Training Course on Cultural Heritage Protection in the Asia-Pacific Region 2017 Preservation and R
Restoration of Wooden
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Structures

Training Course on Cultural Heritage Protection
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Preservation and R
Restoration ofW
WoodenStructures
29 August - 28 September,rr, 2017, Nara, Japan

National Institutes for Cultural Heritage
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okyo National ReseaR
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Nara National ReseaR
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International Centre for the Study of the Preservation
and R
Restoration of Cultural Property (ICCROM)
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Training Course on Cultural Heritage Protectionin the Asia-Pacific Region 2017
Preservation and Restoration of
Wooden Structures
29 August - 28 September, 2017, Nara, Japan

Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
Agency for Cultural Affairs, Japan
National Institutes for Cultural Heritage
Tokyo National Research Institute for Cultural Properties,
Nara National Research Institute for Cultural Properties
International Centre for the Study of the Preservation
and Restoration of Cultural Property (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 Kyodo seihanⒸ Cultural Heritage Protection Cooperation Office,Asia - Pacific Cultural Centre for UNESCO (ACCU) 2018

Opening ceremony

Discussion and preparation for group presentation

Hands-on activity of Japanese traditional spear plane at Takenaka Carpentry Tools Museum(Instructor: Mr Kitamura)

Practical training on painting restoration at
Jibutsudo of Todai-ji Temple

On-site study of reconstruction project of Nagoya
Castle Honmaru Palace (Lecturer: Mr Imai)On-site lecture on painting restoration in Zenrin-ji Temple in Kyoto (Lecturer: Mr Kubodera)

Practical training on measured drawing at Tanaka Family Residence

Observation of total dismantling repair work of the east pagoda in Yakushi-ji Temple(Assembling the members to original position)

On-site study: Mr Shimada guided to re-roofing repair site of main hall at Kiyomizu-dera Temple(Restoration site is covered in scaffolding roof)Preface
Asia-Pacific Cultural Centre for UNESCO (ACCU) was founded in Tokyo in 1971, one year
earlier when the General Conference of UNESCO adopted the Convention concerning theProtection of the World Cultural and Natural Heritage. ACCU was established in collaboration
with the Japanese government and the private sector, and aims to contribute to the developmentof culture and education as well as to foster mutual understanding and friendship among thecountries in the Asia-Pacific region. Subsequently, ACCU established the Cultural Heritage
Protection Cooperation Office (ACCU Nara) in 1999 as a centre to promote protection ofcultural heritage in the region. Since then, ACCU Nara has been contributing to the international
cooperation concerning cultural heritage protection through the Training Courses, International
Conferences, Workshops and International Correspondents, in cooperation with the Agency for
Cultural Affairs, Japan (Bunkacho); 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 (Independent Administrative Institution); the Nara Prefectural
Government; the Nara Municipal Government; universities, museums and temples.
Among various activities, this Group Training Course plays an important role for human resources
development; we annually invite 15 experts from the Asia-Pacific region, and implement thetraining course with the themes of “Research, Analysis, and Preservation of Archaeological Sites
and Remains” and “Preservation and Restoration of Wooden Structures” alternately every otheryear.
I believe that the participants could acquire the technical knowledge and practical skills about“Preservation and Restoration of Wooden Structures” as well as broaden their experiencethroughout the course. It was our pleasure to see the participants sharing knowledge andchallenges in their own countries during the course period. Plenty of lively discussions between
the participants and established friendship could also be valuable for their future activities as
experts in the cultural heritage protection field.
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. I
also appreciate that all participants actively took part in the programme and helped each other in afriendly atmosphere to acquire latest knowledge and techniques in this far foreign country, Japan.

NISHIMURA Yasushi
Director
The Cultural Heritage Protection Cooperation Office,Asia/Pacific Cultural Centre for UNESCO (ACCU)

Contents		PrefaceI.

Outline1. General Information… ………………………………………………

3

2. Summarry of Training Course………………………………………

9

II.

Country Reports by Participants… ……………………………… 35

III.

Final Reports by Participants… …………………………………… 125

IV.

Appendix
1. List of Participants… ………………………………………………… 199
2. List of Lecturers… …………………………………………………… 202
3. Acknowledgements for Cooperation… …………………………… 203
4. List of Interpreter and Assistants…………………………………… 204
5. Staff Members, ACCU Nara Office… ……………………………… 204

Outline

I. Outline
1. General Information
2. Summary of Training Course

With Dr Wijesuriya and Prof. INABA in front of ACCU Nara Office1. General Information
Training Course on Cultural Heritage Protectionin the Asia-Pacific Region 2017
Group Training Course

Preservation and Restoration of Wooden Structures
1. Background
The 18th ACCU Group Training Course on Preservation and Restoration of Wooden Structures washeld in Nara 29 August (Tue.) to 28 September (Thur.) 2017. ACCU Nara Office, in partnership with
ICCROM and Agency for Cultural Affairs, Government of Japan (Bunkacho), has been organisingtraining courses since 2000 on this topic with a view to building the capacities of professionals who
have been involved in cultural heritage protection in the Asia and the Pacific region. In the Asia and thePacific region there are various forms of cultural heritage, including wooden structures, which are ofgreat value from a global point of view. In order to safeguard this important cultural heritage for future
generations, it is necessary for heritage professionals to carry out proper investigation, analysis andpreservation. This training course aims to provide participants with the latest methods and techniques
for investigation, preservation, restoration and management of wooden structures.
2. Organisation
Organisers- Agency for Cultural Affairs, Japan (Bunkacho): financial support of the course.
-Asia-Pacific Cultural Centre for UNESCO (ACCU): overall course planning and administration.
-International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM)
professional and practical contribution and support.
-National Research Institute for Cultural Properties [Tokyo and Nara]: professional contribution andadvices of overall course planning.
Support-Japanese Association for Conservation of Architectural Monuments (JACAM)-Japan Consortium for International Cooperation in Cultural Heritage (JCIC-Heritage)-Ministry of Foreign Affairs of Japan-Japanese National Commission for UNESCO-Nara Prefectural Government-Nara City Government
3. Objectives
The objectives of the training course are to provide participants with:- a knowledge of skills-based techniques for the recording/documentation and analysis ofwooden structures;- a knowledge of skills-based techniques for the preservation and restoration of wooden
structures;- a knowledge of skills-based techniques for the maintenance, utilisation and risk managementof wooden structures;- a knowledge of the principles and methodologies for protection of wooden structures;- an opportunity to share their experiences and establish their regional networks.

3

4. Training Curriculum
Training Course on Cultural Heritage Protection in the Asia-Pacific Region(29 August - 28 September, 2017 Nara, Japan)
Course Schedule
Date

AugustMorning (9:30-12:30)
Afternoon (13:30-16:30)
Opening Ceremony
Visiting Deputy Governor of Nara
29 Tue.
Orientation Session
Prefecture
30 Wed.
[Presentations and Discussion] Country Reports by Participants
31 Thu.
1

Fri.

2

Sat.

3

Sun.

[Lecture] Introduction to Architectural Heritage in the Asia-PacificRegion6[Lecture] Conservation and
Restoration of Wooden Structuresin Japan[Lecture] Orientation for the[Lecture] Systems for Restoration
Practical Training: "Overall Process
Tue.
Project and Construction Planningof Repairs"
Wed. [Work Session] Recording/Documentation of Wooden Structures I

7

Thu. [Work Session] Recording/Documentation of Wooden Structures II

4
5

Mon.

[Lecture] Cultural Heritage
Protection Systems in Japan

8

Fri. [Work Session] Survey on Damage and Planning for Restoration Work

9

Sat.

Venue
Hotel Fujita

ACCU Nara

ACCU Nara

Gamini WIJESURIYA(ICCROM)
INABA Nobuko (University of Tsukuba)
Gamini WIJESURIYA(ICCROM)

ACCU Nara
ACCU Nara

Tanaka Family
Residence

10 Sun.
11 Mon. [On-site Study] Restoration of Wooden Structures I[On-site Study] Conservation/Restoration and Maintenance of Historic
Monuments of Ancient Nara
[On-site Study] Preservation and Maintenance of Wooden Structures I:
13 Wed.
Vernacular Houses and Townscape[On-site Study] Preservation and Maintenance of Wooden Structures II:
14 Thu.
Vernacular Houses and Townscape
12 Tue.

September

15

Fri. [On-site Study] Reconstruction and Utilisation of Wooden Structures

16

Sat.

Yakushi-ji Temple
Toshodai-ji Temple
Todai-ji Temple
Takayama City
Shirakawa Village

Nagoya Castle

17 Sun.
18 Mon.

[Work Session] Survey on Painted Surfaces and Planning for Painting
Restoration

Jibutsu-do,Todai-ji
Temple19 Tue.

[On-site Study] Restoration of Wooden Structures II: Painting
Restoration

Kiyomizudera Temple
Zenrin-ji Temple

20 Wed. [On-site Study] Restoration of Wooden Structures III
21 Thu. [On-site Study] Traditional Craftsmanship and Conservation of Tools
22Fri. [On-site Study] Risk Management for Cultural Heritage

23

Sat.

Lecturer

Horyu-ji Temple
Takenaka Carpentry
Tools Museum
Kobe City

KIYONAGA Yohei
UENO Katsuhisa(Agency for Cultural (Agency for Cultural
Affairs, Japan)
Affairs, Japan)
KONDO Mitsuo(Japanese Association for Conservation ofArchitectural Monuments)
NISHIYAMA Kazuhiro(NNRICP)YAMASHITA Hideki/HAMAGUCHI
Tomonari(Nara Prefectural Government)
YAMAGUCHI Isamu(Nara City Government)

KANEKO Takayuki
TAKAMIYA Kunihiro(Nara Prefectural Board of Education)
IMANISHI Yoshio(Todai-ji Temple)
IWATA Takashi(Takayama City Board of Education)
MATSUMOTO Keita(Shirakawa Village Board of Education)
IMAI Keisuke(Nagoya Castle General Administration
Office) KATO Junko (Association of Wall
Painting Restoration and Duplicate at Nagoya
Castle Honmaru Palace)

KUBODERA Shigeru(Historical Research Institute forArchitectural Decoration Technology)
SHIMADA Yutaka(Kyoto Prefectural Board of Education)
KUBODERA Shigeru
YOSHIDA Mitsuyoshi(Nara Prefectural Board of Education)
NISHIYAMA Marcelo(Takenaka Carpentry Tools Museum)
MURAKAMI Yasumichi(Hyogo Prefectural Board of Education)

24 Sun.

[Lecture and Discussion] Statement of Significance and Values-led
Conservation I[Lecture and Discussion] Statement of Significance and Values-led
26 Tue.
Conservation II
27 Wed. Writing Final Report/Submission of Final Report

ACCU Nara

28 Thu. Closing Ceremony

Hotel Fujita

25 Mon.

ACCU Nara

Rachael EDERTON (Heritage Consultant)

ACCU Nara

Rachael EDERTON (Heritage Consultant)

ICCROM: International Centre for the Study of Preservation and Restoration of Cultural Property
NNRICP: Nara National Research Institute for Cultural Properties
ACCU Nara: Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO

4

The course was consisted of four-days presentations/discussions, three days lectures, four days
practical work sessions and eight days on-site studies. The curriculum includes following topics;
Presentations and Discussions- Presentations of the present situation of preservation and restoration of wooden structures in eachcountry and exchange of views- Discussion on theory and practice of cultural heritage conservation- Recapitulation of the training sessions
Lectures- Introduction to wooden structures in the Asia-Pacific region- Theory and practice of conservation of cultural heritage- Cultural heritage protection systems in Japan- Policies on restoration of wooden structures in JapanWork Sessions- Practical work on documentation of wooden structures- Damage/deterioration survey and restoration of wooden structures- Survey on painted surfaces and planning for paintings restoration
On-site Studies- On-site studies on paintings restoration- On-site studies at restoration sites of wooden structures- On-site studies on management/utilisation of wooden structures
5. ParticipantsAnnouncement and Response
The training course is offered to participants from the following 42 signatory countries to the
UNESCO World Heritage Convention from Asia and the Pacific:
Afghanistan, Australia, Bangladesh, Bhutan, Brunei Darussalam, Cambodia, China, Cook Islands,
Fiji, India, Indonesia, Iran, Kazakhstan, Kiribati, Kyrgyz Republic, Lao P.D.R., Malaysia, Maldives,
Marshall Islands, Micronesia, Mongolia, Myanmar, Nepal, New Zealand, Niue, Pakistan, Palau,
Papua New Guinea, the Philippines, Republic of Korea, Samoa, Singapore, Solomon Islands, Sri
Lanka, Tajikistan, Thailand, Timor-Leste, Tonga, Turkmenistan, Uzbekistan, Vanuatu and Viet Nam.
The course announcement was published on the ICCROM and ACCU Nara Office web sites in April
2017. By the closing date for applications 9 June 2017, we received 50 applicants from 24 different
countries. The total number of applicants was lower than in 2015.
Selection of Participants
It is desirable that participants are:(1) those who are professionals, not older than 45 years of age on 29 August 2017, who are engaged in
the preservation and restoration of wooden structures, and who can make effective use of the result of
the training course upon returning to their home countries;5(2) those who have a good command of English, participants should deliver presentations and write
reports in English;(3) those who can attend the entire training programme;(4) those who are in good health and able to participate in the training programme;(5) those who submit all of the required documents (listed below) by the stated deadlines;(6) those who will most likely continue to exchange information and interact with ACCU after
returning to their home countries;(7) those who were not previous participants in training courses on Cultural Heritage Protection in the
Asia-Pacific Region; Preservation and Restoration of Wooden Structures organised by ACCU Nara
Office;The documents necessary for application are as follows:(1) Application Form
Please attach a copy of the applicant’s passport, if he/she has a valid passport as of 29 August 2017.
This is not necessary if he/she does not currently have a passport.
(2) Report relating to the applicant’s achievements/involvement in conservation of wooden structures.
This report should be written by the applicant and should comprise:-the reason for applying;-a brief summary of the work related to the preservation/restoration of wooden structures in which
he/she has been involved;-the future plan to utilise and develop the outcomes of the training course in respective country.
(3) Letter of Recommendation from National Commission for UNESCO (NATCOM)(4) Letter of Recommendation from the head of the organisation to which the applicant belongs(5) Document Indicating English Proficiency if the applicant has such a document as a reference forthe screening. There is no need to attach this if he/she does not have one at present.
Screening Results
ACCU Nara Office shared all of the applications with ICCROM. Consulting them for advice, we
selected 16 people from 15 different countries and 3 people on waiting list. We informed successful
candidates and each NATCOM of the result in late July. As 1 participant cancelled just before thecourse, the 15 participants from 14 different countries participated in the training course this year.
The final group of participants consisted of:- 15 participants from 14 different countries: East Asia 2, Southeast Asia 6, South Asia 4, West
Asia 2 and the Pacific 1 (refer to Appendix).
- 10 participants had background as architects or engineers and worked with historic building. 4
had one as archaeologist and worked with site management and 1 was conservator.
- The majority of the participants worked for governmental organisation.
- The youngest participant was 25 years old, the oldest 36. The average age was 30.6, theyoungest over the 18 years.
- There were 7 male and 8 female participantsCertificate of Completion
All participants submitted a final report and evaluation form by the end of training programme andwere awarded a certificate upon completion of the course.

66. The role of the participants during the course
English is the working language throughout the course and participants need English proficiency toplay an active role in the programme. During the course period, each participant is required to make a
20-minute presentation regarding their own work and challenges. They are encouraged to share eachother’s knowledge and experiences through active discussion.
7. Funding
ACCU Nara Office covered the expenses during the training course as follows:(1) Travel expenses:
Each participant (except those from New Zealand and Republic of Korea) were provided with an
economy class return air ticket from the nearest international airport to their residence to KansaiInternational Airport, and transportation fees between Kansai International Airport and hotel in
Nara.
(2) Living expenses:
All of the participants were provided with the basic living expenses during the training course, i.e.,from 28 August to 29 September 2017 according to ACCU Nara Office’s regulations. Arrangements
for accommodation (a room for single occupancy) during the training course was also made by
ACCU Nara Office. In case a participant needs accommodation on the way to and/or from Japan for
any unavoidable reason (such as visa application or limited flight connections), ACCU Nara Officecovered the accommodation expenses.
(3) Others:
Participants were responsible for visa application fee and domestic travel expenses.
8. Course evaluation
Each participants submitted a course evaluation at the end of the course simultaneously with the oral
evaluation meeting with the course organisers. The general feedback from fifteen participants is asfollows;

Balance of Lectures, Work Sessions,
Discussion and On-site Lectures

Course Sasfacon
Just right2
1
9

very good

good

Just right4

very good
9

2

good

7

Applicability to Work

3

Comprehension

adequate
4very good

90-100%70-80%
5

7

good

Allocated Time for On -site Lectures

11

Allocated Time for Praccal Session

adequate2
6very good

6

good
7

6

short

enough3adequate

8. Secretariat
ACCU Nara Office
Nakai Isao, Director of Programme Operation Department and Wakiya Kayoko, Director ofInternational Cooperation Division were responsible for the overall course planning and arrangement.
Suzuki Sonoko, staff of International Cooperation Division was responsible for disseminating thecourse information and making the training materials. The Planning Coordination Division was
assisted for financial work of the course.
ICCROM
Joseph King (Unit Director), Gamimi Wijesuriya (Projector Manager) and Nishikawa Eisuke (Projector
Manager) assisted us with selection of participants. Additionally, Gamini Wijesuriya attended theopening ceremony and gave lectures for three days at the beginning of the course.

8

2. Summary of Training Course
29 August (Tue.)■ Opening Ceremony
The opening ceremony was held at the Hotel Fujita Nara. Fifteen participants from 14 countries in the
Asia-Pacific region gathered together with the organisers and representatives of the related institutions
to the programme. Mr Nishimura, the director of ACCU Nara, and the representatives of each
institution gave their welcoming addresses, wishing them to make the most of their time during thetraining course.
After that, the participants had an orientation session of the programme and visited Nara Prefectural
Office to meet the vice governor, who introduced the historical and cultural background of Nara andhad some time to exchange ideas and information with them. They also enjoyed the panoramic viewof the World Heritage monuments from the rooftop of the office building: the Todai-ji Temple and the
Kohfuku-ji Temple.

Top: Welcome speech by Dr Gamini Wijesuriya (ICCROM)

9Mr Nishimura Yasushi, Director of ACCU Nara Office

Ms HAMADA Yasue from Agency for
Cultural Affairs, Japan

Self-introduction (Top: Jamyang Namgyel (Bhutan);
Bottom:Titin Puteri (Indonesia)

With Vice Governor of Nara Prefecture (centre in the front)10

30 – 31 August (Wed. - Thur.)■ Country Reports by Participants
Gamini WIJESURIYA (ICCROM)
INABA Nobuko (University of Tsukuba)
The class was divided into two groups to make presentations on their own countries. After eachpresentation, they exchanged information and ideas on the issue and realized that the challenges being
addressed in the presentation had something in common as the Asian-Pacific region. They seemed towiden their perspective on the heritage protection by lecturers’ comments.
In the afternoon on 31st, Prof. Inaba lectured on the Japanese system for cultural heritage management
and the architectural conservation for wooden structures in Japan. She introduced main concepts under
the legal framework for protecting the cultural heritage in Japan and the history of its implementationfrom the early twentieth century. Through a question and answer session, the participants were able todevelop their understandings on the Japanese system and practices.

Left: Comment from Duong An (Viet Nam)
Right: Coutry report presentations and discussions with guidance from Dr Wijesuriya and Prof. Inaba

Left: (left to right) Ram Suwal (Nepal), Ambrosia Crum (NZ), Anam Sami (India), Bi Yi (China)
Right: Presentation by Laiba Sundas (Pakistan)11

Comment from Ro Sovandaroath (Cambodia)

Right: Presentation by Monthatip Yaempradit (Thailand)

Lecture by Prof. Inaba

12

Left: Jamyang Namgyel (Bhutan)

Right: Presentation by Tran Phuc (Viet Nam)

Left: Comment from Anam Sami (India)

Right: Presentation by Yoo Hyeonok (Korea)

1 September (Fri.)■ Introduction to Architectural Heritage in the Asia-Pacific Region
Gamini WIJESURIYA (ICCROM)
At first, Dr Gamini Wijesuriya gave an overview of ICCROM: the history; the institutional partnership;and various conservation projects in many countries. As a project manager, he also provided a detailed
explanation about the conservation activities of ICCROM, which included World Heritage advisory
services, monitoring the World Heritage sites and conservation reporting activities and scientificdevelopment. He also highlighted the commitment of ICCROM with the development of humanresources for the heritage preservation.
Then he presented two cases of heritage management in Asia: The Honghe Hani Rice Terraces in
China and Anuradhapura in Sri Lanka. He emphasized the importance of involving the community
participation for the preservation of the local heritage. The participants also learned the different typesof assistance provided by ICCROM to solve the variety of heritage issues.
The class was divided into two groups to discuss the challenges presented by their country reports;
they had to detect similarities and differences and express their opinion. They found many common
issues: the limited resources in investment and technical knowledge; the lack of involvement of thelocal people; lack of the risk management; and little effort to sustain authenticity. In the lecture on
the wooden structures in Asia, he emphasized that the continuity of the traditional knowledge wasimportant as well as securing the supply of wood and the maintenance of structures. Divided into
groups, they exchanged their views and wrote the speculations on the issue.

Dr Wijesuriya teaching heritage management in Asia at ACCU Nara Office

Participants discussing about common issues on cultural heritage protection in the Asia-pacific region13

4 September (Mon.)■ Cultural Heritage Protection Systems in Japan
UENO Katsuhisa (Agency for Cultural Affairs, Japan)
The lecturer explained on the Japanese system for the protection of cultural properties which consistedof several categories such as tangible, intangible, folk cultural properties, monuments and culturallandscapes. He also presented some key factors related to the heritage conservation and managementin Japan and mentioned some examples to illustrate how the policies are being applied in different
context.

Mr UENO Katsuhisa

Question from Ms Rahman Sabrina (Bangladesh)■ Conservation and Restoration of Wooden Structures in JapanKIYONAGA Yohei (Agency for Cultural Affairs, Japan)
The second lecture was focused on the repair and maintenance of wooden structures, especially on
the dismantling process commonly practiced in Japan to repair the temples and shrines. The lecturer
also talked about the risk management of the wooden structures and listed the methods mostly usedin Japan to prevent the physical deterioration and to control the disaster damage. The participants
asked questions after each lecture to clarify their ideas about the concepts addressed by the lecturer.

Left: Question from Ram Suwal (Nepal)

14

Right: Lecture by Mr Kiyonaga Yohei

5 September (Tue.)■ Systems for Restoration Project and Construction Planning■ Orientation for the Practical Training: “Overall Process of Repairs”
KONDO Mitsuo (The Japanese Association for Conservation of Architectural Monuments)
The lecture was focused on the heritage buildings investigation in Japan, an important aspect toconsider prior to any kind of intervention for conservation. In the first part, he pointed out thedifferences in terms of restrictions and the management between the categories of designated andregistered cultural properties. The lecture also included explanations about the dismantling process
and the human resources specialised in the traditional techniques, since those are key elements in the
management for the preservation of the built heritage.
The second lecture was on the research and assessment of built heritage, which ultimately underlay themethodological basis and the policies of any conservation project. Considering that the interventions
aim to maintain the original features of the building, there should be an emphasis on identificationof traces and previous repairs, as well as the assessment of damage to define what to keep or what to
be replaced. The lecturer illustrated the concept with some examples so that the participants easily
understand the content.

Mr Kondo Mitsuo from JACAM

Question from Wilmer Godoy (Philippines)

6 September (Wed.)■ Recording/Documentation of Wooden Structures INISHIYAMA Kazuhiro (NNRICP)YAMASHITA Hideki (Nara Prefectural Board of Education)
YAMAGUCHI Isamu (Nara City Board of Education)
This was the first of three sessions of workshop conducted at the Tanaka Family residence, locatedin the surroundings of the Toshodai-ji temple, the World Heritage site. The lecturers explained
the historical background of the residence and the management of restoration processes, focusing
on its importance as the cultural properties in Nara. Mr. Yamaguchi mentioned that he expectedparticipants, through a three-day workshop, to assess the restoration of the residence, to suggest
ideas on how it should be repaired and to provide ideas on how to utilize it.

15

The first task was to draw a floor plan of the house by measurement. The lecturers, while supervising
the students’ work, provided some key points for the measurement of the structure and dedicated theirtime to answer any questions. Then, the lecturers checked drawings and gave useful feedbacks.
7 September (Thu.)■ Recording/Documentation of Wooden Structures II
NISHIYAMA Kazuhiro (NNRICP)
HAMAGUCHI Tomonari (Nara Prefectural Board of Education)
YAMAGUCHI Isamu (Nara City Board of Education)
The second session focused again, like in the previous day, on drawing. This time, the participants
were asked to draw a section plan of the entire building. The lecturer remarked the importance ofconsidering some tips to make the drawing process easier, such as using fewer points for each member.
The next task was to take all necessary measurements for the previously finished section plan. At theend, the lecturers checked all drawings and provided them with comments and advice to increase thedegree of accuracy of their drawings.

Top: Training venue:Tanaka Familiy Residence (traditional vernacular house built in 18-19C)
Bottom: Orientation lecture of three-day workshop by Mr Yamaguchi Isamu

16

Drawing floor plan at traditional kitchen area in Tanaka Family Residence

Left: Mr Yamaguchi and Mr Nishiyama checking participants' drawings
Right: Mr Yamashita teaching how to draw exterior details

Participants drawing a cross section plan

Mr Hamaguchi demonstrating meassurement with a lazer level178 September (Fri.)■ Survey on Damage and Planning for Restoration WorkNISHIYAMA Kazuhiro (NNRICP)
HAMAGUCHI Tomonari (Nara Prefectural Board of Education)
YAMAGUCHI Isamu (Nara City Board of Education)
The third and last day of workshop focused on the survey of damage. Today’s task was to identify old
and new members, renewed parts, and those requiring restoration.
The participants started evaluation of the house condition after receiving some key points by thelecturers to identify the traces of previous restoration. After evaluation, Mr. Hamaguchi lectured on
the identification of materials and brought some wood samples to recognize the features of wood(cedar, pine, and cypress); he demonstrated that the surface, the texture and treatment of wood would
determine its use in specific parts of the buildings.
The lecturer underlined the importance of periodical maintenance to prevent the continuous
environmental deterioration caused by water and weathering. This is an essential procedure since thegoal of any conservation project is to maintain the original form of the structures and to reduce thefrequent replacement.
The final session focused on a group discussion on the effective use of the building. The class madevarious good suggestion and the lecturer mentioned he would consider it for future proposals. The
three lecturers concluded the sessions with their final comments and words of gratitude.

Damaged survey and making management plan for Tanaka Family Residence in groups18

11 September (Mon.)■ Restoration of Wooden Structures I
KANEKO Takayuki (Nara Prefectural Board of Education)
TAKAMIYA Kunihiro (Nara Prefectural Board of Education)
The participants visited the Yakushi-ji Temple, one of the World Heritage sites, and observed thetotal repair work of the east pagoda being dismantled under a guidance of Mr Kaneko. He outlined
the repair project and lectured on damage of the east pagoda in detail. Because of current severe
deterioration such as a hollowed central pillar, a sinking foundation stone and weakened foundations,the east pagoda was being repaired by total dismantlement. He also introduced two basic principles

Observation of total dismantlement work of east pagoda at Yakushi-ji Temple

Left: Mr Kaneko instructing damaged survey of wooden members
Right: Observation of Japanese traditional repair work 'hikiya'

19

important for the repair work: to use original materials as many as possible; and to highly regard theoriginal structures of the building. It was a good opportunity to learn the Japanese-style repair process
by total dismantlement and to consider it from the perspective of cultural heritage protection.
Then, participants visited Mieido in the Toshodai-ji Temple and observed the work of partial repair;
the sinking foundation and damaged roofs were being repaired. Mr Takamiya explained the Japanesetraditional technique termed hikiya which relocates the whole structures by raising and transferring toanother location.
12 September (Tue.)■ Conservation/Restoration and Maintenance of Historic Monuments of Ancient Nara
IMANISHI Yoshio (Todai-ji Temple)
The lecturer explained the maintenance and management system of the Todai-ji Temple, theWorld Heritage site, while touring around the precincts: Nandaimon (Great South Gate), a cloister,
Daibutsuden (Great Buddha Hall) and Hokke-do. At Nandaimon, he provided an overview of thehistory of the temple and past repair/reinforcement work. Then he introduced the past repair cases
in detail: Nandaimon was repaired and reinforced by embedding the iron frames without being seenfrom the surface. Even after finishing the repair work, the regular inspection is essential for preventing
damage. He took an example of the deterioration caused by water and explained the case in detail. He
also lectured on how to repair wooden pillars and roofs, how to paint pigments, preservative treatmentof wooden structures, and the termite control at the Todai-ji Temple. It was a good opportunity for allparticipant to learn how to manage the historic wooden structures and hand over to the next generation.

Mr IMANISHI lecturing on maintenance and management system of the Todai-ji Temple, the World Heritage Site

13 September (Wed.)■ Preservation and Maintenance of Wooden Structures I: Vernacular Houses and Townscape
IWATA Takashi (Takayama City Board of Education)
The participants visited Takayama City and observed the historic townscape, designated asImportant Preservation Districts for Groups of Historic Buildings, under a guidance of the lecturer
who outlined history and culture of the city and preservation efforts of local residence. According
to his explanation, the townscape of the area had been preserved mainly by local residence rather

20

than the local administration, especially in the field of fire prevention measures. Most of the traditional
townscape in Japan were built along the narrow streets, so fire engines cannot enter the street, which
prevented fire extinguishing activities. The situation was the same with Takayama City. The fire
extinguishing equipment such as a firehose and water storage devices, were installed at each residence;each community assigned their roles in fire fighting for emergency. It was a good opportunity to learn
the community-led preservation measures while observing/experiencing the facilities.

Left: Mr Iwata explaining the fire prevention system which have been preserved by local residents

14 September (Thur.)■ Preservation and Maintenance of Wooden Structures II: Vernacular Houses and Townscape
MATSUMOTO Keita (Shirakawa Village Board of Education)
Shirakawa Village is located among mountains where a group of traditional wooden houses arepreserved. The local community plays a major role in preserving the cultural heritage, managing
tourist activities and utilisation of heritage. In 1995, Shirakawa Village was registered as the UNESCO

With Mr Matsumoto (centre in the front), at Shirakawa Village

21World Heritage Site of the “Historic Villages of Shirakawa-go and Gokayama”. The unique gasshostyle houses and outstanding examples of a traditional way of life were appreciated. After thedesignation, the growing number of tourists annually visited the village and currently reached to 5000
visitors per day compared to 1600 residents, which caused various trouble. The lecturer introduced
countermeasures taken by the local government in cooperation with residents: regulation of private
cars and building new parking lots. In conclusion the lecturer summarized the lesson in two points: (1)the community-led movements are essential for preservation of the settlements; the local government
should raise awareness of the residents and facilitate them to play responsible roles; (2) Being awarethat the increasing speed of tourists is higher than that of preservation efforts, we should try to devise
protective measures in trial and error.

Mr Matsumoto explaining fire prevention system (left) and drainage ditch (right)

Lecture at the Gassyo-style house, Wada House22

15 September (Fri.)■ Reconstruction and Utilisation of Wooden Structures
IMAI Keisuke (Nagoya Castle General Administration Office)
KATO Junko(Association of Wall Painting Restoration and Duplicate at Nagoya Castle Honmaru Palace)
IMAI Keisuke gave the general information on the history of Nagoya Castle and the natural climate of
the area and presented the reconstruction project of Nagoya Castle Honmaru Palace in detail. Nagoya
Castle was destroyed by fire during the World War II, but there remained many photographs, literarymaterials and design drawings, which enabled them to reconstruct the almost perfect copy of the castle.
Special attention was paid to the details of structures; the same types of wood as the original were used
and the same pigment was used to restore the wall paintings.
Through those reconstruction work experiences, importance of the wood supply was keenly recognized
for reconstruction; the reforestation project and restoration of traditional techniques and tools were
initiated at the same time. He introduced Japanese carpentry techniques such as kigumi (wood joinery)
and kidori (conversion of timber) by showing wooden models. Then, he guided the participants to the

Mr Imai explaining Japanese carpentry techniques such as kigumi (wood joinery)Observation of reconstructed Honmaru Palace

In front of Nagoya Castle Tower

23

reconstruction facilities and to the restoration laboratory of wall paintings. The wall paintings werepartially stripped off during the World War II and escaped fire, so the original painting remained. By
analyzing the pigment components, they can restore them with the same pigment as the original. At theend, KATO Junko underlined that the most important principle was not only to reproduce the paintings
in detail but to restore the aesthetic sense of former days.
18 September (Mon.)■ Survey on the Painted Surfaces and Planning for Painting Restoration
KUBODERA Shigeru (Historical Research Institute for Architectural Decoration Technology)
In the opening introduction, the lecturer talked about how to observe and draw paintings; how todecide colours based on observation of the original colours and pigments. Then, he guided theparticipants to the external decorated façade of Jibutsu-do in the Todai-ji Temple precincts, and asked
them to select a part of the decoration and to start drawing.
The afternoon session was divided into three sessions:
1. To observe the painted colours, to identify the original pigment applied on the façade and to decide
the colours on the drawing.

Top left: Anam Sami (India) doing damage survey Bottom left: Wilmer Godoy (Philippines) drawing paintings24

2. To write the short restoration plan of Jibutsu-do
3. To check the drawing in front of the façade and to decide applicable colours
19 September (Tue.)■ Restoration of Wooden Structures II: Painting Restoration
KUBODERA Shigeru (Historical Research Institute for Architectural Decoration Technology)
SHIMADA Yutaka (Kyoto Prefectural Board of Education)
The training session was held in the Zenrin-ji Temple in Kyoto. The lecturer explained on the temple’s
history and illustrated the restoration and repainting of the Amitabha’s interior and exterior. The experts
demonstrated how to re-paint colours by observing the original, which provided the participants withprofessional information about the Japanese new techniques of preserving original colours.
In the afternoon Mr Shimada welcomed all participants in the Kiyomizu-dera Temple and guided themto observe the restoration work and paintings done at the Amitabha and Okuno-in halls. They also had
an opportunity to observe closely ongoing painting restoration works in the gate; to see the ongoing
re-roofing work of the main hall in the temple; to get plenty of information about the technique ofremoving the old cypress bark; and to observe how the cypress bark was packed and applied on theroof.

Left: Bracket complex: original painting partly preserved

Right: Re-roofing work of the main hall

At Kiyomizu-dera Temple: Mr Kubodera (second left in the front) and Mr Shimada (centre in the back)25

20 September (Wed.)■ Restoration of Wooden Structures III
YOSHIDA Mitsuyoshi (Nara Prefectural Board of Education)
The lecturer guided the participants to three sites under restoration in Horyu-ji Temple: (1) the Horyuji Temple’s main gate, (2) Jizou-do, and (3) the earthen wall.
The lecturer presented current condition of the main gate and guided the class to identify the damage
in the pillars and the roof; he also explained the damage of the roof and the process of re-roofing byusing new roof tiles; and moved to another roofing site at the Jizou-do building. Then he introduced
Mr ASHIDA Jun’ichi, a specialist in roof tiles, who illustrated the ancient and modern techniques ofmanufacturing the roof tiles; how to identify good or damaged tiles. At the end, he demonstrated theway to identify the clicking sound by using a small hammer to check the condition of roof tiles. Next,
the lecturer illustrated the method of restoring the earthen wall and applying new mud walls.

Left: Mr Ashida instructing how to identify damaged roof tiles Right: Observation of re-roofing work of main gate

Left: With lecturer, Mr Yoshida (second right in the front) Right: Restoration work of earthen wall

26

Guideed tour by Citizens Volunteers

Group photo with four Citizens Volunteers at the southern gate of Horyu-ji Temple

At the end, four volunteers of local people, kindly guided the participants for two hours in the Horyuji Temple. Through this tour, they also experienced one of the educational activities cooperated withlocal people.
21 September (Thur.)■ Traditional Craftsmanship and Conservation of Tools
NISHIYAMA Marcelo (Takenaka Carpentry Tools Museum)The lecturer described the design of the museum and the materials used in construction, after
displaying a video introducing master carpenters work. The participants learned how to use carpentry
tools and how to smooth the wood surface by using different kind of tools. They visited tea ceremony

27

Mr Nishiyama explaining the design and the materials of the construction

Ram Suwal (Nepal) trying hands-on activity, kigumi (wood joinery)

house in the museum and experienced the Japanese tea ceremony. Then, Mr Kitamura from themuseum workshop demonstrated the Japanese various kinds of woods and their usage; he also
showed how to use yarigannna (a spear plane) to plane the wooden surface. All participants
experienced to smooth a wooden surface by themselves and learned the way of cleaning, sharpingand preserving the tools.
22 September (Fri.)■ Risk Management for Cultural Heritage
MURAKAMI Yasumichi (Hyogo Prefectural Board of Education)
The morning session was held at Hotel Kitano Plaza in Kobe. Mr Murakami lectured on risk
management of cultural properties based on his own experience, when the devastating earthquake
struck Kobe in 1995. He emphasised that the rescue work for cultural properties should bestarted after earthquake victims settled down to the ordinary life. The participants learned the
documentation method and damage survey of the historical buildings in the city; they also learned28how to estimate damage; how to make restoration plans; how to get budget and support from variousorganisations and local people.
In the afternoon, the lecturers guided them to visit foreign residences in Kobe to observe the restoration
work and the technique of fixing brick walls to prevent collapsing if a natural disaster would occur inthe future. At the end, Ms Kobayashi accompanied participants to the foreign house under restoration.
She outlined the history of restoration and the on-going restoration plans; she showed the materials
used in restoration and demonstrated their plan of keeping the undamaged parts of the building andreplacing the damaged one.

With lecturers, Mr Murakami and Ms Kobayashi (centre in the back), at Moegi House built in 19C

25-26 September (Mon.)■ Statement of Significance and Values-led Conservation
Rachael EGERTON (Heritage Consultant)
The lecturer from New Zealand talked about the meaning of value and its characteristics; she presented
an example of Italy and described how the value was changing over time. In evaluation of the heritage,
we should consider different factors that would affect significant values: architectural forms, historicalthemes, the age/era, the socio/economic culture and so on. She also detailed the development processof the statement of significant values by analyzing information. The case study of Port Craig Sawmills
and Settlement was presented as an example of heritage value with historical significance.
In the afternoon session, the class visited the Kohfukuji Temple and exercised what they had learned.
They were divided into four groups and each group had to identify three values about the temple.
On the second day, the class continued yesterday’s task on the significant value and preparing thestatement on three values they identified at the Kohfuku-ji Temple. Then, the second task was toprepare the values-led conservation plan.

29

In the afternoon, each group made a 20 minutes presentation on the value they identified at the
Kohfukuji temple. The class commonly identified historical, architectural, and religious value; somementioned archaeological and spiritual value. The lecturer admired the group work that presented a
new perspective to the heritage value and appreciated their efforts.
At the end, the lecturer introduced the World Heritage Convention and the Outstanding Universal
Value (OUV), the criteria of selection. She clarified the convention and facilitated the understanding of
the authenticity of cultural heritage.

Ms Egerton (centre) giving advices

Group work at Kohfuku-ji Temple

Discussing the value of Kohfuku-ji Temple and making 20 minutes presentation in groups

With lecturer at Kohfuku-ji Temple

30

28 September (Thur.)■ Closing Ceremony
The closing ceremony was held in Hotel Fujita Nara. NISHIMURA Yasushi, the director of ACCU
Nara delivered a closing address and congratulated the participants for accomplishing a monthof training successfully on behalf of all the related institutions. Then he awarded a certificate
of completion to each participant. Mr Ram Prasad Suwal and Ms Laiba Sundas made a speech
representing all participants, and expressed their appreciation and gratitude to ACCU Nara for thewarm support for one-month training in Nara. At the end, ACCU Nara asked them to make further
comments and suggestions on the programme.

Closing Ceremony

Congratulatory address by the director Nishimura

Closing speech (Left: Ram Suwal from Nepal, Right: Laiba Sundas from Pakistan)31

At Closing Ceremony

32

Country Reports
by Participants

II. Country Reports by Participants

Japanese tea ceremony house in Takenaka Carpentry Tools Museum

33

34

Bangladesh
Sabrina Rahman
Assistant Secretary
Cultural Heritage Section
Ministry of Cultural Affairs

Problems and needs for cultural heritage protection and restoration
activities in Bangladesh
Introduction
Bangladesh, benefitting from two thousand five hundred years of glorious history, is enriched withdiversified cultural heritage in various forms encompassing small artifacts of prehistoric people of
the remote past to gigantic monuments such as monasteries of the historic era. Vestiges of ancienthunter-gatherers and Neolithic agrarians lie among prominent clusters of features produced by historicreligious groups such as Hindus, Buddhists, Muslims and Christians. Also, the country has a number ofsmall ethnic communities with their own distinctive long-cherished cultures and heritage. Accordingly
this multifarious heritage undoubtedly testifies to the richness of our colorful history.
Out of thousands of archaeological sites around the country, not all have yet been declared asprotected monuments or sites by the Government of Bangladesh. At present there are 455 protectedarchaeological sites under the jurisdiction of the Department of Archeology (DOA).
World Cultural Heritage Sites in Bangladesh consist of the following.
1. Historic Mosque City of Bagerhat
2. Ruins of the Buddhist Vihara at Paharpur

Fig. 1. Mosque of Bagerhat

Fig. 2. Buddhist Vihara at Paharpur

The following is the Tentative List of Proposed World Cultural Heritage Sites in Bangladesh.
1. Mahasthan and Its Environs, Bogra District
2. Halud Vihara, Naogaon District41

3. Jagaddala Vihara, Naogaon District
4. Lalbagh Fort, Dhaka District
5. Lalmai-Mainamati Hill range, Comilla District
6. Kantanagar Temple, Dinajpur District

Organizations responsible for the protection of heritage
In Bangladesh the protection and restoration of all tangible and intangible cultural heritage is the
responsibility of the following departments under the Ministry of Cultural Affairs.
1. Department of Archaeology (DOA)
2. Bangladesh Shilpakala Academy
3. Bangla Academy
4. Bangladesh National Museum (BNM)
5. National Archives and Library
6. Folk Arts and Crafts Foundation in Sonargaon
Besides these, other organizations are working on the exploration, excavation, collection, research anddisplay of the cultural heritage of the country in the roles of custodian or academician.

Policies, acts and laws
The cultural rights of the country are protected by Articles 15, 23 and 34 of our constitution. The
Bangladesh government has already countersigned almost all of the conventions on cultural affairsof UNESCO, such as the Convention Concerning the Protection of the World Cultural and Natural
Heritage of 1972 (on 03/08/1983), the Convention on the Protection and Promotion of the Diversity of
Cultural Expressions of 2005 (on 31/05/2007), the Convention for the Safeguarding of the Intangible
Cultural Heritage (on 11/06/2009), etc. (The preceding information has been taken from the 2nd
meeting on “Sub-Commission for Cultural Affairs of Bangladesh National Commission for UNESCO”
held 16/09/2010).
The Ministry of Cultural Affairs drew up a National Cultural Policy in 2006. It provides guidelines for
coordination between cultural development and economic development. It also talks about building
bonds between people of all races, religious beliefs and ethnic communities. For preserving andprotecting heritage sites there is a separate law. The Antiquities Act, 1968, is an act to consolidate
and amend the laws relating to the preservation and protection of antiquities. Other related laws forprotecting cultural heritage are the Ancient Monuments Preservation Act of 1904, the Conservation
Manual of 1923, the Archaeological Works Code of 1938, the Antiquities Export Control Act of 1947,
and the Antiquities Preservation Rules of 1986.
Under the provision of the Antiquities Act, 1968 and the Ancient Monuments Preservation Act of 1904,
the Department of Archaeology of the Ministry of Cultural Affairs can take steps to nominate and42declare monuments, sites, artifacts or collections as cultural heritage. Department officials investigate
and explore the cultural property in question and declare it as cultural heritage. Local administration is
also involved in the process of nominating and declaring a site as cultural heritage.
Among the stated responsible departments, only the DOA has jurisdiction and authority to protect
and declare an archaeological site as protected cultural heritage. Every official and staff member ofthe DOA has their own responsibility for safeguarding the cultural heritage of the country. There are
four tiers (Director General, Regional Director, Custodian, Site Attendant) of the safeguarding system.
Centrally, the Director General of the DOA has the key responsibility for controlling, safeguarding
and implementing the management of the cultural heritage of the country. Additionally, the Regional
Director’s office and field offices are responsible for protecting, preserving, conserving and managing
heritage sites and museums in their respective areas.
The designated objectives of the BNM are the collection, preservation, conservation, documentation,
display, education, research and publication of objects of the historical, cultural and natural heritage of
Bangladesh. The BNM is also devoted to the study of classical, decorative and contemporary art andart history, and the archaeology, natural history and ethnography of world civilization. It has splendid
collections which range in date from prehistory to the present time. Both in number and uniqueness,
the Museum is extremely rich in stone, metal and wooden sculptures, in gold, silver and copper coins,in stone inscriptions and copperplates and in terracottas and other artifacts of archaeological interest.

Fig. 3. The Conference of Parties to the Convention on the Protection and Promotionof the Diversity of Cultural Expressions, presided by Asaduzzaman Noor, MP, Minsterof Cultural Affairs, Government of the People’s Republic of Bangladesh.

It is a matter of honour for Bangladesh that the honourable Minister of Cultural Affairs, Mr
Asaduzzaman Noor (MP) has chaired the 6th session of the Conference of Parties to the Convention
on the Protection and Promotion of the Diversity of Cultural Expression held in June 2017 in Paris.
That session was important for participating countries to protect and promote the diversity of cultural
heritage for development. The Government of Bangladesh is planning to arrange a global conference
for UNESCO in Dhaka by the end of next year.

43

Problems and needs for cultural heritage protection and restoration activities
Heritage is a reflection of the identity of the people of a nation. It is a mirror of national unity. One
identifies himself or herself through the past which gives a sense of pride and honour. It connects thehistoric past to the present, conveys knowledge and defines uniqueness in nationality. In recent times,
several problems have been addressed as threats to the preservation and restoration of our cultural
heritage.

Climate change: Climate change poses significant risks for Bangladesh. The effects of climatechange on different human dimensions of cultural and social phenomena, more specifically thearchaeological heritage and culture of Bangladesh, are noteworthy. Being located in the eastern
matrix of the Bengal delta, Bangladesh possesses a significant content of the archaeological heritageand historical record of eastern India, an important part of historical India. The southern part of
Bangladesh, an area of the country at risk to the effects of climate change, encompasses numerous
archaeological materials and sites constituting the heritage of human settlement since the Early
Medieval to the British Colonial periods. The above-mentioned climatic impact will certainly
strengthen the degenerating factors against these archaeological records which will result in substantial
loss to the history, heritage and archaeological research in the country.

Salinity, efflorescence and deterioration of bricks and terracotta plaques: In the courtyard
at Paharpur Temple, many undulations and depressions have been found where rainwater is trapped
during the monsoons. Some of those depressions are found very close to structures remaining in thenortheastern corner and close to peripheral monastic cells. Due to inadequate drainage facilities,
water trapped here infiltrates the basement of the structures as well as the monastic cells and creates
efflorescence, building up salinity and the threat of corrosion to the structure.

Waterlogging problem: Waterlogging is one of the common phenomena leading to deterioration ofbricks and terracotta plaques at Paharpur. An artificial channel which was around 20 feet away fromthe main temple had been dug to drain rainwater from the surrounding areas. The water draining into
the channel accumulates in a ditch. From the ancient period there was a disc-shaped vertical water
channel at the top of the temple, through which rain water entered into the wall by capillary action.
Waterlogging is a vital issue and has a wider impact at the northwest corner of the entrance wall.

Harmful biological and chemical agents: Flora and fauna such as algae (living and nonliving),
moss, lichen, plants, different types of grass, birds, termites, insects, etc. often exert detrimental effects
on the brick and terracotta of monuments. Sometimes moss and lichens are considered as protective,
but they are more often destructive. They grow on buildings and act as humus for supporting the
growth of higher plants on the monument. Lichen grows slowly, but is very resistant to extreme
conditions of humidity and temperature.

44

Flaking: One of the main causes of deterioration of bricks and terracotta plaques at Paharpur,
Bagerhat and other monuments is flaking. The causes of flaking are heavy rain fall, high temperatureand humidity, air pollution, chemical reaction of salt, and human action, etc.

Dampness: Most of the monuments and historic houses have been affected by too much dampness
due to lack of sunlight, and thus absorb water all year round. The historic house of the Bangabandhu
Memorial Museum’s main building has been affected by dampness.

Human activity: The following anthropogenic activities promote various kinds of deterioration at
cultural heritage sites and structures.
1. Religious-based activity, destruction or demolition
2. Religious and community insensitivity
3. Lack of updated conservation rules, policy framework and implementation
4. Lack of skillful knowledge for proper treatment
5. Lack of scientific display and storage systems and improper conservation practices
6. Lack of security, allowing theft and vandalism
7. Lack of adequate and available human resources
8. Lack of funding, institutional infrastructure and proper monitoring
9. Lack of interest of the succeeding generations to maintain intangible heritage
10. Lack of proper and scientific digital documentation and technical approaches
11. Problems of land acquisition, resettlement and mitigation

Lack of funds: In Bangladesh, limitations on resources especially funding is one cause that hinders
the preservation and proper maintenance of our historical sites. The current budget allocation forsafeguarding and maintaining historic and cultural heritage sites is insufficient.

Recommendations and needs
In spite of financial and infrastructural limitations, the Government of Bangladesh is attempting tomove forward to create the means for effective restoration and protection of our national heritageand cultural resources. In this regard, the Ministry of Cultural Affairs is devoted to implementing
governmental goals and targets in keeping with its mandated duties. Since the heritage materials arevery vulnerable, there is urgent need for heritage management to take some immediate drastic actions.
The Department of Archaeology has taken the following initiatives as mandated by its charter.
1. Top priority should be given to the development of human resources. Qualified personnel should
be recruited, and additionally regular training programmes should be organized to refresh theirknowledge and acquaint them with the latest methods of heritage management.
2. Preservation efforts should be well coordinated with those of other agents such as the
Department of Archaeology, scholars from various universities, national libraries, researchlibraries, and museums. Nationwide preservation awareness programmes should be organized,

45

through workshops, seminars and refresher courses, to safeguard the rich cultural anddocumentary heritage of the country.
3. Adequate infrastructure should be developed for the preservation as well as handling of
the cultural properties. There should be well-equipped modern laboratories with the latest
technological facilities required for effective conservation.
4. There should be updates of policy, acts and rules, and proper implementation.
5. International cooperation should be built up in order to improve supranational preservationand conservation activities and initiatives through the organization of training programmes incooperation with the similar institutions of other developed or developing countries.
6. Intangible heritage should be patronized so that the younger generation develops an interest in
its maintenance.
7. Multidisciplinary efforts are required for the systematic documentation of historical records andclassification of sites to develop their potential within the present scope of heritage management
and for upcoming cultural heritage management projects.

Conclusion
The training provided by the ACCU will open up windows of opportunity for sharing knowledge andcreate a rare chance to absorb technical advancements in this sector in a global context. We hope that
affluent countries and organizations like the ACCU will extend further assistance in both funding
and by providing appropriate training to designated personnel, so that we may succeed in saving our
precious cultural heritage.

46

BhutanJamyang Singye Namgyel
Architect
Division for Conservation of Heritage Sites
Department of Culture
Ministry of Home and Cultural Affairs

Importance of conservation and its challenges in Bhutan
Introduction
Bhutan has a rich tradition of cultural heritage, in terms of both tangible and intangible forms ofheritage. The centuries-old dzongs/fortresses, temples, houses, stupas, bridges and palaces standas symbols of national identity. All traditional Bhutanese structures have timber as one of the main
structural as well as architectural components. The traditional construction system has enabled thelongevity of timber components which have survived through the centuries.
Although with the advent of modernization, new construction techniques and materials are preferred
when building new infrastructure, traditional construction methods and materials are still being used
extensively in the country. All monuments with cultural heritage value are to be conserved or restored
using traditional methods and materials to their original grandeur if not greater.

Figure 1. A tradtitional house in Dagana

Figure 2. Trongsa Dzong

47

Construction typology
Rammed earth and stone with mud masonry are the two types of materials seen in traditional
Bhutanese structures. Timber plays a very diverse and important role in the traditional structures.

Figure 3. Timber façade in
Tashichoodzong

Figure 4. Timber used for structural components

Therefore, it is absolutely crucial to understand the characteristics, nature and properties of timber sothat we can ensure the right steps and interventions are applied while carrying out conservation workon traditional Bhutanese structures.

Conservation in Bhutan
In my experience as a conservation architect, I have realized that the concept and motives behindconservation in Bhutan are a bit different from the rest of the world. Bhutan boasts its heritage
structures as living heritage as they still continue to function and cater to the people in the samemanner as centuries ago. Therefore, it is thought that the continuity of both the traditional knowledge
system and the function of the heritage structure are more important than just conserving the structure
in its original form. While this enables the continuity of traditional construction techniques and living
heritage structures, the architectural diversity of our heritage structures is getting lost. This perhaps isthe biggest challenge of conservation in Bhutan.
Replacement of timber components is a major focus of work in conservation. The replacement oftimber structural components dictates the need to demolish walls and consolidate them as well because
the timber components are connected to the walls. The following conservation projects that I havebeen involved in will explain these issues.
1. Tango Monastery Conservation Project
Tango Monastery is one of the most important Drukpa monasteries in the country and has significant
heritage value to the people of Bhutan. It also houses one of the most outstanding wall paintings
dating back to the 17th century and is believed to be the best in the world of that time. The walls48

with the painting have suffered major cracks due to settlement, requiring major intervention which
would destroy the paintings. Although the importance of the wall paintings has been recognized by
the government, the monks are reluctant to use the structure due to its condition, and therefore thegovernment is still looking for alternatives to restore the structure without disturbing the paintings.
Leaving the walls untouched and keeping the paintings as a mere display is not an option for themonks as well as for the government and the people.
In order to scientifically validate the condition of the timber joists of the structure, I was involved instudying the strength of the timber components under the guidance of an international expert. We useda resistograph to study the condition of the timber by drilling through the components. Although thecondition of the timber within can be determined to a certain extent, it is difficult to establish howlong the timber component would continue to safely retain the structure. This lack of confidence andknowledge about timber is one reason why we tend to take the safer route and replace everything while
carrying out conservation work.

Figure 5. Resistograph measuring device and a reading from the Tango Monastery

2. Phajoding Monastery Conservation Project
Phajoding Monastery is also one of the most important Drukpa monasteries and meditation centers in
the country. There are a total of about 15 important temples in the whole area. I have been involved in
the project as the project architect for the past three years.
The proposal for renovation always starts with the objective of minimum intervention to the structure.
The proposed scope of the work would include replacement of deteriorated timber components andstabilization of damaged walls while maintaining the original design of the structure. It is challenging
not only to establish which timber components are not be disturbed but also how to retain the design of
the architectural elements. Although the project is being monitored and implemented by the Division
for Conservation of Heritage Sites, the desire of the monks who are the primary stakeholders andguardians of such monasteries is always to glorify the structures whenever they can. This leads tochanges in the design of the structures as well as a loss in diversity of the architectural designs.

49

Blue pine and mixed conifers are the major timber species found in our heritage structures and theparts of timber components that are inserted into the walls such as the joists are always seen to be
degraded or rotten compared to the portions not inserted in the walls. This results in replacing thewhole timber component while carrying out the conservation work.

Figure 6. The structural walls and timber components are interlinked. Wogmin Lhakhang at Phajoding.

Figure 7. Wogmin Lhakhang before renovation

50

Figure 8. Wogmin Lhakhang after renovation

Learning from international practice
While attending a course on the preservation of wooden structures in Nepal, I learned about theconservation principles and work done by the Kathmandu Valley Preservation Trust on the heritage
structures of Kathmandu Valley. The intricate wood carvings are restored with precision and only the
portion of the timber component that has been damaged is being carefully taken out and replaced.
Their approach towards conservation is meticulous but unlike Bhutan, the timber species used is sal
which is a very hard wood compared to the blue pine and mixed conifer species used in Bhutan. I
also felt that their heritage structures, particularly the Newari temples, were themselves the object ofworship and the number of people using the structures extensively and living inside the structures istherefore very minimal.
Therefore, the challenges of conservation in Bhutan from my point of view are as follows.
1. Bhutanese heritage structures cater to many people every day, with monks living inside them.
Therefore, their structural integrity is not to be compromised during times of renovation or
restoration, which ultimately leads to the replacement of all timber components and alsostabilization of major parts of the structural walls.
2. Monks being the primary stakeholders of most heritage structures, their insistence on glorifying
the structures has resulted in a loss of architectural diversity.
3. Very few people are aware of the importance of conservation and the need to preserve thearchitectural diversity of heritage structures. The people involved in decision making are also
not well aware of this issue and therefore the fight to conserve our heritage structures as they areis a challenge.
4. There is a lack of technically trained personnel who are able to obtain and interpret scientific
data about the materials.

51

Cambodia
Ro Sovandaroath
Cultural Heritage Restorer
Department of Cultural Development
Museum and Heritage Norms
APSARA National Authority

Problems and needs for cultural heritage protection and restoration
activities in Cambodia

1. Introduction to Cambodia
Cambodia or the Khmer Kingdom is located on the Southeast Asian mainland. Its total landmass
is 181,035 square kilometers, bordered by Thailand, Laos, Vietnam and the gulf of Thailand. The
population is about 15 million, and the capital is Phnom Penh. The state religion is Theravada
Buddhism which is practiced by approximately 95% of the total population. Moreover, in daily life thepeople also regularly practice Hinduism and Animism. The country has a long history of great culture
and civilization, which spread outward and was accepted by many countries.
Angkor, in Cambodia’s northern province of Siem Reap, is one of the most important archaeologicalsites of Southeast Asia. It extends over approximately 400 square kilometers and consists of scoresof temples, hydraulic structures (basins, dikes, reservoirs, canals) as well as communication routes. It
was named a World Heritage site in 1992 it was also added to the List of World Heritage in Danger;
as this incomparable site was threatened by pillaging, plagued by illegal excavations, and even dottedwith land mines. In 1993 UNESCO launched a major campaign to restore and safeguard Angkor.
Angkor was removed from the List of World Heritage in Danger in 2004. UNESCO continues to bea part of Angkor’s future, working with the Cambodian authorities to ensure that tourism access anddevelopment do not compromise this great cultural treasure.
APSARA (Authority for the Protection of the Site and Management of the Region of Angkor) is the
Cambodian management authority responsible for protecting the archaeological park of Angkor.
Founded in 1995, it is in charge of the research, protection, and conservation as well as the urban andtourist development of the park.

2. Conservation and restoration
Angkor was re-discovered by the European traveler and French naturalist, Henri Mohout, in thenineteenth century. Angkor Wat was well preserved with Buddhist cults thriving within its walls, evenafter its abandonment by the Khmer kings as capital. Angkor was a primary motivation behind thefounding of École Française d’Extême-Orient (EFEO) in 1899. In 1908, the director of EFEO createda center named Angkor Conservation, which played a major role in the research, conservation and52

restoration activities at Angkor up until the early 1970s. The Angkor Conservation office’s efforts weremainly focused on prevention and the restoration of monuments, while EFEO itself concentrated on
research about history, arts, linguistics, etc. During the 1960s, under the direction of Jean Boisselier,director of Angkor Conservation and Khmer conservators, some broken images were restored. Afterthe civil war (1975-1979), in the 1980s Angkor Conservation was reopened and cultural heritage
objects from the Angkor area and some parts of Siem Reap province were removed to Angkor
Conservation for the purpose of guarding them from the illegal looting.
Today, the storage of Angkor Conservation houses thousands of artifacts including stone, wood, andmetal objects, and some ceramics.
Nowadays there are more than 16 international teams playing a major role in the conservation,
restoration and community development at Angkor, including Japan (one of the biggest international
teams for conservation and restoration of cultural heritage in Cambodia).
The Italia Training team for Archaeological Legacy conservation and Improvement in Angkor(I.T.A.L.I.A) is the first Cambodian professional team in conservation and restoration of artifacts in
Cambodia, established in 2014 and funded by the APSARA Authority, Ministry of Culture and Fine
Arts, Palermo University (Italy), and the Cambodia commission for UNESCO with technical support
from Italian experts. Currently the team covers three different fields:
1. Angkor Wat temple (conservation and restoration of sandstone window balusters),
2. Angkor Conservation building laboratory (conservation and restoration of the sandstone Buddha
footprint and bronze objects), and3. Raja Bo pagoda (conservation and restoration of wooden windows, wooden roof structure andthe big Buddha statue).

3. Problems and needs for cultural heritage protection and restoration
3.1. Problems
3.1.1. Problems after the civil war
After the civil war (1975-1979), the cultural heritage of Cambodia was damaged seriously by the
explosions, fires and the illegal looting for export to neighboring countries and also to Europe, and thisdamage is one of the main challenges remaining for restoration work.
A Buddha footprint (N. 2476) with truly precious polychrome and gilded decoration (Figure 1),
perhaps carved during the middle period (14th-18th c.) and broken into 62 pieces during the Pol Pot
regime, is one piece of evidence for damage from the civil war. This artifact has been originally stored
in the Thousand Buddha gallery of Angkor Wat temple together with one thousand Buddha statues,
dated from the 14th to 16th (?) centuries.

53

The fragments of this Buddha footprint were moved to the storage of the Angkor Conservationbuilding to avoid illegal looting, but some of the fragments were still scattered around the Angkor Wat
temple area. Nowadays, it is being restored by the I.T.A.L.I.A team in the laboratory at the Angkor
Conservation office in Siem Reap, in order to restore its value as heritage, and also to be put on display
in the future.

Storage at Angkor

Statues in the Thousand Buddha galleries in Angkor Wat temple in 1949

Restoration work of the Buddha footprint N. 2476 in the I.T.A.L.I.A laboratory
Figure 1. Buddha footprint N. 2476 and its restoration

3.1.2. Problems due to biotic agents (fungi, bacteria and insects)
Climatic factors of temperature, humidity and light are harmful elements which can facilitate the decayof the wood. Unsuitable levels of these elements permit the growth of fungi, bacteria and insects,
agents which ruin cultural heritage objects, and especially wooden material. Termites are very active
agents commonly involved in the decay of ancient wooden structures and artifacts in Cambodia. As an
example, the showroom of the I.T.A.L.I.A artifacts restoration team (Figure 2) in 2016 was attacked
twice by termites, mostly damaging the wood material and also some of the wooden supports. This
problem happened for a number of reasons, such as the following.
 The room is very small and stores more than one hundred artifacts of different materials, which
can lead to high humidity.

54

 All the artifacts were put directly against the walls and floor in close proximity to each other,with poor air circulation.
 There is no equipment for monitoring the temperature and humidity, or for moisture control.
 The building complex is surrounded by many trees.
But now the artifacts are safe after applying some insecticide around the room to prevent insect
attacks, plus new preparations for display with better air circulation, and regular checks even though
there is still no monitoring equipment.

Figure 2. Termite damage in the showroom of the I.T.A.L.I.A artifacts restoration team

Another example of damage by these biotic agents happened at the Raja Bo Pagoda (Figure 3) which
retains the original appearance of a traditional Theravada culture sacred Vihara. It is also the oldest
such temple in Siem Reap and the entire province, having been founded probably towards the end of
18th century. It is decorated with an extraordinary wall painting all over the walls and a great golden
Buddha inside, plus carved wooden decorations, stucco work and a beautiful wooden roof covering allof the building. The building was restored probably at least twice in the past. Nowadays it is in a goodstate of conservation but there are still some problems of continual deterioration, such as the following.
 The artifact collection is stored with items of different materials all together and placed close toeach other without sufficient access for cleaning or monitoring. Most items are largely coveredby dust, and the floor is full of dust and insect excrement which can cause problems such as
scaling on stone material, decay in wood from insects (termites), and oxidation of the surface of
items from the salt.
 The wooden structure and decorative elements on the roof are soiled by bird excrement, risking
high humidity and moisture as factors facilitating the decay of wood. There are some broken
tiles that also can allow the water come to the inner part of the roof and slowly cause problems
for the wood and the entire structure.
 The extension of the nearby road also brings vibration and movement to the whole building.

Figure 3. Raja Bo Pagoda in Siem Reap

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3.1.3. Problems from conservation and restoration applications, tourists, and natural factors
Conservation and restoration in previous times also impacts cultural heritage, mostly due to the
choice of improper materials and techniques which are not compatible with the original materials
and the environment. As is clearly evident, many temples at the Angkor site were restored by foreign
conservators in the early and late twentieth century. During that time, because of the urgent need tosafeguard the temples as well as the limited nature of scientific materials developed for this field,
materials such as cement were used for architectural support and for filling, which contain highlevels of salt and other minerals that contribute to the decay of stone. Moreover, in some cases waterrepellent material was applied to the sandstone walls to prevent the penetration of water from theoutside, especially from rainfall. Such application was a failure because it closed off the porosity ofthe stone so that salt water which did penetrate was trapped inside, and became the source of pressure
from salt crystallization within the stone. These problems remain as challenges for future conservators.
The lack of instruments, equipment and techniques for analyzing materials before conservation andrestoration activity are still significant problems for many restoration teams in Cambodia.
Tourists’ activities also contribute a negative impact to the cultural heritage. As an example, in 2015
there was a window baluster in the second southern gallery at the Angkor Wat temple that collapsed
when a tourist tried to climb onto the window by holding onto the fragile baluster to take a photo, andthe baluster collapsed immediately. After receiving full authorization from APSARA and the relevant
authorities, all of the fragments were removed to the laboratory of the I.T.A.L.I.A team for restoration.
After the completion of restoration work the baluster was put back onto the window where it belonged.
Additionally, the graffiti made by tourists as their memorials, etc., also affects the authenticity of thetemple and artifacts.
Natural factors are also continually deteriorating the cultural heritage, especially the stone temples due
to weathering and the aging of the material, causing many problems for the stone such as cracking,deformation, detachment, decoloration, foreign deposits and biological colonizations.

Deterioration due to salt from theconcrete support

A baluster collapsed due totourists’ activities

Biological colonization

Figure 4. Problems for conservation due to various factors

3.2. Needs for cultural heritage protection
Cambodia is still a developing country so there are many things that need to be developed andsupported for its cultural heritage protection, especially in terms of both funding and technical aspects.

56

As is already evident in part from the problems mentioned above, areas needing development for theprotection of cultural heritage at present are as follows.
 Specific training courses on cultural heritage conservation and restoration for Cambodian
conservators, especially in analysis skills which are still limited for them, and also training
courses on wood restoration and conservation as there has already been considerable training
regarding stone materials.
 Monitoring instruments for temperature, relative humidity, moisture content, and light, especiallyfor the museums and the showrooms of artifacts.
 Cooperation from the tour agencies, especially from the tour guides, to help avoid damage orother impact to sacred temple from tourists.
 Education for Cambodian citizens about the value of their cultural heritage, especially the people
living within the Angkor site, in order to inspire them to participate in the protection efforts.
 Support from international teams.

4. Conclusion
Nowadays, many national and international teams are working in the Angkor site. They introduce
many new materials and techniques in the restoration and conservation of both the monuments andthe artifacts which are more compatible with Khmer ancient materials and the environment. Cultural
heritage protection is not only the responsibility of the conservator or the authorities in charge of thisfield, but also of the people of the entire nation because it represents their history and their identity, thebonds linking their past, present and future.

57

ChinaBi Yi
Project Leader
Studo Three, Beijing GuoWenYan Cultural Heritage Conservation Center Co.Ltd.

Problems and Needs for Vernacular Heritage Protection and Restoration
Activities in China
It is widely known that China is a country with a considerable amount of cultural heritage, especiallywooden structures, including “official style” buildings and all kinds of vernacular buildings. China’s
heritage protection work in the modern sense began in the early 1920s. After the People’s Republic ofChina (PRC) was founded, the pace of heritage conservation accelerated, particularly after the 1980s.
The Law of PRC on the Protection of Cultural Relics was promulgated in 1982, and the National Relic
Survey has been implemented three times so far. In 1985, China ratified the Convention Concerning
the Protection of the World Cultural and Natural Heritage, which helped China’s conservation work
keep in line with international standards. At present there are 52 World Heritage and 4,290 National
Priority Protected Sites in China; meanwhile, a variety of protection technology has been developing
rapidly. In summary, China’s achievements in heritage conservation in recent years have beenremarkable. At the same time, all sorts of problems have been emerging, waiting to be solved.
I have been engaged in heritage conservation since 2010, mainly working on preservation planning,
repair intervention, consulting and so on. Since I have focused more on vernacular heritage in recent
years, I would like to put forward the issues below which are prominent in the conservation of wooden
vernacular heritage.

1. Problems involving laws, regulations and norms/codes
Laws, regulations and norm systems regarding heritage conservation in China are relatively incomplete
compared with other industries. To take norms for example, the category of heritage is becoming morevaried in keeping with the advanced understanding of heritage, and we realize that different types ofheritage require different norms to constrain or guide conservation work. However, many of these still
have yet to be formulated. Norms for vernacular heritage regarding conservation and utilization are
now being drawn up by my group, so I hope I can take advantage of this training course to learn othercountries’ experiences as a valuable reference for our own writing.

2. Problems involving theory
In 2000, Principles for the Conservation of Heritage Sites in China was published by China ICOMOS.
From that time, discussions and debate have not stopped even now. There is still no broad consensus
regarding some essential theories and conceptions. For example, there are various interpretations ofauthenticity, reconstruction, and all kinds of standpoints as to what is appropriate utilization.

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For vernacular heritage, many examples are still in use and thus still “living,” which means theyneed continuous improvement in their own life processes. Communities that build and use thesearchitectural items regard them as “dwellings” rather than “heritage.” Accordingly they keep adding or
removing things from those buildings, improving the utilitarian functions, just like they always have
before we considered those buildings as heritage. However, now because of the heritage identity, we
confront a dilemma between maintaining their living state and protecting their historic information.
How should we perceive the value and authenticity of such heritage? Which aspect is more essential
for us to protect? We are still groping for the answers to these questions.

Figures 1 and 2. Poor condition of a vernacular house needing improvement (photo by the author)

3. Problems involving technical treatment
Current techniques of damage survey and protection are becoming more and more advanced anddiversified, and can help us in dealing with problems which used to be hard to solve. Yet advanced
techniques are often costly and difficult to carry out, making them unsuitable for vernacular housesin large numbers. Thus we need to seek suitable approaches and methods which are relatively
economical, efficient and easy for local workers to master.

4. Problems involving personnel capacity building
Compared with the number of heritage sites in China, professionals are in limited quantity. As to
officials who are in charge of heritage management, many of them have little knowledge of heritage
conservation.
For those professionals who are involved—planners, architects, consultants, etc.—the level of theirprofessional abilities varies. A check-up system for individuals has not been set up, and many of those
professionals are not only unfamiliar with the practical process of restoration, they further are notrequired by regulation to participate regularly in that process, which can lead to the consequence of
their being unable to control the final result of a restoration.
Regarding workers/craftsmen, because of the nationwide “tendering and bidding system,” workers
in intervention/restoration projects are not local craftsmen, which may have a significantly negative
impact on vernacular heritage, as they are more likely to diminish the local features of those buildings.

59Worse still, almost all of these workers have no idea about heritage conservation because of their low
education level.
Vernacular heritage is generally located in rural regions. Communities there consist of peasants, andintervention projects are usually conducted by the government. This makes it difficult for communities
to get involved in the process, and thus “bottom up” conservation promoted the community—common
in many countries—seldom happens in those places.
In one case we carried out recently, for example, we made some attempts to ask the construction teamto recruit local carpenters to participate in the project, and initiated a set of training courses for theofficials, workers and peasants. All such attempts are aimed at helping them comprehend what heritage
conservation is.

Figure 3. The author explaining repair techniques tolocal craft workers (photo by Zhai Shanshan)

Figure 4. Training course for peasants (photo by Zou
Yiqing)Problems such as the above prompt me to find better solutions. This is the main reason I am eager toparticipate in this training course, to learn more, to see more, and thereby improve myself and sharethose experiences with the people I will encounter in my future conservation projects.

60IndiaAnam Sami
Conservation Architect
Architectural Heritage Department
Indian National Trust for Art and Cultural Heritage (INTACH)

Problems and needs for cultural heritage protection and restoration oflesser recognized and threatened vernacular architecture in India
India has a rich and diverse heritage of both tangible and intangible culture spanning more than 3,000
years of continuous civilization. In most countries, the built heritage is mostly evaluated in termsof monumental architecture of the past, treating such structures as the only visible manifestationof the sociocultural achievements of the region. The Archaeological Survey of India, a prestigiousorganization engaged in archaeological research and protecting the cultural heritage of the nation, has
effectively protected 3,678 cultural heritage sites [1]. However, the major shortcoming of the current
list of legally protected heritage is that it does not recognize vernacular architecture as a category of
heritage worthy of being conserved.
The built vernacular heritage of India is also a sphere deserving attention. It reflects continuity in
traditional knowledge, customs and skills. Customs and traditions still attached to buildings andsites provide them not only with cultural continuity and context but also make these sites community
participatory heritage sites. Sadly this aspect is not reflected in their management [1].
These vernacular practices are developed by the people, for the people, without any technical/
professional training, and with the help of locally available, natural and environmentally friendly
construction materials and indigenous construction techniques, which people have learned, developed,
and refined over centuries. These vernacular practices and styles are developed with the objective of
having sufficient protection against harsh climatic conditions and natural calamities [2].
“The built vernacular heritage is important; it is the fundamental expression of the culture of acommunity, of its relationship with its territory and, at the same time, the expression of the world’s
cultural diversity” (ICOMOS) [3].
From the above definition, it is evident that it would be unworthy of the heritage of man if care were
not taken to conserve these traditional harmonies, which constitute the core of man’s own existence.
Today, characteristics of building spaces and formal patterns have been transformed due tomodernization, changes of lifestyle and local climate, as well as smaller family size and occupational
diversification. “The survival of this tradition is threatened world-wide by the forces of economic,
cultural and architectural homogenisation” (ICOMOS) [3].

61The following three different areas in India have been identified during the course of my study as
instructive for building a case for the need to protect the vernacular architecture in India, which is
closely linked to the environment, climate, crafts, customs and occupations of the people.
1. Srinagar clubhouse, a colonial layer of architecture adapting to local building materials andconstruction techniques in the state of Jammu and Kashmir; an example of city vernaculararchitecture.
2. The vernacular architecture of a Gaddi tribe hamlet in Thimran, Anantnag District in the stateof Jammu and Kashmir; an example of rural vernacular architecture.
3. The saree weaving vernacular cluster in Chanderi in the state of Madhya Pradesh; an example ofhistoric town vernacular architecture.
The following sections introduce these three cases, grouped by the states in which they are located.

Vernacular architecture of Jammu and Kashmir
Jammu and Kashmir is a state in northern India lying mostly in the Himalayan mountains. It has a historyof unique vernacular architecture with an extensive use of timber in two systems of construction
techniques, namely taq and dhajji dewari.2 The architecture of Kashmir has evolved over time with
inputs from generations of artisans and shows an intelligent approach to the adversities of climate andalso a balance of sociocultural factors that is clearly evident through its architectural vocabulary. They
have responded to the cold climate and natural landscape.
Unfortunately, the journey to modern times reflects a lack of sensitivity towards this rich heritage.
The city of Srinagar has witnessed distortions and vandalism on an unprecedented scale. The present
construction activity is not only in compliance with modern local requirements but also in stark
contradiction with the topography, climate and social requirements.
The two buildings/group of buildings studied in the region are the Srinagar clubhouse and thevernacular architecture of a Gaddi tribe hamlet in Thimran. These projects were undertaken by the
Jammu and Kashmir Chapter of the Indian National Trust for Art and Cultural Heritage (INTACH) in
2014.

Srinagar clubhouse [4]This is located on the west bank of the river Jhelum in the same complex as the Doordarshan building
to its north. It was built by the British in the early 19th century to cater to the high lifestyle of their

1

The Gaddis are a tribe living mainly in the Indian states of Himachal Pradesh and Jammu and Kashmir. The
main occupation of Gaddi tribes is shepherding and they make their livelihood by rearing and selling sheep,goats, mules and horses.
2
The first system, taq, consists of load-bearing masonry piers and infill walls, with wood runners at each floor
level used to tie the walls together with the floors. The second system, known as dhajji dewari construction,
consists of a braced timber frame with masonry infill.
3This information is from Mr. Ashraf, a former member of the Srinagar Club.

62

elite [5]. The club underwent certain phases of reconstruction, demolition and expansion. The firstreconstruction took place after the building was burnt in the aftermath of strife when, according to asource,3 the deposed Prime Minister of Pakistan Zulfiqar Ali Bhutto was hanged in 1979.
Due to fire, it has undergone several construction changes and the introduction of new materials
for external features such as doors and windows. These are not well bonded with the older historicmaterial resulting in structural cracks. The roof of the entire block was redone in a haphazard manner
after 1979 when it was burnt, changing the original roof line and perhaps also the trusses. The main
problem in the roof structure is the percolation of rainwater from open gaps.

gure 1. (Left) Front façade of the house. (Center) Structural crack observed in the basement.
(Right) Billiards room, Khatamband ceiling damaged and replaced with wooden planks. (photos by
the author)

The conservation plan for the Srinagar clubhouse has been prepared keeping in view the proposal for
restoration of the building to its original form, its utilization as a functional place of a club, and theadaptive reuse of spaces. Points of the conservation proposal are as follows.
• Roof: Most of the wooden members used in roof truss as ties, braces, posts, rafters and purlins
are in good condition, however since the roof was re-done there is need to add an insulation
layer on top of the roof, using wooden shingles in keeping with the authenticity of the building.
•Flooring: It was recommended to maintain and paint the existing wooden flooring withtraditional polish. Damaged flooring was proposed to be re-laid, fixing with tongue-and-groove
joints.

• Ceiling: It was proposed that the ceiling should be done traditionally with Khatamband patterns
found on the existing ceilings in a few areas. Ceilings of some areas are heavily damaged
and have temporary false ceilings of plywood, which needs to be removed and restored to theoriginal form.
• Antiquities and art treasures: Those items needing to be cleaned and preserved are trophies,
furniture including a billiards table and dining table, piano, billiard cue cases, archival books,
etc. Fireplaces and chimneys also to be cleaned and restored.
Vernacular Architecture of a Gaddi tribe hamlet in Thimran, Anantnag District [6]Thimran is small hamlet located in Shangus Tehsil of Anantnag district, Jammu and Kashmir, with a
total of 64 families residing in about 25 houses. The project aimed to create an inventory, thus giving
the different typologies of the structures, in terms of cluster pattern, spatial design, materials andconstruction techniques. It further aimed to analyze the transformation process in vernacular houses

63

of the village and the pattern of expansion. There is a need for the identification of rural vernaculararchitecture because most examples are found in far-flung rural areas that are not easily accessible,
leaving them in a state of ignorance. Due to the modernization of both construction materials as wellas techniques, the traditional plans and designs are being discontinued.

Figure 2. Site plan of Thimran village

Figure 3. People of the Gaddi tribe, Thimran village(photos by the author)

The houses are made of stone and timber of cedar, pine and fir. The plinth is formed of local stones
called kashir kein (a boulder) usually extracted from Nallah beds. The structures consist mainly of
residences, public structures being only a mosque and a school. These come basically under the
category of wooden log houses (lakkad-makan) of Kashmir with some minor local alterations.
Figure 4. External view of houses found in Thimran; storey use is divided with lower level dedicatedas a cattle shed and upper level for human habitation. (photos by the author)

Figure 4. External view of houses found in Thimran; storey use is divided with lower level dedicated as acattle shed and upper level for human habitation. (photos by the author)

The houses are constructed of wooden logs laid alternatively over one another, with the end joints
dovetailed. The plinth is supported on a random rubble stone masonry foundation. These houses follow
a simple plan, having a small square/rectangular room on the ground floor with a similar room on thefirst floor. Access to the upper floor is from a wooden staircase aligned along the walls. In many of
the houses the ground floor is used for holding livestock while the upper floor comprises the family
sleeping and living quarters. The house is provided with a steeply pitched sloping roof consisting oflayers of hay laid over the roof purlins directly, or in certain cases the hay is placed on top of wooden
planks in turn supported by wooden trusses. The use of wooden shingles is also a common practice.

64

Figure 5. (Top, left to right) Floor plans with basement for cattle shelter, first floor for habitation and attic forfood storage. (Bottom, left to right) Details of a typical column, roof, and flooring.

Conservation and repair work using traditional materials in Chanderi, Madhya Pradesh
Chanderi is situated in the valley of the ancient Betwa river, in the district of Ashok Nagar, in Madhya
Pradesh. Although a small town, Chanderi is famed throughout India for its skill in producing exquisite
saree weaving renowned for its finesse and delicacy. The traditional dwellings of the weavers typify avernacular structure which has developed throughout the centuries to suit the occupational needs of thecommunity.
The project was a sample initiative for the benefit of handloom saree weaver communities. Repairof identified weaver homes was aimed to be carried out with traditional materials. The intent was
to demonstrate the advantages of continued usage of vernacular building materials, and promote
safeguarding of the vernacular architecture in weaver settlements. The project was undertaken in 2017by INTACH, Architectural Heritage (AH) Division [7].

Figure 6. (Left) House of Abdul Mubeen, identified for repair proposal. (Center) Weaving on the chabutra(terrace). (Right) Pit loom placed in the living room of a vernacular house. (photos courtesy INTACH, AH
Division)

The traditional vernacular homes of the weavers are essentially constructed of stone masonry walls,
mud and lime-wash plaster and a timber roof truss system completed with large stone tiles and abroken pottery ridgeline. Both the interior and exterior walls are in most cases finished with mud
plaster and a pale blue lime-wash giving the entire cluster a cohesive aesthetic.

65

The proposal aims at promoting and conserving the following features.
• Promoting local craftsmanship and community participation to create a sense ofownership: Detailed proposals were prepared after discussions with local crafts persons andskilled laborers aware of the traditional knowledge system of vernacular building techniques.
Many details were worked out on site with the skilled laborers, such as the specific roof details.
This also facilitated the integration of individual contributions to the collective construction
decisions.
• Tackling water leakage issues: In order to curb the critical issue of water leakage, large-sizestone slabs have been used in re-laying the roofs. This minimizes joints that were previously inexcess between the small stone pataur4 tiles. Moreover, the overlapping of stone slabs has been
executed following traditional methods to avoid water ingress.
• Ensuring reuse of the materials: The existing stone chinkari5 was reused in the constructionof the walls. The existing stone pataur pieces on the roofs were cut into finer portions of size 1’
x 1’ and reused in the flooring.
• Building material limitation: The timber roof truss system, that was composed of a heavy
meyar (wooden beam) stretching the width of the home, was replaced with stone beams becauseof constraints in the availability of timber.
The weavers’ homes were successfully conserved using traditional materials while keeping the lossof historic fabric to a minimum, strengthening the structural performance of the building, keeping the
traditional breathing performance of the roof intact, and eliminating water leakage from the roof and ashared toilet facility to illustrate an example of a shared toilet with traditional construction techniques.
The homes were appreciated by the local people and the initiative provided encouragement for the useof traditional materials which are economical and climatically suitable.

Figure 7. (Left, center) Before-and-after images of a repaired roof of
Salim’s house in Chanderi. (Right) External façade after repair of the houseusing traditional materials. (photos courtesy INTACH, AH Division, New
Delhi)

4

Pataur is a sandstone tile used in re-laying the roof. The size used for the stone slabs in the repair proposal is 6’
x 3’ with 1” thickness.
5
Chinkari is a dressed stone block used for making walls in mud mortar. The size of stone block is 12” x 8” x 4”
thick.

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Conclusion
The above case studies clearly depict the current scenario and challenges in maintaining the vernaculararchitecture in the country. In recent times, organizations like INTACH, the Archaeological Societyof India (ASI) and others have taken up initiatives to conserve and restore vernacular architecture indifferent regions. However, to address the challenge of the rapidly deteriorating character of these
historic settlements, it is essential to include not only the building as a whole, but the vernacularfeatures as well, in the list of protected heritage. With numerous diverse regions and their characteristic
vernacular styles, India holds a great opportunity for enhancing its identity through its illustrious past
captured within these buildings and settlements.

References
1. Gupta, D., Saini, M., Khan, R., and Joshi, P. (2017) State of Built Heritage of India. New Delhi,
India: INTACH AH Division.
2. Kumar, A., and Munoth, N. (2011) Vernacular architecture – a prerequisite for sustainable
development. Architecture: Time, Space, and People, 11(7), 16–22.
3. ICOMOS (1999) Charter on the Built Vernacular Heritage. Available at: https://www.icomos.
org/images/DOCUMENTS/Charters/vernacular_e.pdf
4. Iqbal, S., Sami, A., Namrata, N., Rehman, M., and Reza, A. (2014) Proposed Conservation Planfor Srinagar Club house. Srinagar, India: INTACH Jammu & Kashmir Chapter.
5. Wani, A. S. (13/1/2013) Rise and Fall of the Bund. Greater Kashmir, Srinagar, India.
6. Iqbal, S., Sami, A., Namrata, N., Rehman, M., Shah, P., and Reza, A. (2014) Documentationof Vernacular Architecture of a Gaddi ii tribe hamlet in Thimran, Anantnag District. Srinagar,
India: INTACH Jammu & Kashmir Chapter.
7. Gupta, D., Saini, M., and Sami, A. (2017) Weaver Benefit Initiative: Conservation & Repairwork
using Traditional Materials, Chanderi. New Delhi: INTACH AH Division.

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Indonesia
Titin Nofita Handa Puteri
Staff of Conservation Laboratory
Conservation, Cultural Heritage Preservation Office of West Sumatra
Ministry of Education and Culture

Problems and Needs for the Preservation of Rumah Gadangin West Sumatra Province, Indonesia
Rumah gadang is a traditional house of the Minangkabau ethnic group. This traditional house is also
called rumah bagonjong because its curved roof shape called gonjong is believed to resemble a buffalo
horn. Rumah gadang has its own uniqueness in terms of architecture and philosophic values, whichshows the local wisdom of the ancestors of the Minangkabau ethnic group in building their residences.
It is also a characteristic element of Minangkabau identity with this gonjong roof even applied tomodern buildings. In terms of materials, almost all components of a rumah gadang are made of woodor bamboo except the roof (usually made of fibers or zinc) and the building foundation (made withflat stone). Basically the plan of a rumah gadang is a simple rectangle with simple space division,
but it embodies many elements of Minangkabau life philosophy. One of these is the enactment of thematrilineal system (lineage organization based on descent through women), which can be seen fromthe way of life led within the rumah gadang.

Fig. 1. Rumah Tuo Kampai Nan Panjang
in Tanah Datar Regency

Fig. 2. Rumah Gadang Datuak Bandaro
Kuniang in Tanah Datar Regency

However, at present, the existence of rumah gadang is decreasing both in quality and quantity. This isbecause the existing rumah gadang have been damaged and weathered or may have been destroyed
by various factors, while we are more likely to make new buildings with modern materials and styles.
The high cost of construction and repair of rumah gadang and the difficulty of obtaining materials andtraditional handymen is also a factor in the decreasing existence of rumah gadang. This means that therate of deterioration in the quality and quantity of rumah gadang has not been affected by our efforts
to maintain and preserve it.

68Here are some of the problems and needs for the preservation of rumah gadang in West Sumatra (Ihope it can also represent the problems and needs for preservation of traditional buildings of wooden
structure in other areas).

1. Data collection for all rumah gadang
Data collection for all rumah gadang in West Sumatra is a strategic program for the documentationand database compilation for all rumah gadang and their distribution. In recording and delineating
the current condition of rumah gadang, it is expected to accumulate data for these structures on thelocation, land status, tribe, historical data, construction, size, photograph, layout, figures, etc. Basedon these data from the field, there will be many analyses and classifications that can be made of thevariations among existing rumah gadang in terms of elements such as orientation, the number ofgonjong, roofing materials, ancient poles, presence of a porch, position of the stairs, number of stairs,
number of booths, carvings, etc. From the results, we will know which rumah gadang are unique andcan provide criteria for their definition as cultural heritage through comparison with other rumah
gadang. In reality, not all rumah gadang should be included as cultural heritage.
By knowing the number of rumah gadang, we can identify and statistically monitor the degradationof quality and quantity of rumah gadang every year. We can also predict how long it will take for thedisappearance of this traditional house if there are no greater efforts to preserve it, because in fact
the rate of deterioration in the quality and quantity of rumah gadang has not been affected by ourefforts to maintain and preserve it thus far. With the data collection of rumah gadang, we will know
the condition of rumah gadang, and it can be up to the consideration of the owners of rumah gadang,
local governments, and indigenous communities to plan and determine the activities of conservation.
West Sumatra has an area of 42,013 km2 and consists of 19 districts. Devising effective and efficientmethods, plus the factors of budget, manpower, and the relatively large area, constitute the problems
for data collection on rumah gadang as a whole.

2. Identification of the wood species of rumah gadang
Information about the wood species of rumah gadang is difficult to obtain from parties that still
have relationships with the buildings, such as owners, occupants, indigenous communities, and local
communities. Literature that mentions the wood species of rumah gadang and its source is relatively
difficult to find. In addition, there are different local names for wood species in different regions.
Wood sampling followed by identification of the species is one of our efforts to document the woodspecies (in terms of scientific name and trade name). This activity becomes important in order tomaintain the authenticity of the material in case of repair or restoration of the building. This is a
destructive sampling method, so it must be done carefully. Sampling is done on building componentsthat technically do not damage the structure of the building, the samples taken are only a small partof the building component, and the part is not generally visible (not disturbing aesthetically), such as
portions in the bottom or under the building, or on the top or in the attic. The equipment used is also
simple, consisting of saws, hammer, chisel, label paper, and plastic (for the sampled place).

69

In 2011 we visited 14 wooden cultural heritage structures in different districts in West Sumatra. We
observed and took samples, which were identified with the cooperation of Dr. Ir. Yustinus Suranto, M.P,
Forest Product Technology Division, Faculty of Forestry, Gadjah Mada University. The principle ofidentification is to observe and match photomicrographs of wood sections and physical characteristicsof the wood with the existing literature. Observations were made on transverse sections of the wood,
the most complete cross-section providing information about the cytological components (woodvessels, fibers, parenchyma, radius, and resin channels). The subsequent literature search to matchthe image and the wooden structure of the photomicrographs was quite complex because of the large
number of existing wood species. From this activity, we have learned scientifically the wood species
of wooden cultural heritage structures in West Sumatra as johar (Cassia siamea Lam.), puspa (Schima
wallichii Korth.), and bayur (Pterospermum javanicum Jungh.).

Fig. 3. Sampling wood from the bottom ofa building, 2011

Fig. 4. Microphotograph of a wooden
section of Cassia siamea, 2011

Limitations of equipment, experts, and the literature have become problems for us in identifying thespecies of wood of rumah gadang wooden cultural heritage structures in West Sumatra. We also hope
there are other non-destructive methods that can be used for the scientific identification of wood.
Identification of the wood species also becomes important for the realization of a “cultural forest”
in West Sumatra in particular, because as far as I know there is no forest specifically cultivated anddesignated for cultural heritage buildings. Accordingly it is difficult to obtain good quality wood forthe preservation of wooden cultural heritage structures. Wood for building, and the trees and forests for
its supply, of course have a mutually influencing relationship.

3. Determining appropriate materials, methods, and techniques for treating degradedwood
The material of cultural heritage degrades due to various factors, which applies as well to wood asa cultural heritage material. Degradation and aging of materials are natural processes that cannot becompletely stopped. We can only try to extend the life of heritable objects by inhibiting the process of70

degradation. We use different terms for talking about the degradation of wood: damage, weathering,and rotten wood. Wood damage is a form of physical degradation suffered by wood, seen in the formof holes, and cracked, broken, or split wood. Weathering is a form of chemical degradation sufferedby wood in dry conditions, such as decayed wood and porous wood. Rotten wood is a chemicaldegradation suffered in wet conditions.
Wood in a damaged condition still largely retains its mechanical properties, so the wood can havethe strength to withstand the load. By contrast, wood in a rotten condition is losing its mechanicalproperties, so the wood may no longer be able withstand the load. For the damaged wood, we usually
try to keep and preserve the wood because it still has the strength. For damage caused by termites,
we use tobacco juice and clove to preserve the wood. The effectiveness of tobacco and cloves asconservational materials has been sufficiently tested, and it was published in the Journal of Cultural
Heritage Conservation of the Borobudur Conservation Office, Vol. II, No. 2, December 2008. We
are still looking for alternative materials, methods and techniques that can be easily applied by thecommunity to maintain and preserve wooden rumah gadang. For weathered and rotten woods, repair
and replacement are usually performed. The difficulty of obtaining good quality wood and the limited
supply of traditional carpenters are challenges in restoring and repairing rumah gadang and otherwooden cultural heritage structures.

Fig. 5. Wood damage caused by termites
in rumah gadang Rosma Syarif, Sumpur
district, Tanah Datar Regency, 2016

Fig. 6. Application of tobacco and cloves
for cleaning and pickling wood in rumah
gadang Rosma Syarif, Sumpur district,
Tanah Datar Regency, 2016

4. Identifying and scientifically proving local wisdom for preservation
Preservation of cultural heritage based on local wisdom uses traditional methods, technology, andmaterials. Nowadays, the wisdom of traditional culture often proves effective and gives good resultin the preservation of cultural heritage. Our predecessors, armed with experience and the materials
available in nature, had their own wisdom which can provide us with knowledge for preserving
the cultural heritage. When supported by scientific evidence, local wisdom can make a significant
contribution in this regard.

71Here are some indications of traditional wisdom of Minangkabau society in preparing good quality
wood for rumah gadang, and scientific reasons for their efficacy.
No.

Indications of traditional wisdom

Scientific reasons

1. The wood chosen should not have vines Vines are termed lianas. Trees that host lianas suffer a decline
wrapped around the tree. According to in the wood quality because the liana takes food from the barkbelief, if such wood is used as building of the tree, depriving it of nutrients. Some lianas may evenmaterial, the residents will be wrapped in kill trees. Therefore, to obtain good quality wood for rumah
debt.
gadang, it is not taken from trees that are wrapped by vines.
2. The selected tree should not be in a At the time of blossoming or flowering, the starch content inblossoming or flowering state.
the trees is high and it is susceptible to insect attack. In thiscondition, the trees are young with the availability of plenty ofwater and the process of photosynthesis is underway.
3. Trees should not be felled in the rainy Trees felled in the rainy season will have high water and starchseason.
content, making them vulnerable to weathering.
4. Before a tree is felled, it is struck with a Tapping a tree is a means to know if there are cavities in thewooden hammer three times, and a few wood. A wooden hammer is used because it gives a resonant
moments are let pass.
sound.
If there are young leaves or falling tree Leaves on twigs have different adhesiveness levels. The top ofshoots, the wood is not good for use in a the leaf has higher stickiness than the base. Nutrient deficiency
gadang house, because according to belief starts to show from aborted leaves, so young leaves or fallingshoots show a decline in wood quality.
the inhabitants can die young.
If poisonous animals fall, such as snakes, Animals generally live in hollows of trees. If an animal falls, it
scorpions, centipedes, etc., the inhabitants indicates there is a cavity in the tree, so the tree is not of goodquality for building materials.
of the house will be sickly.
5. After being felled, the tree is traced to its Aiming the tree’s fall toward a river is a more efficient way
top. If the shoots fall on a tributary or a of logging. Together with the gravity of the earth, this kind ofplace where water flows, it is a good sign logging will require the minimum energy for tree felling.
that the owner will get a lot of income.
6. The logged timber is processed in the During soaking in water or mud, wood or bamboo absorbs
forest until reduced to a pole, then drawn water and expands, followed by the dissolution of water
to the construction site by cooperative soluble substances such as sugar, glucoside, tannins, somework. Then the wood is soaked for a year nitrogen compounds, and wood or bamboo dyes. Starchin water or mud
is not water soluble so it remains, although the process offermentation in the water of immersion results in decreased
starch levels. This helps prevent the attack of beetles, so thewood or bamboo becomes more durable.
7. Then the wood is dried without direct Drying without direct exposure to sunlight prevents defects
exposure to the sun.
such as surface cracks, cracked or broken edges, and splitting.
Drying the wood in a sloping position promotes the smooth
flow of water out of the wood through the vessel network.
8. The Minangkabau ethnic ancestor has the Sampling and identification of the wood species showed thatability to determine the species of wood black wood cassia (Cassia siamea) is favored in rumah gadangthat is good for poles of rumah gadang. construction. Black wood cassia is a good quality wood with
From that information, generally use the strength of class I–II and durability of class II–I.
poles of black wood cassia.
9. Construct buildings that do not touch the This helps produce buildings of earthquake resistantground but stand on flat stones that serve construction.
as the foundation.

72

We have not been able to identify all of the local wisdom about preparing good quality wood and prove
it scientifically, regarding matters such as: How to choose a good tree to fell in the midst of the many
trees available in the forest? When is the right logging time? How to log a good tree? What about thesubsequent treatment of the logs? How long should wood be immersed to be effective in preserving
the wood? How long for the wood to not have significant development and depreciation when used asa building component? What techniques should be used for the subsequent shaping of wood, such as
cutting, sawing, shrinking, etc.? How to determine if a certain type of wood is suitable for a particularfunction? The identification, documentation, and scientific proof of these processes are expected tocontribute to the preservation of rumah gadang. The identification of traditional materials for thepreservation of wood also needs to be done, so they can be applied in maintaining the wood used forbuilding components.

73

Republic of Korea
YOO Hyeonok
Architectural Researcher
International Cooperation Team
Department of Planning and Coordination
Korea Cultural Heritage Foundation

Restoration Activities of Korea’s Cultural Heritage
Introduction
It has already been about 70 years since South Korea began to repair and restore cultural heritage itself.
In 1974, the Standard Specification of Repair of Cultural Heritage was enacted for the first time, andin 2005, it was fully revised to suit the changing environment. In 2009, the General Principle for the
Restoration and Management of Historic Structures and Relics was announced. To examine its details,
it provides that “Restoration is possible when historic and cultural values can be restored throughsufficient direct evidence by historical research.” That is, restoration is possible only when historicalresearch is possible.
Based on projects in which the researcher took part from 2007 through 2012, this study introducescases in which ruins are restored in Korea.

Restoration of Woljeongkyo Bridge
The Woljeongkyo Bridge is an ancient bridge built in the 19th year of the reign of King Gyeongdeok
at the peak of Unified Silla (760). Judging from the surviving record of repair in the 8th year of thereign of King Chungnyeol of Goryeo (1280), the bridge was in existence for at least 520 years, but
only its remains have been known since the Joseon Dynasty period. In April 1975, survey and researchwere conducted at the site of the pier and abutment of the Woljeongkyo Bridge for the first time, andin 1983, a plan for the restoration of the Woljeongkyo Bridge was drawn up and a stonework survey
and restoration design were completed by 1986. From 1986 through 1987, the Woljeongkyo Bridge
site excavation survey was conducted, and yeon ham (roof tile supports), roof tiles and iron nails
were excavated. The project was subsequently suspended due to budget shortfalls, and since 2005, a
3D scan detailed investigation of the remains, stone damage survey, ground survey, unearthed woodspecies analysis, structural stability research, hydraulic model test, ground foundation research and1/20 modeling have been conducted. The final plan for restoration was based on this research, andrestoration work was conducted from 2008, finishing in 2013.
The Woljeongkyo Bridge was restored on top of the actual remains, but it was constructed so thatthe site could revert to the original state anytime, and that there would be no secondary damage tothe existing remains. The deposit of soil that had accumulated on the river bed was cleared away to
expose the pier, then 12 tiers were piled on top of the existing pier, using the surviving stones and new74

stones. This height was based on the height of the surviving abutment, review of 100 years of floodlevels and the result obtained through a hydraulic model experiment. On the stone pier, a wooden
cantilever was extended over the span, the floor was laid, and a banister was installed. The width of
the bridge could be estimated through the width of its pier and abutment and the width of wheel marksof the Silla Dynasty period excavated in the neighborhood. The reason why the bridge was designedwith a pavilion is because of architectural fillets, roof tiles and spikes in the river bed found throughexcavation. Currently, a gate tower is being restored for the Woljeongkyo Bridge, on the abutment on
both sides. Personally, considering the ground for the gate tower this restoration is not desirable, but
the project is being implemented for political reasons.

Fig. 1. Before the Woljeongkyo Bridge
restoration (2005)

Fig. 2. After the Woljeongkyo Bridge
restoration (2012)

Restoration model of the nine-story wooden pagoda of Hwangnyong-sa Temple
The nine-story wooden pagoda of Hwangnyong-sa Temple was built in the 12th year of the reign ofQueen Seondeok (643), and is known as one of three treasures of Silla. According to the Samguk Sagi
(The Chronicles of the Three States), it was a tall pagoda with the total height for the wooden tower of
225 cheok, or approximately 80 m, but in the 25th year of the reign of King Gojong of Goryeo (1238),
the entire temple was destroyed by fire in the Mongolian invasion, and currently only the site remains.
Since 2005, the Architectural Heritage Research Institute of
the National Research Institute of Cultural Heritage has been
in full charge of the plan for the restoration and maintenanceof Hwangnyong-sa Temple. In addition, the design fora restoration model of the nine-story wooden pagoda of
the temple was devised by the Traditional Architecture
Planning Institute of the Korea National University of
Cultural Heritage. From 2008 through 2012, after analysisof the tower remains in order to design the restoration, plus
research and analysis of similar cases, and comparative
analysis of the existing plan for restoration, 3D modelingand restoration design were carried out, and a 1/10 scalemaquette was produced based on the final design from 2012

Fig. 3. Model of the nine-story wooden
pagoda of Hwangnyong-sa Temple

75through 2016. In producing the 1/10 scale model, all members were assembled in the same manner asbuilding the actual wooden tower by connecting and joining, and roof tiling and decorative hardware
were produced in the appropriate forms based on the excavated remains. The finished wooden tower iscurrently displayed in the Hwangnyong-sa Temple History and Culture Center, showing the splendor
of the nine-story wooden pagoda as it originally stood at the temple.
The nine-story wooden pagoda of the Hwangnyong-sa Temple is a very large wooden structure evenby current standards, so there were difficulties in the actual restoration. It required a huge budget anda long period of time. Meanwhile the existing remains are at risk of being destroyed, and Korea thus
opted to make a 1/10 model as the next best plan. Through this, the structure of the building could be
examined before any attempt to restore the actual structure, and it could also be utilized for educationand exhibition. Currently, Korea carries out 3D modeling and model making before the restoration of
all important cultural heritage.

Representation project of Baekje Cultural Land
Baekje Cultural Land is a complex that restoresand represents Baekje palaces, temples, villages
and castles through historical research. Since therestored building will itself become historic in
100 years’ time and be carried down, specialists
in areas such as Architecture, Archaeology
and Art History and the best artisans such as
Daemokjang (Traditional Wooden Architecture/
National Intangible Cultural Heritage No. 74),

Fig. 4. Panoramic view of Baekje Cultural Land(2010)

Beonwajang (Tile Roofing/National Intangible
Cultural Heritage No. 121) and Dancheongjang (Ornamental Painting/National Intangible Cultural
Heritage No. 48) gathered to build it to be a cultural heritage of the present age, so that it does not
become an indiscriminate reproduction. Research, survey, design and construction were conducted
over a period of about 20 years, and considerable research results were achieved across various fields
such as Architecture, Art, Archaeology and Civil Engineering, and expertise developed in these areas.
In addition, through restoration work such as the Ha-ang (descending cantilever) type wooden towerbuilding technique and the Baekje stamped earth technique, traditional techniques could be maintained
and passed down. Controversy arose over the huge budgets invested, prompting criticisms that it wasa “filming site built at government expense,” but it currently draws the largest number of tourists of all
the sites in the Chungcheong area, and as a cradle of the experience and education of Baekje culture, it
is in the limelight as a location of various TV dramas and films.

Cases in which heritage remains are restored in Korea
The cases in which heritage remains are restored in Korea can be divided into three types.
First, there are cases in which there are sufficient materials for restoration. The representative example
is Suwon Hwaseong Fortress, one of the UNESCO World Heritage Sites. There was some damage76

to the Suwon Hwaseong Fortress, for example thefortress gate was partially destroyed during theJapanese colonial era and the Korean War, and thefortress collapsed; however, since there were drawings
and reports made at the time of the beginning of theconstruction, called Hwaseong Songyeok Uigwe(Royal Protocols on Hwaseong Fortress Building),
restoration of the original form was possible.
Second, there are cases of restoration according to
the necessity of the times. The government may

Fig. 5. Janganmun drawing in the Hwaseong
Songyeok Uigwe

promote restoration since architectural heritage is ofhigh monumental value as a symbolic icon of national culture. In addition, local governments actively
conduct restoration to develop resources for tourism. The representative case is the Woljeongkyo
Bridge, mentioned above. Of course, in this case as well, no restoration is possible without historicalresearch.1
Third, there are cases of restoration as a means of preserving traditional techniques and culture foraesthetics and historicity. Traditional techniques are intangible cultural heritage, which may disappear
in their current form and discontinue at anytime unless they are used. When Sungnyemun Gate, which
had been destroyed by fire, was restored, the restoration project was implemented by reviving various
traditional techniques, for example firing roof tiles with the traditional method and using traditional
tools.

Conclusion
A historic site in itself is history. Restoration of a heritage site may result in unintended damage tothe remains and hinder the imagination. Thus, restoration should be carried out only after sufficienthistorical research. Since cultural heritage restoration involves some uncertain supposition aboutbuildings of the past, there cannot but other than constant controversy. Nevertheless, it is necessary to
make steady efforts in this manner, so that better restoration can become possible by supplementing
the shortcomings that come to light.
In Korea, for decisions related to cultural heritage conservation and restoration, the Cultural Heritage
Committee, affiliated with the Cultural Heritage Administration (CHA), makes the decisions. Cultural
heritage experts in various fields of academics, and in religious and journalistic circles have been

1

In South Korea, the restoration, maintenance, excavation and utilization of cultural heritage designated bya national, provincial, or local municipal government is deliberated by the Cultural Heritage Committee
before implementation. The Cultural Heritage Committee is the consultative body of the Cultural Heritage
Administration which deliberates on state-designated cultural heritage, and individual local governments, suchas Seoul, Gyeonggi-do and Chungcheongnam-do have Cultural Heritage Committees according to their size.

77

appointed, and they hold considerable authority over the cultural heritage.
However, most of all, the expertise of the related government officials and researchers in charge of thepractices of cultural heritage conservation and restoration is important.
Unfortunately, the majority of the cultural heritage-related organizations in Korea use the systemof circulating appointments, which makes it difficult for any person to be in charge of a particular
project for an extended period of time and develop the relevant expertise. This issue ultimately leads todifferences in skills. In specialized areas in which long training and understanding of cultural heritage
restoration are needed, it is judged that some form of supplementary input is necessary.

78

NepalRam Prasad Suwal
Assistant Professor
Department of Architecture
Nepal Engineering College

Private dwellings and their importance in safeguarding the world heritage
This country report stems from observations of the core area of Bhaktapur which has large numbersof traditional buildings, and is rich physically, socially, religiously and culturally. The city is richin its heritage expressed through harmonized building materials and construction techniques. The
outstanding artistry of Nepalese woodwork is renowned and is a prime element of traditional Nepalesearchitecture. Historical buildings, including private dwellings, palaces, temples, rest houses (patiand sattle), priest houses (matha) and monasteries (bahals and bahils) display as much structuraluse of timber as the skill and artistry of the medieval period which bears the essence of tangible andintangible heritage. The overall integrity of this heritage gives a sense of place, an essence of space
and the feeling of the built environment.
Most of the world monuments are built using local technology and materials, yet they are not always
well studied and documented. It is essential to understand the use of these materials and technologies
and commit them to some form of documentation that will serve as reference for future learners,
scholars and professionals.
Traditional buildings are of great importance to our heritage. The identity of any place or the locationis reflected by its built environment, the people living in it, their religions, and social and culturalactivities. Public monuments not surrounded by any residential cluster seem like mere objects on
exhibit in a museum, but residential dwellings are like a live museum, giving a sense of harmony in all
aspects, a reality and life to the city.

Fig. 1. Harmony between tangible andintangible elements

Fig. 2. Cultural performance (intangible
heritage)79

Accordingly, to retain the essence of place and toprotect the vernacular heritage, as an architect, I havebeen participating in nongovernmental conservation
work. Simultaneously I have been working at Nepal
Engineering College as an Assistant Professor. The
theoretical and practical knowledge I bring to these tasks
benefits the house owners and students.
The city of Bhaktapur was inscribed as part ofKathmandu Valley on the World Heritage list by

Fig. 3. Residential dwelling damaged by the
Gorkha Earthquake of 2015

UNESCO World Heritage Committee in 1979. In 2003,
it was included on the List of World Heritage in Danger, and was later removed in 2007. Subsequently,
damage by the Gorkha Earthquake of 2015 included the loss of numerous monuments, palaces andresidential buildings, and also took the lives of many habitants. The physical loss is being replaced byreconstruction and restoration work. As a registered architect, the private buildings that I am involved
with for reconstruction and restoration are described below.
Traditional buildings in Bhaktapur are examples of valley architecture. The traditional materials
available in Bhaktapur are mud or clay, timber, brick, stone, wood and special types of metals suchas roofing sheets and decorative elements. In this report, the materials and construction methods of
traditional buildings are explained.
Before starting the project descriptions, it is essential to understand the local municipal bylaws
published by Bhaktapur Municipality. A brief translated summary of the bylaws is listed in Table 1.
Table 1. Bhaktapur Municipality’s Physical Infrastructure and Construction Bylaws in Brief
No.
Building aspect
1 Maximum groundcoverage2

80

Set back

World Heritage Site
Plot size up to 855.6 sq. ft.: 90%

Old City Zone
Up to 855.6 sq. ft.: 90%

Plot size greater than 855.6 sq. ft.: Greater than 855.6 sq. ft. = 80%, or 770
80% or 770 sq. ft. whichever is
sq. ft. whichever is greater
greater
100% for reconstruction
100% for reconstruction
After leaving set back, maximum After leaving set back, maximum depth
depth should be 6 mshould be 6 m
For doors and windows fitting = 1.5 For doors and windows fitting = 1.5 m
m
Minimum 1 m from the edge of
Minimum 1 m from edge of roadroad
No setback for building aligned in No setback for building alignmentrow
Around stone spout = 2 m
Stone spout = 2 m
Around public land = 1 m
Public land = 1 m
Around public well = 3 m
Public well = 3 m
Pokhari (pond) = 5 m
Pokhari (pond) = 5 m from edge
Water channel = 1 m
Stream = 1 m
Jhartila stream = 4 m

3
4
5
6
7

8
9
10
11

12
13
14
15
16
17
18

19
20
21
22

Basement/semi-basement Semi-basement is permitted
Semi-basement is permitted
One storey is not counted in height One storey is not count in height
Façade and minimum
width
Plinth heightAs per old building and balance
As per old building and balance with
with neighboring buildings; newneighboring buildings; new house = 0.45
house = 0.45 m
mFloor height
Maximum 8 ft., from the eves level Maximum ground floor height = 9 ft.,
to floor = 8 ft.
other floor = 2.59 m, from eaves level tofloor = 2.44 m
Plinth terrace/steps
New house: width = 0.60 m,height = 0.45 m, matching to
New house: width = 0.60 m, height = 0.45
adjoining buildings
m, matching to adjoining buildings
On sloping land, height of plinth is On sloping land, height of plinth ismeasured from main door to road measured from main door to road
Staircase
Minimum staircase width = 0.81 m Minimum staircase width = 0.81 m,staircase can be covered beyond theheight limit of 10.66 m
Cornice
154 mm
154 mmTop projection/chhaza
Balcony
Third floor: 0.81 m towards main Third floor: 0.81 m towards main road,road, and second floor: 0.91 m
and second floor: 0.91 m towards chowk
towards chowk with traditionalwith traditional materialmaterial
Cantilever
No
No
Baleni (hanging roof )0.91 m below top floor
0.91 m below top floor
Door window and
Odd number with traditional
Odd number with traditional wooden
ventilation
wooden materials
materials
Maximum storeys
Maximum 4 storeys
Maximum 5 storeys
Maximum building height Only 10.67 m
10.67 m excluding parapet height andstaircase cover on top terrace
Flat terrace
Up to 33%
As per requirement on 4th floor
Slope roof and roof
1 m eave projection with 25 to 30 1 m eave projection with 25 to 30 degree
projection
degree two-way slope roof
two-way slope roof, and above 10.67 m,
staircase covered area should have slope
roof with traditional roofing tiles
ToiletMinimum no. = 1
Minimum no. = 1
Septic tank/ sock pit/
Either municipal sewerage or septic Either municipal sewerage or septic tankmunicipal seweragetankBoundary wall
Maximum ht.:1.2 m
Maximum ht.: 1.2 m
Exterior Façade
Brick exposed
Brick exposed

Note. Effective from 29 November 2015. (Translated by the author.)

The conservation of residential buildings differs from that of monuments. Houses have owners withneeds, interests and spatial requirements, and for this reason conservation as such is not entirely
possible, as transformation is natural in a living space. The question is not how to conserve but how
to control the transformation in order to assure the existence of the actual urban fabric as much as
possible while addressing the requirements of modern life. The reason why only residential buildings
were taken into account for the present report is because monuments have survived further erosion as
their restoration management is under control.
The locations of the buildings which I have designed and reconstructed in the city of Bhaktapur aremarked on the map below, followed by explanations of two examples.

81Fig. 4. Map of Bhaktapur City and designed private buildings

Case 1 (within the World Heritage Site): Residence at Golmadhi- 07, Bhaktapur Municipality,
on a 877.02 sq. ft. (81.51 sq. m) plot, owned by Mrs. Ram Shova Palikhel and Aachal Palikhel

Fig. 5. Municipality approved elevations in the World Heritage Site

This building in the World Heritage Site stands 35 ft. from ground to ridge level with brick exposed
elevations, timber cladding on exposed concrete, timber struts, eaves boards, windows, doors andtraditional cornices with sloped roof tiles (pola aapa). The ground coverage of the building is 79.13%.
The floor height is 8 ft. The opening to blank walk ratio is 43%, or around 50%. The slope of the roof
is between 25–30 degrees. The flat terrace is less than 33% of the total roof area. A building on themain street can have a balcony projecting above the third floor, but it must be within 2ft. 6 in.
The problems in this building are roof structure and balcony projection. The clients had followed mostof the bylaws but removed the sloped roof to have a flat terrace. They are not willing to keep a sloped
roof because of a deficiencyof space inside. With publicsocialization space being lost
day by day, they want a flat
terrace for social and culturalactivities. The flat terrace
balcony serves to overlook
different cultural and religious
activities on the street. It

82

Fig. 6. Views of the building from the chowk and terrace to the main street

is difficult to make the people more conscientious due to their family structure. This building is a
residential building for a joint family.

Case 2 (in the Historical Core Area/Old City Zone): Residence at Nashamana- 13, Bhaktapur
Municipality, 1967.93 sq. ft. (182.89 sq. m.) plot, owned by Mrs. Rameswori Pradhananga and Mr.
Ramesh Pradhananga

Fig.7. Municipality approved elevations in Historical Core Area

This building in the Historical Core Area stands 35 ft. from ground to top floor level and has a covered
staircase which is not counted in floor area ratio (FAR). It has brick exposed elevations, timbercladding on exposed concrete, timber struts, eaves boards, windows, doors and traditional cornices
with sloped roofing tiles (pola aapa). The ground coverage of this building is 75%. The ground floor
height is 9 ft. and the upper floors are 8 ft. The opening to blank walk ratio is 45%, or around 50%.
Also the slope of the roof is between 25–30 degrees. The flat terrace is allowed in this zone and thestaircase cover has to have the traditional sloped roof. A building on the main street can have a balcony
projecting above the third floor, but it must be within 2 ft. 6 in. The original traditional windows, astatue of Lord Shiva and carved timber posts are placed in this building. Conservation of traditional
elements in reconstruction is essential. So to blend with the contextual harmony, all the elements areplaced in their right positions.
The problem in this building is the change in roof design. The client added a room along the covered
staircase, in order to have an overhead water tank and solar heater. But the building harmonized withthe built environment and set an example for society. Now this building functions as a guest house.

Fig. 8. Exterior view of building and the use of original windows and statue of Lord Shiva

83

The major problems and challenges to architects working in the historical core area are plot size, site
location, client demands for maximum space, financial matters, social structure and demands for newbuilding materials. Clients prefer concrete buildings rather than traditional load-bearing structures.
The traditional building materials such as timber and brick are expensive and difficult to obtain. The
public spaces are occupied by vehicles, so clients prefer flat terraces in their buildings which are used
for social and cultural gatherings and for drying their daily goods and vegetables. Because of a lack ofsufficient land and pressure due to social structure, they tend to go against municipal bylaws.

84New Zealand - Aotearoa
Ambrosia Crum
Pouarahi Māori Built Heritage Advisor
Maori Built Heritage
Heritage New Zealand Pouhere Taonga
Aotearoa-New ZealandThis report has been prepared by Ambrosia Crum, Pouarahi Māori Built Heritage Advisor for
Heritage New Zealand Pouhere Taonga, with support from the Māori Heritage Team (Te Tira), for the
Asia-Pacific Cultural Centre for UNESCO Cultural Heritage Protection Cooperation Office (ACCU),
Nara.

Problems and Needs for Cultural Heritage Protection and Restoration
Activities in Aotearoa New Zealand
Ko Whakarongorua toku Maunga

Whakarongorua is my mountain

Ko Waihou toku Awa

Waihou is my river

Ko Ngatokimatawhaorua toku Waka

Ngatokimatawhaorua is my waka

Ko Piki Te Aroha toku Marae

Piki Te Aroha is my maraeNgāpuhi ratou ko Ngāti Whātua me Tarara

I am of Ngāpuhi, Ngāti Whātua, Croatian andme Ngāti Pākehā oku iwi

European descent

Ko Ambrosia Crum taku ingoa

My name is Ambrosia Crum

1. Introduction
This report considers the problems and needs for cultural heritage protection and restoration activities
in Aotearoa New Zealand with an emphasis on Māori built heritage based on my personal perspective
and experience.
Architecture is a visual language of form and space, aesthetic statement and spatial functionality
defined by a physical assemblage of parts and components. Māori form – inclusive of built structures,
their pattern and style – is a language of context and cultural narrative. In my experience, where
Western built environments often place emphasis on modernity and expansion, traditional Māori places
are “imbued with mana and spirituality that endure through generations…[Māori Heritage] lives on
through relationships of people and place.” 1
Currently, Māori built heritage is in crisis. This report identifies the following three main factors
impacting Māori cultural heritage protection and restoration activities.
1

Heritage New Zealand Pouhere Taonga. 2017, Tapuwae: Nā te Kaunihera Māori mō te Pouhere Taonga Māori.
The Māori Heritage Council Statement on Māori Heritage. Heritage New Zealand Pouhere Taonga, p. 6.

85a) Crisis: Shortage of Māori conservation practitionersb) Diminishing natural resourcesc) Marae re-development

2. Identifying Māori heritage“Ngā taonga tuku iho nā ngā tūpuna.
Treasures handed down by our ancestors.”
Heritage New Zealand Pouhere Taonga takes a regulatory and active interest in Māori heritage taonga(treasures) whose origin and type can vary. The importance these carry with them are in the activities,
identities and traditional histories specific to the iwi (tribal groupings), hapu (sub tribal groupings) andwhanau (family groupings) to which they belong. These taonga can be categorised as• physical/tangible: land-based places created, formed or shaped by early inhabitants (e.g. built
sites and archaeological sites);• natural: features associated with traditional activities where no human activity is evident (e.g.
natural features and tribal landmarks such as a mountain or river); and• intangible: places where a significant event or activity took place where no visible features arepresent (e.g. battlefields and places of meeting, learning or ritual). 2
Māori built sites are a physical manifestation of identity and heritage. They are representative of manylayers of history, behaviours and activities. Māori built heritage encapsulates the essence of matauranga
Māori (traditional knowledge) and is designed to be read and used as a structural repository of tradition
and memory, informed by a holistic value-system and supported by a complex series of interconnected
relationships. Traditional Māori whare (houses) are cultural and spiritual sanctuaries sustained byingrained linkages to the past.

2.1. Marae and traditional expression
The marae complex is a place where Māori are able to express identity and belonging, a place to meet(for discussions of tribal affairs), to grieve (for funerary ceremonies) and to connect (to place, to one
another and to ancestry).
There are currently over 1000 marae in active use throughout New Zealand, 3 each a uniqueacknowledgement of tribal associations, histories and lore, bound by tribal tikanga and kawa (custom
and protocol). Marae are a series of structures and spaces ordered within a defined landscapeconsisting of• buildings: to accommodate the coming together of iwi and whanau groups, e.g., whare (meetinghouse), wharekai (dining hall and kitchen facilities) and wharepaku (ablutions block).

2“Māori Heritage. Ngā Taonga Tuku Iho nō Ngā Tūpuna.” Heritage New Zealand Pouhere Taonga Website.
www.heritage.org.nz/protecting-heritage/maori-heritage viewed 17.08.2017.
3
Schuster, J. & Whiting, D. 2007, ‘Marae Conservation in Aotearoa’, in: Sully, D. (eds), DecolonisingConservation: Caring for Maori Meeting Houses outside New Zealand. Left Coast Press, Inc, pp. 77–88.
86• structures: in recognition of tradition and significant past events, e.g., whakamaumahara(memorial) and pouhaki (flagpole).
• in-between spaces: to allow for the separation of sacred, profane and ordinary; used as aprotection mechanism for ensuring the safety of people using the complex, e.g., atea (ceremonial
courtyard) and spaces between buildings.
The construction of these buildings and structures has always been primarily focused around wood andplant-based fibre materials. In many cases traditional arts, inclusive of whakairo (carving), tukutuku(panelled latticework) and kowhaiwhai (painted patterns seen on rafters), adorn built forms found in
the marae. Whare whakairo (carved houses) are a physical representation of tribal knowledge, history
and are canvases which exhibit a local cultural footprint. Māori culture is practiced and upheld on
the marae whereby tribal and individual identity is reaffirmed. Elaborate artworks are a symbol oftribal mana or standing and are expressive of mana whenua (local tribal authority) in style, form andplacement.
Revitalisation of traditional Māori culture and identity is rooted in the passing of matauranga Māori(traditional knowledge) and whakapapa (genealogy) which is inherent in and largely communicatedthrough mahi toi (art and crafts) and as taonga passed through generational knowledge.

2.1.1. Crisis: Shortage of Māori conservation practitioners
The marae is the centre of the tribal community. The health and wellbeing of a community can begauged by the state of the marae; it is a reflection of its people. Many of our marae buildings arein a state of disrepair through lack of resources, support and expertise – educated rangatahi (young
people) are often under-utilised as a resource – and it is the older generation who are taking on thesepressures. Matauranga held by elders will be lost if it is not passed to younger generations throughimplementation of a succession plan.
As indigenous peoples, our innate sense of kaitiakitanga sees us compelled to exercise a value systemcentred on caring and protecting. If others, who exist outside of this world view, do not place the same
importance on our culture, are not we the only ones invested in its preservation?

2.1.1.1. Are Māori conservators the solution to the problem?
The community of Māori heritage conservatorship specialists is so restricted that we lack the capacity
to address what is a national problem on a massive scale. A multi-faceted strategy is required,including the following elements.
• Grow our own experts.
• Increase support within iwi and hapu entities for self-management of tribal heritage assets.
• Develop tikanga-centric conservation architecture degrees and programmes in tertiary
institutions.
• Create practicums and on-site placements for architectural students to improve post-graduate
prospects and possibilities.

87• Offer additional scholarships to enable proactive youth.
• Tailor specific training opportunities to Māori communities.
• Encourage tribal groups to find ways of self-funding (i.e., building into cultural redress
packages).
• Build relationships and networks between marae communities, tribal councils, heritage agencies,
government agencies and regulatory bodies.
• Increase support to expand beyond the current sole dependency on national services (i.e.,
Heritage New Zealand Pouhere Taonga). Continue growth of resources at a regional level toallow coordination and maintenance of marae conservation programmes within the regions.
• Empower the Māori Heritage Council with greater control over decision making frameworks toincrease advocacy, promotion and recognition for Māori heritage.
• Increase capacity for a Māori arts-based network – this can be based in an existing arts institute(i.e., Te Puia New Zealand Māori Arts and Crafts Institute).

2.1.1.2. How can marae communities assist in the solution?
• Encourage engagement with the professional sector.
• See the merit in supporting prospective young people.
• Actively seek opportunities for improvement.
• Hapu based training approach – instil pride of ownership and involvement, utilise skillsets.
• Passing of traditional knowledge – create a succession plan.
• Invest in the people – time, money, education or other assets.
• Establish forums for cross-fertilisation of knowledge and materials.
• Query or challenge professional advice.

2.1.2. Diminishing natural resources
Traditional lands once provided all resources necessary for tangata whenua (people of the land) to
not only survive but to thrive in their respective environments. Whare built of timbers from the local
forests were decorated with woven material sourced from the natural surroundings. An abundance ofresources available in nature sustained a way of life and informed traditional building practice.
The availability of these resources has been affected enormously by the development of farmlands andthe introduction of pests and disease. Many traditional plant resources are rare, often endangered andare threatened further by grazing farm stock and competing introduced species. Healthy and plentiful
stands are often located in places that are difficult to access.

2.1.2.1. What are the key natural resources for Māori built heritage restoration?
• Toetoe – kakaho used in backing of tukutuku.
• Kiekie – used in weaving tukutuku.
• Pingao – used in weaving tukutuku.
• Raupo – traditional insulation.

88• Paru – black mud dye.
• Native timbers – traditional construction material, carvings.
• Native tree barks – used in dyeing weaving material.
• Harakeke – used weaving whariki mats, bags and cloak.

2.1.2.2. What strategies can we develop to restore natural resource bases?
• Make eradication of exotic/introduced species/pests focus on a national scale.
• Give traditional weavers access to resources on DOC estates inclusive of all flora and fauna.
• Hapu based training programmes – how to plant and care for native species, how to identify
introduced species and increased focus on developing weaving skills.
• Iwi-wide planting schemes.
• Horticultural training with bi-cultural curriculum.
• On-site marae planting for resources used in weaving and dyeing.
• Conservation training in Māori communities with local authorities and government agencies.
• Local authorities and government agencies provide for larger planting schemes on a regional
level in their planning documents (i.e. DOC and NZTA).
• Local authorities provide incentives and plant resources to landowners (i.e. rate relief).
• Promotion of protection and conservation of natural resource areas with focused planting
schemes over multiple environments such as swamps and forests.

2.1.2.3. Three projects identifying varied instances for the use of natural resources inheritage restoration work
Hinemihi’s return. Since being purchased and shipped to Britain in 1892, Hinemihi wharenui has
stood as a ‘garden folly’ in Clandon Park, Surrey, England.4 After a recent fire at Clandon House
Hinemihi was dismantled; as she awaits restoration there are many matters to consider:• Her significance to Ngāti Hinemihi – a sub tribe of Te Arawa – is paramount as she sheltered
their ancestors during the 1886 Mt Tarawera eruption which claimed over 150 lives.
• Hinemihi’s presence in England sees her detached from her spiritual, cultural and geographicalhome.
• As she is regarded as part of a family in Aotearoa, after 125 years, should they not have theopportunity to look after her?
• Reliable expertise with understanding of cultural underpinnings and technical aspects in how tocare for her, are skills held within direct descendants of her carver, Tene Waitere, and those she
saved in 1886, in Aotearoa.
• The natural resources required for her restoration are not available in England.
Te Poti Village. Koanga Rehua (ancestral house) sits in a remote forested area near the edge of theWhanganui River and is unique insofar as it has an original earth floor. This whare is the only one ofits type in Aotearoa and was abandoned over 100 years ago. The extent of work required, future plans
4

Sully, D. & Gallop, A. 2007, ‘Introducing Hinemihi’, in: Sully, D. (eds), Decolonising Conservation: Caring
for Maori Meeting Houses outside New Zealand. Left Coast Press, Inc, pp. 127–148.

89

for the village and its location see the restoration programme extended over a long period. Some of
the many considerations and practices utilised so far are as follows.
• Working with home-people to develop a programme that suits them.
• Traditional building techniques and practices with sourcing and use of native timbers.
• Repair and replacement of timber elements – like with like.
• Utilisation of traditional insulation methods (raupo reeds).
• Harvest and preparation of traditional resources and materials nearby.
• Methods for preserving associated art practices including paint work.
• Investigation of building archaeology and documentation of findings.
Te Kohatu o Hatupatu. Partnership between tribal authorities and government agencies has seen the
recent revitalisation of this sacred site renowned for its traditional associations within the cultural
narrative. Included in this project was the following large scale planting scheme in and around the site.
• Resources used as catalyst in supporting an integrated approach between tribe and crown.
• Re-generation of plants specific to local ancestral and mythological associations.
• Cultural use of plant material as sacred offering.
• Local weavers to have a resource available in the future.
• Revitalisation and uplifting of a sacred site.

2.1.3. Marae re-development
Kaitiakitanga is the expression of protection, care and preservation. The obligation to care for ourplaces can be challenging and difficult. The choice to either protect or preserve is a reality marae arefacing where both are not achievable or potentially not even considered. To both protect and preserveis the basis from which we operate as conservation practitioners.

2.2. Modern cultural environment
The systematic use of legislation designed to alienate Māori from their tribal lands has given rise to
the challenges faced today. An adapted lifestyle has seen Māori largely separated from their whenua(ancestral lands), kainga (homes/communities) and marae (meeting places) with the migration ofsubstantial numbers of Māori, up to 75%,5 to urban centres in the mid-20th century. In many rurallandscapes, which traditionally hosted communities of complex social structure, we often now see few
home-people performing the duties of the ahi kaa - those who keep the home fires burning. The marae
in many instances nationwide is often the only tie that urban Māori have left to traditional lands onrare visits at times of tangihanga (funerals). The continuation of a traditional way of life is at risk witha lack of connection and loss of identity being a reality that many contemporary Māori face. Urban
marae built at secondary schools and tertiary institutions are a response to establish and maintain aconnection to Māori identity and culture within youth.6 Increased advocacy for the preservation of
traditional buildings is essential. Many Māori are drawn to the idea of modernising, however true
value lies in keeping tradition alive while integrating innovative ideas that allow growth.
5Walker, R. 1996, Nga Pepeha a Ranginui – The Walker Papers: Thought-Provoking Views on the Issues
Affecting Māori and Pākehā. Penguin Books (NZ) Ltd, p. 83.
6
Ibid., p. 51.

90

2.3. Current pressures
Contemporary innovation. Balance between protection and preservation is hard to manage withtechnological advances challenging Māori with innovative and contemporary ideas. These ideas not
only challenge a new aesthetic expression through materiality and style but the atua and associatedspiritual entities imbued in the fabric of traditional built form.
Local authorities. In the wake of national disasters, i.e., Christchurch earthquakes and recent flooding
and cyclone damage in the Bay of Plenty, whole new frameworks and approaches are being devised toaddress the complexities of rebuilding and structural reinforcement. These demands are a challenge forboth communities and the Māori Heritage programme at Heritage New Zealand Pouhere Taonga.

3. Conclusion
My experience in the communities I work with and my background as wahine Māori drive my
motivations as a Māori built heritage conservation practitioner and future expert.
To uphold the authenticity of culture is to reach a balance between preservation and innovation. The
knowledge held in these sacred places is where we can source guidance and a sense of continuity andconnection to our past, our ancestors and a way forward.
“Tairangahia a tua whakarere; Tatakihia ngā reanga ō āmuri ake nei.
Honouring the past; inspiring the future.” 77Heritage New Zealand Pouhere Taonga. 2017, Heritage New Zealand Pouhere Taonga: Statement of Intent
2017-2021. Heritage New Zealand Pouhere Taonga, p. 4.

91

Pakistan
Laiba Sundas
Sub-division Officer (Archaeology)
Youth Affair, Sports, Archaeology and Tourism Department
Directorate General of Archaeology
Government of the Punjab

Prospects and Challenges of Cultural Heritage Protection in Pakistan
Introduction
The cultural heritage of a nation strengthens its sense of identity and displays its historical and culturaldevelopment. It can be tangible in the form of historical structures and sites, or intangible as incustoms, beliefs, languages, music and arts.
Pakistan is a country endowed with rich cultural heritage and diversity. It is a melting pot of many
great ancient civilizations spanning scores of centuries due to its important geographic position. It ishome to some of the first known sites of civilization in the world such as Mehargarh, Harrappa andMoenjodaro, inspiring this description of its history:…it is the land that beckoned Alexander to sail down river Jhelum with purple flags fluttering; thespectacular Gandharan civilization as the seat of Buddhism; the devotional carvings of the Hindu Shahi
temples of the Salt Range and Tharparkar; the stately funerary clusters of Makli, Multan and Ucch
Sharif, a fusion of local and imported arcuate, representing successive Sultanate dynasties; the heartexpanding chahar-baghs and jewel-like edifices of the greatest kingdom, established by the young rulerof Farghana; the Sikhs emulating the Great Mughals, and the shared legacy of eclectic architecturewith its European overtones, a bequest of the British who colonized this land. (Heritage Foundation of
Pakistan, n.d.)
The Directorate General of Archaeology, Govt. of the Punjab, which is currently working as a subdepartment of the provincial Department of Youth Affairs, Sports, Archaeology, and Tourism, wasFig. 1. Gandharan civilization
remains at Taxila

Fig. 2. Tomb of Bibi Jawindi Ucch
SharifFig. 3. Shalamar Gardens Lahore(Figs. 1–3 source: Archaeology Department Archives)92established in 1987 after the realization that the Federal Department of Archaeology and Museums
cannot adequately protect and preserve the cultural assets of the country. Therefore, provinces had to
get involved by establishing their own Archaeology Departments.
The Directorate General of Archaeology, Govt. of the Punjab is actively working on its mission since
its establishment to preserve and protect the heritage and archaeological sites of the province under thelegal framework of the Antiquity Act (1975) and the Punjab Special Premises (Preservation) Ordinance(1985).
I started working at the Directorate General of Archaeology, Govt. of the Punjab, on 24 March 2016as a Sub-Divisional Officer of Archaeology, in the Provincial Headquarters, Lahore. As the cultural
capital of the province, the city of Lahore manifests multiple layers of history.
I have been very lucky to work on some of the most remarkable and wonderful historical structures ofthe Mughal and Sikh eras in Punjab during the short period of my service, such as Smadhi Sher Singh,
the tentative World Heritage Site of Hiran Minar and Sheikhupura Fort, and Haveli Naunihal Singh. I
have also been fortunate enough to have the opportunity of being a part of new initiatives and projects
for the restoration and conservation of many other historical sites in the province and to get these cases
approved from higher authorities with appropriate allocations of funds.

Prospects and Challenges
Following are the prospects and challenges I have faced in cultural heritage protection and restorationin Pakistan during my limited service.
1. Lack of public awareness about importance of cultural assets
2. Non-availability of quality materials and tools for conservation
3. Scarcity of trained personnel
4. Pollution
5. State vandalism
1. Lack of public awareness about importance of cultural assets
It is rightly said that “people without the knowledge of their past, origin and culture are like a tree withno roots.”
Lack of awareness about preservation of cultural assets of the country is the key concern regarding theprotection of cultural heritage. The people of Pakistan are unaware of the rich cultural heritage of theircountry and this is the root cause of all other threats and problems arising involving the protection
and restoration of heritage sites. It is not only the case with common people but also with officials
from the administration, politicians, bureaucrats and even professionals working in the field, who
are less concerned with the conservation of historical heritage than with matters of budget and pace.
Consequently, people have no love for historical sites, and cases of illegal encroachments, littering,
vandalism, graffiti and damage of historical assets is common.

93

I have encountered numerous cases of graffiti, theft, vandalism, and encroachments during my workon Sheikhupura Fort and Hiran Minar. It is a pity to see these magnificent emblems of Mughal
architecture subjected to this ignorance in spite of the efforts of the Archaeology Department, resulting
in the destruction of building fabric and treasured layers of history (Figs. 4–6).

Fig. 4 Crumbling gloryof Sheikhupura Fort due
to vandalism and theft ofwooden doors and jalis

Fig.5. Graffiti at Hiran Fig. 6. Encroachments and deteriorated wooden ceilingMinar
due to lack of timely conservation and restoration at
Sheikhupura Fort

To address this problem, the Department of Archaeology, Punjab, has launched public awarenesscampaigns regarding cultural heritage protection, in the form of developing a departmental website
and publishing several books and brochures, and the results are very encouraging but there is a direneed for more steps of this nature. The importance of cultural heritage sites and information regarding
the World Heritage Sites in Pakistan has to be included in the curriculum of schools and colleges.
Seminars, conferences and workshops regarding the importance of archaeological sites and culturalpreservation can create awareness among the people and help prevent further damage.

2. Non-availability of quality materials and tools for conservation
The magnificent forts, palaces, gardens, havelis and temples built by the Mughal, Sikh and Hindu
kings were constructed with high quality materials and special tools. Now it is difficult to replicate themortar, brick, stone, wood and other construction material used at that time. The quality and nature ofbuilding materials and craftsmanship available today are not up to the mark to produce the required
excellence and durability.
Sheikhupura Fort, presumably built during the reign of Mughal emperor Jahangir in 1607, is undera process of immediate conservation (2017–19). The ancient construction materials and techniques,
intricate fresco work, designed wooden ceiling, elaborate wooden carved doors and jharokhas of thefort are all dilapidated (Figs. 7–8). The timber roof structure of the monument is completely missing inseveral places due to water penetration and termite infestation (Fig. 9). The non-availability of quality
materials and craftsmanship has made it very difficult to restore the monument to its original condition
while conserving historical authenticity.

94Fig. 7. Deteriorated timber roof
due to water seepage and termite
attacks

Fig. 8. Missing wooden
doors, roof and jharokhas

Fig. 9. Decayedwooden beams andcolumns

3. Scarcity of trained personnel
Historical sites such as forts, palaces, mausoleums, temples and shrines built by ancient rulers areexamples of wonderful craftsmanship, design and aesthetics. The best engineers and masons fromall over the world used to take part in the construction of these architectural jewels. These craftsmen
were expert in traditional techniques of building, arts and crafts. It is difficult to replicate that kind ofexpertise nowadays. People having skill and proficiency in preservation techniques such as carving,fresco work, glazed tiled work, etc., are rare and getting old. Due to a lack of regular teaching or
training programmes in heritage conservation, management and museum administration in the country,
there is a dearth of trained personnel.
It is a current pressing need to create a comprehensive and progressive programme of teaching
and training in cultural heritage to conduct national and international training. The Department ofArchaeology has also recently taken the initiative to revive the PIATR (Pakistan Institute of International
Training and Research) which has been inactive since 1994.

4. Pollution
Pakistan is a well-populated country. Industrial waste, increased numbers of automobiles, excavation
for sewage, use of electricity and roads have caused severe air and water pollution, causing damage tothe heritage sites. The unique hunting resort of the Mughal era, Hiran Minar, is facing serious threat
due to the presence of a number of brick kilns all around the monument. The smoke and soot generated
by the kilns is causing damage to the plaster and fresco work (Fig. 10).

Fig. 10. Brick kilns in the environs of Hiran Minar, Sheikhupura95

5. State vandalism
State vandalism is also a phenomenon causing damage to cultural assets, which is usually ignored due
to its controversial nature. Historical buildings are often used for functions, parties and state dinners bygovernment officials. Mishandling of frail and sensitive heritage materials is common at such eventsand intrusions on the part of masses of people causes irreversible damage to the buildings.
Recently the construction of the Orange Line train project by the government in Punjab is generating
considerable criticism for causing damage to many heritage properties, including the World Heritage
Site of Shalamar Gardens (Figs. 11–12).

Fig. 11. Advertising the Metro train on theperimeter wall of Shalamar Bagh

Fig. 12. Artist’s rendition of Orange
Line track affecting Chauburji
monument (Source: Lahore
Conservation Society)Conclusion
In a nutshell, cultural heritage being an important part of a nation’s identity and individuality has tobe protected and restored. There is a dire need for creating awareness among the people of Pakistan
to appreciate the worth of their cultural assets and roots. Major problems regarding the protection ofcultural assets in the country can all be tackled through creating awareness and the introduction ofproper training programs.

Reference
Heritage Foundation of Pakistan. (n.d.). Introduction - Pakistan’s Cultural Heritage. Retrieved from:http://www.heritagefoundationpak.org/Page/1309/Introduction-Pakistans-Cultural-HeritageType-of-Tangible-Heritage-Archaeological-Sites-Historic-Mon

96

Philippines
WILMER Paraguison GODOY
Architect II
Research, Documentation, Survey and Conservation
Historic Preservation Division
National Historical Commission of the Philippines (NHCP)The Restoration of Gapan Old Casa Municipal: Precursor to the Proposed
Conservation of Gapan City Old Section/Heritage Zone—a specific study on the problems and needs for local cultural heritage protection in the Philippines

I. Introduction
There are so many challenges in the field of heritage conservation in the Philippines, especiallywith regards to the protection and preservation of built heritage such as architecture. This country
report aims to identify what are the common issues perennial to the preservation of heritage houses(predominantly wood and stone structures) and aims to explore what are the possible solutions toaddress these common issues. The restoration of Gapan Old Casa Municipal is presented as a specificexample to study the various threats, problems and needs at the micro-local level of conservation in thePhilippines.

II. General background of heritage architecture in the Philippines (from the PreColonial to the Post-War Periods)
The Philippines is one of the countries in the Asia-Pacific Region. It is composed of three major groupsof islands, namely Luzon, Visayas, and Mindanao, and many other scattered small islands, thus, being
literally an archipelago, this explains why the Philippines has a diverse culture. Heritage architecture inthis country is a result of past centuries and a long history dating from the Pre-Colonial (before 1565)
to the Spanish Colonial, American Colonial, Japanese Occupation and Post-War periods (after 1945).
The conglomeration of myriad influences produced a rich cultural heritage of the Filipinos.
Pre-colonial domestic architecture is typically a wooden structure or of similar light materials.
Surviving styles of this pre-colonial dwelling can still be found in different regions of the Philippines.
Extant examples can be discovered in the mountainous areas of the northern part of Luzon, particularly
in Ifugao, Mountain Province and other provinces.

Fig. 1. Ifugao
house (bale)Fig. 2. Nipa hut (bahay
kubo)

Fig. 3. Maranao house(torogan) in Mindanao

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Spanish colonial structures can be traced in towns and cities where reduccion (relocation of native
inhabitants into settlements) was implemented by the Spanish colonial government. The best exampleof this period is the plaza complex, usually characterized by a rectangular open space in the center of a
town (pueblo) or city (cabecera), surrounded by structures governed by a hierarchy, i.e., church (casaiglesia y convento), government buildings (casa de gobierno) and houses for the principalia or theelite.
During this period, the Catholic Church performed a major role in the everyday lives of the people(cristianos). The most dominant building in the plaza complex was the church (simbahan), an
imposing structure made up of stone masonry (cal y canto) and wood (madera) considered as durable
materials (materiales fuertes). The time and activities were regulated by a bell (campana), thus bajo delas campanas. Literally, all of the structures in the town were within the sound of the bell.

Fig. 4. Houses during Spanish Colonial Period clustered around thecentral plaza. The elite enjoyed the privilege of building their houses
near the main plaza. The proximity of the location of the house withreference to the plaza signifies the position/ importance of its ownerto the community.

Fig. 5. The Old Manila Cathedral
dominating Plaza Roma, surrounded byother government buildings (not shown)

About the time of the American Colonial and Post-War periods, structures had recourse to the useof concrete and also wood. Popular architectural styles from the West were also introduced. Though
there were still wooden structures built during this period, cement and concrete were favored by thepeople. This can be traced in government buildings and other institutional structures built before andFig. 6. Carcar Dispensary, now a museum
Fig. 7. Baguio Diocesan Library and Archives in Baguio
located in Carcar City, Island of Cebu, Visayas City, Benguet. Baguio was developed by the Americans as asummer resort.

98

after World War II. Many of the heritage structures in the Philippines which were built in the previous
centuries had been utterly destroyed during the war. Fortunately, there are still heritage structures thatwere inadvertently spared from the catastrophe.

III. Major concerns and present needs in the field of heritage conservation particularlyin the Philippines
There are major issues in the field of heritage conservation of the Philippines, however, this country
report is focused particularly on the conservation of wooden structures and mainly based on the
personal experience of the participant. Architect Godoy has been on the staff of the NHCP since 2014and has been involved in research, documentation and conservation efforts of the Commission.
Based on the personal experience of Architect Godoy, the three main reasons that resulted in thedamage or loss of wooden heritage structures in the Philippines are the following.
1. Neglect and poor maintenance of heritage structures
2. Insufficient funds for the conservation of heritage structures
3. Absence of feasible conservation plans to preserve heritage structures
Most of the owners of heritage structures such as bahay na bato are not very knowledgeable whenit comes to the proper maintenance of their heritage houses. Some would prefer to tear down thedeteriorated parts rather than restore them to their original forms. There are many heritage houses thathave fallen into neglect. Some of the owners are no longer interested in preserving their old houses,
and will thus allow the condition of a house to deteriorate until it totally crumbles. Other heritage
house owners have already migrated to other regions where they are working or rather choose to stayoverseas, thereby leaving their homes to tenants or caretakers.
Other predominant factors that contribute to the increasing number of deteriorating heritage structures
include the insufficiency of funds to keep or maintain the old buildings. Even if the owner really wants
to restore his/her old house, if there are no available funds, then conservation is futile. The Philippine
National Government is the key source of funds for restoration projects. However, it is prohibitedto allocate funds for private purposes, in other words for anything other than public buildings orcommunal structures such as old government buildings, heritage churches and the like where the main
purpose of the heritage structure is intended for common use.

IV. Proposed solution for these current issues with regards to the preservation of heritage
structures
1. Conservation awareness and promotion.
2. Local Government Units (LGU) should craft effective ordinances to help the owners restore
their own heritage structures.

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3. Respective LGUs in coordination with the stakeholders involved should create a sustainable
conservation plan that will protect and preserve their heritage assets including built heritage
structures.
The NHCP is continuously providing seminars and lectures with regards to the appreciation andconservation of heritage sites and structures. Architects, engineers and conservators of the Commission
are regularly visiting the provinces in order to inform the public and stakeholders about proper waysof maintenance and to inform them about the Heritage Law or R.A. 10066. As stipulated in Article
III, Section 5 of the same law, heritage structures or “structures dating at least fifty (50) years old
can be considered as ‘important cultural property’ and must be protected from any modification or
demolition.”
The NHCP also encourages the LGUs to adapt or formulate policies related to the promotion of culture
and heritage conservation. Respective LGUs could enact specific ordinances that will help the cultural
workers and heritage owners to get awards or be given tax exemptions in their conservation efforts. For
example, when owners of a heritage house decide to preserve or maintain their old house, they could
get appropriate tax discounts, exemptions or rewards based on the magnanimity or scope of their effort
accordingly.Respective LGUs are enjoined to create master conservation plans to protect and preserve
their heritage assets including but not limited to built heritage structures. A feasible conservation planshould involve the stakeholders, technical experts and personnel, heritage workers and advocates,
policy makers and other parties that could contribute to formulating an effective conservation plan forthe community.

V. Case Study: Restoration of Gapan Old Casa Municipal/Casa Presidencia (a projectwith Archt. Godoy in charge)
Location of the restoration project
The Old Casa Municipal is part of the old town (now city) of Gapan. It is located in a row/clusterof old houses known as bahay na bato. The Local Government Unit and the NHCP are looking into

Fig. 8. Façade of the Gapan Old Casa Municipal. The
heritage structure is located within the old section of thetown, proposed for declaration as a heritage zone

100

Fig. 9. The Casa Municipal with adjacent private
heritage structures such as wooden and stone houses
built during the Spanish Colonial and American Colonial
periods

the possibility of declaring the old section of the city a heritage zone. Right now, the Philippines has
declared eight heritage zones within the country. Gapan City is within the province of Nueva Ecija,
known as the rice granary of the Philippines. It is situated in the central plain of the island of Luzon
where vast tracts of land are extensively dedicated to agriculture.
Historical background of the project
The architectural character of the Old Casa Municipal implies that it was built during the 1800s,
probably during the late part of the Spanish Colonial period or the early part of the American Colonial
period. Until it was abandoned many years back due to its dilapidated condition, the old building
served as seat of the local government. Subsequently, it was converted into a post office and court
house before it was utilized as class rooms for elementary grade students long ago. The old building
is made of brick and wood. The thick external walls are of brick while the interior members such as
posts, beams, girders, floor joists, floor planks, doors, windows, stairs and trusses are entirely made ofwood.
Inadvertently, due to many years of neglect, the old casa started to deteriorate. However, in the middleof this current year (2017), the NHCP started the restoration of the structure. The project is now
ongoing.
Scope of the Restoration of Gapan Old Casa Municipal
A.

General facilities

1. Temporary facilities
1.1 Contractors field office
1.2 light, power, water service connection, toilet, security, and fencing
2. Photo documentation (before, during, and after)
3. Rental of scaffoldings
4. Construction safety and signages
4.1 Construction signage
4.2 Installation of drop nets
4.3 Personal protective equipment
B.

Restoration/rehabilitation works

1. Surface preparation for cleaning of masonry walls
1.1 Mechanical cleaning, vegetation removal
1.2 Chemical treatment, herbicide and biocide treatment
2. Dismantling and hauling work
2.1 Dismantling of existing concrete and wooden structures which are not part of theoriginal building
2.2 Disposal of debris
3. Restoration and consolidation of unreinforced masonry walls
3.1 Stabilization of rubble core101

3.2 Repointing of masonry block joints and gaps
3.3 Injection of lime-based grout on cracks of masonry walls
3.4 Removal of concrete elements and plaster on masonry walls
3.5 Fabrication and reinstallation of fallen and missing parts of the masonry walls
3.6 Application of lime wash and lime plaster to the masonry walls
3.7 Application of damp proofing/water repellent solution to the masonry walls
4. Structural works
4.1 Provision of independent reinforced concrete foundation, beams, slabs and columns atbalcony (rear side)
4.2 Restoration of damaged walls at rear side of Casa Municipal
5. Architectural and carpentry works
5.1 Restoration and replacement of dilapidated wooden posts and girders
5.2 Restoration and replacement of dilapidated wooden floor joists, bridging and wooden
floor planks
5.3 Restoration, restructuring, and replacement of missing parts of wooden stair
5.4 Provision of paneled wooden partitions with wooden framings
5.5 Fabrication and installation of brackets/consoles, calados and mouldings along wooden
partitions, on top of doors and windows, and between posts
5.6 Rehabilitation and restoration of existing doors and windows, including fabrication of
missing doors and windows
6. Roofing works
6.1 Rehabilitation and replacement of deteriorated truss members
6.2 Replacement of the existing roof with galvanized iron (GI) long span corrugated typewith insulation
6.3 Installation of new fascia and wooden tongue and groove with traceried vent at roof
volada
7. Finishing work
7.1 Cladding of brick veneers at the concrete walls and columns (interior and exterior)
7.2 Provision of steel gates
7.3 Provision of new coffered ceiling
7.4 Provision of vigan tiles and cobble stones at ground floor
7.5 Installation of machuca tiles at balcony
7.6 Application of anti-termite/insect treatment to all wooden components
7.7 Varnishing and painting work
7.8 Rehabilitation of all existing grills at ground floor and second floor
8. Electrical work
8.1 Provision of new electrical system and fixtures
9. Site development work
9.1 Provision of drainage canal with concrete cover along the masonry wall
9.2 Provision of cobblestone path walk around the building for access
10. Clearing and cleaning of site

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Fig. 10. Old wooden stair. Though worn out
from use, it is still functional. It will be dismantled
and reinstalled after repair and restoration.

Fig. 11. Wooden girders and floor joists ofthe second floor, shown here with dilapidated
members

Fig. 12. View of the interior of the balcony. Many
wooden parts in this section of the building arealready dilapidated.

Fig. 13. View of the second floor ceiling. Almost
all of the ceiling is in bad condition.

Fig. 14. Wooden floor joists and bridging on thesecond floor of the building undergoing repair

Fig. 15. Wooden floor planks being dismantled
for rehabilitation, cleaning and treatment

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Fig. 16. Truss members and ceiling joists of
the roofing. Many of the truss members arestill intact and need only minor repairs andrehabilitation.

Fig. 17. Part of the roof showing wooden
trusses and purlins being repaired after thecorrugated GI roofing was dismantled for
replacement

Fig. 18. Perspective of the Gapan Old Casa Municipal

The restoration project is expected to be completed by the end of this year, December 2017 and will beturned over to the LGU. The NHCP recommended to the LGU that the restored building be used only
for cultural purposes such as a library or museum. The LGU assented to the proposal.

VI. Viable results of the restoration of Gapan Old Casa Municipal
Upon the commencement of the restoration of the Old Casa Municipal, the Mayor of Gapan City on
behalf of the local government called for the gentrification of the old street where the old buildings
clustered. This initial effort of the LGU signifies the consequent overall conservation of the old
section of the city. To date, the LGU is also in its own way formulating a conservation plan to preserveand protect the remaining old structures. The city government has anticipated the potential resultsof heritage conservation such as promotion and growth of tourism in the area. Alongside the oldstructures, Gapan City also has many cultural activities such as feasts and festivals. The city has a great
potential as a cultural destination in the province if not in the region.

VII. Generalization
When heritage structures like wooden houses can be restored and managed carefully, the owners will
eventually realize the importance of conservation and the results it could bring to the community. The
restored structure would be a source of pride and give economic benefits through heritage tourism.

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VIII. Conclusion
The particular case study presented, “The Restoration of Gapan Old Casa Municipal: Precursor to the
Proposed Conservation of Gapan City Old Section/Heritage Zone—a specific study on the problems
and needs for local cultural heritage protection in the Philippines,” identifies the common challenges
in the conservation of heritage structures and explores feasible solutions to address particular needs
at the micro-level. The involvement of the community and the motivation of the local government are
positive signs of attainable heritage conservation in the area.
Glossary of terms
bahay na bato – sturdy house builtwith wood and stone
bahay-kubo – general term for nativehut

casa de gobierno – government houses
such as but not limited to:c a s a m u n i c i p a l / p re s i d e n c i a –municipal building

madera – woodmateriales fuertes – durable/strong
materials
plaza – square/open spacebale – local term for Ifugao house

cuartel – jail housepueblo – town

cabecera – capital i.e., city

casa moneda – minting housetorogan – wooden house for the elite

cal y canto – lime and stone

casa tribunal – court house

calado – fretwork

casa hacienda – country housecamarin/almacen – store/provisioncasa iglesia – church structurehouse
campana – bellcasa de escuela pia – school houseparticularly in Mindanao
volada – eaves

casa parroquial/convento – house forpriests
cristianos – baptized Christians

Acknowledgements
Archt. Reynaldo Lita, Chief, Historic Preservation Division of the National Historical Commissionof the Philippines; Sir Henry Louie Ramirez, Juan Liwag National High School, Schools Division
Gapan City, Nueva Ecija; Mr. Larry Matias, Tourism Head, Gapan City LGU; Engr. Carl Anthony
Alfaro, City Engineer, Gapan City LGU; and Hon. Elmer Pascual, Mayor, Gapan City, Nueva Ecija

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Thailand
Monthatip Yaempradit
Academic Artist
Archaeological Preservation GroupThe 3rd Regional Office of Fine Art (Phra Nakhon Si Ayutthaya)Fine Art Department
Ministry of Culture

Master Plan for Conservation and Development Projects of the Historic
City of Ayutthaya
Introduction
Archaeological work in Phra Nakorn Si Ayutthaya was started in 1908 by Phraya Boran Ratchatanin
Samuhathesapiban, who as Acting Governor of the Old City District surveyed, excavated andimproved landscape within the Ancient Palace, and preserved the area of the Historic City Island fromprivate ownership. In 1976, the Fine Arts Department delineated an area within the City Island of
289.6 ha as the National Ancient Area, and in 1987 began to draft a Master Plan for Conservation andDevelopment Projects for the Historic City of Ayutthaya and associated areas, before it was inscribedon the World Heritage List by UNESCO on 13 December 1991. After that, the National Ancient Area
increased in 1997 from 289.6 ha to 480 ha to include the entire Island and beyond in all directions thatappear to have archaeological remains.
From 1993, when the government cabinet approved in concept the Master Plan for the Historic City of
Ayutthaya, the plan covered 6 years until it expired in 2001, and the Fine Arts Department now has an
idea for revising it. The background of the idea is as follows.
• A decision at the 39th World Heritage Committee Meeting in 2016, Bonn, Germany, proposedthat Thailand implement various initiatives concerning the conservation and development of
the Historic City of Ayutthaya, focusing on capacity-building for human resources related toconservation and control of new buildings within the World Heritage area.
• Consideration began of lessons learned from implementing the former Master Plan.
• An assessment was conducted of implementation outcomes of the old Master Plan, in order togather information useful to perfect the new Master Plan.
• A working committee consisting of experts was established, with the Fine Arts Department as
the main coordinator.
The aim of the Revised Master Plan accordingly is to use multi-disciplinary approaches to study anddraft the new Master Plan as an up-to-date guideline for the conservation and development of theHistoric City of Ayutthaya. The main idea is to conserve and develop areas in the Historic City of106

Ayutthaya for cultural tourism in line with the concept of creative economy and to enable local people
to live non-intrusively with archaeological sites, under regulations and mutual agreements.

Problems and Challenges from the Implementation of Old Master Plan
Even the old Master Plan has been followed until now with success for many of its action plans. But
problems also occur with some sections during and after projects are carried out. An overview of the
problems can be outlined as follows.
• Cooperation and coordination between different agencies• Laws, enforcement and monitoring measures• Incompatibility of guidelines of the old Master Plan with reality
The effects of these problems are seen as the encroachment into areas of archaeological sites by local
houses, shops, markets and buildings, as the traffic jam issue, as polluted water and as construction
built according to projects of the Old Master Plan but not used for the intended purposes.

Figure 1. Problem situations on Ayutthaya Island

Action Plans of the Revised Master Plan

Figure 2. Action area

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The Revised Master Plan proposes action in the same area while adding space on the western side as in
Figure 2, with an implementation period of 10 years. The detailed action plans are as follows.
1. Plan on the Use of Lands and Laws. Determine how to use lands in the World Heritage site forconservation, development and tourism. The decisions stand on the historical and archaeologicalbasis of the place. The aims of the legal aspects are construction control, methodologies inconservation and land development, and research on special laws. Also, land will be separated byfunction in relation to the heritage monument and will include (1) the most important monumentsites, (2) Srinakarindra Public Park, (3) the Administration Office of the archaeological park, (4)academic and tourism services, (5) sites supporting transplantation, (6) sites as compensation fortransplantation, (7) the old village, and (8) Siriyalai Palace.
2. Plan on the Archaeology and Conservation of Monuments. The main ideas are to (1) advanceresearch on archaeology, histories and conservation of monument; (2) develop documentation for
the 47 sites already researched and extend this to the other 134 sites that have not yet been studied;(3) revive the essence of a World Heritage city, appropriating the environment of new communities
within the old city and maintaining the outstanding universal value of the site; and (4) revitalize thehistoric physical characteristics of the city for modern use.

Figure 3. Sites of the Archaeology and Conservation of Monuments plan

3. Plan on Developing Public Utilities and Infrastructure. The main ideas are to (1) enable better
traffic for both land and water transportation (2) revive the ancient road and some canal systems formodern utilization and (3) upgrade public utilities: water treatment and disposal, electricity, watersupply and telecommunication systems.
4. Plan on Developing and Improving Communities. The main ideas are to (1) relocate houses andbuilt structures from important archaeological sites, especially those built on top of archaeologicalruins, from routes of ancient roads or encroaching routes of ancient canals and areas designatedfor touristic development; and (2) evict encroaching commercial vendors to allow effective
administration according to the plan and improvement of the landscape. The main targets are (1)the relocation and improvement of 435 built structures and 255 street vendors; (2) the improvementof public utilities, infrastructure, security, local environment, waste management system, and the108landscape in old and new communities; and (3) the revision of municipal regulations to control
built structures.
5. Plan on Improving Regional Office and Human Resources. The main ideas are to (1) increase
the number of skilled staff in both the management of the Historic Park and the conservation ofheritage sites; (2) relocate accommodations for public officials and Historic Park staff, warehouses
and maintenance workshops to suitable areas outside the area, in order to secure space for the
expansion of Srinakarindra Public Park; and (3) increase work efficiency of the officials throughcapacity building.
6. Plan on Servicing Academic Progress, Tourism and Public Relations. The main ideas are to (1)upgrade academic services and touristic services within the Historic City area, as well as amplify
the function of public relations and knowledge dissemination; and (2) as an urgent issue, upgrade
management of the Town Hall to accommodate large numbers of arriving tourists, following up
the former Master Plan. The main targets are area usage including parking space, academic service
building, tourist service areas, areas for shops/vendors, banking and communication, culturalactivity areas, tourism management area, and management including academic services (Part 1),
tourist services (Part 2), general management (Part 3) and public relations (Part 4).
7. Plan on the Economy and Society. The main ideas are to (1) safeguard local cultures, promote jobs
and increase incomes both directly and indirectly; (2) distribute and transmit knowledge on theeconomy through raising awareness of archaeological sites and artifacts as a means for creative
craftsmanship; and (3) in terms of the social aspect, support activities that build knowledge,
understanding and good attitudes towards sustainable living with heritage sites.
8. Plan on Measures to Reduce Disaster Risk. The main ideas are to (1) prevent and handle impacts
from disasters; (2) review existing measures, especially those in the former Master Plan that havenot been implemented, adapting them to the present situation and objectives of the Historic City;(3) establish a risk mitigation plan; (4) assign personnel responsible for different levels of disaster
responses, in accordance to the National Plan for Disaster Prevention and Risk Reduction (2015); (5)provide for emergency preparedness before a disaster happens, and management during and after
the disaster; and (6) plan highly effective evacuation plans in cases of disasters.

Figure 4. Perspective of Ayutthaya following the Revised Master Plan

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Management Scheme under the Revised Master Plan
The Management Scheme includes the coordinating committee, and sub-committees on management
and academics. The coordinating committee is headed by the deputy prime minister who is responsiblefor its direction, organization, coordination of the sub-committees, approval of the action plan,
improving the action plan and reviewing annual performance. The sub-committee on management
is headed by Phra Nakorn Si, Ayutthaya Governor, and the Director of the 3rd Regional Office ofFine Arts works as secretary, who is appointed to manage land use and the practice of following theaction plan, solving problems of the project and writing the operation plan. Also, the sub-committeeon academics is headed by the director of Fine Arts Department, and experts of various institutions
work on this sub-committee, and the director of 3rd Regional Office of Fine Arts works as secretary,
appointed to execute the Master Plan regarding academic knowledge, setting standards of conservation
work and writing the institutional operation plan.

Figure 5. Management diagram

Expected Result
The operation of the eight action plans has been analyzed in light of the present problems. The plans
were changed from the unsuccessful parts of the Old Master Plan and more details added to benefit
the Historic City of Ayutthaya. Therefore, the system for operating the Historic City of Ayutthaya
should be effective and sustainable, allowing the heritage site to be preserved along with local humancoexistence. Presently, the Revised Master Plan of 2016 is being drafted and readied for presentation
to the cabinet for approval. In addition, the image of Ayutthaya is the resurrection of heritage as visible
and in operation.
Besides the Master Plan, the revival of traditional building craftsmanship has been raised and is being
developed as well. Also, points of the action plans include a curriculum for professionals involved inconserving Thailand’ cultural World Heritage properties, a comprehensive updating of the management
plan and the establishment of local control mechanisms and international symposiums on theconservation of brick monuments at World Heritage Sites. Accordingly, conditions for the director, themonument and the workers are improved for the most effective conservation together.

110Viet Nam
Duong Nhat An
Main Surveyor
Project Management Board of Hue Monuments
Hue Monuments Conservation Centre (HMCC)

Some difficulties of preservation and restoration of wooden structures in
Hue’s royal architectural monuments
With thousands of years of history, through many different dynasties, the wooden architecturalmonuments of Vietnam are distributed throughout the country with many different forms, styles andfunctions; especially noteworthy are Hue’s royal architectural monuments, with over 500 large andsmall wooden structures.
Thua Thien Hue is a province in central Vietnam. It was the seat of the Nguyen Dynasty emperors andthe national capital from 1802–1945. Today, Thua Thien Hue province is the center of many aspects ofcentral Viet Nam such as culture, politics, health, education, and science.
The Hue Imperial Citadel has been recognized by UNESCO as a cultural World Heritage Site
since 1993. Since then, five more items of heritage have been recognized by UNESCO: (1) Hue
Monuments Complex (World Cultural Heritage Site, 2003), (2) Nha Nhac - Vietnam royal court music(Masterpiece of the Oral and Intangible Heritage of Humanity, 2003), (3) Woodblocks of the Nguyen
Dynasty (World Documentary Heritage, 2009), (4) Nguyen Dynasty royal administrative documents(World Documentary Heritage, 2014), and (5) Royal Literature on Hue Royal Architecture (World
Documentary Heritage, 2016).
The Hue Monuments Conservation Centre (hereinafter HMCC) was established on June 10, 1982.
Directly under the control of Thua Thien Hue Province administratively and of National Cultural
Heritage Department (Ministry of Culture, Sport and Tourism) professionally, the HMCC is
responsible for managing, preserving, restoring and promoting values of Hue Monuments Complex/
Hue World Heritage property, the Nha Nhac (Hue Court Music)/representative of the Intangible
Cultural Heritage of Humanity, as well as the historical landscape.
In recent times, the HMCC in Hue Imperial City has registered many achievements in the preservation
and restoration of wooden architectural monuments. According to UNESCO experts and internationalorganizations, Hue Imperial City is a bright spot in heritage preservation today.
However, the preservation and restoration of wooden architectural monuments in the world in generaland in Viet Nam in particular is encountering many difficulties due to a variety of reasons.

111The main difficulties in the preservation and restoration of wooden structures in Hue’s royalarchitectural monuments are summarized below.

1. Characteristics of wood materials and factors affecting themThua Thien Hue province is located in central Vietnam, in the region of the tropical monsoon climate,which is very hot in summer and has heavy rain in winter. Thua Thien Hue Province suffers from morethan 10 hurricanes and tropical depressions each year, accompanied by heavy rains and floods.
For over 200 years of their existence, with the effect of time, climate, war, etc., the wooden structuresof Hue’s royal monuments have degraded, and have suffered severe damage.

Fig. 1. Ngọ Môn Gate – Đại Nội Hue (HMCC, 1999)

Fig. 2. Ngọ Môn gate – Đại Nội Hue(HMCC, 1968)

Fig. 3. Nghinh Luong Dinh – Hue Imperial City (HMCC,
2003)

Fig. 4. Nghinh Luong Dinh – Hue Imperial
City (VNP, 1999)

The main reason is the vulnerability of the material to deformation and its degradation under varying
environmental and climatic conditions, due to fluctuations in moisture, light, fungus, insects, fire, etc

112With large differences in temperature and moisture between seasons, especially with the negative
effects of global climate change, the rate of degradation of wooden materials as well as wooden
structures in the Hue royal monuments is growing faster and more serious.
Most of the wooden constructions built before 1945 were severely damaged or degraded, and are at
risk of collapsing and disappearing at any time. Therefore, the need for restoration and preservation ofwooden structures in Hue is not just necessary but truly urgent. In order to meet this demand, it will
require enormous resources, huge expenses over a long time. This is a big challenge for a developing
country like Vietnam.
Besides, with the characteristics of a tropical country, mold and insects (termites) are the main harmful
factors affecting the rapid degradation of wooden structures in Hue.

Fig. 5. The end of a degraded pillar (HMCC,
2014)

Fig. 6. Beams suffering from termites (HMCC,
2014)

Fig. 7. Deformed roof system (HMCC, 2014)

Fig. 8. Deformed roof
system (HMCC, 2014)

Today, there are two main types of wood of Group II (according to the Vietnamese standard), which
are kiền kiền (Hopea pierrei) and lim (Erythrophleum fordii), used for the work of preserving andrestoring the timber structures of the Hue royal architectural monuments. Up to the present, there havebeen no detailed studies on these two species of wood which are used for restoring the monuments.
In addition, the depletion of forest resources as well as measures to limit forest exploitation present
difficulties in finding alternative materials.

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2. Traditional wooden structure preservation techniques
One of the major difficulties is to determine the bearing capacity of wooden structures after years ofwithstanding damage and being patched.
In the process of monument restoration, ensuring the authenticity, accuracy, safety and durability aremandatory rules, which have been formalized in the legal documents of Vietnam and the international
conventions. The first objective of preservation is to preserve the authenticity of history and theintegrity of the cultural heritage, which means not only sustaining the heritage structure but alsopreserving traditional techniques. All proposed interventions should prioritize the use of traditional
technical methods, making full use of all original materials, particularly for wooden structures.
Wooden structures being restored may be partially or wholly damaged; damaged parts are to be
replaced by new wooden portions integrated into the older portion by different types of joining,
through the use of carpentry techniques such as mortise and tenon, or bolts, glue, etc.

Fig. 9. The replaced end of a pillar (HMCC,
2014)

Fig. 10. A restored beam (HMCC, 2014)

The formation of this new link both reduces the bearing strength of the coupled component andchanges the load calculation scheme compared to the original construction.
How can the strength of these new links be calculated? How can we assess their ability to meet therequirements of the forces? These are difficult problems that we cannot solve at present.
In the work of restoration and conservation of the wooden architectural monuments in Vietnam today,
restoration and conservation are mainly based on the experience of longtime artisans. Most of these
artisans are elderly but lack successors in younger generations, leading to the risk of losing theirtraditional work skills.

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There are no technical instructions on structural calculation in the restoration of traditional wooden
structures. There is no theoretical system of calculation for Vietnamese wooden structures, especiallythe structures of traditional wooden architecture. The system of standards is incomplete. These are also
major obstacles in this work.
In addition, many extant structures have suffered abuse from the use of modern construction techniques
and the severe shortage of skills, so that their engineering designs and traditional construction havebeen disfigured, causing loss of value for these wooden architectural monuments.

3. Traditional paint restoration solutions
Traditional paints in Vietnam include conventional paints, lacquer, gold lacquer, and silver lacquer.
The restoring of traditional paint solutions poses a really difficult problem. The process of making andrestoring traditional paints depends on many factors: the quality of crude paints (water and oil content),
the quality and dosage of additives, humidity of the environment, painting techniques, etc.
At present, we still use traditional methods to process the paints. Crude paints after being harvested
from the tree (collected in Tam Nong, Phu Tho, Vietnam) will be preliminarily processed andfabricated in various stages to obtain finished paint. However, in this method, the volume of finishedproducts is low, the quality is uneven, and the loss is very large (about 30%) leading to high cost, anddifficulty in execution.

Figs. 11–12. Traditional method of processing paints (HMCC, 2014)

The traditional painting process is too dependent on the humidity of the environment. Although there
are many measures to compensate, such as the choice of the construction time in the spring, or at night,
the use of spray steam to humidify, setting the air-conditioning and controlling the temperature, etc.,
still the traditional painting process encounters many difficulties, especially with large structures (themain framework, the roof system, the details of lacquer painting, etc.).

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Fig. 13. Gold lacquer (HMCC, 2014)

Fig. 14. Lacquer painting (HMCC, 2014)

In past years, with the support of the Vietnamese government together with individuals from national
and international organizations, especially those concerned with improving knowledge and standards,
the Hue Monuments Conservation Center has made outstanding achievements. Most of the heritage
objects have been preserved or maintained by various methods in order to counter decay or collapse.
Many structures and their infrastructure have been restored or rebuilt. Approximately 100 or moremonuments and structures in different states of preservation have been fully and partly restored.
To conduct heritage preservation and restoration efficiently, many kinds of traditional handicrafts
essential to such restoration have been revived, such as gilding, painting, plastering, porcelain mosaic,
carpentry, manufacture of enameled bronze items, and traditional bronze casting. Traditional handicraft
masters have been supported to preserve and develop their skills in accordance with the needs andobjectives of preservation and to achieve practical effects and outcomes.
Hue heritage preservation will not stop with these achievements. Dr. Richard Engelhardt, UNESCO
Regional Advisor for Culture in Asia and the Pacific, has affirmed that “Hue will be eternallypreserved.”

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Viet Nam
Tran Thanh Hoang Phuc
Conservation Architect
Department of Relics Management
Hoi An Center for Cultural Heritage Management and Preservation

Challenges of cultural heritage and conservation in Hoi An Ancient Town
I. Introduction
Hoi An Ancient Town is well-known as one of the most well-conserved traditional trading ports inSoutheast Asia. Constructed from the 17th to 19th centuries along the river (Figure 1), most of thehouses have been conserved until now for their historical, heritage and architecture values. Besides
these tangible values, the diverse intangible values of the people living in Hoi An such as religion,
folk art, and traditional festivals have been continuously kept and promoted. Hoi An becomes a living
museum of architectural heritage and lifestyle. In recognition of its outstanding significance, the Hoi
An Ancient Town was inscribed on the list of World Heritage in 1999.

Figure 1. Aerial view of Hoi An Ancient Town with conserved shophouses
built along the river in the 17th–19th centuries (photo by Vu Phan)

According to the statistics of the Hoi An Center for Cultural Heritage Management and Preservation,
Hoi An has a total of 1,432 heritage buildings and an infrastructure consisting of houses, assembly
halls, markets, bridge, tombs and wells which have been conserved.
Over the years, the conservation activities in Hoi An have always been overseen by the local
government with generous support from international technical experts, i.e., Japanese specialists on
the conservation of heritage buildings, especially wooden structures. The conservation work has beenhighly recognised by both local and international organizations (Figure 2).

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Figure 2. Conservation work on a wooden structure, Dang family
chapel in Hoi An (photo by the author)

However, the conservation work in Hoi An is still facing many challenges due to several reasons
such as the unavoidable downgrading of heritage buildings due to the impacts of environment andthe pressure from social and economic development for the needs of modern life. Several wooden
structures of the conserved buildings have been gradually downgraded.

II. Challenges in conservation work
1. Lack of alternative materials for conservationa. In order to preserve the structure
The original structure and materials with heritage values are supposed to be preserved. However, thestructure, especially wooden elements, may easily rot from the impact of the environment and insects
and no longer be structurally sound. In developed countries like Japan, new chemical substances havebeen developed that can easily be applied to wooden surfaces, not only to enhance the structure’s
durability but also to protect the materials from the impact of the environment and insects.
In Vietnam, particularly in Hoi An, the research, development and deployment of conservation
technologies have not been well explored, although based on local customary practice, the use ofcertain chemical substances for preservation is commonly adopted. However, the origins of thesechemicals are not properly monitored and recorded. There is also no scientific evidence for theireffectiveness, for their adaption to the local weather as well as for any side effects on human being andthe environment.
Without chemical treatments, the original structure and materials will easily rot. Buildings with adegraded structure might not be safe for the existing residents to occupy. In some critical cases, thestructure needs to be immediately repaired or replaced. If repair or replacement happens frequently
without proper conservation solutions and controls, the original details and heritage value of thebuilding may be gradually lost over the time.

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b. In order to replace the structure
To replace a degraded structure, similar material is difficult to find or make. For example, for astructure made from a valuable wood, finding a replacement is impossible as harvesting that type ofwood from the forest is prohibited. Bricks and tiles made by the traditional process, i.e., manually firedcausing air pollution, are hard to find on the market. There is also a shortage in the supply of clay due
to the limitations of local resources.
Another example is lime mortar. Traditionally, this material is made from sand, lime and an adhesive
extracted from plants such as cactus or molasses. Nevertheless, this material is not convenient andeconomical to make nowadays. Instead, cement mortar is commonly used. Only a small amount oflime mortar is used to tile the yin-yang tile roof.
Even the coatings, similar to those made with traditional techniques, which are used to paint, cover andpreserve wooden structures are rarely produced. Hence, the renovation and restoration of conservedbuildings have to rely on unsuitable materials in terms of quality and categories. For instance, due
to a shortage in the supply of local materials, peckwood (Hopea pierrei) is often imported fromother regions and overseas. Sometimes, without the proper quality control at the exporting sources,
the materials are delivered with poor quality. Also, due to differences between regions, alternative
materials may not perform well in the local climate.

2. Investment and management
In Vietnam, the investment and management procedures for conservation buildings is still classified
under the category of national basic construction in which the research, development and deploymentof conservation are not prioritized. Compared to other basic infrastructure, budgets for heritage
conservation and renovation are hard to justify. In addition, the tasks of estimating the scope of work,
issuing orders for variations, and manufacturing and purchasing conservation-related materials andequipment have faced the same problem.
In Hoi An, more than 90% of the conserved buildings are privately owned. The conservation work is
conducted mainly by the owners. Hence, it is difficult to ensure that renovation work follows local
conservation guidelines. By right, the government would not allow the renovation to commence if
the proposed work does not comply with conservation standards. In practice, however, due to thesafety concerns of the existing residents, the downgraded structure has to be immediately repaired or
replaced. As such, proper conservation solutions or techniques are often compromised as it takes time
for the problems to be studied and solutions properly implemented.

3. Financing
Financing for conservation work is a great challenge for the local government and the people. The costof conserving a heritage building in compliance with local conservation guidelines requires as muchas three or four times the budget to build a new modern house on the same site. Therefore, the owners
are reluctant to spend that much money due to the high cost of the investment and the limited usable119space of the heritage buildings, although they can seek subsidies from the local government for theconservation and renovation work, and depending on the heritage value of their conserved property thesubsidized amount can range from 40% to 70% of the total renovation cost.
Over the years, the Hoi An government has continually tried to balance the financing needs by seeking
investments from the other regional and international organizations, to continue to support heritage
conservation activities.

4. Manpower supply
Construction workers, technicians and managing officers who are well trained in heritage conservation
work are limited. Young people are not interested in either conducting conservation work or learning
the traditional crafts. They are reluctant to be carpenters, yin-yang tile construction workers and so on.
Therefore, the tasks of finding and training the next generation of local experts are challenging.

5. Other negative impacts
a. Impact of the environment
The humid environment provides good living conditions for termites and moulds which potentiallyshorten the life-span of wooden structures (Figure 3). Although anti-termite procedures are conductedduring restoration work, termites still spread underground to other buildings.

Figure 3. Traditional decorative woodwork decayed due to termite
inflection (photo by the author)

Due to climate change, recent massive discharges from the nearby hydropower dams and severe
typhoons, uncontrolled flooding has become more frequent. Many areas in Hoi An Ancient Town have
low platform levels which are occasionally affected (Figure 4). Natural disasters not only threaten
people’s lives but also the stability of the buildings and infrastructure in Hoi An.

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Figure 4. Conserved shophouses in Hoi An Town areoccasionally flooded (photo by Hong Viet)b. Impact of human activities
Due to the high density and flammable materials of heritage buildings as wooden structures, Hoi An
Ancient Town has a very high fire risk. Daily activities in the heritage buildings such as cooking,worshiping and pursuing trades are fire hazards. Unfortunately, these activities are not controlled underlocal regulations.
In addition, the pressure of tourism development has directly impacted building conservation efforts.
The limited areas for living are now serve doubly for business activities. To maximize the profit ofbusiness activities, illegal expansions of conserved buildings are beyond the control and enforcementof the local government. These seriously affect the heritage value of the buildings.
Property transactions of heritage buildings have been actively taking place. The value of common
properties in the region and especially heritage buildings in Hoi An has been increasing with thedevelopment of heritage tourism. Changes in homeownership lead to changes in the original usages ofthe buildings and traditional lifestyles. As a result, the intangible heritage values fade over time.

III. Moving forward
Faced with the above-mentioned challenges, Hoi An has unfortunately only managed to achieve partof its cultural and heritage vision and mission. Annually, based on the officially approved licenses,
nearly 200 private and public owned heritage buildings are being conserved and renovated. Without
further improvements in the processes and quality of local heritage conservation work, more and moreconserved buildings will lose their heritage and culture value.
To overcome the challenges, it is suggested to further improve the conservation processes as follows.
a. Ensure sufficient supply of materials for conservation work, e.g., by carrying out advanced tree
planting.

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b. Tackle the shortage of funding for conservation work with a top-down approach or by seeking
help from international organizations.
c. Ensure a high quality of conservation work, especially with wooden structures. The goal is tomatch with the quality of work of Japan and other developed countries.
d. Have human resource promotion policies for the workforce, e.g., by proposing attractive
employment and retirement schemes for traditional artisanse. Sponsor young people to study and secure jobs in conservation fields.
In summing up, under the current conditions, we are trying to conserve the authenticity of Hoi
An’s World Heritage Site as best as we can, in terms of both the buildings themselves, and therelationship of the buildings to the customs and daily lives of their inhabitants.

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Final Reports byParticipants

III. Final Reports by Participants

At Nagoya Castle

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124

Bangladesh
Sabrina Rahman

A Proposal of Policy Initiatives towards Authenticity Restoration of
Heritage Structures
Background
The Asia-Pacific Cultural Centre for UNESCO (ACCU), in cooperation with ICCROM (International
Centre for the Study of the Preservation and Restoration of Cultural Property) and The Agency for
Cultural Affairs, Japan hosted a month-long training course from 29 August 2017 to 28 September
2017 for the support of professionals and academicians working on cultural heritage protection andrestoration in different countries. Focusing on ‘Preservation and Restoration of Wooden Structures’,the training passed on to the participants knowledge of proper investigation, analysis and preservationof wooden heritage structures. The training encompassed site visits, in-field practice, expert
demonstrations and lectures, and finally a group discussion among the trainers and the participants.
During the discussion, the issue of how to maintain authenticity while restoration is carried out on any
heritage building or site became a matter of discord. Different initiatives have been taken so far by therespective countries to preserve the authenticity of any structure during restoration. In this report, theauthor proposes the most plausible practices suitable for Bangladesh in this regard.

Introduction: Authenticity dilemma
Measuring the ‘authenticity’ of any heritage structure after restoration cannot be evaluated merely by
the percentage of original material retained. Eventually, since there are changes in design comparedto the original, it cannot be said that the authenticity has been compromised. Before going too deep
into the matter, let us see how the restoration approaches of different times in history approached theauthenticity issue.
In the 19th century, the definition of restoration by Eugène Emmanuel Viollet-le-Duc, the mostprominent European architect-restorer, highly influenced the principles of restoration. He described
restoration as “To restore an edifice means neither to maintain it, nor to repair it, nor to rebuild it; itmeans to reestablish it in a finished state, which may in fact have never existed at any given time”.
This approach to restoration was rather a threat to conserving ‘authenticity’, since heritage once
destroyed can never be regained; this approach was rejected by the restorers of the 20th century. The
Athens Charter (1931) and the Venice Charter (1964) are the most important international documentson heritage protection. The Venice Charter says, ‘It is our duty to hand them (historic monuments) onin the full richness of their authenticity’. Though this charter does not define authenticity directly, it
gives the basis of restoring authenticity. Later the Nara Document identified that authenticity can be of“form and design, materials and substance, use and function, traditions and techniques, location andsetting, spirit and feeling, and other internal and external factors”.

131The Nara document could address the authenticity issue in the truest sense of the term as it definedauthenticity as an amalgamation of several aspects. This approach towards restoring authenticity
is now literally being practiced in Japan. Keeping the old materials as they are does not defineauthenticity. Rather, restoring the building or site with the same materials, replacing the old parts
that have deteriorated, and using the same techniques and craftsmanship honoring the motives ofusage and belief of the community is now practiced. It has been noticed in many cases of restorationin Japan that visible extra reinforcement (extra beams added to the columns at the South Main
Gate or poles added to the main hall of Horyu-ji Temple) was implied to make the structure stable,
but now the restoration experts want to use hidden reinforcements not making visible changes tothe original members (i.e., hidden cantilever beams used for the central gate of Horyu-ji Temple,
replacing the visible poles added during a previous restoration of the early 20th century to sustain
the eaves). Thus, policies are adjusted to maintain the authenticity for different restoration projects.
Again, the foundations of many structures have been reconstructed with concrete, but the original
foundation was kept protected beneath the new one after the commencement of proper archeologicalexcavation and documentation. Sometimes due to budget and material constraints the size ofthe structure is reduced during restoration (i.e., Main Hall of Todai-ji Temple), yet the original
foundation of the building is restored properly.
Picture: Painting restoration at Kiyomizu-dera Temple, Kyoto
In the case of painting restoration, total repainting is now
being discouraged in Japan by the experts. At Nagoya Castle,
painting is being replicated with traditional colours andtechniques. In the case of Zenrin-ji Temple, Kyoto, repainting
was done for the Amitabha Hall by keeping the colour of
one portion of the hall in its original state to maintain theauthenticity of the period. In the case of Kiyomizu-dera
Temple, the visible exterior has been repainted; the interior
has been kept as it is. Even in some places where the condition

Picture: Painting restoration at
Kiyomizu-dera Temple, Kyoto

of painting is good, the exterior has also been kept untouched. Experts are of the opinion that if theowners of the temples express their desire to repaint the total structure, it is the duty of the experts
to convince them to restore the painting as it is. The experts should explain the historic value of thepainting to the owners to restore the authenticity. Various prefectures in Japan have different policies
and views towards preserving authenticity (i.e., some prefectures prefer to repaint only the visible
parts, with the other portions keeping the original, representing the particular period, techniques andhistoric values).
At Kiyomizu-dera Temple, the roofing of the Main Hall is being done with cypress bark following
the traditional method. For smaller interventions, it is hardly possible to restore it to its original
material state, but when a restoration is done after 100 or 120 years, the experts try to replace all theelements to their original state (i.e., for smaller interventions the roofs are kept with roof tiles donein the previous restoration replacing the cypress bark roofing, but they will again be replaced bycypress bark while large-scale intervention is performed). In order to sustain authenticity, museums

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like Takenaka Carpentry Tools Museum play a wonderful role by researching and preserving
traditional carpentry tools and knowledge on how they are used for future generations.

Picture: Roofing with cypress barkPicture: Takenaka Carpentry Tools Museum

Again, the aspect of safety cannot be compromised during restoration.
Historic buildings were constructed according to the then building
codes. Those buildings have lost strength with time. Moreover,community safety requirements have increased. So, safety cannot
be overlooked for authenticity. Both should be attended to with an
economical approach. During the restoration of the cultural heritagebuildings in Kobe City after the earthquake of 1995, safety was given
priority together with authenticity; i.e., construction of brick wallswith steel frames inside and bricks attached to the frame by steel
wires, and broken chimneys made with steel frame reinforcement in

Picture: Wall reinforcement in
Weathercock House

the case of Moegi House and Weathercock House. British craftsmen
were invited to repair the damaged foreign residences. Repair of thetemples and shrines were done by competent traditional carpenters.

Policy Review
In Japan, obtaining permission and approval of designs fromthe central or local (prefecture/city/village) government(according to the recognition of the structure) under all
related laws in order to accomplish any restoration process
is the prime approach towards authentic restoration. The
provision of subsidies (Article 35 of Law for the Protectionof Cultural Property, 1950) for the preservation of heritage
structures or preservation districts (i.e., Gasso-style housesin Shirakawa-go receive 90% subsidy from the central and

Picture: Gasso-style houses in
Shirakawa Village

prefectural governments) is also considered to be an admirable approach in this regard. The peopleof Shirakawa Village themselves took the initiative to preserve the district and the government
helped them accordingly. Community involvement is playing the most vital role here in sustaining
the authenticity of this village.

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Article 15 of the Law on the Protection of Historical and Cultural Properties, 2004 of Afghanistantalks about restoring the authentic features of sacred places or historic buildings. Section 16 of the
National Cultural Heritage Act of Philippines emphasizes the documentation of traditional andcontemporary arts and crafts, including their processes and makers, and sustaining the sources of
their raw materials, which is an interesting approach towards maintaining authenticity.

Proposal and Discussion
In Japan, the practices involved in restoration are very comprehensive and unique. Since Bangladesh
has no such policy still today, there is ample scope to introduce such practices while formulating a
policy. The following proposals can be suggested:
1. The Heritage Section under the Ministry of Cultural Affairs should be strengthened withprofessionals comprising restoration architects, archeologists, historians and sociologists.
2. Traditional techniques should be facilitated by training new apprentices to pass on thetechniques from generation to generation.
3. Proper documentation (photographs, sketches, video, written documents, maps, etc.) of thestructures and materials, history, values and spirit of the structure should be maintained.
4. Competent craftsman (traditional and local) should be involved in restoration.
5. Management tools and techniques should be incorporated to face the challenges of disaster,
both natural and manmade.
6. Authenticity should be attended to with due care while not compromising safety and climate
issues through continuous monitoring and survey.
7. The people of local communities should be sensitized to historical values and spirit so thatthey themselves become interested in maintaining the authenticity of heritage properties.

Acknowledgments
The author is very much delighted and honoured to express her heartfelt thanks to ACCU, ICCROM
and the Agency of Cultural Affairs, Japan for arranging such prestigious and in-depth training. The
author offers her humble gratitude to the Secretary, Ministry of Cultural Affairs, Bangladesh for
granting me the rare opportunity to enlighten myself with thorough knowledge on Cultural Heritage
Protection and Restoration. Last but not least, the author pays warm regards to all the distinguishedlecturers for sharing their knowledge and expertise and developing an urge towards authentic
restoration of cultural heritage.

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BhutanJamyang Singye Namgyel

Introduction
First of all, I would like to convey my sincere gratitude and appreciation to ACCU Nara Office fororganizing this particular training course on “Preservation and Restoration of Wooden Structures”.
I can only commend the sheer dedication and systematic planning of the organizers in providing the
maximum learning experience for the participants in such a short period. I would also like to thank all
the funding and support agencies such as the Agency for Cultural Affairs, the Nara prefectural and city
governments, ICCROM, TNRICP and NNRICP, without which this wouldn’t have been possible. This
yearly training course has immensely benefited so many of my senior colleagues in my country. As forme, every single day of these past 30 days with my fellow participants, lecturers and the organizers has
been an absolute joy to experience and enabled us to learn from each other.
While we were observing and listening to the experts during the training, I always contemplated thefeasibility of adopting certain techniques and approaches in my own country. I realized that despitesome differences in the construction typology of our heritage structures, many of the aspects werevery similar, particularly in the context of the species of timber used, the challenges in protecting andsustaining the cultural properties/sites, risk management, etc. While I am aware that it would be a bit
far-fetched for most of the interventions and approaches to be implemented in a country like Bhutan,
with limited financial and human resources at this point in time, I learnt many other things that I cantake back and share with my colleagues.

Conservation approach and principles
By attending this training, I think the most important thing that I have achieved is that my thinking
and approach towards my work has broadened immensely. Hearing the experiences and lessons learnt
by the international community, especially regarding the approach and principles of conservation, I
now feel that Bhutan has approached conservation tactfully in putting the living cultural traditions
and beliefs of the people at the forefront rather than to only focus on conservation of the material
and the antique aesthetics of our cultural properties. However, there are many things that Bhutan canlearn and implement in practical conservation works in order to ensure that our cultural heritage isbeing protected and passed down to the next generation, just as it has been passed down to us. Japan
has a long history of conservation, and there are many things that a country like Bhutan, which has
just embarked on conservation, can learn and take from Japan. We have been introduced to the legal
system, the various governing bodies and procedures adopted for the protection of cultural heritagein Japan, which has been tried and tested for more than a century and has also contributed immensely
towards protection and sustenance of cultural heritage worldwide. As Bhutan is also working towards
putting in place a legal framework for the protection of cultural heritage, I am confident that I can now
contribute towards achieving it. Moreover, I believe that the privatization of heritage conservation andrestoration works is a big step towards making heritage available to the public, not only in terms of its

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usage but also towards involving the general public in its protection. Although Bhutan has a long way
to go towards achieving this, the framework adopted by the Japanese involving certified conservation
professionals and agencies for technical backstopping and monitoring to ensure that the correctconservation methods are implemented is a very good example, in my personal opinion.
During the presentation of my country report, I emphasized the fact that we need to do more toconserve our architectural diversity. I believe that establishing a legal framework and getting thecultural heritage bill endorsed would go a long way to tackling this issue, but until this is done, wehave to work in other ways to tackle this issue. Upon hearing some of the experiences of the experts
who have worked in unconventional ways under challenging circumstances and how they havemanaged to overcome problems by making personal sacrifices, it gives me hope that we can also
overcome our challenges if we are determined to overcome them. More importantly, this training
program has offered me a platform to share my issues and challenges, and although we could only
debate and share our personal opinions and probable solutions this time, I am optimistic and hopefulthat this network of conservation professionals will help me immensely in my future work.
All of the experts that I listened to had a very important common message. We always talk aboutauthenticity but what we need to understand is that authenticity can apply to many other things
rather than just the material of our cultural properties. Authenticity could also apply to a construction
technique or an annual community activity. It is important for us to understand what really matters to
the people while planning for any conservation activity. For instance, at Todai-ji Temple, membersof the public including tourists could enter the Great Buddha Hall with their shoes on and could
take photographs freely, while the same was restricted at Hokke-do. There were also stalls andsouvenir shops in the Great Buddha Hall. I got the feeling that Hokke-do was a more spiritual placeand had more power over me than the Great Buddha Hall. This is an example of how minor rules
and regulations have an impact on how people sense a place. Although both these structures arenational treasures and both temples are spiritually significant, the justification of this difference in theregulations was that the Great Buddha Hall was more accessible to the public due to its location andthe number of visitors was greater. The management system of the Todai-ji Temple complex adopted
by the owners is such that they have identified certain temples for tourists and certain temples forworship depending on the location and potential of the temples. A similar type of management systemperhaps would not work for Bhutan considering the important spiritual value associated with certain
temples for Bhutanese. Therefore, I feel it is very important to understand the context and otherassociated values while formulating a management plan for such cultural properties which differs fromcountry to country. Simple legislation would not suffice to oversee these complexities, hence it is also
our responsibility to advise the stakeholders or owners on how to manage our cultural properties sothat none of these associated intangible values are overlooked. It is also very important to protect andsustain the sense of place.

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Figure 1: The Great Buddha Hall of Todai-ji Temple
complex.

Figure 2: Hokke-do is another temple of thecomplex located just above the Great Buddha
Hall.

The concept of the cultural landscape has become very popular in the last few decades all over theworld. Similarly, Bhutan has also embarked on a journey to protect our cultural landscapes. The
draft cultural heritage bill of Bhutan states that “Bhutan as a whole is a unique cultural landscape”
and this endeavors to bring together government agencies such as the Ministry of Works andHuman Settlements, Tourism Council, Ministry of Agriculture and Forests, etc. to work together
towards protecting and sustaining the whole geographical area of Bhutan. The demand for improved
infrastructure due to increasing population and issues like rural-urban migration has significantly
destroyed our landscapes, and the Royal Government of Bhutan is still working to improve ourdevelopment trends. Our visits to some of the designated preservation districts and designated groupsof traditional houses in Takayama City and Ogimachi Village was an opportunity for me to understandthe management systems of such designated cultural properties. It was interesting to learn about thechallenges and the measures undertaken by the city governments to ensure the survival and sustenanceof these important cultural properties. The incentive scheme whereby the city government funds 80%of the restoration works for only the structural components and front façade is very intelligent andprovides leverage to encourage people to retain the structures in their original form.

Practical training
Apart from understanding the larger general conservation principles and management systems, I also
gained a lot of practical knowledge relating to the investigation/assessment of cultural properties
being adopted by Japanese experts. For instance, the use of a simple pendulum to check the movementof floors or beams, which was being used at Weathercock House in Kobe City, and checking thecondition of a timber component or tiles by its sound were simple and unconventional yet effective
ways to check the condition of the cultural properties. These small pieces of knowledge are applicableeverywhere and I am glad to have acquired these amongst many other things.
Conservation work demands technical expertise and precision. The three-day practical program at
Tanaka Family Residence where we documented the Tanaka house was a very productive session forme. Being an architect, I have documented many structures in my country but I was very impressed137

and delighted to have learnt new methods of documentation that are more precise and accurate. The
method to determine the correct heights and levels of the members in reference to a straight horizontal
line was new knowledge for me and certainly something that I can start to implement in my own
country. The documentation of paintings and planning for painting restoration at Jibutsu-do, Todai-ji
Temple was also a new experience for me.

Figure 3: Documentation of the Tanaka Family
Residence

Figure 4: Documentation and survey of painted surfaces
at Jibuto-do, Todai-ji Temple.

One of my favorite topics of this training was the lecture given by Dr. Rachael EGERTON on writing“Statements of Significance” and values-led conservation. The whole process of writing the statementof significance of a cultural property is a judicious way to identify and recognize varying values; itis also a great way of communicating these values to the stakeholders and the general public, whichin itself is a huge part of the conservation effort. The two-day program working in groups to write
the statement of significance of Kofuku-ji Temple was enriching for me as we got the opportunity todebate and discuss how each one of us viewed the values associated with it. Personally, I am gratefulthat this topic was included in our training program since immediately upon my return to Bhutan,
I have to go and work on writing a statement of significance and preparing a management plan for“Gangtey village,” which is a small picturesque village in Bhutan.

Conservation in the Asia-Pacific Region
During the formal and informal discussions that we had, I learnt a lot about the cultural heritage,issues/challenges, conservation and management works that my friends have been carrying out in theirrespective countries. The works of my fellow participants are unique and special in their own ways anddepict the diversity of cultural heritage in the Asia-Pacific region. It was interesting to learn about thedifferent indigenous vernacular structures and the conservation techniques and traditional knowledge
systems of various countries. The Maori houses of New Zealand paying homage to their ancestors,
Ruma Gadang houses of Indonesia, Bangaina-bado houses of the Philippines, and the Islamic andBuddhist monuments of Pakistan, Afghanistan and India are all examples of the rich cultural diversity
in the Asia-Pacific region. It was also interesting to learn of the use of lacquer as a wood polish orpreservative and the use of tobacco for fighting against termite attacks, just to name a few. I havelearnt a lot and I hope that my friends have equally learnt from me, which reinforces the need to share138

more about our cultural heritage. I believe that sharing knowledge within this network of conservation
professionals will help us immensely in our future work.
Acknowledgement and Conclusion
Last but not least, I am immensely grateful for this opportunity to learn and train along with 14 otherbeautiful friends who share the same love and passion about cultural heritage. I had so much fun
experiencing beautiful Nara and Japan with them and the organizers. I would like to thank Director
Nishimura Yasushi, Mr. Nakai, Wakiya-san, Suzuki-san and all the other ACCU Nara team members
for your consideration and hard work to make this possible for us. I would also like to thank Hatasan for her judicious translations, Sari-san, Nakamura-san and Claudia-san for assisting us inevery possible way to make our stay a wonderful one. Their work ethic, dedication towards their
responsibilities and the civic values of all Japanese is something that I will take back with me. Thankyou all so much. I wish everyone the best in your work and in your daily lives, until we meet again.

Thank you and Tashi Delek.

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Cambodia
Sovandaroath Ro

TRAINING COURSE ON CULTURAL HERITAGE PROTECTION IN
THE ASIA-PACIFIC REGION 2017
PRESERVATION AND RESTORATION OF WOODEN STRUCTURES
29 August - 28 September 2017
INTRODUCTION
This report focuses on the training in cultural properties protection and the restoration and conservationof wooden structures which was organized by the Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU), from 29 August to 28 September 2017 in Nara,
Japan. There were 15 participants from 14 countries, namely Afghanistan, Bangladesh, Bhutan,
Cambodia, China, India, Indonesia, South Korea, Nepal, New Zealand, Pakistan, Philippines, Thailand
and Vietnam.
During the training course I learned a lot about the classification of cultural properties, management
methods for the protection of cultural properties, which promote strong links between the national
government, the local community, and the population as a whole, the problems affecting culturalproperties, joint techniques for wooden structures, the restoration and conservation of wooden
structures and the practical work of documentation.
Moreover, this training course provided the participants with the chance to enjoy special visits to World
Heritage sites, not only in Nara Prefecture but also some other prefectures such as Gifu (TakayamaCity), Aichi (Nagoya City), Kyoto (Kyoto City), Hyogo (Kobe City), etc. The participants also had achance to visit a working site for the restoration and conservation of a wooden temple, which would
normally be a prohibited area for tourists.

CULTURAL PROPERTIES IN JAPANDuring the lectures I noticed that Japan’s cultural properties are divided into different categories which
are administered by the Japanese government’s Agency for Cultural Affairs. Those cultural properties
are:a. Tangible cultural properties
b. Intangible cultural properties
c. Folk cultural properties
d. Monuments
e. Cultural landscapes
f. Groups of historical buildings.

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All these cultural properties are protected under national law with a designation system taking
into account the unique and special characteristics of each cultural property. Designated culturalproperties gain much more support and protection (80% subsidy) for restoration and conservation
work by maintaining traditional techniques and the authenticity of the cultural properties. Besides thedesignation system, there also exists a registration system which guarantees a lower level of protection
and support.
I am very interested in this excellent protection system as it benefits not only the local people ateach site but also the whole nation and can maintain a property’s identity for the next generation tounderstand its history and the origin. Moreover, I am also very interested in cultural landscapes andgroups of historical buildings forming cultural properties; it is a valuable new idea for me to start
thinking about this kind of cultural category, as Cambodia also has many cultural properties of thiskind which are not yet well protected.

DISASTER PREVENTION MANAGEMENT FOR CULTURAL PROPERTIES IN
JAPANJapan is a country which experiences many disasters that can easily damage cultural heritage, such as
typhoons, earthquakes, fire, lightning, etc.
Japanese architect conservators who are responsible for the restoration and reconstruction of cultural
heritage buildings have very good professional skills to create really fantastic wooden structures, but
along with additional modern techniques and materials, and base isolation systems against earthquakes,
that is why there is not much damage due to this kind of disaster nowadays. The greatest problem totimber buildings nowadays is fire. For this reason, automatic fire alarm systems, initial firefighting
equipment and lightning preventive devices have been installed everywhere at World Heritage sites
and also in the designated preservation areas.
During the training I understood that even Japan faces a lot of those kinds of disasters but they are
ready for fighting it as they have many experts in creating really effective systems for protecting
cultural properties such as by anti-seismic reinforcement, fire resistance, fire fighting systems, devices
for preventing lightning, etc. So for cultural protection we not only think about restoration andreconstruction of the buildings but also systems that can protect them from future disasters.

FIELD TRAINING ON THE RESTORATION AND CONSERVATION OF WOODENSTRUCTURES IN JAPAN
Observation of restoration and conservation work
Beside the lectures in the ACCU Nara Office, this program also provided the chance for participants
to make observations on site at many different World Heritage monuments and preservation areas and141

buildings such as Yakushi-ji Temple, Toshodai-ji Temple, Todai-ji Temple, Takayama City, Shirakawa
Village, etc.
We already know that most cultural heritage buildings in Japan were constructed as wooden structureswith a stone base and clay mortar walls with bamboo, and it is incredible that many of the earliest
structures of those buildings and temples still survive after more than a thousand years. The oldest
surviving wooden building in the world is found at Horyu-ji Temple, northwest of Nara, which wasbuilt in the early 7th century.
During the observation training we learned many things about management of the site work,observation of the cause of damage including natural and artificial factors such rain leakage, insect
damage, inclination, deterioration of components, structural defects and missing components. The
complicated wooden structure, the technique of building dismantling, jack-up systems and roofing
concepts were explained by Japanese experts during the site visit.
Different types of wood have been used with different functions due to the different characteristics ofeach type of wood. I was really impressed with the technique of wood joints in Japan as this was thefirst time for me to see this special technique. I admit that the technique is unique in the world and I
hope also to learn more about it and apply it to future work.
Restoration and Conservation work
The restoration and conservation of cultural properties in Japan started in 1897. The conservation andrestoration work for wooden temples is supported by the Japanese government. Through observationand the remaining recorded documents, the architect conservator can start to create a master plan for
the restoration and conservation works.
Japan has a long history of repairing timber buildings. The effort to preserve such structures has
encouraged the repair of decayed wooden parts by inserting new elements using glue or by replacing awhole part while keeping as much of the original material as possible. Any additional part which wasadded at a later stage should be respected and are as important as the original parts, while the removed
part must also be preserved in restoration work.
Improving technology in Japan has provided significant value for the protection of cultural properties.
For example, decayed and deteriorated parts were sometimes too large to be reused in previous
restorations, but due to better technology nowadays it is often possible to reuse these parts.
Preservative products are now used to waterproof and fireproof wood to protect the timber fromdisasters and deterioration.

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Some other important restoration work on historical buildings which the participants observed during
the site training are the jack-up system for the restoration of foundations and the study of archeologicalsite, reroofing works for the prevention of rain leakage and reducing the load on the whole structureby using cypress bark and tiles, dismantling of the building to address structural balance issues andpreparation of the concrete base.
Reconstruction of historical buildings in Japan for the interpretation of historical sites is done using
traditional techniques and materials. The craftsmen who know the traditional techniques of chopping
wood and using traditional tools have been encouraged in Japan.
Practical works
All the participants were involved in practical work on site. First, at the Tanaka Family Residence, aHoren-zukuri style farmhouse that was built in the late 18th century. It was designated as a culturalproperty in 1982.
We learned how to make an accurate section sketch drawing and measurement of the house with a
special instrument from a Japanese expert. Moreover, during the practical work we also received abrief explanation about the differences between a town house (normally has a central pole to support
the house structure) and a farmhouse (the earthen floor is normally bigger in houses with a crossbeam).
An investigation of the deterioration of the house was done for future restoration. The house was
relocated in its original form so the Japanese experts used the traces of the past remaining on themembers in order to reassemble the house. Some pillars are original and some are new members sothey tried to identify them by trying to find traces of tools using nails (domestic production of roundhead nails started in Japan in 883) and different colors in the members. They also thought about the
purpose of each part and how it was used.
Other practical work was done at Jibutsu-do, Todai-ji Temple; the task was focused on painting. The
technique of drawing for reconstructing painting is very useful for interpreting the artistic elements of
the original stage of the work. Japanese experts used available photos and painting remaining on othermembers to reconstruct the deteriorated painting.
Through the explanation from the Japanese painting expert, I think that wood painting in Japan has
two important functions: (a) To protect the wood from deterioration by weathering and insects, and (b)To identify the spiritual feeling and the unique perspective of the artist. Urushi lacquer (Toxicodendron
vernicifluum) was used as the preservative for painted timber, while another product (Xiladecor) wasused for the preservation of unpainted timber which existed before the 16th century.

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Total repainting is not the proper approach nowadays for restoration of painting in Japan because thepainting remaining on structures or sculptures provides a lot of information and history of the painting.
Conclusions
In this training we learned a lot about the restoration and conservation of wooden structures and thecultural properties protection system as well as preventive methods in Japan. The protection of culturalproperties in Japan starts from the awareness of the local people because they know their properties
well, and that is why the government of Japan tries to encourage the local people to maintain theirtraditional way of life and traditional techniques, especially related to wood.
I think that even though Japan is a country with very advanced technology, the government of Japanpays strong attention to the maintenance of their traditional techniques and materials as much as they
can for future generations.
From my own personal perspective, I think that this training course was very useful because most of
the courses were related closely to the work which I am involved in nowadays, so I think that I willkeep in mind all these techniques and methods to put into practice, and I will contribute this knowledge
to all my colleagues in Cambodia. I am very grateful to have taken part in this training course and I
want to say thank you to all the organizers: Cultural Heritage Protection Cooperation Office, AsiaPacific Cultural Centre for UNESCO (ACCU), Agency for Cultural Affairs, Japan and National
Research Institute for Cultural Properties [Tokyo and Nara], who provided this chance for me.

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Fig.1 Conservation, restoration and maintenance ofhistorical monuments(Todai-ji Temple, Nara)

Fig.2 Earthen wall reconstruction observation(Horyu-ji Temple, Nara)

Fig.3 Firefighting system preparation(Shirakawa Village, Gifu)

Fig.4 Wood joint technique observation(Nagoya Castle, Aichi)

Fig.5 Practical work in investigation of a traditional
farmhouse(Tanaka Family Residence, Nara)Fig.6 Practical work in restoration of wood painting(Jibutsu-do, Todai-ji Temple, Nara)

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ChinaBi Yi

Final Report of Training Course on Cultural Heritage Protection in the
Asia-Pacific Region 2017
Over the past month, we had an overall understanding of heritage conservation in Japan through thiscontent-rich course, which included knowledge from multiple layers targeting various types of objects.
In this report, I would like to put forward some of the topics that most impressed me, summarize what
I learned, compare the situation in Japan to that of China, and think about what improvements we canmake by using the experience of Japan.

1. Perfect guarantee system of heritage protection
A perfect guarantee system is essential to heritage protection. The legal system, financial guarantee
system and technical support system of Japan are fully developed and worth learning from.
1.1 Legal system
The legal system of heritage conservation in Japan is mature and thorough, from the top law, theFundamental Law for the Promotion of Culture and Arts, to the Law for the Protection of Cultural
Properties, and all sorts of other relevant laws, regulations and schemes on both the national andlocal level. The laws, regulations and policies complement each other, forming a great support system
for heritage conservation. For example, although important cultural properties in Japan don’t havebuffer zones in terms of the law, local policy can play a role in controlling construction activity in thesurrounding area, just like the case of Nara city.

Fig 1. Buffer zone of Nara (cited from thebrochure Historic Monuments of Ancient
NARA).
It can be seen in this image that the bufferzone and even the historic environment
harmonization area don’t cover the whole of
Nara City.

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Fig 2. Bird’s eye view of Nara City (taken by theauthor).
From this photo, we can see the whole city is understrict height control due to the policy of the local
government.

Furthermore, improving the laws in a timely manner is also very important. Reviewing the history ofJapanese laws for heritage protection from 1897, the prompt improvements that have been made inline with new requirements is very impressive. In 1949, Horyu-ji Temple was damaged by fire, andthen just one year later, in 1950, the Law for the Protection of Cultural Properties was enacted. It is atypical example of the prompt improvement of the relevant Japanese laws.
Compared with Japan, China should make a great effort to improve the laws for heritage protection.
Today, we still don’t have a fundamental law covering cultural issues. The National Cultural Relics
Protection Law is to some extent too general; meanwhile, the relevant regulations, norms and policies
are insufficient and some of these are outdated. For example, Guidelines on Protection Techniques ofAncient Wooden Structures, has never been amended since being promulgated in 1992. So we should
learn to improve our laws in a timely manner.
1.2 System of financial guarantee
The financial support system of Japan is also very good. In 2016, the budget for cultural affairs
made up more than 0.1% of the total national budget of Japan, of which the budget for protection ofcultural properties was over 44%. Moreover, the ways of raising funds are multitudinous, and apartfrom financial support from the central government, funds also come from local governments, andmany corporations, Owners of the heritage buildings also take part in the process. The advantage ofthis system is that it not only makes sufficient funds available, but also encourages people to become
involved in the process of heritage conservation.
The proportion of the budget devoted to protection of cultural properties in China is much less thanin Japan, and the funding channels are limited – mainly depending on the central government. In the
future, I hope we can learn from the experience of Japan, then enact some efficient policies, makemore channels available, and have more people participate in the process.
1.3 Technical support system
Technical support not only includes advanced equipment and methods, but also an advanced process.
The appreciation of technicians in the process is remarkable. Organizations such as JACAM, which
has a comprehensive training system and strict check-up system, ensure that conservation architects
are professional and with sufficient experience. Moreover, individuals who process knowledge of
certain traditional techniques, or Intangible Cultural Properties, may be certified as National Living
Treasures. This is a very effective method to protect the traditional skills and those craftsmen, and as aconsequence, the quality of restoration projects is ensured.
Protecting traditional skills and craftsmen, and ensuring the professional ability of conservationarchitects are urgent matters that China should pay attention to. Japan has set a very good example for
us.

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2. To develop theory and philosophy based on one’s own cultural background
It can be seen that Japan has paid much attention to international experiences and advanced theories,
but has never just followed. Japan has its own clear goals on protection of cultural properties,
and starting from that, has developed its own theory and philosophy. “Authenticity,” “minimum
intervention,” “reconstruction” and other ideas—all of them are defined based on the Japanese cultural
background, then formed into a self-consistent and logical system. On the other hand, Japan is very
active in sharing its own theories with other countries, striving for international common understandingon the special cultural background of Japan and east Asia—The Nara Document on Authenticity 1994
being a typical case. Those theories are also reflected in restoration projects. Take the east pagoda ofYakushi-ji Temple as an example. Some people may think building a concrete platform is a radical
treatment, but if you put this treatment into the Japanese context—earthquakes occur frequently—then
it is reasonable.
It is nice to see China also making an effort to develop its own theories, and giving more voice
to international affairs. For example, in the modern industrial heritage field, China participated inpromoting the Taipei Declaration for Asia Industrial Heritage, which gave rise to more international
attention to Asia’s industrial heritages and their own special cultural background. However, this is justa beginning, and we need to accelerate the process.

3. Goal orientation and high efficiency
It is obvious that Japan has a clear goal on cultural heritage conservation. The core of the goal isenhancing the cultural quality of the nation, to form a “Nation Based on Culture and the Arts.” Thatmeans cultural features should be emphasized, and cultural heritage should play an important role incontributing to a spiritually fulfilling life for the nation. That is why utilization and interpretation areemphasized throughout the heritage conservation of Japan, from laws to policies, theories, etc. The
goal is then divided into more specific targets—for example, the percentage of people citing culture
and arts as the pride of Japan—which are then carried out step by step.
Achieving the goal with high efficiency by using scientific methods is also very impressive. In thework session at Tanaka Family Residence, I was clearly aware of that. Every detail related to the target
was observed and recorded elaborately while other irrelevant information was rejected, streamlining
the process as much as possible.

4. Taking people as the essential element
Exactly as Dr. Gamini said, making a change from “PPP” to “P”—which means paying more
attention to people rather than other issues—is very important in heritage conservation, especially forvernacular heritages. From the course, we learned that it is an unalterable trend to accept people asessential, not only in Japan, but also internationally. Taking people as essential means not just judging
or satisfying people’s requirements but also involving them in the whole process. Japan has really
set a good example on this issue, we can tell it from the identification procedure of cultural property
in terms of the law. There are several ways for properties to become cultural heritage. Apart from148

“designation,” there are “registration” and “selection” as well, giving more rights to locals, respecting
their understanding of their own heritages and allowing them a certain amount of say over protection
decisions. Besides, individuals who represent the highest mastery of techniques can be designated as
National Living Treasures, and this also reflects concern about people in the heritage conservation ofJapan.
Heritage protection in China is mainly carried out in a “top-down” way, which may have a negative
impact on the dynamics of the community, then hinder sustainable development of the heritage.
Regarding people as essential to society is one of the national policies of China, but in heritage
conservation, this policy hasn’t been carried out very well. Thus in the future, we should learn fromJapan, pay more attention to people, give more rights to local communities, enhance capacity building,and try to reduce obstacles which keep people from being involved in the process by making somechanges to the relevant laws, regulations and policies.

5. Respecting history and traditions
Thorough respect for history and traditions—whether in terms of restoration or even reconstruction,
like Nagoya Castle—can be seen in all conservation projects in Japan. Almost all the important
disassembling projects take over ten years or even several decades, and research is carried out
throughout the whole process. Take the east pagoda of Yakushi-ji Temple as an example. In its ten-year
restoration period, research lasted for more than six years, and a conservation architect was always
there working on site. Moreover, emphasis on traditional skills is also very impressive, and the samematerials and techniques were used in the roofing, painting and even scaffold construction. And lots ofexhibitions of traditional skills and tools were held.
China should pay more attention to protection of traditional skills, and learn from Japan its careful
and respectful attitude towards cultural heritage. Some good ideas are avoiding problems when some
unexpected situation emerges after dissembling, dividing the restoration contract into two parts, etc.

Epilogue
I would like to express my thanks to ACCU for giving me such a good chance to participate in thiswell-designed course, from which I learned a lot—not only relating to the topics mentioned above, butalso all kinds of knowledge that was very helpful for my own professional career and the future of mycountry. I will bring what I learned here back to China, put the ideas into practice, and spread themas much as I can, especially focusing on the promotion of community capacity building, protection of
traditional skills and establishment of a “guarantee system,” and devoting myself to the protection ofcultural heritages.

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IndiaAnam Sami

Use of Traditional Knowledge System and Wood Conservation Practicein JapanIntroduction to the Cultural Heritage of Japan
Japan has a rich and diverse cultural heritage, both tangible and intangible, spanning millennia ofcontinuous civilization starting from the Kofun period (300-710 AD) to the Showa period (1926-1989).
Cultural properties are essential to understanding the history and culture of Japan; they also provide
the foundations for its future cultural growth and development. Therefore, Japan has developed asophisticated and organized system of protection and management of its cultural properties throughcontinuity of its traditional craft skill and knowledge system. One of the main constituents of heritageis the wooden cultural properties of Japan which demonstrate its culture, communities, and therelationship between man and nature over decades. The training course held by ACCU Nara in 2017provided a common platform for professionals from the Asia-Pacific region to discuss the philosophy,
best practices and challenges of preserving vulnerable wooden structures, which are organic andrecurring in nature. As a result of having participated in this one month rigorous training course, in thisreport I will highlight my understanding of vernacular built heritage of Japan. With various issues andchallenges faced in my country (India) for protection of vernacular cultural properties, I will draw acaparison of learning through Japan’s conservation approach and legal protection system for wooden
cultural properties.

1. Understanding Vernacular Heritage and the Role of the Community
Vernacular heritage is developed by the people, for the people, without any technical/professional
training, with the help of locally available, natural and environmentally friendly construction
materials and indigenous construction techniques, which people have learned, developed, andrefined over centuries. The community occupies a central place in this sphere and is strongly linked
to livelihoods/crafts to suit the occupational needs of the people, local building materials, traditional
knowledge for construction and other intangible activities associated with the community. The
diagram explains the cyclic process of understanding vernacular heritage and sustaining thecontinuity of these traditions.

Fig1: Role of the community to sustain thecontinuity of vernacular heritage150

2. Bottom-up Approach to Ensuring Communities’ Sense of Ownership and Association
with Cultural Property
Wooden structures cannot survive without the willingness of the communities themselves toconserve and protect this heritage. Wooden structures are centered on the continued cooperation andcare of the people to which they belong. The continuation of specific knowledge systems developedaround wooden construction, including regular maintenance, is reliant on the collective efforts ofthe communities for whom the buildings are important. Therefore, there is a need for a bottom-up
approach towards the protection of wooden cultural properties. We can see a similar approach in theprotection of wooden cultural property through a community initiative in Sanmachi, Takayama City.
In 1966, the people of the Kami-Sannomachi area organized a society to protect and preserve the oldstreets. In 1977, the municipal government drew up regulations on preservation of the old streets,and designated the area Sanmachi, Takayama City Preservation Districts for Groups of Traditional
Buildings.
It was good learning from Japan’s approach towards preservation and restoration of wooden
heritage, as wooden structures are the central sphere which reflects continuity in traditions,knowledge systems, customs and skills. These customs and skills are still attached to the buildings
and make these sites community participatory heritage sites. In my country, India, there are many
challenges from a governance and legal point of view to fit in the vernacular heritage. India holds agreat opportunity to enhance its identity through its illustrious past, which is captured within theseliving communities and the cultural properties linked to it.

3. Policies and Framework in Japan
Japan has a systematic approach towards identification and protection of its cultural properties withdefined categories inclusive of buildings, objects, sites and the intangible aspects that bind theseplaces to traditional expression. The stakeholders for the protection of cultural property involves thenational government, local government, administrative organizations and the citizens themselves. The
wooden vernacular heritage buildings can be classified as 1) Tangible Cultural Properties, 2) Groupsof Traditional Buildings or 3) Conservation Techniques within an extensive system for identifying
Important Cultural Properties. The Law for the Protection of Cultural Properties, amended in 1975,
identifies traditional techniques or skills that are indispensable for the conservation of significant
wooden structures in Japan. This includes repair of architectural structures, woodwork forarchitectural structures, cypress bark/shingle roofing, Miscanthus thatching and production of clay
roof tiles.
In India, the heritage protection law is monument-centric under the Ancient Monuments andArchaeological Sites and Remains Act (AMASR), amended in 1958. AMASR recognizes andprotects Monuments and Archaeological Sites with National Importance.
The major shortcoming of the current identification process and resulting list of legally protected
heritage in India is that it does not recognize vernacular architecture as a category of heritage
worthy of being conserved. A more detailed classification system is required in India to ensure the151continuation of wooden structures important to specific community and tribal groupings. It is good
to learn from the case studies of Japan.

4. Government System of Providing Subsidies to Ensure Community Participation in
Sustaining Buildings and Dwellings in Traditional Form.
Under the designation of Important Cultural Property the government provides subsidies of 50 to 80
percent of the total conservation and repair costs to the owner. Provision of technical advice is alsooffered in ensuring that the correct procedures and construction methods are followed. The subsidy
system encourages owners to retain the authenticity of the cultural property and repair it using
traditional materials.
In India, there are no subsidies offered in preserving traditional dwelling units. Within rapidly
developing communities, vernacular architecture is suffering and being lost as a result, with little
knowledge and value placed on such structures.

5. Conservation Approach and Use of Traditional Knowledge System
Japan has a unique repair system for wooden cultural properties known as Kaitai Shuri, whichmeans the dismantling and reassembling of the original structure.
The other types of repair for wooden structures include:• Partial Repair, with different methods developed according to the characteristics of thearchitecture• Major Repair involving dismantling and reassembly• Conservation of Traditional Craftsmanship• Reconstruction of the Past
The process of dismantling and reassembly of wooden structures involves detail investigation,
recording of wooden members, and reusing original wooden members as much as possible withminimal repairs as necessary, and deciding the restoration policy in accordance with the original or
most suitable time period. The dismantling and reassembly of a wooden structure is an extensive andtime-consuming process, which lasts for 10-15 years. The process of preservation evolves mastercraftsmanship and a dedicated conservation architect on site, as well as other suitable professionals
also working on site.
In India, the repair process of wooden heritage structures lacks scientific investigation of wood
properties, and often the wood is replaced with modern materials. Japan’s approach can be applied
to buildings in India if there are sufficient funds, skilled craftsmanship and technical assistance.

6. Recording/Documentation of wooden structures
Japan has developed a complex and rather systematic method for the documentation and recordingof wooden heritage structures while they are being repaired. As mentioned above, it includes

152partial repair and major repair by dismantling every structural member and reassembling them.
During the course of the conservation process rigorous investigation surveys are conducted, such as
investigation of damage, specification investigation such as on joinery details, investigation of traces
of previous repair and restoration, member investigation, investigation of written materials andhistoric records, assessment of seismic capacity and structural study, archaeological investigations,and other kinds of scientific investigations. Four principles when processing, reassembling andrepairing a cultural property building based on traditional techniques that were used in the original
construction and time period are: Use of the same shapes, and use of the same materials, same
specifications and same position. The process is well accepted and followed throughout Japan fordeveloping the nation’s restoration policy. The investigation and recording of a wooden structure isdone not only for past historic repairs; the present repairs are also dated and inventoried for futurebase studies, which is a good lesson that can be applied to India’s wooden restoration projects.

Acknowledgement
I would like to express my heartiest gratitude to ACCU, ICCROM, Nara Prefectural Governmentand other affiliated institutions for organizing and accomplishing a successful training course.
I thank the whole team of ACCU for giving me this opportunity and sharing diverse culturalexperiences. I want to extend my gratitude to Nakai-san, Wakiya-san, Suzuki-san, Sari-San, Claudiasan, and Kosuke-san for their assistance and for guiding us all to reach our highest capabilities.
I would specially like to extend my appreciation to Hata-san for interpreting and transferring theknowledge into English. And last but not least, my colleague Ambrosia Crum, for assisting me
in creating reports, and all the other participants from the Asia-Pacific region for sharing theirknowledge and indulging in useful dialogue during this training course.

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Indonesia
Titin Nofita Handa Puteri

An Effort to be Better in the Preservation of Cultural Heritage‘Final Report’
Diversity is present in cultural heritage. Variations in cultural heritage can be seen between regions
in one country, and indeed between countries around the world. This diversity can be seen fromboth tangible and intangible aspects, in the many variations of song, dance, traditional clothes, food,traditional houses, objects, buildings, cultural and natural landscapes, etc. The differences make themboth unique and interesting. Cultural heritage also experiences different problems, and of course thetreatment for preservation is also different according to the problems of the particular cultural heritage.
Some problems such as the physical degradation of cultural heritage (e.g., damage, weathering,breakage, porosity, termite attacks, vandalism), disasters (e.g., earthquakes, fires, floods), social
factors (e.g., low awareness of cultural heritage and the need for changes to ways of life to achieve
modernity), security issues (war and conflict in society), political and policy issues (including budgets),and problems in the actual preservation of cultural heritage (associated with professionals, techniquesand methods, good quality materials, cultural heritage management, etc.). All these differences wereshown during the presentations and discussions from 14 different countries on the second and thirddays of this training. However, we all had the same goal—to preserve cultural heritage.
Since Republic of Indonesia Law No. 11 of 2010 on cultural heritage was established, there has beena paradigm shift in cultural heritage preservation. Preservation that previously focused on cultural
heritage objects (Republic of Indonesia Law No. 5 of 1992 on cultural heritage objects) now has awider scope in the cultural heritage landscape. The law also explains an act of preservation in termsof not only protection of cultural heritage, but from the perspective of protection, development, andutilization of cultural heritage. We still need to make improvements in cultural heritage management,from the care of heritage to pursuing the well-being of both heritage and society as a whole (as Dr.
Gamini WIJESURIYA said in his presentation).

Paradigm shift in conservation of monuments and sites – heritage management
presentation of Dr. Gamini WIJESURIYA (ICCROM)154

By participating in this training, I came to know that Japan follows good and systematic cultural
heritage management, supported by professionals, high cultural awareness of community and society,good management of documentation, and adequate budgets, so it can be seen that cultural heritage ismanaged well generally. I hope this can also happen in Indonesia, with more professionals in the field,
good cultural resource management, good policies and regulations, high community awareness, andadequate budgets for cultural preservation. To realize all of this, we cannot do it only by ourselves
or our office; it needs the awareness and cooperation of many parties, such as local government, thecentral government, stakeholders, academics, local communities and society in general. It is also
important to build good networks and have good communication and meaningful discussions, so thatall parties have a good understanding of the preservation of cultural heritage.
Japan has a good cultural heritage documentation system. The documentation provides detailed
information on the history and structural style of the building; its restoration history; techniques,
methods, and materials used; and photographs, drawings, etc. They have also recorded documentation
relating to every action of restoration of cultural heritage consistently up to the present. In this training,
we had the opportunity to learn about the recording and documentation of wooden structures at Tanaka
Family Residence. This reminded me of an old traditional house in West Sumatra – Rumah Tuo
Kampai Nan Panjang. Like the Tanaka Family Residence, I also want this traditional house to havegood documentation management with detailed information, so it can be one of the places to learn
about Minangkabau culture, Minangkabau traditional house style, Minangkabau traditional house
history, traditional techniques, materials, conservation, documentation of traditional houses, etc. Good
documentation provides convenience in determining the treatment of cultural heritage preservation andfuture planning. If we have good documentation, in the case of damage to the building, we can restore
or reconstruct it, returning it to the specific state with the highest historical architectural value.

Tanaka Family Residence – old farmhouse
Gojo-cho, Nara City, Japan

Rumah Kampai Nan Panjang – oldtraditional house
Tanah Datar Regency, West Sumatra,Indonesia

In this training I also recorded and learned to understand again about the relative concept ofauthenticity. As Dr. Gamini said in his presentation, authenticity should be judged not only from thematerials but also from the values, associated process, presence of communities, use, skills of crafts,
traditional practices and the management system. This understanding is important because sometimes

155there is a debate in determining conservation measures in consideration of the authenticity of thecultural heritage material, especially when that authenticity is associated with wood, which is anorganic material vulnerable to degradation. Inevitably at some time change and replacement is required
to guarantee the continuity of a wooden structure. Therefore, it is important to understand the value of
cultural heritage to facilitate decision making in conservation activities. A values approach should be
used in planning for conservation. This is not to say we can replace original material with new material
easily. But it is important to identify, analyze, and discuss all aspects of the cultural heritage.
In discussing wooden heritage, we talk about wood as a material, techniques and craftmanship, andthe equipment used. Wood is used in many cases: houses, religious buildings, palaces, offices, bridges,
furniture, etc. It is also used in almost all building structures: floors, beams, walls, doors, windows,
roofs, decorative elements, etc. And there are many variations of wood: tree type, mechanicalproperties, color, texture, geographical variation, durability, sustainability for different purposes, etc.
In Japan, most buildings use hinoki - Japanese cypress (Chamaecyparis obtusa), sugi - Japanese cedar(Cryptomeria japonica) and Matsu - pine (Pinus densiflora). And many carpenters, workers, andconservator architects can identify the type of wood and understand the character of the wood well.
Japan also has a forest that serves as a source of timber for heritage buildings. Indonesia uses many
types of wood in cultural heritage buildings; however, many of us are not able to identify the typeand character of wood well and have no forests specifically prepared for heritage purposes. So, it issometimes difficult to obtain good quality wood for cultural heritage buildings.
Regarding the techniques and craftsmanship of wooden heritage, there are diverse techniques and skills
related to working with wood, from simple to sophisticated techniques, either for wood only or in
combination with other materials. Japan has its own style of architecture and building that we can see
from the form, design, structure, decorative elements and painting. Buildings utilize wood as the basic
element, a joinery system for the beam structure, and a heavy roof using straw, cypress bark, or tiles.
One of the Japanese approaches to wooden conservation is traditional conservation techniques andcraftsmanship. It is necessary to learn about traditional techniques and equipment used from mastercarpenters and craftsmen because they are the experts. This is also important for the sustainability of
traditional techniques and craftsmanship. Tools are the “spirit” of carpenters, and with tools they cancreate stronger structures, and create new skills. We had an opportunity to visit Takenaka Carpentry
Tools Museum. Various tools of carpentry and their development over time can be seen here.

Takenaka Carpentry Tools Museum

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In Indonesia, especially in West Sumatra, we do not have a full awareness that traditional techniquesand craftsmanship can be part of a cultural property. We have not carried out identification anddocumentation of traditional techniques and craftsmanship of rumah gadang and its wooden carvings.
As in Japan, we are supposed to support and empower carpenters and craftsmen, as they are theexperts in this field, create carpentry and craftsman communities who care about cultural heritage,socialize with them and have them understand the importance of preserving traditional techniquesand craftsmanship, so that they become more open-minded and play an active role in passing on theirknowledge and techniques to the next generation. Their traditional knowledge of wood and theirtreatment of this building material will contribute to the preservation of wooden heritage significantly.
With the cooperation of many parties, we can identify and document traditional techniques andcraftsmanship, and the tools of wooden heritage, and I hope we have museums like Takenaka
Carpentry Tool Museum one day in the future. Regarding the availability of wood materials, we needto cooperate with the Department of Forestry and seek to explain the importance of forests for cultural
heritage, so that Indonesia can also have a forest for heritage purposes.
I would also like to mention local communities. The local community plays an important role in thepreservation of cultural heritage because it is part of the heritage; the local people live with the heritage
and they can do regular maintenance that ensures the continuity of cultural heritage by keeping itin an ideal state. When we visited Takayama City and Shirakawa Village, we learned that the local
community and villagers initiated the preservation of the townscape and the village and then it was
followed by the government. Actually, a high level of awareness from the local community and society
is needed to ensure continuity of the cultural heritage. From both places, I also learned about risk
management relating to wooden heritage. Fire is one of the great risks to wooden heritage. Firefighting
equipment in both areas can be a model for firefighting equipment in traditional wooden buildings.
Some wooden heritage buildings in Japan also have automatic fire alarm equipment. Disaster risk
management covers not only fire, but also floods, lightning, earthquakes, and other disasters. So risk
management should also be an important part of cultural heritage management.
Each region has a different culture and different traditional knowledge, and we need to maintainand manage these with good management systems. Japan has its own culture; Indonesia has its own
culture. I hope Indonesia will gradually achieve a good system of cultural resource management, sothat cultural heritage can be well managed for the welfare of both society and the cultural heritage
itself.
Finally, thank you very much to the Cultural Heritage Protection Cooperation Office, Asia-Pacific
Cultural Centre for UNESCO in Nara, Japan (ACCU Nara Office), for giving me the opportunity tolearn many things in Japan. A big thanks should especially go to the committee, which did its best to
give us everthing we needed. I truly appreciate it. Hopefully, what we have done and learned during
this training can provide benefits for cultural preservation and thus enrich many people’s lives.

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Republic of Korea
YOO Hyeonok

Final Report on the Training Course on Cultural Heritage Protection in the
Asia-Pacific Region 2017
Preservation and Restoration of Wooden Structures
Introduction
The Preservation and Restoration of Wooden Structures training course was conducted from Aug. 29
to Sep. 28 for educating participants in techniques for analyzing and recording wooden structures,
techniques for preserving and restoring them, and measures for utilization and risk management. The
training was performed in various ways such as lectures, practice, discussions, presentations, andfieldwork, which were all very effective.
I could see the differences from the repair and restoration sites of Korean wooden cultural heritage andit was a good chance to think about various ways to apply newly obtained information to Korea. I also
think about the authenticity of the cultural heritage and the OUV that I thought vaguely. On the other
hand, I felt sorry about the reality of the Korean cultural heritage field, which has often been affectedby political or social factors, and I was envious of the stable cultural heritage environment and citizen
consciousness of Japan based on the thorough surveys and studies.
In Japan, the modern restoration and preservation of wooden cultural heritage (e.g., Horyu-ji Temple)
began in earnest with the enactment of the Ancient Shrines and Temples Preservation Law (1897) andNational Treasures Preservation Law (1929). In Korea, the Cultural Properties Protection Law wasenacted in 1962 and the dismantlement and repair of Sungnyemun Gate, which began in May 1961,
was the beginning of the restoration and preservation of cultural heritage by our own hands. I thoughtthat we might be able to find the direction of the restoration and preservation of cultural heritage andreduce the process of trial and error considerably, since there are many similarities between Korean
and Japanese wooden cultural heritages in terms of technology, style, and materials from ancient tomodern times.
First, I want to review the differences between the restoration and preservation of the wooden cultural
heritage of Korea and Japan, and evaluate the possibility of applying my newly gained knowledge
from the training course to Korea.

Differences in the Preservation and Restoration of Wooden Cultural Heritage of Korea
and Japan
The first difference is the material reuse rate. In Korea, people do not actively reinforce cultural
heritage with foreign materials, i.e., not the same material, to repair it. New materials (e.g., carbon
fiber or titanium bars) are used minimally, mainly for adhering or reinforcing a structure rather

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than increasing the rigidity of the material. The most extensive use of new materials was for thereinforcement of high pillars during the Sungnyemun Gate restoration, such as carbon steel insertions,resin filling for surface decoration due to surface carbonization, utilization of carbon fiber and aramid
fiber. 1 Korea does not actively use or recycle old materials by such methods as inserting steel beams
or filling wood with epoxy, which loses the inside and maintains the outer crust. In Korea, people
believe that active material recycling, as done in Japan, is considered to decrease the authenticityof the materials. Moreover, Korea also does not have the budget or time to test the function of newmaterials. Since 2005, old materials which are worth conserving have not been discarded, but rather
sent to the Korea Foundation for Traditional Architecture and Technology to be used as study materials
or exhibited.
The second difference is the use of traditional materials and traditional techniques. Korea lost thelegacy of traditional materials after undergoing the Japanese colonial period (1910-1945) and the
Korean War (1950-1953). To make matters worse, wood production was insufficient due to the small
land size and urbanization. Consequently, imported wood (mostly Douglas fir) is used in the majorityof the field. Additionally, the traditional timber processing techniques are disappearing because people
now purchase and use lumber from timber merchants. The biggest problem is the painting material.
Traditional materials, except Seokganju minerals, glue, and shell powder, have completely disappeared
so now all of them are imported from Japan. In the restoration project for the Sungyemun Gate, which
had been destroyed by fire, untested chemical paints were used, and paint peeling occurred within fivemonths after the completion of the project.
The third difference is that blueprints are still manually drawn in Japan. In Korea, the majority of
blueprints are scanned by 3D scanner and drawn by AutoCAD. All delivery lists for the archives of
the Cultural Heritage Administration are also made by AutoCAD. This is due to tight schedules andbudgets. Drawing blueprints by computer is fast and efficient but it also means that people can copy
and paste information. In the process, monotonous blueprints can be produced which ignore the uniquecharacteristics of cultural heritage. As a result, it is difficult to carry out construction by following
the blueprint and workers have to modify the blueprint frequently during the construction stage. Thissituation does not allow people to be trained as true experts.
Lastly, Japan has conducted many diverse and separate studies and surveys regarding the origin of
traditional carpentry tools and painting over a long time in order to restore wooden structures. Korea
allocates 200 billion KRW per year for repairing cultural heritage and approximately 1,000 restorationand preservation projects are conducted per year. Simply put, it amounts to about 200 million KRW
per project and this is very tight even just for materials and labor. Consequently, the National ResearchInstitute of Cultural Heritage conducts the minimum number of studies and surveys for restorationand preservation in addition to directly-operated projects.2 Although these projects are supposed
1
2

The reuse rate of old materials during the Sungnyemun Gate restoration was 38.8%
Representative projects are the Mireuksaji Stone Pagoda restoration project and the Gyeongju Seokgatap
Pagoda at Bulguksa Temple dismantling and restoration project.

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to be thoroughly supervised by local or central government supervisors, it is not done continuously
because the person in charge is changed frequently. To make matters worse, the supervisors are usually
not experts in the area (general architects or civil engineer majors, not conservation architects). To
overcome these shortfalls, the Standard Specification of Architectural Cultural Heritage was createdin 1974. However, this caused the restoration and preservation of cultural heritage using general
construction methodology while ignoring the diversity and specificity of each cultural heritage and,contrary to the original intention, resulted in harmful effects. Therefore, regulations were establishedto set up an advisory panel led by the cultural heritage committee for each project to supplement thisexpertise. Moreover, it is now required to have a conservation architect or cultural heritage repair
engineer on-site or off-site to supervise all cultural heritage restoration and preservation projects inaccordance with the cultural heritage restoration and preservation supervision system.

Fig. 1 Example of Japanese field drawing

Fig. 2 Takenaka Carpentry Tools Museum

Next, I came up with several ideas as to how to apply what I had learned from this training course to
Korea.
Evaluating the Applicability of Japanese Cultural Heritage Restoration and Preservation System
and Techniques to Korea

Training Courses for Conservation Architects
Korea has a cultural heritage restoration and preservation license and a person holding this license
can work in cultural heritage restoration and preservation projects. There are several types of licenses:
Conservation Architect, Repair Engineer, Conservator, Painter, Landscape Architect, and Plant
Protection Engineer. Although it is a good idea that only those who are qualified can work in a cultural
heritage restoration and preservation project, people can earn this license by passing a written test andan interview without a degree or practical experience. Therefore, there have been several occasions
where people without practical experience had supervised a project merely based on theoreticalknowledge. Recently, a system has been established for managing cultural heritage restoration andpreservation experience and performance in order to overcome such shortfalls and this is scheduled
to be implemented in February 2019. Moreover, the Traditional Culture Training Institute of Korea
National University of Cultural Heritage is conducting compulsory training for technicians and skilled160

people, but it is superficial, covering only theories and site visits. It is necessary to strength the casestudies and add field practicum courses so that practical information can be exchanged during thetraining, as done in Japan. Moreover, I believe that it would be great if we could make it hands-on
practical training by including professors, field technicians, and skilled people in the teaching faculty.
Strengthening the Ability to Pursue Cultural Heritage Restoration and Preservation ThroughParticipation of Local Communities
While listening to the lectures of many teachers, I could understand the uniqueness of Japanese
officers in charge of cultural heritage and the administration of cultural heritage. First of all, a civil
servant can work for Hyogo Prefecture and Kobe City at the same time. A civil servant in charge ofcultural heritage cannot take the position unless the person has completed an architecture class. It wasalso very impressive that Nara and Kyoto, which have many cultural heritages, operate restoration andpreservation projects directly. In Korea, civil servants in charge of cultural heritage do not need to passa special examination, and they work in rotation. Architectural researchers are hired from time to time.
However, it is about one every five years and there are only about 10 such people in Korea. Therefore,
cultural heritage restoration and preservation supervisors do not have enough expertise and it isdifficult to restore cultural heritages directly. Additionally, the residents of Shirakawa Village repair
houses and manage disaster prevention facilities directly in cooperation with the authorities. Andong
Hahoe Village, a World Heritage site in Korea, has experienced fire four times since it was designatedas a World Heritage site in 2010. The village has approximately 220 wooden houses in narrow andwinding alleys, which are too narrow for fire trucks to enter. Consequently, a fire in this village can be
more dangerous than other historical villages such as Shirakawa Village. In order to get the maximum
effect with a limited budget, it is recommended to preserve the village with the direct help of the local
community as in Shirakawa Village.

Fig. 3 Shirakawa Village

Fig. 4 Andong Hahoe Village (source: www.cha.go.kr)

Conclusion
There is a saying in Korea that “you can see as much as you know.” I have learned so many thingsfrom this one month’s training. I feel like I will be able to see and learn more at the cultural heritage
restoration and preservation sites and I am very happy that I have enriched my knowledge of the
topics we studied. I would like to deliver my sincere gratitude to ACCU Nara Office and ICCROM

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for organizing this excellent training course and inviting me. I truly know how hard it is to organize a
training course and how much attention you have had to pay to the details because I am also in chargeof training programs at my company. I also would like to express my sincere thanks to all those who
took care of the 15 participants for one month. Moreover, I am very grateful to other participants who
have broadened my view and stimulated me.
I think that participating in this training course has been one of the best things that has happened in mylife. I have a gut feeling that I will come to Nara again to do further study in the near future.

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NepalRam Prasad Suwal

ACCU Training and its Global Importance in Capacity Building of Human
Resources for Future Generations in Safeguarding Cultural Heritage
1. Introduction“Training is teaching, or developing in oneself or others, any skills and knowledge that relate tospecific useful competencies. Training has specific goals of improving one’s capability, capacity,
productivity and performance. People within many professions and occupations may refer to this sortof training as professional development.” (Wikipedia, the free encyclopedia, 23 September 2017)
Confidence is another word that brings out all the skills and spreads the seeds of knowledge andwisdom. Really, it only happens after gaining, learning and observing the specific relevant training.
This training course on Preservation and Restoration of Wooden Structures by the Asian-Pacific
Cultural Centre for UNESCO (ACCU) is such an example of high profile international training
which helps in capacity building of human resources for the next generation and developing personal
relationships with a global approach. It is the best approach for connecting different thoughts fromdifferent worlds in one platform.
2. Training and Achievements
The main theme of the training was preservation and restoration of wooden
structures for cultural heritage protection, by providing participants with thelatest methods and techniques for the investigation, preservation, restorationand management of wooden structures. For the fulfillment of this aim, training
course was divided into three parts: a. Lectures, b. Work Sessions and c. Onsite Study. The design of the course was very smooth and connected all parts,
which helped me to understand clearly. The above diagram shows the inter-Fig.1. Inter-connectionof course

connection and integrity of the course to pass on the best practices for cultural
heritage protection.
a. Lectures: Theories are the foundation of any profession for generating ideas. The country reportpresentations gave me some broad ideas and enabled me to compare various practices in heritage
protection. The lectures delivered by experts (Dr. Gamini WIJESURIYA & Prof. INABA Nobuko)
were valuable assets for me to modify, discuss and apply in my profession. The knowledge of theprinciples and methodologies for protection of wooden structures that I gained through the lecture
on architectural heritage in the Asia-Pacific region widened my perspective on how I need to judge
heritage in practice. This training also gave me opportunities to share my experience and help me toestablish close regional networks.
Lectures on the cultural heritage protection system and conservation and restoration of wooden

163structures in Japan opened my mind and theory on orientation for the practical training: the overall
repair process again added strong logic and evidence to me, to work in different perspective oftechnology. The methodologies and techniques applied to the preservation and restoration of wooden
structures in Japan are different from the practice in my country. This was a good learning opportunity
for me, and I am sure I can apply the knowledge I gained to heritage protection after going back to mycountry.
Heritage will be heritage when there are users, so the living organism is an essential part of heritage
protection. That living organism should feel comfort and emerge with a sense of belonging, a sense ofplace and essence of place. Only this will create living cultural heritage. Yes, the knowledge I gainedon the cultural heritage system in Japan was an important lesson for me. The chain is maintained withdifferent stakeholders’ work mechanisms, organization functions and responsibilities, and related laws.
Good coordination and collaboration results in a systematic and scientific method of cultural heritage
management. The lectures in the training program also gave me ideas on systems for restoration
projects and construction planning; and the process of elements repair system. I should apply theincredible knowledge of the lecturers to my profession and my university teaching.
b. Work Sessions: There is a saying, “Learn by observing and doing”. This session blended in wellwith my profession. I am actually working in this field but I found differences in the working system,
involving observing and perceiving the subject matter. The recording and documentation of thewooden structures of heritage buildings changed my perspective during the work sessions, providing
me with knowledge of skills-based techniques for the recording/documentation and analysis of wooden
structures.
Seeing the way Japanese experts
think, investigate the elements, detail
documentation and recommend theirideas with logical evidence stimulated mymind. Also, I was very impressed withthe recording/documentation system ofwooden structures that collects minuteimages. While working at Tanaka Family

Fig. 2. Section of Tanaka Building (Left), and Newari
Building (Right)

Residence, I understood the construction technology of Japanese houses, which is very similar to
Newari house in Nepal. The building materials used in the thatched roof, timber posts and beams,
bamboo rafters, stone foundation, and mud plaster reinforced with bamboo strips were similar to
those of vernacular dwellings in Nepal, where some structural timber joints are similar to those usedin Japanese construction. The basic materials were the same, the nature of the work also seemed thesame, but the technology and techniques varied. The workmen and craftsmen have a high level ofengineering that I need to pass on to Nepalese workmen and craftsmen after I return home.
This work session added another dimension to my career. The session taught me about the accuracyof measured drawings with respect to existing sites and how to input all detail data with descriptions.

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The three days at Tanaka Family Residence gave me the essence of the conservation of our heritage ina different manner. I learned about the shifting of heritage buildings from one location to another. The
system of heritage management done by the Japanese government is a good example for my country
as we also have many private culturally important buildings which cost too much to repair, restore
and reconstruct. Most of the culturally important buildings in Nepal were damaged by the Gorkha
Earthquake in 2015. Nowadays, most private owners are facing problems due to the weak economy
and strict government by-laws. I need to learn more about the system of the Japanese government thatprovides compensation for owners of private heritage buildings, and for successful achievement ofbetter heritage management in Nepal.

Fig. 3. Photos of three places: Left- Takayama, Center- Shirakawa-go, Right- Bhaktapurc. On-site Study: My main concern is how to protect private heritage dwellings. These buildings arehighly valuable and precious craft masterpieces and are places of emotional value. As an architect, I
am always worried about making sure those buildings are saved for the next generation. And as forreconstruction of heritage buildings, I always focus on fenestration of façades to blend the heritage
environment and bring back the essence of place. I also emphasize intangible heritage to integrate
the tangible heritage to give life to the neighborhood and the city. The people and buildings aroundthe monuments integrate the sense of belonging. All these characteristics are found in Takayama
Traditional Buildings Preservation District and World Heritage: Historic Villages in Shirakawa-go. I
am also dreaming about my own Bhaktapur City as being similar to these places.
Heritage maintenance is another integral part of conservation. Regular inspection and restoration
makes the national treasure stronger and able to remain standing for new generations. Detail recording
and documentation of heritage buildings that are the pride of the nation and leaving this in form bookform is the best way, providing the best evidence for future generations. Having restoration sites open
to the public is another positive part of heritage management. This will definitely help us to understandvisually the process of construction techniques and technologies and add another visionary dimension
for younger generations. The on-site study at construction sites like Yakushi-ji Temple, Toshodaiji Temple, Nagoya Castle, Kiyomizu-dera Temple and Horyu-ji Temple gave me extra clarification
to answer my queries, and I should express my appreciation to the experts for their valuable effort
and explanations. I could easily visualize the materials used in those buildings. The damaged timberelements were replaced with minimum wastage and stabilized the structure with the latest technology.
Yes, heritage should not only stand but also resist all kinds of impacts. Safety and security measures
were also applied at all sites. The working system at conservation sites in my country is totallydifferent from that in Japan. The system really impressed me and I hope to implement it back in my165home town. This will increase safety for craftsmen and workmen and also help develop a positive
attitude, which will increase working efficiency.

Fig. 4. The different working process: The first two on the left in Nepal and the three on the right in Japan

There are many factors that affect our essence of life, our heritage, and our civilization. Those
factors are natural factors like earthquakes, snow, wind, typhoons, rain, fire, thunder, floods, etc.,
and manmade factors like electric shocks generating fires, and social quarrels such as war, religion
discrimination, the migration of people resulting in depopulated settlements, etc. I was surprised
when I learned about disaster risk management for cultural heritage sites. It was amazing and allmeasures were well located to fight against disasters. The architectural design for those elements were
harmonized so that they became elements of the heritage site itself. This means that even small things
were well organized and maintained. Some of the disaster-fighting measures are shown below. These
are missing in my country, and I should request the relevant government department to incorporate
these measures into their risk management plans for cultural heritage.

Fig. 5. Different types of disaster-fighting measures for cultural heritage protection in Japan

Every country has its own traditional construction technologies and I am keenly interested in carpentry
joints. I tried to understand the carpentry joints at Nagoya Castle too. I respect the way IMAI Keisuke
sensei described the architectural history surrounding the reconstruction and utilization of wooden
structures at Nagoya Castle Hommaru Palace. Also, I am very grateful to Mr NISHIYAMA Marceloat Takenaka Carpentry Tools Museum for sharing his knowledge with us. This museum attracted myeye in terms of every element displayed in it. The displays of carpentry tools reflect the field’s history
and the innocent of carpenters. The units in carpentry used in the past and carpenters’ construction
skills will guided me to do more research in my country and I feel like setting up carpentry museum
too. Real scale models and construction processes were illustrated systematically, which seemed justlike an open book. Also, comparisons between the carpentry tools of different countries with visual
illustrations enabled me to understand everything clearly. It was not only a museum; it was a lively
museum where I felt I was in a carpentry workshop. The architectural design of the building and its
space allocation was well blended with its functions. I found different types of joints used in Japan166

which I hadn’t seen in my country. It was very important to understand the traditional tools andcarpentry joints, especially for professionals working on protection of cultural heritage as well asvernacular residential dwellings. Some photographs of carpentry joints are shown below.

Fig. 6. Carpentry joints used in construction, Japan

Fig. 7. Carpentry joints used in construction, Nepal

3. Lessons learned and recommendation
I was thinking that Newari construction technology is complicated, especially Malla periodarchitecture. But this training made me clear on this matter: “NO! There are still more complicatedelements of architecture which need to be learned.” This training widened my vision and way of
thinking while working on cultural heritage in my country. The knowledge and skills I received during
this ACCU training are listed below.
i. This training not only gave me extra knowledge and skills but also built up my confidence toextend global relationships.
ii. Also, it helped me to understand cultural heritage and cultural landscape heritage with an
integrated approach.
iii. Japan has specialized expertise in timber work both in terms of craftsmen and carpentry, a highlevel of knowledge on storage and conversion of timber, and expertise in carpentry joints withhigh structural analysis.
iv. The maintenance of national treasures, i.e., heritage buildings, has been done according tocertain time intervals so as to safeguard and strengthen the structures as well as to continueauthentic traditions in construction technology.
v. Successful construction is only achieved when there is expert manpower. This lesson is also
learned from this training, as contractors with good experience and expertise in traditional
construction will always give the best result in cultural heritage protection.
vi. Traditional indigenous tools and the associated intangible heritage in the form of skilledcraftsmen have been maintained through cultural heritage protection and Takenaka Carpentry
Tools Museum. This is what all countries need to learn from Japan.
vii. Defining important values and statements of significance have provided broad ideas for thenomination of heritage sites.
Yes, with many thoughts and ideas, I am going back to my country to do much more. Let’s see how

167successful I can be in my professional field; one thing I am sure of is that the knowledge and skills I
gained from this training will be shared with my students. It is a very essential topic in the syllabus at
the university I am affiliated with.
I would also like to recommend one thing to the ACCU family. The training program would havebeen even better if we had had a work session on the treatment of wooden structures in Japan against
environmental factors; for example, insects like termites, etc., and the strengthening of timber. I
thought the natural and artificial treatment of wooden members was lacking in this training. I would
like to request this for future training.

4. Conclusion:
The month I spent in the training course on Cultural Heritage Protection in the Asia-Pacific Region:
Preservation and Restoration of Wooden Structures, Nara was a valuable experience in my life. This
training not only enriched my professional knowledge and skills but also enhanced and added to mythinking capacity, investigation perspective, global relationships and self confidence. Yes, it was very
fruitful and it will definitely help my country, as we are facing the severe challenge of reconstruction
and restoration of cultural heritage damaged by the last earthquake. I believe this opportunity toparticipate in a training course on heritage conservation was of great value and will support my future
work in the field of conservation.
This was an excellent chance to learn the techniques and methods practiced in conservation works inJapan, which will also be adopted in Nepal while keeping in mind the contextual setting. Restorationof heritage sites and preservation of historic cities is extremely important, and especially key in the
management plan of Bhaktapur city. Now I can apply my knowledge of heritage conservation, andserve Bhaktapur city well. Likewise, I can utilize this knowledge in the field of reconstruction, where
Gorkha Earthquake-2015 has had an impact. I will develop plans to share this knowledge with local
people and also with students and teachers of different colleges after returning from Nara, Japan.
Yes, my mind will always remember the ACCU family for their love and cooperation and incredible
hospitality throughout the training course. I should not forget those experts specializing in resources
who delivered wonderful lectures and illustrated on site in different locations, as well as the assisting
personnel. Finally, I want to extend my thanks to all personnel associated with this training, directly or
indirectly.

168New Zealand
Ambrosia Crum

A traditional knowledge approach to wood conservation in Japan
This title refers to the deep connection between building, place and people. The protection of places
with cultural heritage significance should be centred on an understanding of the passing of specificknowledge systems beyond practicality; we must question beyond how and ask why.
This final report is written with an approach based on my own curiosity of traditional practice – seen in
my line of questioning throughout the course – through an attempt to gain an understanding of anotherculture’s connection with their history, ancestry and tradition.

Dedicated to a collective sharing of experience, knowledge and skill, this Training Course wasan introduction to the extensive management systems established for the care of Japan’s wooden
structures. Exposed to the practical application of theoretical and technical methodologies, participants
were given the opportunity to explore and query ideas; important in identifying opportunities in the
management of cultural heritage in their respective countries.

1. Overview of the Training Course with understanding/skills gained regarding theJapanese approach
Introduction to protection listing and classification of cultural heritage- i.e. Important Cultural Properties, Cultural Landscapes and National Treasures
Introduction to policies and framework including Cultural Heritage Law- national and local government assistance in protecting and giving importance to places- management of natural resources for future work
- disaster risk management
Outline of conservation approach and practice- overview of large-scale approach with detailed management systems in place inclusive of longterm planning and strategy; i.e., periodical maintenance and provision/allocation of funds- rationality and process of regular dismantlement and reassembly of large structures
Implementation of traditional knowledge systems- understanding of traditional techniques including timber selection and use, identification of timber

169species, joint systems; and tools and techniques in the processing of timbers- understanding of the rationale and planning of extensive paintwork conservation projects
Recording and documentation of wooden structures- introduction to Japan’s architectural history through examples and on site observation- skills in detailed observation, analysis and survey of wooden structures

2. Relevance of the Training Course
2.1 Integral ideas and thoughtsa) Community engagement
Many sites visited while we were in Japan are of significance to the country in general as well as
to the specific communities in which they stand. The importance that these places hold are in thehistories and traditions which they carry forward to the future. Ancient histories see these buildings asa physical connection to and representation of the past; a source of memory and account.
Within a conservation project involving living places (places not purely monumental but with current
and developing histories) it is essential that the people’s needs are at the fore. Collaboration with local
people and marae communities is a core principle within the Maori Heritage Team at Heritage New
Zealand Pouhere Taonga. Inspiring examples in Japan, such as Takayama City, show the local people
taking control in establishing conservation strategies, priorities and targets.
b) Regeneration, management and procurement of natural resources
Traditional building practices stem from skills developed from traditional knowledge of resourcebases available in nature. The successful preservation of our ancient places and associated traditions isrooted in the safeguarding of these natural resources. Access to traditional natural resources is a key
issue within the preservation of Maori Built Heritage with specific plant species diminishing, as seen
throughout the Asia-Pacific region. Monitoring systems, allocation of and access to specific timbers/
plant materials for conservation work and use by traditional artists are key concerns I would like to see
improved in New Zealand.
In my observation, it seems there are agile sources of native timbers made available to conservation
projects in Japan within managed forest areas. Owners of large areas of land are approached by the
Agency for Cultural Affairs and offered incentives for use of the land in the production of native
timbers. Other plant materials are monitored and also seem to be accessible.
2.2 Skill relevance – What are the determining factors considered in sustaining traditional practice andvalues systems? And how do approaches translate between New Zealand and Japan?
a) Methodology and practiceMulti-generational record
The form, pattern and narrative present within the ornamentation (carvings, woven latticework
panels and painted patterns) of traditional Maori whare (houses) assist in the oral tradition of passing

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ancestral knowledge and wisdom through the generations. The presence of these crafts in the places
Maori occupy ensures the continuation of identity and are where orators utilise the arts to assist in
deciphering and communicating information to others.
Similarly, details of construction methods, traditional techniques and previous building work arerecorded in the fabric of traditional Japanese architecture and marked by the stamping of timbers
and delicately painted features. Investigation of method and construction theory is recorded throughextensive survey and analysis of parts. The practicality of this record is a logical and deeply impressive
documentation system for use by future generations.
b) Intangible heritage
Recognition of importance
Recognition of the skills relevant to the restoration of ancient places and associated traditional building
and art practices is essential in the continuation and communication of cultural history.
Protection of skills and knowledge
New Zealand: Passing on of Knowledge to Maori Craftsmen – Carvers and weavers play an importantrole in preserving traditional knowledge through the linkages to the past imbedded in their craft andin the places that carry it. They must therefore be a library of information, have a deep understandingof many levels of communication and uphold the traditional values system. The passing on of thiscomprehensive knowledge is typically through tribal mentor-based approaches.
Japan: Training Programmes for Conservation Architects and Woodworking Technicians – Systemsof ongoing training for construction professionals are centred on the continuation and developmentof knowledge through regular and varied training. Conservation architects must be aware of all
systems of analysis and traditional practice and are based on-site throughout the restoration to ensure
systems are managed and fulfilled appropriately. The intangible techniques and knowledge of Japanese
craftsman are held in high regard; as exemplified in the specific classification -Important Intangible
Cultural Properties- added to the Law for the Protection of Cultural Properties in 1950.

3. Traditional Living and Function of Architectural Features
In this section I will use specific places visited during the Training Course as references (examples
only) to highlight some common issues seen in the conservation of wooden structures in the AsiaPacific region. These issues can arise as result of modernisation, change in circumstance, loss ofknowledge or possibly reluctance to adhere to tradition in favour of other objectives.
3.1 Diminished relevance and use of specific traditional building design
Shirakawa Village
The Gassho-style house typology was developed as a response to a special set of skills associated witha select group of people living within the Shirakawa village area – silkworm raising. The distinctively
steep roof and multi-level attic space was the ‘farmland’ required by each family in producing high171

quality silk for supply to the market. The traditional function of the buildings and use of associatedknowledge systems are no longer present in Ogimachi Village. The core livelihood of the villagers is
now dependent on the successful preservation of the story that drives the current function of the area
as a tourist attraction after its inscription on the World Heritage List.
In this realisation and acceptance of development and modernisation, a building typology which wasonce driven by the activities which took place within it can now be seen as a feature of a past story,
with current preservation systems inseparable from the story of what it once was.
3.2 Traditional meaning and function of decorative features vs. preservation of material
Amitabha Hall, Zenrin-ji Temple
The plan for the restoration of the intricate paintwork of Amitabha Hall was determined with theexpertise of many parties inclusive of local government representatives, expert painters and the peopleof the temple. A restoration plan was created to ensure not only a reinvigoration of the paintworks but
also the preservation of sections of original paint material – this approach was designed to give status
to several stages of the building’s history. A response to the multiple perspectives of individuals in the
consultation stage, this approach serves as an example of multi-disciplinary collaboration and explores
the consideration of various values held by the different people that engage with the space.
Within this religious space, the vibrant colours, patterns and imagery play the roles of aestheticenhancement, display of religious messages for reading, protective layers for the wooden members andempowerment of the deities that communicate and connect with this structure’s users. The use of thisbuilding, with (near to) original colouring and features, allows the space to function as it was designed:
as a conduit to the deities it honours.
Conclusion
The techniques and style developed in places of important cultural heritage (tangible) are expressionof important linkages communicated through skillsets maintained through generations. The protection
and sharing (passing on) of our intangible heritages associated with these places is where we findclarity and understanding of the influences in the architecture, including symbolism, ancestry andtribal or imperial histories. The successful continuation of these skillsets is the responsibility of many.
A heightened understanding of a traditional cultural approach to restoration activities within our built
structures is where I see the most value for my future work.

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Pakistan
Laiba Sundas

Learning Experiences from Cultural Heritage Protection and Restoration
Practices in Japan
There is a famous Irish proverb that says: “A people without the knowledge of their past history,
origin and culture is like a tree without roots.” The cultural heritage of a nation strengthens its
sense of identity and depicts its historical and cultural development. It can be tangible in the form ofhistorical structures and sites or intangible as in customs, beliefs, languages, music and arts. The needfor preservation and protection of cultural heritage is not only limited to one nation or region; it is a
responsibility shared by all the people as they collectively make their contribution to the culture of theworld. That is why there is a need to respect, collaborate and help each other in safeguarding the very
cultural heritage of the world, for the common cause of passing it safely to future generations.
Considering the importance of cooperation and assistance in the protection and restoration of cultural
heritage in the region, a comprehensive one-month (29 August - 28 September 2017) training course,
titled “Training Course on Cultural Heritage Protection in the Asia-Pacific Region 2017 for
Preservation and Restoration of Wooden Structures” was held in Nara, Japan.
The course was organized by the Agency for Cultural Affairs, Japan, ACCU (Asia-Pacific Cultural
Centre for UNESCO), ICCROM, and other Japanese cultural organizations with the help of the
Nara prefectural and city governments. A total of 15 members from 14 countries from the AsiaPacific region participated in the training program, with the common objective of learning skill-based
techniques for the preservation and restoration of wooden structures from Japanese practices and to
be able to implement them in their home countries, and to share their experiences and create their own
regional networks.
I am very grateful to have been part of this great learning opportunity as a participant and successfullycompleting this wonderful training course. The training program consisted of many well-organized andinformative class activities, lectures from experts, on site practical training and site visits.
Starting from the country presentations and allowing all the participants to share, discuss and raisequestions about the heritage protection status and activities in their home countries, the training
covered the following important aspects of cultural heritage protection and preservation specificallyrelated to wooden structures:• Explanation of the Japanese cultural heritage protection and management systems and policies• Elaboration of conservation and restoration practices of wooden structures in Japan by experts
and on-site lectures• Practical training in recording/documentation, damage survey and planning of the restoration
work of wooden structures (Fig. 1)

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• Site visits for learning about the preservation and maintenance of vernacular houses andtownscapes (Fig. 2)• Reconstruction and rehabilitation of cultural heritage buildings• Practical training on survey and restoration of wooden painted surfaces• Preservation of traditional craftsmanship and tools• Devising risk management plans for cultural properties• Identifying the values and writing the SOS for World Heritage Convention

Fig. 1: Section drawing of Tanaka
Family Residence

Fig. 2: Site visit to Takayama
Preservation District.

The course answered many questions raised at the beginning by the participants and it has enhanced
their skills and knowledge in many ways. All these skills and experience will help them to improvetheir conservation and restoration practices in their respective countries. The well-organized andwell-planned Japanese model for preservation and restoration of cultural heritage can serve as a good
example to follow.
The following are the interesting and useful concepts, techniques and practices that I have learned
from the training course and the Japanese model of restoration of cultural heritage, and I am very eager
to implement these in my home country, Pakistan:Japanese organizational framework for the management of cultural heritage
Japan has a very well-organized and unique framework for the management and protection of thecultural heritage of the country. The establishment of effective comprehensive laws and policies
through proper documentation and the inclusion of all tangible and intangible aspects; i.e., artistry,skills and traditional conservation techniques, makes it a unique example and source of inspiration
for countries like mine. The cultural heritage of Japan has been listed and segregated on the basis of
a number of defined criteria. The prioritization and segregation of cultural heritage as designated,registered and national treasures, and including local governments in an effective management plan forthe preservation and restoration of each structure makes it very effective and doable.
In comparison to Japan, a lot of improvement is needed in the management plans and laws related to
cultural heritage protection in Pakistan. The absence of involvement by local governments, missing
natural cultural properties and the intangible aspects of heritage can be addressed by using Japan as an
example.

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The documentation and damage survey of wooden structures
Another important learning experience was the practical training for documentation and damage
survey of wooden structures. As I deal with the documentation of cultural properties back home, it wasa very useful exercise to help me review and learn about all the measurement and survey techniques I
can incorporate into my practice. (Fig. 4)
Learning about the Japanese traditional method of taking measurements and the traditional unit
shaku was an interesting experience. The importance of tatami mats in the measurement of different
spaces of traditional buildings was also an interesting phenomenon which helped me to understandthe importance of learning traditional units and measuring systems for documentation of traditionalbuildings and having a better understanding of their proportion and planning.
Community participation in cultural heritage protection
The role of community in cultural heritage protection and management is very inspiring and somethingunique to Japan. The way local people care for their cultural heritage, their efforts and willingness
to protect their heritage and to hand it down to their younger generations was very pleasing to see.
Involvement of the local community is the key factor in the preservation and protection of the cultural
heritage of any country. Learning about the free volunteer guides and information services for tourists
like IKARUGA ICES SGG “Good Will Guide” was very encouraging and can be considered as an
example every country should follow. I would surely like to try to get something like this implemented
in Pakistan too.
Similarly, the participation of the local community of Takayama City and Shirakawa Village in owningand protecting their cultural assets was very inspiring. I would like to engage the local communities
and people of my country in protecting their cultural assets and will try to follow the same practices.
Paint restoration techniques
Learning about the Japanese advanced paint restoration techniques and use of traditional pigments
and materials was also a very enlightening experience. The site visits to Kiyomizu-dera Temple andZenrin-ji Temple were very useful in this regard. The use of reversible intervention in paint restoration
was also a very good example of how to preserve original painted surfaces and material fabrics as well
as how to reproduce and repaint them (Fig. 3). I would like to promote research into and revival of the
traditional paints and pigments used in cultural buildings in Pakistan.
Preservation of carpentry tools and techniques.
Visiting the Takenaka Carpentry Tools Museum in Kobe City was another memorable visit.
Preservation of both the tangible and intangible heritage of Japanese woodworking tools and traditions
is a very nice step by Japan (Fig. 5). I think there is a dire need to introduce this approach in Pakistan
too, as traditional skills are gradually diminishing. The carpentry classes for the younger generations
and the general public is also an admirable step in terms of protecting traditional craftsmanship, which
can be applied in my country too.

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Fig. 3: Reversible intervention (paintrestoration).

Fig. 4: Lecture at Tanaka Family
Residence.

Fig. 5: Carpentry workshop
and Takenaka Carpentry
Tools Museum.

Conclusion
In a nutshell, I would like to say that Japanese cultural heritage protection and restoration methods arevery well framed and organized and can serve as an example for other countries. The organization ofthis training and sharing this useful knowledge and practices with professionals from around the AsiaPacific region is a very generous step by the Japanese people, government and cultural organizations.
The content of the training was very relevant to the current problems being faced by professionals in
my country and I am really looking forward to implementing the knowledge I have acquired. I really
hope to stay in touch, share and discuss my problems and thoughts with the regional network I haveestablished with my fellow participants.
Acknowledgements
I would also like to pay my humble gratitude to all the organizers and the staff members who planned
everything flawlessly and who have been really helpful during this whole month, making my stay in
Nara a memory to cherish forever!
Arigato Gozaimasu...!

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Philippines
WILMER Paraguison GODOY

Invaluable Lesson and Experience regarding Heritage Conservation inJapan-A review and analysis of Japan’s heritage conservation practice and policies
that may be applied to the Philippines-

I. Rationale
The Asia-Pacific region is unique in many ways, especially in terms of cultural heritage. Mostof the heritage structures in this area are mostly made of wood and other traditional materials.
The foremost example is Japan, which has introduced effective conservation (i.e., preservation,
restoration, protection, management) practices and policies to maintain its large treasury ofsignificant wooden heritage structures. Thus, learning from the Japanese system of conservation is avaluable lesson and an essential experience for every heritage expert in the field of conservation.
A. This paper aims to:
1. Synthesize the Heritage Conservation Policies and Practices of Japan based on the Asia-Pacific
Cultural Centre for UNESCO (ACCU) training course entitled, Cultural Heritage Protection in
the Asia-Pacific Region 2017: Preservation and Restoration of Wooden Structures, held in
Nara, Japan from 29 August to 28 September, 2017.
2. Compare the practices of heritage conservation of Japan and the Philippines.
3. Identify the conservation practices and policies of Japan that can be helpful and possibly adopted
in the Philippines.

II. Recollection of Key Points and Valuable Lessons Acquired during the Training:
A.Current Situation of Heritage Conservation in the Asia-Pacific
The training commenced with the fifteen (15) participants sharing the current heritage situationin their respective countries. It was conducive to establishing networks and nurturing cooperation
between countries of the Asia-Pacific region. Common challenges identified among the countries
were: a) how to deal with post-trauma after heritage destruction; b) addressing the gap in humanresources and technical knowledge in conservation; c) proper understanding of traditional
structures; d) physical changes in heritage structures; and e) proper care and restoration of heritage
structures, among others. It was apparent that some of these are similar to the challenges of heritage
conservation in the Philippines, notwithstanding the fact that Filipinos are vigorously continuing towork on addressing these conservation challenges.

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B. Identification and Proper Management of Important Cultural Properties, National Treasures andPreservation Districts
Japan has a long history to tell; thus there is a large number of heritage sites and structures within
the country. Whether designated or applied, the heritage structures of Japan in general are wellmaintained. Japan maintains an astounding number of more than a hundred preservation districts,
a significant feat in a geographical area where tremors occur regularly and that is frequently visitedby storms and typhoons. Compared to Japan, with more than a millennium of existing heritage sites
and structures, the Philippines heritage structures were mostly built from the 18th century onwards1,
and the NHCP 2 has declared quaint eight heritage zones 3 or preservation districts! It is also achallenge for the Philippines national and local governments to identify and declare the dwindlingnumber of heritage zones, 4 primarily for protection, before they totally disappear. It is an immense
task for heritage workers to culturally map and document all of the remaining preservation districts
yet to be declared and to coordinate with the local government and the stakeholders for the possible
designation of these potential heritage zones.
C. Indicators of Successful Conservation of Heritage Sites and Structures
Taking a closer look, why is Japan so successful at heritage conservation in almost all cases? The
answers are apparent based on my own personal observation, namely:
1. Stable financial support for restoration, basically a government subsidy from the village, town,
city, prefectural, and/or central government;
2. Availability of a vast resource of traditional materials, i.e., trees, forests, etc.;
3. State-of-the-art technology, e.g., heritage structures can be moved properly without even being
dismantled;
4. Pool of efficient heritage conservation experts and practitioners;
5. Effective policies and guidelines for conservation (preservation, restoration, management)
Japan, with undeniably vast resources (natural and financial) has all the means to preserve mostof its heritage sites and structures using the latest state-of-the-art technology and a pool of welltrained heritage conservation practitioners such as architects, engineers, traditional carpenters,
painters, etc. As a result, almost all the heritage structures of this country are in good condition interms of conservation. Thus, given all the abovementioned requisites, we in the Philippines could
come up with good preservation and restoration results. It is necessary for us to revisit the present
conservation policies and working guidelines of the Philippines and check whether they are still
effective or require updates to address the present challenges of conservation.
1

With the exception of pre-colonial dwellings and landscapes; e.g., Cordillera houses and rice terraces.
National Historical Commission of the Philippines.
3
Heritage Zone shall refer to historical, anthropological, archaeological, and artistic geographical areas andsettings that are culturally significant to the country… (R.A. 10066).
4
Gapan City old district, Angeles City old district, Carcar City old district, San Miguel old district, etc.
2

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1

2

3

From left to right: 1. Kofuku-ji Temple Pagoda, the temple rebuilt many times after various
calamities; 2. Todai-ji Temple, the world’s biggest wooden structure and shrine of the Great Buddha(Daibutsu Vairocana); and 3. Horyu-ji Temple, Japan’s foremost UNESCO World Heritage Site. Allof these temples (originally built in the 7th and 8th century), along with other old temples of Japan,
clearly show the excellent conservation (preservation/restoration) efforts being made for wooden
heritage structures.
D. Underlying Values and Positive Attitude towards Heritage Conservation
Aside from the abovementioned tools necessary for conservation, I would say that the very successof heritage conservation in Japan is due to the good “values” of the people. This positive attitude
towards preservation is worthy of emulation in each and every country without exception, including
the Philippines. Moreover, the restoration of historical fabric is an external manifestation of the
explicit goodwill/desire (intangible heritage) of the people to retain their rich cultural heritage;
this is evident in the two preservation districts visited during the course of the training, namely:
Takayama City Preservation District (henceforth TCPD) and Shirakawa Farmers Village (henceforth
SFV). In the case of the Philippines, education and informing the people of the significant values ofconservation should be taught vigorously to the people especially stakeholders. In most cases, after
having been informed, the people had a better understanding and appreciated the value of cultural
heritage.
E. Local Community Initiative and Involvement as Demonstration of Sustainable Heritage
Conservation
The two abovementioned heritage districts are outstanding examples of community-initiatedconservation where preservation has proved successful. In the case of TCPD, the preservation of theold sections of the town (northern side and southern side) originated from a local traditional festivalof the town (intangible heritage practices); consequently, the people thought of preserving the streets
where magnificent and colorful floats paraded during the festival. As mentioned earlier, preservationof historical fabric/structures is a result of underlying “values” of the people. On the other
hand, SFV is a collaborative effort by villagers to retain the original form of the farm settlement(outstanding example of Gassho-style houses) including the natural landscape. This little village(a noteworthy UNESCO World Heritage Site) is an outstanding model of preservation for all other179

villages around the world (I must say). It is a concrete illustration of how old traditional architecture
can be maintained through adaptation along with the modern age.
From the promontory (observatory), my soul lifted in awe and my spirit was delighted as I stood
before a scenery that was a sight to behold. The village reminds me of other farming villages
in the Philippines, now gutted by modernization. Empowering the local villagers is a must in
heritage preservation. A close-knit relationship must be established among the inhabitants toform a homogenous group in order to come up with doable and sustainable conservation policies.
Preservation of local traditional communities requires close collaboration between the dwellers andthe government.
F. Preservation and Continuity of Local Crafts for Sustainable Conservation
It is crucial in conservation to transfer the traditional crafts and knowledge to the coming generation.
This is important to enable them to continue the preservation of our present heritage sites andstructures. The legacy (in the form of cultural heritage) that we received from past generations is
the same legacy that we are going to pass to the next generation; thus, it is our responsibility toempower the coming generation in handling this legacy. This is explicitly maintained and practiced
in Japan, where conservation experts such as architects and craftsmen such as carpenters abound,whether locally or professionally trained. It is evident in the restoration of Yakushi-ji, Todai-ji,
Toshodai-ji, Kofuku-ji Temple Complexes, Tanaka Family Residence, and Nagoya Castle. Wooden
structural and architectural members such as columns, beams, roofing, floors, partitions, etc. arecarefully preserved, and old paintings are painstakingly restored or replicated, excellent proof ofproper restoration. It is an urgent call in each country, not least of all the Philippines, to reintroduce
academic training in traditional crafts such as carpentry and painting at schools. Modern day
curriculums increasingly focus on industrial technology in order to promote modernization, while
art-related courses are less favored due to the unavailability of job opportunities after graduation.
G. Risk Prevention/Reduction/Mitigation and Proper Management of Heritage Sites and Structures.
Risk prevention is a key factor in the continued protection of heritage sites and structures. All theefforts of preservation and restoration may be in vain if there is an absence of a feasible and doablerisk prevention plan. Something noteworthy to mention is the ingenuity of the people of Takayama
City in how they harnessed the available resources from nature to protect their heritage structures.
From the river, they tapped a continuous flow of source water following the slope of the area andrunning along canals around the streets. Thus, they are always ready to extinguish fires. The people
themselves organize regular drills to train themselves should fire strike with little notice. Therefore,
a risk prevention management plan is part of the overall conservation plan, which is vital to continue
the preservation of heritage sites and structures. The Philippines should pay attention to including
the protection of heritage sites and structures in the National/Local ‘Framework’ of Risk Reduction
Management Plan.

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1

2

3

From left to right: 1. Shirakawa Farmer’s Village, a UNESCO World Heritage Site; 2. Takayama City
Preservation District; and 3. Kobe City Preservation District. All the aforementioned heritage zones
are the result of good cooperation between the local inhabitants and the government, which serves as agood pattern for other heritage settlements needing proper conservation.

III. Generalization and Conclusion
The one-month training organized by ACCU was a great opportunity to learn about heritage
conservation in Japan. It opened a window for Asia-Pacific countries to forge ties, share, and establish
networks with one another, especially in terms of cultural and heritage conservation. Moreover, theeveryday training sessions and field visits were filled with invaluable lessons regarding the heritage
conservation practices and policies of Japan. (I was overwhelmed with the great deal of informationand lessons learned.) Although the Philippines is different from Japan in so many ways (i.e.,
geographical location, climate, heritage components, etc.), the lessons and important “values” learned
from the training can be transferred to a Philippine setting. The program gave me renewed enthusiasm
to meet future challenges and apply all the lessons I learned vigorously in the field of heritage
conservation upon going back to my own country.

IV. Acknowledgements
My heartfelt gratitude goes to all the ACCU staff: Mr. Nishimura, Mr. Nakai, Ms. Wakiya, Ms. Suzuki
and all other staff who accommodated us and made everything go very well; and to Ms. Hata, who
served as moderator and translator during the entire training. Special thanks also must go to all thelecturers, resource persons, and experts who shared their valuable knowledge and skills with us; toall my co-participants, for the happy companionship and camaraderie we shared together; and to Ms.
Chinen and Mr. Jammo for accompanying us every day. I would also like to thank Mr. Murakami and
Ms. Hyeonok for helping me to procure six volumes on Japanese architecture (traditional and modern).
The ACCU training was a once-in-a-lifetime experience for me. I really loved everything about Japan:
the food, the hospitality, the villages and cities, the temples, the architecture, the heritage—almost
everything. I must say, “Japanese are great people and indeed Japan is a beautiful country.” I will neverforget you and will cherish you all in my heart. Arigato gozaimasu!

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“When you think about heritage, think not just of material value but also think of thepeople. People are an integral part of heritage.”– Prof. Gamini WIJESURIYA“Good observation and understanding of the structure cannot be done by a machine
but rather, by the human eye.”– Mr. KONDO Mitsuo“Mutual relationships and collaboration among the villagers are an essential partof conservation.”– Mr. MATSUMOTO Keita“To protect traditional culture, you need to grow the tree and nurture the people
and community.”– Mr. IMAI Keisuke

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Thailand
Monthatip Yaempradit

Final Report on the Training Course on
Cultural Heritage Protection in the Asia-Pacific Region 2017:
Preservation and Restoration of Wooden Structures
Introduction
The training course on Cultural Heritage Protection in the Asia-Pacific Region was conducted by the
Agency for Cultural Affairs, Japan (Bunkacho), Asia-Pacific Cultural Centre for UNESCO (ACCU),
International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM),and the National Institute for Cultural Heritage, National Research Institute for Cultural Properties[Tokyo and Nara] from 29th August to 28th September 2017, and was joined by 15 participants from
14 signatory countries. As the representative from Thailand, I was one of the participants who received
this opportunity to gather knowledge on the preservation and restoration of cultural heritage. As ageneral key, the training encouraged participants to share, learn and develop initiatives for preservation
and restoration of wooden structures. The organizers provided many experts from Japan and overseas
to give lectures, practice sessions, and facilitate discussions among participants to let us exchange
ideas among Asia-Pacific countries including Afghanistan, Bangladesh, Bhutan, Cambodia, China,
India, Indonesia, Korea, Nepal, New Zealand, Pakistan, the Philippines, Thailand, and Vietnam.
The program for this training ranged from basic ideas of preservation and restoration in cultural
heritage, practice in documentation, survey and monitoring, determining plans for preservation andlectures on many case studies such as houses, temples, shrines, castles and townscapes, to learning
the history of tools and how to use them with wooden structures, and understanding how to adapt
risk disaster plans to preservation and restoration in cultural heritage projects. Accordingly, thetraining program exposed us to many different views of cultural heritage protection from a worldwide
perspective. We learned about and compared the Japanese process compared to the process used at ourown sites. This gap of ideas on different issues will guide me to do more research and improve the way
I help protect cultural heritage in my own country, particularly in regard to the following issues:

1. Principles and Policies for Cultural Heritage
Japan has classified “cultural properties” in the Law for the Protection of Cultural Property into six
categories as follows: (i) Tangible Cultural properties (ii) Intangible Cultural Properties (iii) Folk
Cultural Properties (iv) Monuments/Sites (v) Cultural Landscapes and (vi) Groups of Traditional
Buildings. The aim of preservation is to conserve cultural properties, utilize them, and thus contributeto the cultural development of the Japanese nation as well as to the progress of world culture. Under
the cultural property protection system of Japan, designated tangible cultural properties are classified
into two classes: (i) national treasures and (ii) important cultural properties. Superior important culturalproperties are selectively designated as national treasures. Moreover, designation, registration, andnomination of tangible cultural properties are included.

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The principles of restoration work in Japan look interesting in the reuse of parts to maintain theauthenticity of materials, making decisions to alter the existing state of structures, the study of
traditional techniques and the way to document restoration work. These ideas are the reason why many
cultural heritage buildings still remain in Japan in a rather complete form.
In Thailand, the Fine Art Department is the main official department that is involved in work related
to cultural heritage. Preservation and restoration work is regulated by the Act on Ancient Monuments,
Antiques, Objects of Art and National Museums, M.E. 2504 (1961). The Act presents definitions of
three important keywords as follows:(i) Ancient Monument means an immovable property which, by its age or architecturalcharacteristics or historical evidence, is useful in the field of art, history, and archaeology.
(ii) Antique means an archaic movable property, whether produced by man or by nature or being
any part of the ancient monument or of human skeleton or animal carcass which, by its age
or characteristics of production or historical evidence, is useful in the field of art, history orarchaeology.
(iii) Object of Art means a thing produced by craftsmanship which is appreciated as being valuable
in the field of art.
The main idea of conservation is maintenance and preservation of remaining value, which includes
protection, preservation, restoration, and conservation. Even though the policy regulates those three
things in particular, on-field work can include sites and objects that represent the value of national
cultural heritage and local cultures. For example, palaces, monuments, temples, shrines, houses, piecesof literature, drama and music, ceremonies, festivals, and so on.

2. Documentation in Cultural Heritage Buildings
Surveys can divided into eight categories including (i) surveys of damage (ii) surveys of specifications(iii) surveys of traces/for restoration (iv) surveys of structural components (v) seismic evaluation
surveys on structure (vi) surveys on documentary records (vii) excavation surveys and (viii) othersurveys. All these aim to record the original dimensions of architecture such as column spans, floor
levels, roof levels, angle, types of material, etc.
The work session at Tanaka Family Residence provided knowledge of the history, characteristics, andstructure of the Horen-zukuri style farmhouse. We practiced documenting and investigating conditionsin the Japanese way. The Japanese system records a range of elements rather than aiming for precision,
because the determining reference mark is only one spot. Japanese has recorded by the large scalethat running number from the first span until the last span or the end of the measurement tape. Thismethod is completely different from other countries which record span by span. Also, a multi-line laser
machine is helpful for marking references for the vertical line measure. Additionally, this work session
teaches us how to carefully observe cultural heritage buildings. Measuring the span of pillars and thefloor, size of materials and angles is important, because this report may predict the future condition of184

each element. The recording format is also useful for notes such as remarks on wood species, quality,
preparation process and shape of the used materials. Investigation of the condition of the material is
one process related to determination of the preservation plan and calculating the budget. Most of the
weaknesses come from damaging factors such as humans, animals, and nature.
The important thing is how to expand the life of the original materials as much as possible. Before
starting a project, we must find the damage, contemplate how to fix and repair it, and then draw up apreservation plan. On the other hand, utilization of a building can also preserve its life. Activities incultural heritage buildings should be included in the preservation plan. For example, a living museum
and contemporary workshop could be recreated once a week. Local people would therefore come into
part of the cultural heritage building. That building would then become a community site for local
people that has both tangible and intangible value.

Figure 1: Tanaka Family Residence

Figure 2: Example of survey drawing

3. Preservation, Restoration, Conservation and Reconstruction Projects
The processes of tangible conservation in Thailand are classified into three categories: (i) Preservationmeans to preserve in the present condition and protect against future damage. (ii) Restoration means
to revive old physical elements which have disappeared back in the same place with new materials. (iii)
Conservation means to repair old elements and rebuild new elements to be as harmonious as possible,
by defining the different periods for the old and new materials. These processes also appear in Japanbut are different in many details such as in the use of traditional materials and traditional techniques,with the final design of projects based on the results of the survey and documentation mentioned
above. Then the content of the design is determined including the work requirements, an estimate of
the cost of the work and clarification of the inspection details/standards implemented by a supervisor.
The specifications, breakdown of the cost and notes for the final design follow after that.
Accordingly, as part of the training there were case studies, where we went for lectures and observed
many ideas of preservation, restoration, conservation and reconstruction projects of different kinds ofarchitecture such as historic monuments, temples, castles and vernacular houses. Preservation workfor cultural heritage buildings in Japan can be separated into two types: once every 10-20 years forreroofing, and once every 100 years to preserve the whole structure. Most of the historical monuments,
temples and castles are also archaeological sites. So, excavation work becomes the first process. Afterbeing excavated and surveyed, archeological pieces are protected by the concrete foundations of thebuilding above.

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The case studies, including Yakushi-ji Temple, Toshodai-ji Temple, Todai-ji Temple, Nagoya Castle,
Kiyomizu-dera Temple, Zenrin-ji Temple and Horyu-ji Temple, led me to gather many beneficial
preservation ideas. For example:- The preservation process should be done through research of traditional construction methods
and follow the traditional rules for every component.
- Wooden structures should be cleaned using brushes without scraping the original surface.
- Painted parts should be cleaned with Japanese paper, which traps water and absorbs the dust into
the paper.
- For rotten wooden parts which need to be removed, the new material which replaces them must
be the same kind of wood, mostly cypress, cedar, and pine.
- New technology should be used when traditional reinforcement techniques are not able toresolve the structural problem.
- For some parts that have been preserved more than once, we need to assess which period
represents greater value and which techniques benefit the structure.

Figure 3: Model of Todai-ji Temple in two different periods
Figure 4: Restoration painting work at Kiyomizu-dera Temple

On the other hand, the major scale of cultural heritage sites enables them to become Preservation
Districts for Groups of Traditional Buildings such as the townscape of Takayama City and Shirakawa
Village. Both places have been registered by local people and are managed by local people. The
government supports them as official facilities through subsidies, grants, and policies. The managementof townscapes is an interesting issue. Local people who the owner and head of preserve the town,
commute group of people for managing their own area. So, the value of the townscape is passed onfrom generation to generation, providing what we call sustainable management.

4. Disaster Risk Management
The factor of disaster in Japan comes from both humans and nature. The greatest risk for timber isobviously fire. The government of Japan has granted considerable subsidies for fire protection suchas fire alarm systems and initial firefighting equipment. The second risk is the impact of typhoons,and the more frequent gale force winds and tornados, followed by floods, landslides and big fallentrees. The third risk, which is relatively rare but causes the most serious damage, is the occurrence of186earthquakes. For example, the Great Hanshin-Awaji Earthquake in Kobe destroyed temples, shrines,
vernacular houses, sake breweries, modern buildings, foreign residences, western-style residences,
Japanese-style houses, brick-built architecture, arts and crafts and folklore cultural properties. Most ofthem have been restored with materials to prevent deterioration from the earthquake.
By comparison, in Thailand, flooding is the most severe and frequent hazard affecting this project
area. It can also lead to secondary hazards such as landslides/sunken land, soil erosion, electricity
leakage, and theft. Thailand is also vulnerable due to its natural setting, i.e., location, monsoons,
low pressure weather systems, and climate change and from human interventions, i.e., urbanization,
construction, water management mistakes, past intervention, unprepared management, lack ofcooperation among involved organizations and changes in architectural styles and building techniques.
Meanwhile, necessary elements to help manage the impact of floods need to include flood warnings/
alerts, timeframes for preparation, logistics and lines of communication, perimeter protection, interior
drainage systems and emergency contacts.

Conclusion
The experience from this training has been most invaluable. Learning about the Japanese style ofpreservation and restoration made me look back to my own country, opening a new perspective. I
found ways to resolve some problems, and some ideas that I used to think were good led to someconcern. The one month ACCU training course, moreover, enabled me to learn about preservation andrestoration of wooden structures, but the discussions between the lecturers and overseas participantsalso provided different viewpoints with which to analyze my own country, and that expanded myperspective.
Other than providing knowledge, the organizers took good care of the participants during both the classtime and free time, as we were regarded as family. On weekends and in their free time, participants
could study and travel while pursuing interesting issues which were not included in the training
curriculum. So, the benefits from this training exceeded my expectations. Finally, I would like to thankBunkacho, ACCU, ICCROM, the National Institutes for Cultural Heritage, National Research Institutefor Cultural Properties [Tokyo and Nara], the Japan Consortium for International Cooperation in
Cultural Heritage, Ministry of Foreign Affairs of Japan, Japanese National Commission for UNESCO,
Nara Prefectural Government, and Nara City Government for organizing and nominating me for thiscourse.

187

Viet Nam
Duong Nhat An

Final Report of the Training Course on Cultural Heritage Protection in the
Asia-Pacific Region 2017
Introduction
From 29 August to 28 September 2017, I had an opportunity to join the Training Course on Cultural
Heritage Protection in the Asia-Pacific Region 2017 with my new friends from 13 other countries in
Asia. The topic of the training course was preservation and restoration of wooden structures.
We came to Nara city, Japan with many different political, cultural, and language backgrounds, but wehave one thing in common: the passion and desire to study the field of preservation and restoration ofWorld Cultural Heritages, especially wooden architectural monuments. During the past month, we hadaccess to a huge amount of knowledge along with many useful practical trips. We had the opportunity
to study, interact and discuss with many leading experts in this field. It was an honor for us to be
trained in Japan, one of the most experienced countries in the world in the field of preservation andrestoration of World Cultural Heritages.
I believe that I will use all that useful knowledge for the preservation and restoration of monuments inthe direction that is the most suited to Vietnam’s actual conditions. For example:

Recording/Documentation of Wooden Structures
I received a great deal of useful and important knowledge on surveying, measuring and evaluating thepresent condition of wooden structures during the work session at Tanaka Family Residence, especiallysurveying methods (Fig 01).

Fig 01. Surveying method and equipment (Tanaka Family Residence, Nara, 2017)

Regarding the preservation and restoration of Cultural Heritages, especially wooden structures,
surveying, drawing and evaluating the present status of structures play a particularly important role.
These are considered to be the decisive factor to the success of a project. All data obtained will be thefoundation for subsequent design steps.

188For projects on preservation and restoration of the World Cultural Heritages managed by the Hue
Monuments Conservation Center, we attach great importance to this issue. However, the process of
surveying, measuring and evaluating the current status of the structures has not been standardized so
we sometimes encounter difficulties at the project implementation stage.
After three days’ work, I improved my skills in surveying, measuring and evaluating the current statusof projects with the careful guidance of experts. After I come back to Vietnam, I will apply and sharethe skills that I learned with colleagues to improve the surveying process, including measuring andevaluating the current state of projects in Vietnam in general, and in particular the Hue monuments.

Restoration of Wooden Structures
I was deeply impressed with the Japanese wooden restoration process, especially as seen at theconstruction sites at Yakushi-ji Temple and Toshodai-ji Temple. The construction sites are organizedscientifically, with a focus on occupational safety and a high level of discipline. This is exactly what
we need to learn from Japan. The most impressive thing for me (probably too simple for many people)
was the cover for the whole building during the restoration (Fig 02). Actually, this is a very important
item for dismantling, evaluating, preserving and restoring the wooden structures of monuments.
However, it is difficult to do in Vietnam for many different reasons. I hope that in the near future wecan do something like that.

Fig 02. Construction site of Yakushi-ji Temple (Yakushi-ji Temple, Nara, 2017)

In the wooden restoration process in Japan, I was especially impressed with respect to the attention
paid to the historical value, the original value of each timber structure; the originality of the material
and the method of recovery. In addition, I felt the enthusiasm, passion and carefulness of the staff inthe conservation and restoration of monuments.

Preservation and Maintenance of Wooden Structures
In Takayama, I was really touched because Takayama City reminded me of Hoi An ancient town in
Vietnam. The two cities really have a lot in common, for example, in terms of architecture, spaceplanning, and people’s lifestyles. Takayama City and Shirakawa Village deserve to be role models
in the conservation, restoration and maintenance of historic monuments for vernacular houses andtownscapes.

189

In addition to the monuments and landscapes protected in good condition, what mattered to me
particularly were the fire fighting systems of Takayama City and Shirakawa Village (Fig. 03). Thisis the first time that I have seen fire fighting systems so well integrated within a community in both
places.

Fig 03. Fire fighting systems (Takayama City and Shirakawa Village, Gifu, 2017)

After I come back to Vietnam, the first thing I will do is to research and apply this fire system for Hue
imperial city, where there are more than 500 wooden architectural monuments.

Restoration of Paint
Lacquer was used in Vietnam around 930-950 AD. At present, lacquer (lacquer, golden lacquer, silver
lacquer) is widely used in almost all wooden structures in Hue Royal Architecture monuments. This
was also one of my main areas of interest when arriving in Japan.
After researching at Kiyomizu-dera Temple and Zenrin-ji Temple, Kyoto City, I noticed that although
the lacquer process is basically the same in Vietnam, China and Japan, there is a difference between
Vietnam/China and Japan in terms of technique as well as the materials used.
Besides this, I was also exposed to the new concept (for me) of the restoration of paint for World
Cultural Heritage Monuments (Fig. 04). Restoring the paint for parts of the building in the same styleas the original has a very good effect on the preservation of historical and cultural values of each

Fig 04. Restoration of paint (Kiyomizu-dera Temple, Kyoto City, 2017)190

component of World Cultural Heritages. I will study this issue more thoroughly to see if it can beapplicable to similar projects in the future in Vietnam.

Traditional Craftmanship and Conservation of Tools
The restoration and conservation of wooden architectural monuments in Vietnam today are mainly
based on the experience of longtime artisans. Most of these artisans are elderly, and if their traditional
skills are not passed down to successive generations, there is the risk of the skills being lost.
This is one of the greatest challenges for Vietnam in general, and Hue in particular, for the preservation
and restoration of Cultural Heritages. Despite many efforts in awareness-raising and education for the
younger generation, the results have not been as expected.
Therefore, when I came to study at the Takenaka Carpentry Tools Museum, Kobe City, I was very
excited to see the development process as well as how to use the tools on display. The processes werereproduced vividly, and were extremely interesting and appealing to the viewer (Fig 05). This is a greatmodel for preserving traditional industries as well as tools; it is a place to inspire people, especially theyounger generation, to know, understand and love these traditional techniques.

Fig 05. Conservation of tools (Takenaka Carpentry Tools Museum, Kobe City, 2017)

I am sure that I will return to Takenaka Carpentry Tools Museum to learn more to apply this model in
Vietnam successfully.

In Conclusion
This was a great chance for me to have the opportunity to study, research, and share experiences withother participants as well as leading experts in the field of preservation and restoration of wooden
structures. I will use the knowledge learned to improve the process of preserving and restoring theWorld Cultural Heritages of my country. Finally, I would like to sincerely thank the board of directors
and all ACCU staff, lecturers, experts and participants who helped me complete this training.
Cám ơn.
Thank you.

191

Viet Nam
Tran Thanh Hoang Phuc

Final Report on the Training Course on Cultural Heritage Protectionin the Asia – Pacific Region 2017
Preservation and Restoration of Wooden Structures
I. Introduction
The study of traditional wooden architecture has always been an interesting topic for researchers andconservationists in Eastern Asian countries. Understanding the properties of materials, processing
methods, type of structures and the factors that affect wooden buildings is important for theconservation and restoration of monuments. Therefore, attending the Training Course on Cultural
Heritage Protection organized by ACCU Nara and ICCROM was a great opportunity to learn about
traditional wooden architecture restoration in Japan as well as to exchange conservation experienceswith other participants.
In this course, we participated in many lectures from conservation experts who work in various
research fields. We also went on field trips to a number of heritage sites which are under conservationsuch as temples, vernacular houses and ancient towns to gain a better understanding of the history,
culture, architecture and restoration techniques in Japan.

II. Lectures and Activities in this Training Course
Through the lectures and field trips, some of the knowledge I gained is as follows:
I was impressed by the policy for the protection of cultural heritage in Japan presented by Prof.
INABA Nobuko. The Japanese have made great efforts to preserve their tangible and intangible
cultural heritage, which is reflected in the legal framework for the protection of cultural heritage. As
early as 1871, there were proclamations by the Imperial Cabinet for the Protection of Antiquities. In
1897, there was the Ancient Shrines and Temples Preservation Law. Subsequent laws for other typesof heritage such as Historic Sites, Intangible Cultural Properties, Preservation Districts for Groupsof Historic Buildings, etc. continued to be added up to 2004 with the Cultural Landscapes Law. The
prefectures of Japan have strongly focused on preservation and restoration of cultural heritage. Many
artifacts and heritage sites from the 7th and 8th centuries have been still preserved and restored inperfect condition. Temples, shrines, vernacular houses associated with customs, daily activities andannual festivals of local people, which are all important cultural heritages, are well-classified. These
become a strong foundation for conservation work. The training for construction workers, technicians
and managers in restoration techniques is also well considered.
In contrast, although attention has been paid to the preservation of cultural heritage in Vietnam,a regulation for the protection and use of historical and cultural sites and scenic spots was only
established in 1984 due to the prolonged war. Until 2001, the Law for Cultural Heritage was approvedby the 10th National Assembly of Viet Nam. The tangible and intangible cultural heritage is quite well192

preserved, but finding and training the next generation of local conservation experts and providing
significant remuneration for the workforce have not been properly taken care of.
In the training course, field trips to heritage sites provided the participants with an overview of
traditional Japanese wooden architecture. The architecture is harmonized with nature with sophisticatedyet elegant design. Wood such as cypress, pine, cedar and camphor and so on as a product of the richforest environment is well utilized as a basic element in architecture. Traditional roofing materials are
made from organic materials such as thatch and wooden shingles. The wooden frames and structures
are firmly jointed with a variety of mortise and tenon joints, which not only create stable structures
but also withstand the impact of earthquakes. These types of structures can be easily dismantled for
repair work. In addition, double layers of rafters create deep overhangs. In temples, white walls andred wooden frames with colorful decorations on wooden elements are well used to create a strong
visual impression. Meanwhile, in vernacular houses, neutral colors of natural materials are commonlyused and exposed to express simplicity and modest beauty. However, these materials, such as wood,
thatch and wooden shingles, are a fire hazard and easily decay. As such, the reconstruction of wooden
structures or re-roofing need to be carried out periodically.
Work plans for conservation and repair are carefully implemented. Regardless of the different types,
the principles of conservation and repair work must be followed such as reuse of original components,
investigation and reproduction of working methods and techniques, rigorously reviewing restoration
policy and recording the original details. Restoration works of public and privately-owned buildings
which have historical and cultural values must strictly comply with regulations, instructions andevaluations from both national and prefectural governments. Therefore, the inherent features of thearchitecture in each region and cultural values are kept intact. For traditional vernacular houses, e.g.,
Takayama historic buildings, Shirakawa-go and so on, the homeowners can seek subsidies from thenational and local government for the conservation and renovation work. Disaster risk management at
heritage sites is particularly well managed. The conservation works follow a multi-pronged approach,which is to not only strengthen building stability but also enhance environmental sustainability.
The most interesting conservation exercise was to learn about surveying painted surfaces and planningfor painting restoration, mentored by Mr. KUBODERA Shigeru. Learning how to observe the tracesof decorative patterns painted on the wooden beams in Jibutsu-do, Todai-ji Temple and to sketch andcolor those patterns on paper enlightened us on another aspect of conservation. An on-site discussion
on the evaluation of paint colors undertaken for the Amitabha Hall, Zenrin-ji Temple provided theparticipants with a better understanding of several methods to repair the paint colors of architectural
structures. Various paintings in the same structure have different restoration treatments due to theirdiffering characteristics. The exterior colors of the hall have been fully repainted, but the inside isdivided into several sections and the colors were repainted separately depending on the section. Somesections have been fully repainted, some sections have been preserved after being treated by cleaningand preventing delamination of the existing colors, and other sections have been treated by using a

193

repair method combining the two methods mentioned above. This allows visitors to understand andlearn how the original elements and the preserved elements are treated.
The above methods have widened my knowledge on conservation to an extent I have neverexperienced before. They not only preserve the heritage value but also serve public education andresearch purposes. In Hoi An ancient town, where I am in charge of its conservation, the various partsof structures are rarely painted except for some Chinese components. Consideration will be given to
applying the above methods to similar conservation projects in Hoi An, Vietnam in the future.

Detailed interior and exterior of Amitabha Hall, Zenrin-ji Temple

Moreover, through sketching and measuring structure and elements at the old Tanaka Family
Residence, I have learnt how to measure tilt and subsidence in pillars and floors for drawings, toobserve structural members and jointing methods more effectively.

III. Conclusion
From the course, I now have more understanding of wooden conservation. However, adapting theselearning points to the context of Hoi An ancient town, Vietnam is something that must be wellconsidered, studied and developed, as each country has its own unique architectural characteristics,
historical and cultural values, and fiscal and technological capabilities. However, there are someprinciples of restoration that can be applied and strengthened to get better results in restoration work in
Hoi An:- Prioritize the use of traditional materials and traditional methods in the preservation and restorationof wooden structures. This will help to better preserve the authenticity of the components rather
than the use of machinery, which is commonly used to mass replicate elements and save time.
- Ensure the original shape of the elements through reference to the records.
- Ensure that the original color of retained elements such as coatings and decorative patterns on thewooden structures are part of the architectural and artistic history of the structure.
- Conduct proper investigations so that conservation and preservation methodology can be well
proposed, planned and executed.
- Install a scaffolding for the entire structure to ensure an extremely high level of preservation.

194

It’s difficult to install a scaffolding for restoration of privately-owned houses in Hoi An because thehouses are usually close together. Moreover, building a scaffolding would increase the cost of repairs,
meaning that the homeowners would have to pay more, and they often do not like this.

IV. Acknowledgements
I would like to express my gratitude to ACCU Nara and ICCROM, who provided me with the great
opportunity to join this high quality training course. The course has equipped me with new andvaluable knowledge on preservation and conservation.
Secondly, I would like to thank the other participants in the ACCU Nara 2017 Training Course, whowere not only good teammates but also good friends.
Hopefully, ACCU Nara and ICCROM will organize more training courses, so that moreconservationists in the Asia–Pacific region can participate in learning and the exchange of experiences.
Thank you!

195

196

IV. Appendix
1. List of Participants
2. List of Lecturers
3. Acknowledgements for Cooperation
4. List of Interpreter and Assistants

Appendix

5. Staff Members, ACCU Nara Office

At Yoshijima Family Residence in Takayama City

197

198

1. List of Participants
Bangladesh
Sabrina Rahman
Assistant Secretary

Cultural Heritage Section, Ministry of Culatural Affairs
Building #06 (10th Floor), Bangladesh Secretariat, Abdul Gani Road,
Dhaka, Bangladesh
Tel: (+88) 02 9576534 Fax: (+88) 02 9576535
sabrina17578@gmail.com
BhutanJamyang Singye Namgyel
Architect

Division for Conservation of Heritage Sites, Department of Culture,
Ministry of Home and Cultural Affairs
Department of Culture, Kawangjangsa, Thimphu, Bhutan (Code: 233)
Tel: (+975) 17988405
jsnamgyel@mohca.gov.bt
Cambodia
Ro Sovandaroath

Cultural Heritage Restorer

Department of Cultural Development, Museum and Heritage Norms,
APSARA National Authority
Bang Korng Village, Ampil Commune, Siem Reap City, Cambodia
Tel: (+855) 63 765 577 Fax: (+855) 63 765 576
sovandaroathro@gmail.com
China
Bi Yi

Project Leader

Studio Three, Beijing Guo Wen Yan Cultural Heritage Conservation
Centre Co.Ltd.
Building No.8, Ao Bei Technology Park, No.1, BaoSheng Rd,
Haidian Dist, Beijing, China (Code: 100192)
Tel: (+010) 82527963 8508 Fax: (+010) 82527950 8402
20824637@qq.com

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IndiaAnam Sami

Conservation Architect

Architectural Heritage Department,
Indian National Trust for Art and Cultural Heritage (INTACH)
71 Lodhi, Estate, K.K Birla lane, New Delhi, India
Tel: (+91) 11 24631818 Fax: (+91) 11 24611290
samianam09@gmail.com
Indonesia
Titin Nofita Handa Puteri

Staff of Conservation Laboratory

Conservation, Cultural Heritage Preservation Office of West Sumatera,
Ministry of Education and Culture
Jl. Sultan Alam Bagagarsyah, Batusangkar, West Sumatera, Indonesia(Code:27281)
Tel: (+62) 752 72322 Fax: (+62) 752 71953
titinnofita.hp@gmail.com
Republic of Korea
Yoo Hyeonok

Architectural Researcher

International Cooperation Team, Department of Planning and Coordination,
Korea Cultural Heritage Foundation
406 Bongeunsa-ro, Gangnam-gu, Seoul, Republic of Korea
Tel: (+82) 10 9336 2131
yoohyeonok@gmail.com
Nepal
Ram Prasad Suwal
Assistant Professor

Department of Architecture,
Nepal Engineering College (Affiliated to Pokhara University)
Changunarayan, Bhaktapur GPO BOX: 10210, Kathmandu, Nepal (Code: 44800)
Tel: (+977) 1 5221006 Fax: (+977) 1 5221001
ramps@nec.edu.np
New Zealand - Aotearoa
Ambrosia Crum

Pouarahi Maori Built Heritage Advisor

Maori Built Heritage, Heritage New Zealand Pouhere Taonga
Premier Buildings, 2 Durham Street East, PO Box 105-291,
Auckland, New Zealand 1143
Tel: (+64) 9 307 9920 Fax: (+64) 9 303 4428
ambrosia.crum@gmail.com

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Pakistan
Laiba Sundas

Sub-division Officer

Youth Affair, Sports, Archaeology and Tourism Department,
Directorate General of Archaeology, Government of the Punjab
Directorate General of Archaeology, Old Fort (Shahi Qila), Lahore, Pakistan
Tel: (+92) 042 99330060- 1 Fax: (+92) 042 37375370
mail.sundas@gmail.com
Philippines
Wilmer Paraguison Godoy
Architect II

Research, Documentation, Survey, and Conservation
Historic Preservation Division,
National Historical Commission of the Philippines
NHCP Bldg., T.M. Kalaw St., Ermita, Manila
Tel (+632) 335 1218 (+632) 335 1219 09154541695
arkiwilmergodoy@gmail.com
ThailandMonthatip Yaempradit
Academic Artist

Archaeological Preservation Group,
The 3rd Regional Office of Fine Art (Phra Nakhon Si Ayutthaya),Fine Art Department, Ministry of Culture
Khlong Tor Road, Pratoo Chai sub-district, Phra Nakhon Si Ayutthaya district,Phra Nakhon Si Ayutthaya province (Code: 10300)
Tel: (+66) 35242501
kazaboii@gmail.com
Viet Nam
Duong Nhat An
Main Surveyer

Project Management Board of Hue Monuments,
Hue Monuments Conservation Centre (HMCC)
23 Tong Duy Tan, Hue City, Thua Thien Hue Province, Viet Nam (Code: 530000)
Tel: (+84) 234 3523237 Fax: (+84) 234 3526083
duongnhatan2005@gmail.com
Tran Thanh Hoang Phuc
Conservation Architect

Department of Relics Management,
Hoi An Centre for Cultural Heritage Management and Preservation
10B Tran Hung Dao Street, Hoi An City, Quang Nam Province, Viet Nam
Tel: (+84) 235 3919369
phuc_tranth82@yahoo.com

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2. List of Lecturers
Lecturers from Abroad;
Gamini WIJESURIYA

Rachael EGERTONInternational Centre for the Study of the
Preservation and Restoration of Cultural
Property (ICCROM)
gamini.wijesuriya@gmail.com

New Zealand,
reemidge@hotmail.com

Project Manager

Heritage Consultant

Lecturers from Japan:
INABA Nobuko

YAMASHITA Hideki

Faculty of Art and Design,
University of Tsukuba
inaba@heritage.tsukuba.ac.jp

Office of Cultural Assets Preservation,
Nara Prefectural Board of Education
yamashita-hideki@office.pref.nara.lg.jp

UENO Katsuhisa

HAMAGUCHI Tomonari

Architecture and Other structures Division,
Cultural Properties Department, Agency for
Cultural Affairs, Japan (Bunkacho)katuhisa@mext.go.jp

Office of Cultural Assets Preservation,
Nara Prefectural Board of Education

Professor

Senior Specialist for Cultural Properties

KIYONAGA Yohei

Specialist for Cultural Properties

Architecture and Other structures Division,
Cultural Properties Department, Agency for
Cultural Affairs, Japan (Bunkacho)kiyonaga@mext.go.jp
KONDO Mitsuo
Technical Auditor

Japanese Association for Conservation ofArchitectural Monuments (JACAM)
m_kondo@bunkenkyo.or.jp
NISHIYAMA Kazuhiro

Research Fellow(Architectural Feature Section)

Department of Imperial Palace Sites
Investigation, Nara National Research Institutefor Cultural Properties (NNRICP)
hiro@nabunken.go.jp

202

Conservation Architect

Chief Technical Specialist(Conservation Carpenter)

YAMAGUCHI Isamu
Unit Chief

Cultural Properties Section,
Nara City Board of Education
yamaguchi-isamu@city.nara.lg.jp
KANEKO Takayuki
Conservation Architect

Office of Cultural Assets Preservation,
Nara Prefectural Board of Education
kaneko-takayuki@office.pref.nara.lg.jp
TAKAMIYA Kunihiro
Conservation Architect

Office of Cultural Assets Preservation,
Nara Prefectural Board of Education
takamiya-kunihiro@office.pref.nara.lg.jp

IMANISHI Yoshio

SHIMADA Yutaka

Todai-ji Temple
imanishi@todaiji.or.jp

Cultural Properties Division,
Kyoto Prefectural Board of Education
y-shimada81@pref.kyoto.lg.jp

Executive Advisory Engineer

IWATA Takashi
CuratorCultural Properties Section.
Takayama City Board of Educationt.iwata@city.takayama.lg.jp
MATSUMOTO Keita
Chief

Technical Staff (Architecture)

YOSHIDA Mitsuyoshi
Conservation Architect

Office of Cultural Assets Preservation,
Nara Prefectural Board of Education
yoshida-mitsuyoshi@office.pref.nara.lg.jp
NISHIYAMA Marcelo

Cultural Properties Section.
Shirakawa Village Board of Education
kyouiku-bunkazai@vill.shirakawa.lg.jp

Assistant Director

IMAI Keisuke

MURAKAMI Yasumichi

Nagoya Castle General Administration Officek.imai.11@city.nagoya.lg.jp

Cultural Asset Protection Office,Hyogo Prefectural Board of Education
yasumichi.murakami@gmail.com

Chief

KATO Junko
Association of Wall Painting Restoration and
Duplicate at Nagoya Castle Honmaru Palace

Takenaka Carpentry Tools Museum
nishiyama.marcelo@dougukan.jp

Councilor

KUBODERA Shigeru
Director

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

3. Acknowledgements for Cooperation
Yakushi-ji Temple, Toshodai-ji Temple, Todai-ji Temple, Kiyomizu-dera Temple, Zenrin-ji Temple
Horyu-ji Temple, Kobe Tourism Bureau, Ikaruga ICES SGG
TSURUOKA Noriyoshi, Director (Architecture), Cultural Properties Division, Kyoto Prefectural
Board of Education
KIMURA Yusaku, Curator, Nagoya City Board of Education
KOBAYASHI Minoru, Technical Officer, Office of Cultural Assets Preservation, Nara Prefectural
Board of Education
KITAGAWA Yukari, Chief Architect, Office of Cultural Assets Preservation, Nara Prefectural
Board of Education
CHIGUSA Hiroshi, Director, Cultural Properties Division, Kobe City Board of Education
KOBAYASHI Sayaka, Curator, Cultural Properties Division, Kobe City Board of Education

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TAKEGUCHI Yasuo, Conservation Architect, Office of Cultural Assets Preservation, Nara
Prefectural Board of Education
BABA Hiromichi, Assistant Director, Office of Cultural Assets Preservation, Nara Prefectural Boardof Education

4. List of Interpreter and Assistants
Interpreter
HATA Chiyako, Training Coordinator
3863russel@gmail.com
Assistants
Sari Jammo, Graduate Student, Doctoral Program in History and Anthropology,
Graduate School of Humanities and Social Sciences, University of Tsukuba
sari-0088@hotmail.com
Claudia Hatsumi Uribe CHINEN, Graduate School Research Student, World Heritage Studies
Program, School of Comprehensive Human Sciences, University of Tsukuba
curibec@pucp.pe
MURAKAMI Kosuke, Graduate Student, Master’s Program in World Heritage Studies,
University of Tsukuba
dora1210kou@yahoo.co.jp

5. Staff Members, ACCU Nara Office
NISHIMURA Yasushi, Director
nishimura@accu.or.jp
TAMAKI Shigeru, Deputy Director
tamaki@accu.or.jp
NAKAI Isao, Director, Programme Operation Department
nakai@accu.or.jp
WAKIYA Kayoko, Director, International Cooperation Division
wakiya@accu.pr.jp
HORIKAWA Kazuko, Chief , Planning & Coordination Divisionhorikawa@accu.or.jp
SAKIMOTO Keiko, Chief , International Cooperation Division
sakimoto@accu.or.jp
NISHIDA Michiko, Staff , Planning & Coordination Divisionnishida@accu.or.jp
SUZKI Sonoko, Staff , International Cooperation Division
ssuzuki@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.jp204