zealand.

New Zealand’s Wooden Structures
New Zealand had a rich stock of hardwood trees which were ideal for use as building materials. The
great forests of New Zealand contained many conifers (hardwood pine species): kauri, rimu, totara,matai, tawa, miro and others. Maori used hardwood timber for posts, ridge poles and exterior walls,
slabs of trunks of ponga (tree ferns) for interior walls, and other plant material such as rushes, toetoe(a tall grass) and bark for thatching, which was often attached to battens made of manuka (a shrubbytree). In addition, raupo (reeds), ti (Cabbage tree) and harakeke (flax) featured as strapping and in thedecorative woven work such as tukutuku panels of the interior (Salmond, 2010; Shaw, 1997).
While timber was a locally available building resource, so too were sod or cob, stone and clay forbrickmaking, and in some parts of the country these materials became the primary building stock. The
decision on what construction materials to use was not only linked to availability – events also playeda major part. For example, early settlers to Lyttelton chose first to build in stone, but damage
following an earthquake led to a desire to rebuild in timber. However, a major fire destroyed most of
the town in 1866, and stone became popular again.
The European settlers brought with them knowledge of European architecture of the time. Using
primarily local materials of stone and timber they set about building modest huts (often with the helpof Maori), more substantial houses, followed by churches and other religious buildings, schools, civic
buildings, commercial premises, and structures associated with transport and other infrastructure.
Wealthier settlers imported prefabricated houses from Britain (and later from California), plus

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building parts such as windows (Salmond, 1986 and 2010). The European settlers made use of the
hardwoods in great quantities for the structural framing and cladding of their buildings.
Types of Wooden Maori Traditional Structures
The primary traditional Maori wooden structures
included within the context of a marae (community meeting place) are the wharenui (carved
meeting house), pataka (storehouse), and pou(commemorative carved posts). Within the
kainga (village) or pa (fortified village) are
whare (houses) for family living.
Wharenui. The wharenui (carved meeting

Figure 1: East Cape, NR Jackson, April 2011

house; also known as the big house, sleeping

house or simply carved house or meeting house) is the main building within the marae, often withelaborate carved (or in some cases painted) bargeboards and carvings throughout the interior of thehouse depicting the tribe’s ancestral heritage. The building itself is deeply symbolic, representing theancestor in itself. A single gabled roof is supported by 3 to 5 posts and low walls. Wharenui often havean enclosed verandah to the front of the large single room used for gatherings and sleeping.
Pataka. This storehouse is a small building ranging
in length from 1 to 7 metres raised, on one or moreposts to protect the food contents from kiore (rats),
and often adorned with elaborate carvings. There arevery few pataka remaining today.

Figure 2: McManaway`s Pataka and Waka. Jo Wylie NZHPT 2004

Pou. These are commemorative carved posts,
usually as a single item but sometimes as a moreelaborate structure, that are commemorative or
Figure 3: Pou whenua, East Cape, NR Jackson, 2005

used as markers.

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Whare. These houses are built with perishable
materials such as raupo reeds used for thatching,lashed with flax or ti to a timber frame of wood of
the manuka tree, nikau, or ponga trunks. Due tothe vulnerability of the building materials there
are no authentic examples remaining today. A
recent archaeological discovery, however, uncovered what is thought to be a ponga whare at Te
Aro Pa in Central Wellington. However, only a
Figure 4: Unidentified Maori group alongside a raupo whare c. 1870s,
Alexander Turnbull Library, Wellington, ID: 1/2‐003135‐F

small portion of the base of the walls remains.

Types of Wooden European Structures
There is a variety of European wooden structures in New Zealand. Timber structures included huts,
raupo houses, weatherboard houses, more substantial homesteads, churches and other religious
buildings, schools, civic buildings, commercial premises, and structures such as bridges associatedwith transport and other infrastructure. Wealthier settlers imported prefabricated houses from Britain(and later from California), plus building parts such as windows. (Salmond, 1986 and 2010). The
European settlers made use of the hardwoods in great quantities for the structural framing andcladding of their buildings. Thatching was rare for European buildings (except in the very early period
when raupo huts were common) and most certainly after 1900 had roofs of shingles, slate, tile or morecommonly corrugated iron (Salmond 1986, Shaw, 1997).
The most common wooden structures in New Zealand are residential buildings, ranging from small
miners’ huts to cottages, from bungalows to larger homesteads. Timber was a plentiful local resource,a relatively cheap building material, and easily accessible. The two-roomed hut became the fourroomed workers’ cottage with a lean-to kitchen at the rear. Others had two storeys from the start, orwere added to over time to become substantial homes.
New Zealand’s houses were greatly influenced by the overseas styles of Britain and America. Oncepatterns and mouldings for skirtings, architraves, fretwork and other decorative features were readily
available by the late 1800s, houses quickly adopted Colonial or Victorian styles. For example many
houses had a verandah, derived from the British Colonial style in India to cool the exterior-facing
rooms, despite New Zealand’s climate never reaching India’s high temperatures.
Of course structures for other uses, such as civic, commercial, and religious buildings, were also
constructed of timber. While heavily influenced by European and American styles, peculiarities were
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ripe in New Zealand as in other colonies. For example, in some cases timber was made to mimic therole of stone with quoins, false buttresses, and even texture applied with paint (Stacpoole, 1976).
The following provides a summary of the types of European wooden structures.
Examples of Residential Buildings
Raupo houses. Popular with the very early settlers,
these were often temporary houses used while a moresustainable house was built. Raupo was a good
insulator but very susceptible to fire, and this fact led
to the first building regulations in New Zealandbanning the construction of such buildings for
European inhabitants in built up areas. Due to theperishable materials, there are no authentic examples
remaining today (Iasscs, 2005).

Figure 5: Raupo house near New Plymouth c1860 Alexander
Turnbull Library, Wellington, ID: 1/2‐011751‐F

Cottages in Arrowtown, Otago. Gold was first
discovered on the Arrow River in 1862 by
William Fox. In the same year the area wasopened and miners poured into the region, manyfrom Victoria, Australia. During the goldrush
years the total population of the Shotover andArrow districts was estimated at about 3,000. In
the early years, accommodation for the miners
consisted merely of calico tents, but thisgradually changed with the erection of more

Figure 6: 61 Buckingham St, Arrowtown, NZHPT Online Registerpermanent structures of timber and iron. At theend of 1864 Arrow contained 19 wholesale and retail stores, 10 hotels and several private dwellings.
Buckingham Street still features a significant group of heritage buildings dating back to the 1870’s,
including a former bank and the original Oddfellows Lodge (both constructed of stone), and a numberof small timber miners’ cottages (NZHPT Online Register).
The Cuddy, Te Waimate Station, Timaru. The Cuddy was built in 1854 by the Studholme brothers,
who established a number of large sheep runs after taking up residence in Te Waimate. The Cuddy
was based on English precedents but adapted New Zealand materials as a temporary measure. The
walls are constructed of vertical totara slabs, with cob pugging on the inside. Snowgrass was used forthe original thatched roof, however it was later replaced with corn straw thatch. The two-roomed
cottage is architecturally and historically valuable as a charming example of early settlers’ ingenuity inhouse building before dwellings of sawn timber could be built (NZHPT Online Register).
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Figure 7: The Cuddy – Exterior, Timaru, NR Jackson, 2010

Figure 8: The Cuddy –Interior, Timaru, NR Jackson, 2010

Hulme Court, Parnell, Auckland. Hulme Court
was built in 1843 for Sir Frederick Whitaker, later tobecome Premier of New Zealand. It is in the
Regency style and features a hipped roof, elegantly
trellised verandahs and shuttered sash windows. The
house has 30 cm thick bluestone walls which havesince been plastered over, and a slate roof. Itsarchitectis

unknown.

Despitesomeinterior

alterations over the years Hulme Court remains as
one of the best examples of Regency architecture in

Figure 9: Hulme Court, Parnell, Auckland, NR Jackson Jul 2011

New Zealand, and almost certainly the finest built inpermanent materials. It is the second oldest surviving house in Auckland and the oldest documented
dwelling still standing on its original site (NZHPT Online Register).
Antrim House, Wellington. Built in 1904, Antrim House was the home of the successful Wellington
businessman Robert Hannah. It has architectural significance as a fine example of an Edwardian
Italianate style house designed by a notable architect, William Turnbull. It is a prominent landmark,particularly as it is one of only a few houses left in what was once a predominantly a residential street,and it is still surrounded by its grounds and trees. It is the national office of the New Zealand Historic
Places Trust (NZHPT Online Register).

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Figure 10: Antrim House, Wellington, Grant Sheehan 2009

Figure 11: Antrim Stables and Glasshouse, NR Jackson 2009

Examples of Agricultural Buildings
Te Waimate Woolshed, Te Waimate Station, Timaru. Erected by Michael Studholme and his
brothers in 1855, Te Waimate Woolshed is still regularly used. It is of interesting construction,
originally having a totara roof over sarking before roofing iron was available. A lot of the timber isadzed, and all the inside timber is pit-sawn totara. The railings are of manuka, preserved by the greaseof sheep’s wool. It can hold 1,000 sheep during shearing, and the shorn sheep can be kept inside incounting-out pens in wet weather. At one time there were 22 machine stands, eleven on each side of
the shed, but today there are only three. One of the internal features is the old Farmers screw woolpress, a huge and historic piece of machinery (NZHPT Online Register).

Figure 12: Te Waimate Woolshed exterior, NR Jackson 2009

Figure 13: Te Waimate Woolshed interior, NR Jackson 2009

Examples of Civic and Commercial Buildings
Old Government Buildings, Wellington. These government buildings, completed in 1876, are aremarkable example of timber construction designed by New Zealand’s first and only colonialarchitect, William Clayton, in the classically-derived Italian Renaissance revival style, much in favour
for government buildings throughout the British Empire. Bids were originally solicited for both
concrete and timber. Due to the sheer cost of concrete, it was eventually decided to build in timber
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alone, mimicking stone construction. The H-shapedbuilding included two staircases, eight vaults, 143rooms, 126 fireplaces, 22 chimneys, two hydrauliclifts, 64 toilets, eight verandahs and seven porticos.
The restored building is a key feature in the
Government Centre Conservation Area, an historic
reserve in its own right, and a popular tourist
destination (NZHPT Online Register).
Figure 14: Old Government Buildings, Geoff Mew, 2001

Shand’s Emporium, Christchurch. This building issignificant as one of the oldest commercial buildings incentral Christchurch, and unlike other timber buildingsof that era, Shand’s was never replaced by a more
substantial stone or brick building. Erected c1860 byJohn Shand, a successful farmer and businessman, thedesign was simple: a utilitarian two-storeyed timberbuilding, rectangular in plan. It was originally divided
into five offices, two downstairs and three upstairs, witha gable roof of shingles (from Tasmania), later replacedby corrugated iron. Although modified over the years toaccommodate its various tenants, the building’s layout
remains essentially unchanged. In 1977 it was
refurbished to house a variety of small shops. In the late1970s the New Zealand Post Office proposed to build a
new telephone exchange would have seen Shand’s

Figure15: Shand’s Emporium, Christchurch, NR Jackson 2011

demolished. However, a community campaign to savethe building, with many people signing thepetition,wassuccessful(NZHPT

OnlineRegister). In 2010 and 2011 a series ofearthquakes in Canterbury led to the adjacent
brick heritage building being demolished, thus
revealing parts of Shand’s Emporium that werepreviously unseen.
Figure16: Revealed features following demolition of an adjacentbuilding, NR Jackson 2011

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White Hart Hotel, New Plymouth.
Built in 1886, the White Hart Hotel is oneof New Zealand’s finest hotels built oftimber. The earliest section is now largely
hiddenbytheextensive

balconies.

Occupying a corner site, approximately
half the current floor area adjoins the
façade, which includes round-headed
windows on the ground floor and squareheaded ones on the second. A balustradedparapet completed the design. Extensions

Figure17: White Hart Hotel, Elizabeth Cox, NZHPT 2001

in 1900 increased the hotel to its current
size. At the time, the famous White Hart statue was erected on the corner above the parapet. The
balconies were added in 1909. Running the extent of the hotel’s facade the balconies and bull-nosed
verandah enhance one of New Plymouth’s best known landmarks.
Immigration Barracks, Somes Matiu Island. Originally built for the influenza pandemic of 1919,
these were subsequently used to accommodate internees during World War II. Half of one of thebarracks remains today (Department of Conservation Website).

Figures 18, 19: Immigration Barracks, Somes Island, NR Jackson 2011 and historic photo, Department of Conservation
website accessed 17 Jul 2011

Religious Building Example
Old St Pauls, Wellington. This notable church, constructed in 1866, is a fine example of nineteenth
century Gothic Revival architecture adapted to colonial conditions and materials. Designed by theReverend Frederick Thatcher, then vicar of St Paul’s parish Thorndon, the first Anglican cathedral of
Wellington is considered his best work. The interior roof structure and stained glass windows are
particularly notable (NZHPT Online Register).
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Figures 20 & 21: Old St Paul’s, Wellington, Interior, NZHPT Website Old St Paul’s, Wellington, Geoff Mews NZHPT 2001

Examples of Structures Associated with the Military, Law and Order
Blockhouse, Wallaceville. An American-style blockhouse, one of very few of its type remaining in
New Zealand, was erected in 1860 in response to a fear held by local settlers that the conflict between
Maori and the Crown, over the disputed sale of land at Waitara, Taranaki, would escalate.
A double-skin timber-cladframe with shingle infill
was constructed to provide
protection against rifle fire.
Loopholes were also built
for defenders to return fire.
The blockhouse was originally surrounded by a muchlarger defensive earthwork(NZHPT Online Register).

Figure 22: Wallaceville Blockhouse and detail of gun hole, NZHPT Website accessed 1 Aug 2011

Lock Up, Ophir. A simple, weather-boarded twocelled jail in Central Otago, built c1882, was thought
to have been originally located between the
courthouse and policeman’s house in the small townof Ophir. It was relocated to the nearby town
Omakau in 1939 when a new police station was built.
In 2002 it was returned to Ophir, and now sits
behind the Ophir Post Office.
Figure 23: Lock Up, Ophir, NR Jackson 200910143

Example of Infrastructure
Arahura Combined Road and Rail Bridge. Situated on a state highway between Greymouth andHokitika, the Arahura Combined Road and Rail Bridge was formerly one of a only a handful of
combined road-rail bridges still in use in New Zealand.
The bridge could take both motor vehicles and rail
carriages, mainly freight trains, but eventually thearrangement was considered an impediment to traffic
flow. Registered as a Category 1 historic place, being aplace of special or outstanding value, the bridge was
replaced with separate modern bridges. A small portion
Figure 24: Arahura Combined Road Rail Bridge, NZHPTRegister ‐ Lost Heritage accessed 20 Aug 2011of the bridge remains, interpreted for visitors.

Heritage Conservation Principles
In considering changes to heritage places, the NZHPT is guided by the purpose of the Historic Places
Act 1993 in assessing the impact of any changes to the place. These principles are:
Historic places have lasting value in their own right and provide evidence of the origins of New
Zealand’s distinct society.
Taking into account of all relevant cultural values, knowledge and disciplines.
Promoting the least possible alteration or loss of material of cultural heritage value.
Safeguarding the options of present and future generations.
Ensuring decisions are well researched, documented and recorded.
Observing the principles of the Treaty of Waitangi and the relationship of Maori and their culture
and traditions with their ancestral lands, water, sites, wahi tapu, and other taonga.
The conservation principles of the ICOMOS New Zealand Charter for the Conservation of Places ofCultural Heritage Value (ICOMOS NZ Charter 2010) are also relevant to work carried out at heritage
places. In particular:
1. The purpose of conservation is to care for places of cultural heritage value through retaining
and revealing heritage values, and supporting ongoing meanings and functions of places in theinterests of present and future generations.
2. Conservation of a place should be based on an understanding and appreciation of all aspects of
its cultural heritage value, recognising all relevant values and utilising all available forms ofknowledge about the place.
3. Recognising and providing for the indigenous cultural heritage of tangata whenua relating towhanau, hapu and iwi.
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4. Conservation should be subject to prior documented assessment and planning, including a
conservation plan.
5. Conservation maintains and reveals the authenticity and integrity of a place, respecting
surviving evidence and knowledge from all periods, and involves the least possible loss ofheritage.
6. Work should involve the least degree of intervention consistent with the principles of theCharter, and avoid removing heritage fabric.
7. Invasive investigation should be carried out only where it provides primary evidence notavailable through other methods, minimising the disturbance of significant fabric and being
fully recorded.
8. While recognising the need for heritage places to serve a useful purpose, any new use should
be compatible with the cultural heritage values of the place and should have little or noadverse effect on the cultural heritage value.
9. Where the setting of a place is integral to its cultural heritage value, that setting should beconserved with the place itself.
10. Relocation is not a desirable outcome and is only acceptable in exceptional circumstances if
the site is in imminent danger and if all other means of retaining the structure in its current
location have been exhausted.
11. All aspects of conservation should be fully documented to ensure that this information isavailable to present and future generations.
12. Systematic recording should occur prior to, during, and following any intervention.
13. Fixtures, fittings and contents that are integral to the cultural heritage value of a place should
be retained and conserved with the place, and conservation work should be carried out by
specialists.
When dealing with changes to wooden structures it is important to retain as much authentic heritage
fabric as possible, while accommodating the needs of the owners who care for the place. The extent ofchange considered permissible is often determined by the heritage significance of the place and thereason or need for the change to occur. Less change is generally tolerated for places of high heritage
significance, except where necessary to ensure the long term conservation of the place.

Threats to Wooden Heritage Structures
Wooden structures can be modified in many ways, through either intentional change, gradually overtime, or due to a sudden catastrophic event. Intentional alteration includes making buildings larger byadding to the structure, adapting the building for a new use, demolishing to make way for new
structures or a new use for the site, or altering to suit the current owner’s wishes. Gradual deterioration
can occur through a lack of maintenance, and when buildings are not occupied neglect can result,12
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causing in some cases irreversible damage and ultimately leading to the destruction of the place(dilapidation beyond the point of repair). Sudden events such as fires, floods, landslips andearthquakes can cause damage to and destruction of wooden structures from which some may not beable to be restored. In some cases, a range of threats rather than just one can lead to heritage loss.
Alteration and Development
Perhaps the most common changes to wooden buildings relate to alterations, additions, redevelopment
and change of use (i.e. from a domestic home to a commercial site). Such changes should not detractfrom the existing heritage values of the place and should minimise loss of heritage fabric. In New
Zealand, District Councils regulate changes to heritage places listed in their Council planningschedules. Listing in a schedule often requires an owner to apply for resource consent to make anychanges, and also requires that NZHPT is consulted as an affected party thereby allowing NZHPT tocomment on the resource consent application.
Maintaining continuity of use or new uses ensures a building retains liveability and utility (McClean,
2010a). NZHPT encourages buildings to be used as this increases the likelihood that the place is caredfor. However, where total loss by way of demolition or relocation proposals are not normallyconsidered acceptable, other options are vigorously explored. However, as the District Council is theultimate decision maker NZHPT recommendations are not always followed, leading to loss of heritage.
Except for relocation and demolition, change of use proposals often involve considerable changes to aplace. Heritage conservation principles encourage consideration of appropriate uses for a place when
the original use is not considered to be viable. It is better to fit the use to the physical constraints of thebuilding while recognising that certain elements of the building may have greater heritage value thanothers, rather than making wholesale changes to fit the desired new use as this will lead to greater lossof form and fabric.
Some Councils encourage good conservation practice by offering grants and waiving consent fees for
proposals that meet conservation standards. NZHPT has produced a range of guidelines to assist
owners in making appropriate changes to their heritage properties.
Maintenance and Neglect‘Demolition by neglect’ is the final undesirable outcome of heritage places that are not cared for by
their owner and is generally the term used when the neglect or abandonment is intentional, such as
when the owner wishes to redevelop the site but is unable to get permission to remove a heritage
structure located there. An example of this occurred with respect to a row of cottages in Arrowtown(refer to Figure 6, above), which were bought by the district council through an agent, as the owner
was unwilling to undertake any maintenance on the cottages preferring instead to redevelop the site,
despite the Council declining consent to do so (Wallace, 2007).
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Lack of maintenance for other reasons, such as when there is no economic return for a place or thecurrent owners are unable to afford maintenance work, can also lead to the demolition or destructionof heritage structures.
In 2010, two NZHPT Register entries were destroyed due to their poor condition: a building wasdestroyed by wind (blown over) and a bridge was washed away in a flood. Regular maintenance ofbuildings is needed to ensure the heritage fabric does not deteriorate especially to the point where thestructure becomes unstable. Rot can increase dramatically due to poor paint finishes and where water
egress has occurred. Cyclical maintenance plans which outline the tasks and timeframes for regular
work are encouraged by NZHPT to assist owners to care for places. There is also a small pool of
district and national funds available to assist in conservation work, but often this is for work that isover and above general maintenance, meaning the funding of conservation work that could have been
prevented by regular maintenance. There is no regulation in New Zealand which requires an owner tomaintain a historic place.
Fire
Fire is perhaps the greatest threat to wooden heritage structures in New Zealand. Fire can be caused bynatural events (i.e. lightning strike), arson (especially in the case of unoccupied buildings), electricalfaults, work on a place including conservation work, poor housekeeping or carelessness (McClean,2010). In New Zealand about 15 heritage buildings (of which one or two may be on the NZHPTRegister) are destroyed each year as a result of fires (NZ Fire Service, 2009). Two heritage places
were lost to fires in the last twelve months, a brick flour mill in Ashburton and a timber courthouse in
Kaikoura.
In 2004, BRANZ with the NZHPT and the NZ Fire Service conducted a major research project on fire
protection of New Zealand’s traditional Maori buildings. The results found a high incidence of marae
fires, with an average of ‘five reported fires a year.’ Fires on Maori buildings can be particularly
severe, because of the flammable characteristics of the surface linings in comparison to standard
building materials. The research report recommended improving fire safety measures at marae with
the installation of a second exit (where there is only one), adequate exit signage, the preparation of afire safety action plan, and the installation of automatic fire alarms, such as smoke detectors, in areasused as sleeping accommodation (Duncan, 2004).
In remote areas, buildings can literally burn to the ground before the fire service can respond to assist.
For heritage buildings (including Maori heritage) located out of urban areas the need for fire
protection systems is obvious given the length of time a fire response unit could take to even get to theproperty, let alone put the fire out.

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NZHPT advocates for fire protection systems to be installed in timber buildings to reduce the risk ofcatastrophic loss. While recognising the diversity of heritage buildings NZHPT considers all heritagebuildings should have some basic fire safety measures. These will include:Evacuation and escapeplans.
Smoke detectors andalarm systems.
Sprinkler systems.
Fire extinguishers.
In addition, heritage buildings should have adequate
insurance, security measures
to protect against break-ins,arson, and should be smokefree properties. Also, historicbuildings

in

rural

areas

should be protected against

Figure25: Sisters’ of Mercy Convent, Reefton damaged by Fire, NZHPT, 2009

wildfire (McClean, 2010).
Smoke and heat detectors and alarm systems can be sufficient protection where there is easy access fora fire response unit. Fire sprinkler systems are better protection, but these systems are expensive andrequire regular maintenance and monitoring. Recently developed home sprinkler systems that arecheaper to install and maintain have still not been widely embraced. Where larger homesteads havebeen developed into commercial accommodations, there is regulation to ensure suitable fire protection
systems are in place.
Heritage buildings can present special challenges for the development of fire safety provisions. There
are two main challenges (McClean, 2010b):
1. Fabric and materials that are integral to the construction of a heritage building being of ahighly combustible material or without sufficient fire-resistant barriers.
2. The design and installation of fire safety-related work that may adversely impact upon historic
heritage values.
However, in most situations an acceptable solution can be found that both reduces the risk of firedamage while conserving heritage values.

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Floods and landslips
Floods can cause damage to heritagebuildings, and in severe situations lead to thetotal destruction of places. Swollen rivers
can wash away bridges and heavy rainfall
can create pooling of water and landslides.
Two wooden heritage places were damagedby floods in the last twelve months: awooden bridge was swept away and

Figure 26: Nga Pataka Wharenui during flood clean up, Waipapa Marae,
NZHPT, Conserving Marae Buildings brochure (undated)

destroyed, and a timber woolshed was hit bya landslide in the Hawkes Bay region.
In Porirua, one of Wellington’s oldest remaining residences, the Taylor Stace Cottage, was relocatedto higher ground to remove the risk of flooding. While relocation is not usually considered a
conservation method, where a place is in imminent risk and no other alternatives are available,
relocation can be supported. Indeed, Taylor Stace Cottage was also the recipient of a NZHPT
Incentive Fund grant to assist the conservation work.
Earthquakes
The recent significant earthquakes
in Canterbury during 2010 and2011 have highlighted the immense
risk to New Zealand’s heritage
structures, including those constructed in timber. At least 80
registered buildings have been or
are highly likely to be demolished
as a result of the earthquakes, beinga loss of approximately 30% ofregistered places in Canterbury. In

Figure 27: Chester Street Houses, Christchurch, 2011, John Kirk Anderson, The Press

the Central Business District the street the streetscape has changed dramatically with the loss offamiliar heritage landmarks and even more non-heritage buildings. While damage to unreinforced
masonry buildings has been a key focus with respect to earthquake prone policy work, it was
surprising the amount of damage sustained by timber buildings. While not completely failing, many
wooden buildings were damaged by earth movement and subsidence. Many structures became‘racked’ from the lateral (side-to-side) movement. Particularly in buildings greater than a single storey,and especially where interior walls had been removed, the building was less able to withstand the
movement (see Figure 27). In addition, buildings with brick party (shared) walls sustained damage
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where the brickwork collapsed. Subsidence has also led to the demise of many buildings which areoften unable to be repaired due to the lack of ground stability.
NZHPT supports earthquake strengthening to ensure historic buildings survive such events for present
and future generations, and has been advocating for many years strengthening to 65% of the new
Building Code. Where a change of use occurs the Building Code requirements are triggered and fireand earthquake strengthening work is often mandated. Councils also identify earthquake pronebuildings and can require owners to strengthen or demolish, which can lead however to an unhappy
juxtaposition of safety and heritage values.
Major earthquake strengthening work involves alterations to historic buildings. The careful design ofalterations is important to avoid unnecessary loss of heritage values. Ensuring the least possible loss ofcultural heritage value will involve retaining the surviving heritage fabric, respecting the historicdesign of the building, avoiding work that compromises or obscures heritage fabric, and making sureof the appropriate recording of new work (McClean, 2010a). Engineering advancements now meanthat there is a range of potential strengthening schemes that can be considered for a heritage building.
However, knowledge of the range of solutions is not widespread among the engineering profession,
causing a professional development need to raise the skills of engineers working in this area (pers.
comm. Clark, 14 July 2011).
In the recent Canterbury situation, insurance has been a particular issue relating to advocating theretention of damaged buildings that can be repaired, as many building owners are under-insured andare now faced with a gap between the amount of insurance payout and the cost of repair. Insurance
does not provide protection from earthquake-related damage. Instead, insurance is a system thatprovides recompense to owners in the event of loss or damage. Adequate insurance cover is an
essential aspect for heritage buildings to assist with the cost of recovery (McClean, 2010a).
There is a relationship between building damage and building maintenance in relation to earthquakes.
Generally, well-maintained buildings will survive to a greater degree than poorly-maintained buildings(Clark, pers. comm. 2011). In fact, it has been estimated that some 50 percent of the damage that
occurs in an earthquake may be attributed to lack of proper maintenance (McClean, 2009).
Earthquake strengthening of heritage buildings can involve significant costs for an owner or developer.
Incentives are required to help rectify the market failure whereby the price paid for a property may nottake into consideration the cost and need for strengthening. While some strengthening work can be
spread over several years, assisting the ability to finance the work, in many cases the cost of
strengthening is not offset in the short term with sufficient return for investment. Regulatory and nonregulatory incentives are needed – especially government policy giving incentives for strengthening of
heritage buildings and also directing funding support from government and local authorities.

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Conclusion
There are many types of wooden heritage structures in New Zealand, and many threats to their longterm conservation. The recent significant earthquakes in Canterbury have highlighted the immense
risk to New Zealand’s heritage, including buildings constructed in timber. While there is considerable
guidance with regard to minimising the adverse effects of change to heritage places, regulatory andnon-regulatory incentives are needed to ensure heritage buildings are better protected from fire, flood,earthquakes, neglect and development.

References
CIA Factbook, accessed 24 July 2011 URL: https://www.cia.gov/library/publications/the-worldfactbook/rankorder/2147rank.html?countryName=NewZealand&countryCode=nz&regionCode=a
us&rank=76#nz
Clark, Win, Executive Director NZ Society of Earthquake Engineering (NZSEE), PersonalCommunication, 14 July 2011.
Department of Conservation website accessed 17 Jul 2011 URL: http://www.doc.govt.nz/
conservation/historic/by-region/wellington-kapiti/wellington/matiu-somes-island/defence-history/
Duncan, C. R, Whiting, P, Wade, C.A, Whiting, D, Henderson, A, 2004, Fire Protection of New
Zealand’s Traditional Māori Buildings, BRANZ Study Report, No.SR128, 2004
NZ Fire Service and NZHPT, 2005, Protecting and Preserving what we Value, February 2005
ICOMOS New Zealand Charter for the Conservation of Places of Cultural Heritage Value (ICOMOSNZ Charter 2010), The New Zealand National Committee of the International Council on
Monuments and Sites (ICOMOS NZ).
Isaacs, Nigel, 2005, ‘Building History – Going back in time – Raupo Houses’, Build Journal,
October/November 2005, Wellington
McClean, Robert, 2009, Toward improved national and local action on earthquake-prone heritagebuildings, Historic Heritage Research Paper No.1, 3 March 2009.
McClean, Robert, 2010a, Earthquake Strengthening – Improving the Structural Performance of
Heritage Buildings, NZ Historic Places Trust, Wellington.
McClean, Robert, 2010b, Fire Safety and Heritage Buildings, NZ Historic Places Trust, Wellington.
McKinnon, Malcolm (ed.), 1997, Historical Atlas of New Zealand Ko Papatuanuku e Takoto Nei,
BatemanPublishers with the Department of Internal Affairs, Auckland.
NZ Historic Places Trust website accessed 17 Jul 2011 URL: www.historic.org.nz
NZ Historic Places Trust Online Register accessed 17 Jul 2011 URL: www.historic.org.nz/Register
Salmond, Jeremy, 1990, Old New Zealand Houses 1800-1940, Heinemann Reed, Auckland.
Salmond, Jeremy, 2010, ‘Building materials - Early houses’, Te Ara - the Encyclopaedia of New
Zealand, updated 26-Nov-10 URL: http://www.TeAra.govt.nz/en/building-materials/1
18151

Shaw, Peter, 1997, A History of New Zealand Architecture, Hodder Moa Beckett, Auckland.
Stacpoole, John, 1976, Colonial Architecture in New Zealand, AH & AW Reed, Wellington.
Statistics New Zealand, accessed 24 Jul 2011 URL: http://www.stats.govt.nz
Wallace, Paulette and Anita Franchetti, 2007, Heritage at Risk: Addressing the issue of demolition by
neglect of New Zealand’s Historic Heritage, NZ Historic Places Trust, Wellington.

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Philippines
Ar-bi Agloro ARCIAGA

Restoration Engineer (Engineer II)
Historic Preservation Division
National Historical Commission of the Philippines

Conservation of Wooden Structures in the Philippines
Architecture in the Philippines is a reflection of the history and heritage of the country. The mostprominent historic constructions in the archipelago are from the Spanish, Japanese, Malay, Hindu,
Chinese and American cultures.
The pre-colonial architecture of the Philippines consisted of the nipa hut made from the natural
materials, but there are some traces of large scale construction before the Spanish colonizers came,although not well documented.
During three hundred years of Spanish colonization Philippine architecture was dominated by
Spanish culture. The Augustinian friars built large numbers of grand churches all over the Philippine
islands.
During this period the traditional Filipino Bahay na Bato style for large mansions emerged. These
were large houses built of stone and wood combining Filipino, Spanish and Chinese style elements.
The best preserved examples of these houses can be found in Vigan, Ilocos Sur and Taal, Batangas.
After the Spanish American war the architecture of the Philippines was dominated by the American
style. In this period plan for modern cities were designed, with a large number of art deco buildings,
by famous American and Filipino architects.
At the end of the twentieth century modern architecture with straight lines and functional aspects wasintroduced. During this period many of the older structures fell into decay. Early in the twenty-first
century a revival of respect for traditional Filipino elements in architecture returned.
THE NATIONAL HISTORICAL COMMISSION OF THE PHILIPPINESThe National Historical Commission of the Philippines (NHCP) was created by virtue of Republic
Act 10086, dated May 12, 2010, described as “an act strengthening people’s nationalism throughPhilippine history by changing the nomenclature of the National Historical Institute into the National
1
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Historical Commission of the Philippines, strengthening its powers and functions, and for otherpurposes.”
The main functions of the National Historical Commission of the Philippines are as follows.
Conduct and support all kinds of research relating to Philippine national and local history.



Develop educational materials in various media, implement historical educational activities
for the popularization of Philippine history, and disseminate information regarding Philippine
events, dates, places and personages.



Undertake and prescribe the manner of restoration, conservation and protection of thecountry’s historical movable and immovable objects.

Manage, maintain and administer national shrines, monuments, historical sites, edifices andlandmarks of significant historic-cultural value.

Actively engage in the settlement or resolution of controversies or issues relative to historicalpersonages, places, dates and events.

The National Historical Commission of the Philippines is composed of five divisions.


Finance and Administrative Division (FAD)

Research, Publications and Heraldry Division (RPHD)

Historic Sites and Education Division (HSED)

Materials Research Conservation Division (MRCD)Historic Preservation Division (HPD)

Among these, the Historic Preservation Division has responsibility for the following.
Survey and documentation of historic sites and structures.



Declaration of historical sites and structures as historic sites, monuments, shrines andlandmarks.



Preservation, restoration and protection of historic monuments, shrines and landmarks.



Maintenance of National Registry of Historic Structures in the Philippines.

Provision of technical assistance on historic preservation.

Conduct scientific experiments and research works relating to the conservation of movable
objects.

RESTORATION OF IMMACULATE CONCEPTION PARISH CONVENT AND MUSEUM
The Church of Immaculate Conception in Baclayon, Bohol is one of the oldest churches in thePhilippines. It has been declared a National Historical Landmark by the National Historical Institutein 1994. It is both an architectural and historical gem that bears the rich Spanish colonial legacy in2154Baclayon and shares the unique characteristics of otherexceptional

colonial churches

in

the

Philippines.

Earthquake baroque architecture is reflected in its
intricately crafted coral stone masonry construction,
extensive use of flying buttresses, and independent
construction of the bell tower. Every detail interprets thestyle in local flavor.
Figure 1: Church

The Immaculate Conception Parish Convent andMuseum stands beside the back portion of the Churchof Our Lady of Immaculate Conception. The building
is an authentic Bahay na Bato structure, with materials
and artwork similar to the church, and contains original
building materials. Authentic coral stones, adobe andPhilippine hardwood compose the structure. Throughtime, the building has undergone a series of

Figure 2: Convent

interventions from various occupants, but still theoriginal materials are still intact. The museum ishoused inside the old convent, which contains an ivory statue of the crucified Christ looking towards
heaven, a statue of the Blessed Virgin, said to have been presented by Queen Catherine of Aragon,
relics of St. Ignatius of Loyola, old gold embroidered ecclesiastical vestments, books with carabaoskin covers, and librettos of church music written in Latin on sheep skins. Here you can also find thecuadro paintings made by the Filipino painter Liberato Gatchalian in 1859.
Location of the Project
The Immaculate Conception Parish Convent and Museum is located at the Town of Baclayon besidethe famous Church of Immaculate Conception (Baclayon Church) and is six kilometers away from
Tagbilaran City, Bohol. The town of Baclayon still retains vestiges of this once important craft in theadornment of old houses and buildings. The convent features fine woodworks done by local artisans.
The interiors and exteriors of the convent have preserved several intriguing relics and artifacts which
can be traced to the Spanish colonial era.

3
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Figure 4: Bohol Island

Figure 3: Map of the Philippines
Figure 5: Location Plan of Baclayon, Bohol

Significance of the Conservation
The Church of Immaculate Conception is a historic religious edifice comprised of groups of historic
structures that reflect the Spanish colonial past of the town of Baclayon. Preserving the historic
structures through a macro-perspective shall not only protect the cultural heritage, but also promote a
guided path toward its total development.
The restoration of the church’s ancillary structures will be beneficial for every Filipino. Moreover, theconvent is part of the church, and part of the macro-structure of a declared National HistoricalLandmark. The restoration of the structure will maintain the architectural landscape and preserve of
the Spanish Colonial character of the place. As part of the historic center, composed of the church,
plaza, casa tribunal, forts, and arrays of bahay na bato, the convent is deemed important.
Protection of this religious structure is a significant element in the preservation of importantarchitectural legacies, created by the craftsmanship and interpretation of the foreign Baroque style by
the Filipino people.
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Project’s Goals and Objectives
It was the objective of the National Historical Commission of the Philippines to restore the
Immaculate Conception Parish Convent and Museum and save them from further deterioration, whileat the same time carefully retain the original architecture and the character of the convent. The
convent was envisioned by the NHCP to be a model of restoration for other colonial houses in
Baclayon. The convent is a source of historical and cultural pride among Baclayon’s citizenry and atribute to the builders, owners, artist, and craftsmen who first conceived and developed this structure
to become an object of pride for the residents of Baclayon.
Conservation Program
In 2010, the National Historical Commission of the Philippines’ technical staff undertook a survey
and documentation of the Immaculate Conception Parish Convent. These activities included thefollowing.
Preliminary researchPhotographic documentations



Visual inspections



Assessment (basic consideration)

Existing local ordinances and guidelines on the preservation and conservation of Baclayon



Local and National building code requirements

Preparation of restoration plans (in coordination with the Baclayon Parish Pastoral Council
and the Local Government Unit of Baclayon, Bohol)

As a result of these investigations, the physical condition of the structure was found to have thefollowing problems.


Termite and dry rot infested wooden parts in major and minor structural members (Figure 5)Misaligned and dismantled capiz windows, shutters and wooden grills (Figure 6)

Deteriorated ceiling sheets, wattle and daub wall plaster (Figure 7)

Sagging and rotten floors (Figure 8)Chipping in the paint on walls and ceilings (Figure 9);Missing, dismantled and deteriorated wooden balusters at the stairs (Figure 10)

Deteriorated and damaged wooden partitions and doors (Figure 11)Misaligned doors (Figure 12)5157

Figure 5

Figure 6

Figure 7

Figure 8

Figure 9

Figure 10

The causes of the deterioration thus found at the Immaculate
Conception Parish Convent includes many factors, which can begrouped into five broad categories.
1. Direct exposure to the elements and extremities of weather.


Discoloration

Decay of painted wooden walls



Weakening of plaster and mortar of the adobe walls

Biological growth

2. Structural defects.


Sagging and weakening of girts and floors



Weakened structural shear wall

Figure 11

3. Natural calamities such as earthquakes and typhoons.
Previous earthquakes caused stress on roof’s structuralmembersTyphoons seriously weathered the house structure

4. Man-made causes.
The convent has been a home to different priests and nuns
who have somehow contributed to the wear and tear of theconvent.

Lack of knowledge of the owners regarding restoration

Leaving the convent in the hands of caretakers

Figure 12

5. Termite and dry rot infestation, which was widespread throughout the entire convent.
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Project Methodology
1. Photo documentation
An important step in the restoration project is thetaking of photographs of key parts of the structure
before, during and after restoration, with detailed
descriptions and labels. The location and time of thephoto documentation should also be recorded in notes.

2. Dismantling

The tasks of dismantling should be executed as to

Figure 13

protect the historic building materials of the structure.
Wattle and daub plaster, coral masonry andlime/adobe plasters should be properly protected fromany damage or obliteration. (Figure 13)
3. Restructuring wooden floor joists and nailers
Each floor should be checked for its structural
condition. Sandwiching weak members on either side

Figure 14

with treated new wood is worthwhile, but the new woodmust be installed correctly for greatest strength. A better option is sistering, where identicallumber is bolted to the member. Better still is sistering with a flitch plate, a 1/4 to 1/3-inchthick piece of steel or wood. Two flitch plates may also be used to repair localized damage(Figure 14).

The solution to sagging floors, or the damaged sills and joist ends that contribute to them,often involves jacking. A common scenario is to install temporary jack posts and support
beams, then permanent posts and beams over new footings. Posts set on dirt floors should be
upgraded to concrete pads with footings. Place wooden posts on metal post supports to create
a waterproof barrier between the post and the footing.



As with other structural repairs, jacking must also be done appropriately. Ideally, an
experienced carpenter will assess the problem and set up the posts and any necessary beams.
You can then screw the jacks up a turn or two each month.

4. Repair of hardwood floor planks
Scraping. Working on hands and knees, carpenters or flooring mechanics level out any highspots using hand planes and then go over every inch of the floor with scrapers. When drawn
across the wood (or finish) at a slight angle, the scraper shaves off paper-thin curls of wood
7

159

similar to shaving a beard, leaving a surface that is bothsmooth and remarkably even (Figure 15).
Filling. The typical filler might be a finely ground,pigment-like material (such as wood dust, marble or quartz
dust, or corn starch) mixed with a drying oil binder(typically linseed oil) and thinned with a solvent(turpentine). When mixed to a paste the consistency ofmashed potatoes, the finisher applies the filler over thefloor with a rag, working against the grain of the wood toforce it into holes and depressions. Once the filler had
begun to dry, the finisher the wipes it from the floor using
burlap or wood shavings, leaving the remainder below thesurface in the wood pores. The result is a smooth, levelsurface ready for final finishing (Figure 16).

Figures 15 and 16

5. Provision of anti-termite treatment
Three coats of brown Solignum or Lentrek are applied to structural wood supports in floor
joists, while three coats of clear Solignum or Lentrek are used for exposed wood supports andfinishing. These new materials should be property dried first before the treatment. Make surethat all sides including the sawn or cut parts are properly applied with these chemicals. Useprotective body covering while handling the anti-termite chemicals.

6. Retrofitting of Doors (Figures 17-19)
Start by removing the doors. Use wire cutters to pinch the hinge bolt free from paint or othersubstances. Remove the top bolt first, then the bottom, before yanking the door out of its
hinges. Next, remove the trim. Drive a sharp flat bar behind the casing, braced it against thejamb, and gently pry it loose. Remove all of the casing on both sides before tackling thejambs.

After taking off the casings, remove the jambs, cutting across the center of each jamb leg
with a reciprocating saw. Once halved, wiggle the jamb, working the lower nails free andpulling the bottom leg out. Yank out the other jamb leg, leaving an upside down U at the top,which you should be able to work free.

With the rough framing exposed, look for a control point to serve as the starting point foryour layout. For door openings, this is generally the shortest distance between the floor andthe door head.
8

160



Next, measure how to get a square door into an out-of-square opening. If the finished floor is
not already in place, position blocks the thickness of the new floor on the subfloor.

On the floor (or atop the floor blocks), place 3/4-inch-thick blocks of jamb stock. Measure upeach side of the doorway to the level line (control point). This is the actual length of your newjamb legs.



To determine the head jamb length, measure the rough door
opening at the top, middle, and bottom. If the measurements
are different (they often are), subtract 1/4 inch from thesmallest dimension for leeway. This is the actual length of
the head jamb.

Test the measurements. On a flat surface, square up the headjamb and legs, then fasten with three 2 1/2 inch deck screws

Figure 17

through the head jamb. Dry-fit the assembly in the opening
to make sure it is the right size.
A framing square across the door is a quick way to identify ashort side. The width of the finished door is the distance
between the jamb legs, minus 1/4 inch. The extra 1/4 inch
leaves room at each side of the door for hinges and travel. If
it is necessary to remove more than 1/4 inch, make sure to
take half of the total amount from each side of the door tokeep the stiles the same size.

The circular saw leaves corners very square, so for softeredges, run a router with a chamfer bit down each side. Saw
swirl marks can be sanded out with 100-grit sandpaper.

Figure 18

Once the door is squared, it is time to measure and mark the
new hinge locations on the new jamb.

Take the hinge-side leg off the jamb assembly. Next, lay thedoor flat on a worktable, and place the hinge-side jamb leg
next to it. Make sure the jamb leg rests 1/8 inch above thedoor’s top rail and at least 3/4 inch past the bottom rail.



Use a router with a hinge jig and mortising bit to cut the new
mortises. Use a hinge leaf held against the bottom of the jig
to set the bit depth, adjusting the router bit flush with thehinge. Once cut, re-assemble the jamb.

Figure 19

To position the jamb assembly in the opening flush with theplaster, run a level diagonally across the front of the opening. Next, butt the jamb to the level,
then pop a nail in the top of the hinge side with a finish nailer. Then, use the level to get thejamb leg plumb and pop a nail in the middle. Finally, tack the bottom. If the hinge-side jack
9161

stud is out of plumb simply use a flat bar to gently pry the jamb leg straight and plumb. Next,
register the head jamb to your control point level line, then pop a few nails in.
To hang the door, install one hinge leaf in the door and the other in the hinge-side jamb leg.
Use two of the three screw holes on each hinge. Using two stacks of shims on the floor, lift
the door, align the hinge barrels, and slide together. Once the barrels are lined up, drop in thehinge pins, top one first. Tap them gently with a hammer if needed.



Operate the door to see what adjustments need to be made. A plumb hinge-side jamb means
the door swings easily at every point in its arc, except right when it closes. This happens
when the hinge-side jamb leg is out of square with the strike side. To fix, slide a bar or a shim
in behind the hinge-side jamb and adjust.

Once the door swings closed easily, shim behind the strike-side jamb. The goal is to get an
even “reveal” (or gap) between the door and the strike-side jamb leg and head jamb. Tucking
shims in from both sides usually works best. Snug them in gently. Once the shim is snug, pop
two nails into it from the jamb side. Get three or four shim locations per jamb leg. After the
strike side is set, shim and nail the hinge side.

7. Retrofitting of windows and shutters (Figure 20)Dismantle sliding window panels and their components forrepair.



Measure the actual capiz window shells to repair or replace. In
the case of the shutters or persiana, prefabricate the missing
parts.



Capiz shells for windows are available commercially. Someare already cut into commercially available sizes, similar to
those in Baclayon. For simple repairs, cut the portion of thecapiz shell fame and replace the missing part, and use siliconsealant to put back the shell and frame.

Figure 20

For larger repairs, remove one part of the panel frame toremove and re-arrange all the capiz shells.

Capiz shells are cut easily after soaking in soap and water.

Use silicon sealant to cover all sides of the capiz shells. This is also useable as waterproofing
for other materials.

8.

Restoration of wattle and daub walls (tabique pampango)

Re-plastering old wood lath or the tabique pampango needs
several considerations. Inject bonding grout to the cracked
surfaces to seal usable materials, to prevent them fromcrumbling. Use a 1:1 ratio of calcium carbonate (lime) and10

162

Figure 21

calcium sulphate for the plaster mix. When plasterers work with old lath, each lath strip is renailed or weaved and the chunks of old plaster are cleaned out. Because the old lath is dry, it
must be thoroughly soaked before applying the base coats of plaster, or it will warp andbuckle; furthermore, because the water is drawn out, the plaster will fail to set properly. If
new wood lath is installed over old wood lath as the base for new plaster, many of these
problems can be avoided and the historic lath can be retained. The wall should still be
sprayed unless a vapor barrier is placed behind the wood/bamboo lath (Figure 21).
9. Ceilings (Figure 22)Lumber should be in accordance with accepted commercial
practice and of the quality approved for the respective partsof the work, well seasoned, thoroughly dry and free fromloose or unsound knots, shakes, waves, pitch marks or otherdefects impairing its strength, durability, or appearance.



Woodwork should be in round dimensions.



All woodwork should be done as much as possible with

Figure 22

carefully fitted joints.
All exposed woodwork should be smooth.

Framing lumber and other carpentry work should be fitted closely set accurately to therequired lines and levels and should be secured in place in a rigid substantial manner.
Framing members should be free from pronounced defects. Bolting and nailing should bedone in the approved manner.



Fastening should be with common wire nails or common machine bolts where specified orcalled for.



Surface woodwork, framework and other woodwn members coming in contact with orembedded in concrete should be painted with two coats of Solignum or Cuprinol.



Use Narra, Tanguile or Apitong for framing lumber.

10. Restoration of rear elevation walls and windows (Figure 23)


The rear elevation of the former convent was severely
damaged. The goal is to restore its undamaged materials
and replace badly deteriorated ones. The elevation at therear is the similar to the front façade, with sliding capiz
windows, shutters and ventanillas, and wood bandeja
panels. Upon removal of the existing comfort rooms

Figure 23

located on that side, the full conservation of the architectural features is conceptualized. Referto methods of restoration of windows and finishing works for methodology and materials.
11

163



Apply silicon sealants to retrofitted bandeja or wood panels to provide waterproofing on
joints.

11. Finishing works


Paint stripping. Use Stripsol, a solvent based sealer, stain, coating and paint stripper with awide range of applications that is non-hazardous and does not burn the skin. It in penetrates
most acrylics and elastomers almost instantly. Stripsol will remove multiple layers of acrylics,
deck sealers, polymer coatings, latex, acrylic latex, alkyds, enamels, oil-based stains,polyurethanes and other resin coatings. It is not classified as flammable, has low odor andwill replace methylene chloride in many applications. It does not harm aluminum, wood,masonry or sidings when used properly.



Oil finish. When using a proprietary oil finish, apply a generous coat with a cloth or
paintbrush. Allow it to soak in for a few minutes, and then wipe off excess. Let the wood dryfor up to eight hours, depending on the drying conditions, before applying a second and third
coat in the same way. In Baclayon, because of the moist weather, it is recommended to leave
it dry for twelve hours.



Using wax. On bare wood floor, apply two coats of sealer, using either thinned varnish or a
proprietary sanding sealer. Sand down the surface with very fine sandpaper. The sealer stops
the wax from sinking in too deeply, which would draw dirt into the wood. Brush on liberalcoat of liquid wax and leave it to soak in. About an hour later, work over the surface with theaid of an electric floor polisher. Apply further thin coats, with a cloth pad charged with wax,
and buff each in turn. Leave the surface to harden, then burnish with the polisher next day.
Paste waxes need be applied sparingly, using a cloth pad and building up the wax in layers
until you have obtained a satisfactory finish. Never apply thick coats of paste in an attempt toachieve quick results. It will remain soft, hold the dirt and look dull. Between coats, burnish
the wood with an electric floor polisher.



Applying varnish. Valspar is the common recommended commercially available varnish thatgives the historic color to the wood even in the United States. New wood should first be
sealed with a thin coat of varnish, containing about 30 percent solvent. Brush it in well,
working with the grain. On a previously finished surface, use the varnish full strength for the
first coat. When it has set, apply two or three coats of unthinned varnish, allowing each to set
before applying the new one. Work first across the grain to spread the varnish evenly, andthen finish by brushing with the grain. Between each coat, rub down the surface with sandpaper. Do not begin another work on partly cured varnish. Let it dry first.



Painting newly plastered wall. The key to a successful paint job is proper drying of theplaster. Historically, lime plasters were allowed to cure for at least a year before the walls
were painted or papered. With modern ventilation, plaster cures in a shorter time; however,
fresh gypsum plaster with a lime finish coat should still be perfectly dry before paint is12

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applied--or the paint may peel. (Plasterers traditionally used the “match test” on new plaster.
If a match would light by striking it on the new plaster surface, the plaster was considereddry.) Today it is best to allow new plaster to cure two to three weeks. A good alkalineresistant primer, specifically formulated for new plaster, should then be used. A compatible
latex or oil-based paint can be used for the final coat.


Painting the ceiling. Before painting the ceiling, check if the materials installed were fully
treated with anti-termite treatment, basically clear and dried. Use flat white enamel for the
first coat of the wooden ceiling. Apply two coats for topcoats suitable for the desired color
scheme.

Technical Problems encountered during restoration
1. The structure is quite large and the degree of deterioration of wooden components varies.
2. Termite infestation (a common problem in church convents).
3. Wooden floor frames and planks deteriorated faster than the older counterparts.
4. Sourcing of repair/replacement materials was difficult, resulted in some substitution andrestructuring works.
5. Scheduling of pest control treatment was delayed because of local accreditation requirements.
6. Some wooden structural parts had to be replaced, spliced and restructured, particularly therear elevation walls and windows that had rotted due to aging and extreme climate exposure.
7. Window panels and sills had to be reworked and adjusted to restore them to good working
condition.
Present needs of the convent after restorationConservation management / maintenance program

Comprehensive periodic treatment

CONCLUSION
The support of the National Historical Commission of the Philippines as a government body in theconservation of this historic buildings played an important milestone in the town of Baclayon. It
inculcated awareness not only in the church administrators, but in the people of Baclayon and the
local government – and based on local survey, the people learned to appreciate more their heritage.
Hence this awareness created the end users’ master development plans for the maintenance andrestoration of the historic structure.

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Figure 26

Figure 25

Figure 27

Figure 24

Figure 28

Before Restoration

Figure 31

Figure 30

Figure 32

Figure 29

Figure 33

After Restoration

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Republic of Korea
KANG Soungwon

Director
Gangheejae Architects & Heritage Design

Conservation of Cultural Heritage in Korea:
Recent Projects and Points of Improvement in the Process
1. Introduction
This report concentrates on three architectural conservation projects recently conducted in Korea.
The first is Jungmyongjeon (重明殿, masonry with wooden floor), built in Deoksugung (德壽宮)Palace around 1901. This royal building was used as a reception area for foreigners and was also
where the Eulsa treaty was signed in 1905. Its conservation was recently completed. The second
is Seokjojeon (石造殿, masonry with steel floor), built in Deoksugung Palace in 1909. King
Gojong used this building as the royal family’s living quarters. The building’s revitalization projectis currently in progress. The third is Gyonggyojang (京橋莊, reinforced concrete), built in 1938.
This building was originally built as a personal residence but was provided to Kim Goo (金九), thepresident of the provisional Korean government, upon his return after 1945. The renovation planningfor conservation work is now being conducted.
Therefore, this report considers the conservation process through three projects at different
stages of work in the conservation of Korean cultural heritage. This report also suggests methods for
improving the conservation process.

2. Recent Cultural Heritage Conservation Projects in Korea
2.1. Repairing and Restoring th Jungmyeongjeon, Deoksugung Palace
Jungmyongjeon ( 重明殿, historic site No. 124 - Deoksugung Palace) was constructed around1901 as a brick building consisting of 1 floor underground and 2 floors above ground. It was
originally located within Deoksugung Palace, but was separated from the premises when a road wasconstructed in 1922.
After other buildings of Deoksugung Palace were destroyed by accidental fire in 1904,
Jungmyongjeon served as palace for the king's morning audience temporarily to let King Gojong (高宗, 26th King of the Joseon Dynasty, 1852-1919) perform official duties at the building. Also, it
was where the coersive signing of the Eulsa Protective Treaty with the Japanese government took
place in 1905. In March 1925, the building was destroyed by accidental fire except for the exterior
walls. After restoring the roof trusses and wooden floors, new windows were installed on the outerfacade when adding corridors for indoor use.
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After investigation during dismantlement, the original plan was thought to have had open
brick arches at the front and on the left and right sides, and to have had a veranda. The repairingand restoring was conducted, including internal restoration work. The conservation work started from
December 2007 and was completed in December 2009.

Fig. 2. Jungmyongjeon, Deoksugung Palace, 2007

Fig. 1. Floor plan (left: before, right: after)

2.2. Revitalization Project for Seokjojeon in Deoksugung Palace
Seokjojeon (石造殿, historic site No. 124 - Deoksugung Palace) is also one of the western-stylebuildings in Deoksugung Palace, built during the Great Han Empire period (大韓帝國期, 18971910). In 1898, following the suggestion of John McLeavy Brown ( 柏 卓 安 ) regarding the
Seokjojeon plan, the Englishman J. R. Harding carried out the design. The structural work was
carried out by Okura Doboku Gumi (大倉土木組) from August 1903 to November 1906. Ishii Shuhei( 石 井 周 平 ) was dispatched as superintendent for this work. In 1907 the Englishman Lovell
received a request for interior work. The plumbing, heating, and electrical construction was
contracted to Britain's Crittall company, and the inside decoration and furniture contract was given to
Britain's Messrs Mapls company.
The floor plan puts servant space and a service area on the first floor and a reception room anda main hall on the second floor, while the third floor contained living rooms and bedrooms for the
king and the queen. From October 1933, Seokjojeon was used as a modern art museum with atransformation of its plan. Also, the interior space was damaged during the Korean War. It iscurrently under renovation, starting October 2009, to return it to its original form during the reign ofKing Gojong (1852-1919).

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Fig. 3. Plan, Seok-

Fig. 4. Seokjojeon, Deoksugung Palace, 1910

jojeon, 1933

2.3. Renovation Project for Gyonggyojang, Seoul
Gyonggyojang (京橋莊, historic site No. 465) was originally built as the residence of a mining
entrepreneur, Choi Chang-hak (崔昌學). It was constructed in 1938, during the Japanese Colonial
period, and was designed in 1936. Obayashi Gumi (大林組) constructed the building. After 1945, it
served as the executive office and living quarters for the president of the provisional Korean
government, Baekbeom Kim Goo (白凡 金九, 1876-1949).

Fig. 5. First floor plan, Gyonggyojang, 1938

Fig. 6. Gyonggyojang, 1938

The building was constructed of reinforced concrete for the posts, lintel beams, floor slabs andexternal walls, with partition walls made of brick work. The internal space consisted of not only public
space on the first floor, such as a reception room, restaurant and billiard room, but also private
space on the second floor such as a Japanese style room (washitsu 和室), bed room, library and office,etc. After being constructed, the building was converted to other uses that deformed the internal
space. The restoration work of the building has been planned and the design stage is now in progress.
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Table 1. Recent cultural heritage conservation projects in Korea

Name
Jungmyongjeon(重明殿)

Cultural
Properties
historic site
No. 124

Seokjojeon(石造殿)

historic site
No. 124

Gyonggyojang(京橋莊)

historic site
No. 465

Site
Deoksugung
Palace, Junggu, Seoul
Deoksugung
Palace, Junggu, Seoul
Pyeong-dong,
Jongno-gu,
Seoul

Construction
Periodca. 1901

Structure
masonry withwooden floor

Conservation
Period2007.12 –2009.
12 (completed)1909 (plan –ca. 1899)

masonry withsteel floor

2009.10~2012(under repair)1938 (plan –1936)

reinforced
concrete2010 – (planning)

3. Process and Improvement of Conservation Projects
3.1. Current Process of Conservation Work
Persons who are qualified by having passed the cultural properties preservation specialist system arepermitted to preserve cultural heritage of Korea. The areas of the cultural properties preservation
specialist system consist of conservation, measurement and design, painting wooden buildings,
historic landscape, conservation science, plant protection, etc.
In the case of historic buildings, an engineer who is qualified for measurement and design ispermitted to plan the conservation of a building, while any construction company which is qualified
for conservation and paintwork on wooden buildings is permitted to preserve a building. Also, theconstruction company that constructs the building has the principal role in filling out the preservation
report.
A qualified measurement and design office capable of doing the preliminary survey, planning,and budgeting worked on not only Jungmyongjeon but also Seokjojeon. Subsequently, a construction
company did the actual restoration work and made an agreement to produce the preservation reportwith the design office that was qualified to do measurement and design. Both buildings had low
budgets for the initial planning expense, that should be used for planning the budget as well as therepair work. Therefore the original repair plan was insufficient. The problem was solved with anagreement involving not only the repair work company but also the measurement and design
company that produced the preservation report.
In the case of Gyonggyojang, an office qualified in measurement and design is now planningthe conservation. It is surveying the foundation carefully to faithfully reflect the original use ofeach room in the design. As a result, Gyonggyojang was given a much greater budget for repair
planning expenses than either Jungmyongjeon or Seokjojeon.
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3.2. Conclusions - Improvement in the Process of Conservation Projects
First, the conservation process should be done in a dual system. Recent examples of cultural heritage
were continuously used, while hiding their original shapes, often by changes involving replacement orreinforcement of original materials, plus changes in lighting, heating, and other facilities.
Conventional types of wooden buildings are thought to have the same problem, and it is necessary
to investigate the causes of damage, and decide the replacement materials and scope of repairs
during the dismantling process. Therefore, the scope of and policy for conservation is to be decided
while dismantling buildings as the first stage, and then the execution plan and conservation work arecarried out as the second stage.
Second, the advisory committee should hold regular meetings to give assessments. The
conservation of Jungmyongjeon reflects the results after dismantlement of more than eight advisory
meetings. The situation of no advisory meetings held to assess the scale of each construction
work needs reform. Decisions of the scale and policy of conservation after dismantlement require
advisory meetings for discussion and agreement.
Third, the obligations of the measurement and design office should be reinforced, and means
for its supervision of the construction should be provided. When construction work starts, themeasurement and design office has no obligation to participate in the conservation work according to
the current conservation process. The measurement and design office should be given more budget
and have obligations to survey the dismantlement work and make changes to the repair plan, and torelease a preservation report in accordance with designations of the system. Also, a system thatsupervises overall conservation work needs to be introduced.
Fourth, the program of survey records should be reinforced. Modern buildings as well as
traditional wooden architecture that are dismantled and repaired need to have preservation reports ofprecise measurements from the survey.
Fifth, the plan for use should be made as soon as possible. A detailed plan for use should be
decided prior to the repair work, which should reflect the plan’s design not only for interior
decoration but also in the construction work for facilities such as lighting, heating and otherequipment.

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Table 2. Proposed process for conservation work

4. References
1) Ahn, C. M. (1997) A Study on Architect Park Dongzin. Doctoral dissertation, Seoul National

University2) Kim, C. D. (2003) “A Study on Changes of the Chongdong area (貞洞洞域) after modern history.”

Journal of Architectural History, 12 (2), 84-112

3) Kang,

S. W. (2008) A Study on the Development of Western Building Systems in Korean

Architecture from 1890 to 1945. Doctoral dissertation, Seoul National University4) Cultural

Heritage Administration of Korea. (2009) Conservation and Restoration Report ofJungmyongjeon in Deoksugung Palace.
5) National Research Institute for Cultural Properties, Tokyo. (2010) NRICPT-Mongolia Exchange

Project 2009 – Architectural Conservation and Restoration Training Workshops.

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SamoaAilini AH KEN-ETEUATI

Museum Officer
Culture Division
Ministry of Education, Sports and Culture

Problems and Needs for Cultural Heritage Protection and Restoration
Activities in Samoa
Samoa, which officially is the Independent State of Samoa, and formerly known as Western Samoa
and German Samoa, is a country encompassing the western part of the Samoan Islands in the South
Pacific Ocean. It became independent from New Zealand in 1962. The two main islands of Samoa are
Upolu, and one of the biggest islands in Polynesia, Savai’i. The capital city, Apia, and Faleolo
International Airport are situated on the island of Upolu.
The country is located east of the International Date
Line, but in 2011 Samoan Prime Minister Tuilaepa
Sailele announced his country would move theInternational Date Line to the east of the country, sothat Samoa would lie to the west of the date line.
Samoa is south of the equator, about halfway
between Hawai’i and New Zealand in the Polynesian
region of the Pacific Ocean. The total land area is2,934 km² (1,133 sq mi) (slightly smaller than the
U.S. state of Rhode Island), consisting of the twolarge islands of Upolu and Savai'i which account for 99% of the total land area, and eight small islets.
The land area is about the size of the two Hawaii islands Oahu and Maui combined.
The eight small islets are three in the Apolima Strait (Manono Island, Apolima and Nu’ulopa), the four
Aleipata Islands off the eastern end of Upolu (Nu’utele, Nu’ulua, Namua, and Fanuatapu), andNu’usafe’e (less than 0.01 km² — 2 ½
acres — in area and about 1.4 km off thesouth coast of Upolu at the village of
Vaovai). The main island of Upolu ishome to nearly three-quarters of Samoa’s
population, and its capital city is Apia.

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The fa’a Samoa, or traditional Samoan way, remains a strong force in Samoan life and politics.
Despite centuries of European influence, Samoa maintains its historical customs, social and politicalsystems, and language. Cultural customs such as the Samoa ’ava ceremony are significant and solemn
rituals at important occasions including the bestowal of matai chiefly titles. Items of great culturalvalue include the finely woven ’ie toga.
Samoan mythology includes many gods with creation stories and figures of legend such as Tagaloa
and the goddess of war Nafanua, the daughter of Saveasi’uleo, ruler of the spirit realm Pulotu. Other
legends include the well-known story of Sina and the Eel which explains the origins of the firstcoconut tree.
Some Samoans are spiritual and religious, and have subtly adapted the dominant religion of
Christianity to “fit in” with fa’a Samoa and vice versa. As such, ancient beliefs continue to co-exist
side-by-side with Christianity, particularly in regard to the traditional customs and rituals of fa’a
Samoa. The Samoan culture is centered on the principle of vāfealoa’i, the relationships between
people. These relationships are based on respect, or fa’aaloalo. When Christianity was introduced in
Samoa, most Samoan people converted. Currently 98% of the population identify themselves as
Christian. The other 2 percent either identify themselves as irreligious, or do not belong to any
congregation.
Some Samoans live a communal way of life, participating in activities collectively. Examples of thisare the traditional Samoan fale (houses) which are open with no walls, using blinds made of coconut
palm fronds during the night or bad weather.
The Samoan word for dance is siva with unique gentle movements of the body in time to music andwhich tells a story, although the Samoan male dances can be more physical and snappy. The sasa isalso a traditional dance where rows of dancers perform rapid synchronized movements in time to therhythm of wooden drums (pate) or rolled mats. Another dance performed by males is called thefa’ataupati or the slap dance, creating rhythmic sounds by slapping different parts of the body. This isbelieved to have been derived from slapping insects on the body.
The form and construction of traditional architecture of Samoa was a specialized skill by held by amaster builder (tufuga faifale) that was also linked to other cultural art forms.

Museum of Samoa
The Museum of Samoa was established in May 27, 1999, to provide safe storage for material cultural
heritage. It is a facility for preserving both artifacts and the history of our country. The museum
collection continues to increase with the donation of historical artifacts from local and overseas donors.
On the July 28, 2008, the Museum of Samoa closed its doors to the public to relocate temporarily to
Malifa, locus of the Ministry of Education, Sports and Culture (MESC) headquarters. This relocation
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came after the cabinet approved the renovation of Court house. The museum re-opened to the public
on the August 19, 2008, with a revitalization project that aims to give the museum a face-lift bydeveloping new graphic displays. The museum consists of four rooms, the environment room, Pacificroom, and culture room, plus the new room for the Lapita exhibition showcasing the nation’s cultural
founding maintained at the Tanoa hotel by the workers. There are two staff members working in themuseum. There have been a number of exhibitions going on from the beginning of this year. The newbuilding of the museum is one of the old colonial buildings from the German period, formerly a schoolbuilding, so the building itself is historical in that this was when schools in Samoa started, apart fromthose run by missionaries in the villages before the colonial takeover of Samoa.

The Old Court House and the Preservation Issue
This building was former location of the Museum of Samoa until the government agreed to therenovation of the building and approved the move of the Museum to its new location. The old building
is now vacant, and there have been differences in opinion, tensions, and arguments about its fate.
People have different thoughts on the structure, as some want to tear it down and some want to save it
as a part of Samoan history, and preserve it for future generations.

The main part of the court house was constructed in 1906 as the central office for the German colonial
government (1900-04). The architect was Mr. Albert Schaffhausen, government architect for theGerman administration. The style is a mixture of historicism (a copy of old European building styles)
and subsequently art deco, which later came into fashion in Europe. The building was used as a court
house and administration building as well under the British/New Zealand administration.
When the British/New Zealand occupation force took over Samoa from the Germans in 1914, theUnion Jack was raised in a special ceremony in front of the building. The leader of the Mau
3175

Independence Movement, Tupua Tamasese Lealofi II, was shot at its doorsteps on “Black Saturday” in
1929. After independence (1962), the structure was used as main office of the government of the
Independent State of Western Samoa. Until 1993, the actual area that the museum used to occupy was
the seat of the Samoan Prime Minister’s Office and Cabinet. This part of the building is a later
addition. Many changes have been made in the structure and appearance of this place, often without
written documentation. Frequently it is difficult to say how old a certain part of the building really is.
The Museum of Samoa occupied the right wing (which is the new addition) from May 1999 to July
2008.
Whether this will be regarded as a viable project for historic preservation, or simply an old rundown
building, is an issue that must be decided soon. With time fast running out, this question is being put toour citizens. Some wish to restore this once beautiful landmark, the old court house, for future
generations.
Situated on Beach Road, Apia, the court house was built in 1903 under the German administration and
was also in use when New Zealand governed Samoa. It housed the first Government of Samoa after
independence in 1962, and until 2010 the Court of Samoa dispensed justice from it. It is also on thecorner of the road where on December 28 in 1929, the Zealand military police fired into a peacefulprocession of Mau protesters, turning the day into violence in the event to become known as Black
Saturday. In short, the area is steeped in history. For these reasons a former politician, Hans Joachim
Keil, and the German Consul, Arne Schreiber, have organized a series of meetings to work with acommitted group of like-minded citizens.
“I want to do this for the community,” says Mr. Keil. “ I don’t want to look back in years to come andwish that I had done my best to help preserve and restore this fine piece of architecture. There is toomuch wishful thinking around. Even if we fail, at least I will have tried.”
Mr. Schreiber is equally passionate about the project. “You can’t have a future without a history” hesays. “You need to be able to see your history”

Robert Louis Stevenson Museum
The building itself was the former residence of the famous author Robert Louis Stevenson. He chose
Samoa to live the last years of his life. Known locally as “Tusitala,” Stevenson resided in Western
Samoa the last five years of his life, built his home at Vailima, above Apia, and is buried on top of
Mount Vaea, a short distance directly above the house. On December 5, 1994, one hundred years after
his death and burial, the Robert Louis Stevenson Museum/Preservation Foundation dedicated thematerials and historical artifacts are actively solicited. Stevenson titles, especially rare and firsteditions, are currently being collected. After Stevenson lived there the house was used by the German
governor and became the official residence of the head of state of Samoa. Now, the residence has
4176becomeoneof

Samoa’sfamousmuseums depicting the colonial lifestyleofSamoa’s

past,

especiallythedevelopment of European style wooden
structures. The land itself has a beautiful
view of Apia and the ocean from its
height, plus a cool breeze of from themountain beside the residence, with abotanical garden that has become tourist
attraction.

An old photo (left) of the Robert Louis Stevenson Museum, and its new look now (right)

Archeological Site in Apia
Archaeological excavations have been taking place at Tanoa Tusitala Hotel under the Guidance ofresident archaeologist Tautala Asaua-Pesa. There, she and 8 students from the National University of
Samoa (NUS) have been researching the recent man-made structure that was unearthed a few weeks
ago. Early interpretations of this structure have varied from a bunker during German times, to an ice
cellar and a septic tank. Nothing has yet been found to support conclusively any of these suggestions.
The initial stop order on construction activities at the site was issued by the Planning and Management
Agency of the Ministry of Natural Resources and Environment, which holds legislative authority tohalt any construction when sites of heritage value have been discovered. The owners of Tanoa Tusitala
Hotel, and Lee Collet, the Tanoa project manager, were supportive of this action and expressed
willingness to preserve the structure by incorporating it into their building site, thus providing
opportunity for further archaeological research to occur.
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Salvage work commenced at the beginning of the NUS mid-semester break. Students from the 100 and
200 level archaeology courses were happy to give up their mid-semester break in order to participate
in this rare opportunity. Students were introduced to excavation methods which involved setting up
test units in order to find out if there was any other human activity around the structure and the site.
A total of 7 test pits were dug, which required the students to excavate carefully and sift through thesoil that was removed from these pits to see if any artifacts might be found. Artifacts such as pieces ofceramic bottles made in Germany in the late 1800’s, broken glass and one intact wine bottle, animalbones, metal objects, a German mark (1900) and a British pence were recovered.
Another interesting find was an oxidized copper pipe with wood still attached to it, along with two
wooden panels also lined with oxidized copper, found in an upright position directly above the copper
pipe. This was located 50 cm from a brick feature.
The students learned that archaeological digs require a lot of patience due to the importance placed on
being meticulous in the recording and documenting of finds. They endured long hours in the sun, inrain showers that slowed down work, and also the challenge of removing water from their test pits.
However, this did not dampen their efforts orenthusiasm in being a part of a unique
opportunity to uncover aspects of their
history. Ms. Asaua-Pesa was heartened by her
students’ enthusiasm and said “My professor,
the late Roger Green, who had conductedarchaeological work in Samoa in the 1960s,
had always said to me that the Samoans
needed to continue this work, and now I can
see

the

next

generationof

Samoanarchaeologists embracing their past.”

Finds from the archeological site in Apia

Canoeing in Samoa
People who first arrived in our country named Samoa the Navigator Islands, as we display very
considerable skill in the construction of our canoes. The largest of our canoes are form thirty to sixty
feet in length and capable of carrying from four to ten paddlers besides a steersman. There is no
regularity in the length or breath of the planks. On one of the edges of each plank a ledge/projection isformed to attach the sennit, and to connect and bind it closely to the adjoining one. The many pieces
thus laboriously joined received an application of gum from the bark of the breadfruit tree to makethem stick closely together and prevent leakage. On the outside pieces are neatly joined and required
close examination before the seams can be detected, and this perfection of workmanship is the more
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astonishing when it is considered that the only tools we use are a gimlet and a piece of iron tied to astaff, forming a sort of adze.
These canoes are long and narrow, and their shape approaches elegance. They are decked fore and aft,as shown in engravings; when propelled with paddles our people sit two abreast and the canoe isguided by a steersman. The seat of honor is on the forward deck, in the center of which is a row ofpegs, covered with the large white ovula shell, by way of ornament. The striking peculiarity of thesecanoes is that they have a rising prow and stern, and therefore the sail cannot be shifted without
tacking the boat. Our usual fishing canoe is made of single hull with a small outrigger to balance it.
The trees from which these log canoes are carved and are gradually disappearing. There is need for ourgovernment to replant these native trees. Also, only handmade tools are used, fashioned by our own
people. There are no electric tools to make our work easier. It takes four to five weeks to carve thecanoes. No chemicals are used to prevent the wood from decaying, and the wood easily develops leaks,
and our way of repair is to use gum from the breadfruit tree. Today our people and our government
celebrate our Teuila Festival to attract more tourists to our country, and as part of the program we haveour canoe carving competition and a canoe raising competition.

Vocational Training
The Ministry of Education Sports and Culture assists the youth by conducting vocational training for
selected schools twice a year. We select certain people with skills at carving and weaving, and before
the program starts some of our culture staff go out to the forest to look for trees to do the training.
These are hard to find as they are not to be found in Upolu, so we go to Savaii our other islands andask for permission from the village to cut the trees. In exchange for the trees we give the village
money for the wood we get. It takes days to bring the wood to Apia. Handmade tools are used to do
the work. No chemicals are used to prevent the wood from decaying. We also hold ’ava ceremonies in
traditional fashion. After carving for days, the materials must dry before we can use them.

Students carving during vocational training conducted by some of the culture division

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Houses in Samoa
Before the Europeans arrived in Samoa, our people stayed in several kinds of Samoan house. A
traditional Samoan house is constructed with strong wood and is always round or oval in shape. The
roof is covered with thatch, the floor is layered over with clean white pebbles from the sea, and theblinds are woven from dried coconut leaves. Today, few examples of this kind of house exist, althoughin rural areas traditional houses are still a common sight, as they accommodate visitors and are used asmeeting places for extended families.
Fale afolau. The fale afolau is essentially an elongated house having straight sides and rounded half
domes at either end. The length of the fale afolau is obviously dictated in large measure by the numberof crossbeams (utupoto) which lie on top of the posts on the two long sides, and which form theplatform on which the central part of the roof is constructed.
Fale tele.The fale tele has between one and three posts to which is fixed a vaulted roof. The roof
height is dictated by the number of so’a, or crossbeams connecting these posts to the roof. Commonlya fale will have seven different levels of so’a. In both types of fale, protection from the elements isprovided by wall screens or blinds (polasisi). The pola are made from loosely plaited coconut leaf
mats, which are raised or lowered at need on the outer side of the posts on the structure’s
circumference. When wind and rain blow into the fale, the pola are lowered on the windward side only.
The pola are raised when the rain stops. In the past when a family has a fale tele or a big house it
meant being rich. This is because hiring an architect to build the house was very expensive and theprocess required a long time.

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Faleo’o. These are always located at the back of the big house as a shelter for younger family
members, or to house couples and all their belongings. This house is small in size, and is made ofsimple wooden members which can be replaced regularly.
Tunoa. This is a house made especially for the preparation of food. All cooking utensils are kept inthere, and simple woods are obtained for building such a house. No blinds are required for this house.
In the past a typical Samoan family was always an extended family, consisting of grandparents, uncles,
aunts and their children. However every couple had their own small vernacular building or faleo’o.
Young ones at the age of fifteen could sleep with grandparents in the family’s big house or fale tele.
Maidens of each family in the village have a special house to sleep and to accommodate the taupou, or
the daughter of the highest chief in the village. The young men of the village, not including themarried untitled men, also had a separate house to sleep. Every family had a hut for cooking called
umukuka/tanoa. Families always assembled in the main house for time of meals.

The four different fale or house in Samoa

Architects
Architects are highly respected and are very important in our traditions. It is said in our oral history
that the children of Ilu and Mamao were all appointed by the god Tagaloa to be architects and to comedown from the heavens to this earth. Perhaps there were ten thousand of them and they all had thesame name Tagaloa. They all worked for building houses for Tagaloa. Our oral history tells how allthese builders built all shapes and kind of houses and one day came together in a meeting called by
Tagaloa the god. The meeting was to select the best style that could be used by the people to beuniform for every structure in the islands. However they did not reach any final decision because
everyone thought his own to the best. At last they asked Tagaloa his desire for the style of structure he
9181prefers. Tagaloa pointed to the heaven and said “domed as the heavens and flat as the earth.” And thatis why the style of our houses became and remains as it is.

Changes to Samoa’s Vernacular Housing
The changing style of shelters in Samoa is partly due to the frequent visits of tropical cyclones which
the traditional Samoan fale could not withstand. The weakest part of a vernacular Samoan house is theroof. This was observed after every cyclone, when most houses’ roofs were damaged althoughcomplete destruction rarely occurred. The plant used for thatch is also disappearing from the country.
The wood and sennit used in the house are destroyed by termites, often requiring the renewal of thehouse. This is why nowadays paint is applied to lessen the damage caused by termites. Maintenance oftraditional Samoan vernacular houses has become very difficult recently, due to shortages of materials
used for thatch and the blinds. This is because the thatch has to be renewed every three to four years,
while the blinds are renewed in one to two years to remain neat, and pebbles were also collected fromthe sea every year. The special type of coconut used to make sennit has become extinct. All the above
work mentioned has to be done by elders but as life goes on and change has come very quickly theseproducers have been influenced by advanced technologies such as television, which now takes most of
their time, instead of doing their usual routines as in the past. Moreover a mixture of European houseand the traditional Samoan house is now common in our country. These factors have combined to stop
the people from building the old and traditional Samoan fale houses because they prefer the western
style for it is easier and less work is needed. Nowadays our young generation has no knowledge ofbuilding a Samoan house, because of the influence from the outside world. People occupy their timewith work and other things, leaving no room for teaching or passing their knowledge on to the young
people.
With regard to this situation the Ministry of Education, Sports and Culture, through our culture
division, undertakes vocational training for communities, schools and church organizations, as a wayof teaching the young people and letting them know the significance of our old structures by building
Samoan fale, thereby keeping our knowledge of making Samoan houses alive for future generations tocome.

The National Archive of Samoa
The national archive project of MESC is in the process of establishing archives of Samoa forgovernment records. Archives of legislation, a general records retention schedule, and a code of bestpractice for public recordkeeping have been drafted. The project is already the custodian for records
from the German and New Zealand administrations of Samoa. At present, government bodies are still
responsible for archiving their own records. Some private and church organizations have alsoestablished their own local archives, such as EFKS (the Samoan Congregational Christian Church) andthe Catholic Church, sometimes in connection with regional or central archives situated in othercountries such as the Marist archives in Fiji and the LMS Archives in London.
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There is a wealth of artifacts, images and documents of Samoa held in museums, archives, university
and private collections overseas, for instance in the ethnographic museums in Germany, New Zealand,
Australia and Great Britain; the German Federal Archives; Archives New Zealand and the Turnbull
Library in Wellington.

Emerging Problems for both Museum and Archive
The wealth of artifacts, images and documents of Samoa held in museums, archives, universities andprivate collections overseas have not been repatriated. Guidelines and training in records management
should include all government Ministries and other organizations such as churches (the first phase has
been conducted as a pilot project for only seven government Ministries).
There is a lack of funding support for conducting workshops in development, such as for record
management, retention schedule, code of best practice, and awareness programs for the local
communities to promote maintaining traditional knowledge and skills, such as carving and weaving.
There is no policy to guide further development of the Museum. Archive legislation is currently
awaiting approval and endorsement by the Parliament. There is no safe storage building for thearchives. There is a lack of staff with special training in archive and record management. There is alsoa lack of archeological research conducted in the landscape for physical aspects of traditional material
culture, such as pottery, stone axes and other implements, and the human remains of ancient people.

Conclusion
In our field of preservation and restoration of the cultural heritage of our country, we encounter manydifficulties due to the fact that in some ways such cultural heritage is sacred and forbidden in somevillages of extended families, because our unique culture has made people believe that making our
traditional knowledge open to strangers or other villagers may give them the opportunity to distort andmanipulate this knowledge, and the people may thus lose their right of custodianship over their own
cultural heritage.
Despite all these difficulties and hardships, the Ministry of Education, Sports and Culture, through theculture division, is in various ways helping to maintain and protect our cultural heritage, byimplementing many concepts in order to protect the custodians’ right over our culture. We hope thatthese factors will increase and improve in the near future for the benefit of our future generations.

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Sri Lanka
Rupika Nishanthi RANASINGHE
Archeological Research Assistant
Department of Archaeology
Ministry of National Heritage

Conservation and Restoration of Wood-based Mural Paintingsin Sri Lanka

INTRODUCTION: BACKGROUND ON SRI LANKAN PAINTINGS
Sri Lanka is a tropical country with a rich cultural heritage. The history of Sri Lanka began about the
fifth century BC with the colonization of the island by Aryan people from North India. During its
2,500 years of history several capitals were founded, and in these cities and elsewhere monasteries
were built. According to the country’s chronicles, almost all such monuments were decorated withpaintings. These wall paintings, plus texts written on walls in Sinhalese, need to be looked at fromtheir literary, historical, art-historical, documentary, aesthetic, scientific, technical, and conservation
or restoration aspects. Together these viewpoints help give a balanced view of the subject.

Historical background
Sri Lanka has a rich and long tradition of wall paintings, starting from prehistoric times and traversing
the historical period up to the present day. Painting was an art practiced in ancient times and it is stilla living tradition in Sri Lanka. A good number of wall paintings survive, from prehistoric times to thepresent day, belonging to different periods and to different regions of country. A brief survey by
period will look at prehistoric paintings, early and middle historic paintings from the Anuradhapura
and Polonnaruwa periods, and late historic murals of the Kandyan period.
Prehistoric paintings. Usually called “rock art,” these are the extant remains of a prehistoric type of
painting in Sri Lanka. They have been executed directly on rock surfaces, without any ground layer
and priming layer, and resemble similar paintings known elsewhere of hunting scenes.
It is clear that they were drawn only to satisfy those who drew them and not those who view them, as
the lines are drawn extremely freely. This use of free lines suggests the artists were from a simple
society, their needs confined only to daily requirements. The locally available materials such as kaolin,1184ferruginous clay, and charcoal were used for paintings. There are about thirty-three rock shelters andcaves at which prehistoric or vaddah paintings have been recorded.
Early historic paintings. Sri Lanka saw a great cultural transformation in the fifth century BC, withthe colonization of the island by Aryan people from North India, the ancestors of the present day
Sinhalese. Most of the early historical paintings they left have been found in residential caves andmonastic dwellings. The subsequent history of Sri Lanka divides into several periods which are
named after the capital cities that served as the seats of the government at different times. The earliest
period is thus the Anuradhapura period, after the royal city which was the capital of the country formost of the period, which lasted until the tenth century AD (Wijesekara 1990). The capital was moved
in the latter half of the fifth century AD to Sigiriya, where Kashyapa ruled while turning it into a rockfortress. The great Indian emperor Asoka sent a religious mission (Arahat Mahinda, four monks) to
Sri Lanka in the third century BC. The adoption of Buddhism by the Sinhalese marked the beginningof a period of great cultural activity, including creations in sculpture and painting (Figs. 1-3).

.

Fig. 1 Sigiriya site, Matale district

Figs. 2-3 Mural paintings, Sigiriya

Among Sinhalese wall painting, the paintings of Sigiriya are particularly well-known. The rock of
Sigiriya with its world famous paintings is situated in the Matale district, in the central province. The
paintings on this rock which belong to the Anuradhapura period are representative of paintings of theearly period, and have the largest surface area of such paintings in the country. Even though thepaintings of Sri Lanka are mainly religious paintings, the Sigiriya paintings are secular in nature. The
twenty-three female figures, somewhat less than life size, are depicted in three-quarter profile. Someare in pairs.
Other sites in Sri Lanka known for their early historic wall painting include the Cobra Hood Cave at
Sigiriya, Pidurangala, Kandalama, Kotiyagala, Pulligoda Galge, Hindagla, Gonagolla, and theMahiyangana relic chamber (Figs. 4-6).

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Fig. 4 Pulligoda cave
painting

Fig. 5 Mahiyangana relic chamber

Fig. 6 Gonagolla
painting

Middle Historic Painting. The Thivanka Pilimage, or image house, is situated in the city of
Polonnaruwa. This was the capital of the kingdom of Sri Lanka in the middle ages. The Thivanka
Pilimage is one of four notable monuments, mostly built during the reign of King Parakrambahu(r. 1153-1186), and consisting also of Gal Vihara, Lankatilaka and Pothgul Viharaya. All thesebuildings have beautiful mural paintings (Figs. 7, 8).

Figs. 7, 8 Thivanka image house mural paintings

The thirteenth century marks a watershed in Sri Lankan history. The main centers of political,
economic and cultural activity were moved from the dry zone of the north central and eastern
provinces to the wet lowlands of the southwest and central highlands. We have no actual remains ofpaintings after the Polonnaruwa period until the eighteenth century.
Late historical mural paintings. After a lapse of several hundred years, painting reappears in the
middle of the eighteenth century. The late period paintings are popularly known as Kandyan paintings,
because Kandy was the last royal capital of Sri Lanka. Kandyan paintings are not limited to the
district of Kandy. These late period paintings are almost entirely confined to image houses of
Buddhist temples. Only a few temples paintings can be seen in the preaching halls.

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The most prominent characteristic of late period murals is their stylization. Whereas murals of theearly period are more or less realistic, late period mural paintings are imaginary. The Kandyan artist
focused his attention on two technical requirements, namely lineation and pigmentation. Traditional
artists followed the same general techniques. But variations developed in different sub schools, due tomaster artists who, though belonging to the same traditions, introduced their own individual
innovations. These sub schools accordingly had their own special techniques and styles. Late periodmurals can broadly be divided into two groups of schools, namely the Kandyan and the Southern.
Characteristic examples of the Kandyan schools, such as Degaldoruwa, Ridi Vihara, Suriyagoda andDambulla, belong to the nineteenth century (Figs. 9-12).

Fig. 9 Madavala Viharaya
mural painting (Kandy)

Fig. 11 Madavala Viharaya(Kandy)Fig. 10 Degaldoruwa Viharaya (Kandy)

Fig. 12 Degaldoruwa Viharaya (Kandy)

Southern artists displayed a considerable degree of freedom. Human figures of Kandyan paintings aresevere, expressionless and inflexible. But southern artists had been able to achieve a near naturalness
in depicting human figures. In Kandyan murals dresses are depicted in simple manner southern murals
dresses are decorated with many floral and geometrical designs.

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Fig. 13a Mulgirigala mural painting

Fig. 13b Mulgirigala mural painting

Fig. 14 Bothale image house

It can thus be observed that a painting tradition has existed in Sri Lanka from prehistoric times to thepresent day. Wall paintings exist in large numbers, in caves, temples, monasteries, palaces and otherresidential buildings.

Technical aspects of Sri Lankan mural paintings
In a mural painting there are two essential components, namely (1) a support such as a wall, wooden
panel, paper, cloth, terra-cotta pottery or canvas on which the painting is done, and (2) the paint. The
paint is prepared by mixing pigment with a binding medium, such as gum, animal glue, egg yolk, or
drying oil. There is also a technique of painting in which no binding medium is required (Figs.15- 20).

Fig. 15 Karagampitiya Subodharamaya
preaching hall, decorated wooden structure

Fig. 16 Ambalangoda traditional decorated
wooden masks (National Museum, Colombo)

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Fig. 18 Wooden-based paintings (laksha)

Fig. 17 Paper-based painting

Fig. 20 Door sash in Lankathilaka
Viharaya (Kandy)

Fig. 19 Fabric-based painting (pethikada)

Support. This can be a natural rock surface or a wall made of stone block joined withmortar or sometimes without mortar, or bricks joined with mortar. But sometimes other techniques
were also used to build walls. For example, the structure was prepared of wooden rafters, over whichclay plaster was applied. The painting may have been drawn directly on the support, or on a surface(ground) prepared on the support. Brick walls and wooden surfaces, walls made of wattle and daubare also used as support for Sri Lankan murals.
“Ground” or “rendering” are the terms given to the surface material of a wall or building, on which
the painting is done. Many materials may have been used in making it, as for plaster, composed ofcomponents which set in different ways. It can have clay which sets by drying, lime which sets bycarbonization, and gypsum which sets by hydration. Also, inert materials such as sand and finely
crushed stone, and fibrous binders such as hair, straw and jute have been important ingredients inplaster from a very early period. Plaster has commonly served as the ground for mural paintings.
In the case of a wall painting the ground is the plaster, which itself may be in several layers of roughplaster and then the final fine plaster. Finally, there may also be a layer of varnish as a protective coaton the surface of a painting (Figs. 21, 22).

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Fig. 22 Structure of mural painting at Dalada
Maligawa (Prematilleke and Colombage, 2000)

Fig. 21 Structure of mural painting at Dalada
Maligawa (Prematilleke and Colombage, 2000)

Paint. The pigments used in paintings can be classified into two main categories, inorganic andorganic, both of which may be either natural or artificial. Natural inorganic pigments are obtained
from the earth in the form of oxides (Fe2O3), red ocher, sulphides (HgS), carbonates (such as CuCo3).
Artificial inorganic pigments are synthetically prepared pigments such as massicot that is made byroasting of white lead. Natural organic pigments and synthetic organic pigments are derivatives ofphenols and aniline but they are not used in murals.
The binding medium which holds the pigments plays a significant role in painting. Different media
such as glue, gum, casein and egg yolk are commonly used in tempera painting, and in the case of
secco painting lime is used as binding medium.

Techniques of mural painting. Paintings can be categorized into two types, namely portable ones,
which are paintings done on board, paper, cloth, etc., and immovable ones such as murals. The wordmural is derived from Latin murus meaning wall, and therefore paintings done on walls are known as
mural paintings. Mural paintings can be executed in different ways, such as fresco buono, fresco
secco, tempera, sgraffito, etc. The designation is made on the basis of the technical process used forthe preparation of the plaster or in the application of the paint.

Contemporary examples of wood-based mural paintings
Cultural properties convey the most accurate information on the materials and techniques of artistic
activities from the past. Cultural properties are our human heritage, produced by individuals who usedvarious materials such as plants, animals and minerals from a different age. Regardless of whether
they are made of wood, brick, clay, paper, cloth, or stone, however, deterioration can be found in the7
190full range of these materials. Before looking at the specific problems of conservation, a review ismade of the types of wooden structures with mural paintings.

Image house tradition of Sri Lanka (timber). Having discussed the historical development ofmural paintings, here is an examination of the image houses in Sri Lanka, and especially the typeknown as tampita vihara. Compared to earlier versions of patimagharas, image houses or halls at
temples, a tampita vihara, which is built on pillars, is a simple, compact and unique image house.
There is a lack of archeological evidence on the image houses belonging to the post-Polonnaruwa era,
up to the late Kandyan period, but the tampita viharas now in use were originally built in the second
half of the eighteenth century. It seems that the tradition of constructing timber image houses on stone
columns, or those of brick construction such as the ones in Polonnaruwa, were the exceptions (Fig.
23).

Fig. 23 Plans, image house (wooden structure)(ICOMOS International Committee on Wood, 1993)

In the earliest patimagharas, between the fifth and ninth centuries, more elaborate structures with atile timber roof on stone pillars and brick walls encasing the framed structure were in vogue, the stone
columns acting as support for the shrine, thus the brick wall did not necessarily support the roof.

Tampita vihara. Tampita viharas were constructed on short stone pillars, with the ground floor of
the shrine reduced in height, as it served little utilitarian purpose. As the stone columns were needed
only to give sacred significance and to keep out dampness and termites, shorter pillars sufficed. The
tampita vihara tradition might also have developed through foreign influences, especially during the
Kandyan period, due to the religious and political ties with countries such as Thailand and Buruma.
Most of the image houses and tampita viharas now in existence are still unused for ritual worship.
However, some of them have either been abandoned and are used or inappropriately renovated, as it is
not conventional practice to worship discolored or damaged images or paintings. Tampita viharas andimage houses are depositories of the Kandyan tradition of mural paintings, and their preservation is8191therefore of great significance. All these indicate the necessity of paying attention to the importanceof preserving such monuments and the dire need for better conservation practices. The tampita vihara
tradition has been used not only as Buddhist structures (functioning as patimagaras), but also very
rarely as image houses for gods (devalaya) during the Kandyan period, such as a tampita devalaya
serving as the Yatawattha temple in the Gampaha district (Figs. 24-26).

Fig. 24 Batuvita tampita viharaya
image house (Gampaha district)Fig. 25 Batuvita tampita viharaya
image house (Gampaha district)Fig. 26 Ganewattha tampita image house(Gampaha district)

PROBLEMS IN CONSERVING DECORATED WOODEN STRUCTURES
Timber was one of the earliest and most popular building materials in the history of civilization.
Wood had many good qualities such as availability, strength and flexibility. But it had otherlimitations, as timber was subjected to fast decay due to environmental conditions and natural causes,
attacks by many insects, and it was also often destroyed by fire.
In the conservation of structural timber important considerations have to be made regarding thepreservation of the material, its dimensions and texture. But the restrictions thus imposed for a normal
timber building become more complicated in the conservation of decorated timber. In such cases thedegree of decoration, and the extent of deterioration, of the timber in the monument will make9
192

conservation more difficult, complex, and complicated, because one has to preserve the authenticityof the decorative art work, while stabilizing the structure to enable it to regain its strength.

Causes of deterioration in heritage structures
Bio-deterioration (fungi). In connection with the restoration of monuments and the artistic materials,
bio-deterioration may proceed slowly and be highly advanced. It may be related to the fungal
activities of the clay and soils at the site, which have a close relationship with the growth of fungi on
cultural materials. Moisture and dusty conditions are also favorable conditions for the growth of fungi.
This situation is clearly seen on the wall paintings in Sri Lanka. Amino acid is one main product offungi which is harmful to colors, causing discoloration of the wall paintings. Fungal grown increases
with internal moisture content. Since Sri Lanka is a tropical country we have to face this problem.
Fungal attacks to paintings on ceilings and door frames can be observed in the central province
temples (with Kandyan period paintings). Fungi growing on the surface of the wood produce stains.
They do not affect structural strength, but can cause painted surfaces to flake off.
Insect attack. Organic materials such as wood are all vulnerable to insect attack. Insects cause a greatamount of damage by weakening structural timbers and many parts of the wood work. Most of theprominent decay in Sri Lankan wooden structures is caused by insects. Among them termites, ants,
wasps, beetles, etc, can be seen. Due to termite and other insect attacks, not only are mural paintings
damaged but also the wooden frames are weakened (Figs. 27-30).

Fig. 28 Asmadala
Buddha image(wooden structure)

Fig. 27 Arabegama image house (wooden ceiling)Figs. 29-30 Thivanka image house

10193

Damage by birds and small animals. Birds and animals can damage monuments and mural paintings
by urinating and defecating.

Fig. 31 Thivanka image house

Fig. 32 Thivanka image house

Birds and rats also cause damage by building nests, which provide likely spots for the start of fires,and by gnawing electric wires, for which they have strange a predilection. Residue from activities ofbirds, bats and insects include both alkaloids and acids that promote decay on the surface, particularly
for wooden ceilings and wall paintings, from which the resulting dark deposits are difficult to remove.
Manmade causes of decay. The main categories of manmade
causes of decay in Sri Lanka are vandalism (Fig. 33), andvibration from traffic and commercial activities.
Climatic causes of decay. Climate, in all its aspects, is one of thefundamental causes of the decay of monuments, contributing to
the failure of their materials, which in turn affects the structure.
Included in this category are changes in temperature, and thermal
expansion. All building materials expand when heated andcontract again when cooled, with this expansion and contraction

Fig. 33 Sigiriya mural painting

resulting in thermal movement which is a major cause of decay

damage (due to vandalism)in buildings. Thermal movement in soft mortar will cause only
fine hairline cracks. Mud, brick and adobe also have relatively low thermal expansion andconductivity, and similarly have very few thermal movement problems.
By contrast, wood moves markedly and fairly quickly with changes in the relative humidity of the air,and these movements are far greater than thermal movements. Because of its nature, wood is
generally used in a framed structure which is able to absorb both thermal and humidity movements.

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Action of moisture. The presence of water in any of its various forms causes or accelerates the
decay of most building materials. The access of water to porous masonry materials may be caused byrain. Water also penetrates porous masonry materials through capillary action.

Categories timber used in different elements of buildings
Different types of timber, presenting different problems for conservation, can be classified broadly
into three groups: (1) the timber frame as a base to entire the image house (Figs 34-37), (2) timber
beams used in the roof (Figs. 38, 39), and (3) timber used for the doors, door frames, windows, ceiling,
and railings, often decorated with traditional paintings (Figs. 40-43).

Figs. 34-37 Timber frame as the base to the entire image house

Figs. 38-39 Timber beams used in the roof

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Fig. 42 CeilingFig. 40 Door and frameFig. 43 Column

Fig. 41 Door

Sri Lanka is fortunate to have timber elements of buildings preserved from the fourteenth century AD,
despite all the political unrest and external troubles that occurred during post Polonnaruwa period(twelfth century).

MY EXPERIENCE IN CONSERVING WOOD-BASED MURAL PAINTINGS
I have been working in Western province ancient temples. Most of the mural paintings in thisprovince belong to the Kandyan and southern traditions. There are three districts in Western province,
Colombo, Kaluthara and Gampaha (Fig. 44).
Among these three districts, most wooden
paintings are found in Gampaha district. These
temples are the tampita vihara type. Others areimage houses, being wattle and daub buildings
with wide verandahs and a roof supported on
timber columns. The ceiling beams were painted
and the verandahs provided with lacquered andturnedbalusters.

Theshrine

rooms

have

paintings of Jathaka katha on plastered walls.
The wooden ceiling has also been painted. The
architecture of the Kandyan period consists
mostly of heavy timber construction with thewood protected from the elements by a large
roof and the floor raised well above ground level.

Fig. 44 Map of Sri Lanka

13
196Conservation Method
The procedure followed consists of the following steps.
1.

Inspection report2.

Preparation of estimates

3.

Preliminary study

4.

Photo documentation

5.

Graphic documentation

6.

Conservation

7.

Final report

These success of these activities depends first of all on documentation, and second, on analysis of thecauses of decay, and thirdly on actions to correct these causes of decay. Actions should be theminimum necessary, reversible if possible, and should retain the maximum amount of original
material in the fabric.
Any work executed must be documented both before and afterwards. All work should be guided by
the Venice Charter which must be taken as a whole, the emphasis being on authenticity (Figs. 45-50)

Fig. 45 Applying insecticide

Fig. 47 Reintegration (Dottergio)

Fig. 46 Filling the rendering

Fig. 48 Consolidation

Fig. 50 Applying insecticide

Fig. 49 Applying insecticide

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The conservation of timber monuments, especially decorated wooden structures, has faced many
problems which are of a multifaceted nature. It is important to understand these properly and take themost appropriate path in order to conserve them for future.

Problems and Needs
Craftsmen and their workmanship. All decorated timber monuments and other wood-based culturalproperties are the product of excellent craftsmanship. They were promoted by the craftsmen’s
traditions, their commitment, devotion and capabilities. The following types of craftsmen wereinvariably involved in and contributed to the production of decorated timber products: carpenter,
painter, timber carver, ivory carver, metal carver, and blacksmith. Today most of these skills havedeteriorated and even if available are very expensive and unreliable. It was found that in theconservation of decorated wooden cultural properties as currently conducted, the consolidation carriedout by the laboratory conservator was visually unsatisfactory, and it was necessary to employ
craftsmen skilled in in-fill and reintegration, and capable of reproducing quality equal to the old.
Required personal and training. From past experience it has been necessary to train categories ofpeople to handle aspects of the work, namely:
1. Art historians and researchers in traditional technology
2. Conservators
3. Craftsmen
The services and contributions of these categories were required to understand the contents of pastartisans’ performance, given the conditions of the time and environment. These experts andresearchers were basically needed to study and understand the monuments and advise on historic,
aesthetic, and scientific matters regarding conservation. Training needs to be carried out with the helpof international institutions involved in the conservation effort.
The laboratory facilities, appropriate personnel, and financial support required for these studies are
not considered the highest priority in developing countries like Sri Lanka, where other are problems
are much more acute.
Conservators who handle decorated timber need to be reasonably well trained and made aware of
disciplines other than their own area of specialization.
Craftsmen are trained in different skills. Different crafts in Sri Lanka are still handled by members of
traditional families who have been continuing their crafts for generations. They still have the15
198traditional methodology and skills that they learned from their fathers. But most of them have lost theproud traditions of these crafts and work today for financial gain only.
Many efforts are being made by the government to promote skills in all areas of craftsmanship.
Skilled craftsman are very expensive and difficult to find. Even if found, they are often not willing to
do conservation work due to the low remuneration. Training in special skills of crafts required for theconservation of monuments and valuable art treasures is very important. The maintenance of
decorated timber work will only be possible by educating the users on the value and importance ofsafe-guarding cultural property, and by monitoring their behavior to ensure that they do not harmthese valuable national treasures.

REFERENCES
Agrawal, O. P. and N. A. Wikramasinghe, N. A. 2002. Materials and Techniques of Ancient Wall
Paintings of Sri Lanka. New Delhi: Sundeep Prakashan.
Mora, P., Mora. L. and Philippot. P. 1984. Conservation of Wall Paintings. London : Butterworths.
Feilden Bernard M. 1982. Conservation of Historic Buildings. London: Butterworths.
Prematilleke, Leelananda and Ananda Colombage. 2000. Dalada Maligava Recent Discoveries:
Ancient Murals. Kandy: Dalada Maligava Publications.
Perera Mallawathanthrige Luksman. n. d. Recent Investigation of Fungus and Their Role in Wall
Paintings Decay at the Polonnaruwa. Publisher unknown.
Wijesekara N, ed. 1990. Archaeological Department Centenary (1890-1990), Volume Five, Painting.
Colombo: State Printing Corporation of Sri Lanka.
Wijesuriya, G. 1993. “Documentation of Timber Buildings.” In Wood, ed. ICOMOS International
Committee on Wood. Colombo: Sri Lanka National Committee of ICOMOS.

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Thailand
Poon KHWANSUWAN

Lecturer
Faculty of Architecture
King Mongkut’s Institute of Technology Ladkrabang

Gaps in the Conservation of Traditional Communities in Thailand
This country report examines the status and roles of traditional communities within the urban context
in Thailand, and explores gaps in their conservation, explaining current conservation measuresthrough case studies of two such communities, Klong Amphawa and Trok Baan Jeen.
BACKGROUND: TRADITIONAL COMMUNITES
Each city has a traditional community that is related to its origin. The traditional community plays itsrole not only as an existing housing stock, but also as a place of historic and cultural significance thatis worthy of conservation. Due to its special characteristics, the traditional community makes eachcity unique, bringing pride and an economic base to the residents. However, modern development
projects, ownership patterns, and the lack of sufficient measures to support the continuity of the
traditional community have led to loss or degradation in many cases. There is, therefore, a need toseek ways to maintain traditional communities in good condition, but no comprehensive study on the
problems of conserving traditional communities is available.
As part of the national socioeconomic plan, the traditional community has been assessed as cultural
capital with potential to revitalize a “creative economy” in Thailand, but there are many gaps invarious levels of practice as a constraint to setting up a comprehensive system of conservation.

Definition of traditional community in the conservation system in Thailand
A “traditional community” is a place which contains cultural significance as cultural heritage. The
traditional community delivers its value through urban development as “housing stock” for urban
inhabitants. Its cultural significance is linked with the identity of the place as well as of the town. This
special characteristic can be found through the architecture, pattern of settlement, and way of life,
which can serve a socioeconomic function, and as a source of knowledge for the community and for
cultural tourism. There are several characteristic issues such as the historical significance, age,character and way of life, which can be detailed as follows.

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11. Historical and archaeological significance. A traditional community can be evidence of pastcivilization, wisdom and human development, which will differ from place to place
depending on past adaptations to geography, landscape and cultural ecology. Some historicalevidence may involve important events in the past, or important persons on a national or evena global level. Archaeological significance relates to civilization in the past, including aspects
such as the way of life, traditions, and beliefs.
The Fine Art Department’s (FAD) operational guidelines for monument registration
includes “Historic District/Community/Old Town” as one of the categories of monuments,
meaning a district or town which comprises historic structures, monuments, traces andevidence from the past such as old moats, walls, or a site which presents unique and uniform
architectural characteristics.
2. Age. In conservation practice, a minimum of 50 years is normally taken as the age of amonument. In Thailand, since 1926 we used to take 100 years as a standard, but now we do
not have an operational standard which could be a criterion for assessing cultural value inregistering a historic structure as a National Monument. Age is not weighted high on the score,
but the overall score is based rather on aesthetic values, which includes artistic andarchitectural values. Accordingly the “collective value” of a traditional community will likely
be ignored because of its continuity of use and physical change, so that many traditional
communities have been left out of the conservation system in Thailand.
3. Character. “Collective value” is the most important value which creates the character of a
traditional community as a whole. We may not find many high value buildings in thecommunity individually, but together they may form a unique characteristic as a quality of the
traditional community. Most traditional communities in Thailand are vernacular, and include
physical characteristics such as topography, accessibility pattern, circulation network, siteplanning, landscape and planting, architectural style, materials, and age.
4. Way of Life. The way of life is a character that broadens the concept of conservation to cover“intangible value,” not only with regard to the physical character but also local wisdom andindigenous knowledge, which may include the following
A. Basic life skills
B. Literacy
C. Religioun, philosophy and ethics
D. Arts and music
E. Social system, family and kinship
F. Economic system, trading and transportation
G. Industry and technology
H. Politics

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Accordingly, a “traditional community” could be defined based on the following characteristics.


Living communities located in both urban and rural areas

Having historic fabric and life span

Related to historic events and/or important person from the pastHaving unique physical characteristic

Having a way of life reflecting socioeconomic conditions and a continuity of traditions

The significance of a “traditional community” can be stated as follows.


It provides housing stock for population needs

It consists of cultural assets for local identity



It contains economic resources for the communityIt promotes cultural learning and a knowledge-based community

Factors in the historical development of traditional communities
From this definition of “traditional community” in Thailand, critical aspects can be seen to havedeveloped from the modernization and westernization of the nation during the period 1857 – 1937
(Reign of King Rama IV – World War II). These can be summarized as follows.
Development of the transportation system. Canal transportation was cut throughout all regions inThailand, especially in the central region, where there are many important canal-based communities
which were established during that time, such as Amphawa, Klong Damnoensaduak, and many waterbased communities along the rivers in Suphanburi province. Development of a railway system at thesame time during the reign of King Rama V established “station towns” all over Thailand as well, butduring and after World War II, construction of new highways proceeded, changing the mode oftransportation and leaving “canal communities” and “station towns” difficult to access.
Development of the systems of politics and government. During the reign of King Rama V (1892),
the government system was changed to consist of Departments (which later became Ministries),
whereas the country was divided into 14 counties. This change was enacted together with “Royal
Visits” by the King to the main town of each county, with these towns and communities developingfrom small villages to urban communities.
Development of the trading system and industrialization. These developments occurred after themain treaties were made by Thailand with western countries, especially the Bowring Treaty (1855)
with the United Kingdom. Thailand became modernized and opened its doors to industrialization.
Mass production was introduced, including that of construction materials as in the forestry and timber
processing industries. Wooden construction spread nationwide in urban communities. Wooden shop
houses were constructed with the coming of Chinese in large numbers, who made communities

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serving the cities as markets and commercial centers, together with Chinese shrines, schools, andrelated structures.

Factors in the decline of traditional communities
Physical degradation. In terms of their architecture, the buildings and other structures of traditional
communities such as markets have suffered degradation and aging in their physical condition. New
buildings and infrastructures have been constructed to replace old structures without concern given forcompatibility of physical characteristics or attempts made to avoid conflict with the community’scollective value. New road systems and infrastructure transform the original layout of traditional
communities. Causes of decay are mainly based on a lack of appropriate materials (mainly wood),lack of suitable craftsmanship, lack of proper maintenance, new trends toward modern construction
and a lack of awareness of heritage value.
Property rights and ownership. Most of the land and properties in traditional communities are under
private ownership, entailed from previous generations. New generations do not relate strongly andattach value to the place, because of a preference for a modern style of living, and the properties areoften sold for new development. Some traditional communities are owned by temples, the Treasury
Department and the Crown Properties Department. If these landlords and owners are not aware of thecultural value, these traditional communities are also in danger.
Laws and legislation. New laws and legislation contribute to the degradation of traditional
communities as well. Traditional communities were established more than 50 or even 100 years ago,
and in most cases before the establishment of modern building regulations, which now threaten theexistence of the traditional community. For example, some shop houses have a width of less than 4.0
meters, which is the minimum requirement in today’s building regulations. If those shop houses are
not protected by the Monument Law, when falling apart they cannot be rebuilt with the same width
because it is below the standard of the law. Another example is when the layout and street pattern of a
traditional community cannot be integrated with new development and urban expansion. Plans may
then be made to widen old streets, which will affect the old buildings and community’s character.
In cases of monument registration under the category of “Historic District and Old Town,” there is no
example of an entire district or site being registered. Some suggestions regarding this are as follows.
1. Delimitation of the boundary of a monument means the whole area or site must be controlled
by Fine Arts Department (FAD). Different ideas and concepts are needed for the operationand management of historic districts (traditional communities), however, which comprise
historic buildings, non-historic buildings, and surrounding structures which the “Monument
Act” does not cover.

42032. To delimit a monument boundary requires acknowledgment from property owners, but most
historic districts are under private ownership and owners do not want to let their properties tobe registered because it deprives them of their rights. Currently there are insufficient measures
for incentives to balance the development pressure.
Impact from urban development. Development pressure is the main factor of degradation to both thephysical condition and the way of life of a traditional community. Physically, new development inurban areas, such as new building construction and new infrastructure, affect the old buildings. Evendeveloping traditional communities for cultural tourism allows gentrification to occur in the area,changing the traditional way of life and forcing local people to relocate from their community.

Figure 1: Distribution of traditional communities in Thailand
Source: National Housing Authority and Thammasart University, 2010

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CASE STUDY 1: KLONG AMPHAWA COMMUNITY
The Klong Amphawa community is located along the Klong Amphawa (Amphawa canal), whichconnects with the Maeklong river, one of the main rivers in the greater central region of Thailand on
the western side of the Chao Phraya river, which passes through Bangkok.

Historical development of the Klong Amphawa community
It is noted in an old document of the Ayutthaya period (King Prasat Thong, r. 1630-1655) that Klong
Amphawa was a small community which prospered from both agricultural and trading activities. The
area was covered with coconut and fruit orchards, connected by small-vessel canals with a central
large floating market that functioned as the main trading center of the region. The historicaldevelopment of the Klong Amphawa community can be divided into four phases as follows.
1. Fishery village and self-sustained agricultural community (before the Ayutthaya period).
2. Early floating market and commercial agricultural community (from the Ayutthaya to thebeginning of the Rattanakosin period).
3. Late floating market and commercial agricultural community. Amphawa, the floating market
in the area, had completely developed as a center of trading in the region and played an
important role as an economic center. The area along both sides of the canal had developed
and become occupied for trading purposes, mixed with boat vending activities within thecanal.
4. Economic regression. The construction of roads in the area, and changes in the ecosystem of
the Maeklong river basin which resulted from the construction of a dam upstream, were thecauses of a decline in the economic fortunes of Amphawa. The trading center shifted to the
Muang Maeklong area (now the center of the modern province) which offered easier accessby road and railway. At the same time, people could no longer grow agricultural produce,
because the river did not have enough flow to push back the salt water after the dam’s
construction, resulting in a brackish mixture that left many of the coconut and fruit orchards
in ruin. Local inhabitants left the area after this economic regression occurred. The newgeneration went out to work in other urbanized and factory towns nearby, leaving the very
young and old people at home. With the lack of cultural continuity, the traditional way of lifechanged very quickly in parallel with worldwide globalization, even though many local
activities are still continued within the same environment.
In face of the current situation, the Amphawa municipality as a local government tried to revitalize theeconomic situation by promoting Klong Amphawa community as a new “eco-tourism” spot. The new
evening floating market has been promoted to bring tourists to visit from Bangkok and nearby areas.

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Local environment and architecture
The local environment and architecture in the area are very closely related. All structures have been
built under the influence of the environment and its ecosystem. To understand this relationship, wemust understand some characteristics of the environment, the ecosystem and the landscape.
Natural ecosystem. The Amphawa canal is one of the branch waterways of the Maeklong river. Thispart of the Maeklong passes through Samut Songkhram province before flowing out to the sea in the
Gulf of Thailand. There are three main types of water: salt water, brackish water and fresh water.
From its location in the middle part of the province, the Amphawa canal is influenced by a brackish
water system, meaning that sometimes salt water moves into this area, and sometimes fresh waterfrom the north will push the salt water back. The ancestors of the Amphawa residents had understood
this and adopted a way of life which is very much in harmony with this water system.
Natural and cultural landscapes. The main natural landscape features of the area are the Maeklong
river, which passes through the province and connects with a network of branch canals and small
access canals that spreads through the orchard areas. In Klong Amphawa and the neighboring canalcommunities, local people grow coconut trees (to make coconut sugar and also sell the coconuts) as
their main produce, together with other kind of plants such as litchi and pomelo, which like thecoconut thrive in flowing brackish water. The coconut tree can grow well, and gives good quality
syrup to produce sugar, in such an environment of mixed fresh and salt water. The local people
learned this natural phenomenon and adapted the natural topography by opening small access canals
from main waterways like the Amphawa canal to supply their coconut orchards.
This coconut orchard system is called kanad suan in Thai, which means a set of orchards orplantations. One set is comprised of ditches and dikes to lead the water so that it can continuity flow
through every part of the orchards. The length of each dike, on which the coconut trees grow, depends
on the ability of the coconut farmer to carry the coconut syrup tubes. Sometimes making coconut
syrup was not profitable due to the economic situation. Many coconut farmers turned to other kinds offruit mixed with coconuts, but still maintained this system. Accordingly the dominant landscapefeature of this area is the network of orchard waterways connected with the Maeklong river and its
branches. This system can help greatly when the flood season comes, because water flowing from thenorth can be spread into the waterways of the Maeklong river, like a system of blood vessels.
Local architecture. As the Klong Amphawa community historically not only operated the orchardplantations but also served as the main trading center of the region, there are many types ofarchitectural heritage which were adapted to the local environment, and can be described as follows.

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1. Wooden row houses. These are the main architectural feature in the area, not only havingarchitectural value but also in reflecting its character as a trading community. These one-story
row houses are comprised of many units of shops, and covered by corrugated sheets orrectangular cement tiles, with awning extending over the walkway in front of the shops. The
entrance of each unit is a wooden folding door which can be fully opened to support sales
activities.
2. Individual wooden houses. These are individual shop houses with wooden folded doors. Mostof them have three or four entrances to access one big hall inside, also for sales purposes. The
shape of the roof is adopted from the Thai traditional style. Some of the individual wooden
houses used to be floating houses in the past, which were relocated to the side of the canal,
behind the row houses or in the orchards.
3. Orchard houses. The orchard houses can be different in style but are always located in theorchards near the access canal, which can be used to convey the produce and as a way to go to
and from home. Some were built in traditional Thai style, and some are vernacular wooden
houses. Nowadays in some orchards in Klong Amphawa, we can still see old-sugar making
chimneys which have been abandoned.
4. Connection elements (walkways and stairs). The concrete walkways in front of the row
houses developed from individual wooden terraces in front of individual houses. Formerly the
only way to access each house was by boat from the canal. Later the connected concrete
walkway was built by Amphawa Municipality. While this change disturbed the privacy ofeach house, it also gave accessibility and more convenience for local people. At the same time
it can be used as a transition space from the house to the stair to access the canal for various
purposes, such as buying things from boat vendors, giving food to Buddhist monks in themorning, and accessing the waterway.

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Figure 2. Cultural environment and architectural characteristics of the Klong Amphawa community

Sustaining the cultural environmentMichel Bonnette has written “Why work at preserving the fishermen’s village if the mill upstream ispolluting the river and killing the fish?” The approach to sustain this Gaia system must be integrated
and must be holistic. To safeguard Amphawa’s natural ecosystem, cultural landscape, architectural
heritage and the way of life of its people, we cannot just conserve selected aspects separately, butrather all of them as a whole. We have the means to restore any of the old buildings, but how can we
maintain the local activity to keep the building alive, how can we continue the orchard activities tosustain the cultural landscape as it used to be? How can we conserve and sustain both Amphawa’s
tangible and intangible heritage?
The definition “cultural environment” was put into early use by the Office of Natural Resources andEnvironmental Policy and Planning (ONEP) to control development around monuments in Thailand.
During the years of 2003-05, ONEP had been aided by Danish International Development Agency(Danida) to run the project called “Thailand Cultural Environment Project (TCEP)” which aimed tobroaden the idea of conserving the cultural environment in Thailand. The Ministry of Environment
and Energy, of the Forest and Nature Agency in Denmark had defined the term cultural environment

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as “Geographically delimited areas that reflect important features of societal development; it is a third
dimension of the environment related to the cultural and historical aspects of the physicalsurroundings.” ONEP adopted this definition of cultural environment for application in the project(TCEP), broadening the previous one to become “The environment or area related to humandevelopment from the past until now, which contains value in art, culture, history, archaeology andtechnology including the monument which should be counted as part of the environment as a whole.”
Cultural environment conservation in Klong Amphawa
After identifying the natural and cultural resources of the Klong Amphawa community, the Thailand
Cultural Environment Project ran many activities to support and revitalize these resources, all aiming
to sustain the overall cultural environment. These activities can be divided into three main categories.
1. Local planning process. This is the planning process of working together with the local
government, Amphawa Municipality. One of the biggest threats to cultural heritage inAmphawa is from local development policy. An attempt at integrated planning has been
initiated, and is still in progress, involving Amphawa Municipality.
2. Demonstration project. Selected buildings were restored as a demonstration of the potential
for restoration. One orchard system was revitalized by one organization with the aim ofserving as example for the local community.
3. Awareness raising programs. Many activities were run with the youth in the area to educate
the young generation in understanding the high value of their natural and cultural heritage.
CASE STUDY 2: TROK BAAN JEEN COMMUNITY
One of the important traditional communities in the northern part of Thailand, the community of Trok
Baan Jeen was settled and established on the bank of Mae Ping river in Taak province. Originally,
Chinese merchants set up a market community for which the place name was given that referred to theChinese, as “Jeen” in Thai.
Trok Baan Jeen was a trading and commercial center because of its location along the Mae Ping river,a major transportation route from Bangkok to the north. Since it served as a market community, Trok
Baan Jeen did not produce agricultural products or cultivate rice, but it depended on a town system
where agricultural areas situated around the town, especially on the other side of the river, delivered
products by boat for sale in the community.
The integrity of the Mae Ping river and its environment in the past allowed people to use the river invarious ways. It served the community and the town as a transportation route, a means for the forestry
industry at that time to raft logs downstream from the northern region. People used the water from theriver for everyday life. Data from interviews reveal that during the dry season sand islands appeared

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in the river. which used to be almost 1 kilometer in width. Local people went there for recreational
purposes, and also to collect usable and potable water that filtered through the sand.
Architectural characteristics
The main architectural feature which uniquely characterizes the place is a “wooden shop house with a
traditional Thai roof,” situated along a small street called trok, showing how the structure of the place
becomes the place name. A trok serves the area as a public space whereas a small space call tern infront of the shop acts like a welcome and transitional space, before climbing two or three steps toenter the inside of the shop. The way local people would buy things was by asking the shop owner topick the goods they preferred, while the owner stays in tern area in relaxing ways such as lying down,
sleeping or chatting, from where they can observe what was going on in the trok, while private space
is used in the back of the house. There was some advantage for buildings situated on the riversidewhere the other side can used as the back of the house, for the kitchen, rice storage, and water well.
The other type of architecture in the area consists of residential houses, or structures that had been
adapted for living purposes. The most valuable example is the baan yai or the main house of the
Sopanodorn Family Residence. This had adopted a western style with wooden decoration, a hip andgable roof with rectangular cement tiles, plus a main entrance with a Chinese character.
The architectural characteristics of the place had developed through factors such as social stability andcontinuity of the community as a commercial and trading center, its coherence with the environmentand cultural ecology, use of skilled craftsmanship, and unique wooden materials. These various
aspects can be elaborated as follows.
Commercial and trading activities. The architecture of Trok Baan Jeen had been designed and built
to serve these activities and functions. The combination of a hierarchy of spaces and the circulation ofpeople, inside and outside the structures, has developed from these factors which are reflected in thephysical characteristics.
Construction materials. Because the Mae Ping river was the main transportation route for the
distribution of timber as logs to the other part of the country, there was a place to stop and check thewood around the community. Teak wood, also available from the forest nearby the town itself, is themost valuable and important material for construction. The rich availability of teak wood can befound in the structure and elements of the buildings, which used the whole length of logs without any
joining, including for wooden decorative ornaments, which have high artistic value. The terra cotta
roof tiles, with unique details, can be produced in a nearby swamp area not too far from thecommunity.

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Craftsmanship. As Trok Baan Jeen was a commercial center, the place always invited craftsmen andskilled labors who used the area for exchanging building knowledge. Local people can decide who
and how they want to build the house with quality materials and skilled craftsmen. In some cases,
local people could buy part of a house to be redesigned and reconstructed for a new house.

Figure 3. Architectural heritage of Trok Baan Jeen

Cultural landscape and ecology. The Mae Ping river formed the unique natural landscape as
background for the settlement form and built environment. The community had developed with bothland-based and river-based characteristics, such as the small street (trok) as the main backbone
together with small walkways to reach the river, and the orchard behind the community where there is
the main temple, Wat Nam Hak, as a religious center for the community at the south end of the trok.
Period of change for Trok Baan Jeen
Around the 1940s, the Mae Ping river had started to fill up and its width narrowed. The riverside ofTrok Baan Jeen was replaced by a landfill to be used for government purposes. The effect of thelandfill was to place an area of higher level land in between the community and the river, so the rain
could no longer drain out to the river naturally. This affected to the structure of the old houses and theland underneath them.

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The process of change affected the way of life and physical character of the community. From being
an active trading community, it turned into a peaceful residential area in an urban part of Taakprovince. The architectural heritage still proudly remains, but is degrading. The existence of thecultural heritage and its value are waiting to answer in a meaningful role for the people and future
generations.
Statement of significance of Trok Baan Jeen community
As the result of study, the community’s significance was found to be highly intact in both its culturaland socioeconomic values. It can be stated that “this community shows an example of settlement
which harmonized with the environmental and ecological context, and the cultural context byreflecting its trading and commercial purpose. The trok structure and architectural heritage still
maintain their condition of authenticity. The kinship system is an important measure to developing theconservation planning process and prolonging the quality of the place for the future.”
Study process and conservation status
The project has been launched with a partnership of three organizations, which are (1) the Trok Baan
Jeen Club, (2) Sook Architects Limited, and (3) the Faculty of Architecture, King Mongkut’s Instituteof Technology, Ladkrabang. Students in the Conservation class surveyed the architectural heritageand made an inventory report, including measurements of important and decayed buildings, to set up
the restoration framework. The architectural team made the conservation master plan, together withthe local community, which aims to revitalize the quality of life and solve infrastructure problems
such as drainage and lighting for safety, while balancing this by keeping the cultural value andcreating new interventions to enhance the quality of the place, and integrate it with the larger urban
area.
This has been done through a participatory process involving local people and developing
conservation measures in keeping with academic standards and practice. The project is now underway
and open for involving the participation of further partners. The Trok Baan Jeen community wasawarded by the Association of Siamese Architects under Royal Patronage as an “Architectural
Heritage Community” in 2009.

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Figure 4. Participatory process in Trok Baan Jeen community revitalization

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Viet NamVO Duy Trung

Chief
Division of Monuments Restoration Management in Hoi An Ancient Town
Hoi An Center for Cultural Heritage Management and Preservation

Management and Conservation of Cultural Heritage: Hoi An, Viet Nam

I INTRODUCTION TO HOI AN CITY
1 Location and Geographic Features

Position of Viet Nam on a world map

Viet Nam lies on the Indochina Peninsula, in Southeast
Asia. Vietnam's territory runs along the east coast of thepeninsula. Vietnam has land borders with China (1,281km), Laos (2,130 km) and Cambodia (1,228 km) and

Map of Viet Nam

3,444 km of coastline bordering the Gulf of Tonkin,South China Sea and Gulf of Thailand.
The city of Hoi An is about 50 kilometers north of the city of Tam Ky (the capital of the province)
and about 30 kilometers south of Da Nang. Hoi An has nine wards along with four communes.
Situated on the Thu Bon estuary, a network of waterways about 34 kilometers long, Hoi An is close to
the ocean. Off the coast is an archipelago of eight small islands: Lao, Ông, Khô Mẹ, Khô Con, Tai,Dài, Lá and Mồ, known collectively as Cu Lao Cham (Cham Islands).

1
214Map of Quang Nam Province showing the locationof Hoi An

Hoi An Ancient Town

Map of ancient Hoi An

Aerial view of Hoi An Ancient Town

2 History and Development of Hoi An
2.1 Prehistory. The history of Hoi An can be traced to the late Sa Huynh period (200 BC to 200
AD). Archaeological relics, Chinese copper coins (Wu Chou and Wang Meng period) and Xi Han
period iron items similar to artifacts from Dong Son and Oc Eo sites indicate that the Sa Huynh
traded with communities in China and in central and south Viet Nam. Archaeological excavations in
Bai Ong indicate that the Cham Islands have been occupied for over 3,000 years.
2.2 Champa period. During the Champa or Cham period (200–1500 AD), Hoi An was known as
Lam Ap Pho (Champa city). Between the ninth and tenth centuries, Lam Ap Pho became an importantcommercial port, which attracted many Arab, Persian and Chinese merchants trading goods. Remainsof Cham era foundations, wells, stone statues, along with pottery and ceramics, jewelry andcolored glass attest to bustling trade in Lam Ap Pho during the Cham period. Ultimately, theprosperous Trà Kiệu kingdom was weakened through continuous war with the Dai Viet to the northand the Khmer to the southwest. The Dai Viet eventually gained the upper hand and gradually
expanded southward. Le Hong Duc (1471) and Nguyen Phuc Tran (1693) pushed the bordersouthward to the Cu Mong Pass in modern day Qui Nhon city (Binh Dinh province), effectively
annexing all Cham areas.
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2.3 Đại Việt - Đại Nam period. From the sixteenth century on, thanks to the advantageous geographical position and various external and internal factors, many foreign merchant ships from China,
Japan, Portugal, Netherlands, British, France, etc. came to Hoi An to trade in commercial goods.
Japanese and Chinese merchants in particular had been permitted by Nguyen Lord in Dang Trong tosettle for their living and trading. Besides these residents, cultures and craft experiences from many
areas and countries gathered at Hoi An, which quickly became a place of abundant goods, produce,
and well developed domestic and foreign trade. Hoi An remained a prosperous trade port for several
centuries. This was the period of greatest development for Hoi An as a port town in the past. As aresult of the creation of Hoi An communities through many centuries many valuable cultural
heritage treasures remain, including tangible and intangible aspects. On December 4, 1999, Hoi An
was inscribed on the World Heritage List by UNESCO, providing new chances for social andeconomic development in Hoi An.

II TANGIBLE HERITAGE
1 Urban Lay-out
According to archaeological evidence and historical
documents, due to the accumulation of silt and changes
in the course of Hoi An river, the port area has graduallyextended southward. Nguyen Thai Hoc street was createdsometime between the late eighteenth century and theearly nineteenth century to further expand the port area.
Streets running east-west were interconnected withperpendicular streets resulting in a grid-like pattern. This
grid of streets made the town very different from a

Location of Hoi An’s first settlement according totraditional village which usually evolves organically,archaeological findings

with winding streets. The town of Hoi An today occupies
an area of about 300,333 square meters.

Hoi An between the late eighteenth and the earlynineteenth century

Hoi An today

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2 Built Heritage
The built heritage of Hoi An reflects the cultural influence of diverse peoples who settled andworked there in the past. Though trade with Japan lasted only around half a century (1592-1636),
the cultural legacy of those traders can still be seen in Hoi An today because of its style. The Hoi An
Center for Monuments Management and Preservation has identified more than 1,350 relics
considered important for the preservation of Hoi An, and of these 1,273 are artistic or architecturalfeatures, which include civil structures (houses, bridges, wells, markets), religious structures(communal houses, temples, assembly halls, family chapels) and other special constructions (tombs,etc.) that Japanese settlers built in their quarter of the city. Likewise, many of Hoi buildings feature
Chinese architectural influences.
There are five major types of traditional buildings in Hoi An, reflecting different purposes: houses,
shop houses, family chapels, communal buildings, and assembly halls. These will be examined in turn.
2.1 Houses. The houses of Hoi An Ancient Town are a harmonization of Vietnamese, Chinese,
Japanese, and French architectural styles. The talented hands of many craftsmen have taken great
pains to internalize and integrate these styles and building traditions into a suitable arrangement ofstructure and decor to produce a vibrant architectural expression.
Today, these houses continue to be renovated and maintained using the same materials and skilledcraftspeople. Kim Bong woodcarving village has a 12-generation woodworking tradition, and its
craftspeople have made an immeasurable contribution to maintaining the old town. In Thanh Ha,
traditional roof tiles and other terra cotta products continue to be made for restoration of buildingsin the old city. Conservation follows an integrated model in Hoi An, for not only are the buildings
themselves conserved, but also skills and traditions associated with their conservation.
The old houses can be classified into five sub-categories, based on their external components.
1. One-story building with wooden walls. These are mainly located along Tran Phu St., and datefrom the eighteenth and nineteenth centuries. A typical example is the house at 48 Tran Phu St.

One-story building with wooden walls

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2. Two-story buildings with eaves. A typical example is located at 05 Nguyen Thi Minh Khai St.
These were built in the late nineteenth and early twentieth centuries.

Two-story building with eaves

3. Two-story building with wooden walls and balconies. These were built in the late nineteenth andearly twentieth centuries.

Two-story building with wooden walls

4. Two-story brick buildings, which can be seen along Tran Phu St. and Nguyen Thai Hoc St.
These buildings were built in the late nineteenth and early twentieth centuries.

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Two-story brick building

5. Two-story French-style buildings, which can be found on the western end of Nguyen Thai Hoc
St. These buildings date back to the early twentieth century.

Two-story French-style building

2.2 Shop houses. Hoi An’s complex of wooden shop
houses is one of the largest in Southeast Asia. Within
Viet Nam, similar building styles were commonplace inthe old quarters of Ho Chi Minh City and Ha Noi, butthey have all but disappeared today.

Plan and section of a one-story wooden-walled shop house

6219

Air flow in a shop house

Shop houses are built on long and narrow lots along the street. A shop house is composed of threebuildings in a linear arrangement: the front (main building), a rear building (annex) and a building
which connects the front and rear buildings (bridge building). The building facing the street isusually reserved for commercial purposes. An open courtyard, located between the front and rearbuildings, is paved with stone and has an ornamented basin on the wall facing the bridge building.
This building style allowed several generations of a family to live close together, while maintaining
privacy.
2.3 Family chapels. Family chapels are detached buildings built on a square lot, usually located insmall alleys and set back from the street. The lot is enclosed by a fence and there is large garden in
the same fashion as for as a shop house. The core plan and structure are the same as the mainbuilding of a shop house, but with eaves on all sides. Often, a separate residential building is locatedat one side of the lot. Family chapels are primarily used for ancestral worship and are places where
the younger generation is taught to pay their respects to the ancestors. Family chapels are symbols ofstrong ties among clan members.

The Truong family chapel

The Kim Bong communal building

2.4 Communal buildings. Communal buildings serve as both religious and cultural centers for Hoi
An’s Vietnamese and Vietnamese-Chinese communities. Communal buildings are the main places
for social and cultural interaction among clan members and people from the same village. They are7
220

used as meeting halls and for holding gatherings to celebrate festivals and special events. Hoi An’scommunal buildings are still in use today.
2.5 Assembly halls. The assembly halls in Hoi An
were built to serve the Chinese community. The halls
incorporate

Chinesereligiousandarchitecturalelements conforming to the principles of feng shui,
but also integrate architectural and stylistic elementsfrom Vietnamese building traditions. While having
similar functions to communal houses, assembly
halls have traditionally also served as places inwhich trade deals are negotiated.
The Phuc Kien assembly hall

3 Other Heritage Structures

Other miscellaneous types of structure comprising the built heritage include religious, utilitarian, andmortuary features, as discussed below.
3.1 Pagodas and temples. Religious architecture is relatively
ornate compared to other architecture. Religious structures arescattered throughout the town of Hoi An and surrounding areas.
One example of religious architecture is the Phuoc Lam pagoda,
which is located in Cam Ha village, about 3 kilometers from Hoi
An.
3.2 Bridges. One example is the Chùa Cầu (Pagoda Bridge), also
known as the Japanese Covered Bridge or Lai Vien Bridge. It issaid that this Japanese covered bridge was built in the earlyseventeenth century by Japanese, and that it relates to the legend of

Front of the Quan Kung temple

an animal named “Cù.” The creature’s head is said to be in India, its back in Vietnam, its spine
running along the coast in Hoi An, and its tail in Japan. When this monster moved, there were
earthquakes in Japan. The Japanese believed that they built this bridge on its spine, though it isunclear whether this was meant to appease the creature. The bridge h a s been restored at least six
times, though its pillars and supports are part of the original construction.
The bridge is covered, meaning it has a roof. Providing a roof meant that the bridge could act as a
refuge from rain for pedestrians, but more importantly, it meant that the wooden structure would last
longer in Hoi An’s tropical climate. This bridge is arched and has seven spans. It is lined by two
8221narrow corridors on either side, which house religious objects. Thus, it is also a place for religious
activities.
The bridge cannot be said to be in thebuilding tradition of any single past or
present group of inhabitants. The structureand decorations of the bridge demonstrate a
combinationofarchitectural

styles,Vietnamese, Chinese, Japanese, and also
the West. Perhaps this is for the best, as
bridges are sometimes seen to symbolicallylink peoples together; the bridge then
The Japanese covered bridge, a landmark of Hoi An built
heritage

becomes an image for friendship among
Hoi An’s inhabitants and visitors.

3.3 Ancient wells. Ancient wells can be found in many
locations both inside and outside of Hoi An Town. The wells
were built using a structure and shape to conserve the water’spurity. Most frequently wells were built out of bricks to help
filter the water. The oldest wells found to date were dug by
the Cham and are square in shape. According to some very
early historical documents, water from Cham wells was used
to provide freshwater to Arabic and Persian merchants when
they stopped in this area in the ninth and tenth centuries.

An ancient well in Hoi An

3.4 Tombs. There are tombs of Cham, Vietnamese,
Chinese,Japanese,

Portuguese,

Spanish,andGerman inhabitants in Hoi An. Aside from their
obvioussocialimportance––linking

thelivinggenerations to their ancestors––headstones

havebeen an invaluable source of information, which has
helped scientists research the origin of resident groups,
and helped write Hoi An’s history.

Seventeenth century tomb of a Japanese merchant

9222

Urban context

III CHALLENGES TO HOI AN ANCIENT TOWN
1 Challenges from natural conditions
Due to its location at the end of the lower section of Thu Bon river, Hoi An suffers frequent strong
typhoons and major floods annually. Moreover, most of the historic buildings in Hoi An Ancient Town
are mainly wooden structures over 100 years old and located on an unstable geological foundation(alluvial ground along the town’s lower section), and are further subject to many disadvantageous factors
from the severe climate, which is sunny, hot, high in humidity, and rainy in addition to the typhoons.
These are the causes of frequent disasters in Hoi An. The number of floods is increasing annually, andthey are becoming more severe and prolonged because the rivers are shallow or extended, and thecurrent patterns have changed. Every year two or three floods on average are seen in Hoi An, with eachflood usually lasting from two to four days.
The changing and extending of rivers and currents are also the cause of environmental pollution in thedry season, and of landslides on the river bank. These threaten the traditional villages along the rivers,
including Hoi An Ancient Town.
In Hoi An, fire and termites are also a threat to the existence of the ancient town. The historical houses
and buildings are mainly made of wood and are close together. The density of perishable materials isthus high. Recently, many inflammable goods are displayed and stored up everywhere, such as silks,
pictures, etc., and the local people use more and more electric appliances, which also pose a danger offire.
2 Challenges from human factors
The change in local people’s lifestyle is at present the most important human factor directly
challenging the Hoi An World Heritage, because more than 82 percent of all historical houses are
owned by local residents.
Recently restoration and repair of historical houses and buildings has proceeded at a rapid pace and is10
223

difficult to control. In order accommodate trading activities and the demands of modern life, there are
too many factors infringing on the restoration, repair, and use of historical houses in Hoi An Ancienttown. These have affected the historicity and authenticity of the heritage properties. Structures become
younger and their value is reduced by arbitrary enlargement of the house’s area, removal of partitions,covering the court-yard’s area and the façade, and even removing the spaces for ancestor worship.
These impacts detract from the value of Hoi An cultural heritage, affecting also the intangible heritageby altering the local residents’ daily life, in addition to the townscape, environmental landscape, etc.
At present, materials for heritage restoration (ironwood, peck wood, lime mortar, bricks, yin-yang tiles,etc.) are difficult to obtain because the forest exploration in Quang Nam province and kilns operatingin the traditional method are forbidden, in order to protect the environment.
The inappropriate use, purchase, and transfer of heritage properties in some cases has changed themfrom their traditional cultural value over the generations into shops purely for displaying and trading
goods. The situation of ownership changing from long-term local residents to people from the outside,and mostly young people, is more and more common. This has seriously eroded traditional culturalvalues of life-style, manners and customs, behavior, culinary habits, etc., in Hoi An.
The local economy mainly depends on the tourism-service industry, while conditions for development
are limited. Trading activities are mainly focused in the center of the ancient town, while the rural
areas remain underdeveloped.
To note some additional problems, first of all, some big projects for promoting the economy in general,and the tourism-service industry in particular, have not yet been sufficiently funded. Also, theinfrastructure for economic development, especially roads to accommodate more traffic, has not yet
been improved. Additionally, construction planning and architectural planning still lack strategic
vision.
Although the potentials of the river/water/sea/island/beach in Hoi An, as well as for Cham Island, as aworld biosphere reserve are promising, it is difficult to find investors with sufficient capacity andconfidence. In addition, development in Hoi An faces stiff competition from neighboring provinces.
Some traditional villages have seen explorative development as eco-villages. Others have followed the
direction of economic development, while others gradually decline due to urbanization and tourism
promotion projects going in the wrong direction.

11224

IV CONSERVATION OF THE BUILT HERITAGE
Most heritage structures in Hoi An were built in the early nineteenth century (only a few, such as
chapels and tombs, have been standing since the seventeenth or eighteenth centuries), with a totalof over 1,300 items; the category of houses holds the majority, with over 78 percent making up theappearance of Hoi An Ancient Town. Most of the houses were built chiefly of wood, brick walls(functioning as shelter), and a concave and convex-tiled roof.
There are two types of traditional residential buildings in Hoi An. They are shop houses and family
chapels. Shop houses are built on long and narrow lots along the street. Family chapels are located insmall alleys and set back from the street.
In 1997, the national government of Viet Nam, the provincial government of Quang Nam, and themunicipal government of Hoi An started to invest state funds in restoring government-owned historic
properties in Hoi An, in preparation for the nomination of Hoi An as a World Heritage site. Foreign
donors also contributed by providing funds for the restoration of ancient houses, along with technicalexpertise which helped build the capacity of local heritage site managers.
In December 1999, the ancient town of Hoi An was inscribed as a World Heritage site. Encouraged by
the upsurge of domestic and foreign tourist arrivals following the inscription, the national, provincial
and municipal governments have invested in long-development as a tourist destination.
1. Zoning within Hoi An
The boundaries of Hoi An Ancient Town were established by the Cultural Heritage Law of theVietnamese government and the Hoi An People’s Committee statute on managing, preserving andutilizing Hoi An Ancient Town. To provide guidelines for the appropriate conservation, the town area
is divided into two zones, as follows.
1.1 Zone I: Intact Protection Zone. This zone covers the monuments in the ancient town and theareas determined to be part of the monuments’ original elements, which must be protected in their
original state.
Regulations for Zone I are as follows.


All the original elements of the historic town’s composition, architectural styles and details,
the townscape and environment and its infrastructure shall be completely and strictly protected.

All the moveable historic objects (antiques, old written documents, etc.) should also beprotected in the same manner.

All use, restoration, repair of monuments should ensure authenticity in all four aspects: design,technology, materials, townscape and environment.

12
225

1.2

Zone II: Ecological Environmentand Landscape Protection Zone. This is
the area surrounding protection Zone I,
wherestructurescontribute to the

can

be

built

promotion

of

that
the

monuments’ value, provided that these
do not affect the architecture, naturalscenery and ecological environment of themonuments. Zone II is divided into Zone
II-A and Zone II-b, each with its own set
of detailed regulations pertaining toZoning plan for Hoi An Ancient Town

physical interventions in the buildings and new development.
Regulations for Zone II-A:


Construction and adjustment are possible according to specific locations but they should
contribute to setting off the architectural value of the historic town in particular and its
townscape and enviroment in general.



All the new built projects should:
 NOT have more than 2 stories (except for some especially important and unique cases)
 NOT be higher than 10.5 meters
 NOT have flat, modern and concrete roofs. This means that all the roofs should be pitched.
 Have roofs and wall colors in harmony with those in the core area.

Regulations for Zone II-B:


Tall buildings are possible but their height should not exceed 10 meters and should not havemore than 3 floors, except for especially important and unique projects.

All the newly built projects should NOT have flat, modern and concrete roofs. This means that
all the roofs should be pitched.

2. Classification of Historic Buildings
The Hoi An Centre for Monuments Management and Preservation (HACMMP) has classified thehistoric buildings of Hoi An into categories according to their historical, cultural and scientificvalue, as shown in Table 1. This categorization enables the authorities to determine the value andclassification of the property, and whether government subsidies are applicable for their restorationand maintenance.

13
226

Table 1. Classification of Historic Buildings in Hoi An
Category

Criteria

Special Category
and Category I

All original elements of these unique architectural and artistic structures have been
maintained in an integrated manner. Their elements have special historical, culturaland scientific value.

Category II

All original elements of the front building, façade and roof tiles have been maintainedin an integrated manner. Their elements have historical, cultural and scientific value.

Category III

The yin-yang tiled roofs and some original parts of the house have been
maintained in situ. Their elements have some historical, cultural and scientific value.
These houses are built in modern style using modern materials s uc h as concrete.
They do not contribute cultural significance to the complex of architecturalmonuments in Hoi An Ancient Town.

Category IV

Regulations for structures falling into the above categories:Special and Category I. Restoration can be done only when urgent and necessary to save themonuments. When carrying out restoration, the authenticity of each construction detail and theentire building should be strictly ensured. Use serviceable parts when repairing or restoringmonuments to retain their old appearance and value. This also means maintaining theirauthentic beauty.



Category 2. All original elements of the front building should be maintained. The remaining
portions of the house, depending on their specific position and surrounding architectural style,can be rebuilt for the interior, but the roofs must be covered by yin-yang tiles, and no
extension can be made. When sufficient scientific evidence is collected, it is necessary to
restore the deformed parts in the house.

Category 3.
 The front building: roof tiles, facade and the two visible sides must be maintained in
the traditional style of houses of Zone I; the interior of the house can be renovated in
new function but all must be approved by authorized agencies and must not have anegative influence on the surrounding townscape.
 For the remaining buildings of the residence: depending on their specific positions andsurrounding architectural style, their interior could be renovated or could be extended
as regulated in the Ancient Town, while the roof should be covered with yin-yang tiles.

Category 4. When repairing, restoring or rebuilding, the roof must be covered by yin-yangtiles, and the facade and floor of construction have to harmonize with the townscape. The
remaining portions of the house, depending on their specific position, height and surroundingarchitectural style, can be extended as regulated to harmonize with the townscape and not hideother valuable architectural constructions.

Out of 1,254 identified heritage buildings in Hoi An, a total of 929 houses are privately owned, 120
are collectively owned and 205 are state owned. Collectively-owned properties belong to associations
14
227

and community groups, such as the Fujian Chinese community of Hoi An.
In 2003, one of Hoi An’s heritage buildings collapsed. In response, the municipal government
directed HACMMP to conduct an investigation of the entire built heritage of Hoi An. HACMMP
prepared a Master plan for the restoration of 30 government-owned historic buildings and 52
privately-owned houses, which would cost about US$ 3 million. This estimate would cover the
restoration of 30 government-owned properties and partial subsidies for restoring 16 privately-owned
historic buildings.
3. Restoration of Government-owned Heritage Buildings
Between 1997 and 2007, nearly 200 government-owned heritage buildings were restored at a total
cost of more than US$ 5 million (see Table 2). The municipal government provided over 50 percent of
the total funding, while the national and provincial governments contributed over 40 percent.
Financial support from foreign donors accounted for 5 percent of the total cost. In addition toproviding funding, foreign donors also provided technical support and management assistance.

Table 2. Heritage Buildings Restored and Funding Sources, 1997-2007
Funding source

State-owned heritage
properties restored

Municipal budget

National and provincial

Foreign donors

Year

NumberBudgetNumberBudgetNumber1997

10

238,930

8

56,2301

157,700

1

25,0001998

5133,0002

32,7001

69,0002

31,3001999

13552,3085

84,518

7426,8811

40,9092000

13246,241

1

27,272

11

201,060

1

17,9092001

32371,37027

163,8123

130,5582

77,0002002

18

438,65810

112,6337

301,275

1

24,7502003

22522,416

11

96,40010

369,776

1

56,2402004

31

1,954,754

17

1,388,024

13

543,200

1

23,5302005

16

474,02816

474,0282006

6

202,2076

202,2072007

2

29,1292

29,129Total

168

5,163,041

105

2,666,953

53

2,199,450

10

296,638

Percent100

51.7

BudgetNumber

42.6

Budget5.7

Source: HACMMP Report on Built Heritage Restoration. Funding amounts are in US$.

4. Restoration of Privately-owned and Collectively-owned Heritage Buildings
About 1,125 privately owned heritage buildings were restored or repaired by local building owners.

15
228This figure is based on the number of restoration permits issued during the period. Before any
repair or restoration work can be initiated on a heritage building in Hoi An, the owner is required toobtain permission from the Hoi An People’s Committee and other relevant authorities, such as the
Hoi An Center for Monuments Management and Preservation. The restoration process can only startwhen the owner has developed a plan and identified a budget. Because the cost of restoration ofhistoric buildings is high relative to the income levels of most of the owners of heritage buildings, themunicipal government provides a partial subsidy for private conservation endeavors. Financial
assistance for restoration is based on the classification of the building according to its heritage values,
its location and the economic situation of its owner.
Table 3. Financial Contributions in Restoring Privately-owned and Collectivelyowned Ancient Houses

Classification
SpecialCategories 1 and 2
Categories 3 and 4

Located on main roads
Government
Owner
contribution (%)
support (%)
60
45
40

40
55
60

Located in small lanes, alleys
Government
Owner
support (%)
contribution (%)
75
65
60

25
35
40

In 2008, in order to support private homeowners facing financial difficulties in restoring theirbuildings, the municipal government devised a supplementary method to help: in addition to any
financial support based on the value of the monuments, the homeowners have to cover 15 percent of
the project’s estimated cost at the time of restoration, with the municipal government making a nointerest, three-year loan for the remainder. Also, scientific documentary file making, help inplanning and estimating the cost, and technical advice on the repair and restoration of heritagebuildings is provided to owners of historic properties by the HACMMP through the Consultancy
Office for Relics Restoration and Heritage Information. In some cases the local government haspurchased privately owned heritage buildings from families who have economic difficulties and want
to sell their houses. In these cases, the government has renovated the houses and allowed theprevious owners to continue to live in the same place at a favorable rent. This has prevented outside
interests from purchasing the properties and has enabled the residents to remain in their homes. Thisinitiative has only been applied in a few cases, however, due to limited funds. The municipal
government has devised a strategy for collecting entrance fees from tourists to contribute tofunding the purchase of privately-owned heritage buildings and to funding the restoration andmaintenance of all built heritage in Hoi An. These funds are also used for the improvement of tourist
and public facilities, and for the conservation of intangible heritage of Hoi An.

16229

V MEASURES FOR POSTERITY
The following items are suggested here as key points for efforts to secure the conservation of Hoi An.


Building the Master Plan and long-time orientation for the development of Hoi An;
constructing and upgrading the rural and urban infrastructure system; protecting the social andecological environment.



Building and developing Hoi An harmoniously between fields and developed areas, balancing
the speed of growth with quality of development, and economic growth with social progress.



The local government should determine that the tourism/service/trading industry plays a keyrole in the economic structure of city and contribute to a multi-occupational, fast-growing, anddynamic economy. Both cultural tourism and eco-environmental tourism should be developed.



Building Hoi An into the main tourism attraction in central Vietnam. Hoi An tourism willdevelop based on links between the values of the Hoi An World Heritage site with the World
Biosphere Reserve

Coordination should be maintained with Cu Lao Cham and other World Heritage sites in theregion.



The principles of “The perfect heritage preservation and sustainable tourism promotion” are to
be implemented. This means that heritage preservation is not only to give maximum
protection for the authenticity of the heritage, but also that the cultural traditions and ecoenvironment must meet the demands of the current residents’ livelihood.

All resources should be mobilized for local economic, cultural, and social development ingeneral, and for Hoi An heritage management, preservation and promotion in particular(mainly the local resident’s awareness for their heritage preservation). However, the heritage
management and preservation will be not separated from administration and community
management, and local social and cultural activities.



The capacity for recruiting quality local staff must be developed and maintained.

International investment should be attracted, along with domestic private investment andsupport from local governments at all levels, for developing the local economy (including
heritage preservation).

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230

Final Reports
by Participants

IV. Final Reports by Participants

Bhutan
Namgay DORJI

Training Course on Cultural Heritage Protection in Asia/Pacific Region,
30 September to 29 October 2011, NARA, Japan “Preservation and
Restoration of Wooden Structures”
The protection and conservation of cultural heritage in Bhutan is my main responsibility, as I havebeen engaged as a conservation engineer in restoration under the Division for Conservation of Heritage
Sites in the Department of Culture. The planning and management of restoration sites, supervision,and retaining the values of the old structure are some of the responsibilities related to my work. The
restoration works to which I am usually assigned are at monuments where the structure is mostly builtof timber.
Accordingly, I feel very privileged to be one of the participants in the training course, as it is verymuch related to the kind of work I am undertaking at the moment in my country. Moreover, the choiceof the training place (Nara) among many other places in Japan has made me feel very much at home as
it has a similar landscape, temperature range, and mountains as in my country. I am deeply impressedwith the ancient monuments and structures which in themselves are a valuable resource for theparticipants to study and learn about cultural values and their importance.
As I have already mentioned in my country report presentation, Bhutan has a very rich cultural
heritage, which includes a large number of ancient monuments, works of art, and sites, including agreat number of timber structures. It is a great responsibility to conserve and maintain them in goodcondition in order to present them to the future generations to help them understand our ancient
practises. To make this dream come true, it is very essential to have proper management skills, correct
decision making abilities, and proper approaches at the right time.
So far, I have been engaged in different types of conservation projects in my career to date, and thatinvolvement has helped me gain much experience in the field of architectural conservation in mycountry. Although I have gained good experience, I am also left with many doubts regarding the
problem-solving methods, especially in the conservation of timber structures, as I have never had thechance to learn the conservation practises of the other countries.
Now, it is my great pride to say that I have learned and gained many solutions to my problems fromthis training on preservation and protection of wooden structures. Throughout the training course, I
have seen many similarities and contrasts with current practices in Bhutan. Considering these facts,
I would like to mention a few important factors which I observed and learned during the one-monthtraining course.

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I. History of Wooden Architecture in Japan
In Japan, most of the buildings listed as cultural properties are made of wood. It is not surprisingthat almost ninety percent of their National Treasures are wooden structures. Century-old methods
along with the modern techniques to carry out conservation work can be observed in Japan. Climaticconditions, geographical locations, traditions and religion influence the style and appearance of thestructure in each region.
Japanese wooden architecture is mostly visible in shrines, temples, castles, and vernacular houses invarious prefectures.
The Japanese began to establish a legal basis for preserving architectural monuments as early as 1897,
and that is one reason why Japan is far ahead in the preservation and restoration of wooden structures
than other countries. The most common causes of deterioration of wooden components are damp rot,leakage from the roof, insect attacks, and poor craftsmanship. However, their concepts of restorationand conservation techniques are very advanced and different from the ones used in most othercountries. They have many World Heritage Sites and many other monuments and places designatedas cultural properties. In fact, Japan has numerous heritage sites and is always giving intensive care
to preserve them. Despite huge advances in technology, Japan has remained protective of its culture.
Better and more practical ways to conserve and preserve historic structures are always sought, thus
safeguarding the cultural heritage.

II. Management of Cultural Properties
Management of cultural properties is the most impressive phenomenon I have noticed in this country.
The system of protection for culture properties appears optimal for the purpose of conservation.
Categorizing, listing and recording of each property helps to take care of all of them under different
states of management, and provides an opportunity for experts to take part in every phase ofmanagement. A proper national policy not based on political influence is a remarkable feature. The
training and management of cultural experts, coordination, and funding are also some of the importantfactors. Bhutan also has a superior management system for cultural properties, but coordination among
institutions and experts is less than optimal. I think this is a very crucial point in the handling culturalproperties, so I would like to convey some of the Japanese methods in the management of culturalproperties to my colleagues who are involved in this work.

III. Approaches to Cultural Properties
The uses of different approaches such as preservation, restoration, reproduction, analysis, etc. fordifferent kinds of situations are some of the best examples I have noticed. The flexibility towards
owners of culture property is very interesting and it can help overcome problems with cultural234

properties. There are also some steps taken to overcome contradictions of Japanese restoration withthe approaches of Western countries. Reconstruction of an entire wooden structure is limited and the
directions of different approaches can be seen.
In Bhutan, we do not have proper legislation for the protection of cultural heritage or a standard
system for such work with respect to cultural property. From the past until now, while conservation oftimber components in heritage buildings has been carried out, the techniques used are very traditionaland most of the time it is either reconstruction or the replacement of timber members with new ones,
with never a thought to conserving the usable items. The restoration of cultural heritage or monuments
is usually carried out when the structure is in critical condition, and during that stage it has to bereconstructed as it can no longer be restored.
Preservation and maintenance of historic monuments that embody living culture is an uphill task inevery country. In our country, the conservation workers experience negative reactions and substantial
interference, from the general public to the end user, if the timber members are not replaced with newones and if the old ones are patched and retained. We as conservators know that fulfilling their wants
and desires will totally change the authenticity, history and cultural values of a particular monument orproperty. Hence, there is always a crisis involved in conservation work.
Accordingly, the knowledge gained from the lectures regarding the complementary and contradictory
aspects of Western philosophy will be useful for seeking a kind of approach that will be based oncontext, community, and cultural diversity.

IV. Natural Disaster/ Risk Preparedness
Natural disasters such as fire, earthquake, tsunami, flood, typhoon, etc. are common enemies tomankind and cultural properties. They cannot be predicted beforehand so that important property
can be removed to a safer place, so we must learn to be prepared to face such disasters any time,and anywhere. The Japanese are trying their best to reduce the risk of damage not only to the people
but also to the cultural properties. They use traditional and contemporary methods to reduce the risk
against such disasters.
In my country, although we have a disaster management division, which was formed after the 2009
and 2010 flood, earthquake and typhoon devastations, we do not have much emphasis in this regard on
the reduction of damage to cultural properties, rather than to the lives of people.
Japan has a very efficient method in the area of risk preparedness and mitigation approach, to ensure
protection for its heritage structures. The detailed and plain approach, such as a red pail with water or afire extinguisher with the simple casing in front of the structure is really practical.

235

Accordingly, from the site visits and on-site lectures during my training period with regard to this topic,
I learned methods and approaches on how to take precautions against such disasters, how to complete
the task of listing cultural properties and assessing damages after a disaster, which I will share with mycolleagues working in those sectors.

V. Conservation Methods
In Bhutan, we lack an advanced systematic approach regarding conservation methods such as thatof Japan. A brief survey and documentation are carried out, followed by conservation or restoration
work which hardly takes more than few months for smaller structures, and about four to five years forlarger ones. But the fact is that this work is always carried out in a shorter period of time compared toJapan for a similarly sized structure due to budgetary constraints. We lack a system for recording anddoing research on the old structures or members which are dismantled during restoration, and they arecommonly burned as firewood. Even in recent years, wooden members of monuments were completely
replaced with new ones during restoration without implementing any methods of conservation. At
present, the conservation division is trying to streamline the system and a certain effort is being madeto incorporate concepts of conservation and preservation of cultural monuments.
To compare the methods used in my country with those of the Japanese in the case of wooden
members, I would prefer conservation in a manner similar to that of Buddhist temples where thestructure is inspected and necessary conservation work carried out, compared to the case of Shinto
shrines which are totally reconstructed every twenty years with new timber. I prefer replacing only
the damaged or unsound timber members, as new construction has a major impact on the resources of
the country and the continuity of knowledge of craftsmen involved in conservation work. When we
conserve those structurally sound timber members and reuse them we directly reduce the requirements
for new ones, even though that would benefit the economy of the country, and we also enhance theskill of craftsmen as they will be engaged in conservation work almost every year.

VI. Documentation and Recording of Cultural Properties
The practical work carried out at the Tanaka family farmhouse has given me immense knowledge about
how to proceed before the restoration or conservation work is carried out. Bhutan can also adopt themethod of documentation of cultural properties from the Japanese system, such as having a standard
surveying and documentation system as guidelines before carrying out any restoration or conservation
work, in order to retain the authenticity and originality of the structure.

VII. Prevention of Insect Damage to Wooden Structures
It is surprising to know that simply knocking on a piece of wood, or making keen observations of thepremises, will give some idea of the existing condition of the wooden structure.

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I have learned a lot about how Japanese conservators control insect damage to wooden components.
It has been significant learning the different aspects of dealing with different varieties of insects, and
it is a great solution to apply those ideas and methods in my country while working with timber. We
have many insects such as termites which cause severe damage to our wooden structures, but due to alack of specialised experts or professionals who can deal with that kind of problem, it has always been
the insects that won from mankind, since the local methods applied to this problem have not proved
efficient.

VIII. Observations from Country Report Presentations
I observed and gained considerable extra knowledge from the presentations of the country reports by
the different participants. The methods and types of materials used are very different from country tocountry, but they are very practical, and I am planning to incorporate some of this in my country, suchas the following.
- Using bamboo as scaffolding during restoration or conservation.
- Using bamboo sticks on the walls or roofs as seismic measures.
- Using tong oil on the timber members to prevent decay or insect attack as done in
Hong Kong.
- Using tobacco leaves rubbed on the timber members to prevent insect attack.

IX. Survey on Painting and Plans for Painting Restoration
In our country, almost all the religious monuments are glorified by both external and internal paintings,
with internal paintings in particular having great significance as a way of translating the religious
themes into symbolic colours and patterns. However, restoration of painting that involves complete
repainting leads to a loss of the original, which had been maintained as historical or cultural heritage.
From the on-site lectures and practical training on this topic, I learned that the old painting which
has great historical values can be preserved with its values in its current form by implementing themethods followed by the Japanese conservators.
Accordingly, upon returning to my country, I would like to share this method of painting survey andrestoration with my fellow conservators, in order to protect the values of the old paintings.

X. Conclusion
From my point of view, the ACCU training course on the cultural heritage in the Asia/Pacific region for2011 on ‘Preservation and Restoration of Wooden Structures’ was very useful for all the participants,
who are professionals in their own fields in their individual countries, and the knowledge and237

experiences gained here can be adopted and integrated into the cultural heritage protection activities intheir countries.
Moreover, I personally found that I have gained a lot of knowledge and experience from this training
course, particularly on how the Japanese deal with cultural heritage preservation, restoration andconservation through their unique approaches, supported by enormous resources and experienced
experts. Although the training course is quite short in duration, the information and knowledge
imparted was very effective for me as an individual participant. The program enabled me to enhance
my theoretical and practical knowledge regarding cultural heritage protection, both in classes andthrough the on-site lectures and practical training.
Finally, the knowledge and experience gained from this course will be shared with my colleagues,
fellow conservators, and other conservation architects in our country, in order to strengthen theconservation system.

XI. Acknowledgement
As a participant in this course, I entered Japan with mixed feelings and it was my first journey tothe outside world from my country. Although I was very tired after a long journey, it was a pleasure
to receive the warm welcome of the ACCU Nara officials as soon as I exited at Kansai airport. I
experienced great help, care, and a friendly environment throughout the training course.
I would like to express my gratitude to the Government of Japan, the Nara prefectural government,
ACCU and ICCROM for selecting me as one of the participants in this course.
I sincerely thank Dr. NISHIMURA Yasushi (Director of ACCU) and Ms KATO Naoko (Director ofInternational Cooperation Division), who have been very helpful in assisting us in everything to makethe training a wonderful learning environment.
I would also like to thank Dr. Gamini WIJESURIYA, INABA Nobuko san, KANAI Ken san,
MURAKAMI Jin’ichi san, AOKI Koji san and Prof. Joseph King for sharing their very precious
knowledge with us during the lecture classes.
I would further like to extend my appreciation to the on-site lecturers (Nakamura san, Takamiya
san, Yamaguchi san, Uedai Akira san, Masui Masaya san, Matsunaga Nobuo san, Kobayashi
Masahiro san, Murakami Yasumichi san, Sugimoto Kazuki san, Komine Yukio san, Mitsutani
Takumi san, Ishikawa Shintaro san, Ushimaru Takehiko san, Tanaka Kyohei san, Aso Miki sanand Kubodera Shigeru san) for imparting their great experience and knowledge to us all in the best
possible ways to make us understand well the concepts.

238

I personally would like to thank Ms HATA san, who is a very skilful interpreter, for making us
understand all the words said by the lectures and others.
I would also like to thank and express my appreciation to the most active staff member, Ms KATO
san, for her successful coordination of the training programme.
I would like to extend my heartfelt thanks to the following tutors for giving us company, helping us in
all the matters and guiding us throughout the training period;- Ms Yamamoto Rika
- Ms Lee Jihee- Ms Tsujita Naoko- Ms Saito Junko
They are very polite, kind, friendly, and cooperative. I wish them all good luck and a successful life
ahead.
My heartfelt thanks also goes to all the participants from the fifteen countries for giving me company,
sharing their information, and making my stay in Japan a memorable one.
Lastly but not the least, I on behalf of the Kingdom of Bhutan and on my own behalf I would like toexpress my sincere thanks to the Government of Japan for giving such an opportunity to Bhutaneseconservators, to enhance our knowledge of conservation and preservation works.

TASHI DELEK.
ARIGATOO GOZAIMASU.
AND THANK YOU ONCE AGAIN.

239

Cambodia
PHIN Vicheasachara

I. Introduction
This one-month training completion report will briefly describe a number of items such as impressionsof the intensive training course, its content and meaning related to wooden heritage, and then describe
the post-study knowledge that can be applied to my current work in Cambodia, comparing it withthe restoration and conservation works there of historic buildings, and finally, briefly outline its
legal relevance to conservation work, based on the laws on preservation of heritage in Japan and in
Cambodia.

II. Intensive training outline
Japan is a country that has had historic wooden buildings for a long time, since the eighth century, andthose buildings remain to date under maintenance and repair according to specific schedules. Presently,
those ancient wooden buildings and historic sites have been promoted by the government with the aimof attracting domestic and international visitors, and to disseminate knowledge of their historic value.
Regarding the preservation and maintenance of such historic buildings, all ancient buildings in thiscountry are under a strict preservation and maintenance laws that are jointly upheld by other relevant
institutions such as:- Municipality- Prefecture- Other local government agencies- Ministry of Education, Culture, Sports, Science and Technology
Some of these laws were adopted in late nineteenth century, such as the decree for the preservationof ancient artifacts established in 1871, the temples and shrines preservation law made in 1897, etc.
Besides these, there are other laws that were consecutively adopted between the early twentiethcentury up to the 2010s, such as the preservation law for scenic places, historic sites and nationalmonuments made in 1919, the national treasures preservation act made in 1929, law regarding thepreservation of important works of fine art made in 1933, the comprehensive law for the protection ofcultural properties made in 1950, etc. As the laws have been made with the aim to preserve culturalproperties in sustainable fashion and promote their historical value, the enforcement of the site andbuilding laws in the zones of people’s residences has impacted and sometimes caused disputes between
local residents and the conservation task force officials, as the proprietors did not understand the lawson the preservation of ancient buildings in the zones where they lived.
The above obstacle requires the government to seek a solution to promote awareness of the benefits240

of ancient houses, hold workshops for people to participate in aspects of village development, such as
the preservation of heritage or the promotion of local tourism, and to learn to value and maintain thosecultural legacies for the generations to come.

III. Work application through intensive training
Japan is a country of advanced development in terms of science that can serve the interests ofpreservation and conservation of ancient buildings. A number of buildings that were damaged bynatural phenomena such as earthquakes have been completely repaired, with a renewed focus onwaterproofing and fireproofing used in the construction. Moreover, new technology has been used toprotect ancient buildings against earthquakes using seismic isolation systems, including cushioning
materials, sliding materials and runners with steel plates. Besides, in order to strengthen the above
construction structure, patterned reinforcing bars have been used in order to ensure the construction
balance. In the repair work, the main focus is authenticity. Accordingly, at least 50 percent of theold construction materials must be reused. In case those materials were seriously damaged such as
through breakage, a technique must be applied in order to reassemble them to their original condition.
Normally, the repair of ancient buildings requires the application of traditional techniques adopted bypeople in that era, for instance, earthen walls reinforced with bamboo or wood inside.

IV. Comparison with my country’s current practices
With regards to preservation laws, any repairs of ancient buildings in Japan are always under legal
requirements focusing on the height, structure, color, roof, walls, outer appearance and components thatcomply with the original historic condition of the buildings, and the persons responsible for that work
must have many years’ experience in actual work practice. As for the conservation and preservationof wooden buildings in Cambodia, conditions are far different from those in Japan. Ancient woodenbuildings such as major houses and pagodas were removed without any intervention from relevant
institutions or local authorities, while the repair was carried out without requesting consent fromrelevant officials, thus the outer appearance of those buildings lost their historical value. We have thedepartment for settlement management in the Angkor zone of the APSARA authority which has not
yet fully supervised the buildings in the archaeological park, much less at other places besides Siem
Reap province. Moreover, this institution has only limited recommendations for construction owners
in the protected areas. Besides, we have a royal decree made in 1993 on the establishment of culturally
protected zones that did not mention the matter of ancient building repairs, and there are no other royal
decrees related to this.

V. Relevance of this training program to conservation work
In Japan, the Cultural Properties Protection Act was adopted in 1950, whereas the heritage registration
system in 1996 required the preparation of a list of major historic buildings. The heritage preservation
laws cover matters such as:- Determination of the types of major cultural heritage241

- Heritage buried underground- Major cultural sites- Heritage registration
In Cambodia, the Royal Decree establishing the Protected Cultural Zone in the Siem Reap Angkor
Region and Guidelines for their Management was adopted on October 24, 1993. Since then, theterritory of this province has been divided into five zones:
Zone1: Monument site
Zone2: Protected archaeological reserve
Zone3: Protected cultural landscape
Zone4: Site of archaeological and anthropological interest
Zone5: Socio-economic and cultural development zone of Siem Reap.
This law mentions the settlements in the protected areas, but does not make any detailed stipulationin the manner of the Japanese law. In addition, Cambodia has also signed a treaty with the World
Heritage organization on the protection of cultural heritage against the theft or illegal trafficking of
cultural heritage in time of war.

VI. Acknowledgment
I would like to express my heartfelt thanks to Asia-Pacific Cultural Center for UNESCO (ACCU
Nara) office of Japan as well as other relevant institutions for their contributions to the training,
thus providing knowledge and good experience regarding the preservation of historic buildings.
The intensive training will become another level of knowledge that is incorporated in the fields ofrestoration and preservation of wooden heritage in Cambodia. This training has allowed me to develop
some of my own views on the current tentative list in Cambodia, and the strengths and weaknesses
inherent in it. I have had the opportunity to take part in a valuable experience during my time here
in Nara. There is an incredible amount of information I have to share with colleagues and heritage
practitioners in my country.

242

ChinaWONG She (Sharon)

Final Report of the Nara ACCU 2011 Training Course on
Preservation and Restoration of Wooden Structures
How people have coped with their changing environments in the past, and how they have adapted
their habitations and communities to these changes, are the real issues of concern in today’s heritage
conservation. The Nara ACCU 2011 training program has covered all these broad issues by looking
at various historic buildings, preservation districts and landscapes in a holistic manner, and working
down to a finer level of understanding on the subject matter in its full setting. I realized through Mr.
Kanai’s and Mr. Murakami's lectures on Japan’s architectural history and on the protection of historic
townscapes in Japan that the Japanese approach to the preservation of timber structures is rooted in
the country’s culture and its natural conditions. At the same time, the approach to preservation work
is also based upon on-going scientific research, such as through dendrochronology, and on humanistic
methodology, as in the concern, for example, for building stronger links between stakeholders.
Preservation of historic buildings or townscapes in Japan can be interpreted as a process of growing
awareness of what cultural heritage is, and what is the best way to protect it.
The training program also reflects the increasing awareness that heritage buildings, objects andlandscapes cannot be considered in separation but need a broader and less demarcated approach. I
have benefited greatly from the many diverse disciplines and field studies of the training program,and truly believe all the participants are interested in the practice of heritage conservation rather thanjust a purely theoretical understanding of the subject. The test of any training program is whether it
influences the way participants think about a subject and leads to some meaningful impact. By thesemeasures, the Nara ACCU 2011 training program is definitely a successful one. The field trips to Imaicho and Takayama-shi remind me of the current situation of the preservation of historic townscapesin Hong Kong. The visit to the World Heritage site Shirakawa-go kept me reviewing the tourism
management plan of a world heritage site in China, the Kaiping Diaolou and Villages.
The Historic Townscapes: Machiya of Imai-cho in Nara, Takayama-shi in Gifu and Stilt-housesof Tai O Fishing Village in Hong Kong
The recognition of the different house types, streetscapes and unique atmosphere within these historic
townscapes is an important element in the conservation strategy as a whole. The charm of all thesetownscapes derives from the combination of different styles, sizes, textures, uses, and colors ofvernacular buildings, illustrating the achievement of local distinctiveness and in-depth characterization.
The Tai O fishing village, on the far northwestern side of Hong Kong's Lantau Island, is just a boat ride243

away from Central Hong Kong even though visitors can feel like being taken back about 50 years. The
village is a tiny settlement with many houses perched on wooden stilts a few feet above the edge of thesea (Fig. 1). They are little dwellings, like miniature huts painted with silver rust-proofing paint. Many
visitors like Tai O because it is unlike any other place in Hong Kong, although the locals do not really
believe the entire village with its quaint pint-sized architecture on stilts could be of interest to any
tourists. Because of the modern change in urban structure and layout, Tai O has to face the challengesof traditional economic life and depopulation as well as its consequent decline in social vitality.
Lack of infrastructure has also resulted in poor adaptation of the residents’ life and this is certainly
a common issue in every urban historic quarter. In Hong Kong Government’s 2004 Concept Plan,a proposal has been put forward, aimed at preserving the Tai O old fishing village given its cultural
heritage and natural attributes. Additional improvements should also be proposed to enhance Tai O’s
visitor appeal (Lantau Development Task Force 2009).
The houses preserved in historic towns in Japan are quite different from those preserved in Tai O of Hong
Kong, as they are all made of wood, and with each reconstruction or repair, these houses have cometo reflect and preserve changes in lifestyle, as well as expertise in carpentry. In Japan, conservationarchitects and town planners are trying their very best to preserve the appearance of the historic
townscapes such as Imai-cho (Fig. 2) and Takayama-shi (Fig. 3), and they consider it very criticalto preserve the facades of the old town houses and restore them on the basis of historical evidence.
Extensive investigations have been carried out to determine exactly how a house can be constructed or
restored, especially for the benefit of the local inhabitants, who can live a modern lifestyle inside thebuildings while the appearance of the outer facades can be preserved and be accepted as historic. So it
is possible to equip a historic residential building with modern kitchen, bathroom and heating system.
Besides, any new construction or alterations in these preservation districts need the prior consent of
the city planning department, and different building standards such as height limits, roof-form, andgrouping are all laid down in detail.
As understood from various speakers throughout the training, in contrast to previous decades whenpreservation of historic towns was predominantly seen as a means of boosting the local and regional
economy by promoting tourism, the concept of protecting the traditional heritage in its function asa facilitator of historic identity to the local people has in fact gained increasing importance in recent
years in Japan. In Imai-cho, for instance, designated as an Important Preservation District in 1993,
the aim is to preserve the traditional living environment for the benefit of the inhabitants themselves.
By contrast, in towns like Takayama-shi where tourism dominates the economy, almost unrestricted
tourism promotion can be found, which ensures mass media coverage and aims for a remarkableincrease in the number of tourists (over one million tourists a year).
Which model, then, is best suited for Tai O’s conservation and future development? It seems there is
still no clear direction where the tiny fishing village is going. Perhaps we should first ask ourselves,
what is the main reason for preserving the townscape in Tai O? Do we simply want to boost the local

244

economy by the development of tourism? Do the Tai O people want to live in an “open-air museum?”Or do we prefer to protect and preserve the traditional living environment as a cultural property forthe benefit of the fishing village or even Hong Kong as a whole? Besides, we must always bear inmind that townscape preservation is not only about saving old buildings, but about creating a safe andpleasant environment while preserving what is good from the past. It is also understood from the fieldstudies that gaining any kind of assent from the people living in these historic townscapes is always theresult of lengthy discussions between the local administration and local residents. Three of my course
alumni are now working on the Tai O project, and I will surely share with them the knowledge I havegained from the Imai-cho and Takayama-shi.
The World Heritage Sites: Shirakawa-mura Gassho Houses in Japan and Kaiping Diaolou andVillages in China
The visit to Shirakawa-mura, in the Japanese Alps, was a very pleasant experience for me in termsof its setting. The way that Gassho houses are dotted on the hillside, how they are grouped in a small
cluster, and also their buildings’ size and shape, are features and characteristics which make methink about how much they are shaped by their natural environment. The day we were there, minor
repair work was carried out on one of the Gassho houses (Fig. 4). Exactly as indicated by speakers
in previous week’s lectures, the workers were using some modern equipment such as helmets andaluminum ladders (Fig. 5), but the materials and the tools used were the same as they had been for
hundreds of years. On the other hand, local residents who are engaged in tourism-related jobs havebecome busier and competed with each other, and the number of new residents has increased whichsuggests there are intangible negative changes in local culture. Moreover, the town tends to faceenhanced invasion of tourists (Fig. 6) into local people's life, which keeps weakening the feel and spiritof the local communities (Fig. 7).
In a manner nearly the same as in Japan, interest in the viable economic vision of the historic town
and the World Heritage Site inscription has never been so high in China as in recent years. In February
2011, I joined a field study to Kaiping and together with other team members from the Architectural
Conservation Program, we presented a Tourism Management Plan for the four villages in the World
Heritage Site of Kaiping to the local government officers. The building type of the Kaiping Diaolou
itself dates back over 500 years and was traditionally defensive towers that could shelter an entire
village from storms or attacks. In Kaiping, the local government does promote the Diaolou andtower houses as the repository of sentiments and values of the overseas Chinese. However, millionsof visitors per year descending on a few thousand inhabitants has resulted in industrialization of theemotional aspects of tourism (Fig. 8), and consequently led to visitors and locals complaining abouta loss of warmth and naturalness which is considered to be a major part of the precious experience of
cultural tourism.
Both the Shirakawa-mura Gassho house and the Kaiping Diaolou or tower houses are fascinating245

constructions because they are responses to the social and political environments of their times in
addition to their physical environments. The World Heritage Site listing brings both sites higher
visibility, makes them well-known to the public and brings huge prestige at both the internationaland national levels, and the number of visitors for each has increased immensely since the time of
inscription. Of course, it also causes a shift in local industry from agriculture, which had already been
declining, to tourism, hence influences the decisions of local planning. Eventually it places additionalpressures on the physical and natural environment, and on the local people who are living in the sites.
The World Heritage Site listing inevitably brings international attention to sites, however, so unless thepresence of local people is carefully considered by those planners and conservation experts, those local
people would only regard World Heritage Site status as a nuisance which disrupts their previously
quiet way of life.
On the other hand, getting local people to have real understanding of the meaning of World Heritage
Site status is never an easy task. In Kaiping, local people still tend to focus more on the conservationof the Diaolou or the tower houses than that of their surroundings. We understood from Ms. Aso,of the Shirakawa-mura government office, that the situation in Shirakawa-mura is more or less thesame. The planning and management of tourism has been a longstanding concern for preserving
historic townscapes. When promoting tourism, instead of focusing on the preservation of tangible
historical heritage, should we first consider fostering the townscapes’ development through creation of
comfortable communities that local people can take pride in? Should local participation, community
involvement, human interaction and pride – albeit often idealized – still be the important elements ofsustainable development, no matter whether it is for cultural tourism or heritage conservation? And
should a historic townscape or landscape and its heritage assets always be conserved and enjoyed forthe quality of life they bring to both the future and the current generations?
As a practitioner in the field of conservation, I have to keep reminding myself: for any kind ofsustainable development, a suitable balance must be established between the environmental, economic
and socio-cultural aspects of the communities, which means when giving any conservation advice, wehave to get all stakeholders to see and understand the bigger picture, and to create places where people
want to live, visit and invest.

Acknowledgment
The Nara ACCU 2011 training program was a great experience for me. I have learned a lot and shared
a lot of information with people from all across the Asia and Pacific region. It was great to meet allthese participants, and it was really amazing to share thoughts and subjects with them. What I havelearned from the training program will greatly benefit my future conservation work, when I shareand impart the knowledge I have gained. By taking part in the one-month intensive study, I am sure
all participants end up with a broader spectrum of conservation knowledge that is hard to beat. Once246

again, many thanks to Nara ACCU for organizing such an excellent training program.
References
Lantau Development Task Force. “Preservation of Tai O Fishing Village.” http://www.pland.gov.hk/
pland_en/lantau/en/digest/keyb.html, (27 August, 2009).

Fig.1 The Tai O fishing village of Hong Kong

Fig.2 Historic townscape of Imai-cho

Fig.3 Historic townscape of Takayama-shi

Fig.4 Minor repair work on one of the Gassho houses

Fig.5 Workers using traditional materials and tools for the repair works

Fig.6 Invasion of tourists to Shirakawa-mura247

Fig.7 Excessive number of tourists weakening the feel and spirit of
the local communities

248

Fig.8 Industrialization of the emotional aspects of tourism in Kaiping,
ChinaIndiaKunkumadevi Kishore

Training Course on Cultural Heritage Protection in the Asia Pacific Region 2011:
Preservation and Restoration of Wooden Structures

The Cultural Heritage Protection Co-operation Office, Asia Pacific Centre for UNESCO (ACCU),
Nara, has been organizing a training program from 2000 onwards on heritage conservation with
‘opportunities to acquire the latest knowledge and practical techniques with reference to Japanesearchaeological sites and historic buildings’, alternating every year under the broad headings ofarchaeology and traditional architecture. A Conservation Architect by profession with an infinite
love for traditional construction materials, I was looking forward to an opportunity to expand myknowledge about one of the most versatile construction materials, wood. Japan has one of the highest
concentrations of traditional wooden structures in the world, and its approach to their conservation
has been a case study from my days in the university as a student. Although wood is not used as
extensively in most parts of India it still has a very special role to play in traditional architecture. The
challenges posed to its conservation are many, as it is used mostly as a composite material with a large
variety of stones and various sizes of bricks. What further attracted me to this program was the factthat the structure of the course was not limited to historic buildings and sites, but extended to historic
settlements as well.
The NARA 2011 training program consisted of 15 participants from different countries, and 2
observers pursuing their doctoral theses in Japan. It was a good mix of archaeologists, architects,
planners, engineers and urban designers working on different facets of built heritage conservation.
The participants’ presentations on the wood conservation situations in their home countries not only
enlightened me regarding the immense wealth of wooden architecture that we Asians have inherited,
but also the similarities and dissimilarities in our approaches to conservation and the initiatives
taken by the respective governments in preserving this heritage. My interactions with the others also
involved discussions and other forms of exchange regarding our intangible heritage and culture as
well.
The training program started with an introduction by ICCROM to the built heritage of the Asia
Pacific region, the issues faced in conserving it, and recent developments in the philosophy andapproach to conservation. This was followed by a brief presentation of essential information on thehistory and monuments of Nara, as well as Japanese architecture and its conservation. As discussed
by ICCROM, there is an increasing awareness in India not to limit its focus on the architectural
heritage of the three P’s, namely the ‘Politicians, Princes and Priests’, but protect the people’s heritage249

as well. The approach to conservation in India is also largely along the lines of a value-based andcommunity-based approach. However, we still have a long way to go in successfully educating thecommunity on the immense value of the heritage they have inherited, and how important it is toprotect it. Several initiatives have been undertaken in many conservation projects, at both building
and settlement levels, to engage the community and stakeholders at different stages of the decisionmaking process. Considering the size and diverse nature of tangible and intangible heritage India has
inherited, the process of documenting the traditional knowledge pertaining to each of these heritage
items is a very laborious and time-consuming task. Such projects are being undertaken by NGOs andprivate organizations, but the efforts are mostly fragmented and the approaches are neither holistic
nor methodical. The Government of India has to be more pro-active in devising a system and strategy
to record this traditional knowledge, and use it as an essential database for future protection of theinvaluable cultural heritage. Moving away from the old theory that heritage has to be preserved for
future generations, to one acknowledging that its preservation is essential for the present generation as
well, is a thought that particularly fascinated me. It is not sufficient if India, through the Archaeological
Survey of India and State Department of Archeology and Museums, protects a few thousand of
its historic monuments (older than one hundred years) to facilitate a sense of identity for its future
generations. The situation of the unprotected built heritage is bad and although several attempts
are being made by private organizations and individuals to preserve the historic environments andassociated intangible heritage, the efforts will not see the bright light of the day unless the central
government takes initiatives to protect the same by passing suitable laws, formulate an agency, andprovide subsidies.
Nara is a good case study for many small historic towns in India that have an equally fascinating groupof historic monuments spread amidst a natural landscape. What appeared to be a complicated systemof construction and planning for my mind to collate and comprehend was made easy by presenting theevolution and understanding of the same in a simplified manner, through brief sessions each on historyof Japanese wooden architecture, recording and documentation of a small residence made of wood, its
damage and deterioration survey, and a brief materials survey for planning a management policy. This
understanding was very crucial for maximizing the benefits of this entire training program through thesubsequent site visits, which enhanced my appreciation of Japanese architecture both as a participant
and as a tourist. It also further reinforced my basic belief that it is extremely important to have such aholistic understanding of the traditional construction materials of your own country. Different types,
forms and sizes of bricks, stone, wood (a wide range of species) and lime products have been usedabundantly in India and in many instances, with wide variations in their basic characteristics and nature
due to the varying sources of their origin from across different parts of the country. Although efforts arebeing undertaken to restore the traditional and historic buildings as authentically as possible in terms ofthe materials and techniques used, there is still a dearth of holistic understanding of every construction
material under consideration, and deficiencies in appropriately documenting the discovered knowledge
in India. There is a practice of replacing essential original material with new material without
substantially addressing every aspect of authenticity and undertaking sufficient research. In a country250

of plenty (innumerable heritage buildings and historic monuments), it is sometimes a relief thatmany structures get the privilege of being structurally stabilized and further deterioration is arrested,
however that is not sufficient reason for failing to undertake extensive research prior to beginning therestoration works, or implementing the principles of authenticity more appropriately.
In this context it would be relevant to mention that this training program, and my brief but informed
dialogue with some of the historic buildings in Japan, have helped me better understand the essence of
the Nara Document on Authenticity. It has sparked another debate in my mind, however, as to where
the lines of applying these principles must be drawn while restoring historic buildings. The natureof my job as a private consultant broadly involves contributing to the preparation of a Conservation
Management Plan, and of Conservation Reports encompassing a wide range of built environment,
monitoring restoration works on the historic sites, as well as preparing Nomination Dossiers forpotential World Cultural Heritage Sites in India. Although we have started incorporating the principles
of Nara Document of Authenticity in all our assessments of values and decision making processes, I
still find a need to understand more rigorously the cultural context of my project, the vulnerability andnature of the materials along with the customs and traditions of the community involved, and not ‘basejudgments of values and authenticity within fixed criteria’ (Nara Document on Authenticity, 1994). I
see this as an essential key to work in the living historic settlements of India. The challenges faced byIndia in conserving its tangible heritage are rooted in the nature of its pre- independence history, as
well as the radical changes through the post independence developments, and it is time we drafted acomprehensive charter that specifically addresses the highly unique nature and diversity of its heritage.
One of the most important modules of the course was the introduction of the cultural heritage
protection system and current status of conservation in Japan. The Japanese Law for the Protectionof Cultural Properties protects a wide range of cultural properties under the categories of Tangible
Cultural Properties, Intangible Cultural Properties, Folk Cultural Properties, Monuments, CulturalLandscapes and Groups of Traditional Buildings. It protects Historic Sites, Places of Scenic Beauty
and Natural Monuments, Cultural Landscapes, Preservation Districts for Groups of Traditional
Buildings and Individuals/Groups as holders of selected Conservation Techniques under the umbrella
category of Designated and Registered Cultural Properties. Apart from these it also protects paintings,
sculptures, applied crafts, calligraphic works and classical books, ancient documents, archaeologicalartifacts and other historic resources as National Treasures and Important Cultural Properties. Tangible
and Intangible Folk Cultural Properties are protected as well. On a comparative note, the law that
protects historic monuments and archaeological sites in India is known as the Ancient Monuments andArchaeological Sites and Remains Act, 1958. The Archeological Survey of India (ASI, establishedby the then British Government in 1861) under the Ministry of Culture is the primary custodian andowner of the 3,600 protected monuments and historic sites across the entire country. These monuments
belong to different periods, ranging from the prehistoric period to the colonial period, and are locatedin different geographical settings. They include temples, mosques, tombs, churches, cemeteries, forts,
palaces, step-wells, rock-cut caves, and secular architecture, as well as ancient mounds and sites

251which represent the remains of ancient habitation. It also protects explored and excavated pottery andother antiquities regulated by the Antiquities and Art Treasure Act, 1972. Funds are allocated annuallyfor the restoration of buildings that require repair on a priority basis, and for maintenance of all thebuildings under its purview. Some of these are ticketed while many are not. The State Department ofArcheology and Museums protects another 3,500 monuments (similar in nature to those protected
by ASI) across the country. Many historic buildings from the colonial period are now being reused
as government offices, museums and hospitals. Post independence in 1947, many of these buildings
began to be maintained by the Public Works Department and with limited funds at their disposal, anda lack of trained conservation professionals in the team has caused further damage to the original
character and fabric of these historic buildings. There are still about 33,826 unprotected monuments
in India. Apart from these, there is no law or legal governing body to protect individual or groups oftraditional buildings in historic towns and rural settings, which are occupied by people and form apart of the tangible living heritage, where the ownership pattern is private. There is an urgent need todevise a strategy to protect these traditional buildings, and while dealing with the heritage of historic
towns, villages and settlements it is impossible to view the tangible heritage as isolated from theintangible heritage. Although the solution may not lie in framing a single law to protect all these under
one umbrella as far as India is concerned, the system adopted by the Japan is a good case study andreference material. To that effect the National Commission for Heritage Sites Bill has been currently
introduced in the Indian Parliament and it will focus on the preservation of unprotected heritage.
The extensive number and range of cultural properties protected by the governmental bodies of Japanbenefit hugely from the subsidies provided annually, which can be as high as 90 percent. This is not
the case in India, where funds for restoration of historically significant architectural buildings that areunder private ownership have to be generated on their own. There are funds floated by the government
under temporary schemes, mostly for historic buildings and precincts that benefit the public realm, but
not all sectors of the public are well informed about these schemes, thus limiting their accessibility to
only a selected few. Numerous historic buildings are restored in India under the guidance of experts
through funds from the owners, and joint funds from philanthropic organizations and international
collaboration, however better efforts from the government to recognize the living heritage and improve
the funding schemes would help broaden the reach and encourage more people to view their own
historic properties as shared heritage. It is also essential to mention that significant efforts are madeby the conservation professionals involved in historic settlement studies and preservation to identify,
document and protect the intangible heritage associated with the tangible heritage. The government
also bestows titles of Master Craftsman and Master Artisan on talented craftsmen practicing traditionalarts and crafts of all nature. However there is no specific recognition for knowledge holders of
traditional construction techniques.
The concept of preservation districts for groups of traditional buildings, which is recognition andprotection of historically significant urban and vernacular historic settlements, was introduced as early
as 1975 in Japan, and ever since efforts have been made through trial and error to protect the different

252aspects of the built heritage, open spaces and entire urban and rural cultural landscapes. These 3540 years of efforts, both from the government sector and the local community organizations, hashelped preserve the historic character of these settlements, as demonstrated to us through some of
the best examples such as Imai-Cho, Takayama and Shirakawa. These towns bear close similarity
to many historic towns of India in their conception and evolution. These case studies also led me tobelieve, however, that the emphasis is laid largely on the preservation of only the façade and external
character, while the interiors could be significantly modified unless otherwise designated as an
Important Cultural Property or National Treasure. Trying to even discuss concepts of conservationand preservation in the densely populated historic core towns of India, where every house is occupied
by people who dream eternally having of every modern materialistic possession just like theircounterparts in newly developed areas, can be a very challenging task. Whether the solution in sucha case lies largely in preserving the facades and commonly shared spaces, improving infrastructure
facilities to better the hygiene and quality of living, imposing restrictions sufficiently enough so as not
to alter or make additions that are detrimental to the quality of living or the visible historic characterof the townscape, and leaving the rest to be modified so as to give greater freedom and satisfaction
to the owner, is debatable and to a large extent dependent on the particular site. The differences in
the political history of Japan and India (Japan has never been politically subjugated, while India has
been repeatedly invaded and subjugated by different ethnic groups from Central Asia and Europe forthe past thousand years) render two entirely diverse scenarios, in terms of not only the nature of thecultural heritage but also the current political systems in place, and this in addition to differences inthe basic human nature of a relatively homogeneous nation, versus a people broadly divided among 6
different religions and 18 different languages, makes comparison more than slightly difficult. Add tothis an increasing population, also evident in historic towns in sharp contrast to the Japanese scenario,
where the population is decreasing in historic urban core, and with real estate properties eternally on
the rise, heritage properties may remain abandoned or get locked in legal disputes for years but arenever donated to the government. There is also considerable difference in the basic attitude towards
tangible heritage between a historic property owner in India and Japan. Although on a general note,
India appears to be very proud of its heritage, we are working very hard on channeling the same in a
direction that ensures that the community recognizes, values, and protects every significant aspect ofits cultural and natural heritage.
The fact that consistent efforts for over 40 years in Japan have brought positive results today is a casestudy of hope for India, which is in the nascent stages of protecting its cultural landscapes, historicurban core, and vernacular heritage. To that effect the cities of Pondicherry and Mumbai have taken
major steps to recognize the historic value of their urban heritage core. The core zones are declaredprotected under regulations of the Urban Development Authorities, and an advisory committee now
oversees the development, repairs and renovations of structures in the precinct. Efforts are being
undertaken to curtail insensitive development in other historic cities too, however there are large
gaps to be bridged between the local communities, urban local bodies, and the experts involvedin evaluating the significance of the historic environment and making a management plan. The

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decentralization of power from the national authorities to the prefectural and municipal levels has
been devised carefully in Japan and it is one of the key factors governing the successful protection of
its heritage. Although the Town and Country Planning Act of 1972 stresses decentralization of power,
there are still many loopholes in our system that need to be plugged, and greater responsibilities need
to be bestowed on the urban and rural local bodies. Interdepartmental interactions need to be stressed
upon during the decision-making process.
Incorporation of disaster management systems within the existing building bylaws and planning
framework in a historic environment, as well as retrofitting the same in traditional and historicbuildings, is yet another area that lacks sufficient attention in India. An introduction to the restoration
systems and project planning for wooden structures highlighted the role of a foundation known asJapanese Association for the Conservation of Architectural Monuments (JACAM), which constitutes
about 100 conservation architects of Japan. An organization of this nature is lacking in India, andalthough we are now a reasonably large group of professionals working on the preservation of ourheritage, we are fragmented. Architects and conservation architects can chose to impanel themselveswith the ASI and can be consultants for chosen projects through the tendering process. Experts areawarded restoration projects undertaken by other governing bodies of India only by a long and tedious
process of expression of interest and bid by tenders.
Insect damage in wooden structures is a common problem in India and there is a need to undertake asystematic and detailed study of the same in the context of historic buildings. This session will help
me assess the condition of wood better and aid me in my interactions with the anti-termite and insect
treatment dealers. Photography is an important tool for recording the different stages of conservationof historic and traditional structures and is used widely in India. A basic understanding of the featuresof compact digital and manual SLR cameras was imparted, of which I was not aware, and the same
would help in adjusting the settings for recording relevant details with greater clarity. Advantages ofshooting pictures in raw format and storing them as tiff were also emphasized. The most importantlesson learned on this front is that if pictures are to be stored in jpeg format, a copy of the master set
should be made to access them for further viewing, studying and usage in reports for each time animage is saved the quality deteriorates.
In India there is an increasing stress on assessing the values and significance of paintings and murals
on historic surfaces before drawing a restoration plan for the same. They are chemically preserved in
the same condition they were found when undertaking the restoration works if they bear an outstanding
value, and in other cases due to lack of funds, skilled artisans and authentic techniques. Sometimes
paintings are partly retouched depending on the extent of deterioration in addition to preservation.
Where the above three factors are met, partial or complete repainting is also undertaken based on theassessment of values and context (historic housing and private properties).
Wood is used mostly as a composite material in most of the traditional and historic buildings in254

India, except for a few regions. Dismantling wooden structures, repairing them and replacing where
essential when the deterioration of the whole has reached a certain stage, so as to ensure its stability
for a few succeeding centuries, is the practice prevalent in Japan. For historic buildings where woodhas been used as an independent material for the sloped roof or the flooring boards and the extent ofdeterioration is significantly high, we too have dismantled the same and reused wood that could berecycled in some situations. While I have learned through my observations and training sessions here
the methodologies adopted for the conservation of wood, the tools used, recognition of species used,methods of assessing its condition and documentation through careful analysis of the carpenter’s tool
marks, planning methods adopted, etc., the methods to be adopted in restoring wood, when used as
structural components in Indian buildings, remains a challenge where it is used as a composite material
in combination with stones and bricks, and there is greater stress on in situ repairs.
The concluding session on values, authenticity, integrity helped me assess to what degree we havebeen using these in drawing our conservation plans. There is a need to stress more monitoring of
historic properties and traditional buildings after their restoration. This is being undertaken only ata preliminary level, and the detailed lecture on this topic will help me devise better post-restoration
maintenance plans in the projects I undertake.
My organization is a private consulting firm that works towards protecting different aspects of culturaland natural heritage, and we are consultants to the Government of India on projects of such nature.
In an individual capacity all that I have learned here would certainly help me in the decision-making
processes during various stages of a conservation project. Although I cannot take any pilot initiatives
within the associated government organizations, the knowledge I have gained in this training program
will be shared with my colleagues and fellow conservation professionals (both from the government
and private sectors), through training programs that we regularly undertake. As a part-time lecturer,
I also look forward to sharing my experiences in Japan with my students of architecture andconservation.
It is impossible to express in words all the other intangible things that I am carrying back to mycountry from this land of Shinto shrines, Buddhist temples, pagodas, gassho houses, Zen gardens,sushi, maikos, tatami mats, Hida beef, pine forests, cosmos, tea ceremony and 45 tunnels to a mountainvillage (all of which I was experiencing for the first time), and the influences they will have on me andmy professional work.

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Indonesia
Mahirta

Final Report
Training Course on Cultural Heritage Protection in the Asia-Pacific Region
2011: Preservation and Restoration of Wooden Structures
Each country in the Asia-Pacific region has its own characteristics for heritage comprised of wooden
structures. Wooden structural heritage in the Asia-Pacific region varies in the dating, types, techniquesand skills applied in the construction. However, countries in the Asia-Pacific region also share someelements in their heritage as a result of a long history of relationships going back even to prehistoric
times. There is some evidence that spatial organization among traditional houses distributed in theSoutheast Asian and Pacific region is similar, and that some share the same symbolic meanings (Fox,
1993). Based on archaeological and historical linguistic evidence, it is believed that the similarities
are the result of a long history of migration of Austronesian-speaking communities from Southern
China and Taiwan going back 6,000 years (Fox, 1993). In the early centuries AD, India also gave its
architectural influence in the form of temples, but in Japan wooden temple architecture was influenced
by both Chinese and Indian wooden structures. In the ancient time people absorbed elements ofcultures either brought by foreigners or brought back home from those visiting abroad, which thenexperienced historical transformation to adapt to the local natural and social environment.
Each country in the Asia-Pacific region also has its specific problems, and may share similar problems
with others, in protecting their heritage. The chance to participate in the Training Course on Cultural
Heritage Protection, especially with a focus on the Preservation and Restoration of Wooden Structures,
together with other participants from 15 different countries, organized by ACCU-NARA in 2011,is a valuable experience for me. The training course made it possible to broaden my perspectives
and discuss with others problems in the conservation and preservation of wooden structures. From
presentations by the training participants, it is seen that the problems can be classified into materialrelated ones, such as problems that derive from agents of wooden deterioration (insects, fungi,
environmental factors, natural disasters, etc.), economic and socially-related problems, and policyrelated problems. These problems often interrelate with each other, and should be discussed together.

SUBJECT CONTENT OF THE TRAINING PROGRAM
The training program is arranged in such a way so that each participant can have some newperspectives on current issues of heritage management, especially wooden heritage, in the international
context, and the past and current practices of wooden conservation and preservation in Japan. The latteris broken down into: (a) policy and other cultural properties legislation in place, and (b) principles andpractices for preservation and restoration, including historic wooden elements, individual buildings,

256and different types of districts. Some specific knowledge related to the conservation activities, suchas introductions to dendrochronology, risk management, prevention of insect-caused damage, andprinciples of photography for cultural properties, are also given during the training. Overall, thecontent of the training program is quite solid for providing an understanding of conservation andpreservation processes for wooden heritage, and the relevant principles involved.
From the first day to the end of this training program I gained a growing knowledge of preservation
problems, from simple to complex, and of current practices in the protection of wooden structures,
especially from the Japanese perspective, plus important international context for conservation
activities. The following parts of this report will explore these important elements of this training
program, followed by some current practices in Indonesia, and potential applications of aspects of thistraining course to my work, plus my evaluation.
1. Current issues of heritage management in the international context
In the earlier part of the training, issues in heritage management in the international context were
presented by three speakers. It was explained that heritage conservation and management in the world
has a long history, which can be classified into pre-modern and modern periods. The paradigm ofconservation and heritage management also shifts from time to time. It was explained in the training
program that conservation varies in different contexts, changing and developing from an emphasis on
the material (fabric) to an emphasis on value, and now to an emphasis on the contemporary lives ofvarious communities (the living heritage approach). In value-based heritage management, decisions
are value-based: a combination of artistic, contextual, and informational values is normally considered.
A value-based approach is currently the most preferred approach to heritage conservation, adopted,
and advocated by major conservation authorities, both at national level (e.g., USA, Canada, Australia,
and UK) and at international level (e.g., UNESCO World Heritage Centre), and by major research andeducational institutions (Paulios, 2010). In the training it was discussed that in some cases, such asliving heritage cases, a value-based approach cannot be applied in advance, as we have to consider thecommunity that still uses the heritage. Dialog and various other types of discussions are held before
the conservation and preservation decisions are taken. The concept of living heritage approach is theconcept of continuity. Although this living heritage approach has nowadays become a trend that is
directly applied, there are certain situations where conservators have to initiate some dialogs with thestakeholders and community, to convey their views about their professional judgment for preserving
certain heritage items with minimum, partial, or total restoration.
2. Japanese perspectives and current practices in the conservation, preservation, and restorationof wooden structures
It is good practice that in Japan, professionals and organizations involved in conservation activities for
traditional and historic buildings have to be certified. There are different certification programs run by
the government, offered for different levels of expertise, such as a trainee program, mid-level program,manager training program and executive training program. It is also useful that Japan has research257

institutes focused on specific interests, such as architectural history, and conservation architects withspecific interests rather than only general professional architects. When very specific expertise inconservation is needed in a restoration project of cultural heritage, there are experts the government
can ask to be involved in the project.
Generally, there are three different stages that have to be followed in conservation work for historic
wooden structures in Japan. The first is a detailed survey that includes preparation of the history of
written documents, and carrying out documentation visually (both in the form of photographs anddrawings) of building elements as conservation targets (which can be individual buildings, or groupsof historical buildings in districts). The second stage is the conservation/renovation work, and the final
stage is production or publication of a report. Basic principles of conservation and renovation are:follow traditional methods, look at building as a whole, pay attention to the wood species that are used,
apply traditional craftsmanship, use traditional woodworking materials, with new wooden members
properly labeled. However, in certain cases where traditional techniques are not enough to correct
certain damage, for example as a result of earthquake, modern scientific techniques can be applied.
In relation to protecting cultural heritage, visual documentation before and after restoration isimportant. The short one day refresher course on basic photographic principles especially for culturalproperties was very useful. It was emphasized by Mr. Sugimoto that the “fundamental principle ofphotography of cultural properties is to enable storage of materials that can record as much informationas possible for an extended period of time.” Following this principle, apart from some instruction in
taking the photographs of cultural properties, the documentation system for cultural properties wasintroduced, although very briefly, stressing that cultural properties documentation is best saved as raw
image files (raw data prior to processing) and in TIFF format.
Drawing is another important method of documentation that should be applied for cultural properties,
either for parts of structures such as paintings or carvings, or for the structures themselves before andafter conservation. Some principles of drawing for documentation purposes were given to the training
participants, and practice was carried out individually and in working groups. It was useful to haveseveral tutors guide the participants closely in documenting a traditional wooden house that belonged
to the Tanaka family, and during surveys in the Imai-cho districts. The different types of preservation
districts that were visited, and the explanations and discussion of several cases for each district
especially of community roles in the district, were interesting case studies for me.

CURRENT PRACTICE IN INDONESIA
Indonesia has several types of wooden historic buildings such as mosques, palaces, and community
residential houses. The oldest of wooden historic building in Indonesia is from fifteenth century,
the Mesjid (mosque) Demak in north Central Java. Some other wooden buildings are traditional
houses that are classified into Austronesian house types and some town house styles. Most mosques
and wooden palaces in Indonesia have been renovated, usually only partly renovated, either for the258

purpose of enlarging the space or because it was renovated after a fire. Examples of this are known for
the Yogyakarta Sultanate. The period of renovation went back before the colonial period, and somewere carried out afterwards. After the independence of Indonesia, some conservation and renovations
were carried out by the Indonesian government, some with financial support from internationalorganizations. Commonly, community residential houses are conserved by the owners, and the samegoes for traditional/historic residential wooden houses which have not been designated as important
cultural properties. Recently, several traditional houses in one district which has been designated asa cultural district, Kotagede, have been restored with funding support from international and also
domestic sources. It is good practice, as in the Japanese case, that is worthwhile, if private owners,
local governments (municipality, prefecture) and the national government all give their contributions
for renovation of designated cultural properties in suitable proportions.
Indonesia is continually improving the management system for its heritage. Under the new legal
system of heritage management that was established in October of 2010, several good important
things are being carried out by the Indonesian government. An example of this is the preparation of acertification process for professionals that will involve conservation activities for cultural properties.
Up to now, the choice of a person in that field was based only on length of experience. We have
not yet determined which institution has the right to certify such expertise. However, before formal
certification for conservation and restoration professionals is carried out, some training for mid-leveltechnicians working in conservation activities, and training for archaeologists, has been regularly
carried out either at the national or regional level. Some archaeological scholars and technicians arealso sent abroad for further studies and training, while training for architects and engineers for work inconservation projects is not yet available.
Only in the last five years has the Indonesian government started to involve private contractors indoing conservation work on heritage, provided there are some archaeologists in the those private
firms as consultants. Conservation of temples, however, which are not of wooden materials, is always
carried out by Conservation and Preservation Heritage Institution in each province, supervised by thecentral national level office. Good practices followed in Japan, such as a group of experts consistingof a certified architectural conservationist, an archaeologist, and an engineer working together on aconservation project, are worth being applied as well in Indonesia, because private contractors do notalways have an architectural conservationist with knowledge of traditional Indonesian buildings who
is closely involved during the restoration. Right now, one difficulty for private contractors is recruiting
experienced archaeologists and architects as their consultants, because more than 80 percent ofexperienced archaeologists in Indonesia work as government officers, and are therefore not allowed toact as a consultant for private contractors in heritage renovation.

APPLICATION TO MY WORK IN INDONESIA
Since 2004, the Archaeology Department of Gadjah Mada University has opened a Master’s Degree
for Cultural Resource Management studies, and in 2009 our department started a new program in

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Museology studies. Currently, only two universities in Indonesia, the other being Universitas Indonesia,
offer graduate studies in Cultural Resource Management. Students in the Archaeology Department
of Gadjah Mada University come as both freshly graduated architects and also archaeologists who
have been working in several conservation and preservation of heritage offices, such as the Borobudur
Conservation Research Institution, and other archaeological research institutes all over Indonesia. It is
hoped that after finishing their Master studies in our Department they can apply their new knowledge
in their regions.
There are several course subjects in the training program that I think need to be added to ourdepartment’s curriculum. Some examples that I consider essential additions to cover are the following:
1. Current issues and debates in the management of heritage.
2. Detailed study of international norms in conservation.
3. Introduction to the World Heritage Convention.
4. Principles of preservation of historic wooden structures, with the addition of the Japaneseperspective and other current international practices as examples.
5. Documentation system practices (both visual and verbal) for conservation and restoration
purposes.
Hopefully, through the transfer of knowledge that occurs during training courses for other teaching
staff in the department and to our students that originally came from different conservation branch
offices in Indonesia, I can contribute to the improvement of conservation work for cultural properties
in Indonesia.

EVALUATIONAll of the themes in the training were delivered through interrelated methods of lecturing in classfollowed by discussions, plus individual practice and group work with several trained tutors, thenfollowed by a small seminar. As both a researcher and as head of the Archaeology Department, which
is currently running programs in museum and heritage studies, I find that the approach applied in the
training is worth emulating. With this approach, each participant can maximally obtain new knowledge
from the speakers, and members within each working group, which consist of different types ofexpertise (architect, archaeologist, engineer), learn by working together to document wooden structuresand solve real cases of conservation problems. Afterwards, each participant can gain new knowledge
from members of other groups through seminars. Visiting sites that are selected to focus on elementsof buildings, individual buildings (temple museum and residential house), and several different groupsof cultural districts, also strengthens understanding about principles of conservation and preservationof wooden structures that are currently practiced in Japan, and how heritage is used in Japan. Perhaps
if the principles of photography course is coordinated with the drawing practice (for both buildings
and paintings) they would become more effective, because both are essential elements of visual
documentation in the conservation process. When this part of the course is given at the beginning,participants can apply the new knowledge obtained in the subsequence on-site practice. Overall, thistraining program was great.

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REFERENCES
Bellwood, Peter. James J. Fox, and Darell Tyron. 1995. “The Austronesian in History: Common
Origins and Diverse Transformation.” In Peter Bellwood (ed.), The Austronesians: historical
Comparative Perspectives. Canberra: The Australian National University.
Fox, James J. 1993. “Comparative Perspectives on Austronesian House: An Introductory Essay of
Spatial organization.” In James J. Fox (ed.) Inside Austronesian Houses: Perspectives on Domestic
Designs for Living. Canberra: The Australian National University.
Poulios, Ioannis. 2010. “Moving Beyond a Values-Based Approach to Heritage Conservation.”
Conservation and Management of Archaeological Sites. Volume 12, Number 2: 170-185.

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Kazakhstan
Rustem ILYASOV

Final Report 2011
Kazakhstan has stable relationships with all of its neighbors. Kazakhstan is a member of the United
Nations, Organization for Security and Cooperation in Europe, and North Atlantic Cooperation
Council, and will serve in the office of chair of the Organization for Security and Cooperation in
Europe in 2010. It also is an active participant in the North Atlantic Treaty Organization's (NATO)
Partnership for Peace program. Kazakhstan also is a member of the Commonwealth of Independent
States and the Shanghai Cooperation Organization, along with Russia, China, Kyrgyzstan, Tajikistan,and Uzbekistan. Kazakhstan is the founding member of the Conference for Interaction and Confidencein Asia. Kazakhstan also engages in regional security dialogue with ASEAN (Association of South
East Asian Nations).
The great steppe was an arena for foreign invasions for many centuries, which led to the destructionof a multitude of medieval towns and architectural objects. Among the objects that remain are the
H. A. Yassaui mausoleum (Turkestan, fourteenth – fifteenth centuries), which is inscribed on the
UNESCO World Heritage list. The Ascension Cathedral in Almaty (1907) is also included on the
UNESCO monuments list. The Palace of the Republic (Almaty 1970, architect N. Ripinsky) and theMedeu complex (1972, architects V. Katzev and A. Kainarbayev) are world famous. An “Architectural
Renaissance” started in Kazakhstan during the period of its independence. In Astana (layout by
Japanese architect K. Kurokawa, 1934-2007), buildings have been constructed such as the Ak Orda,
the Residence of the President of Kazakhstan (Kazakh architect K. Montakhayev, 1950-2009), Watergreen boulevard (K. Kurokawa), the Palace of Peace and Harmony (Pyramid, 2006), the Khan Shatyr
center (2010, English architect N. Foster), the Kazakhstan Central Concert Hall (2009, Italian architect
M. Nicoletti), the Nur-Astana mosque (2005, Lebanese architect Ch. Khafiz), and a number of sportcomplexes built for the 2011 Asian Games.
To talk now about the land of the rising sun, diverse cultural properties have been created anddeveloped throughout Japan’s long history. They have been passed down from one generation to thenext, to the present day, and are a precious legacy of Japanese people.
Cultural properties include structures such as shrines or temples, Buddhist statues, paintings,
calligraphy and other skills such as performing arts and craft techniques, traditional events andfestivals. Natural landscapes unchanged by time are also included as cultural properties in Japan. Of
these cultural properties, the government designates, selects and registers important items in categories
such as Important Cultural Properties, National Treasures, Historic Sites, Places of Scenic Beauty, and262

Natural Monuments, and gives priority to their protection.
Of course, wooden structures are among the most important items of cultural heritage. Characteristicsof the uses of wood include the following.
• Used for objects and buildings• Used from past to the present• Used all over the world• Used from simple huts to massive buildings• One of the most used materials• One of the most vulnerable materials
Conservation issues related to the use of wood in cultural heritage include: protection (recognition,knowledge, legal aspects, sustainability), prevention of deterioration (through maintenance andmonitoring), interventions (from particular structural elements, be they protective or decorative, to theentire building), dismantling, replacement, reconstruction, and restoration.
Various issues regarding historical and cultural heritage, or rather, the attitude of society to thatheritage, and to its different monuments, has always been associated with the character of the state of
public consciousness at a particular historical period.
The current state of the cultural heritage of a region is also characterized by how viable is the setof measures to ensure the preservation and further development of centuries-old tradition, plus theprocess of discovery of new historical and cultural monuments, the revitalization or the conservation
and restoration of cultural heritage, and the creation of new historical and cultural centers on that basis.
Nowadays, the problems of restoration of heritage address not only the restoration of concrete works
of art and culture, but also the preservation of cultural values, associated with a people’s identity or
ethnicity.
All societies have notions of what they value and what needs protection. Conservation is a context
dependent endeavor, and requires respecting the diversity and continuity of connections with the living
community.
Many countries in the Asia-Pacific region are faced with a variety of problems related to the planningof cultural heritage protection, and the preservation and restoration of cultural properties. Almost
universally, the cases requiring resolution include a shortage of human resources and funds, andinsufficient heritage legislation. As a result of these deficiencies, a large number of cultural properties
have been destroyed or damaged. In addition, policies resulting in excessive tourism have prevented
sufficient repair or restoration of these properties. For these reasons, cultural heritage in this vast anddiverse region is seriously endangered.

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In contrast, Japan’s research activities in cultural heritage protection and techniques for culturalproperty preservation/restoration are highly regarded around the world. Therefore, numerous countries
in the Asia-Pacific region have come to expect Japan to continue promoting international cooperationin cultural heritage protection.
In response to such requests for cooperation, the Cultural Heritage Protection Cooperation Office, AsiaPacific Cultural Centre for UNESCO (ACCU Nara Office) was established in Nara on August 1, 1999,
with the cooperation of the Japanese Agency for Cultural Affairs, the Nara Prefectural Government andthe Nara Municipal Government, to serve as a domestic center for promoting cooperation in cultural
heritage protection. Nara is considered to be the birthplace of Japan’s ancient culture, and is home
to a number of the world’s unique historic and cultural properties, and as a consequence, to various
excellent organizations involved in cultural property research and management.
To help promote cultural heritage protection activities mainly in the Asia-Pacific region, the ACCU
Nara Office conducts a wide range of programs, maintaining partnerships with internationalorganizations such as UNESCO and the International Centre for the Study of the Preservation and
Restoration of Cultural Property (ICCROM).
The Training Course on Cultural Heritage Protection in the Asia-Pacific Region 2011, “Preservation
and Restoration of Wooden Structures,” is jointly organized by the Agency for Cultural Affairs, Japan(Bunkacho); the Asia-Pacific Cultural Centre for UNESCO (ACCU); the International Centre for the
Study of the Preservation and Restoration of Cultural Property (ICCROM); and the National ResearchInstitute for Cultural Properties (Tokyo and Nara), in cooperation with Japanese Association forConservation of Architectural Monuments (JACAM); Japan Consortium for International Cooperationin Cultural Heritage (JCIC-Heritage); Ministry of Foreign Affairs of Japan; the Japanese National
Commission for UNESCO; Nara Prefectural Government; and Nara Municipal Government.
During this training course, we became acquainted with many stages of conservation and restoration.
We practiced drawing plans and sections, and became familiarized with the tools and technicalprocessing of wood. We studied methods for surveying private residences and urban streetscapes,
practiced making plans to manage the preservation district for a group of traditional buildings in the
town of Imai (Kashihara City), observed the major traditional techniques used for preservation work
at Himeji Castle (techniques for stone walls on the civil engineering side, and carpentry, plastering androofing techniques on the construction side), conducted a survey on painting and drew up a plan for
painting restoration. The painting restoration in Japan gave us the impression that in many countries
the basic principles of painting restoration have not yet been fully established. In Japan, the restorationof paintings has been implemented for many years to preserve cultural properties. However, repainting
hides the original and in the worst cases can even destroy it. We should consider this fact.
I obtained extraordinary useful knowledge in the field of photographing tangible cultural heritage.

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Also, we analyzed one of the main issues regarding wooden structures, the prevention and treatment
of insect damage to cultural properties. Carrying out a good inspection is the fundamental basis forachieving a successful and definitive treatment in controlling different types of pathologies that affectwood, such as the xylophagous insects (termites, woodworms, etc.), and wood-destroying insects ingeneral. We need experts in this area for the identification of harmful species.
Dendrochronological analysis of ancient wooden cultural properties was very interesting. Generally
speaking, there are two methods of measurement of in dendrochronological analysis that use culturalproperties as specimens. One is the direct method, in which specialized equipment is used to takemeasurements directly from the specimen. The other is the indirect method, where measurements
are made through intermediate media such as images taken of tree rings. Tree ring measurement
has played an important role as a means of age determination in the study of wooden culturalproperties. The most generally used method of measuring tree ring width is to take measurementson the specimen surface using a lens, or through photography, etc. A technology for measuring tree
ring width using tomographic images acquired by micro-focus X-ray CT to perform nondestructive
visualization of the tree rings within a test article was put into actual use. This technology, which
relates to the nondestructive measurement of tree ring width, is a technology of very high utility inthe nondestructive tree ring dating of wooden cultural properties, especially as regards ring width
measurements.
Kazakhstan is a seismic region but with no experience in that kind of risk management, so that is
why I would like to emphasize the importance of the restoration of Sawanotsuru Onoishi-gura (SakeBrewery of Sawanotsuru) and the elaborate description of a soft-landing system, which was presented
by the Cultural Asset Protection Office Director MURAKAMI Yasumichi.
This soft-landing system has a fail-safe mechanism, an improvement of the patented mechanism
co-developed by the Power Reactor and Nuclear Fuel Development Corporation and Obayashi
Corporation. The system works as follows: when the isolation system is subjected to a great horizontal
force, the increasing displacement makes the system lose its ability to support perpendicular loading.
The soft-landing system slides on the horizontal steel plate, supporting the perpendicular loading inplace of the isolation system, and making the most effective use of the capability of high damping
rubber to accommodate horizontal displacement. This makes it possible to accommodate earthquakes
with high seismic intensity and high displacement using a smaller-diameter isolation system, whichallows the use of an isolation system for small loads (lightweight wood structures etc.). With the use of
the isolation system including this soft-landing system, the seismic input energy is decreased to onethird or one-fourth, which will help prevent damage to the building as well as toppling, breakage andother damage to the exhibits inside (the sake brewing equipment, etc.).
During the earthquake, the structure on the land moves with the artificial ground in a large, horizontal
pattern (capable of accommodating a maximum of 64 cm, or approximately 58 cm at 802 gal, or
gravitational acceleration). In order to accommodate this displacement, a clearance of at least 650

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mm was secured around the berm of the artificial ground, and flexible joints were used for electric,plumbing, and drainage wires and pipes.
In my opinion, the Training Course on Cultural Heritage Protection in the Asia-Pacific Region 2011,“Preservation and Restoration of Wooden Structures,” gave all participants invaluable knowledge andexperience in the conservation and restoration of wooden structures. We had a wonderful opportunity
to observe the Japanese approach to solving these problems. It was really a very informative andinteresting process. Notice of appreciation should also be made of the beautiful natural environmentand rich culture of Japan, and the friendly and polite Japanese citizens. We visited many temples
and shrines, such as Horyu-ji and Toshodai-ji temples, the oldest Horen-zukuri style farmhouse, themunicipally-designated cultural property Kyu-Tanaka-ke Jutaku (Former Tanaka Family Residence) in
the city of Nara, preservation districts for groups of traditional buildings (Gojo Shinmachi, Imai-cho),
Himeji Castle etc. I acquired many skills and new information about the conservation and restorationof cultural heritage. The site visits and lectures were conducted very effectively. I think the value of
this kind of experience cannot be overestimated.
I would like to express my gratitude to the organizers for this great opportunity to participate in the
training course. I would also like to thank ACCU staff members, Mr. NISHIMURA Yasushi, Mr.
TAKAHASHI Wataru, Mr. KOBAYASHI Ken-ichi, Ms. KATO Naoko, Ms. HORIKAWA Kazuko,
Ms. NISHIDA Michiko, Ms. OTANI Yasuko, Mr. SHIMOMURA Nobuhito, and our interpreter Ms.
HATA Chiyako, the tutors Ms. LEE Jihee, Ms. TSUJITA Naoko, Ms. YAMAMOTO Rika, Ms. SAITO
Junko, and also the participants from other countries for their useful information and sharing of theirexperience.

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Myanmar
Htun Htun Win

My Experiences during the ACCU Nara Training Course
1. Introduction
The Cultural Heritage Protective Cooperating Office, Asia/Pacific Culture Centre for UNESCO in
Nara, Japan, organized the training course on the preservation and restoration of Cultural Heritage
in the Asia-Pacific Region 2011, entitled “Preservation and Restoration of Wooden Structures.” This
course lasted about one month, from 30 August 2011 to 29 September 2011.
There were 15 participants from 15 countries in the Asia-Pacific region in this training, and they will
be using the knowledge gained for improving the restoration, conservation and protection of cultural
heritage in their respective countries. The aim of the course was to introduce concepts and methodsof preservation and restoration of various wooden structures, with reference to Japan’s system for theconservation of cultural properties.
I am a conservator with the Department of Archaeology, National Museum and Library under
the Ministry of Culture. I have responsibility for the conservation of ancient monuments in upper
Myanmar. The monuments are made of stone, brick and wood. Due to disasters, most of the culturalproperties all over the world are faced with the danger of deterioration day by day. It is necessary totake immediate action. Nowadays, every country is trying to protect and preserve its own culturalproperties in various ways. Myanmar is also trying to protect and preserve her cultural properties.
2. General Overview of the Training Course
The training course began at the end of August 2011 and was completed at the end of September
2011. During the long course, there were lectures, practical training activities, and on-site lectures ofrestoration, preservation, and excavation.
In the first week of training, we had an “Introduction to Architectural Heritage in Asia,” beginning witha lecture on that topic by Dr. Gamini Wijesurya, the Project Manager for ICCROM. Then, two days
were allocated during the training course for all participants to make their country presentations on
the preservation and restoration of cultural properties. Each participant presented for about 15 minutes
on topics such as “Problems and Needs for Cultural Heritage Protection and Restoration Activities,”“Conservation of Architectural Heritage,” “Treatment of Cultural Property as Wooden Materials,”“Preservation and Restoration of Wooden Structures” and “Protection and Restoration of Traditional
Houses, etc.” in his/her respective country, followed by 15 minutes of discussion. The participant’spresentations were seen to be very positive, because there was discussion after each presentation,

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which allowed participants to share their ideas and comments on issues pertaining to his/her country’s
efforts to preserve and restore important cultural properties.
In the second week, we had a good introduction to the “History of Wooden Architecture / Cultural
Heritage Protection System and Current Status of Conservation in Japan.” We also learned about“Restoration Systems and Project Planning for Wooden Structures.” We then had practical training
on recording and documentation of the Tanaka family residence. I learned about sketching a drawingof the floor plan and cross-section of a farmhouse, and then making the detailed measurement. The
Japanese method is exact and in detail. All participants learned a great idea from this practical training.
In this week, we had three practical trainings, with the other two on “Damage/Deterioration Survey
and Planning for Restoration” and “Materials Survey for Sustainable Conservation and Planning aManagement Policy.” Apart from the hands-on practical training activities, participants were also given
the opportunity to visit some of Japan’s Important Cultural Properties outside of Nara.
In the third week, we had an on-site lecture on “Buddhist Monuments in Horyu-ji Area,” which is oneof the World Heritage sites in Japan. During the third week we also had on-site lectures at vernacularhouses and historic townscapes, and practical training in survey and planning for preservation. In thetownscape survey, we had group work and each group had to make a presentation. We also had onsite lectures on “Citadel Preservation in Practice” by Kobayashi Masahiro and “Risk Management ofCultural Properties by Dr. Murakami Yasumichi.”In the fourth week of training, we learned the recording of wooden structures by means of photography
and also techniques used in the prevention of insect damage to wooden structures, which is quite usefulin our preservation activities. During this week, we took study tours focusing on the preservation ofmodern architecture in practice, and on the preservation of vernacular houses and townscape.
In the last week of training, we had an on-site lecture on the surveying of painting and making plansfor painting restoration. The theory and practice lectures on “Future Tasks in the Preservation ofCultural Properties” were the last sessions of our training program, which highlighted what we need to
do in our future work in preservation.
Japan has a long history of protection of its cultural heritage through legislation and other means.
Its heritage is mainly protected by the Law for Protection of Culture Properties. I learned thatthe government also grants subsides for National Treasures, and provides other support for thepreservation and restoration of designated cultural properties. In many countries, cultural properties arealso protected by similar legislation, such as Myanmar’s 1998 Protection and Preservation of Cultural
Heritage Regions Law.
Japanese architecture is shaped by its circumstances of climate and geography. In Japan, with its
high humidity, seasonal change and plentiful forests, wood has been the traditional building material.

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Traditional Japanese architecture has good foundations, good water drainage systems, good ventilationand interior air circulation, slanted roofs, long overhangs, and floors covered with tatami mats. The
tatami mat is one of the important elements in traditional Japanese architecture. It is fixed in size, andwhile different depending on the region, this determines the building size.
In Japan, many of the cultural heritage wooden buildings are more than 500 years old, and were madeusing traditional construction methods and tools as compared to modern buildings. One of the mostimportant aspects I learned is the use of traditional materials and techniques in the restoration ofhistoric wooden buildings. In the restoration of a wooden structure, depending on the proportion of therotten material, a wooden member may be reused after being repaired with traditional methods thatuse joints or grafts. Mostly the Japanese historical structures are made primarily of wood, with paper
screen doors, straw mats, plaster and clay mixed walls, and bark shingles, planks, or tiles for the roofs.
The next important aspect of culture asset preservation and restoration in Japan is the disaster
preparedness plan. One of the greatest threats to historic wooden buildings is fire, as the outbreak offire will destroy everything. It is no exaggeration that the history of preserving wooden structures inJapan is in fact a fight against disaster by fire. Japan has installed modern and sophisticated physicalfire-fighting equipment in most historic wooden buildings.
3. Conclusion
Through the Training Course on Cultural Heritage Protection in the Asia/Pacific Region, held in thecity of Nara, I learned many methods and new knowledge about the conservation and restoration ofcultural heritage. The various sessions and practical training will be helpful in my work. In Japan, thepreservation and restoration of cultural properties is more advanced than in other countries. Throughthe training course I have gained new ideas, and more advanced knowledge, with which I have beenrevising my current understandings and concepts regarding the preservation and restoration of culturalproperties, which will be helpful for my country in this field. I will share my experiences with otherconservators in my department, in my country.
4. Acknowledgment
I would like to thank the Cultural Heritage Cooperation Office Asia/Pacific Cultural Center for
UNESCO, Nara, and the International Centre for the study of the Preservation and Restoration ofCultural Properties (ICCROM). I would also like to commend our course coordinator and staff. Thanks
to all of you for your support and guidance throughout the entire program. Finally I would like tothank the Ministry of Culture, Department of Archaeology, National Museum and Library, Myanmar,
for nominating me to participate in this training course.

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NepalRam Govinda SHRESTHA

Final Evaluation Report on the Training Course on Cultural Heritage Protectionin the Asia-Pacific Region 2011: Preservation and Restoration of Wooden
Structures
1. Introduction
The “Training Course on Cultural Heritage Protection in the Asia Pacific Region 2011: Preservation
and Restoration of Wooden Structures” was organized by the Agency for Cultural Affairs, Japan(Bunkacho), Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for
UNESCO (ACCU Nara), the International Centre for the study of the Preservation and Restoration ofCultural Property (ICCROM), and the National Research Institute for Cultural Properties (Tokyo andNara), in cooperation with the Japanese Association for Conservation of Architectural Monuments(JACAM), Japan Consortium for International Cooperation in Cultural Heritage (JCICI-Heritage),the Ministry of Foreign Affairs of Japan, the Japanese National Commission for UNESCO, the Nara
Prefectural Government and the Nara Municipal Government. The course was held from 30 August(Tue) to 29 September (Thu) 2011.
The training course was offered to participants from the 37 different countries in the Asia/Pacificregion through the UNESCO National Commission or the endorsement of the member of JCICHeritage. Each country having certain qualifications, according to criteria fixed by the concernedorganization, and then 15 participants and two observer participants among them were selected. The
selected participants from different Asia/Pacific countries have been involved in their own countries in
the field of cultural heritage preservation and conservation.
The course on preservation and restoration of wooden structures included theoretical aspects, or
principles of conservation and restoration, as well as traditional and modern Japanese practices used
for wooden structures, with the purpose of giving knowledge about traditional practices, modern
norms, and advanced techniques of restoration and conservation in Japan.
In my point of view the training course was very systematically designed for dedicated professionals
having experience in their own countries. Detailed knowledge and practical experience with theJapanese system were conveyed, as well as theoretical instruction in lectures.
2. Significance of the training
The training was held in very nice environment. During the training period participants felt free
to learn about the lectures and every detail of all the subjects. The lectures were of value not only270

in Japan but also in every corner of the world. The lectures given by the instructors involved were
understandable for the participants, and communication among the latter helped us learn about morethings from each other. The instructors in the subjects concern made the training more informative. If
someone questioned me about ranking the training course, I would rank it at a high level. I would say
the training course was 100 percent successful.
The Japanese conservation and preservation systems were the principal topics. Accordingly we had theopportunity to observe these on sites as well as to interact with relevant professionals. It was a great
benefit that resource persons were either technical practitioners or academics capable of giving detailed
information on their subjects, either in the field observations and practical knowledge, or in terms of
the principles and theoretical knowledge.
Due to the broad scope of the training, it can benefit not only the trainees in making successful
contributions but also their home countries as well, which is the true significance of this training.
Most of the Asian countries have similar kinds of problems in the conservation of heritage. There
are some specific problems which are due to the situation of the country, the perceptions of the local
communities and traditions, or linked to the communities’ climate. But broadly these countries all havethe following kinds of similar problems: management, legal system, and budget.
We have faced a number of problems of management regarding the conservation, restoration, andpreservation of cultural heritage in Nepal. The proper coordination between government and nongovernment institutions, lack of skilled sufficient manpower, coordination between traditional andmodern technology, lack of expert documentation of the heritage, and lack of public awareness about
conservation and preservation of heritage are the major management problems. However, insufficientbudget is the main problem for Nepal regarding heritage conservation, and there are also some gaps in
the existing legal system for preserving and conserving cultural properties.
Acknowledging these problems in the Asia/Pacific region, the above-named organizations including
ACCU Nara have organized this training program for all countries of the region, to share in theknowledge of the existing conservation and preservation system of Japan, where cultural properties arewell preserved and conserved using traditional knowledge, and some adoption of modern advanced
technologies, with advanced community awareness as well as a comprehensive legal system, as I
observed during the training course.
Obtaining feedback from other participants in the training course can help us in the preservation andconservation of cultural properties after going back to our home countries, which is the main purposeof preparing this report. So I will focus on this issue and give an explanation about the knowledge I
gained that can help me as heritage professional.
The practical course included various subjects with case studies in the Japanese context regarding the271

conservation and preservation of wooden structures. I think these topics were more valuable for theconservators in the profession.
The practical training provided important opportunities for the participants to gain new knowledge
and to learn about real conditions. Observation, surveying, site measurement, drawing preparation,
paintings, and the planning process are valuable tools for conservation and restoration used in Japan.
The site visits and on-site lectures also provided great opportunities to observe how conservation andrestoration are conducted in Japan.
Communicating practical knowledge among the participants through their presentations about theirown countries’ work in preservation and conservation also provided a great opportunity to learn many
more things. In addition, the lectures provided opportunity for discussion on various issues and topics
taken up, as did the practical training and on-site lectures.
3. Limitations of report
Regarding this evaluation, the current report has been prepared with following limitations.
• The report was prepared within one month.
• The report was prepared at the direction of ACCU Nara.
• The report volume was specified as 2,000-3,000 words.
• The report was prepared based on my own experience.
4. Construction of buildings in Nepal and Japan
Every country builds its own building to fit their natural situation and time, the perceptions of theirpeople, communities, and places. So characteristics of built heritage may vary from country to countryaround the world, and may not always be the same even in the same place, due to differences in
temporal and contextual factors. Due to this it is very difficult to apply the same ideas and knowledge
about built heritage in the same manner, everywhere and every time.
One of the major features of traditional Japanese structures is that the building is completely
constructed in timber, atop a base foundation of stone, so that it can be disassembled and reassembled
without damage to any members. It is possible to dismantle and repair because of this character,making this approach very common in the conservation of wooden structures in Japan.
From my observation in the practical training and on-site lectures, Japanese traditional architecture isclose to nature, in that traditional architectural buildings and monuments are harmonious with theirsurrounding landscapes, and suitability matched to the local climates. This kind of feature can beobserved in the wooden planks of the Takayama traditional buildings, the steep thatched roof roofs in
Shirakawa-go gassho buildings, in the tile roofs of traditional Japanese houses in Naramachi, Gojo,
and Imai-cho.

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In the context of Nepal, traditional structures are mostly different from Japan. We very rarely findbuildings made totally as wooden structures. The structures we have do not use heavy and thickwooden materials. Traditional wooden materials were used as secondary materials, but they still
have a significant role. In traditional architectural construction wooden material was used for various
proposes. Pillars were sometimes used with mud mortar as upright posts, in which the woodenmaterial was not decorated, but placed inside the mud mortar brick wall on a base that was wooden orstone. Other pillars, with highly decorated members, were placed outside brick walls as load-bearing
members. Doors, windows, lattice windows, sanjyal (bay windows) were decorated wooden materials.
Upright posts, beams, challu (wooden supports), struts, eaves boards, wall plates, and sill members
used wooden materials. Those elements have significant roles in the structure. In Nepalese traditionalarchitectural, load bearing elements are made in line with the required size. But I observed at the
Tanaka house in Nara that in Japan, the load-bearing pillar size is not sufficient as compared with theload-bearing beam, even though most Japanese houses were built as massive wooden structures, either
plain or decorated.
While for both countries the system of traditional conservation method may vary, we both have tothink about safety measures ourselves in order to preserve and conserve important heritage, to passon from our generation to future generations. After having received this training, with its theoreticalas well as practical aspects, and observed directly aspects of the conservation system at Toshodaiji
temple, Todaiji temple, Horuji temple, the Tanaka family house, houses in Imai-cho in Nara prefecture,
Himeji castle and the Sawanotsuru sakagura (old Japanese sake brewery) in Hyogo Prefecture, theYoshijima house in Takayama and Maeda house in Shirakawa in Gifu prefecture, I have learned that
we should accept scientific methods of conservation. In my observation, the Japanese traditional
structural system also has good ideas about placing the post on a base foundation of the stone. Wooden
members are linked using a good joining system. Roofing with planking is more modern and artistic toview.
After going back to Nepal I will try to use the knowledge I gained in the fields of conservation andpreservation. I will make suggestions to my municipality college, and give the ideas gained fromJapan to the municipality as well, and if someone requests me to talk about the Japanese method ofconservation, I will explain to them how it has made me feel about my duties for the conservation andpreservation of important heritage.
As I know that conservation and preservation are never-ending processes, I will pursue the sole
purpose of conserving cultural heritage within our city, where we have expressed in our motto thecommitment we try to achieve: “Creation of our predecessors – our art and culture.”
As this motto describes, our predecessors’ creations are our art and culture. This heritage should not be
destroyed in our generation, but should be passed on to the future generations, so that they can know
about their predecessors’ design and civilization.

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Concerning the above motto, we should think about authenticity. We should preserve not only material
heritage but also all the techniques used by our predecessors as far as possible. For this purpose weshould train craftsmen and masons in the techniques used by our predecessors. Also, we should notintervene much in the work of conservation and preservation. We do not wish to lose the value of theheritage. And we should not ignore the people, by which I mean the community related to this heritage.
It is necessary to make them aware of the value of the heritage as well. Their participation is necessary
for conservation, so they need to understand about authenticity, responsibility, and the value ofheritage. They should be involved in the decision-making process involved in heritage conservation. I
heard from an on-site practical trainer that conservation work in Takayama city and Shirakawa village
in Japan had this kind of participation from local communities. As a result, they have successfully
conserved and preserved their heritage.
As far as possible we should reuse wooden materials in order to save the authenticity of the heritage.
The use of new materials should be limited, because a wooden member is a reusable material. For
Japanese wooden structures, reconstruction and replacement involve a minimum amount of conjecture.
By saving these wooden members we could save the natural environment as well.
I did not know about restoration through the total dismantling and relocation process before coming
to Japan. I just learned of it through attending the class lecture of Professor Inaba. If a monument
is structurally deteriorated and vulnerable, total dismantling and repair in the same design and form
may be adopted, but partially deteriorated structures may be partially dismantled when necessary forrepair. Generally some repair work is done. According to Dr. Inaba, dismantling and relocation are
also common practices in the conservation of monuments in Japan. But we do not have this type ofconservation practice. I can convey this message to Nepal. This type of conservation may be applied in
the hilly areas of the Nepal where monuments are constructed by mostly using wood.
According to Yasumichi Murakami, Director of Cultural Assets Office, Hyogo Prefecture Board of
Education, concerning the Kobe disaster, people who are involved in conservation and restoration
work should be dedicated to this task even in disaster situations. As learned from Director Murakami,
during disaster situations heritage professional should be active for the collection of the data on
heritage property, and should inform the central government about the condition of the disaster, should
give quick decision about implementing work in dangerous situations. By keeping this in mind I
will also try to involved and do my best in heritage conservation. For me Mr. Murakami’s work wasmemorable and it was a great lesson for me to obtain through this training.
5. Conclusion
This training course is very important for me, my organization, my city and my country too. I will use
all the knowledge gained from this training after going back to my job in my country, in our context
as much as possible. Although I know, as a professional person involved in heritage conservation, theconservation systems in Japan and Nepal are not the same, but the important thing is that I have gained274

knowledge from this training that is of great value which will be applicable in the context of heritage
conservation in Nepal.
The lectures were interesting and relevant to this course, and clearly presented with good explanations.
The aims and requirements of the workshops were very clear and well explained, highly relevant tothis training course, and the instructors’ explanations always very clear and the level of the workshop
easy to understand. The workshop on recording/documentation gave me ideas about our recording
system for heritage. The workshop on the townscape survey and planning for preservation gave me
good lessons about how to plan in the context of a historical city. The workshop on recording ofwooden structures (photography) gave me training about composition and the use of the camera in thecontext of photography documentation. The workshop on the painting survey and making a plan for
painting restoration trained me in the use of a record system for painting and the analysis of painting
composition, which are valuable aspects of painting conservation. The study tours and on-site lectures
were very clear and useful in increasing my understanding of this training.
In general the course fulfilled my expectations and aims, the coverage of the subject was about right,
the depth of coverage of the subject also about right, and most components of the program wererelevant to my work, so I can apply what I have learned in my own country.
Thanks to all who helped me.

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New ZealandNicola Rachel JACKSONAsia and Pacific Region Conservation of Wooden Structures 2011: Final Report
Introduction
This is the final report written upon the completion of the 2011 Asia and Pacific Region Conservationof Wooden Structures training course. The report focuses on the application of the concepts andknowledge presented in the course to my work in New Zealand.
I have worked for the New Zealand Historic Places Trust Pouhere Taonga (NZHPT) for over 13 years
in a variety of roles. I was first employed as a heritage planner and my main tasks involved working
with owners wanting to make alterations to their heritage properties and with local authorities on
the development of their district and city plans. This work required a sound knowledge of heritage
principles and a practical approach. My next role was as Registrar where I was responsible for theoverall management of the NZHPT national Register of Historic Places, Historic Areas, Wahi Tapu andWahi Tapu Areas. This role required understanding why places are significant and how to document
this significance for registration purposes. My current role as Policy Manager followed a period ofholding the position of Senior Heritage Policy Adviser where I was mainly involved in the preparationof heritage guidelines for owners of heritage and NZHPT staff.
Following the major earthquakes in Canterbury in September 2010 and February 2011 I was appointed
as the NZHPT Emergency Response Manager. My key tasks were to organise temporary office spaceand staff resources and to lead the heritage response to the earthquake during the immediate aftermathof the events. The response work involved assisting local authorities in determining emergency consent
procedures and undertaking assessments of the damage sustained to heritage buildings.
This training course has provided a wide range of learning opportunities from practical hands-on workin conservation and recording, to information about the Japanese heritage conservation legislative
system and methods of restoration in relation to wooden structures. Unfortunately our time in Kobe forthe consideration of the damage and response to the 1995 earthquake was caught short due to heavy
traffic as I would have liked to explore this topic in more detail. However, the detailed handout fromthis session is particularly useful, and I am likely to refer to it especially over the coming months as I
analyse the New Zealand response and experience.
Three areas covered in the course have been of particular interest to me in my current role. These are:1) The wide range of heritage that is able to be recognised and/or protected under Japan’s
legislative system.
2) The challenges facing preservation districts.
3) The issue of authenticity in the conservation process.

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Recognising a wide range of heritage
Japanese heritage legislation seeks to conserve a wide range of heritage. In a way similar to New
Zealand, cultural properties including historic sites, monuments, buildings, groups of buildings, andcultural landscapes are recognised and protected through legislation. In the case of Japan, a nationaland regional regulatory approach is used, whereas in New Zealand protection is achieved only at the
local authority level. At a national level, the NZHPT Register can identify and recognise significant
heritage but does not regulate it.
A key difference between the two countries is the recognition of heritage not covered by New Zealandlegislation explicitly. Japanese heritage legislation covers:- Tangible cultural properties, which includes structures, sculptures, works of art, crafts, books,
documents, and artefacts, that can be designated as National Treasures (highest category) orregistered as tangible cultural property.
- Intangible cultural properties, which includes drama, music, craft techniques including
the practitioners themselves as holders of the skill or technique. These can be designated asImportant Intangible Cultural Properties.
- Folk cultural properties¬, which includes clothes, tools, houses, objects, manners, customs,
folk performing arts and techniques related to food, clothing, domestic situations, occupations,religious faith, annual events and festivals. These can be designated as Important or registeredas either intangible or tangible Folk Cultural Properties.
In New Zealand such objects are either considered as chattels if related to a specific heritage building
or held in museums with no formal recognition through legislation other than for the export of Maoriartefacts. For the intangible matters, the legislation in New Zealand only covers land based heritage
and the values can only be protected in so far as they relate to a physical site. There is no distinction
between folk attributes and other cultural property in New Zealand, however, there is a general
recognition of the need to ensure a wide range of heritage types, as represented for example in theRegister. There is no legislation in New Zealand that provides for the retention of traditional skills andtechniques. For example, for Maori meeting houses (wharenui) it is important that skilled carvers areavailable for restoration, and in order for this to happen the traditional skills and techniques need to bepassed on to each generation. In practice this happens at a local level but is not required by legislation.
It may be useful to prepare a more formalised approach to ensure all skills and traditional techniques
are maintained and the knowledge passed down.
Challenges facing Preservation Districts
Another key theme covered in the course relates to the conservation and management of preservation
districts (called historic precincts or historic areas in New Zealand). We visited three preservation
districts in Imaicho, Takayama and Shirakawa. Each of these places exhibited similar issues to historicareas in New Zealand, including loss of heritage/character buildings, impacts of poor alterations tobuildings, new buildings being constructed that are out of character with the heritage values, change277

of use and socioeconomic changes, neglect, effects of tourism, and vacant properties. There are about
90 nationally designated preservation districts in Japan managed by municipalities. The municipalities
receive subsidies from the government which provide important incentives for the restoration ofhistoric buildings within preservation districts and for ‘façade enhancement’ – returning altered ornewer buildings to a more original design in line with strict guidelines. This can mean that it is difficult
to visually pick the original traditional houses from modern houses. The regulations only cover theexternal front façade which means internal alterations need not be in keeping with the traditionallayout. Each municipality can set its own regulations which, like what happens in New Zealand, means
there are a range of approaches – some don’t protect the retention of the character or historic buildings
themselves, rather the focus is on character or townscape.
A key concept explored within this theme is ‘living heritage’. Preservation districts are places where
people live and work. It is important that the focus of conserving the traditional townscape does notlead to such increased tourism that the towns are no longer desirable places to live. Services and goods
essential for daily life are important aspects to be retained. A high concentration of souvenir shops,
restaurants and tourist attractions can alter the character of a town and reduce its integrity as a historic
townscape. A particularly interesting part of the Japanese approach to conserving historic townscapesis the involvement of the local community. In some cases it was the local residents that instigated thefirst principles and guidelines to promote conservation of the area. It seems that a key to successfulconservation relies on the involvement of the local community in the on-going management of thepreservation district. There are many lessons to can be gained from studying the Japanese approachto preservation districts, the effects of regulation, and the methods used to retain heritage, that are
applicable in the New Zealand context.
Authenticity
Over the past two decades or more there has been international debate around the concept ofauthenticity. Wooden structures, as opposed to those constructed in stone or brick, have less permanent
properties and a lesser expected lifespan. While replacing very perishable materials such as straw
thatching regularly is common, such practices (if carried out using similar materials and similar
methods), do not appear to raise issues of authenticity. Full scale dismantling of structures however,has raised concerns. How to conserve wooden structures over hundreds of years while retaining
authenticity has been an important consideration for many countries.
Wooden structures have been conserved continuously in Japan since at least 700 AD. Seemingly
unique restoration processes have evolved over time, which aim to extend the life of the structures.
The Japanese restore their wooden structures, particularly temple buildings, by dismantling, inspecting,repairing and reassembling the structures every 100-200 years or so. Where parts are damaged andunable to be used, new material is added. Damaged timbers are repaired by piecing in new material
or replacing whole members depending on the extent of damage and remaining structural strength. In
particular, this relates to main structural beams and pillars which come in contact with the soil or sit on

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foundation stones. These restoration processes are all carried out with a high level of documentation (atleast since the 1800s).
In some cases whole members or parts are replaced when they are not beyond use but because of the
difficultly in reaching these parts for repair during the usual course of maintenance. For example at
Himeji Castle, dating from 1601, the two 8-ft fish sculptures which sit at the very top of the castle havebeen replaced at least four times. The last four restoration efforts have seen these sculptures replacedwith similar but not identical sculptures. The changes arise from artistic or stylistic changes of thepreference of the craftsman, or relate to the fashion of the time, or in some cases a desire to return toan early style.
Before being dismantled the structure is meticulously documented. Full plans are produced showing
floor plans, site layout, cross section and all elevations and some details. A scaffold is erected and theentire structure is covered during the restoration to keep the rain off. A site office is erected and spacecreated for the storage of the parts often on the site or nearby. During the careful dismantling process,the timber members are carefully noted as to their location and kept orderly. As the buildings areconstructed without nails generally the timbers interlock. Damaged timbers are repaired using a varietyof carpentry joints to piece in new material which is carefully chosen to match the original. Sourcing
appropriate timbers is becoming an issue, and the government has taken to buying/planting forests forthe restoration of cultural property.
A similar approach is taken with ceramic tiles – with the damaged ones being removed and often theolder ones moved to lower positions and new tiles being used elsewhere. Perishable material suchas the earth for the walls was usually discarded but I noted in the case of Himeji castle the earth wasgoing to be reused (with some additional earth being added). Normally the bamboo used in the walls
and the roof substructure are replaced. Roofing thatch on traditional farm houses is replaced in its
entirety at regular intervals.
There is a big difference in my opinion between replication and reconstruction, repair and reassembly.
I wonder if a lot of the confusion relating to the conservation methods in Japan has arisen just becauseof terminology. For example, some lecturers on this course used the term ‘demolition’ when they were
describing the careful dismantlement of structures before they were reassembled.
In New Zealand, as in many Western countries, original material is given priority for the conservation
effort. The replacement of too much heritage fabric calls authenticity into question. However, in New
Zealand it is difficult to find wooden structures pre-dating 1820 – a far cry from the eighth century
structures of Nara. What would it be like to have early Maori wooden structures surviving from
centuries ago ‘restored’ in the Japanese way over many years? I suspect these would be treasured
together with the traditional practice of their restoration.

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There does seem to be a difference between replacing all material at one time rather than repairing andreplacing small pieces over longer time period. A major restoration project replacing and renewing
much material can result in a heritage building looking like a ‘new’ building. Care needs to be taken
to ensure that only the parts that are beyond repair are replaced or there are other very good reasonsfor the replacement. An example of this in New Zealand was the restoration of the Brunner suspension
bridge which had sustained many alterations over its one hundred plus years. It was decided to replacealmost all of the rotten timber main structural beams, but leave a few of the originals in a position
easier to get to so they could be replaced when their condition became such that their structural
integrity was called into question. While more of the original beams could have been retained,
efficiency and future maintenance costs were also taken into account.
It really is a matter of balance between the long term conservation of a structure built of materials thatare not permanent and the retention of heritage fabric. Moreover, it is important that the spirit of theplace is conserved, as can be achieved when the structures are still used for the purpose they were built
for.
Japan has invested considerable resources in dendrochronology and can trace the growth patterns ofsix tree species used in construction back hundreds of years. Dendrochronology can precisely date thefelling of a tree (in samples containing all of the sap wood) and has been used to date many culturalproperties both for the year of construction and when major restoration works have been carried out.
This has given additional weight to the authenticity issue, as it allows the date of replacement material
to be accurately determined.
Considerable confusion has arisen over the practice of renewing Shinto shrines as opposed to therestoration of Buddhist temples. Following a long tradition, Shinto shrines have been ‘conserved’
through a complete renewal of the building constructed on an adjacent site, in the same form, every
20 years following a ritualistic and traditional process. In some cases this renewal has occurred every
20 years for centuries. While the material can not be considered heritage fabric as it is all renewed soregularly, the process and traditional methods and materials can be described as ‘living heritage’ andthe preservation of the practice can be seen to be more important than the material itself. The matter
here is not authenticity of materials but rather authenticity of process and traditions. Interestingly there
are a few Shinto shrines where the renewal has stopped at a given date, such as in the early 1800s,
and this provides an interesting contrast to the ‘new’ shrines. Furthermore there have been difficulties
in applying the Japanese designation system to such structures and instead the focus has been on thecontinuity of use and traditions.
The issue of authenticity has become and continues to be an international debate. The debate reached alevel of resolution with the adoption of the 1994 ICOMOS Nara Document on Authenticity.

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A key concluding paragraph in the 1994 ICOMOS Nara Document on Authenticity states (paragraph13):
Depending on the nature of the cultural heritage, its cultural context, and its evolution throughtime, authenticity judgements may be linked to the worth of a great variety of sources of
information. Aspects of the sources may include form and design, materials and substance,
use and function, traditions and techniques, location and setting, and spirit and feeling, andother internal and external factors. The use of these sources permits elaboration of the specificartistic, historic, social, and scientific dimensions of the cultural heritage being examined.
This paragraph seeks to ensure that authenticity of heritage is not based on a survey of original
materials alone. In New Zealand, perhaps even more topical at the moment is the issue of replacement
following catastrophic loss such as in the case of the recent Canterbury earthquakes – discussion
focusing on authenticity and appropriate conservation responses to repair and replacement, and what is
acceptable, is at the forefront of our minds.
Looking to the future, conservation experts in New Zealand need to consider how we are going toconserve our timber structures for the many years to come – facing challenges of the risk of wholesale
destruction from fire and earthquakes, together with gradual on-going deterioration.
Conclusion
I would like to sincerely thank ACCU Nara and ICCROM for the opportunity extended to me to attend
this training course. I have benefited not only from the excellent programme of lectures, field trips andpractical exercises but also the experience has been greatly enriched by spending time with heritage
professionals from a range of Asia and Pacific nations. I will be pleased to share my experiences andknowledge with staff of NZHPT upon my return to New Zealand and to consider the concepts exploredin the training course over the years to come.

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Philippines
Ar-Bi Agloro ARCIAGA

Understanding the Japanese Way
Thank you JapanFirst and foremost I would like to express my sincerest gratitude to the Agency for Cultural Affairs,
Japan (Bunkacho), the Asia-Pacific Cultural Centre for UNESCO (ACCU), the International Centre
for the Study of the Preservation and Restoration of Cultural Property (ICCROM), the National
Research Institute for Cultural Properties (Tokyo and Nara), the Japanese Association for Conservationof Architectural Monuments (JACAM), Japan Consortium for International Cooperation in Cultural
Heritage (JCIC-Heritage), Ministry of Foreign Affairs of Japan, the Japanese National Commission for
UNESCO, the Nara Prefectural Government, and the Nara Municipal Government for this wonderfulTraining Course on Cultural Heritage Protection in the Asia – Pacific Region 2011.
I would also like to thank the lecturers who have wholeheartedly given their time and effort in
explaining and answering our question with regards to the conservation of World Heritage in Japan,
the ACCU staff and especially Ms. Naoko Kato, for always being there to lead us and guide us in thistraining course, Ms. Chiyako Hata for finding the best words for us to understand better the training,
and to the tutors, namely Ms. Ji Hee Lee, Ms. Naoko Tsujita, Ms. Rika Yamamoto and Ms. Junko
Saito, for the never-ending support and hard work that they have shared with us.
I am much honored to be one of the participants in this training.
Five weeks in JapanFirst week
The first week was tough and exciting as well. This is my first time to come to Japan and I neverthought that getting through a Japanese airport would be so difficult. Good thing the ACCU staff
members were there to kindly help us on our way.
During the presentations by each of the lecturers, I was amazed by their reports. I can’t stop wondering
at how deep their knowledge is with regards to conservation of cultural heritage, how focused andhow dedicated they are in their own lines of specialty. They showed us many issues regarding theconservation of wooden structures, especially the issue of authenticity of wooden structures and the useof traditional and modern ways of conservation, and how they manage and solve these issues. In mycountry, if I may compare it to Japan, we are still in the process of learning how to solve and manage
these kinds of issues, so I noted some points that I think are applicable to my country, especially on theuse of traditional and modern types of conservation, which I think will guide us in solving issues ofauthenticity regarding these cultural heritage structures.

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With regards to the presentations of each of the participants, I learned that each country has its own
unique heritage structures. Some traditional structures from my country may look the same as thoseof other countries, but the process of how the structure was built, and the materials used for theconstruction are different. Learning about the restoration and conservation of these cultural heritage
structures is very interesting. We all agreed that funding for the restoration of these heritage structures
is one of the biggest problems in restoration, but I was impressed by how some manage to solve thisproblem especially those who involve the private sector. Promoting the significance of these heritage
structures is one of the solutions that we are currently pursuing in my country. Informing the Filipino
people of the importance of these heritage structures in some manner helps us in searching for funds
for these heritage structures.
Second week
This week we were introduced to a deeper way of understanding the architectural history of Japan, andhow they manage to conserve, restore and protect their cultural heritage structures.
By just listening to the lectures, I learned that Japan is very rich in its culture. Shinto shrines go backto the third century, Buddhist shrines start from the Asuka period, and there are palaces and castles,
western style old houses, farmer’s houses, vernacular houses and others. Most of these heritage
structures still exist, showing that the Japanese started the conservation of these heritage structures
hundreds of years ago. Japan has done a great job in the preservation of these wooden structures.
The Japanese government improved its laws with regards to the protection and preservation ofcultural properties, not only for those structures managed by the government but also the structures
owned by private entities. This was the first time I heard of a government body providing a subsidy
for the restoration of cultural property owned by a private person. In my country, we also have laws
regarding the protection and preservation of cultural properties, but we don’t have these subsidies for
cultural properties owned privately. Just maintaining these traditional structures requires large amountsof money, and this has been the reason why most of the private owners would rather change theirtraditional houses into modern structures, which require less in maintenance compared to traditional
ones. Providing a subsidy for up to 85 percent of the total project cost is I think the best solution to
encourage private owners to maintain their traditional houses. This is maybe the reason why in Japanyou can see a lot of traditional houses owned by private persons.
One of the traditional houses in Nara is the Tanaka Family Residence. In this house we were trained to
conduct recording and documentation of old houses, a damage/deterioration survey and planning forrestoration, a materials survey for sustainable conservation, and planning for the management policy.
At first I thought this was easy since this has been my line of work for the past three years, but when
they said we will do the training in the traditional way then everything changed. In my country weusually use the modern way of recording and documentation, taking photographs of the structure andusing computer programs to draw the floor plans, section plans, elevations and others. Recording and283

documentation of old houses in a traditional way is a bit time consuming, especially when it is freehand, with no rulers, no guides. But one good thing I learned is that you get more in touch with thestructure. You get to know the details on the connections, the materials that were used, and the functionof each of member of the structure. These things are not commonly noticed in the modern way of
documentation. With regards to the survey of damaged parts and planning for restoration, the processof conducting the survey up to the planning for restoration in my country is almost the same as here in
Japan. We conduct a site investigation of the structure, prepare the necessary documents and drawings,
and estimate the required amount of cost for the restoration, then submit the project for approval. The
materials survey is the most difficult part of the training, maybe because most of the wooden materials
are not known in my country, but still it was fun learning all of these processes.
Third week
This week we went to the first two places in Japan designated as World Cultural Heritage Sites by
UNESCO, and also in this week preservation districts were introduced.
Horyuji temple is one of the best Buddhist temples I’ve seen in Japan, with its history going back tothe seventh century and its huge structures made out of wood. I may not be able to compare it with the
Baroque Churches that were designated as World Cultural Heritage by UNESCO in my country, sincethese heritage sites are very different from each other.
Shinmachi district in the town of Gojo in Nara prefecture is one of the preservation districts of Japan.
In this district I saw a lot of vernacular houses. Some are old and deteriorated and others are newly
restored. Walking in this district is like moving back into the past. With all the old houses around the
district, even the roads and bridges look old. Even the structures inside these houses are traditionallyconstructed. It is nice to hear that even the municipality and local people in this area are helping one
another in preserving this wonderful district. This type of coordination and cooperation from the local
community can rarely be seen in my country. Again I think back to the issue of choosing the modern
type of structure rather than restoring the old one.
Imai-cho is another preservation district in Japan. Comparing Imai-cho to Shinmachi, they have thesame characteristics with regards to house structure and both are well preserved by the municipality
and the community, only Imai-cho is larger than Shinmachi and more detailed in terms of preserving
the district. I have observed that even the widths of the roads are preserved. Our training here in Imaicho was very interesting, fun and exciting, especially when we conducted our group work. I neveractually thought that we could create a proposal for a facility planned in that area in just one day.
Thanks to my very nice group mates, I have learned a lot in this training in Imai-cho. I discovered
many issues with regards to the preservation district. Maintaining a preservation district is a lot harderthan maintaining a single structure. In these cases it is not only the structures that are important but
also the people living in that area, and their way of living.

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Another interesting site visit was our visit to Himeji castle. This was the most interesting visit for me
because we went directly inside and saw the on-going restoration of the castle. Restoration of cultural
heritage structures here in Japan is very strict, using much high scaffolding and wall covers to protect
the structure. In my country, we use bamboo scaffoldings in the restoration of huge structures. I think
the reason why they use steel scaffoldings here in Japan is because they can preserve the bamboo for
future use. Another good thing is that when they replace deteriorated material, they use the same typeas that of the deteriorated item. They also use the traditional way of restoring the structure. In mycountry we usually use the modern way of restoration and often replace deteriorated wooden materials
with commercially available items that are not the same as the original. Again the reason for this is thefunding for the restoration. Unlike the Japanese, we cannot provide huge amounts of funds for these
restorations.
Our visit to Sawanotsuru Daikoku-gura would have been more interesting, since it is an example ofrisk management for cultural heritage structures, but unluckily we were not able because of a tightschedule. But having the chance to see the building that was destroyed by the great Hanshin earthquake
and then rebuilt was a great opportunity.
Fourth week
The photography lecture is one of the lectures that I liked the most. Taking pictures is one of myhobbies, but the problem is I don’t know how to use the camera best. This lecture and training hastaught me a lot in terms of using the camera. Since documentation is part of my job as a restorationengineer, what I learned from this lecture will help me a lot in my job. Even though we only tried one
type of camera, I think learning the basics of photography is the most important. No matter what typeof camera you use, as long as you know the basic principles, taking the best pictures is not a problem.
Insects and pests are also the main problem of wooden structures in my country. Termites are theworst. I agree with what the lecturer said: “know the characteristics of the insect first before you treat
them.” It’s like knowing your advantages first before going to a war. Having proper ideas about these
insects is very helpful. The only problem is I don’t think we have similar insects and pests. Mostly, forthese cases, we usually use chemical treatment for all types of insects and pests. We seldom use thetraditional way because it is time consuming. Most of the time, before using new wooden material, we
first treat the wooden material with anti-termite solution to eliminate the problem of termite infestation.
Another interesting lecture was on dendrochronology. This was my first time to encounter such a word.
For me, dendrochronology is a better way of knowing the time of construction of a structure thanresearching in books or having interviews with people. It may not give the exact date but it is moreaccurate, reliable, and has a scientific basis.
Our study tour in Takayama was somewhat different from Shinmachi and Imai-cho. Takayama is
another type of preservation district. The difference is that Takayama is a city, with all the people285

roaming around. Takayama is a very cold place, like Baguio city in the Philippines. Like Shinmachi
and Imai-cho, Takayama is well preserved despite its urban setting. If I may compare Takayama to
Vigan Heritage Houses, they are almost the same, only Takayama is well equipped with fire prevention
materials. Even though Takayama is covered with huge buildings, still the municipality of Takayama
and the local community were able to preserve their cultural heritage structures, and they have done agreat job.
The last study tour was Shirakawa village. This is like the Igorot area in the Cordillera region in mycountry. One thing I observed was the municipality has a very good way of preserving the district.
Helping the lifestyle of the community and educating them while preserving the area is a tough job fora municipality, but Shirakawa was able to do it, and this maybe is the reason why many tourists go tothis area even though the vernacular houses are decreasing.
Fifth week
I had a hard time in our training with regards to the survey of paintings and plans for restoration. Thisis my first time to encounter an on-site painting survey, and in addition, the paintings on the wooden
structure were severely deteriorated and very hard to visualize. During the discussion on whether
to restore the paintings on the wooden structure or not, many issues where raised but most of themproposed repainting the structure, which is very different from the lecturer’s opinion. Again it cameto mind that every conservator has his/her point of view with regards to conservation. In my country
we always ask the owner’s or the end user’s opinion before planning the restoration. Sometimes theowner’s opinion always comes first, before our own. What I learned in this lecture is that we, theconservators, should be the one telling the owner what to do. We must explain to them in a way so they
understand that what we think is the best for the structure. This is what the lecturer actually said and I
will carry this idea back to my country.
The last lecture was about the values, authenticity, integrity, and monitoring of cultural heritage
properties. This was another tough lecture and also a very educating one. Having a deeper
understanding of cultural heritage properties is not as easy as looking at the structure. We need toknow or understand the value or values that lie within this heritage item. The knowledge that we gainfrom understanding the value will serve as our basis for knowing the authenticity of this heritage item.
Integrity is different from authenticity. Integrity, the way I understood it, is the connection of one
element to another element, how each of the elements will serve its purpose or function with respect toeach other. This was my first time to have a deeper understanding of these items (values, authenticity
and integrity) and I actually want to learn more. So when I go back to my country I’ll try to go overthese issues, have conversations with people who are engaged with these issues, and incorporate into
my job what I have learned.
Monitoring of cultural heritage is another issue. What I observed here in Japan with regards tomonitoring of these cultural heritage properties is very good cooperation and coordination starting286

from the national level, prefectural level, municipal level, and down to the community. I think thishas been the key to why the Japanese have been able to protect and preserve their cultural heritage
for the longest time. In my country, we at the national level are doing everything to monitor thesecultural heritage properties, sometimes we request help from the local government, NGOs and otherconcerned parties. The problem is we cannot conduct a systematic monitoring process for all thecultural properties because the budget is not sufficient. So I think we need to transfer these monitoringprocedures to the local government in the same way Japan is doing now. In that case these culturalproperties will be monitored periodically.
Time to go home, Sayoonara Nara, Japan
This training has been very helpful to me. I have learned a lot in this training with regards to therestoration, preservation and protection of cultural heritage properties. We may have different views
with regards to the value, authenticity, and integrity of the structure but all of us have only one
common goal, and that is to preserve the history that lies within the structure.
Once again, Arigatoo gozaimasu!
Sayoonara!

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Republic of Korea
KANG Soungwon

Points of Improvement in the Restoration Process for
Cultural Heritage in Korea
1. Introduction
First of all, I am happy to have participated in this training course on cultural heritage protection in the
Asia-Pacific Region 2011, “Preservation and Restoration of Wooden Structures,” in Nara, Japan. I
think the training gave me lots of knowledge and hints for points of improvement, with the help of
KATO Naoko, HATA Chiyako, Lee Jihee, YAMAMOTO Rika, and the lecturers, even though it wassuch a short period of time. I especially appreciated every teacher giving a lecture on theory, followedby practical lessons.

1288This report concentrates on the points of improvement in the restoration process for cultural heritagein Korea, in reference to the Japanese restoration system which was learned in this training course.
Therefore, this report considers the processing system in Korea from the perspective of the restoration
process for cultural heritage in Japan. This report also suggests future improvements for the restoration
process in Korea.
2. Process of Current Restoration Work in Japan and Korea
2.1. Current Restoration Work in Korea
Those who are qualified, based on the cultural properties preservation specialist system, are permitted
to preserve cultural heritage in Korea. The areas of cultural properties preservation specialist system
consist of conservation, measurement and design, paintwork on wooden buildings, historic landscapes,
conservation science, plant protection, etc. In the case of historic buildings, the engineer who isqualified with measurement and design is permitted to plan the conservation of a building, while aconstruction company which is qualified in conservation and paintwork on wooden buildings ispermitted to preserve a building. Also, the construction company that constructs buildings principally
fills out the preservation report.
Chart 1. Restoration work in Korea

Chart 2. Restoration work in Japan

2.2. Current Restoration Work in Japan
In the case of Japan, prior to beginning the restoration of a building which is designated as culturalproperty, they usually conduct a survey on the current state of the building, assess the degree of2289

damage, and determine a preliminary restoration policy according to such damage. They then draw up
a preliminary design plan that sets forth the restoration policy.
During the first stage of the restoration work, they place an order with a contractor (based on the
preliminary design plan), who undertakes the construction of the sheltering scaffold and the partial
dismantlement of the building that is subject to restoration.
In parallel with the dismantling process, they conduct a detailed survey of the building to discoverits original style and construction method, the nature and extent of the damage to its components, andthe cause of such damage. At the same time, they perform a structural diagnosis of the building and aground survey to assess its seismic capacity.
Besides locating the damage sustained by the building in order to develop a renovation policy, theyattempt to discover any alterations that have been made to the building in the past and trace their
history.
Based on the findings of these surveys, they draw up a final restoration policy. If the restoration
work involves structural restoration, it must be determined when the structure to be restored wasconstructed and develop an appropriate restoration policy, and if structural reinforcement is required,the means and methods of reinforcement must also be determined. In this way, a working design planis drawn up, incorporating the elements that could not be finalized when developing the preliminary
design plan. The addition of these elements may result in changes to the renovation cost, period,
and/or policy specified in the preliminary design plan.
As shown above, restoration work requires detailed and comprehensive surveys. For this reason, theconstant presence of a design engineer is required at the restoration site if the restoration work
involves extensive dismantlement. Once a working design plan is ready, an order is placed with acontractor based on this plan, and the restoration work begins.
Upon completion of the restoration work, they publish a report on the work performed, compile andsummarize the results of the detailed surveys conducted for the restoration, record the restoration workand the findings of the historical survey of the building, and gather drawings and photographs of thebuilding before and after the restoration, which were taken and prepared during the process.

Fig.1. Restoration work at Kongoji temple

Fig.2. Restoration work in Himeji castle

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3. Improvement Points of Restoration Work in Korea
3.1. Improvement in the Process
Firstly, the restoration process should be done in a dual system. Recent cultural heritage has been
continuously used, with the original shape often hidden by changes due to replacement andreinforcement of built-in materials, and changes of lighting, heating and other facilities. Conventional
types of wooden buildings are thought to have the same problem, and it is necessary to decide upon
the causes of damage, the replacement materials and the scope of repair at the dismantlement process.
Therefore, the scope and policy of restoration should be decided while dismantling buildings as thefirst stage, and then the execution plan and the restoration work should progress as the second stage.
Secondly, the committee of advice should be required to be held regularly. The advisory committees
that fail to meet frequently, and the method of deciding the scale of each construction work, needreform. For instance, the advisory meetings that decide upon scale and policy of restoration after
dismantlement require frequent discussion and agreement.
Chart 3. Proposed process of the restoration work

Thirdly, the obligation of the measurement and design office should be reinforced and aconstruction supervisor should be appointed. When construction work starts, the measurement anddesign office has no obligation to participate in the restoration work according to the current
conservation process. The measurement and design office should be given more budget and have4291

obligations to survey dismantlement work and make changes to the repair plan, and be involved in therelease of the preservation report.
Also, a system in which the supervisor, who is conducting the planning, also oversees the overall
progress of the restoration work needs to be introduced. In the case of Japan, the organizations
responsible for planning and supervising are not separate. In Kyoto, Shiga, and Nara prefectures,
where important cultural properties are especially numerous and repair projects are continuously
implemented, repair technicians are employed as staff of each prefecture’s board of education, andaccept commissions of repair work from the project client (direct operation). In prefectures other than
the three above, the project client commissions the design work to a design supervision organization,such as the Japanese Association for Conservation of Architectural Monuments (JACAM). The ownerthen decides on a construction company to do the work on the basis of competitive bidding(subcontracting). Korea also needs to introduce an organization responsible for planning andsupervising like JACAM.
3.2. Improvement in the Survey Method
The survey records should be improved. Modern buildings as well as traditional wooden architecturethat are dismantled and repaired need to have restoration reports with precise measurement surveys.
In the survey conducted during the dismantling process, we must have detailed surveys as in Japan.
They inspect individual building components to discover how they were arranged and assembled. To
be specific, we must attempt to identify and determine the building’s characteristics, such as: (1) woodspecies, (2) quality, (3) style, (4) dimensions, (5) finish, (6) angled-joint connection, (7) joint
connection, (8) quantity, (9) reusability, (10) necessity of removal, (11) necessity of addition, (12) the
extent of necessary repairs, (13) usability for other purposes, (14) convertibility, (15) necessity ofdisposal, (16) age, and (17) any writings found therein. At the same time, we should conduct a
historical survey by examining old documents, maps, and photographs in order to trace the history of
the building.
Moreover, we also should make the restoration drawing by hand and not using a computer program
such as Auto CAD. In Japan, the restoration drawing (hozonzu) is one of the most important items.
Pre-repair and post-repair drawings are made. Restoration drawings are made when radical repair isperformed, using A0 size Kent paper and finished in ink with drawing in fine lines. The restoration
report is an organized and edited publication of the material compiled and created during the project
period, and includes various survey reports, records, photographs, drawings, and documents.
Also, plans for use should be made as early as possible. A detailed plan of the use should be decided
prior to restoration work so it can be reflected in the design, not only for interior decoration but also
for facility construction work of lighting, heating and other equipment.

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Fig.3. Section drawing, Imai-cho

Fig.4. Elevation drawing, Imai-cho

4. References1)

Kang, S. W. (2008) A Study on the Development of Western Building Systems in Korean

Architecture from 1890 to 1945. Doctoral dissertation, Seoul National University
2)

Cultural Heritage Administration of Korea. (2009) Conservation and Restoration Report ofJungmyongjeon in Deoksugung Palace.
3)

National Research Institute for Cultural Properties, Tokyo. (2010) NRICPT-Mongolia

Exchange Project 2009 – Architectural Conservation and Restoration Training Workshops.
4)

JACAM/Jin’ichi Murakami. (2011) “System and Project Planning for the Repair ofArchitectural Monuments in Japan.” Handout for the “Training Course on Cultural Heritage
Protection in the Asia-Pacific Region 2011,” Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU Nara).
5)

JACAM/Koji Aoki. (2011) “Restoration Process.” Handout for the “Training Course on

Cultural Heritage Protection in the Asia-Pacific Region 2011,” Cultural Heritage Protection
Cooperation Office, Asia-Pacific Cultural Centre for UNESCO (ACCU Nara).

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SamoaAilini AH KEN-ETEUATI
Introduction
Facing the future, we treasure the past, for without history we have no roots, and without roots,
there is no future. Firstly, I would like to say it was a great honor for me to be a participant in the“Training Course on Cultural Heritage Protection 2011.” Working as a Museum Officer means not
only preserving and conserving artifacts, but at the same time protecting and promoting the history,
and the significant and unique culture, of my country. This training has broadened my horizons bymaking me realize more about the different cultures in Asian and Pacific countries, and above all, howpeople of each country react or respond in preserving, restoring and conserving their own cultural
heritage through various aspects of heritage management, such as restoration and conservation ofold wooden structure buildings, historical sites, monuments, temples and artifacts. So in this report I
will be addressing, first, how this training can be applied to my country’s situation of preserving andconserving cultural heritage, and evaluating thereby the relevance of this training to conservation
work in my country. Second, I will identify problems encountered during the work process, and last,compare the training with current practice in my country.
How the training applies to my country
Practical training in the recording and documentation of the Tanaka Family Residence in week two
was a very good experience for me. It was my very first time drawing a floor plan or floor section
and cross-section of an old vernacular house, and perhaps drawing a plan of a house. In addition, it
is spectacular to see how the Japanese survey damage or deterioration in architecture, and devise aworking plan for restoration of the damaged parts of the house. Moreover, the materials used are all
traditional tools from the time before machines and new technology existed. In this way it can beapplied to my country through educating and teaching the younger generation about the knowledge
and skills of conservation and restoration of old traditional houses. Our division, the culture division,
conducts workshops and other similar training for traditional architects, to sustain and maintain theappearance and significance of old Samoan vernacular houses, and though there are problems we arestill continuing to preserve these kinds of houses by passing the skills and knowledge from generation
to generation, so that the appearance of these houses will not be obliterated by the fast changes
introduced from Western or European countries.
This training taught us the importance of taking photographs, and learning basic knowledge of culturalproperties photographs was a good experience for knowing more about how to take detailed andprecise photographs. It is a benefit for me as a museum officer. In the museum we take photos of all
artifacts for recording and labeling, so with this photographic training I have now learned how to focus
the camera properly and the kind of camera to use for more detailed photos. As part of our job weconduct quarterly research of historical sites, and as always a good camera and good photography are294

very much needed in recording and explaining the sites and artifacts. This is why we have a special
audiovisual section under the culture division, for this purpose.
Emerging problems
Observing in the training the ways that Japanese people are protecting their cultural heritage wasvery much similar to our conservation methods in some ways. But I think we have identified more
problems than here in Japan, because of different circumstances such as the environment, economy,
and the people. So here are some of the emerging problems we are now facing in our work. A major
problem is the disappearance of some of the skills used to produce cultural heritage objects. Many of
the well-known master builders are now gone and their knowledge and skill have not been transmitted
to the younger generations. Some of the people who hold knowledge about myths and legends are very
reluctant to impart stories, because of reasons such as wanting to keep those things for themselves andtheir own offspring, and suspicion that outside people who conduct heritage work will use their stories
for economic gain. Family taboos, restricting people who are not family members from receiving theknowledge and skills, have contributed to the decrease in numbers of master builders, particularly forceremonial houses.
There is another problem, posed by some master builders who are not interested in transmitting theknowledge and skills to any of their own family members. Sometimes potential recipients preferto take on another profession. Furthermore, families are increasingly more interested in building
European houses, leading to a gradual loss of the following.
a. The knowledge and skill used in the artistic design of the Samoan house.
b. The tools used for traditional construction.
c. The semantic domain of words related to house buildingd. The rituals associated with house building.
e. Building materials which are available locally, because people are no longer interested inconserving the trees that were normally used for building materials.
In spite of the heritage conservation policy, some historical buildings have been demolished. The
necessary strategies for the implementation of the project were not developed, and there is insufficient
focus on awareness programs in the country to make people realize the importance of their tangible
heritage. A related issue is the lack of an inventory of all old and new settlements in Samoa andinformation on why old settlements were abandoned. This hinders awareness of the historical andcultural value of old settlements. Some of the missionary and the early church establishments havebeen neglected by the churches themselves, and there has been no inventory of all church sites.
Many of the sites spoken of in myths and legends, such as significant mountains and stone mounds,
have been destroyed through modern development, such as road construction, logging, clearance for
agriculture, and by natural disasters such as cyclones and fires.

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Because historical mountains as well as volcanic mountains are parts of customary land it is very
difficult to obtain permission from owners to conduct research and surveys of these significant areas.
Legal measures have proven insufficient to enforce the preservation, protection and promotion ofhistorical mountains and stone mounds with cultural significance.
Furthermore, disputes between members of the local community regarding ownership of historical sites
affect the accuracy and provision of information about myths and legends. Researchers also cast theirown judgments as to the “true” version rather than record the different versions given. The efforts ofcultural and natural heritage agencies to work together to preserve in all ways possible the environment
as an important basis for the cultural and natural heritage of the people of Samoa have so far proveninadequate. There is as yet no national committee including representatives from cultural institutions
and environmental governmental and non-government agencies, communities, and land owners wheresites are located, to preserve and maintain the latter for their cultural significance.
Additionally, there is insufficient awareness and appreciation about the importance of conducting
cultural heritage mapping to enhance local, national and international scientific and educational
knowledge about important heritage sites, and about the linkages between natural and cultural heritage
sites. Moreover, there is a lack of resource materials such as audiovisual productions and brochures/
pamphlets identifying and publicizing the many important heritage sites and resources in Samoa, andtheir contribution to cultural continuity. This is in part due to the general lack of awareness about theimportance of promoting knowledge and appreciation of Samoa’s heritage for research and educational
purposes, so that communities and other stakeholders may come to value the importance of preserving
natural and cultural heritage sites.
Comparisons with current practices in my country
Observations and experiences obtained in this training have taught me and made me realize thedifference between my country’s practices and those of Japan over the last five weeks. I can say thatJapan as a developed country has contributed more to preserving and protecting its cultural heritage.
This is understandable, because this kind of work depends on the wealth and economy of a nation.
Moreover every practice here is governed by laws and agencies protecting the existing cultural
heritage. The most important factor in these conservation practices are the people of a nation itself, andin Japan all the people, especially the elder generation, are very protective of their cultural heritage.
This is because people are well educated about the significance of their cultural and natural heritage.
These practices help maintain and sustain the uniqueness and appearance of many old Japanesevernacular houses.
By contrast, in my country there are more problems emerging than there are practices being followed
at the moment. In some way this does not mean that we are neglecting our cultural heritage, but for
the reasons mentioned above, we are facing more hardships in doing our work. But we are still able toeducate the people about the significance of our culture heritage. Vocational workshops are one of our296practices done quarterly throughout the year, to help maintain and pass on to the young generation theimportance of cultural heritage in Samoa. This training includes carving, making handicrafts, learningand teaching the young people the building old Samoan houses by some of the master builders in ourcountry.
Vocational training. The Ministry of Education Sports and Culture assists the youth by conducting
vocational training for selected schools twice a year. We select certain people with skills at carving
and weaving, and before the program starts some of our culture staff go out to the forest to look fortrees to do the training. These are hard to find as they are not to be found in Upolu, so we go to Savaii
our other islands and ask for permission from the village to cut the trees. In exchange for the trees wegive the village money for the wood we get. It takes days to bring the wood to Apia. Handmade tools
are used to do the work. No chemicals are used to prevent the wood from decaying. We also hold ’ava
ceremonies in traditional fashion. After carving for days, the materials must dry before we can use
them.
The National Archive of Samoa. The national archive project of MESC is in the process of establishingarchives of Samoa for government records. Archives of legislation, a general records retention
schedule, and a code of best practice for public recordkeeping have been drafted. The project isalready the custodian for records from the German and New Zealand administrations of Samoa. At
present, government bodies are still responsible for archiving their own records. Some private andchurch organizations have also established their own local archives, such as EFKS (the Samoan
Congregational Christian Church) and the Catholic Church, sometimes in connection with regional or
central archives situated in other countries such as the Marist archives in Fiji and the LMS Archives
in London. There is a wealth of artifacts, images and documents of Samoa held in museums, archives,
university and private collections overseas, for instance in the ethnographic museums in Germany,
New Zealand, Australia and Great Britain; the German Federal Archives; Archives New Zealand andthe Turnbull Library in Wellington.
Museums. The purpose of building museums and archives is to provide safe storage for material
cultural heritage. They are mechanisms to preserve both artifacts as well as government records.
The oldest museum presently operating in Samoa is the Robert Louis Stevenson Museum. It wasestablished through the Robert Stevenson Act 1991, with the Board of Directors mainly based in theUSA. The Museum of Samoa was opened in 1991 and is now operated by the Ministry of Education,
Sports and Culture (MESC). It features information on Samoan culture, history and nature. Other
galleries and exhibitions in Samoa include the MADD Gallery, the Tiapapata Gallery and a historicalphotographic collection at the Rainforest Café. In addition, the Beautiful Expressions of Nature Art
Studio and gallery are being planned for opening as a contemporary art museum.
Visual arts and crafts. Samoa is rich in traditional material culture. Visual art and crafts cover awide range of artifacts and practices, such as traditional art works, including carving and weaving,297

boat building, production of war weapons, tattooing. Samoa also produces a range of ceremonial
items including valuables such as tuiga (head dress), earrings manufactured from coconut shells,
traditional garlands made from the fruit of the pandanus tree and with sea shells, ’ava bowls, cooking
bowls, oratory staffs, and flying whisks. Traditional tools include digging sticks, stone axes, coconut
scrapers, fishing nets, baskets, fire-making implements, wooden adzes, traditional sports equipment
and traditional fishing lures. Traditional crafts are mainly passed on through non-formal education andwithin families, but contemporary visual arts, a growing area, are taught within the formal education
system and in two specialized art schools, the Leulumoega School of Fine Arts and the Beautiful
Expressions of Nature Art Studio. Both schools offer full-time study in fine arts.
The National University of Samoa (NUS) through its Faculty of Education, offers courses in fine arts
to develop the skills of art teachers. The development of artists is also nurtured by local galleries,
MADD Gallery and Tiapapata Gallery, where workshops for different techniques and topics areoffered. These are some of the practices in my country. As I say, even though we face many problems
we can still preserve and protect our cultural heritage in many ways, through co-operation withdifferent organizations, schools, local communities, church organizations, universities and so forth.
Evaluation
It was fascinating to see and learn the way Japanese people protect their cultural heritage properties
such as their old wooden structures and buildings. Previously, I knew nothing about these ideas andmethods of how to protect cultural heritage property. It is a responsibility for everyone, the people
in the community, private organizations, and government. They all must work together with theaim of their cultural heritage being protected and preserved not only for the future generations, but
for the significance and value of the cultural heritage itself. Wooden buildings are very common in
Japan and they are very well protected under the legal system, and are well preserved by people oftheir communities as their cultural heritage property. In my country we do not have specific ideas or
methods for preserving old traditional houses because nowadays people have adopted European stylehousing to live in, rather than our very own Samoan house. Also we do not have many old woodenbuildings existing of maybe 30 years or more as in Japan, where wooden structures of 100 years ormore still exist and therefore people have established principles and regulations on how to protectthese buildings according to their condition. I think that this training is applicable to my country inways for protecting our own traditional Samoan houses that are slowly being washed away by modernchange. We could do the same here, and building a traditional Samoan house through our Ministry
is perhaps what we can do so that we can create our own principles and rules on how to conserve,
restore and protect such wooden structures. This is for learning and teaching the young people how toprotect our own traditional houses, and especially for them to know the significance of sustaining andmaintaining their historical aspects and cultural meanings of these houses.
In addition, from my own observation, restoration does not simply mean restoring a house or oldwooden structure. In Japan there are many steps taken before conducting the actual work of restoring298

such cultural heritage property. There are many aspects of restoration work, such as temporary
construction, dismantling, foundation, woodworking, roofing and so forth. Above all, there are somebasic principles of restoration work, like identifying the current state of the structure or building. Thendismantling, but before this, having architects look at the structure and measure the dimensions, assessthe damaged areas, create records or documentation of the components, investigate historical materials
and documents. All these concepts are taken step by step, and it is a very good effort by Japaneseconservators. Whereas in my country, we do not have specific rules and steps if want to dismantle orpull down a wooden traditional building for restoration, and once it is damaged we just pull down theentire house without assessing, documentation, and so forth. So we use new wood in our own style,and there is no significance and absolutely no connection with our past or historical function. This isunlike Japan, where there is always something about a building being preserved and restored. So I
think this approach is applicable to my work, so that we can continue the bond between the past andfuture.
Conclusion
All in all, I can say that this training showed me or made me realize that cultural heritage property is
not just there in a country to look at, but is there to protect, conserve, restore for our own betterment
and ways of knowing how important cultural heritage is to us, to keep or maintain and sustain it asa record of our past, and how our ancestors lived and created these things for us and for our future
generations, because they are the ones to continue what we are doing and striving for at the moment,
for there is no use to do all these things without teaching and passing the skills and knowledge to theyoung people, so they can do the same for the next generation.
On behalf of my department, Ministry of Education, Sports and Culture, I would like to say thank youvery much to the ACCU Nara for inviting me to be a participant in the ACCU Nara training 2011. It
was a great honor for me to be involved for the past five weeks and it has been a good experience anda great challenge for the future improvement in my work back home, and for my own country. My
special thanks for taking good care of me when I was sick. Thank you for the kindness and loving
when I needed help. May God repay you for anything spent during my sickness.

Fa’afetai lava. Tofa soifua and God bless.

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Sri Lanka
Rupika Nishanthi RANASINGHE

Preservation and Restoration of Wooden Structures
Training Course 2011: Final Evaluation Report
Conservation of cultural heritage is a multidisciplinary process. Protection, conservation andmaintenance of these valuable treasures in Sri Lanka are my major responsibility as I am engaged in
the field of conservation. I work for the Department of Archaeology of Sri Lanka under the Ministryof National Heritages as a painting conservator. The Department of Archaeology and Central CulturalFund are the main government organizations which are responsible for the conservation of culturalproperties in Sri Lanka. Identification of ancient monuments, investigation and conservation ofvaluable mural paintings, wooden monuments, wooden artifacts, and preparation of estimates are someof my responsibilities related to the work.
Sri Lanka has a rich cultural heritage which includes a large number of ancient monuments andsites. It is my great responsibility to conserve them and maintain them for future generations. I havebeen engaged in different conservation projects mainly in the Western province and other parts of Sri
Lanka.
This training program is an invaluable opportunity for me to get further experience at aninternational level, and have the chance to share knowledge with professionals from different
countries. I am grateful to the government of Japan, and the Nara institute for selecting me for thisvaluable program, and also I wish to express my sincere gratitude to the Department of Archaeology
and the Ministry of National Heritages of Sri Lanka for giving this opportunity to me. Being a painting
conservator I must be thoroughly familiar with not only the theoretical parts but also with the practicalpart of conservation with modern techniques. This valuable training program helped me to polish myknowledge and upgrade with knowledge of high technology.
From the moment I arrived in Japan all the necessary arrangements had been made for us and I
enjoyed good accommodation facilities. All the staff members gave their fullest cooperation to us.
During the one month training period the staff of the Nara institute made a tremendous effort to teachus everything they know about conservation. This training program allowed me to study the different
aspects of conservation and many other intangible cultural values, rituals and social behavior of theJapanese people.
During my training period I had the opportunity to study how to preserve a vernacular house, anda historic townscape. In Japan, most of the ancient houses were wooden houses. I had the chance tostudy the preventive conservation methods and detect the physical factors in the environment. Though
the Japan has four climatic seasons the causes of decay of wooden buildings are the same as in ourcountry. I can use the methods that I studied here in my future conservation projects. There are sometampita viharas in the Western province of Sri Lanka and the materials used for these viharas aremostly wood.

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Accordingly I got the maximum benefit from the course. Both theoretical and practical aspects
regarding wood conservation were covered during this training program. The training course has been
properly designed to cover all parts of wood conservation science. I got a chance to study the methods
that are followed in the Japanese approach to conserving cultural properties. I have gained moreexperience and this knowledge will help me to upgrade my career.
Sri Lanka is an island which lies in the Indian Ocean, with an area of about 25,332 square
kilometers and a tropical climate with monsoon rains. Sri Lanka has a fascinating documented history
dating back to 543 BC and covering a period of over 2,500 years of civilization. The great chronicle
Mahawamsa and many other historical manuscripts such as Deepawamsa, Chulawamsa, Rajawaliya,
and Pujawaliya have provided much of Sri Lanka’s documented history. A significant event in thehistory of Sri Lanka was the introduction of Buddhism. The Indian emperor Asoka sent his son
Mahinda to the island in the third century BC and introduced Buddhism to the reigning Sinhalese kingDevanampiyathissa, who then followed the Indian emperor’s strategy of merging the political statewith Buddhism. As a result, Buddhism became an integral part of Sinhalese culture and civilization on
the island.
Archaeological heritage comprises a basic record of the past. The ancient chronicles provide theoutlines for Sri Lanka’s political and religious history since the third century BC. As material remains,
thousands of both immovable and movable heritage items are scattered all over the island. Anuradpura,
Pollonnaruwa, Kandy, Galle, Yapahuva are some of the historic cities. Conservation of monuments andhistoric environments is a major problem of national and international concern. In order to deal withthese problems there are some internationally accepted charters. The Athens Charter, Venice Charterand Burra Charter are some examples.
In Sri Lanka, the Department of Archaeology is the major organization which is responsible forthe protection of cultural heritage for future generations. To fulfill this requirement the Antiquities
Ordinance No. 9 of 1940 was enacted on 15 July 1940. This was later amended in 1956 and 1998. Thisact contains eight different parts and covers the topics of antiquities, discovery of antiquities, ancientmonuments, archaeological reserves, export of antiquities, power and duties of the archaeologicalcommissioner, miscellaneous items, and interpretations (Antiquities Ordinance No. 9). The Departmentof Archaeology, since its creation in 1890, has been the only legal entity which not only has powers tomanage and protect the archaeological heritage but also powers of controlling development activities
in areas associated with them. The department took steps to establish a semi- government organization
called Central Cultural Fund, and the CCF Act was adopted in 1980. The CCF Act mainly is to collect
much needed finances for the management of the archaeological heritage. It gives licenses for carryingout archaeological activities in identified areas.
Since the identification of the cultural heritage of Sri Lanka with an exceptional universal value
by the international community, and the designation of these places as World Heritage sites, thegovernment of Sri Lanka has taken steps to establish separate institutions to manage and protect themwith special care. Such institutes are the Galle Heritage Foundation, Sigiriya Heritage Foundation andKandy Heritage Foundation. The Galle Heritage Foundation Act was adopted in 1994. Its major object
is to promote the preservation, conservation and development of Galle Fort together with its historic

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hinterland as a historic city center and as an area of archaeological interest.
The Sigiriya Heritage Foundation Act, 1998, established a foundation to promote the preservation,conservation and development of the cultural, archaeological, and natural heritage of this World
Heritage site. The Sigiriya World Heritage Site means the area declared to be an archaeological reserveby notification made under section 33 of the Antiquities ordinance.
The Kandy Heritage Foundation Act, 2005, aims to identify and plan the development projects
within the limits of the Kandy municipal council and conserve archaeological findings, cultural,
historical, and architecturally important buildings and monuments, or the environment.
The Cultural Property Act (No. 73) of 1988 is another piece of legislation in which theArchaeological commissioner features prominently. The Urban Development Authority Act No. 41 of1978 also supports the Antiquities Ordinance to protect archaeologically important sites. This will help
to protect the environment around archaeological sites.
When we consider the Japanese and regulations that govern cultural properties, I learned that
cultural properties are categorized according to the Law for the Protection of Cultural Properties
and the most suitable measures are taken for each category. Cultural properties are designated after
the Minster of Education, Culture, Sport Science and Technology has consulted with the Agency
for Cultural Affairs and received a report. I understood that there are some similarities between thecultural property law of Japan and Antiquities Ordinance of Sri Lanka.
One must argue why we must conserve the environment. The urban spaces have value that isinherent. It tells us the culture, history, aesthetic beauty, social and political values of the particularmonument. As a painting conservator, we can understand the techniques used in painting, thepreparation of the plaster layer, how it was done, the thoughts of the artists at that time, their rituals
etc. These materials are precious witnesses of the past, which should be respected.
Wall paintings may be defined as cultural expressions of human creation throughout history.
They display the varieties of cultural expressions, aesthetic achievement, diversity of materials andtechniques used from ancient times until the present. Architectural surfaces and their finishing layers,
with their historical, aesthetic and technical values, have to be considered as an equally importantcomponent of historic monuments.
All conservation projects should begin with substantial scholarly investigations. The aim of suchinvestigation is to find out as much as possible the details of the urban fabric and its superimposed
layers, with their historical, aesthetic, and technical dimensions. The method of investigation should be
non-destructive. This can be achieved by literature surveys, interviewing chief incumbent inheritors or
residents, as in the case of temples.
The Venice Charter of 1964 states “The concept of a historic monument embraces not only thesingle architectural work but also the urban or rural setting. . . .” Regarding the conservation strategy
for local heritage, the Antiquities Ordinance, under section 16 as amended in 1998, states that places ofpast human activities are included as part of the material heritage of mankind.
In this training program international charters were studied. In Sri Lanka as well, duringconservation programs the Venice Charter is followed. During all conservation programs we aretrying to do the minimum intervention to the monuments and always try to protect the authenticity

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of the monument. With regard to documenting the site, I upgraded my knowledge when I carriedout fieldwork in Japan. I can use this knowledge and can share it with my colleagues in the future
documentation of sites.
During my stay I learned that the urban fabric is also very important in conservation. Though we
knew it theoretically, in my country since most of the culturally important sites are religious places,
the conservation of urban fabric has become a problem since most places are owned by the chief
incumbents. They do not consider the landscape. They want to build another new image house on thesame premises.
The most common material heritage which can be seen today is located at Buddhist religious
places. In Sri Lanka we have a living heritage. Among these religious places, timber was used indecorative forms in architecture for a long period of history. The earliest timber buildings surviving
today were constructed during the Gampola period, in the thirteenth century AD. It was seen that after
the British occupation, the architectural tradition of using decorated timber was continued in buildings.
Even when the architectural plan was British, the craftsmen who worked during the colonial period
introduced Sri Lankan decorated forms of timber into their buildings. In the renovation of timberbuildings, decayed members are generally replaced by new timber components. But invariably thetimber components are carved or decorated.
Wall paintings are an integral part of the monuments and sites. In addition, they should be preservedin situ. Wall painting alone does not give meaning. They were drawn either on the ceiling wood or onpillars and sometimes carved on pillars. The beauty, cultural, historic, and aesthetic value goes withthe physical fabric. When conserving this cultural heritage, the conservator should keep these points
in his mind. Paintings in a tampita vihara and painting in a cave temple give us different feelings andhave different values. Therefore when conserving paintings the substrate where the painting was done
should also be kept in mind and should be considered.
When a monument was in use for a long period of time it may have undergone many renovations,modifications, and sometimes even the original use has changed, adding complications to the task ofunderstanding and conserving the monument.
It should be emphasized that for proper conservation of these valuable works of art it is necessary
to train conservators, since they are the persons who come directly in contact with the artifacts. A
conservator should understand the content, materials, method of production, their relation to time andthe environment. I wish to say happily that in this training program the field work and the lecturesfulfilled these requirements.
In Sri Lanka, Sri Lankan craftsmen used native timber for the carvings. They used native timbersince it can easily be cut and worked with designs. Since Sri Lanka is a tropical country, insect attacks
on historic buildings are more prominent. I learned that even in Japan, which is a temperate country,
this problem affects the monuments. I learned a lot more about the control of insects and it can beapplied to my country.
Disaster risk management of cultural heritage is one of the important aspects I studied in thistraining program. In Japan most of the wooden buildings are destroyed by fire. Other than fire,
earthquakes, floods and landslides can also harm cultural properties. In order to overcome these303

problems there should be a properly planned risk management system. In Sri Lanka some of thecultural properties were damaged by the tsunami in 2004. We also face floods, in addition to tsunamis
and other natural disasters. Therefore we should have a risk management plan for our culturalproperties. I can share this knowledge with my colleagues and can propose a management plan for
cultural properties.
In this training program I had the opportunity to share my knowledge with professionals fromdifferent countries. This exposure to the world in conservation has been very useful to my career.
Consequently I got new experience through team work. Since conservation is a multidisciplinary
process, I worked with experts in different fields. Finally I would like to thank all the members of the
Nara institute for their kind assistance throughout the course, and my colleagues who participated inthis training program for cooperating with me in group work.
References
1. Antiquities Ordinance No. 9 of 1940, amended by Acts No. 2 of 1955, 22 of 1955, and 24 of
1998.
2. Amerasinghe, A.R.B. (2006) The Protection of Cultural Heritage and Cultural Property.
Sarvodaya Vishvelekha printers.
3. Central Cultural Fund Act 1980
4. Cultural Property Act 1988
5. Galle Heritage Foundation Act 1994
6. Kandy Heritage Foundation Act 2005
7. Sigiriya Heritage Foundation Act 1998
8. Urban Development Authority Act 1978

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Thailand
Poon KHWANSUWAN

Introduction
As a participant in the ACCU Nara Training Course on Cultural Heritage Protection in the Asia-PacificRegion 2011, I am pleased to give feedback and opinions according to my experience, knowledge, andthoughts about a comparison with Thailand, organized into sections as: 1) General Ideas on Japan’sConservation System 2) Comparison to the Thai Context, 3) Discussion and Conclusion.

General Ideas on Japan’s Conservation System
Comprehensive Law for the Protection of Cultural Properties
One of the most important factors I have found in why Japanese conservation of cultural properties
is very successful is because of the comprehensive Law for the Protection of Cultural Properties. Itsestablishment in 1950 through a combination of previous laws, and its own amendments over the
next sixty years, have both strengthened its structure as policy on cultural heritage as well as raised
awareness among the Japanese people. The previous laws had also established and addressed theimportance of conservation in Japan, even more than 100 years ago (1871 Decree for the Preservationof Ancient Artifacts, 1897 Ancient Temples and Shrines Preservation Law, 1919 Historical Sites, Placesof Scenic Beauty, and Natural Monument Preservation Law, 1929 National Treasures Preservation
Law, and 1933 Law regarding the Preservation of Important Works of Fine Arts).
Enactment of the Law for the Protection of Cultural Properties in 1950, along with subsequent
amendments to the designation system, provided a successful mechanism for and broadened the scopeof heritage protection in Japan, which divides major cultural properties into two levels of categories,
National Treasures and Important Cultural Properties, and also supports Japanese tradition in its nonphysical form by establishing a system of protection for Intangible Cultural Properties (together with
Buried Cultural Properties).
The most meaningful amendments to the law for me, which I want to address here as suggestive for mycountry and worthy of comparison, are the 1975 amendment establishing the system of Preservation
Districts for Groups of Traditional Buildings, the 1996 amendment establishing a system of Registered
Cultural Properties, and the 2004 amendment giving protection for Cultural Landscapes. The system
of Preservation Districts for Groups of Traditional Buildings broadened the scope of protection for
cultural properties, not only in terms of scale and type of cultural properties, but also by emphasizing
the importance of the close relationship of people with their own heritage. I do believe that initiative
for this system had been delivered from bottom up, from networks of small goodwill groups, as forexample the Zenkoku Machinami Hozon Renmei or the Traditional Townscape Preservation League,
established in 1974, resulting in its recognition at the national level with a shift to less focus onmonuments and more on people. The framework of Preservation Districts for Groups of Traditional

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Buildings, Dentoteki kenzobutsu gun hozon chiku or Denken chiku in Japanese, is similarly concernedmore with process on the local level, rather than the national level. The system according to the law
itself plays an important role as supporter and motivator to help the process take hold among local
society, and to let local authorities have more options for protecting their cultural properties.
While the system of Preservation Districts for Groups of Traditional Buildings strengthens Japan’s
conservation system at the level of villages, towns and urban areas, the establishment of the system
of Registered Cultural Properties in 1996 has opened more opportunities to protect cultural properties
during the rapid changes in Japan which cause the loss of heritage, especially of the recent past in
many cases. The flexibility and more open system makes gives wider scope to the cultural properties
lists meant to be preserved and utilized by and for Japanese society. I have found that the importanceof this system is not only to identify a greater amount of cultural properties, but also, and at the sametime, to re-evaluate and give more recognition to recent heritage and more ordinary heritage.
The system for the protection of Cultural Landscapes in 2004, even though not much discussed during
the course, has been focusing on the aspect of people’s relationship to nature, which I will also later
give more attention to in this report. As stated in the system, Cultural Landscapes are landscapesthat have evolved in association with the modes of life or livelihoods of the people and the geocultural features of the region, which are indispensable to the understanding of the lifestyles and/or
livelihoods of the people of Japan. The concept of Cultural Landscapes, in my opinion, recognizes
another aspect of heritage conservation, one more realistic in its approach to continuity and change,
by considering more the relationship between nature and culture in our changing world, where theessence of this relationship is seen in the existence of vernacular settlements and the indigenous
knowledge of the immediate environment. I also found some shared aspects and links between thesystem of Preservation Districts for the Groups of Traditional Buildings and the system for Protectionof Cultural Landscapes, in that both of them share a focus on settlements, especially in farming andmountain villages, and both systems give authority to local municipalities to make application fromthe local level, while protecting the heritage on the other hand for the sake of integrated sustainable
development.
From the issues above, I can summarize visually what I have learned in the following figure.

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I personally think that Cultural Landscapes, as well as Nature which bounds us, are not only categories
in the system of the protection of cultural properties, but are also the integral environments which givemeaning to how cultural properties exist in society.
Establishment of knowledge on conservation
Japan has developed its knowledge of the history of architecture through conservation; this fact
impresses me and makes me realize more the benefits of conservation. A chronological table of thehistory of Japanese architecture can detail the styles, characteristics, uses, functions, and changes
from the sixth to the twentieth century, and beyond toward the future, thanks to conservation
practices. The method of dismantlement and reassembly, or kaitai shuri, may lead to questions on theissue of authenticity, but I think that without having done this as the traditional Japanese method ofconservation, the development of knowledge in both the history of architecture and the practice ofconservation would not have happened. Kaitai shuri offers many opportunities to study and analyze allof the wooden members closely, with careful and systematic documentation.
By doing so, the analysis of problems and causes of decay has led to strengthening the conservation
system in Japan as whole, and importantly, skilled persons have been trained for both the carpentry andas conservation architects. Therefore qualified experts at all levels, from architects to craftsmen, can be
assigned and involved throughout the process of repair work from the beginning, in the dismantling,
analysis, repair, reassembly, and stage of completion, as well as in the final documentation and report.
This has also helped develop the system, resulting in a protective measure for the Techniques for theConservation for Cultural Properties, which covers the techniques necessary for the production ofmaterials or tools necessary for repair and restoration. Examples for this in the field of architecturalconservation are wood carpentry, wall construction, painting and coloring, and the production ofcypress bark shingles, thatching, and clay roof tiles.
Somehow in Japan, discourse on conservation has developed and remained as a part of social life.
There is acceptance of conservation practice in Japanese culture, and this is not so much a recent
introduction as an ongoing solution for the society.

Comparison to the Thai Context
In Thailand, we have developed the concept of conservation of cultural heritage since the first
decade of the twentieth century in the Reign of King Rama V. The Archaeology Club or Borankadee
Samosorn had been established to study the history of the nation as well as be the starting point of
restoration works of some important Buddhist images and temples. The early restoration guidelines
gave the idea to keep the most usable parts of a historic structure and to restore the new paintingsby keeping harmony with the originals. I can mention here that perhaps this focus developed partly
because, without having more practical knowledge, they tried to intervene as little as possible. One of
the important conservation activities during the 1920s were surveys of historic structures and yearlyreports. The first laws concerning the protection of cultural heritage were established in the year 1926,307

which aimed to protect historic pieces of art and sculpture, and also most importantly began inventory
surveys throughout the country, developing for the first time systematic lists of cultural heritage in
Thailand. The Royal Institute had been established to assume the main role of conservation of cultural
heritage in Thailand. After the Siam Revolution in 1932, a new law was introduced establishing animportant organization, the Fine Arts Department, which took over all conservation work from theRoyal Institute. This can be called the beginning of modern conservation in Thailand.
The conservation approach of the Ecole Française d’Extrême-Orient (EFEO), which was working in
the region of Indo-China, greatly influenced Thai conservation methods at that time, which mainly
focused on “consolidation techniques.” During the period 1962-73, conservation projects had been
done by the archaeologists and site foremen, but after the Venice Charter had been introduced in
Thailand this was expanded to involve persons such as architects, historians, engineers, art restorers,
and also landscape architects. Since that time, conservation approaches from Europe have had more
influence on Thai methods, and trained personnel coming back from ICCROM played more of alead role in conservation activities. The degrees of intervention became more clarified in the areas ofprotection from deterioration, preservation, consolidation, restoration, reproduction, reconstruction,
and adaptive re-use, and were different from the EFEO approach. Experimental projects on ruined
bricks historic structures had been introduced first in Ayutthaya, and the anastylosis method was
first introduced at the stone historic structure Pimai and then at Phnom Rung. In 1985, the Fine Arts
Department initiated the Regulation on the Conservation of Monuments which gives more precise
definitions and methods of conservation of cultural heritage in Thailand.
This is a short outline of the history of conservation in Thailand. But Thailand has not only historic
structures of brick and stone, but also various other types of heritage from the past. What I willaddress here, just to show the gaps in comparison with the Japanese system, are wooden structuresin vernacular settlements, traditional communities, and cultural landscapes (vernacular environment,
cultural environment) which exist in all parts of Thailand. The gaps between the conservation system
and initiatives from academic and local levels are still wide.
As for vernacular building heritage, it retains important characteristics of local manner, continuity,
way of life, local materials, craftsmanship, and cultural diversity. Conservation process and methodshould be done with consideration for the local community, using local expertise, and with respect fortraditional techniques, uses, and changes. Whenever this type of historic building has been listed asa National Monument, however, standardization to meet the criteria of the regulation system is given
more consideration than the perspective of local concerns. This results in some degree of gap in somecases of conservation, with values and understandings of authenticity and integrity different from thoseof local people who are taking care the building. We developed conservation knowledge solely frompractice with historic monuments and important buildings, while Japan had passed through this processwith understandings and knowledge based on series of discussions, trial and error, and values fromheritage, as already stated in the previous section.

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Traditional communities are more complex in terms of recognition of their values and significance.
Traditional communities in Thailand have been facing various types of changes over time that haveresulted in degradation of their values. New laws and legislation contribute to this degradation of the
traditional community as well. Traditional communities have been established for more than 50 or 100
years in some cases, from before the establishment of contemporary building regulations, which makes
for conflict with the existence of the traditional community. According to the registration system forthe category of “Historic District and Old Town,” there is no case that registers the entire district orsite. Delimitation of the boundary of a monument means the whole area or site must be controlled
by the Fine Arts Department (FAD). In the case of a historic district (traditional community), where
it comprises historic buildings, non-historic buildings and surrounding structures for which the“Monument Act” does not provide, the idea and concept of operating, managing, and delimiting amonument boundary has to be acknowledged by the property owners, but mostly in historic districts
the buildings are in private ownership, and owners do not want to let their properties be registeredbecause it deprives their rights without any incentive measures to balance the development pressure.
While I have already addressed issues of traditional communities in my country report, I have comeup with further suggestions after joining the training course. First, we can learn from Japan throughthe way the Japanese value “Groups of Traditional Buildings,” as stated in the Agency for Cultural
Affairs’ pamphlet about the system of preservation districts for groups of historic buildings, in that“…People improved their life in their environment. From one generation to another, they refined theculture of their daily life. While each building had its own characteristics, the buildings harmonizedwith the other buildings”. With recognition of this statement of significance, somehow we canbroaden the scope of conservation to include more about the people and their built environment.
But the second issue could be different from Japan. Traditional communities in Thailand have beenpassing through changes over time and these changes occur in both the physical and socio-cultural
aspects of the communities. Some still retain their function as a part of a town center with multi-level
activities, while some have faced depopulation and economic regression but still keep their physicalcharacteristics. The question which should be asked and carefully discussed among Thai society is“What kind of values do we give to traditional communities and what values will society be given by
them?” The approach of façade enhancement may fit well in Japanese society, but given the lack of
preparedness in Thai society, we must answer this question on our own.
One related mechanism for dealing with the conservation of traditional communities is the concept ofCultural Landscapes. In Thailand, Cultural Landscapes had been introduced just a few years ago from
the Ministry of Culture in a form of promotion and advocacy. Before that, there was one importantconcept already in existence, which is “Cultural Environment.” Debates and discussions focusedon the Cultural Environment issue had been conducted during the “Thailand Cultural Environment
Project” (TCEP), regarding whether to expand to idea of Cultural Environment to give more meaning
to the settlement and its environs, or to keep its function as a monument’s buffer area. The definition ofCultural Environment was used early by the Office of Natural Resources and Environmental Policy andPlanning (ONEP) to control the development around monuments in Thailand. As a lesson learned from309

TCEP, ONEP had adopted, from the Ministry of Environment and Energy, Danish Forest and Nature
Agency, the definition of the term “Cultural Environment” as “Geographically delimited areas thatreflect important features of societal development; it is a third dimension of the environment related tothe cultural and historical aspects of the physical surroundings,” and broadened the meaning to be “Theenvironment or area related to human development from the past until now, which contains value on
art, culture, history, archaeology and technology including the monument which should be counted aspart of the environment as a whole.” This seems to be a good starting point, though until now the newidea has not received any further promotion in Thai society after TCEP ended. The monitoring process
should reassess the status and possibility of using the concept more in the near future.
For Japan, both Preservation Districts for Groups of Traditional Buildings and Cultural Landscape arelaws which urge local authorities to carry out the process on their own. And at times in Japan, it is not
only the Law for the Protection of Cultural Properties, but several other measures relating to urban
planning which can be used to protect valuable environments, such as the Keikan Ho (Landscape Act)and Rekishi Machizukuri Ho (Historical Community Rebuilding Act).
Moreover, the issue of humans and their relationship to nature has theoretical aspects to be studied
further. Landscape also has meaning given by its society, as addressed in Augustin Berque’s paper“Landscape and the Overcoming of Modernity – Zong Bing’s Principle” in 2000. He stated:
Landscape is not a universal object. Its existence requires that of a certain society, with acertain way of looking at its environment and representing it . . . [and] . . . studying a humansettlement is not the same as studying a coral reef, because people inhabit the earth differently
according to their culture, and though these differences appear in the landscape, their reasons
are not visible . . . [furthermore] . . . this requires more than measuring the forms of thelandscape, and even more than a functional analysis. It requires to study the meaning whichhuman societies give to the environment.
So that, in conservation field, to revalue nature and culture, as well as landscape, will reveal a newchannel of conservation as a whole, in a more theoretical manner, with a new rationale.

Discussion and Conclusion
In my opinion, the most dangerous thing about a comparative study is it will only grasp the tip of thesuccess story of conservation in Japan, to be used without understanding the story and the process of
struggle behind that success. Japan had struggled with changes and destruction of traditional districts
from the economic growth of the country. Citizenship and awareness among Japanese people run deep
through their traditions and culture. We, in Thailand, also developed our own process but it has to taketime. During an incompleteness of the system and society, I have found many opportunities to finda new way by means of our own experience, a new way to revalue our own heritage for our society.
Japan developed their own approach through continuity and change, as an integral part of their society,310and we somehow, can develop our own approach from that valuable experience learned from Japan,
even though we still have to deal with our continuity and change as both opportunity and obstacles.
Experience from the course has not only broadened my knowledge on conservation, but also sharpened
my thoughts on theories of conservation on the basis of the diversity of different cultures, and on
nature which shapes them in the world.

Acknowledgment
I would like to thank: the Agency for Cultural Affairs; Dr. Nishimura Yasushi, Director of ACCU Nara;
Dr. Kato Naoko, Director of International Cooperation Division ACCU Nara; all ACCU Nara staff andtutors; ICCROM; Dr. Gamini Wijesuriya; Dr. Joseph King; National Research Institute for Cultural
Properties (Tokyo, Nara); JACOM; Japan Consortium for International Cooperation in Cultural
Heritage; Dr. Inaba Nobuko; and all Japanese experts and lecturers for their valuable knowledge andkind support.
I also would like to thank UNESCO Bangkok and King Mongkut’s Institute of Technology Ladkrabang
for all their kind support. I am grateful to all the Japanese people and towns, especially Nara, Gojo,
Imai-cho, Takayama and Shirakawa-go, who made my stay very pleasant and comfortable, and for all
their hospitality.
Thank you all participants in 2011, who will always be good friends, for all the experiences we haveshared.
See you all again!

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Viet NamVO Duy Trung

Final Report for the Training Course on Cultural Heritage Protectionin the Asia-Pacific Region 2011
I. General comments
The schedule of the training course was appropriate, the time allocated for the lectures reasonable,most of the contents of the lectures were relevant for the participants, and highly practical.
This training program has provided the participants with large amounts of information, knowledge andskills in the field of conservation of wooden structures. Most of the lectures during the training processprovided much information and useful knowledge. The teaching was also easy to understand, and the
documents and lecture notes are clear and accessible.
The training program had a combination several different methods – lectures in classes, practicallectures, visual observations and study tours – that helped the participants gain an overview of boththeory and practice.

II. The results achieved by the course
1. Theoretical lectures
The content of the lectures consisted mostly of general issues related to the management andconservation of wooden structures. Other lectures covered more in-depth issues relating to thepreservation and restoration of wooden structures.
In Viet Nam in general and at Hoi An in particular, the management and conservation of wooden
structures are also of interest in recent times. In Hoi An this work really began to draw interest only
after the Hoi An Ancient Town was inscribed on the World Heritage list as cultural heritage. Therefore,
survey and management methods, and skills in the preservation and restoration of wooden structures,are still limited. Because there are many parallels in the weather conditions between Viet Nam andJapan, issues related to risks that adversely affect the value as well as the existence of cultural heritage
which is built with wooden material, are almost identical between the two countries. The contents of
the lectures on the history, and on the system of management and protection of cultural heritage inJapan, have provided me with certain knowledge about the cultural and traditional architectural valuesof Japan, especially the value of its wooden buildings. The conservation methods and system for theprotection of cultural heritage in Japan are good examples to take for application in cultural heritage
management at my local level.
For some countries in the world today, including Viet Nam, there is still much confusion regarding312how to establish a conservation system, or the issues involved in tasks such as developing a masterplan for a restoration project for wooden structures. Therefore, the lecture content in this field is ofcourse essential for people such as me. The understanding of the work to perform during a project isessential, and the content lectures showed the core issues to help conduct the work systematically andscientifically, which is helpful for many managers and professionals like us. This is very practical andcan apply to my work locally.
Currently, training opportunities in practical skills for those who participate in repair projects are on
the whole still limited in Viet Nam. Therefore the content of this program is useful for our work in the
future.
Insect infestation is a big issue that most countries with cultural heritage consisting of wooden
structure are facing, and they must deal with the consequences that insects bring. Viet Nam’s climate is
hot and humid, providing ideal conditions for insects to live and develop. In lectures in this program, in
addition to equipping us with knowledge about how to identify the portions of a wooden structure thatare prone to insect damage, we also obtained a lot of knowledge required for preventing the destructive
effects of insects to wooden structures, which can be used in planning for future prevention.
2. Practical training lectures
For most countries in the world today, to conduct a restoration project for heritage buildings regardlessof the particular cultural history, it is necessary to have drawings for the implementation process.
However, for cultural heritage renovation projects, making a correct drawing as required for this task
is very difficult and demanding, so the person doing it must have professional experience or be trained
appropriately. The practical lectures in conducting surveys, taking measurements, making drawings,
assessing deterioration and planning for restoration, making a conservation and material survey forplanning a sustainable management policy, helped us get the basic skills needed for this process. In
particular, the survey of damage and planning for restoration, and the material survey for planningsustainable conservation and management, showed the basic knowledge needed for the conservation ofa wooden structure.
Hoi An is living cultural heritage in an urban setting, a situation similar to Imai-Cho, and the lecturesat this place gave me much knowledge about the value and methods for effective management of anarea with urban history. Especially useful were the solutions adapted to new building in a historicurban setting. These issues are very close to the practical management of my present situation.
The lectures at the wooden buildings of the World Heritage sites, including Buddhist monuments in
the Horyu-ji area, gave me much useful knowledge about cultural values, Japanese art and architecturein the construction of wooden buildings, and the management and conservation of cultural values andarchitecture as practiced here in Japan.
The practical lectures in methods of recording wooden structures, including the use of photography,

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will be carefully considered for application in the management of cultural heritage at my local level.
Especially important aspects were the storing of photographic records, and the renovation of historiccultural structures.
3. Study tours
Most of the instruction on the study tours was matched with the cultural and historic values of thedestinations. Visual observations were combined with information from the personnel charged withmanagement at each location. In addition to receiving information about the spectacular value of theculture and architecture, we also received knowledge about management experience in historic areas(Takayama and Shirakawa-go). Especially useful were the methods and experience of managing risks
in these areas.

III. Conclusions
The management and conservation of cultural heritage buildings comprised of wooden structures
increasingly faces new challenges. Equipping people directly involved in this work with the knowledge
and skills needed in the current context is essential in order to preserve the maximum values of thecultural heritage. Therefore, the organization of classes of this course of essential topics was relevant
and highly effective.

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V.

Appendix
A. List of Participants
B. List of Lecturers
C. Acknowledgements for Cooperation
D. Interpreter and Assistants
E. Staff Members, ACCU Nara

AppendixA. List of Participants
BhutanNamgay DORJI

Project Engineer
Division of Conservation of Heritage Site
Department of Culture, Ministry of Home and Cultural Affairs
Thimphu, Bhutan
Tel: (+975) 2 322 694 Fax: (+975) 2 321 285
namgaydorji_77@yahoo.com

Cambodia

PHIN Vicheasachara

Technician (Archaeologist)
Department of Conservation of Monuments in Angkor Parkand Preventive Archaeology, APSARA Authority
Angkor Conservation Compound, Siem Reap, Cambodia
Tel: (+855) 63 76 06 62 Fax: (+855) 63 96 48 19
sachara_phin@yahoo.com

China

WONG She

Student in Master Degree
University of Hong Kong (Architectural Conservation)
Flat G, 11/F, Block 15chi Fu Fa Yuen
Pokfulam, Hong Kong, China
Tel: (+852) 9031 9456 Fax: (+852) 2551 5683
sharonswong@hotmail.com

India

Kunkumadevi Kishore

Conservation Architect
Development and Research Organization for Nature,
Arts and Heritage (DRONAH)
A-258 South City, Gurgan 122001, India
Tel: (+91) 124 2440 82081
kunkum@gmail.com

Indonesia

Mahirta

Head of Department
Department of Archaeology, Gadjah Mada University
Jurusan Arkeologi, Fakultas Ilmu Budaya, UGM
Jl Sosiohumaniora No.1 Bulaksumur, Yogyakarta 55281, Indonesia
Tel: (+62) 274 513096 Fax: (+62) 274 550451
itamerta@yahoo.com

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Kazakhstan

Ilyassov RUSTEM

Structural Engineer
Civil, Structural & Architectural Design Center
KAZGOR Design Academy
81 Abylai Khan Avenue, Almaty 050000, Republic of Kazakhstan
Tel: (+7) 727 2588570 Fax: (+7) 727 2588571
ilyasov-rustem@mail.ru

MyanmarHtun Htun Win

Conservator
Department of Archaeology, National Museum and Library
Ministry of Culture
No.35 Nay Pyi Taw, Myanmar
Tel: (+9567) 408283 Fax: (+9567) 408039
tuntunwin216@gmail.com

Nepal

Ram Govinda Shrestha

Architect (Officer)
Building Permit Section, Bhaktapur Municipality
Durbar Square, Bhaktapur 13, Nepal
Tel: (+977) 1 6610310 Fax: (+977) 1 6613206
rgovindashrestha@yahoo.com

New ZealandNicola Rachel JACKSONNational Heritage Policy Manager
New Zealand Historic Places Trust
Antrim House, 63 Boulcott St. Wellington, New ZealandTel: (+64) 4 494 8033 Fax: (+64) 4 499 0669
njackson@historic.org.nz

Philippines

Ar-Bi Agloro ARCIAGA

Restoration Engineer (Engineer II)
National Historical Commission of the Philippines
NHCP Bldg. T.M. Kalaw Street, Ermita, Manila 1000 Philippines
Tel: (+63) 2 523 1039 Fax: (+63) 2 536 3181
jade_rb1120@yahoo.com

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Republic of Korea
KANG Soungwon

Director
Gangheejae Architects & Heritage Design
7th Fl. Ilheung Bldg. Seocho-dong, Seocho-gu
Seoul 1490-23 Republic of Korea
Tel: (+82) 70 8236 4990 Fax: (+82) 2 588 9109
historyksw@hotmail.com

Samoa

Ailini AH KEN-ETEUATI

Museum Officer
Ministry of Education, Sports and Culture
Malifa, Head Quarters, Apia, Samoa
Tel: (+685) 26036 Fax: (+685) 21917
a.ahken@mesc.gov.ws

Sri Lanka

Rupika Nishanthi RANASINGHE

Archaeological Research Assistant
Department of Archaeology, Ministry of National Heritage
Sir Marcus Fernando Mawatha, Colombo 07 Sri Lanka
Tel: (+94) 11269 2840 Fax: (+94) 269 6250
nishranasinghe@gmail.com

ThailandPoon KHWANSUWAN

Lecturer
Faculty of Architecture
King Mongkut's Institute of Technology Ladkrabang
Chalongkrung Road, ladkrabang, Bangkok 10520 Thailand
Tel & Fax: (+66) 2 329 8378
kkpoon@kmitl.ac.thViet NamVO Duy Trung

Chief
Division of Monuments Restoration Management in Hoi An Ancient Town
Hoi An Center for Cultural Heritage Management and Preservation
10B Tran Hung Dao Street, Hoi An City, Quang Nam Province, Viet Nam
Tel: (+84) 510 386 2367 Fax: (+84) 510 386 1779
duytrungha@gmail.com

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B. List of Lecturers
Lecturers from Abroad:
Gamini WIJESURIYA

Project Manager
International Centre for the Study of
the Preservation and Restoration ofCultural Property (ICCROM)
gw@iccrom.org

Joseph King

Unit Director, Sites Unit
International Centre for the Study of
the Preservation and Restoration ofCultural Property (ICCROM)
jk@iccrom.org

Lecturers from Japan:
NAKAI Isao

INABA Nobuko

KANAI Ken

MURAKAMI Jin’ichi

AOKI Koji

NAKAMURA Nobuo

Deputy Director
Cultural Properties Division
Nara Municipal Board of Education
nakai-isao@city.nara.lg.jp

Specialist
Architecture and Other Structures Division
Cultural Properties Department
Agency for Cultural Affairs, Japan (Bunkacho)kanai@bunka.go.jp

Conservation Architect / Branch HeadOsaka Branch
The Japanese Association for Conservation ofArchitectural Monuments
k-aoki@bunkenkyo.or.jp

Executive Director
Technology and Training Center
The Japanese Association for Conservation ofArchitectural Monuments
murakami@bunkenkyo.or.jp

Branch Head

TAKAMIYA Kunihiro

Branch Chief
Yakushi-ji Temple Branch
Cultural Assets Preservation Division
Nara Prefectural Board of Education
nakamura-nobuo@office.pref.nara.lg.jp
takamiya-kunihiro@office.pref.nara.lg.jp

YAMAGUCHI Isamu

UEDAI Akira

MASUI Masaya

MATSUNAGA Nobuo

Expert in Architecture
Cultural Properties Division
Nara Municipal Board of Education
yamaguchi-isamu@city.nara.lg.jp

Professor
Faculty of Human Life and Environment
National Nara Women’s University
mmasui@cc.nara-wu.ac.jp

320

Professor
World Heritage Studies, Graduate School ofComprehensive Human Science
University of Tsukuba
inaba@heritage.tsukuba.ac.jp

Section Chief
Cultural Properties Division
Gojo Municipal Board of Educationuedai.akira@city.gojo.lg.jp

Deputy Director
Imai Townscape Scenery Preservation Office
Kashihara Municipal Board of Education
imaimachi@city.kashihara.nara.jp

KOBAYASHI Masaharu

MURAKAMI Yasumichi

SUGIMOTO Kazuki

KOMINE Yukioo

MITSUTANI Takumi

USHIMARU Takehiko
TANAKA Kyohei

Section Chief
Office of Himeji Castle Restoration
Department of Commerce, Industry andTourism
Himeji Municipal Government
masaharu_kobayashi@city.himeji.hyogo.jp

Photographer
Saidaiji Photohigeji@nabunken.go.jp

Councillor
Dating Section
Center for Archaeological Operations
Nara National Research Institute for Cultural
Properties
takumi@nabunken.go.jp

ASO Miki

Research Officer in Charge of World Heritage
Shirakawa-mura Village Government
miki.aso818@gmail.com

Head
Cultural Assets Division
Hyogo Prefectural Board of Education
yasumichi_murakami@pref.hyogo.lg.jp

Researcher
Japan Institute of Insect Damage to Cultural
Properties
y.komine65@bunchuken.or.jp

Research Officer
Cultural Properties Division
Takayama Municipal Board of Education
ky.tamala@city.takayama.lg.jp

KUBODERA Shigeru

Director
Historical Research Institute for Architectural
Decoration Technology
cosmos0707@gmail.com

C. Acknowledgements for Cooperation
Walter EDWARDS, Adjunct Researcher, Department of Cultural Heritage, NNRICPOGAWA Masaru, President, IKARUGA ICES SGG (International Cultural Exchange Society,
Systematized Goodwill Guide)

NAKA Sumihiro, President, ASUMO Corporation (supporting for Yamato Gojo activation
program)

SUGIMURA Yoshikuni, Host, KAUNTEI (a guesthouse)
UEDA Kozo, Director, Himeji Center for Research into Castles and Fortification, JapanYOSHIJIMA Tadao, The Yoshijima Family Residence, a national important cultural property
WADA Masato, The Wada Family Residence, a national important cultural property
TAKADA Hiroshi, Manager, Sawanotsuru Museum
The Imanishi Residence Preservation Foundation
The Toyota Family Residence
Todai-ji Temple321

D. Interpreter and Assistants
Interpreter
HATA Chiyako

Training Coordinator

Assistants
Ji-Hee LEE

Graduate Student, Master’s Program in World Heritage Studies, Tsukuba University

SAITO Junko

Graduate Student, Master’s Program in World Heritage Studies, Tsukuba University

TUJITA Naoko

Graduate Student, Department of Human Behavioral Science, Graduate School of Humanities
and Science, Nara Women’s University

YAMAMOTO Rika

University Student, Department of Residential Environment and Design, Faculty of Human Lifeand Environment, Nara Women’s University

E. Staff Members, ACCU NaraNISHIMURA Yasushi, Director
nishimura@accu.or.jp

TAKAHASHI Wataru, Deputy Director
takahashi@accu.or.jp

KOBAYASHI Ken-ichi, Director, Programme Operation Department
kobayashi@accu.or.jp
KATO Naoko, Director, International Cooperation Divisionn-kato@accu.or.jp
HORIKAWA Kazuko, Chief, Planning & Coordination Divisionhorikawa@accu.or.jp
NISHIDA Michiko, Staff, Planning & Coordination Divisionnishida@accu.or.jp
OTANI Yasuko, Staff, International Cooperation Division
orani@accu.or.jp
SHIMOMURA Nobuhito, Staff, International Cooperation Division
shimomura@accu.or.jp

Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
757 Horen-cho, Nara 630-8113
Tel: (+81) 742 20 5001 Fax: (+81) 742 20 5701
E-mail: nara@accu.or.jp URL: http://www.nara.accu.or.jp322