International Conference 2013
“Revisiting the Philosophy of Preserving Wooden Structures:
Restoration Method for Wooden Structures and Its Philosophy”(17 – 19 December, Nara, Japan)

Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
Agency for Cultural Affairs, Japan

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Excursion: Restoration site at Shonen-ji Temple

Excursion: In front of Middle Gate at Horyu-ji Temple, UNESCO World Heritage sitePreface
Since 2000, Cultural Heritage Protection Cooperation Office, Asia- Pacific Cultural Center for
UNESCO (ACCU Nara) has been holding International Conference every year for the purpose ofpromotion of specialized research and exchange of opinions relating to cultural heritage protection.
This conference is a collaborative effort among Agency for Cultural Affairs, Japan; Nara National
Research Institute for Cultural Properties; and WHITRAP Shanghai, the UNESCO Category 2 Centre.
In the past three years, the conference was held under the general theme of “Human Resources
Development for the Transmission of Traditional Skills,” and the discussions were continued with the
sub themes of “National Approaches and Their Application to Woodworking” for the first year,“National Approaches and their Application to Stone and Brick” for the second year, and “Building
Decoration with a Focus around Painting and Colouring” for the third year.
During the discussions held in those three years, we reaffirmed the importance of transmission of
traditional skills, procurement of traditional materials, and human resources development. However,there remains the key issue of how its integrity and authenticity could be assured, which reminds us ofNara Document.
Toward the year 2014, which is the 20th anniversary of Nara Document, we would like to revisit therestoration methodology of wooden structure in International Conference this year. Though it isuncommon in Japan to see partial or total dismantling of the structure, we hear there remain criticalremarks toward this approach among other countries even today.
Taking this critical analysis into consideration, we believe it is meaningful to have a discussion with a
global perspective, which led us to hold this year’s conference under the theme of “Revisiting thePhilosophy of Conserving Wooden Structures: Restoration Method for Wooden Structures and Its
Philosophy.”Also, we take a great deal of interest in how the philosophy and practice of restoration has been
apprehended, transformed, and developed in each country after Nara Document. We hope that thediscussions will be developed on what kind of philosophy to be applied as we deal with the restorationof wooden structures in the future.
Finally, I would like to extend special thanks to all those who have given support in regard to holding
this conference, beginning with the Agency for Cultural Affairs, Japan (Bunkacho); International
Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM), the JAPANICOMOS National Committee; the Japanese Association for Conservation of Architectural
Monuments (JACAM); the Nara Prefectural and Municipal Governments.

NISHIMURA Yasushi
Director, ACCU Nara

Preface
Respected Colleagues from the Agency of Cultural Affairs, the Cultural Heritage Protection Cooperation
Office of the Asia-Pacific Cultural Centre for UNESCO (ACCU), the National Institute for Cultural
Heritage, National Research Institute for Cultural Properties in Nara and Tokyo, Japan ICOMOS National
Committee, the Japanese Association for Conservation of Architectural Monuments, the Nara Prefectural
Government and Nara City, Dear Participants, Ladies and Gentlemen,
On behalf of Professor ZHOU Jian, Director of WHITRAP Shanghai, I am delighted to address you
during this opening ceremony of the International Conference “Revisiting Conservation Philosophy ofWooden Structures” starting here today in Nara, Japan.
This conference will be the first under a renewed Memorandum of Understanding between ACCU and
WHITRAP, which was extended for another three years in July of this year.
Since our cooperation started in 2010, we at WHITRAP feel privileged to be associated with ACCU andto jointly work towards the mission of UNESCO, which is to build peace in the minds of men throughculture, science, education, and communication. The preservation of cultural heritage is an important partof this mission.
Today the international conference "Revisiting Conservation Philosophy of Wooden Structures:
Restoration Methodology and Philosophy of Conservation of Wooden Structures" is starting. This will bea precurser to the major conference the Japanese authorities are planning to organize next year, in 2014, in
commemoration of the 20th anniversary of the Nara Document on Authenticity.
The 1994 Nara Document on Authenticity is defined as an extension of the Venice Charter, one whichallows it to adapt to the expanding scope of heritage in our contemporary world.
The Document defines heritage as an expression of the diversity of cultures and links conservation
practices to the values attributed to heritage by each culture. In this respect, the concept of authenticity, as
defined by the Venice Charter, needs to be understood in relation to criteria, which originate in theirrespective cultural spheres.
The Nara Document, of course, constitutes one of the milestones in international conservation and isrepresentative of the evolution of the concept of heritage that has taken place in recent decades. It was adocument very much ahead of its time. It can be argued that it paved the way for the debates that led to theadoption of UNESCO’s Intangible Heritage Convention in 2003 as well as the Convention on Cultural
Diversity in 2005.
In my view, the debate on cultural diversity is only now, 20 years after the conception of the Nara
Document, starting to come to full blossom and therefore the potential of the Nara Document is yet to be
fulfilled. This makes next year’s anniversary commemoration all the more important in defining how themessage of Nara can be fully implemented.

Now back to our conference today.
In the spring of 1689, the poet Matsuo “Basho” set out on a hike of nearly 2000 km. to the wilds ofnorthern Honshu. His travel diary of this trip, called Oku no Hosomichi, or the Narrow Road to the Interior,has become one of the masterpieces of Japanese literature. The year of Basho’s journey, 1689, fell on theyear of the rebuilding of the Grand Shrine of Ise, which he mentioned in his travel diary. It was Empress
Jito who decreed in the year 688 that the Grand Shrine of Ise be completely rebuilt every 20 years.
It is this age-old and lasting tradition in the restoration of wooden structures that we witnessed yesterday
when visiting the temples of Shonen-ji and Horyu-ji. It made me feel humble and proud that our
discussions here today and tomorrow, and next year as well, will be part of this long tradition.
I wish all of us a fruitful and pleasant conference.

Ron Van Oers
Vice Director, WHITRAP Shanghai

Contents

Preface
Ⅰ．Special Speechᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ
Conservation Philosophy Applied to Wooden Structures ３
Jukka Jokilehto (ICCROM)

Ⅱ．Keynote Speechᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ
1.

The Nara Document and the Conservation of Wooden Structures in Japan
YAMATO Satoshi (Japan)

2. Protecting Authenticity and Value in Restoring Wooden Structures 
Using both Traditional and Extra-Traditional MethodZhu Guang Ya (China)

Ⅲ．Paper by Participantᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ
1. Disputes and Debates: Approaches to the Repair of the Wooden Pagoda of Yingxian County
Hou Weidong (China)
2. Conservation of Wooden Elements in the Architectural Heritage of Nepal
Kai Weise (Nepal)
3. Restoration of Tampita Vihara (Temple on Pillars) at Dambadeniya
Priyantha Basnayake (Sri Lanka)
4. Principles and Techniques in Conserving and Restoring Wooden Architectural 
Heritage Sites in Viet Nam
Vu Thi Ha Ngan on behalf of Mr Tran Dinh Thanh (Viet Nam)
5. Conservation of Traditional Wooden House (Joglo) at Kotagede, Yogyakarta, Indonesia
Mida Andriana, S. Si, MA (Indonesia)
6. The Practice of Wooden Conservation in Bhutan
Yeshi Samdrup (Bhutan)
7. Trends in the Restoration of Architectural Monuments in Japan
－With Reference to the Restoration of Gansen-ji Temple Main Hall－FUJIKURA Ken-ichi (Japan)

Ⅳ．Conclusionsᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ
Conclusions of International Conference 2013 
Ⅴ．Appendixᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ
1. General Information of the Conference
2. Schedule of the Conference
3. List of Participants

I. Special Speech

2JukkaJokilehto

Conservation Philosophy Applied to Wooden
Structures
Jukka Jokilehto
Special Advisor to Director-General
ICCROM
Abstract
The paper starts by the key steps in the development of the international doctrine extending from theperiod following the Second World War to the early years of the 21st century. Through these steps, theapproaches to heritage have broadened as reflected in the international doctrine represented by
UNESCO’s conventions and recommendations, as well as in the charters and documents adopted by
ICOMOS. The conservation of something as heritage must necessarily be based on its recognition as
heritage, which takes place in the perception of an individual or society. The 1994 Nara Conference
became an important paradigm, giving incentives to further elaboration of various concepts, such as
the intangible cultural heritage and the diversity of cultural expressions, both later recognized in
UNESCO conventions. There is a certain difference in the cultural and scientific approaches toheritage, as discussed by a number of philosophers, art historians and scientists, one approachconcerning the aesthetic experience in recognizing a work of art, and the other dealing with natural
phenomena. Gradually, these different approaches may have come closer together within the overall
international doctrine that represents the principles emerging from the application of conservation
theory in practice. It is proposed that the existence and justification of policies based on aninternational doctrine in heritage conservation must necessarily be referred to universally applicable
criteria. This means that there must be one theory of conservation that elaborates the methodology ofapproach to heritage that is recognized by its specificity representing the cultural diversity of humanity.
Such a theory will also be applicable to wooden structures, while obviously the intervention in eachcase must based on the recognition of the qualities that define the heritage value in each case.
Steps in the International Doctrine
The period following the Second World War can be seen as the period that initiated the development ofinternationally applicable principles and methodologies concerning the conservation and safeguardingof resources recognized for their heritage value. Indeed, one of the key issues has been the process ofrecognition of heritage. In this regard, a first step was taken immediately after the WWII, when people
became painfully aware of the identity that they had associated with their familiar neighbourhoods,
now destroyed. The international meetings sponsored by UNESCO in Paris in 1957 and in Venice in1964 were the first important occasions to discuss the consequences of the war destruction on
restoration and rebuilding.
The 1970s represented another key period in the development of conservation doctrine, seeing the
adoption of the World Heritage Convention, and drawing attention increasingly to the need tosafeguard the historic urban environment threatened by emerging globalization. The European
Architectural Heritage Year 1975 was important in proposing some fundamental concepts, being
followed by the advancement of methodologies in integrated urban and territorial conservation. These
policies were further stressed in the UNESCO 1976 Recommendation concerning the safeguarding of1
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historic areas. In 1979, the principles of the Venice Charter found a regional interpretation in theAustralian Burra Charter, which introduced the notion of ´space´ to replace the ´monuments and sites´of the Venice Charter. Other regional and national recommendations followed.
The 1990s became the third key period, offering definitions to the concept of cultural landscape, often
associated with vernacular architecture. Wooden architecture had not been given proper attention in
the after-war period, and many interesting towns mainly built in timber saw a rapid transformation in
multi-storey buildings, as happened e.g. in European Nordic countries, in India, and even in Japan. In
the 1990s, the preservation of wooden vernacular heritage was brought to the foreground, resulting inspecific recommendations, such as the 1992 New Zealand Charter on places of cultural value, and theICOMOS 1999 Principles for the Preservation of Historic Timber Structures. The 1990s also saw the
Nara Conference on Authenticity and the adoption of the resulting Nara Document on Authenticity in
1994, thirty years from the Venice meeting. The World Heritage Committee has since recognized thisdocument, and it has been included in the Operational Guidelines for the Implementation of the World
Heritage Convention.
While continuing to be based on the principles already included in the Venice Charter, the Nara
Document introduced various issues that have since been understood as paradigmatic in thedevelopment of subsequent conservation doctrine. Indeed, the Nara Conference anticipated concepts
that were further elaborated in other UNESCO documents. In particular, it stressed the importance ofrecognizing the diversity and specificity of heritage resources, and the need to respect the values
generated by each culture and/or belief system in the recognition of relevant heritage.
In November 2001, the General Conference of UNESCO adopted the Universal Declaration on
Cultural Diversity, which further developed the statements of the Nara Document. The Nara
Document itself listed examples of sources of information for the identification of truthfulness andcredibility of references for the associated value judgments. These sources of information also stressed
the identification of non-material issues, such as function and use, traditions and techniques, spirit andfeeling, etc., which have since been integrated in the UNESCO 2003 Convention of the Intangible
Cultural Heritage.
It can also be recalled that the participants of the Nara conference tended to be divided between those
who sustained the principles of restoration of monuments in the spirit of the Venice Charter, and others
who stressed the somewhat different requirements in conserving vernacular heritage. In 2004, in
another UNESCO conference in Nara, thediscussion concerned the relationship andeventual integration of the policies expressed in
the 1972 and 2003 conventions. In the resulting
Yamato Declaration on the Integrated
Approaches for Safeguarding Tangible andIntangible Cultural Heritage, it was insisted thatthe intangible cultural heritage was continuously
recreated, and consequently authenticity would
not apply in the same way as in the case ofmaterial heritage. The Yamato Declaration,

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unfortunately, missed the notion of the intangible cultural heritage as “heritage.” In fact, the meeting
did not reach the proposed integrated approach, and consequently some of the issues may needreconsideration in the future particularly as they concern the relationship of the tangible and intangible
aspects of heritage.
Recognition of Heritage
Heritage conservation is based on the recognition of something as heritage. Taking a look at thehistory of conservation, as noted above, it could be observed that much of the timber architecture has
been lost due to lack of such recognition. It is really only the later 20th century that its conservation
was given more attention. At the time of writing the Venice Charter in the 1960s, one of the principal
references for restoration was the Theory of Restoration by Cesare Brandi. It had been published in
1963, just a year before the Venice Conference. Here, the emphasis was on the concept of work of art,
considered a special product of humanity. Brandi writes:“The work of art, therefore, is the greatest effort that man can make to transcend
his own transient existence, removing himself from time by conforming with theimmutable eternity. As soon as the effort is made, however, the work frees itself
from its creator, sealed and perfect, freed from the becoming, yet continuallydrawn into the present of the consciousness that receives it. Born as the symbolof the ineffable, of an interior andsecret urgency, it no longer
manifests itself in the world as a symbol, a veiled truththat refers to an essence, but as pure reality, devoid ofexistence. Springing forth as supreme arbitrariness of anindividuality which recognises itself without logicaljustification in the most disparate objects, it manifests
itself to the consciousness with the absoluteness of law,
the universality of the concept, the inviolability of nature.
Nourished during the internal labour of its birth by themost diverse and most stirring emotional reactions, itemerges as a sublime purification of all human passions,a catharsis of man and of destiny.” 1
Brandi has always sustained the specificity of a work of art as determined byaesthetics ever since Kant. The Former Director of ICCROM, Paul Philippot
notes that there are emerging new currents, which consider that this approach
could alienate art from man and from his cultural, social, economic andpsychological context. Such movements refer to a new experience in art by theartists themselves, making art self-referential “art religion” of modern man.
Philippot notes, however, that there is also the art-historical point of view, whichstates that the work of art only exists as a result of recognition by a consciousness. Therefore,
Brandi, Cesare, 1992. Carmine o della Pittura, Editori Riuniti, Roma, p. 51f (English translation by C.
Rockwell in: P. Philippot, ‘The Phenomenology of Artistic Creation according to Cesare Brandi’, in: C.
Brandi, 2005. Theory of Restoration, Nardini Editore, Florence; p. 31)
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something cannot be considered a work of art until it is recognized as such. Philippot explains thisfrom an art-historical point of view as follows:‘On the other hand, from an historical point of view, that of the art historian, the work of art has aremarkable characteristic which gives an evident distinctiveness to the art history discourse withinhuman sciences. Indeed, whatever period the work of art was created in, it gives itself to us hic et nunc,
in the absolute present of perception. It lacks a reality of its own until it is recognised by aconsciousness, and this recognition is not the result of a judgment arising from an analysis, but theidentification of a specificity within the perception itself and the point of departure for the historian’s
study. Thus, if art history is possible, it distinguishes itself from other historical disciplines as, rather
than recounting the history of an event in the past, belonging to memory, it intends to retrieve thehistory of a reality that is present in the consciousness. 2 In this sense, it is inseparable from art
criticism, to the extent that the latter aims to characterise the nature of this particular presence.’ 3
The renowned German art historian Erwin Panofsky (1892-1968), in his
Meaning in the Visual Arts, recalls that in medieval scholasticism there was no
distinction between natural sciences and humanities (studia humaniora). Thesetwo ‘branches’ of human knowledge remained within what was called
philosophy. Later, they have been distinguished into the spheres of nature andculture, i.e., nature as the whole world accessible to the senses, except for therecords left by man. 4 Panofsky continues,
referring to the difference between naturalscience and cultural studies:“In defining a work of art as a ‘man-made object demanding to beexperienced aesthetically’ we encounter for the first time a basic
difference between the humanities and natural science. The scientist,
dealing as he does with natural phenomena, can at once proceed toanalyse them. The humanist, dealing as he does with human actions
and creations, has to engage in a mental process of a synthetic andsubjective character: he has mentally to re-enact the actions and to
re-enact the creations. It is in fact by this process that the real
objects of the humanities come into being.” 5
The social scientist, Ted Benton has discussed the biological ideas and their culturaluses. He distinguishes between two human capacities, one related to human species
in general, and the second “distinctive in that not only its exercise, but its very
possession is dependent upon some specific cultural acquisition.” These second
types of capacities are multiplied over time as historical. They presuppose theGiulio Carlo Argan, La Storia dell’Arte in Storia dell’arte 1/2, 1969, pp. 5-36
Philippot, p. 28 in: Brandi, 2005
4 Erwin Panofsky, Meaning in the Visual Arts, Penguin Books, Peregrine Books, UK, 1970 (firstpublished in 1955), p. 27
5 Panofsky, 1970: 37f
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possession of some natural capacities, while the possession of such capacities neither presupposes nor
implies the possession of any historical capacity. “The systematic exercise of these capacities in agiven natural environment constitutes the acquisition of a culture. A historical capacity … is one
possessed by members of only some cultures and which is distinguished from a natural capacity in thatits very possession presupposes some specific cultural acquisition.” 6 He also notes that: “theconceptual position in any scientific discipline at any historical moment is unlikely to be wholly stableor consensual.” (Benton, 1984: 119) The interesting issue in Benton´s thought is that there issomething universal in human behaviour and there is also something that is specific to each culture.
One can thus ask what is “universal” in the cultures, and what can be seen as universal in theconservation of the cultural heritage, which is recognized for its diversity and specificity.
In October 2005, the General Conference of UNESCO adopted
a further elaboration of the notion of cultural diversity in theConvention on the Protection and Promotion of the Diversity of
Cultural Expressions. Here it is affirmed that ‘cultural diversity
is a definition characteristic of humanity,’ and that the various
forms of such diversity should be cherished and preserved forthe benefit of all. ‘Cultural diversity is made manifest not only
through the varied ways in which the cultural heritage ofhumanity is expressed, augmented and transmitted through thevariety of cultural expressions, but also through diverse modesof artistic creation, production, dissemination, distribution andenjoyment, whatever the means and technologies used.’‘Cultural expressions’ are defined as: ‘those expressions that
result from the creativity of individuals, groups and societies,
and that have cultural content.’ The Convention recognizes thediversity of cultural expressions as ‘an important factor thatallows individuals and peoples to express and to share with others their ideas and values.’ The
Convention furthermore emphasizes the need to incorporate culture as a strategic element in national
and international development policies, and that cultural activities, goods and services have both ‘aneconomic and a cultural nature, because they convey identities, values and meanings, and must
therefore not be treated as solely having commercial value.’In theory, the role of this Convention can be crucial though it remains to be seen what impact it will
have in practice. In any case, it brings to the foreground the need to safeguard the diversity of culturalexpressions as one of the principal tasks of heritage conservation. Taking a look at the developments
almost in any country of the world, surviving historic settlements are more often than not surroundedby constructions dating from the second half of the 20th century or later. Such results of globalisation
do not greatly differ from one country to another, or from one region to another. Instead, they create a
uniform habitat that tends to suffocate traditions and cultural identities in the older historic areas. In

Ted Benton, ‘Biological ideas and their cultural uses’, pp. 111-133: 116f; S.C. Browns (ed.), Objectivity
and Cultural Divergence, Royal Institute of Philosophy, Lecture Series 17, Cambridge University Press,
1984
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this context, the vernacular buildings and traditional timber architecture represent a diversity ofcultural expressions, and its safeguarding merits serious attention.
Another aspect of the globalisation is the frequently met attempt to rebuild clichés or replicas ofancient historic streetscapes and monuments, which serve commercial or touristic purposes,
sometimes proposing to satisfy the ambitions of wealthy families. In any case, such globalisation tends
to cause the gradual loss of authenticity, and the disenchantment in the world, where processes areoriented toward rational goals, often opposed to those in traditional society.7 The remains of the past
have always attracted people, who have associated various values with them also recognizing them as
inheritance. Such inheritance can refer to oral traditions and myths, to physical remains, such as
objects and buildings, as well as to land and territory. In the past, the issue of tradition was afundamental reference. Today, it is sometimes transformed into a cliché, and tourist attraction. The
question of restoration is however strongly associated with this concept, because it is the ‘tradition’that seems to best represent the authenticity of a property.

The word tradition derives from the Latin root: trado (tradere, tradition, traditor), meaning: ‘to handover, give up, surrender.’ In English it refers to two cases: 1) the transmission of customs or beliefs
from generation to generation, and 2) in theology understood as a doctrine believed to have divine
authority. From the same root, we also have ‘to betray,’ and ‘a traitor.’ Indeed, tradition is referred to
betrayal in religion in the sense that specific sacred practices could be handed over to others, thus
betraying the original religious community. Discussing the concepts of the German Marxist
philosopher Walter Benjamin (1892-1940), Howard Caygill notes: “Tradition paradoxicallyestablishes the distance between past and present while overcoming it by delivering them to eachother; it both founds and presupposes the time within which it takes place.” 8 Caygill further
continues: “In order for the past to be handed over to the present, it has to be destroyed, made into a
different kind of object, one which is past.” 9 For Benjamin, tradition is destruction of the unity andauthenticity of what is handed over. However, without this destruction there is no handing over.
Ref. Marcel Gauchet, Le désenchantement du monde, Gallimard 1985
H. Caygill, 1994, ’Benjamin, Heidegger and the Destruction of Tradition’, pp. 1-31, in: Andrew
Benjamin et al. 1994, Walter Benjamin’s Philosophy: Destruction and Experience, Routledge, p. 13
9 Caygill, 1994: 19
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Caygill further notes: “For Benjamin, the sacred is the origin of art, of tradition and of traditional(manual) reproduction. This is to say that art carries with it a sacred as a memory and a promise.
Technical reproduction perverts the origin – its memory and its promise – to such an extent that it
seems difficult to reconcile art with its principle: namely, the general reproducibility of the work. What
we know of the sacred we know through the art that technical reproduction destroys in destroying its
foundation – the sacred and its unity.”10
The term vernacular derives from the Latin verna, which means “native slave”; consequently,
vernacular building refers to constructions that are born and developed in a particular place, mainly
using locally available material and skills. Timber, stone and mud brick are typical materials used invernacular architecture even though the same materials can also be used in important public buildings.
In principle, vernacular architecture is indigenous in terms of time and place, and not imported from
elsewhere. It is normally associated with residential architecture. A related term is “traditionalarchitecture,” which is referred to building traditions passed down from person to person, generation
to generation at any level of society, not just by common people. Traditional architecture can refer toany type of architecture, residential as well as public buildings, while vernacular would usually bereferred to more simple residential structures. In each case, the recognition of such building traditions
should take into account whether the question is of “living traditions” or of buildings that haveretained some traditional forms though not anymore part of the relevant tradition. This will have an
impact on restoration policies.
Referring to the concept of tradition in terms of traditional continuity, Benjamin talks about the factthat handing over a traditional practice or ritual also means its destruction. However, a certain form ofdestruction is seen as a necessary aspect of the handing over. The process of handing over a tradition
consisting of practices and skills is a learning process. It means that one has to take over and relearnsuch practices. Tradition is not made of pieces of stone or timber. It is made of cultural processes.
Such processes are not handed over in a static form. They need to be learnt by the new generation.
Such process of relearning can be more orless perfect. In any case, it normally
involves a certain amount of alteration(destruction), which can be seen as part ofthe creative capacity of human beings.
Through such processes, even thinking of itin terms of traditional continuity, there is
gradual evolution until there are events thatcause discontinuity. In relation to building
traditions, this means that a style isgradually being created through repetition
and gradual change.11 This can be seen as anormal learning process in human culture,
A. Garcia Düttmann, ’Tradition and Destruction: Walter Benjamin’s Politics of Language’, pp. 32-58
in: A. Benjamin, 1994; p. 50
11 The question of style has been discussed by art historians from the 18 th and 19th centuries; ref.
Michael Podro, 1982, The Critical Historians of Art, Yale University Press, New Haven and London
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JukkaJokilehto

a “universal.” It reflects human creativity by building on what has been learnt in the past. 12 Therefore,
there is a certain constant underlying aspect in culture, as well as a wish to reinterpret the same. Oncesuch traditional continuity is lost, it can only be revived within the new social-cultural context, andthen it would be associated with a new significance. E.J. Hobsbawm has spoken about “invention of
tradition”, referring to situations when a new practice or object is introduced in a manner that implies aconnection with the past that is not necessarily present.13
Conservation Philosophy
The 1999 Principles for the Preservation ofHistoric Timber Structures prepared by the
ICOMOS International Wood Committee
recognize the importance of timber structuresin their great diversity as part of the cultural
heritage of the world. There are alreadyseveral examples of wooden architecture in
the World Heritage List, not only in countries
such as Japan and China, but also in Europe,
Africa and America. The international
doctrine expressed in UNESCO andICOMOS documents recognizes that a great
variety of actions and treatments may berequired for the conservation and maintenance of this heritage. Paragraph 4 notes: “The primary aim ofpreservation and conservation is to maintain the historical authenticity and integrity of the cultural
heritage. Each intervention should therefore be based on proper studies and assessments. Problems
should be solved according to relevant conditions and needs with due respect for the aesthetic andhistorical values, and the physical integrity of the historic structure or site.” And paragraph 6 declares:“The minimum intervention in the fabric of an historic timber structure is an ideal. Due to thecharacter and particular requirements of timber structures, as well as subject to relevant traditions,
their preservation and conservation may, however, require dismantling and subsequent reassembly inorder to allow for the repair or replacement of individual members.” Traditional techniques arefavoured. Modern techniques and materials should be used with caution after being appropriately
tested. It is further recommended to establish and maintain forest reserves as a resource material for
conservation and repair of historic timber buildings.
The Nara Document on Authenticity together with the notion of cultural landscape introduced into theinternational doctrine in the early 1990s by the World Heritage Committee and by the Council ofEurope have made this a key period in the conservation of cultural heritage. This concerns particularly
the recognition of the diversity of heritage and the diversity of cultural expressions, both recognized
by UNESCO in subsequent documents. While this has not necessarily changed the underlying
conservation theory, we can nevertheless look at our heritage in a much broader context. The
distinction between tangible and intangible cultural heritage has tended to create some confusion, as
See e.g. Margaret Olin, 1992. Forms of Representation in Alois Riegl’s Theory of Art, The Pennsylvania
State University Press, USA
13 Hobsbawm, E.J. 1983. The Invention of Tradition, Cambridge UP
12

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JukkaJokilehto

was seen in the Yamato Declaration in 2004. Indeed, the different UNESCO conventions andrecommendations should in reality be seen as forming an international doctrinal umbrella for thedefinition and safeguarding of heritage. Each element is part of an integral whole that also covers
nature as a fundamental part of human existence. An important aspect of the recognition of somethingas heritage is to look for its significance and meaning in relation to the different sources of information,in line with what was already indicated in the Nara Document.14
A challenging issue is to define what is universal in the theory of heritage conservation. In reality, thejustification for UNESCO, ICOMOS, and other international bodies to prepare and adopt doctrinal
texts for the recognition and safeguarding of heritage must be found in such universality. This is also
relevant to international training programmes such as those coordinated by ICCROM. This question isparticularly challenging due to the creative diversity that is really the fundamental reason for modern
conservation policies. If the significance of each place and each object is basically to be searched in its
specificity, how can then its conservation and restoration be based on some universal criteria or on auniversal doctrine?
The logical statement to support the question of universality is: THERE CAN ONLY BE ONECONSERVATION THEORY! What is then this theory?
As noted above, Cesare Brandi refers to the concept of the work of art as a special product of humanity.
The idea of a creative process has been accepted by various philosophers, including Martin Heidegger
and Walter Benjamin. Starting from the Nara Conference, the recognition of heritage has since evolved
with particular attention to the intangible aspects of heritage,
and finally the recognition of the creative cultural expression.
Indeed, the “creative cultural expression” can be understoodas a further development of the notion of “work of art”. The
UNESCO 2005 Convention on Cultural Expressions offers thefollowing definitions: “Cultural diversity” refers to the manifold ways inwhich the cultures of groups and societies findexpression. These expressions are passed on within
and among groups and societies.
 “Cultural content” refers to the symbolic meaning,artistic dimension and cultural values that originate
from or express cultural identities.
 “Cultural expressions” are those expressions that
result from the creativity of individuals, groups andsocieties, and that have cultural content.
Paul Philippot is one who has insisted on the issue of ONE Theory. He also sustains Brandi,
Heidegger and Benjamin in defining a work of art as the result of the process where the “artist” or“designer” gives form to the “aura” or the “world” as an “intangible artistic concept,” which is
associated with material as a result of the creative process. In view of its restoration, a work of art
See also: K-E. Larsen & N. Marstein, eds., 1994. Conference on Authenticity in Relation to the World
Heritage Convention, preparatory workshop, Bergen, Norway, 31 Jan to 2 Feb 1994. Riksantikvaren, Oslo
14

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JukkaJokilehto

must be recognized in its intangible aspect even though its restoration will necessarily focus on thematerial. Brandi says: “Restoration consists of the methodological moment in which the work of art isrecognized in its physical being and in its dual aesthetic and historical nature, in view of its
transmission to the future.” As already noted above, Philippot gives great importance to the fact thatwork of can only exist in “the absolute present of perception.”15 This means that the work of art only
exists as a work of art when it is recognized in its specificity at the present time. This recognition is
not based on scientific analyses but on an art-historical recognition. So, to repeat Philippot’s words:“… whatever period the work of art was created in, it gives itself to us hic et nunc, in the absolutepresent of perception. It lacks a reality of its own until it is recognised by a consciousness, and thisrecognition is not the result of a judgment arising from an analysis, but the identification of a
specificity within the perception itself and the point of departure for the historian’s study. Thus, if art

history is possible, it distinguishes itself from other historical disciplines as, rather than recounting thehistory of an event in the past, belonging to memory, it intends to retrieve the history of a reality that ispresent in the consciousness.” 16The theory of conservation does not offer principles of treatment of specific types of structures. This is
more the task of the charters and recommendations, which are part of the international doctrine, and ofguidelines which may be developed for specific types of heritage structures. The theory ofconservation is the underlying approach to the recognition of something as heritage and once
recognized it would help to understand what is to be conserved in each case. We can also see thetheory of conservation as a methodology. It offers incentives for the right questions to be asked in the
different cases. The approach will result from a learning process, and we may be able to continue
debating it in the years to come. It is obvious that the theory requires case studies, which document its
implementation, and can give feedback to the theory itself. However, neither the case studies nor the
principles of conservation are the theory itself. When the 20th century philosophers discuss the creative
process, they form the basis for the theory of conservation.

Brandi, Cesare, 2005. Theory of Restoration (English translation by C. Rockwell), Istituto Centrale delRestauro, Nardini Editore, Florence (ref. p. 48)
16 Philippot, p. 28 in: Brandi, 2005
15

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We can note that the concept of the “work of art,” which used to be in the focus in early thinking,could now be replaced by the broader notion of “creative cultural expression.” Therefore, theapplication of the theory of conservation to wooden structures should distinguish the creative culturalexpression of such structures, and make sure that these are maintained in their authenticity. This means,quoting the Nara Document, that the sources of information are verified regarding their credibility andtruthfulness. We could further discuss the references for such sources, and it would seem that these
could be understood in terms of:
1) Creativity & authenticity: taking into account that the question is about creative culturalexpressions, which combine the tangible and intangible aspects of heritage;2) Historicity & authenticity: represented by the material that is subject to weathering and aging;
this can also be seen in historical and archaeological research of the fabric;
3) Social context & authenticity: traditional continuity justifies certain types of treatments, anddiscontinuity traditions would require other types of treatments.
For example, a traditional village (as heritage) can be subject to creative changes and alterations solong as it is part of living traditional continuity. When it becomes a museum village, the treatment
would focus on retaining its historicity and its material authenticity. It is interesting to note that theapproach to reconstruction has gradually changed from a nearly complete rejection to possible
acceptance if carried out according to established guidelines. Indeed, in the World Heritage List there
are several rebuilt properties, which have been accepted even as part of the justification, such as
Warsaw city centre. At the same time, there are cases where rebuilding has been rejected, such as the
Bagrati Cathedral in Georgia. Such inconsistencies may often depend on the misinterpretation of thesources of information on which the recognition of something as heritage. It now goes without sayingthat the ritual, periodical reconstruction (recreation) of the Ise Shrine will be even internationallyacceptable as part of a living religious tradition. In such case, the focus is in the continuity of the
tradition rather than the historicity of the material.
Recognition and conservation of something as heritage is a cultural problem. Wooden structures canbe seen to represent creative cultural expressions resulting from a creative process in the humanthought and resultant construction. This process can be sustained by living traditional continuity,1113

JukkaJokilehto

which itself has a creative component, but which can also havediscontinued leading to ruins and architectural remains. In acreative process, significance and meaning are associated tomaterial resulting in architecture, which can be broadly understoodas a representation and an integral part of the built environment, or
cultural landscape. Architecture consists of two components: oneis the functional scheme on which the creative process is based;
this founds an expression in the social-functional integrity of theplace. The second aspect consists of the material that is used in theconstruction, and which represents its historical-structural integrity
and material authenticity. The recognition of architecture as
heritage takes into account its artistic/aesthetic as well as its
historical aspects within the relevant physical and cultural context.
The conservation theory regarding architecture concerns also
wooden structures. The conservation process starts by therecognition of such structures as creative cultural expressions andas heritage. The conservation policy and associated treatments
will depend on this recognition.

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II. Keynote Speech

The Nara Document andthe Conservation of Wooden Structures in Japan
YAMATO
Satoshi

YAMATO Satoshi
Councillor on Cultural Properties
Agency for Cultural Affairs, Japan◆ Background to the Nara Document
This international conference is designed to serve as a forum for discussing the status of cultural heritage
conservation after the drafting of the Nara Document on Authenticity in 1994.
The Nara Document has been accepted as something quite epoch-making in the cultural heritage
conservation field. We may say that it has served as a foundation for the principles and practices ofcultural heritage protection in subsequent years, particularly the protection of cultural heritage under theConvention Concerning the Protection of the World Cultural and Natural Heritage (World Heritage
Convention).
The Nara Document was drafted only a couple of years after Japan’s ratification of the Convention (in1992) and shortly after UNESCO’s first listing of wooden buildings (in December 1993), such as those at
Horyu-ji Temple and Himeji-jo Castle, as the World Heritage.
Old wooden structures in Japan extant today have been repaired and modified a number of times during
their long histories. Their conservation has required the replacement of impaired structural components.
Since modern times, the dismantlement of structures during repair works and the modification of building
by restoring to its earlier forms with the intent to conserve them as cultural properties have also becomecommon practices. As we tried to conserve our cultural heritage in a manner consistent with international
practices, it was important to find out whether or not such cultural properties in Japan (wooden structuresin particular) and the methodology they had been conserved were acceptable from the viewpoint oflegitimacy in the transmission of history to the humanity of today; that is to say, whether or not they could
pass the test of authenticity that was obligatorily required before the listing of any property under theWorld Heritage Convention. This was not a concern unique to Japan. Since countries in the Asia-Pacificregion have many cultural properties of a similar kind, other countries in the region faced the samechallenge.
Concurrently, international initiatives for cultural heritage conservation met broader challenges. As people
began to take note of new types of diverse cultural heritage in different parts of the world, UNESCO andheritage conservation specialists in charge of the conservation of World Heritage and other cultural
heritage properties became strongly aware that the conservation of such heritage would require something
more than the existing principles and methods of cultural heritage conservation (prescribed by the Charter
of Venice) that mainly addressed more permanent structures such as monumental constructions and theirruins in the West, which so far had been the main focus of conservation efforts. Twenty years after theestablishment of the World Heritage Convention, they began to look for a new framework to be able to17

address such expansion of the scope and definition of heritage and the growing geographical and cultural
diversity of the places to which heritage belonged.
YAMATO
Satoshi◆ Intent of the Nara Document
In the Nara Document, it is stated that it
was, “conceived in the spirit of theCharter of Venice, 1964, and builds on it
and extends it.”As a platform for attaining a new vision,
it requires respect for cultural diversity
and cultural heritage diversity. We may
say that the Nara Document represents anattempt to come nearer to UNESCO’s
ideal with a step toward the next stage
taken by the bringing relativism to
discussions concerning cultural heritageand its conservation.
Regarding the authenticity of heritage as an essential qualifying factor in cultural heritage conservation,that is to say, the credibility and truthfulness of the information transmitted by the heritage, the Nara
Document, based on the above-mentioned standpoint, says that it should be examined and assessedcarefully in consideration of the diversity of cultural heritage and of the cultural contexts to which it
belongs.
During the Nara Conference of 1994, Professor Françoise Choay of the Université de Paris, discussed thehistorical evolution of the concept of authenticity and pointed out that, in modern times, authenticity had
become a point of concern in the discussion of cultural heritage from an ontological viewpoint.
The examination of authenticity is required for each of the different components comprising cultural
heritage. Discussions during the Nara Conference helped to spread awareness that the assessment ofauthenticity, which had remained partial in the past, should be expanded to cover the great diversity ofinternal and external components attributed to cultural heritage.
◆ Conservation of wooden structures in Japan after the drafting of the Nara Document
At the time when the Nara Document was drafted, Japan was beginning efforts to seek consistency with
the Western standard of cultural heritage conservation.
Due to concerns regarding the principle of trying to preserve the authenticity of cultural heritage, people
were alerted to the possibility of authenticity being spoilt by certain practices commonly followed in Japan
when repairing wooden structures such as dismantlement of structures; replacing structural components
damaged by deterioration, etc.; and restoring to earlier forms. Addressing this point, Japanese participantsof the Nara Conference explained in detail and gave specific examples on efforts being made to maximize
the reuse of extant structural components during the repair of wooden structures. Participants also

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YAMATO
Satoshiexplained how the dismantlement ofstructures is required in some cases to beable to properly conserve wooden
structures and that earlier forms ofstructures are restored accurately basedon the results of careful investigations
and research; and also that detailed
records are compiled in the course ofconservation activities. They explained
how Japan has been making effort toconserve its cultural heritage adhering toprinciples similar to internationallyaccepted basic principles of heritage
conservation such as retaining ofauthenticity. These explanations gained
support to a certain degree from overseas specialists.
The Nara Document focuses significantly on the diversity of cultural heritage and of the cultural contexts
to which it belongs. This, in part, should have been in acknowledgement of the principles and systems that
had developed uniquely in Japan in the field of wooden structures conservation and repairs.
There are no major differences before and after the drafting of the Nara Document in the way theconservation and repair of wooden structures are planned and implemented in Japan. However, we would
like to acknowledge that great changes have happened in the minds of experts and researchers working in
the field of heritage conservation. We find that they have become even more careful than before when
formulating the policies of repair and restoration projects and when deciding the methods to be used for
repairing structures or about the scope of structural component replacement.
On the other hand, the background of the conservation of wooden structures in Japan has changed greatly
in the twenty-year period since the drafting of the Nara Document.
After the Great Hanshin-Awaji Earthquake of January 1994, demands were made to seek higher standards
in the implementation of seismic protection measuresfor cultural property structures. It was necessary to
implement comprehensive measures that included not
only technical measures but also other measures suchas improvements in the way buildings are used andmanaged. Even higher demands on seismic protection
measures for cultural property structures were madeafter subsequent earthquakes, including the Great East
Japan Earthquake of March 2011.
Moreover, the 1996 amendment of the Law for theProtection of Cultural Properties introduced a

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YAMATO
Satoshiregistration system that allowed a wide variety of cultural property structures in different parts of Japan to
be protected under a loose regulatory framework. Furthermore, the number of historic districts and thenumber of buildings from the modern period requiring conservation have been increasing rapidly. We arewitnessing a rapid increase in the diversity of wooden structures and groups of wooden structures
requiring conservation. Besides the masterpieces of wooden structures, such as those registered asimportant cultural properties, we now have many others that require conservation based on a different setof values.
Addressing such a situation, new efforts have been started to seek progress in the conservation of wooden
structures and the retaining of their authenticity. In different parts of Japan, efforts are being made to train
repair specialists and technicians. In addition, new efforts have been started to secure traditional materials
required for repairs. Furthermore, new projects aiming to conserve historic buildings together with thesurrounding environment have been started, even though the efforts made in this area still appear to be
insufficient. Larger involvement community in preserving historic buildings has also become prevalent.
◆ Toward the next twenty years
The Nara Document was carefully composed.
It demands respect for the diversity of cultural heritage and the cultural community to which it belongs,
and asks us to make judgments in consideration of this diversity. On the other hand, it says that the
responsibility for the conservation and management of cultural heritage should be fulfilled by the culturalcommunity to which it belongs.
In Japan, the situation around theconservation of wooden structures haschanged greatly over the last twenty
years. In the light of the new situation,
what are the principles that should
guide us in the examination ofauthenticity as an essential qualification
factor supporting the values of various
cultural heritages? What are thespecific measures that should be
employed? We now have to think
about these questions. We may saythat it is our duty.

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Protecting Authenticity and Valuein Restoring Wooden Structures
Using both Traditional and Extra-Traditional Method

Zhu Guang
Ya

Zhu Guang Ya
Professor of Institute of ArchitectureSoutheast University
Vice Director
Academic Committee of Key Laboratory of
Urban and Architectural Heritage Conservation,
Ministry of Education, China

It is my honor to have this opportunity to be present at this conference and to discuss with my colleaguesof East Asia.
In the last two decades the world heritage conservation movement has developed so fast and so
profoundly that it has involved the whole of East Asia. Its theoretical achievements were reflected in itsseries of international documents which always were connected with abundant cross-cultural conservation
practice. The consideration of cultural distinction always existed in its documents forming process- which,for most of the last century came first from different cultures within Europe, then from different culturesof the rest of the world. Since The Nara Document edited by ICOMOS, appeared in Japan in 1994, theoriental cultural distinction has been recognized.
In 1999 China completed her historic theoretical summary of heritage conservation based on 60 years
practice, absorbed greatly from international experience –such as the Burra Charter edited by Australian ICOMOS,
and formed the Principles for the Conservation of Heritage
Sites in China. From then on, the steps toward nomination
for world heritage in China were accelerated, andOperational Guidelines for Implementation of the World
Heritage Convention was roundly introduced into China.
The principles in Guidelines were put into use in the
projects’ administration. This improved the Chineseconservation movement quality especially in protecting theauthenticity of China’s heritage.
But the Chinese practice, which is so different from Europe,
North America and Australia, stimulated ongoing debatesand discussion about authenticity – some reflected in the
Qufu Declaration (2005) and in regard to the Beijing
Document (2007) being joined in discussion byinternational experts. From their discussions, not only did

21

Chinese experts gain more understanding of universal principles but also, the western experts learnt more
about the oriental ‘way and why’ of preserving China’s wooden structures.
I would like now to examine some cases, and discuss ‘authenticity’ in the Chinese context even though
there are other practical issues to consider as well.
Zhu Guang
Ya

Oriental wooden structures’ traditional and extra-traditional restoration methods:
This century, China’s conservation project has changed greatly influenced by the principle of minimal
intervention (originally reversibility) and the principle of ‘distinguishable.’ Its wooden structural system –the basis of China’s cultural distinction and integral to Chinese culture – and the main stream of East
Asian traditional building, which is continuously under restoration, its particular restoration methods
influencing all countries of East Asia  even buildings in the area of masonry construction.
This first case is a local heritage in an urban area of Shanghai, a shrineof the Wu family, built in the 1930’s and restored in 2002. The tenonof one beam in the side hall was rotten and decayed, so in order tomaintain the wood carving on the beam, we did not require that thebeam be replaced by a new one – as would have been traditionallydone, but instead, used a steel element to reinforce the joint and put thebeam back.
This next case is a provincial heritage in Wuxi, Jiangsu province, an
old home of a famous musician of the
1950’s, who lived ‘poor’ but whosemusic surprised all of China after his
death. In discussing the restoration
proposal, experts evaluated theheritage and felt that the poor wall ofWu family’s shrine in Shanghai
the house, which consisted of broken
bricks and earth, was part of thevalue of the heritage because it helped people understand why themusician could create such exciting music. Therefore, we could not use
the traditional method-to demolish and rebuild it. And, the wall was
weak and dangerous and a threat to visitors. So, in order to reinforce it as
the code required, we imported an Italian technique to reinforce thewhole wall, and maintain the ‘poor’ appearance of the house at great cost. Musician A Bing’s old housein Wuxi, Jiangsu province
Both of these cases used new materials or techniques which were
unknown in tradition - this way of restoring was an extratraditional
method.
Another way of restoring is the traditional method  the one which is still used in most parts of China
because it is easy for traditional craftsmen to construct and in most cases costs less. According to the Qufu

22

Declaration, restoration was to follow four ‘original things’: original construction pattern, original
material, original approach and original technique. These are much debated.

Zhu Guang
Ya

Both methods have benefited the conservation movement. The methods are not interchangeable. Each isimportant and has its advantages. To follow the traditional method today has become exceedingly difficult
now that traditional materials and techniques have virtually disappeared and knowledge of traditional
construction has vanished from our construction teams and our education system. Administrators
increasingly emphasize the extra-traditional method – liking the proposal/discussion/approval process.
Analysis of authenticity  comparative views:
The practicality of achieving authenticity in conservation projects is quite complicated. For protecting
authenticity both methods are necessary, not only in China but also in Europe. Restoration, while aiming
for authenticity, is produced not literally by principles of the past but by value assessment, and by analysis
of issues, including technical conditions.
Here is a case in Europe  the Basilica Vicenza, a world heritage in Italy, the main parts of which were
designed by Adrea Palladio (1508-1580), a famous Italian architect. It is a two story building with wooden
arched trusses supporting the roof. It was destroyed in world war two, but restored in 1946 according to a
restoration proposal selected by design competition. The upper part of the wooden truss was replaced byreinforced concrete with a wooden surface, and another reinforced beam was inlaid to the brick wall
horizontally and connected to the truss edge.
Sixty years later, leaks appeared at the brick wall where the beam was located. So, another restorationcompetition was held, and was won by a team of experts having various disciplines – to be led by Wassalo,
a professor of Venetian polytechnic university.
By examining and evaluating the leaks at the brick wall, and also the concrete part of the trusses, Wassalo
decided to demolish the concrete beam in order to release some stress, and to replace the concrete in thetrusses with wood. But he maintained the incline degree of the trusses in order to reuse all of the roof
boards, and used new light weight concrete to replace the old above the arched structure of the first floor.
Doing so meant that he did not retain the historic information of the concrete elements, did not keep thiskind of ‘authenticity,’ but he maintained the wooden boards and reconstructed some parts of the original
wooden structure.
According to my analysis the methods he used were in some places: the traditional, in others: the extratraditional (where new materials were used).

23

The aim of restoring is clearly to maintain, in safe condition, as much as possible, the ‘authenticity’ of the
project (pictures).

Zhu GuangYa

Gan family houses before restoration –holding more than thirty families but none of them had owners.
Most of the houses were at risk.

Another case is the Gan family’s residential complex in Nanjing  a national heritage of China. Its originalfunction was residential but now it is a local-custom museum, showing the life style of old Nanjing. Sincesome parts of the structure did not meet contemporary safety codes restoration was involved. Someelements could be replaced – as where new purlins of larger cross-section replaced existing ones. But
where there were carvings on some wooden beams we had to maintain the original parts of the beams tokeep the historic information for authenticity’s sake. Perhaps we might have used carbon fiber material as
in some other projects, but here we couldn’t because there was carving on the beam ends.
Wooden elements gradually losing strength was an issue faced by ancient builders and sometimes dealt
with as in this building. Here, elements were added to support original parts as seen in the incline
supporter and the small part of the beam end (pictures). Similar elements appeared below the beam andpurlins (pictures).
This is Guanyin tower, a national heritage in
Hebei province built in Liao dynasty, 12tth
century (picture 9). The structure survived intact
for several centuries until, in the 17th century, itsroof eaves sagged. The craftsman then added
posts to support eaves at each corner which, bycontemporary standards, were extra elements,
having not existed originally. But factually, inthe long history of Chinese construction, thesewere a kind of post which had been used tosupport the eave since the 15th century.
In this ancient case the part added to the ‘original’ structure was inseparable from the structure itself, andthus, belonged to the traditional building system – being part of the intangible heritage of the Chinese

24

construction system – definitely not an addition of some new material or technique as it would be theoccasion of using the extra-traditional method (pictures).

Zhu Guang
Ya

Today the traditional method is seldom accepted at the proposal stage because it implies change to theexisting situation, and thus the destruction of ‘authenticity’ – although both methods have benefitedcountries throughout the world – and the conservation movement. In reality, expediting the engineering of
the restoration methods is rather more complicated than the principles might portend.
The spirit of the Nara Document, emphasizing the connection between authenticity and culture, wasabsorbed by the Operational Guidelines for the Implementation of the World Heritage Convention, newly
printed after 2011, which stated: “Judgments about attributed cultural heritage, as well the credibility ofrelated information sources, may differ from culture to culture, and even within the same culture. The
respect due to all cultures requires that cultural heritage must be considered and judged primarily within
the cultural contexts to which it belongs.”
Attributes such as spirit and feeling do not lend themselves easily to practical applications of theconditions of authenticity, but nevertheless are important indicators of character and sense of place, forexample, in communities maintaining tradition and cultural continuity.”
The contexts of Chinese culture need further analysis to support its continuity.
Assessing Chinese cultural influence in considering ‘authenticity’:
It is true, that without cultural contexture ‘authenticity’ would be only a tree without roots, which without
the foundation of cultural diversity universal values would be just a pond without a spring.
West and East today, have similar cognition about heritage conservation and about the cultural diversity of
the world. The universal values and the principles of the international documents have integrated opinionsfrom diverse cultures. But there still exists dissimilar understanding about authenticity. It is not enough tolearn from international experience – we have to embrace our own tradition, to understand our culturalroots – and to appreciate the subtle distinctions among them.
Western architecture was a part of European culture rooted in ancient Greek and Christian cultures whose
attributes are arts and aesthetics. The East had no such process. In China it is the house – ‘house is a pivotof yin and yang, a guide track for human ethics and relationships.’ Construction knowledge was arranged
in two parts, one: standards and metaphysics  recorded the ceremonial system, the other: operations 
recorded and transmitted by craftsman generation to generation.
In the 20th century, Chinese followed the Japanese translation for the new concept: ‘architecture’ using
two Chinese characters “建筑 .” When the famous academic organization – the Society of ChineseArchitecture (its Chinese name 营造学社) in 1929 still used 营造（Ying zao） (construction) rather than
建筑（architecture）the director Zhu Qi qian (朱启钤) explained that construction (营造) was a practicalactivity with cultural meaning, and was related to many other technical things  not a pure art.

25

China was radically affected by the fifteen hundred years of Western culture imported into the country.
The knowledge and educational systems were built to Western standards, and the technical and artistic
aspects of architectural heritage, and their preservation, were often ignored though their social role was
not forgotten. Chinese today tend to regard ‘architecture’ as something similar to a dressing - to show
one’s status. In the social psyche the term “建筑” (architecture) is still the activity of ‘housing’.
Zhu GuangYa

The Chinese classical knowledge system did not form scientific disciplines to the degree of those inEurope. The intangible – especially the ideological part of the heritage – was emphasized rather than thetangible and material part as in the tradition of separating metaphysics and operations, believing theintangible part to be more eternal than the tangible, such as the wooden buildings. The framework of theChinese knowledge system was formed by the fundamental view of the cosmos stated in Yi Chin (易经)influenced Confucianism and Daoism – the basic idea being that all things in a boundless universe share asimilar structure. This also informed the Chinese way of thinking - integrating style, and emphasizing
intuition.
Chinese respect for their ancestors and the traditional system is behind their maintenance of so many
heritage properties, but the Philosophy of Yi jing is a philosophy of social life.
In Chinese history, even in emperors’ ancestral temples the ancestors’ names for five generations past
were to be moved out of the main hall – except for the first one – the founder.
To maintain late generations living better is an essential aim of Chinese culture.
Chinese popular people don’t like maintain ancestors time as a frozen form in museum, tradition should bea historic river flowing down from ancient time up to now and to future. They enjoin emotion and imagine
that the highest standard ofbeauty is a beauty of anenvironment which stimulates
your poetic sense and mood.
Analysis of Chinese culture
and the reality of theconservation movement revealthat ‘authenticity’ in China has
attributes rather different fromthat in the Optional Guidelines.
In order of importance –generally they are:1) construction pattern
2) use and function3) location and spirit of site264) material and substance5) their relation with tradition and so on.
Of course the real sequence depends on case study.

Zhu Guang
Ya

Conclusion:
To Chinese, protecting the authenticity of cultural heritage is still the serious issue – its most dangerous
threat – destructive construction and excessive restoration.
As the Operational Guidelines state, it is not easy to realize the attributes of authenticity in practice, but
we must do so because they would help us to think and to solve issues in conservation practice. Scholars
should research these attributes and use them to analyse the practical issues.
My ultimate conclusion is to urge that in order to protect the authenticity of wooden structures bothtraditional and extra-traditional methods be used.

27

III. Paper by ParticipantDisputes and Debates:
Approaches to the Repair of
the Wooden Pagoda of Yingxian County
Hou Weidong
Deputy Director/General Engineer
China Academy of Cultural Heritage

Hou
WeidongI.
Introduction
In the middle of the 11th century, the Liao Emperor was able to build
Buddhist temples throughout its vast territory. In 1049, the White
Pagoda of Qingzhou was built to bury Buddha’s relics. Two otherfamous temples were being built in China’s neighboring countries inthe same historical period, which are Buphuon Temple (1500 – 1660)
in Angkor of the Khmer Dynasty and Hinduism andByodo-in-ho-o-do Temple (1053) in Kyoto of Japan.
In 1056, the Emperor of the Liao Dynasty ordered the construction ofa Buddhist pagoda in Yinzhou in the northern part of the present-day
Shanxi Province. Having cost enormous manpower and plenty of trees
nearby, a huge temple was completed, among which the most famous
structure is the 64.8m-high wooden Sakyamuni Pagoda (later widely
known as the Wooden Pagoda of Yingxian County).
Countless high-rise wooden structures had been built prior to the Liao Dynasty, from the Han Dynasty
through the Tang Dynasty, some of which were even higher than the Wooden Pagoda of Yingxian
County. But none of them have ever survived until today. The Yingxian Pagoda is an exception whichstill stands firm today after almost one thousand years. The Yingxian Pagoda is the highest, largest,oldest and most spectacular historic wooden structure of its kind currently existing in China.
However, among all exist
historic wooden structuresin China, it is the one
facing the greatest safety
risk, suffering almost allkinds of hazard, such as
sloping,
displacement,
components damaging andbuilding
materials
weathering.
The Wooden Pagoda’s
current state has remained
the focus of academic
debates over years. Some31

experts hold that the pagoda has been sloped and damaged to an extent that it may go collapsed when
hit by strong wind or earthquake. But others argue that the pagoda is free from major risks and canremain safe for at least one hundred years.

Hou
WeidongOver the past decades, the repair of and study about the Wooden Pagoda of Yingxian County havedrawn extensive attention from both the government and the society and unremitting efforts have been
made in repairing and restoring this valuable historic monument. Renowned academicians, professors,researchers, engineers and specialists have put forward various pioneering protection and restoration
proposals, based on their academic and professional background and their own understanding ofprotection philosophies and principles. Ever since the 1970s, these experts and scholars have madeheated discussions and debates over approaches to the protection of the Wooden Pagoda of Yingxian
County and on some occasions they even set up a claim of their opinion by voting. We can hardly findanother historic building which has been given so intensive attention as the Yingxian Pagoda. And theEmperor might not predict that he left over such a difficult problem to Chinese conservators today.
II.
Figures and Facts about the Wooden Pagoda
Exploration about ways to protect the Wooden Pagoda of Yingxian County began in modern China.
When modern Chinese scholars found this pagoda with spectacular shape and typical structure, theysoon began to worry about its safety and consider how to restore it.
Conservation experts have reached a consensus that the Wooden Pagoda of Yingxian County needs
repair, because it suffers potential risks after nearly one thousand years of tear and wear. The pagoda isbuilt in a Buddhist temple, featuring the typical style of wooden structures of the Tang and Songdynasties. Each layer of peripheral columns, beams and brackets are overlaid and reshuffled within
this wooden structure. The pagoda consists of nine layers of circular columns (the ground floor ispropped by sandwich walls), eight floors of beams and brackets, and one roof layer supported by abeam frame. Looking from outside, it takes the shape of five clear floors, plus four hidden-floors as
the structural layer. Each floor is composed of two circles of columns. The internal peripheral columns
form a space which should be much higher, for it is used to enshrine Buddhist statues. The external
space surrounded by columns is mainly used for human activity and could be lower. Thus, the beamand bracket layers in the internal space are removed to form a hollow barrel-shaped space. All theselayer structures are made of wooden components, including wooden beams, columns,
brackets\skeletons and roofs, and only the roof is covered with tiles.

32

Structures among wooden parts were made with formal building techniques of the Liao Dynasty andits plane modulus and measuring system drew upon from mature practices of wooden buildings fromthe Han and Tang dynasties. Therefore, this exemplar building crystallizes the craftsmanship ofancient China and has withstood the test of history. In fact, over the past nine hundred years or sosince its construction, the wooden pagoda has survived scores of major earthquakes and many otherexternal attacks, demonstrating its uniqueness as a wooden structure.

Hou
Weidong

But regrettably, no written records about the pagoda’s designing, construction and techniques, either
by the government or by local records, have ever been left and as a result, we know nothing about how
it was built or maintained. Wooden structures of this kind unavoidably have their weakness, such as
limited quality of wooden materials, inefficacy of tenon-and-mortise work on nodes, and inevitablerisks deriving from its structure system. That is why it underwent several major repairs andreinforcements after completion.
The several major repairs and reinforcements in history have been recorded. 150 years after its
completion, artisans of the Jin Dynasty made comprehensive restoration, instead of rebuilding it. That
repair and consolidation was quite thorough, for artisans might know that this high-rise wooden
structure would suffer serious hazards 100 year later. The auxiliary columns attach main ones andinclined supports between the internal and external peripheral columns in the hidden stories were
strengthening in Jin Dynasty, the pagoda underwent a major repair every 120 to 150 years. The last
one was carried out in the 1920s and 30s.
Historical records about repair and restoration mainly include praises of merits and virtues and havelittle mention of repair techniques and practices. As a result, we know little about each repair practiceand state thereafter.
Scientific records about the pagoda, however, most of these records are descriptions of and commentson the pagoda’s architectural accomplishments as a unique historic wooden building of China andeven the East; only few words are about its protection. It may be because at that time, people did not
realize there were risks existing in the pagoda at all, or even if there were some, experts believed thatthey were far from serious.
The pagoda’s major safety risks
had not been discovered until the
1980s when several on-the-spot
surveys were carried out. Thesesurveys reveal that the pagoda’s
pillars in the southwest parts ofthe second and third floors slope
to a quite serious extent. The
sloped pillars, in addition to
cracked or curved components,
were triggered out as a people’s
great concern about its safety. In
1976, the Chinese Institute of33

Cultural Relics (predecessor of China Academy of Cultural Heritage) sent experts to consolidate thepagoda, the first of its kind in a modern sense. A triangle support was placed inside the two mostseriously damaged main pillars in the internal column circle on the second floor, in an attempt to resist
the inward sloping of the wooden pillars. Generally, this consolidation practice should be recognized,
though there were negative evaluations on the result of approach.
Since then, the protection, repair and consolidation have been put into the government’s agenda.
Engineering institutions and research institutes specialized in cultural property protection have begun
their attempts to design approaches and principles for the pagoda’s protection and repair.

Hou
WeidongIII.
Debates about Restoration Approaches
As for the heavily deformed pillars leaning northeastward on the second floor, problems cannot be
solved unless they are all dismantled. It was probably the earliest proposal for the thorough restorationof the wooden pagoda. But repair by disassembling was not realistic at that time, because it needs
huge budget that it’s even difficult in that time. In the following several decades, people adopted theidea that “Though the pagoda suffers over 200 hazards, in particular, slight sloping and twisting on its
second and third floors, it is basically in a safe state.”
As time goes by, the Wooden Pagoda suffers ever-growing hazards and gains ever-increasing concern
about its state of existence. In particular, the major earthquake of Tangshan in 1976 has called forquestioning about the pagoda’s longstanding existence. In the middle of the 1990s, organized by theState Administration of Cultural Heritage of China (SACH), efforts to repair and restore this historic
pagoda were launched. The Office for the Restoration of the Wooden Pagoda of Yingxian County wasestablished, consisting of officials and professionals from the central, provincial, municipal and county
levels. The office’s main responsibility is to make preparations for the repairmen of the pagoda.
But it was not successful to work out a satisfied project accepted by all parties. From the very
beginning, various viewpoints have been raised, such as “repair by keeping the current state”, “repair
by dismantle structures,” “repair by supporting and reinforcing structures” and “restoration by
uplifting the upper part while overhauling the lower part.” In this presentation, I would like to give a
brief introduction to several major viewpoints concerning the pagoda’s repair.
i.
Repair by dismantle and restore structures
Repair by dismantling historic wooden structures and reconstruct it again is a conventional approachin China. This approach is based on theknowledge and understanding aboutcharacteristics of wooden structures ofancient China. As they are primarily
wooden structures constructed withtenon-and-mortise work, they could bedismantled and re-assembled. Thisapproach has been widely used inrepair historic buildings in China. For
example, over ten extremely valuable
historic buildings of wooden structurein Shanxi Province, including thefamous tower feiyunlou (fly cloudy

34

tower) which underwent repair recently, were all restored by using this approach. Representative
scholars supporting the approach of “restoration by dismantle structures” include several senior andpilot conservators.
All these experts have rich experience in the repair of historic buildings, in-depth understanding oftraditional techniques in building wooden structures, and strong practical ability for repair work.

Hou
Weidong

By this repair approach, all building components are dismantled and then restored. Usually, historicbuildings using this repair approach are seriously damaged, suffering load imbalance, column
deflection, broken brackets or inclined beams. The Wooden Pagoda of Yingxian County meets allthese criteria and thus some experts hold that it should undergo a comprehensive overhaul by
dismantlement.
Dismantlement is a traditional approach. No detailed plans need to be drawn up, because many plans,drawings and standards used over the past dynasties can be referred to as suitable blueprints. Further
improvements and detailed technical plans, such as how to strengthening components, can be madeaccording to actual conditions occurring upon being dismantled. Currently, disassembling is just an
option based on traditional practice; no concrete plans or drawings have ever been worked out.
We can imagine this restoration process. First, the pagoda’s structures are dismantled. Then, repaired
and restored components are re-assembled so that inclined parts are restored to their right positions
and deformed column ends, architraves and brackets are replaced with new ones. Thus, a restored andrevitalized wooden pagoda will come to life.
However, some uncertainties do exist in
restoration concepts and techniques, concerning
the “restoration by dismantle structures”
approach.
First, we must ask ourselves if we are able toaccept the painful process of a magnificent
historic building being totally dismantled andthen rebuilt. It is not an ordinary historic temple
or worship halls, but a 60m-high, 1000-year-old
architectural masterpiece in which each wooden
component is covered with clay statues, coloredpaintings and murals.
Absolutely, we cannot give an answer thatjustifies our true mind. Standing under the hugeshadow of the Wooden Pagoda of Yingxian
County, we can imagine the scene that in ancient
times, the pagoda temple’s bell strikes echoed in
the quiet and vast field and farmer dwellings
with earthen walls and flat roofs around thetemple are just like subordinates creeping at the35foot of the holy temple halls. After one thousand years, the wooden pagoda looks no longer
magnificent and dignified; its structure is leaning and its roof is sinking. But this historical appearance,
though not so spectacular, deserves our greater admiration.
Ascending the wooden pagoda and walking through the wooden-structured floors, one cannot help
generating a historical feeling. Cracking of wooden components are astonishing. Main columns andbeams are remarkably deformed. The inclined structures and ground make you feel that a supernatural
power is functioning. The deformed pagoda best demonstrates how this wooden structure is understress. The deformed structures record the pagoda’s process of existence and evolution over the history
in an authentic and detailed manner, which any laboratory simulation cannot replace.
Hou
Weidong

These historical traces accompany the
pagoda for more than 1000 years,
serving as the witness of humancivilization and wisdom and theeverlasting
samplecrystallizing
scientific and technological progress.
How can we destroy it only because noconsensus has yet to be reached?
Besides uncertainties in concept andprinciple,
the“restorationbydisassembling structures” approachcannot guarantee that no error will
occur in the restoration practice from a technical perspective.
There are several difficulties to address if the pagoda undergoes restoration by dismantle structures.
First, this approach will be involved with the replacement of old components. According to generalpractices using the “restoration by disassembling structures” approach, heavily damaged componentsthat cannot function normally should be all replaced. But quite a number of beam timbers, brackets
and columns on the second and third floors cannot function normally. Should all of them be replaced?
What are the criteria for the replacement? It seems that no one can give a satisfying answer.
Furthermore, what are the criteria for making new components? If original materials continue to be
used, they will have the same problems
as the existing ones. But if newcomponents are strengthening, such as
consolidate cross grains, can theauthenticity
of
this
traditional
wooden-structurebuildingbeguaranteed?
Second, there is difficulty in correcting
deformed components and structures.
After hundreds of years of hard loading,many of the pagoda’s wooden structures
have changed from elastic deformed36

parts to crept parts. There is no way to restore crept parts to their original states. Moreover,interconnected components and structure points have already adapted themselves to each other; or inanother words, they are adaptable to the state of deformation. Under this circumstance, can they fit for
new component sizes and new distribution of structure points? For a structure which has already been
adapted to a new state of balance, partial correction will lead to new distribution of internal force. Do
we need such correction? If we do need, to which degree we will make correction?

Hou
Weidong

Third, over past centuries, the Wooden Pagoda has undergone restoration and rebuilding many times.
Many supportive interventions are temporary and some were even added at liberty, such as auxiliary
pillars added in the later period, oblique supports in the hidden stories, etc. Many of past researchworks gave highly positive comments on supportive interventions, insisting that oblique supports in
the hidden stories are something like modern truss and thus the key guaranteeing the stability of thepagoda. These positive comments make sense but are obviously overstated. In fact, many supportive
frames in the hidden stories look scientific but have deficiencies. Only structural restoration in the real
sense can fundamentally remove potential risks caused by deformation. Components added later are
either unnecessary or unable to restore deformed or inclined parts to their original position and state. If
there is no need to eliminate deformation, why do we have to dismantle structures?
Structural problems are much more than these ones, many of which are out of our prediction.
Therefore, from the conceptual and technical perspectives, dismantle and restore is not the best choicefor the pagoda’s repair, at least not now.
ii.

Restoration by supporting the whole structure

If we want to preserve all historical traces of the Wooden Pagoda, including all its structures,components and materials from the beginning of construction until now; if we look at it as an
irreplaceable historical sample, a habitat for a past soul to walk through and seek the road of return,and a holy hall dwelled by deities, our actions should be as possibly gentle as we can in order not todisturb them. Do we have any other choice if the restoration by dismantle structures will pull off these
historical traces?

37A unique idea of conservation approach known as the “repair by supporting the whole structure” waswork out by scholars. According to this concept, a three-story high steel framework will be placed
between the inner and outer peripheral column circles. The framework’s supporting scope can reach allparts of the lower three stories with damaged structures and components. The designer’s intention is to
use this new supporting structure to bear the load from the upper parts which are originally placed on
the fragile and damaged lower parts. This steel framework can strongly support beams, stabilize pillars
and hold brackets, and is capable of resisting all stress attacks from the outside. It is like theTransformers in Hollywood movies which can reach out numerous arms and adjust the strength ofarms according to various mechanic indexes. We should admit that it would be a highly creative
invention on the premise that all possible conditions can be met.
Hou
Weidong

But is the concept of “repair by overall supporting”
acceptable or not? We can answer this question from two
aspects. On one hand, it should be recognized that thisoption is intended to preserve all the historicalinformation about the Wooden Pagoda over the past
1000 years in an exhaustive manner. This idea is in thespirit of the Venice Charter. “Imbued with a message
from the past, the historic monuments of generations ofpeople remain to the present day as living witnesses of
their age-old traditions.” The overall supporting process
will not cause the replacement of any single pillar, beamor bracket. Even burrs of cracked beam timbers would
not be removed, cracks not filled, and traces not erased.
This approach leads to genuine “comprehensive and thorough protection.” The whole pagoda will be
sealed in transparent silica gel and exist well forever.
On the other hand, in evaluating a protection concept, we should also take into account the mostimportant and outstanding values of the pagoda. As one of the most outstanding example of ancientarchitecture of China, the wooden pagoda bears essential features as a building, such as those instructure, material, stress system, techniques, artistic expression and more. But the wooden pagoda is abuilding with its own spatial qualities. The Buddha’s altar in the middle part of the pagoda andsurrounding paths meet different needs ofthe deity and the human. From its
structural system, we can feel thetransmission of force, such as clear
textures of the wooden pagoda’s beams
and brackets. Only by preserving thesequalities can the pagoda’s values bedemonstrated. If its original space is
occupied and its original structural system
is not recognized, how can the pagoda
demonstrate its values as a building? “Thewooden pagoda should be a living andorganic structure, instead of being alifeless sample.” But it seems that the38overall support plan can hardly meet the needs of both the abovementioned aspects. In addition, howfeasible will the overall support plan be from the technical perspective? An independent suspending
steel frame is required, but where is its pivot set? The more difficult is how to support thesecomponents. Therefore, the overall support plan has some active meanings but is far from being
mature and comprehensive and even lack of feasibility.
iii.
Lifting the Upper Part and Restoring the Lower PartIf “dismantle and restore” and “overall supporting” represent two extremes in protecting this historicmonument, do we have any eclectic choice? Lifting the upper part while restoring the lower part,
initiated may be the wider acceptable option.
Hou
Weidong

While the main body of the Yingxian County Wooden Pagoda is awooden structure, there is an adobe wall of consolidation between
the internal and external circles of columns on the first floor. Thiswall, nearly 1 meter thick, substantially enhances the structural
rigidity of the ground floor and let it seems like another base of thepagoda. In this case, all the load of the stories above the wooden
structures and transformations have occurred only on the second
floor. Usually, the lower story has greater load than the upper story
and thus the second floor becomes the story with the greatest load.
The current situation is that wooden components of the second
floor are most seriously damaged, with more inclined, cracked anddeformed parts than any other floor. Therefore, the second floor isthe section in urgent need of repair. The third floor is better than thesecond floor. The fourth and fifth floors are basically in the goodstate of preservation and do not need repair. Under thecircumstance, restoring the second floor while keeping other floors
unchanged becomes an option.
Therefore, we can uplift the stories above the second floor and merely dismantle and repair the second
floor, and then put them back after the second floor is restored. With the thorough explanation of the“repair by dismantle structures” and “repair by supporting the whole structure” approaches, it will bemuch easier to understand the option of “uplifting the upper part while restoring the lower part.” This
option draws upon from the strength and advantage of the other two above-mentioned approaches
while avoiding their weak points. But there is one thing that must be emphasized: though this option
requires only a much smaller portion of dismantle work than the first approach, it does need dismantle
and thus loss of historic traces and elements will be unavoidable. Moreover, comparing to the second
approach, this option also needs supporting work, although the supporting system works only on
certain parts of the pagoda in a temporary manner, and it will not permanently replace the wooden
pagoda to bear load. After restoration, the wooden pagoda has to bear loads by itself. From theperspective of protection concept, this option will leave great space for choices in the future. That is
why this option is merely one step away from implementation.
What we should do now is to reflect on why it is merely one step away from reality and it is not
accepted at last just because of technical uncertainties, while there is the reason that it more or lessneeds dismantle work which is not widely recognized. The general concern is if the wooden pagoda

39

can be uplifted with mature technology and when it does be uplifted, if it can be put back to theoriginal place on the second floor safely and exactly.
Concerns about the “uplifting” option are of course reasonable, but all technical problems that may
happen could be solved. The biggest problem in fact is involved with people’s psychology. Is it time torestore the wooden pagoda in such an intensive manner and at such a great price? People’s attitude
towards the abovementioned options indicates that the answer is obviously “no.”IV.

Conclusion

Hou
WeidongOver the past several years, we have always kept in mind and shown respect for efforts andcontributions made by our predecessors in the research and protection of this historic pagoda. Basedon their work and integrating previous restoration concepts and technology, we should try our utmost
to find a new way.
As the time is going and the risk of the pagoda is growing, we have to do something for theconservation of the monument. To give up all the approach I motioned above, the choice that could
only possible now is consolidate and repair in the current condition. In this case we have aim andprinciples due to the repair work:
1. Aim of approach（1） stop and lower the slop（2） strengthening the structural in all（3） repair the components in test
2. Principle（1） structural safety（2） limited approach（3） reversible（4） keep original structure andconjunction（5） keep original material（6） easy work（7） separately and step by step（8） test advance40

Conservation of Wooden Elements in the Architectural
Heritage of Nepal
Kai Weise
Chairperson / Architect
Planners’ Alliance for the Himalayan and Allied Regions - Nepal

Kai
Weise

Abstract
It is a challenge to safeguard wooden elements in architecture from the numerous threats they constantly
face. Wood can deteriorate if not continuously maintained. When this deterioration begins, what is theright approach to restore these elements? How does one understand this in respect to the authenticity of
the heritage structure? This paper presents seven examples of use of wood in architecture in Nepal, eachgiving specific insight into the issues that need to be considered when trying to conserve wooden
elements. The examples consist of palaces, temples and dwellings from a period spanning over two andhalf millennia and located in diverse topographical locations of Nepal. The lessons learnt from theseexamples provide the framework for developing an appropriate approach to conservation. A compromisemust be found between replacing and retaining the original materials in the original location despite thecondition these elements are in. Conservation must find the balance between authenticity and integrity,
between safeguarding and utilizing and between freezing in time and allowing interaction with thesupporting living heritage.
Keywords:
wooden architecture, conservation approach, built heritage, material authenticity, Nepali architecture
1. Introduction - wood and traditional construction in the diverse settings of Nepal
1.1
Wooden architecture and the discourse on authenticity
Nepal has had a central role in the international discussion on authenticity in respect to conservation of
built heritage. In 1992, the Wood Committee of the International Council on Monuments and Sites(ICOMOS) met in Kathmandu and critical comments were made on the restoration work being carried out
on I Baha Bahi. This was the beginning of a dialogue that led to the preparation of the “Nara Document
on Authenticity” in 1994.
1.2
The context and the use of wood for construction
The Himalayan region is characterized by a mosaic of diverse landscapes, climates, ethnicities andcultures. The creation of this fascinating landscape is due to the collision of the Indian Plate into theEurasian plate. The Indian Plate was subducted under the Tibetan plateau, deforming and raising the
Tibetan block, while the floor of the Tethys Ocean was lifted and folded upwards and then backwards tothe south. As the mountains were formed, a climatic barrier was created with the northern areas drying up
and the southern flanks being eroded away by high levels of precipitation.
When the great mass of rocks was piled up, the weight was so great that it settled and tilted back to regainequilibrium, shearing from the surrounding landmass. This blocked the rivers and created lakes along thewhole range. Some lakes continued existing in the valleys such as Srinagar and Kathmandu. The lake of
the Kathmandu Valley is believed to have drained out over the past thirty thousand years and possibly forthe last time around eighteen thousand years ago. Sediments were gradually deposited at the bottom of thelake providing fluvio-lacustrine clay and sand. The black clay contained decayed organic matter from thelake which made it extremely fertile. Bands of peat and coal were also present which show that the valley
was swampy and dry alternatively (Smith 1978).

41

Over centuries people migrated to this fringe area between the ancient cultural spheres of South Asia andEast Asia. They came either to flee from persecution or in search of new prospects. The Himalayas havebeen both a climatic barrier as well as a cultural barrier where the amalgamation of cultures has takenplace on the fringes of the civilisations of Indian and China. They brought with them their religion, theirlanguage, their craftsmanship and enterprise. Where the economy allowed, the forms of settlement andshelter developed to express the more complex character of a civilisation.
Within this diverse landscape, wood became an important component for construction. Throughout theregion, wooden posts support wooden beams and rafters that hold up the roof. Wooden construction isused in combination with earthen, stone or brick walls. Depending on the location and importance of thebuilding, the quality, workmanship and ornamentation of the wooden elements differ. The following
sections will provide a diverse range of examples showing the use of wooden elements in the architecturein the various locations and over time within the present boundaries of Nepal.

Kai
Weise

1.3
General threats and their response
Wooden elements in built heritage can be subjected to physical, chemical and biological threats. The
decomposition of timber which has already been used for construction can be caused by dry rot, when afungus grows under warm and damp conditions with no sunlight and air circulation. The fungus spreads
web-like over the surface of the timber and then penetrates into the material. Timber can also be
destroyed by insects and worms that bore tunnels into the materials. Timber structures can catch fire. The
physical destruction of timber can be caused when the structural strength is overstressed. This can happen
due to various natural hazards, especially in the case of an earthquake. Physical weathering of timber canalso cause deterioration.
The responses to these threats are not always possible. Wood can last for many centuries or evenmillennia if the threats are neutralized. There are various means of response to damage that has alreadyoccurred. There is the possibility of stabilizing the decay or removing the elements from the impact of
threats by placing these in more secure locations such as in a museum where even the microclimate canbe monitored. This is however not possible for elements that are part of the structural integrity of thearchitectural object.
One of the major problems that restoration efforts face is the lack of appropriate materials. This might be
the unavailability of the exact type of wood and often the quality of the wood and its preparation.
Naturally seasoned wood is rarely available, and therefore the reuse of the original materials is a better
option where possible. The supply of wood is also based on a forestry policy for the sustainableproduction of timber. Another major drawback for restoration projects is the quality of workmanship.
There is a lack of interest in younger generations to take on the professions of carpenter and wood
craftsperson.
1.4
Intent of the paper
This paper contributes to the overall discussion on conservation of wooden elements in built heritage. It
however more specifically sets out to analyse the use of wood in architecture in the various geophysicalsettings of Nepal and provide a basis to formulate a conservation approach for wooden elements used inhistorically significant buildings. The case studies include the following examples: (1) The monasteries of
Lo Manthang, (2) moving villages in Upper Mustang, (3) Tansen Durbar, (4) traditional buildings of theTamangs in Rasuwa and Charikot, (5) Use of wood in traditional Newari Architecture, (6) The restorationof palaces in the Kathmandu Valley and (7) Traces of wooden architecture in Lumbini.

42

2. The Trans-Himalayan Region – beyond the high mountains
2.1
Case 1: Monasteries of Lo ManthangWithin the ancient walled settlement of Lo Manthang in Upper Mustang, there are three importantmonasteries, of which two are from the fifteenth century: Thubchen and Champa. These structures arebuilt of massive earthen walls, with composite wooden posts holding up beams and rafters. The roofs of
the impressive central halls are held up by posts that rise over seven meters. The earthen walls arecovered with exquisite mandala paintings. However in the 1990s, these gompas were in a state ofdisrepair. There was leakage, parts of the roofs were sagging and certain external walls were cracking.
These structures needed to be restored taking into account the importance of the mural paintings.

Kai
Weise

Sketch through Champa Lakhang (John Harrison, 2006)

Traditionally, the wooden elements of gompas are replaced, especially the roofing, but also otherstructural elements, doors and windows. Whoever sponsors such activities is said to gain merit(Chapagain and Silva, 2013, pp. 52-3). The replacement of the original materials however goes against
conservation practices of ensuring material authenticity. In the following restoration works carried out byJohn Sanday’s team for the American Himalayan Foundation, it seems that a compromise was foundbetween retaining and replacing wooden elements. Here the question seemed to be how to set priorities
between the huge clay statues of divinities, the mural paintings and the actual building structure.
The roofs of the monasteries had to be repaired, and was replaced using the traditional materials: roundtimbers, river stones, and local clay forwaterproofing. The rafters of the roof structureof Champa lakhang were replaced with woodthat was procured from across the border in
Tibet. The main beams were however retained.
‘The composite beams were made up of
eleven sections of timber, which were held
together with iron stirrups to form a hollow
beam, about 75cms wide and 75cms deep.
Over the centuries, these beams had twisted
and racked as a result of seismic movement.
Rather than trying to put them in straight lines, Restoration of Champa Lakhang (Sanday, 2011)
it was decided to repair them and to leave themin their twisted state retaining their patina of age. The beams were cleaned to expose their original colours
and the lacunae were an authentic match.’ (Sanday, 2011)

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2.2
Case 2: Moving villages in Upper Mustang
Upper Mustang has a rich heritage of vernacular architecture. The buildings are adapted to the harshclimate, providing protection from the winds, the cold and solar radiation. The more elaborate buildings
have rooms opening into a protected inner courtyard. The external walls have few and only small
openings. The ground floor is used for animals and storage. The main living quarters are on the upper
floor with the roof being used for household functions.

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Remains of abandoned structure with wooden elements
removed;(Weise)

Inner living space of traditional dwelling

Each room is enclosed with earth walls, the roof or next floor being supported by central wooden posts.
Wooden brackets on the posts give better support to the main beam, which are supported on the ends byadditional posts or stone wall-plates. The joists are usually round sections of 15 cm diameter, placed 45
cm apart. The joists are covered with planks or split wood, a layer of wheat stalks and twigs covered withapproximately 10 cm of packed white clay. The side walls are raised slightly above the level of the roof toclamp down the beams and joists. These parapets are often covered with stone slabs and are used to dry
firewood for the winter. The openings along the external walls are usually small. In some cases a double
frame is used to support the thick rammed earth walls. Nevertheless, the larger windows that open onto
the courtyard use the traditional Tibetan design. A single frame is use, often carved and painted. Wooden
blocks that span the width of the wall are fixed perpendicular to the top member of the frame, which isthen covered with wooden planks to hold the earthen wall. The wood used is most often Pine, though inthe older buildings the main structural elements were constructed of Juniper. The forests that supposedly
covered certain parts of the slopes of Upper Mustang are no more, and wood has to be carried up from thecommunity forests of Lower Mustang.
Throughout history, there seemed to have been the need to move settlements based on the availability ofwater. There are traces of abandoned settlements scattered throughout Upper Mustang. This is afascinating phenomenon and little has been studied on how the community carried out such a colossal
task. For example near Gemi there is a long mani-wall, a prayer wall piled high with stones and adorned
with prayer flags. Today the mani wall stands on a large plain along with a few chortens indicating theextent of an abandoned settlement. The wind has swept away the discarded earthen walls, while thereligious structures continue being maintained by travellers. Further to the east, away from the main track,
there are more remains of an abandoned settlement.
I was told me that it was often due to the lack of water which was either that the source dried up or thatthe community become too large for the finite supply. First an appropriate site was identified andprepared. All wooden elements such as beams, posts, doors and windows which were otherwise difficult
to obtain would then be transported from the old site and reinstalled in their new houses. The reuse of thewooden elements would have required a similarity in design of the new buildings and thereby would haveprovided a continuity and linkage between the old and the new settlements. These are anecdotes that havebecome the community’s oral history passed down from generation to generation.

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3. The Mahabharat Region – the foothills
3.1
Case 3: The Tansen Durbar
On the night of 31 January 2006, the Maoists attacked Tansen
and destroyed the Tansen Durbar and surrounding historicbuildings. The significance of the Tansen Durbar Complex
goes far beyond the heritage value of the individual buildings;
it is an important landmark for the identity of Tansen, haspolitical and historic significance and is a critical component
for the future development of Tansen. The components that had
heritage value were the cluster of buildings around the Silkhan

Tansen Durbar in flames(Image courtesy of Man Mohan Shrestha)

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(armoury) building to the southeast, the palace itself, and thebuildings along the north and northeast corner including the
Baggi Dhoka (carriage gate). Most of the buildings would havebeen built in the early 19th century during the reign of the Sen
Rajas, though the palace itself was reconstructed by Governor
Pratap Shamsher J B Rana in 1927.
When the Maoists attached Tansen, they laid siege to the palace
which housed the office of the Chief District Officer, including
The Silkhan with all the timber elements burnt.
police and army facilities. After several hours of heavy fighting, To the left was the wooden veranda
the Maoists swarmed into the buildings, and torched thehistoric buildings while retreated with the hostages. The Tansen
Durbar was totally gutted and continued smouldering for fourdays. All the wooden elements, especially of the eastern andnorthern wings were fully burnt, leaving only the brick walls.
The outer shell of the north-eastern tower remained standing
and was later pulled down. The Silkhan building was totally
destroyed. The wooden posts along the northern ground floor
veranda burnt down, leading to the total collapse on that side.
The central wall on the ground floor and the southern wall still
stand. Other buildings around the Silkhan building were also
totally gutted. (Weise, 2006)

The gutted palace, no wooden elements
remaining

Already a few weeks later, the brick of the Silkhan building werebeing trucked away by the army to build new barracks in theirmain camp. The entire building was later demolished. The fate of
the palace building was however determined by the interested
shown by the community and experts. Taking into account that
Tansen is on the tentative list for World Heritage nomination, it
was decided that the traditional method of construction would be
used. It was also noted that since traditional buildings of thatscale were structurally resilient, there was no need of using
New construction with timber reinforcement
reinforced cement concrete. The design nevertheless did
incorporate wooden reinforcement elements into the brick masonry. The reconstruction was carried out
by the Department of Urban Development and Building Construction in cooperation with the Departmentof Archaeology.

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3.2
Case 4: The changing traditional buildings of the Tamangs in Rasuwa and Charikot
Tamang houses are found scattered across the slopes, built on the individual plots of terraced farmland.
Most buildings in the central Himalayan foothills are of stone rubble masonry with earth mortar. The
Tamang houses around Charikot for example are usually two storied with a rectangular floor plan 3.5 to 4
meters wide and 5.5 to 7 meters long with 2 central wooden posts. The wooden elements play animportant role in the traditional architecture; however these elements are most often replaced with cement
concrete.
A central row of about 15 by 15 centimetre square hardwood posts, placed on a foundation stone, support
the floors and the pitched slate roof. Pinewood is used for all other construction, since at an altitude over2000 meters; there is little risk of insect infestation. The main longitudinal beams (12/18 cm) rest on theposts and support the joists (7/10 cm). The joists penetrate the stone work and are sandwiched between
two layers of planks providing a surface to absorb structural movement, separating the stone masonry oneach floor.
The slate roofs are gabled. The roof projection is wound around the gabled end for protection. The rafters(7/10 cm) are connected with a half lapped joint, supported on a central ridge beam and on wooden wall
plates. The struts that support the projecting rafters are fixed to wooden sections embedded horizontally
into the stonework and held in place with wooden pegs. All openings have 2 wooden frames, one on the
inner face and one on the outer face of the wall. The openings are kept narrow to reduce the load on theframes. The frames are secured by the top and the bottom members of the frame projecting into the stone
masonry.

Typical Tamang house in Charikot

Typical Tamang house in Rasuwa

Extension to monastery in Dhunche

Easy road access to places like Charikot and the Rasuwa district has had major impact on the traditionalbuilding methods. The most impact is on the wooden elements such as the flooring and roof construction
which is being replaced with cement concrete. However the modern methods of construction are notadapted to the climate, are of bad quality and even the stability of the reinforced concrete frame structures
are inadequate. The slate roofs are replaced with corrugated iron sheets which then fix to metal trusses.
The flooring and balcony projects are reinforced cement concrete replacing the wooden joists and posts.
This can even be seen in the monasteries in Rasuwa, where all reconstruction and maintenance is doneusing modern materials, considering that it is not possible to constantly maintain the traditional structures.
There seem to be several reasons for the changes. Primarily wood is used sparingly since prices especiallyfor hardwoods are high due to a lack of supply created by inadequate forestry management. The
community based forestry projects have managed the supply of a basic amount of softwood, mainly red
pine (Pinus roxbughii). A further reason for the change in construction materials is the lack of specialized
workman, since the entire construction industry has converted to the use of modern materials. A final
reason for the use of modern materials such as reinforced cement concrete is the image factor. For many
people it is a status symbol to have a concrete building which is considered to be safe, easy to clean,requiring less maintenance and providing the image of an urban dwelling.

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Typical Newari door frames (Bonapace and Sestini,
2003, p.67)

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4. Nepal Mandala - the Kathmandu Valley
4.1
Case 5: Use of wood in traditional Newari Architecture
Most Newari buildings are constructed of a combinationof wood and brickwork. The wooden elements in theconstruction of the roof are simple structures, not as
elaborate as the Chinese and Japanese systems. In thetemples, the central cella is of thick brickwork, which isthen surrounded by a series of wooden posts creating acorridor. The posts are fixed using notches to wooden
beams (or stone base) and brackets. The large overhangs
are there to protect the buildings from the Monsoon
rainfall and intense solar radiation. The roof of the tiered
temples for example are placed in a radial arrangement
supported form the central brick walls and an eave beam
which is turn is supported by decorative struts. The
flooring is comprised of closely laid wooden sections
covered with bricks or planking covered with a layer ofearth. Sometimes the earthen layer is then covered withfloor tiles. The wooden elements are held in place using
wedges and are connected to wall plates that are
integrated into the brickwork. The doors and windows
are another unique part of the Newari buildings. The
many elements that make the doors and windows are Construction system(Bonapace and Sestini, 2003, p. 62)
placed together to ensure that they are structurallycompressed. Generally they consist of a pair of framesthat hold up the thick brickwork that continues above theopenings and thereby become an integral part of thestructure. The door and window elements are often
profusely carved. On the upper floors, special windows
are often placedExtension
in a tilted
outward to allow people toto monastery in Dhunche
view the streets through the latticework. These highly
decorated windows were also a status simple, with thenumber of bays indicating the importance. The ultimate
expression of this status was the 55 window palace in
Bhaktapur (Bonapace and Sestini, 2003, pp. 54-67).

Typical Newari windows(Bonapace and Sestini, 2003, p.69)

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The construction technique for wooden elements is basedon assembling the components without use of nails or
screws. This allows for repairs and replacement ofelements to be carried out more easily. The only fully
timber structures are possibly the assembly hall or
Mandapa. These are pavilion like structures, usually
single-storey, with a pillared hall in square plan. An
impressive example would the Kasthamandapa in
Kathmandu. One can however assume that originally,
especially during the Licchavi period (3rd to 7th centuryCE) wood was used much more extensively. Even the

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Chinese traveller Hiuen-tse mentions all the houses being
constructed of wood, including the palace which was burnt
down. Possibly due to shortage of good timber, the wooden
elements were reduced. For example the early Mallawindows contained much more wood than later versions(Scheibler, 1988, p. 137). This same problem persists today,
which greatly impacts conservation efforts.
Under common building defects, it is possible to mention
timber elements especially on the façade. Doors, windows,
posts and beams are impacted by weathering, decay andfungal attack. Another area of defect can be the timber
structures of the roof, where there is leakage and rainwater
Kasthamandapa (Korn , 1976, pp. 95. 97)
seeps into the underlying structure. These defects are
frequent and affect the buildings especially due to lack of maintenance. In timber construction, thestructural stability lacks diagonal bracing and often lack integration with the brick work. Timber elements
which are subjected to humidity, leakage and splashing rot quickly. These would be the end of posts on
the ground floor, joists that embedded in humid walls and exposed elements of the roof structure. The
dead weight of the traditional roof can have an impact on the structure, since there is a 5 to 8 centimetre
thick layer of clay on the roof into which the jhingati tiles are embedded. (Scheibler, 1988, pp. 141, 163164)
Newari
Dhusishin

NepaliSal / Agrakh

Latin
Shorea robusta

DensityUse
3

800-960 kg/m

columns, capitals, supporting beams, stairs, window
frames,door

frames,rafters(greatloads

andweathering)
Thashin

Salla

Pinus roxbughii

500 kg/m3

Schima wallichii

3

floor beams, door leaves, roof rafters, lattice screens(protected from elements)

Gwechashin

Chilaaune

690 kg/m

3

roofing plate, special ridge piece, sometimes windows

ShushinPhalaant

Quercus glauca

930 kg/m

windows, doors, sometimes roof rafters

Chashin

ChaanpMichelia

460-660 kg/m3

windows, furniture (good carving but easy weathering)

Lapsi

Lapsee400 kg/m3

posts, capitals

320-450 kg/m3

rafters

champaca
Choreospondias
axillaris
Lobasi

Utis

Nawashin

PaasenAlnus nepalensis

seldom: capitals, wheels of carriages

Chart from Scheibler, 1988, p. 129, density from http://www.forestrynepal.org (accessed 10 November 2013)48

‘Eight types of wood are used in the construction of the traditional temple or house according to theirdifferent characteristics’ (Scheibler, 1988, pp. 128-129)
Additionally Haldu and Sisau, Bakaina, Alp, Padke, Simal, Karma, Sisame are also used. A resinous oil
obtained from the Sal tree, was used to protect and conserve the wooden structural and construction
elements of buildings exposed to open air. (Bonapace and Sestini, 2003, p. 49)

The ongoing restoration work on the Mul Chowk and the Sundari
Chowk of the Malla palace in Patan is being carried out by the
Kathmandu Valley Preservation Trust (KVPT). Led by Rohit
Ranjitkar, the ongoing works show the prevalent approach to dealing
with the wooden elements. The challenges of such restoration

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4.2
Case 6: The restoration of palaces in the Kathmandu Valley
The 55-Window Palace in Bhaktapur was constructed by King
Bhupatindra Malla in 1697. The top floor of the palace wasseverally damaged during the 1934 earthquake and was restoredwith various alterations. Since this part was mainly constructed ofwood, the salvaged wooden elements were reused. These elements
were however reinstated haphazardly without consideration to their
original position. The entire row of 55 windows was placed back,however without the original projection. In the 1990s proposals
were prepared for the restoration of the 55-Window Palace and the
55-Window Palace after the 1934 earthquake
discussions continued over several years engaging both international (GTZ/udle , 1995, p. 103)
and national experts. The central wall of the palace was covered
with a mural painting that required stabilizing. Finally a team ofnational experts and artisan carried out the project with employing
local knowhow and materials. The restoration works were carriedout between 2003 and 2008. The entire structure was stabilized byintroducing timber posts and beams to reinforce the structure, withlarge parts of the brick walls being reconstructed. The wooden
elements were cleaned, fixed and reused. The top floor windows
were reinstated to its original position. According to Sudarshan Raj Section through 55-Window Palace
Tiwari, “Completed in 2008, the success of the project underlined (in Weise [ed], 2009, p.45)
the importance of taking traditional knowledge, techniques andcraftsmanship as the preferred approach for retrofitting and restoringhistoric buildings” (Weise, 2009, pp. 44 – 46).

55-Window Palace November 2013

projects were highlighted by Rohit Ranjitkar during various
discussions in October and November 2013. Due to the constant
impact of earthquakes on buildings, previous restoration works
carried out by the community over the centuries show that elementsfrom other buildings were used to restore the palace. This isespecially visible in the struts from various periods used in the Mul
Chowk, which were often cut to size or extended to fit in their new
position. This means that it is not possible to clearly distinguish what
would be considered the original material. The approach taken by the
KVPT has been to prioritize retaining the wooden elements in theirCarved wooden elements retained in
Mul Chowk restoration in Patan, 201349

original state and position. Interventions are necessary to the wood that has deteriorated by rot,
weathering or termites. The wooden element is cleaned using only kerosene, since other chemicals
haven’t proven to be effective unless constantly reapplied, which is not practical in the local context. The
deteriorated wooden elements without any carvings are replaced. All elements with carvings arereinstated after with the required additional stabilization. For example carved struts that might havepartially deteriorated are placed back in their original position with a metal support. In some cased, thelost components of the carvings are added if the design is clear and it is possible to recreate thecomponent using the local crafts persons.

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5. The Terai – the jungles of the southern plains
5.1
Case 7: Traces of wooden architecture in Lumbini
The archaeological remains at Lumbini are a testimony to thebirthplace of Lord Buddha and the site was inscribed on the list ofWorld Heritage in 1997. The main evidence of this place being thebirthplace is the inscription on the stone pillar erected here by
Emperor Ashoka in the second century BCE. The remains of thebricks that date from the second century BCE to the seventh
century CE are testimony to the site being a site of pilgrimage overmany centuries. It is only during recent excavations carried out by
Inscription on the Asokan pillar in
the Department of Archaeology and Durham University within a
Lumbini from second century BCE
Japanese funded project of UNESCO that clear evidence of PreMauryan structures within the central temple area came to light.

Inscription on the Asokan pillar inLumbini from second century BCE

Post holes testifying Pre-Mauryan
wooden structures in Lumbini(Photo: Nabha Thapa)

Traditional building form with wooden
posts and tile roof in villages surrounding
Lumbini50

The temple area was defined “through the construction of a double
kerb of brick on edge. Tempered with rice husk, these bricks werehighly distinctive as they measured 49 × 36 × 7 cm, weighed 20 kg
each and had one face marked by deep finger grooves. The area tothe immediate south of the kerb was paved with the same bricks,
although many of them were broken in antiquity. Surviving areasof this simple brick platform have been identified in other areas of
the temple, suggesting that it originally covered an area of some 26
metres north-south and 21 metres east-west” (UNESCO, 2013, p.
81).
Before the use of bricks was introduced, the materials used forconstruction was wood. The wooden elements however do notexist anymore. This shows that wood cannot sustain such climatesand soil conditions. ‘The first evidence of structural activity at the
Mayadevi Temple occurred in the middle of the sixth century BCEwith the cutting of a straight line of post holes defining the centreof the mound. Soil micromorphology indicates that the central areaof the temple, defined by wooden fence or railing, was void ofstructures and the stratigraphy and soil sections suggest thepresence of substantial roots, perhaps indicative of a tree
(UNESCO, 2013, p. 81).
This is an interesting concept, considering that from the mostancient of structures, only the negative imprint remains. There aresimilar cases in other early Buddhist archaeological sites such as in Tilaruakot, where it is know that thecity was destroyed and set on fire. There are charcoal remains from the period, with only the brick wallsof the ramparts and the palace remaining in original material form. This shows that wood is not a material
that can withstand the test of millennia.
6. Conservation of wooden architectural elements in the context of Nepal
We are still experiencing a dilemma in finding a clear and acceptable approach in the conservation ofwooden elements. During the second cycle of periodic reporting on the implementation of the World
Heritage convention in Asia and the Pacific, a categorization of all cultural properties was carried out
based on materials used. The statistics shows that 52 properties were considered to use wooden
construction, which is affected by a wide range of factors, such as natural disasters, tourism, infrastructuredevelopment and management. (UNESCO, 2012)

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Wood as a material has specific characteristics which determine its resilience to the many factors
affecting it as a construction material. The above seven examples of wood being used in architecture
within the context of Nepal were presented to better understand the material, its use and its resistance tofactors affecting its endurance over time. A summary can be made of the issues which would determine
the understanding and the approach to conserving of wooden architectural elements.
In most conditions, wood does not last for many centuries as does stone and burnt bricks. In manyarchaeological sites we only find the negative imprints of where wooden elements were before they
decade or wood in the form of charcoal. Wood gets affected especially be damp and weathering, whichleads to rot and biological infestation. Wood is also vulnerable to fires, as shown in the case of the palacein Tansen.
In all seven cases, wood has been used as a critical material for posts, beams, wall plates, rafters, struts,
etc. These wooden elements fulfil structural functions and would therefore need to continue being intact.
If these structural elements lose their capacity to fulfil their function, they must either be replaced or a
new element needs to be introduced to take over that function. The examples show the value given towooden elements, especially in the case of Upper Mustang were when villages were moved, the wooden
elements were taken along to the new location.
Wood is also used for ornamentation. Either the structural elements themselves are decorated throughcarvings, or additional carved pieces are added for aesthetic purposes. These carved elements are also
symbols of social and economic stature. In the Malla period, the carved windows reflected the social
standing of the inhabitants, the ultimate being the 55-Window palace in Bhaktapur. These elements are
not easy to replace, since the craftsmanship, time and money that goes into any kind of reproduction isdifficult to come by.
In all these cases we see that wood is a valued material. The conservation of these elements howeverrequires constant maintenance and care that they are well protected. Conservation of the wooden elementsof the architectural structures requires a source of good materials, continued knowhow and skills for therequired fixing and reproduction of lost components. The structural integrity of the buildings must be
ensured, even if it necessitated the introduction of modern materials that are however no intrusive andreversible. The artistic and decorative elements must retain their authenticity. This fine balance between
the functional integrity of the architectural heritage and the authenticity of the artistic elements must be
found, specific to each the characteristics and the context of the object.

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Bibliography
Banerjee, N.R. 1980. Nepalese Architecture. Agam Kala Prakashan, Dehli, India
Bernier, M. B. 1979. The Nepalese Pagoda, Origins and Style. S. Chand & Company Ltd, New Delhi
Bonapace, C. and Sestini, V. 2003. Traditional Materials and Construction Technologies used in the
Kathmandu Valley. UNESCO Paris
Chapagain, N.K. and Silva, K. ed 2013. Asian Heritage Management, Contexts, concerns and prospects.
Routledge, Taylor & Francis, London and New York
Dangol, P. 2011. Elements of Nepalese Temple Architecture. Adroit Publishers, New Delhi
Deo, S.B. 1968-69. Glimses of Nepal Woodwork. The Journal of the Indian Society of Oriental Art, Editor
Umakant P. Shah, New Series, Volume III, Calcutta
Department of Archaeology, Government of Nepal. 2007. The Integrated Management Framework for
the Kathmandu Valley World Heritage property, (published in Nepali by UNESCO Kathmandu)
Frick, H. 1985. Traditioanl Rural Archtiecture and Building Methods in tehHills of Central-Eastern
Nepal. Praktkumsbericth NADEL-5, Zurich. (unpublished report)
Gerner, M. 1987. Architekturen im Himalaja. Deutsch Velags-Anstalt, Stuttgart, Deutschland
Ghosh, D.N. 1989. Materials of Construction. Tata McGraw-Hill Publishing Company Limited, New
Delhi, India
GTZ / udle. 1995. Images of a Century: The Changing Townscapes of the Kathmandu Valley. GTZ/udle,
Kathmandu, Nepal
Gutshow, N. 1997. The Nepalese Caitya; 1500 years of Buddhist Votive, Architecture in the Kathmandu
Valley. Edition Axel Menges, Stuttgart / London
Hutt, M. 1994. Nepal, A Guide to the Art and Architecture of the Kathmandu Valley. Kiscadale
Publications, Gartmore, Stirlingshire, Scotland
Korn, W. 1976. The Traditional Architecture of the Kathmandu Valley. Bibliotheca Himalayica, Series
III Volume 11, New Dehli, India
Parajuli, Y.K., 1986. Bhaktapur Development Project, Experiences in preservation and restoration in amedieval town (1974-1985). Bhaktapur Development Board, Ministry of Panchayat and Local
Development, Nepal
Sanday, J. 2011. Above the clouds: Conserving the monastery of Upper Mustang, Nepal. In Spaces
Magazine, September – October 2011 issue, pp. 48 – 55.
Scheibler, G. 1988. Building today in a historical context, Bhaktapur, Nepal, published by Ratna Pustak
Bhandar (translated from Aktuelles Bauen im Historischen Kontext Bhaktapur, Nepal. Dissertation
an der Eidgenössischen Technischen Hochschule, Zürich 1982)
Shrestha, R.G. 2006. A Final Report on Conservation of 55 Windows Palace. Heritage Section,
Bhaktapur Municipality, Nepal
Tiwari, S.R. 2009. Temples of the Nepal Valley. Himal Books, Nepal
Toffin, G. ed. 1991. Man and his House in the Himalayas, Sterling Publishing Private Limited, New
Delhi, India
UNESCO. 2013. The Sacred Garden of Lumbini, Perceptions of Buddha’s birthplace. UNESCO Officein Kathmandu-. 2012. World Heritage Papers 35 - Understanding World Heritage in Asia and the Pacific - The Second
Cycle of Periodic Reporting 2010-2012. UNESCO World Heritage Centre, Paris
Weise, K.P. 1992. Kathmandu, The Metamorphosis & Present Issues. Unpublished Thesis, Federal
Institute of Technology, Zurich, Switzerland-. 1998. Proposal and Feasibility Study: Conservation and Town Planning of Lo Manthang, Mustang
District, Nepal. Planners’ Alliance for the Himalayan and Allied Regions, Unpublished Report.

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-. 2006. Notes on the destruction of Tansen Durbar, Jan 31st - Feb 1st 2006. Planners’ Alliance for the
Himalayan and Allied Regions, Unpublished Report-. 2009. (ed.) Kathmandu Symposium Document, 16 to 19 February, 2009, Protecting World Cultural
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DuMont Buchverlag, Koln, Deutschland-. 1978. Nepalese Temple Architecture. E.J. Brill, Leiden, Germany

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53

Restoration of Tampita Vihara (Temple on Pillars)
at Dambadeniya
Priyantha Basnayake
Chief Draughtsman
Architectural Conservation Division
Department of Archaeology Sri Lanka

As a tropical country, Sri Lanka has a highly humid and temperate environment. The ancient architectural
creations have been built to withstand this condition and the temples on pillars can be stated as one of thebest examples of them.
What is a temple on pillars?
Temple on pillars is a structure which built on stone pillars or boulders on a raised platform. The super
structure is made with timber beams on these pillars with wattle and daub walls and covered with a flat tile
laid roof on a timber frame.
Priyantha
Basnayake

This technique it is protects the super-structure from the dampness and wetness of the ground. Also in thedry season, the ground becomes warm but the building is protected from the heat. If a building issubjected frequently to warm and cold conditions, its lifetime will reduce specially due to the expansions
and contractions.
Therefore hundreds of these type buildings are still in the protected and preserved conditions although
they are more than 200 years old.
The height of the pillars varies from 2 feet to 10 feet depending on the design of the building and if thepillars are high the buildings are recognized as two storied. They are called Tam (Pillars)-pita (on) viharas (Temples).

Types of Temple on pillars

55

History of Dambadeniya Tampita Vihara
The temple on pillars in Dambadeniya vihara, isbelieved to be built by King Wijayabahu the 3rd(1232-1236 AD), who was the first king ofDambadeniya Kingdom.
According to the Mahawamsa, son of King
Wijayabahu the 3rd, King Parakramabahu the 2nd(1236-1270 AD) brought the sacred tooth relicof the Buddha which was kept at Beligala (some40km away) and kept in this building to be
worshiped by the people.
The remains of the royal palace close to thetemple on the rock called Maligagala werediscovered in an excavation by the Departmentof Archaeology. There are remains of Palace,ponds moat and city walls around the rock.

Site Plan of Dambadeniya

Priyantha
Basnayake

After the death of King Parakramabahu the 2nd, the tooth relic was taken to the new kingdom in Yapahuwa
and the buildings in Dambadeniya were abandoned. It is known that this building was restored by
Meegastenne Adhikarama in Kandy period. Thereafter there were many interventions in time to time.
Architecture of monument

The building is constructed on a stone platform about one meter in height and the main structural columns
which support the timber deck are covered by mud walls. The stone platform is faced with smoothfinished stone mouldings.
The main timber frame which supports the timber deck and the main shrine consists of three layers. The
timber deck is fixed with 3 inches thick timber planks, and the wattle and daub walls starts from this deck.

56

The structural frame of the walls is fixed on to the timber deck, but the four corners to the main timber
beams with bigger timber poles. There is a balcony right round the upper deck, which is accessed by asteep timber stair way. Roof is laid with locally made flat clay
tiles.
The front portion of the building is the open stone colonnaded
drumming hall, but surrounded by a later added mud short wall.
The tiled roof of the drumming hall connects by a horizontal
gutter, with the lower level roof of the main shrine.
Decorated timber column heads on these stone pillars are
significant in this drumming hall and also the decorative timber
rafters on the timber beams on column heads are very attractive.

Priyantha
Basnayake

Although the main building and the drumming hall are theconstructions of Damadeniya period, the carved column heads,
timber beams and roofs are belongs to a latter period. It isbelieved that this temple was renovated in the Kandyan Kings
time. The paintings on the walls and the upper floor sculptures
were done in Kandy period.
Therefore the restoration of the monument is complex andcareful attention must be paid in preserving it.
Documentation and conservation proposal
Before conserve any monument, it is mandatory to record and document the existing condition of thebuilding.
There was no any dangerous subsidence and cracks in the foundation of this building.
As per the accepted norms and procedures followed by the Department of Archaeology, no intervention to
the foundations was needed.
The floor of the lower shrine was laid with ceramic tiles, which does not match with the historic characterof the monument was proposed to lay with rough granite tiles.
Floor of the drumming hall had been laid with terra cotta tiles and it was decided that they are suitable
although it is a later addition. As all stone pillars in this monument were in good condition, nointervention was needed. The decorative column heads and the beams in the drumming hall were in goodcondition, but several portions of column heads were decayed. These were proposed to conserve byfilling with sawdust mixed with glue.
The three sets of main timber beams on stone pillars in main shrine were badly decayed. The entire floor,
walls, statues and the roof of the upper floor is rested on these three sets of beams, and therefore
restoration of the beams was essential. It was decided to replace some of the beams and parts of the beams.

57

Priyantha
Basnayake

There were paintings which had been done in recent time on these beams, but it was not a reason to allow
the beams remain as it was. So it was decided to replace the decayed beams. There was a concrete layer
about 2 inch thick on timber planks in the upper floor of main shrine, and finished with smooth cement
grout, as a later intervention. It was decided to remove the concrete layer to reduce the extra weight to thefloor slab and the frame. As the plaster layer in the upper floor shrine was weak and tend to peel off, thechemical conservation methods were applied on them. Also the paintings and sculptures were restoredwith chemical treatments.
Upper roof in the main shrine was in good condition as it was restored 10 years ago. But in the roof of the
drumming hall there were three decayed rafters, and it was decided to replace them with new ones.
Decayed flat tiles and all reefers will have to be replaced.
The project estimate was approximately, LKR 2.5 million, and the approval was granted to carry out theworks by Director General of Archaeology, as recommended by the Director, Architectural Conservation.

Decayed Beams

58

The works on site
It was essential to erect a covering shelter above the temple to protect the timber portions, wattle and daubwalls and paintings from the sun and rain. The concrete layer on the upper floor deck was carefully
removed and the roof tiles also were removed. An electric grinder was used to remove the concrete layer
as the chipping off with a hammer would cause the vibration.
The upper floor of the shrine was tied together by using GI pipes and bamboo, to make it one unit toprotect the structure in removing the main beams. The sculptures inside the shrine were tied withmattresses and cloths to avoid shifting.

Priyantha
Basnayake

Extra timber joists were fixed under the deck and by using two 10 ton hydraulic jacks, the load of theupper shrine was transferred to a number of coconut logs fixed vertically inside the lower level. Someextra timber props were used for additional safety.

The decayed timber of the middle layer was removed first and the others were easy to remove then. A
deck to work at one meter above ground floor level was erected for the easy movement of the workers.
Only the decayed parts of beams were removed and other beams were kept as they were. First of all,inserted were the longitudinal beams in lower beam set and then cross beams in lower beam set. After that,upper cross beams and upper longitudinal beams were inserted in order.
Finally by putting the set of middle beams, it was able to finish the most difficult and main restoration
work of this monument. To replace the decayed beams we used the “Mee” (local hard wood species)
timber as the material which was used originally.

59

As the bottom part of the main door frame was decayed it was also replaced. After removing the concrete
layer on upper floor, it looked rough on the floor planks and therefore one inch thick smooth finishedtimber planks were fixed on the existing timber plank to make the foot comfortable. After restoring theroof of the building with new reefers and flat tiles, the props which fixed to transfer the load of upper floor
were removed. Three decayed rafters in drumming hall roof were replaced, and restored the roof with new
reefers and flat tiles.

Priyantha
Basnayake

Finally it was decided to display the removed original timber portions in the site museum.

After Restoration of the Monument60

Principles and Techniques in Conserving and Restoring
Wooden Architectural Heritage Sites in Viet Nam
Created by Tran Dinh Thanh
Architect/Deputy Head
Presented by Vu Thi Ha Ngan
Architect Expert
Division of Monuments Management
Cultural Heritage Department
Ministry of Culture, Sports and Tourism of Viet Nam
I. THE CHARACTERISTICS OFWOODEN ARCHITECTURE AND WOODEN
ARCHITECTURAL HERITAGE IN VIETNAM
1. Overview on the wooden architectural heritage of Viet Nam
In Viet Nam, the architectural heritage consists of individual buildings and structural complexes; andpopulation structures in the rural or urban areas which represent major developmental phases in thearchitectural history, outstanding architectural and artistic merits or other values.

Tran Dinh
Thanh

Up to 2013, Viet Nam has recognized 7,000 heritage sites at provincial level, 3,196 at national leveland especially 7 cultural and natural world heritage sites. The architectural heritage of Viet Nam
provides us with not only tangible evidence of the national architectural development, but also asource of data for researches in history, ethnology, culture studies and arts, etc. As a result, theoutstanding value of the Vietnamese architectural heritage is in and of its historically informative
feature.
Since early 1960s, Viet Nam has begun to research and make great efforts to protect its national
cultural heritage, with the establishment of a management mechanism in cultural heritage preservationfrom the central to local government. Currently, the preservation of cultural heritage includingarchitectural heritage has become a matter of increasing interest for the government and all
Vietnamese people. There have been considerable investments in preserving and promoting the valueof the national architectural heritage.
Regarding the historical value, Vietnamese architectural heritage reveals direct and indirect
information about the country’s history. It is not only the remaining of architectural masterpieces fromdifferent periods of time, but also an important source of historical data for Viet Nam. Therefore, topreserve the architectural heritage is actually to preserve that source of historical data. The activity hasa special meaning in the case of Viet Nam where historical data is relatively limited and other forms ofcultural heritage were not conserved in great abundance. It is also the reason why having heritage sites
stayed intact has become a strict requirement for restoration work in Viet Nam.
2. Typical features of wooden architecture and wooden architectural heritage of Viet Nam
2.1. In Viet Nam, except from several citadels and tombs, most of architectural structures were madeof or mostly from wood. It was the popularity and long term use of wood that defined the architectural
style of Viet Nam. The first notable feature is the consistency (in general) of architectural forms,
structures and decoration techniques. Most of dissimilarities over time or across different styles could
only be found in the details.
2.2. Typical structure of traditional wooden architecture in Viet Nam:
Architectural heritage accounts for 40% of the total number of recognized heritage sites in Vietnam, of
which 80% are wooden structures. There are three basic elements of a wooden structure in Viet Nam:floor – main part – roof.

61

The main part is a wooden structure which consists of Cot (Column), Xa (Beam), Ke, Bay, Vi(primary wooden truss), Hoanh (Purlin), Thuong Luong, Rui (rafter), etc. These components arejoined together by the mortise joint technique – a three dimensional fastening system.
The set of Vi is a reinforced formation that connects to and supports the roof in order to create a stablestructure in which all parts are fastened together. It also sustains the tension strength and bending force,
defines the internal space of the house, and serves as a decorative element which represents different
prominent architectural styles in different periods of time.
2.3. Main attributes for wooden materials used in wooden structures and wooden architectural heritagein Viet Nam:
In the north of Viet Nam, ironwood (Lim) was used in most of old building structures such as palaces,
communal houses, temples, pagodas or traditional houses. In the central region and the south, peckwood (Kien Kien) was more popular. All the wood used in those heritage sites are heavy wood, withthe weight/volume ranging from 0.6 to 1W. Theoretically, wood was treated and stored about a month
before being used. In reality, when the humidity and temperature change, the wood would bemoistened again. This is a special physical characteristic of ironwood (Lim) and peck-wood (Kien
Kien) in Viet Nam. Furthermore, Vietnamese wood can transfer heat, which leads to the elasticity
phenomenon. Even though the rate of elasticity is quite low, it often goes hand in hand with the
moistening phenomenon which involves a sudden and uneven change in the volume of the woodleading to cracks or convexo-concave phenomenon.

Tran Dinh
Thanh

Another disadvantage of Vietnamese wood is its natural defect caused by worms, fungi, or otherdefects resulted from the production process. Before the production process, many big old trees are
split open. Over time, the cracks are widened due to the elasticity which creates chinks for moistening
the wood. It is a hotbed for dangerous living creatures. The longer it takes, the wider and deeper thecracks dug inside the wood, which weakens the strength of the wood.
2.4. The variations of wooden architectural heritage in history:
There are three main reasons causing the alteration of a wooden architectural site: the decay ofwooden materials, the impact from the surrounding environment and restoration work.
a. Firstly, the decay of the wooden material: In Viet Nam, good wooden materials have often beenused for built structures, in spite of their inadequate durability. Among the existing wooden
heritage sites, the oldest one dated back to the 16th century (Tay Dang and Thuy Phieu communal
houses) while the others often aged about 200-300. From existing sites and assumptions about
their ages, it could be suggested that the wooden structure of Vietnamese wooden architectural
heritage has been around for about 500 years. It cannot be compared to the wooden heritage ofother countries with temperate climate, and even among tropical countries and in Viet Nam, theage is quite rare.
b. The alteration of wooden structure due to environmental impacts such as mold and fungi, insects
or social forces:- Impacts from the natural environment: Most of Vietnamese wooden architectural heritage
sites are located in the lowland where sedimentation often results in depression in a large area.
It is detrimental for the building structure in place. Reinforcement solutions such as a good
appropriate foundation ought to be provided otherwise with a huge and uneven weight, thebuilding would be sank or slanted and the supporting structure would be distorted, breaking
the wooden materials.
- Temperature is another cause for ruining wooden architecture heritage in Viet Nam. The
average temperature is fairly high especially in summer:

62

Average temperature in Viet Nam (0C)
Location

1

2

3

4

5

6

7

8

9

10

11

12

Average

Ha
Noi

16,6

17,1

19,9

23,5

27,1

28,7

28,8

28,3

27,2

24,6

21,2

17,9

23,4

Hue

20,0

20,9

23,2

26,0

28,1

29,3

29,3

28,8

27,1

25,0

23,2

20,9

25,2

Ho Chi
Minh

25,7

26,6

27,8

28,8

28,2

27,4

27,0

27,0

26,7

26,6

26,3

25,7

27,0

-

The table shows that the temperature difference is as high as 12, 2 oC. Sudden changes or big
differences in temperature between different months or seasons result in the deformation ofwooden materials, particularly of small and thin pieces such as purlin or bulkhead. Moreover,when temperature rises by 10 oC, the chemical and other reactions speed up two times causing
self-destruction inside the wood which results in cracks or convexo-concave phenomenon.

-

The impact of humidity: Viet Nam often experiences high humidity especially in rainyseasons. Water vapor and temperature have direct impacts on the surface of wood leading todecomposition which reduces the durability of the wooden structure. In addition, highhumidity provides good environment for the development of mold and harmful bacteria.
Average humidity in Viet Nam (%)
1

2

3

4

5

6

7

8

9

10

11

12

Average

Ha
Noi

80,0

84,0

88,0

87,0

83,0

83,0

83,0

85,0

85,0

81,0

81,0

81,0

83,0

Hue

90,5

90,3

88,6

84,5

80,1

76,4

73,6

77,0

84,9

88,2

88,9

90,3

84,5

Ho Chi
Minh

73,8

71,1

71,0

73,7

80,7

83,7

84,2

84,5

86,0

85,2

81,7

77,8

79,5

Tran Dinh
Thanh

Location

Along with temperature change, high humidity is another factor leading to the constant alteration in
the volume of wooden materials due to uneven deformation resulting from moisture absorbing andvaporizing. The main structure and other supporting components are made of or mostly from woodtherefore the deformation means that the building would be slanted, wooden materials damaged or
destroyed and mortise locks broken which is harmful for other parts such as columns and beams, etc.
Temperature and humidity together form a tempt-humid correlation. The tempt-humid in Viet Nam
falls around 1 (calculated according to the Grigoriep-Boduco formula). It is the best condition for thedevelopment of harmful vegetation and bacteria.
-

The impact of rain: The average annual rainfall in Viet Nam is about 2,000mm. This
precipitation is quite high and has become the main cause for the sinking of simple building
foundations of many aged architectural heritage sites, particularly wooden ones. The wholebuilding structure, consequently, is slanted resulting in serious damages in the woodenmaterials used for the site.
Average rainfall in Viet Nam (mm)Location

1

2

3

4

5

6

7

8

9

10

11

12

Total

Ha
Noi

18

25

46

84

192

240

290

310

258

125

47

20

1665

Hue

187

89

57

64

78

104

76

125

492

744

594

346

2956

Ho Chi
Minh

2,5

0,5

5

29

193

204

213

179

214

218

73

25

1357

63

c. Impacts caused by the moldiness and bacteria’s activity
Most of wooden architectural heritage sites in Viet Nam share common characteristics such as
being used for a long period of time, surrounded by lakes, ponds and many trees, quiet inside, but
having no ventilation system and limited amount of natural light. Combined with the highhumidity, it creates such a favorable condition for mold, termite and worm. Among them, termite
is the most harmful one though the development of any of the three would bring severe
consequences to the wooden material. In Viet Nam, the supporting component that has often been
attacked by termite is columns. After years of exposing to high humidity, the core part of thecolumn, which is often soft, spongy, moisture-absorbed and likely to be cracked due to high rateof elasticity, could be eaten by termites.
High humidity, lack of sunshine and no ventilation system inside the building creates a hotbed forthe development of mold and fungus. For the Vietnamese wooden structure, the negative impactof this factor is also substantial. In fact, the parasite of mold and fungi on wooden materials
contributes to the moisturizing process. If the phenomenon prolongs, the wood cells could bedecayed making the material soft and light, which reduces its sturdiness. Fungi and the decayedwood also attract termites. After fungi decompose the wood’s lignin making it soft and eatable,
termites consume the remained cellulose. The repeated mutual support between fungi and termites
in a long time causes severe damages to the wooden structure. For important components such ascolumns, the negative impact of this factor is the main reason of the disappearance of the core partof wooden materials.
d. Restoration is another important explanation for major changes happening to the woodenarchitectural heritage of Viet Nam. There are two main types of changes for wooden architecturein the country: changes in architectural style and scale; and changes due to maintenance work.
Tran Dinh
Thanh

In the first case, changes can be found in an individual structure or a complex of buildings. For
example, in an old traditional communal house, its original plan was often in a rectangular shape(communal houses dated back to the 16th century). However, in later centuries, an additional harem
might be built, which created the Dinh (a T-shaped Chinese character) shape for the overall space(communal houses dated back to 17th century onwards).
In the second case, changes resulted from restoration work when the formal building is under the
threat of falling down and people start to repair and renovate it. There were two types of restoration:- Repair based on making the best use of all components and the formal wooden materials by“mending, connecting and gluing together”. The repair is not motivated by maintaining thesite intact, but by saving costs. For example, if the foot of a wooden column is damaged, it
will be cut out and replaced by a “good” piece of wood. The same technique is applied to any
wooden part that is decayed or destroyed by termites or worms.
- Repair and replace the damaged wooden structure by similar materials or by other types ofwood if the similar one is not available.
In the repair and restoration process, decisions used to be made based on principal purposes ofstrengthening the building structure, making it sturdier and more durable, but also costing less. If
possible, people would like to renovate a building so that it looked more appealing and useful. The
awareness about conservation was not raised.
With limited financial resources, repeated repair activities have saved wooden heritage sites fromdisappearing and kept the general form of the structure over time although naturally repair also means
some certain extend of intervention.
At present, to preserve wooden architectural heritage in Viet Nam, the “mending, connecting andgluing together” technique has been inherited in maintaining the same house from older generations.
However, the main difference lies in the fact that, in conservative restoration, a wooden architectural64

heritage site does not change as it did in the past, but stay the same as it is at the time of being
recognized as a heritage site.
II. PERSPECTIVES AND METHODS IN RESROTING WOODEN ARCHITECTURALHERITAGE IN VIET NAM
1. Dating methods for wooden architectural heritage
From a conservation and restoration perspective, wooden architectural heritage sites in Viet Nam areoften categorized by the following dating concepts:- Construction date;- Major date;- Optimal date;- Real date.
Construction date: Very few Vietnamese architectural heritage sites today are still kept in original
structures and forms. Particularly, for wooden sites, most of the intact ones only date back to the
Nguyen dynasty (the 18th century). For others, many were initially constructed in the Ly dynasty (the11th century) or Tran - Le dynasties (from the 15th to 17th century) but their architectural styles could
not be dated before the 18th century. Some even show the style of the 19th century. As a result, it
should be taken into account that for wooden architectural heritage of Viet Nam, the age of a site
based on its architectural style might not be the same as it is by counting from its construction date.

Tran Dinh
Thanh

Major date: The concept “Major date” indicates a period of time in history when a heritage site was
extensively repaired or renovated. Major date does not mean it has the most important value, but offers
an accurate representation of main architectural characteristics and material advancements in ahistorical era when the site was renovated considerably. In some cases, the major date involves themost outstanding values of a specific heritage site. This issue has always been aware of and taken into
consideration in all recent heritage restoration work in Viet Nam. It has also become an important
point in developing an appropriate approach to the preservation of the wooden architectural heritage
which normally underwent a large number of changes in history.
Optimal date: the issue of keeping a heritage site as in its “original condition” (not the current
condition but an “original condition” that used to exist or that is assumed to exist) or removing andreplacing certain things to make them better fit in the whole space of the site, has been raised in thefield of heritage restoration in Viet Nam. However, in the current situation of wooden architectural
heritage sites in Viet Nam where sources of data on this heritage form is still very limited, it isextremely difficult to restore, in a systematic way, an architectural style of a specific historical period
or an accurate image of a heritage site at a specific time in history. Conservators do not have in handnecessary data and evidence so their work bases mostly on personal assumptions and judgments. One
central theme in the restoration work for wooden architectural heritage in Viet Nam is to preserve
independent historical witnesses over time. The optimal date is often not applied in the restoration
work of wooden architectural heritage.
Real date: As mentioned above, one important feature of wooden architectural heritage sites in Viet
Nam is that their ages based on analyzing the remaining wooden material or architectural style might
not be the same as they are by counting from their known construction dates. Most wooden structures– wooden architectural heritage sites do not belong to one specific era. Each heritage site often
possesses different elements representing different periods of time. Therefore, in restoring a wooden
structure in Viet Nam, along with dating methods, it is also of high importance to pay attention to what
have remained on the building over time and all the historical changes it has gone through. Suchapproach has been adopted widely in the current restoration work in Viet Nam.
2. Considering the set of criteria to preserve values of wooden architectural heritage during
restoration process in Viet Nam

65

Age value: It is an important criterion. Viet Nam has quite a limited source of historical data, thus
historical values of architectural heritage are critically important. Having considered naturaldisadvantages involving its durability, the remaining of any wooden structure, in spite of countlessdifficulties and challenges, is a valuable asset in terms of the authenticity and originality which areoften very fragile for such heritage form. In order to preserve the distinctive character of the woodenarchitecture in Viet Nam, it is important to save as much as possible what can be saved on site,
particularly the wooden material.
Architectural and artistic values: Architectural value is the most important criterion to rankarchitectural heritage sites. In order to be recognized as an architectural heritage, the structure has tomeet the following criteria: heritage sites which represent a period of time in the national history; anarchitectural style; an architectural and spatial solution or a unique construction technique. The artistic
value in wooden heritage sites in Viet Nam is on the art of wood carving and wooden sculpture withdecorative patterns involving a great variety of folkloric themes. Based on these criteria, architecturaland artistic values of wooden architectural heritage of Viet Nam are defined in the diversity andflexibility that emerge out of the overall consistency in the architectural and decorative style of eachsite. Besides, the set of criteria is applied appropriately according to specific cases of restoring andrepairing specific part of each wooden architectural structure.
3. Considering the linkage between social demands for cultural heritage and its current situationfrom a restoration perspective

Tran Dinh
Thanh

Spiritual demand: A large number of wooden architectural heritage sites are performing their originalfunctions as they were built for in the first place. Communal houses, temples, pagodas, shrines, family
chapels and traditional houses are all presently in use (the technical term in museum studies is living
heritage). Heritage sites are operating and their original functions are kept. Therefore, certain conflicts
between heritage conservation and development might be created, posing a considerable number ofproblems for heritage restoration work.
Although Vietnamese architectural heritages sites have been able to play their original roles, most ofthem could not be maintained intact and changes are inevitable, particularly for urban heritage. In
restoring wooden architectural heritage, conservation has always been the first and utmost purpose forViet Nam. Adaptation or renovation will only be considered as an option if it is unavoidable. For
example, in restoring an old pagoda, old components which are of high architectural values will bepreserved as carefully as possible. Others structures built more recently or with less important roles
could be renovated inside in adapting to changes in the current situation. However, the key principle isto ensure the consistency in the main architectural style and not to bring inappropriate elements into
the existing site.
In Viet Nam, it has been realized recently that in conserving wooden architectural heritage, most ofwhich are spiritual and religious sites where a large number of people visit frequently for practicing
their religions, a special management mechanism should be developed. It is to better protect
architectural heritage sites, and at the same time, to serve spiritual and religious demands from thepublic.
III. BASIC PRINCIPLES, METHODS AND TECHNIQUES IN WOODEN ARCHITECTURERESTORATION IN VIET NAM
1. Main issue on maintaining originality in wooden architecture restoration
Having examined and considered the nature of the wooden architectural heritage of Viet Nam, we
have come up with some broad principles which are most feasible and appropriate for this kind ofheritage asset of the country: Maintain as much as possible the main components and parts ofarchitectural heritage sites and their existing features and values; the most important objective is tomaintain the time value of architectural heritage sites as well as the consistency in all components
as a whole structure; minimize any replacement or alteration; always keep in mind the overall
objective of preserve the integrity of heritage sites.

66

Some concepts and technical terms used in presenting the above mentioned principle are explained asfollow:“Maintain” is used in the current situation where many people want to “remove this” and“repair that” to make heritage sites more durable. It shows the public that restoration is to saveand to keep the originality of a heritage site.

-“Component”, in this case, means all structural details of a wooden architectural structuresuch as columns, beams or decorative patterns, etc.

-

“Part” is concerning specific spatial areas that shape the site as a whole-“Time value” for architectural heritage site could be understood as the site’s age which
normally does not base on its construction date, but the age of specific components and parts
which were constructed in different periods of time in history. Time value is what has beenleft over time on a heritage site and its architectural features such as a decorative pattern or thedated construction materials. It is very fragile and most likely to be forgotten or lost during
restoration work or other intervention in wooden architectural heritage. If retained, it willcontribute considerably to the “originality” of the restored wooden architecture.

-“The consistency in all components as a whole structure” reflects a special feature ofVietnamese wooden architectural heritage. The term is used with reference to the fact thatdifferent components and parts of a wooden architectural heritage site were constructed indifferent period of time in history. The consistency of the whole structure can be achieved
when any replacement had an appropriate reason, for example, at a certain time, if it had not
be done, the whole structure would have collapsed. The nature of wooden architecture mainly
involves putting different wooden pieces together by mortise joint technique hence ifnecessary one separate piece could be replaced at a time. Replacement mostly concerned
reinforced structure, not the interior decoration, therefore the architectural style of the site was
not normally affected. The consistency of the whole architectural structure is therepresentation of its long history, and an important value that Vietnamese professionals in thefield of heritage restoration and conservation always pay attention to and try their best to
maintain (minimize any alteration and replacement).

Tran Dinh
Thanh-

Main features contributing to restoration methods for wooden architectural heritage sites in Viet Nam:-

Wooden materials cannot last permanently. In the Vietnamese climate, most of them can last
no longer than three hundred years. Replacement of damaged parts is unavoidable in order tokeep the building from collapsing. It can be considered as natural replacement for the purposeof continuation.

-

Wooden architectural structure is built by putting together separate components such ascolumns, beams and set of Vi, etc. With the mortise joint technique, it can be dismounted
quite easily. Due to strong impacts from the natural environment such as storms, the main
structure could be deformed leading to the deformation of the whole building. It is the second
feature of Vietnamese wooden architectural heritage: the main structure might have to betaken out for the purpose of repairing and restoring.

-

Evidence of partial replacement on separate components and the existence of different
components which were constructed in different periods of time in one architectural structure
could be found in most of Vietnamese wooden heritage sites. As a result, replacement isinevitable for wooden architectural structure due to the nature of the wooden material.

2. Some practical solutions for heritage restoration in Viet Nam
A solution that combines traditional restoration methods and modern techniques and principles has
been applied for wooden architectural heritage sites in Viet Nam, specifically:-

First: Maintain original components and features that have been developed for a site
overtime.

67

-

Second: Restoration is considered as a holistic solution which is most appropriate for specificsites. It is a continuation of what older generations has given us, in order to sustain heritage
sites. Restoration is also to make a site more stable and durable (restore the foundation or themain structure); to fix damaged wooden parts by mending, connecting and gluing techniques;to maintain as much as possible artistic decorative patterns such as wood carvings or
sculptures; minimize replacements and alterations, and when unavoidable, find the same orsimilar type of wooden materials and duplicate exact sizes and forms as those of replaced
pieces.

With the above mentioned principles, the restoration work for wooden architectural heritage in Viet
Nam has made considerable achievements, save many old wooden structures from the risk ofcollapsing, attract tourists and contribute to the socio-economic development of Viet Nam.

Tran Dinh
Thanh

68

Conservation of Traditional Wooden House (Joglo)
at Kotagede, Yogyakarta, Indonesia
Mida Andriana, S.Si, MA
Conservator/Laboratorist
Yogyakarta Cultural Heritage Preservation Office (BPCB)
Directorate General of Culture
Ministry of Education and Culture
A. Joglo
Indonesia is an archipelagic country located in Southeast Asia. It has a tropical climate.
Indonesian society composed of various ethnic groups that have diverse backgrounds of different
cultures. One of the largest ethnic groups is Javanese whose majority is settled in Java Island.
They established the unique community and civilization that settle some traditional heritage
including in the field of architecture. Joglo is a Javanese traditional house, which is still wellpreserved for generations until today. Traditional house has been there since the Javanese
ancestors lived there a long time ago. This is proved by the reliefs existing in Candi Sukuh built
in the 15th century.

Mida Andriana,
S.Si, MA

Relief of traditional house in Sukuh Temple

Joglo is one of the traditional houses from the Javanese ethnic group. The uniqueness of thishouse is seen in the construction of the house itself, the philosophy and the history contained
values adopted by the Java community. In a structured Javanese society and tradition, Joglo also
reflects Javanese social status; this type of building is only reserved for palace (keraton), official
residence, government estate, and the house of nobles (ningrat). Originally commoners were notallowed to construct this kind of house as their residence. Construction of Joglo has certain
procedures / rules in the preparation stage, the selection of building materials, the selection of agood time for building, and ceremonies that accompany with some stages of the development,such as the installation of certain parts of the house, and also the ceremony at the starting and thefinishing stage of making Joglo.

69

B. Philosophy Joglo
House of Joglo in Javanese called 'Omah Joglo' is a house with a simple basic form. Simple
itself is an expression of the simplicity of Javanese community. In terms of architecture, the artof architecture is not just an understanding of the art of house construction, but it is also areflection of the values and norms of the people of Java. Human love of the sense of beauty,
even the religious attitude is reflected in the architecture of the house with this style.

Mida Andriana,
S.Si, MA

That philosophy ultimately affects the shape and the structure of the house of Joglo. The
characteristic of Joglo home design is the main building design which consists of four main
pillars called Soko Guru and the intercropping in the form of beams placed on the Soko
Guru. The interior design of Joglo home design consists of three parts of the rooms. The front
part is the room called Pendapa, the meeting room; the middle part is the room called Pringgitan,
the room to hold a puppet
show; and the back part iscalled Dalem or Omah Jero,the family room which also
consists of three rooms(bedrooms) named the leftroom, central room, and theright room. The descriptionof the three spaces is asshown in the slides namely
Pendopo (the front space),
Pringgitan (the middle
space), Omah Njero (theback space) and Gandhok.
C. The uniqueness of Joglo
1. Material of Joglo
Joglo was able to survive for hundreds ofyears. This is affected by several factors: theselection of the type of wood, logging
methods, and logging time. The selected
types of wood are trees that were widely
available at that time, namely teak tree
(Tectona grandis), and the trees were mostly
grown in tropical areas. Teak trees are
categorized as a good tree because they havea large size of perimeter, straight-trunked, andfew branches.

Example of carving from teak wood

Best teak trees are generally older than 80 years old. Teak wood is a first class wood withstrength, durability, beautiful fiber. And it is easy to work with, and they are not easily damagedby the weather changes and they are resistant to termite attack. Teak wood contains a kind of oil

70and sediment in the cells of the wood, so it can survive in the open climate. For this reason, teakwood is used also as a docking port, rail pads, bridge, commercial vessels, and warships.
As for logging process, there are a couple of factors to consider in the better process as in theslide. Please see your handout for the detail.
a. Age of the tree that are ready for cutting
Young trees have not reached the optimum point for cutting, in addition to the nutritional
content of the wood for the process of tree growth is still very high, so the quality of theresulting wood is more susceptible to be attacked by insects and fungi and destroyed byother natural factors
b. Period/time logging
Period/time or logging season will be determined by the quality of the wood that will be
produced. Trees with the leaves fallen at the end of the dry season would be well suited
because the trees would have a low nutritional content, compared to the trees with leaves
fallen in the rainy season, so that the resulting wood is not susceptible to insects, fungi andother destructive factors.
c. How to logging
Before the teak tree is cut down, the bark of the bottom part needs to be peeled. Withpeeling the bark to the cambium layer under the section, then the roots are no longer
active to send nutrients to the tree trunk, while the backup of nutrients contained in thetrunk of the tree will be absorbed by trees’ metabolic processes to sustain life to aminimum and eventually die and dry out in the plots of land. So when the trees are cut, thenutrient content in the wood is only slight.
2.

Mida Andriana,
S.Si, MA

Construction
Joglo house is made with the ideas in there to make the building that can be adaptable to theearthquake. Structure of Joglo applies tent or pull system. Timber connection system is used(cathokan and ekor burung), and all of it is due to anticipating the pull.
The distribution system of load in
Joglo is charged at 4 pillar (mainmast) and 12 pieces of acornerstone
accompaniment.
Fundamental pillars are united bybeams (blandar-pengeret dan
sunduk-kili) and are arranged sothat the wood punden shaped canbe inverted (tumpangsari) andpyramid-shaped in the middle(brunjung). The composition of thewood and created rigidity flops arevery rigid.

71

Meanwhile, on the pedestal system of Joglo, using a system that is extolled joints/umpak. This is tocompensate for the behavior of the structure that are flops/rigid. Configuration of the joint at thebottom and at the top flops make Joglo can be swaying. The use of wood for wall (gebyok) and clay
tile for the roof make the structure lightweight, so it is relatively not overload for building.
3.

Mida Andriana,
S.Si, MA

72

Ventilation System
Natural ventilation in traditional buildings in tropical climate is useful to reach thermal comfort.
Natural ventilation system is designed on the roof element of Joglo to produce the indoor
comfort in hot humid tropical climate. Ventilation on Joglo is designed to adjust to the tropicalenvironment, which keeps it comfortable for occupants. The models of roof on the Joglo haveterraced shape, and each height level of the roof describes the movement of people into the Joglo
with air that they feel. When people are on the edge of Joglo, the man can still sense the air fromthe outside. But as more people move to the center, the air that they feel becomes cooler. This isbecause the volume of space under the roof, with the middle part being bigger (Theory inphysics building). When people want to go back out, the air is again changed, for the air fromoutdoors feels cool. So ventilation on Joglo is attentive to the human body adjustments on theweather around it. Furthermore, natural material for roof framework and roof cover serves as
excellent insulators for absorbing heat during the day, and releasing the heat at night.

D. Traditional Conservation as Local Wisdom for Joglo in Kotagede
The Kotagede Heritage District was the fifteenth- to sixteenth-century capital of the Islamic
Mataram Kingdom in Indonesia. Its plan was based on that of an ideal Javanese city, which
includes "four components in one"—a palace, mosque, market, and public square. Today, only
the mosque and the still-thriving market survive. These are surrounded by traditional Indonesian
houses. So, the traditional house “Joglo” in Kotagede became heritage now and need to bepreserved.
Local wisdom in Joglo for Conservation
In order to preserve the traditional buildings, it requires some methods to maintain, repair, andrestore them. Conservation with chemicals is commonly used for preservation and improvementof materials and artifacts/components of building. But the disadvantage of conservation withthese chemicals is that it wouldn’t give eco-friendly effects and rather gives bad effects in thelong term. Therefore traditional method is alternative for conserving with eco- friendly method.
The traditional method for conservation requires knowledge from ancestors. Traditional
treatments/cleaning on the wooden surface are still done until now, using water soaking formula(tobacco, cloves, and banana stem). Furthermore, the layout of each part of the Joglo is also of
traditional preservation, too.
Tobaccos (Nicotiana tabacum) as insecticide for termite contol, based on several studies, have
proven that their leaves have the effect to reduce appetite of insects, and that it can inhibit insect
development. Clove (Syzygium aromaticum) contains flavonoids, terpenoids and phenolic
compounds, that are anti-microbial and insecticide.

Mida Andriana,
S.Si, MA

Joglo can reduce the damage of earthquake, because it has a traditional type of connection
between structure and the material. The connections between beams and wooden parts are notrigid, but rather flexible so that they have a high tolerance for the earthquake. Connection does
not employ nail system, but using the system "alur- lidah", it produces tolerance with movement
while working on the wooden beams. This tolerance causes friction, so the building can beaccommodative to receive seismic
forces. The Joglo connections can bedismantled and reassembled without
damage to each component, so thecomponents of Joglo can easily berepaired. Each connection has a sign,
so it can avoid mistakes whenreassembled. In the process to make a
traditional house, building wooden
components needs skilled craftsman incarpentry (carpenter). Wood cannot beprocessed by people who are notexperts, because the results will not be
The “Alur Lidah” Connection
good.

73

E. Preservation for Joglo in Kotagede
Preservation for heritage was done according to the regulation. It was required to conduct a studyof feasibility to get data for damage, structure, material, design, architecture andsignificance/value. Then they did the analysis of data, and determined treatment
recommendations for it. (Dismantling or just conservation)

Mida Andriana,
S.Si, MAa.

Stages of Dismantling
1. Wreck of building
Technical principles that must be followed is the numbering each element of the buildingthat are dismantled for registration (marking or code), so that there will be no trouble
when reassembling.
2. Conservation
In this step, activities have to be done after each component of the building is finishedwith the registration. Conservation activities are cleaning, conserving, restoring andpreserving.
3. Reassembling
After all component of the building is finished for conservation, each component will bereassembled according to the proper code in each of the part.
4. Documentation before, during and after dismantling activities
Documentation is very important to record all of activities from the beginning to the end.

b.

Conservation in Joglo
1. Mechanic cleaning with traditional method
Traditional method uses water soaking formula for cleaning surface of wood. The watersoaking formula consists of three components, that are clove, tobacco and banana stem withspecific proportion.

Clove

TobaccoBanana stem

Traditional treatments/cleaning for wooden surface with many kind of material are watersoaking formula (tobacco, cloves, and banana stem). Water soaking formula consists of 10
grams of tobacco, plus 10 grams of cloves, and 10 grams of banana stem put into 1 liter ofwater and waited for 24 hours. Cleaning method for wooden surface is done by applying theformula that is ready for use. With that, they polish it using a cloth repeatedly until the wood
surface becomes dry.

74

Pure water

Water soaking

The different result between traditional water soaking and only pure water

Mida Andriana,
S.Si, MA

Polish the wood with the water soaking

2.

Restoration
a. Replacement and partial replacement
Replacement of the wood is done if there is acomponent that has been categorized asdamaged wood and also if the wood has animportant function in the structure of thebuilding (building support). New wood for
replacement material should have the same
specifications as the original wood. So for thereason, some research must be done to determine
the specifications of the new wood. But
sometime, in the different case wood does notneed to be replaced but quite simply beconnected with the new wood. The connection

The connection75

will be done when approximately thirty percent of the wood is damaged. Also the new woodmust have the same specification with the original wood.
b. Act of patching
Patching can be done by using wood or wood powder, depending on the extent of damage,the condition of the wood, and the function of the wood in the structure. Patching can bedone with wood/wood powder that has the same specification to the original wood.

Patching with wood

Mida Andriana,
S.Si, MA

2
Patching with wood
Patching with wood powder
3. Treatment
Treatment is a very necessary stage to protect wood from termite attack. Treatment can bedone in two ways, the first way with injecting water soaking in the small crack or the hole in
the wood and the second one is by applying it with a brush on the wood surface.

76Building maintenance is also done with care for the environment around the building, among
others, to prevent termite attack, prevent the entry of pests, while also maintaining thedrainage system in order to stay well.

References
BKPB, 2010, Konservasi Cagar Budaya berbahan Kayu Dengan Bahan Tradisional, balai konservasi
peninggalan Borobudur.
JHS, 2007, “Homeowner's Conservation Manual”, UNESCO Bangkok, UNESCO Jakarta
Subiyantoro Slamet, 2011, The Interpretation of Joglo Building House Art N the Javanese Cultural
Tradition, MUDRA jurnal of art and culture vol.26, Yogyakarta
Suranto Yustinus, 2010, Kemunduran Kemunduran Kualitas Kayu Dan Peranannya Dalam
Sosialisasi Revitalisasi Teknologi Pengawetan Tradisional Kayu Yang Terkandung Dalam
Kearifan Local Budaya Jawa, Jurnal BKPB tahun 2010.
Strang, Tom and Kigawa, Rika, 2011, Pest, Canadian Conservation Institute, http://www.cciicc.gc.ca/caringforprendresoindes/articles/10agents/chap01-eng.aspx, diunduh pada tanggal
1 November 2012
Thaher Dharmawati, 2005, Pemanfaatan Limbah Cair Industri Cengkeh Sebagai Penghambat
Aktivitas Organisme Perusak Kayu” ITB Bogor.
http://arcapentura.blogspot.com/2013/07/kearifan-lokal-dalam-pengawetan-kayu.html“Kearifan Lokal dalam Pengawetan Kayu secara Tradisional”
http://www.tembi.net/id/news/workshop-mengenali-kayu-jati-oleh-ir-yustinus-suranto-4932.html,
Mengenali Kayu jati,Mida Andriana,
S.Si, MA

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The Practice of Wooden Conservation in Bhutan
Yeshi Samdrup
Architect
Division for Conservation of Heritage Sites,
Department of Culture, Ministry of Home and Cultural Affairs, Bhutan

Heritage sites of Bhutan; a Brief Outlook
As we look into the history of Bhutan, culture played an integral
part in Bhutan’s sovereignty, unity and identity, though placed in
the vulnerable geographical location, sandwiched between China
to the North and India to the south. Bhutan is sometimes known tooutside world as a last Shangri-La because of its enormous effort
to preserve culture and natural environment. The old living
traditions thrive in rural areas, which evoke the sense of “medieval
ambience” to the foreigners. The tangible and intangible cultural
identity is preserved from generation to generation. After the noble
and visionary philosophy of Gross National Happiness1 propagatedby the fourth king of Bhutan, preservation and promotion ofculture became the forefront initiation and is one of the four pillars
in Gross National Happiness philosophy.

Yeshi
Samdrup

Heritage sites are one of the core elements in the Culture. From the monumental dzong(s)2 to the small
water mills, Bhutan houses ranges of heritage sites. Bhutan houses more than 2000 temples which arevibrantly alive and more than ten thousand choeten(s)3 over its total area of 38,394 sq. kilometers. The
heritage sites played vital role in the process of unification of country and flourishing of the Buddhism as
early as seventh century in Bhutan. The dzong(s) built in seventeenth century brought a unique living
tradition, with harmonious balance between secular and religion. The dzong(s) still serve the same purpose,accommodating the political, religious and logistic
functions. Apart from that, the dzong(s) are also
the focal areas of communal festivals, rituals andofferings, and plays as a tangible aspect infostering the conservation and promotion of
intangible heritage like dances and music.
Heritage sites in Bhutan are not perceived only
from the material culture point of view. It isbeyond the material remains, and is the central of
unique traditions which provides cultural identity,

1

A noble philosophy propagated by fourth King of Bhutan, Jigme Singye Wangchuk, Gross National Happinessphilosophy is the guiding development philosophy which focuses on rational and human approach development.
2
Built to house both administrative and religious sections, the dzong are the monumental structure of highhistorical importance in Bhutan.
3
Buddhist stupa

79

unity and continuity. Marc Dujardin4 stresses in his essay about the dzong(s),“ In Bhutan, however, both the term fortress and the shape that is usually associated with it, are not only
evocative of the nation’s feudal and heroic past, but still play an active role in the country’s quest for
cultural uniqueness and national identity, exteriorized in material culture”.
Division for Conservation of Heritage Sites; Agency for the Preservation of Heritage Sites
To address to the lost of the material culture and to preserve it, the Royal Government of Bhutan founded
the Special Commission for Cultural Affairs in 1985. The commission was responsible for theconservation of both tangible and intangible heritage. Later the Commission was dissolved into
Department of Culture under Ministry of Home Affairs. It was than the Division of Conservation of
Heritage Sites was formed, focusing in the protection of immovable cultural properties in the country.
Following are some of the main functions of the Division for Conservation of heritage Sites;-

Formulation of plans and policies related to conservation of heritage sites.
Establishment of guidelines for the conservation of heritage sites.
National inventory of heritage structures and sites of the country.

There are no legal documents for the protection of the heritage sites and hence the DCHS office has taken
the task of drafting of the Heritage Act, which will be endorsed in 2014 parliament. The DCHS office also
undertakes major projects for restoration of the important heritage sites.
Conservation philosophy in Bhutan

Yeshi
Samdrup

No written documents are available to be witness tothe conservation philosophy, which existed in thehistory of architecture in Bhutan. There are little
documentations and scientific studies carried out on
heritage sites by the western trained minds but it does
not completely justifies the vast architecturalingenuity passed on from generation to generation.
The “architect” profession is very contemporary in thearchitecture scenario. It was only in late twenty first
century, that the professionals emerged in thearchitecture ambience. In the past, and still thriving insome of the constructions, the craftsmanship of theunique architecture is passed on from the master craftsman to the workers below him. It is in thisintangible face that retains and gives the character to thetangible heritage, including heritage sites. The hierarchy
of workmanship makes this knowledge transfer authentic
and the cultural continuity is retained.
If the universal concept of conservation and preservation
is to be referred and relate to study the history of
traditional conservation in Bhutan, the word “conservation”
stands feebly and vague. As Marc Dujardin in his essay“from living to propelling monument: the MonsateryFortress (dzong) as vehicle of cultural transfer incontemporary Bhutan” asserts;
4

Department of Architecture, Hogeschool voor Wetenschap en Kunst, Gent-Brussels, Associate member of the ESA 8047, CNRSParis.

80

“However, it is certainly not the western-like veneration of old buildings, historical monuments and evenruins, nor the demand for preservation that lies at the basis of the endurance of this peculiar concept incontemporary Bhutan. Bhutanese dwelling culture has no tradition of architectural preservation like theway it emerged and developed in Western Europe as a movement from the 19th century onwards.”
As I mentioned in the brief description of heritage sites, most of the heritage sites are living and aresusceptible to changes. I will be discussing the detail alteration done periodically of Punakha Dzong in thelast part of my essay. In general, the heritage sites are periodically reconstructed either to retain or serve
the intangible character associated with them or to make them “grander” for the religious or socio-politicalmotive.
The opening of Bhutan from its self-imposed isolation in the reign of the third Monarch of Bhutan has let
the rapid and sudden inflow of ideas from the Western World. The Western conservation philosophy was
first introduced to Bhutan with the invitation of foreign experts. The preservation methods and strategies
were experimented in the renovations of Punakha dzong in mid 1980s. This introduction brought
contradiction with the existing conservation philosophy. However, it was clearly shown in Punakha dzong
project that the Bhutanese stood in their decision concerning the important heritage sites. The Division forConservation of Heritage Sites which is solely responsible for the preservation of heritage sites hasenormous task to balance the pre-existing methods of preservation with the western centered approach.
The materials used in the heritage sites are wood, stones and rammed earth. The wooden members in theheritage sites are mostly susceptible to the change. If there are no major damages and the renovation
works are not to increase the size of the building, the structural walls either of stone or rammed earth(sometimes adobe bricks) or both left unaltered. I will discuss the alteration of wooden members in mylater part of the essay.
Heritage Concept and Buddhism

Yeshi
Samdrup

The association of Buddhism and heritage sites
goes long way in the past, as early as to theoldest heritage sites of Bhutan. It was in the
middle of the seventh century where two
famous temples of Jampa Lhakhang and Kyichu
Lhakhang are acclaimed to be founded by the
famous Tibetan king named Songtsen Gompo tosubdue the demoness. It is acclaimed that hebuilt 108 temples and 12 were for pinning down
the demoness, from which 10 is in Tibet
autonomous region (China). Later in the middleof eighth century Guru Padmasambava who isconsidered as second Buddha in Tibetan
Buddhism founded many sacred sites in Bhutan.
Zhabdrung Ngawang Namgyel, considered as
the founder of Bhutan built many historical sites, including monastery-fortresses in seventeenth century.
As we know that the Buddhism is rooted in the heritage sites, the perspective in which heritage sites areperceived is also from the Buddhist point of view. The Buddhist doctrine propagates the impermanent
character to all modes of existence. Hence the material culture is inevitable to alteration and alike allforms of existence, the architectural creation too is subjected to change. It is also believed that physical or
spiritual offerings in endeavor to “preserve” heritage can bring merit to oneself and to the sentient beings.
The word “preserve” here is from Bhutanese perspective, which involves betterment of the heritage sites,
resulting in embellishment and change. The efforts taken to make the Buddhist heritage sites “grander”
gives merit and this is contradictory to the western concept of heritage preservation.

81

Most of the Buddhist heritage sites are living and hence in the passage of time, the need and functions
they were originally designed to serve changes and the increase in the number of user results in addition tothe original structure or sometimes reconstruction.
Wooden Conservation; the past and contemporary
Not belittling the craftsmanship of Bhutan’s stone dressers and pise’ builders, it is the high standard of
Bhutan’s prefabricated timber architecture that plays an important role to express in material culture
Bhutan’s sense of national identity and quest for cultural uniqueness.
Marc Dujardin, “From living to propelling monument: the Monastery-Fortress (dzongs) as Vehicle ofCultural Transfer in Contemporary Bhutan.”
Bhutan’s architectural quest for uniqueness is expressed in the wooden elements in the building. The
wooden elements include doors and windows, interior structural pillars and bracket complex, roof andflooring. The staircases in almost all of the heritage sites are wooden and the altars to house the statues are
beautifully crafted timber, which are painted exclusively and in minute detail. The survey conducted by
the Department of cultural properties, ACA Japan from 1992-2002 relates the wooden members in theheritage sites of Bhutan to the Tibetan architecture. The major difference in the wooden elements between
Tibetan architecture and Bhutanese architecture is the wooden members in Bhutan are intricately designed
and abundantly used, the reason being the easily and abundantly available timber in Bhutan.
The uniqueness of Bhutan’s timber architecture is in its construction method- nailless architecture. The
timber members are fabricated without using any nails. This is made possible by joinery in the timberfabrication. This ingenious method of nailless architecture is advantageous also in the requirement ofskilled labours in the construction. The number of skilled labours required is less since the fabrication isdone in the carpentry shed. Hence more unskilled labours are used for installation in the building. The
architectural order, the thobthang as Bhutanese call, in the timber construction have evolved during thecourse of history. The windows which were placed in the structural walls have changed with theintroduction of the bay windows, probably after seventeenth century, which Bhutanese call rabsey. The
rabsey is the cantilevered windows and have also undergone change in due course of time.

Yeshi
Samdrup

The consideration of wooden elements as the most expressive part of the heritage sites has not put its
stand to be conserved in the traditional conservation methods of Bhutan. The wooden elements are themost altered part of the heritage sites. This is due to the material character to rot and its vulnerability indisasters like fire. However, the renovation does not respect the original form and is treated as theplatform to make the structure grand, which I discussed in the earlier part of my essay. The wooden parts82

in the heritage sites of Bhutan are in constant evolution, which people consider as the quest of cultural andarchitectural identity. But the newer forms in replacement to the earlier ones results in the lost of earlier
ones and eradication of the material history of the building.
Although the change in the timber forms is constant, the traditional methods of construction are retained,
except of the measurement system, in the present conservation methods. The construction before were
undertaken with the measurement system based on the human proportions. The length of the arm was one
such measurement system used in the earlier construction. Now with the introduction of modern
measurement system, almost all the carpenters use it. The commonly used system of measurement is thefeet and inches system. This results in becoming one factors of standardization of the wooden elements
and the lost of diversity in it. There is also threat of the modern machineries in the restoration of heritage
sites. The use of it will completely eradicate the intangible values associated with the wooden structures.
This threat is addressed and the people responsible have taken initiation to protect such loss in the heritage
sites.
Restoring Punakha Dzong (1984-2004) - a case in practicePunakha Dzong, which is also known by name Punthang Dechen Phodrang5 is situated in southern part of
Punakha district6 and serve as the seat for district monk body and district administration. The valley where
the dzong is located is wider comparing with most of the valleys of Bhutan and the dzong stands in theconfluence of two rivers, Phochu and Mochu. The dzong was built in 1637 by the founder of Bhutan,
Zhabdrung Ngawang Namgyel. Punakha was the first capital of Bhutan and the Dzong served as thecentre of government. The first session of the National Assembly was also held in the Dzong in 1953. The
Dzong served as the seat of government until the reign of the second king.
As seen in the most of the history of Heritage sites of Bhutan, Punakha Dzong has suffered six major fires
and five floods. Very little is known about the changes after the major disasters except of the fire of
February of 1986. I will be discussing the works undertaken in restoration project from 1986 to 2006 andthe concept of preservation incorporated in the restoration works.
The sketch of Samuel Davis in 1783 of Punakha dzong shows that the windows in the dzong were placed
inside the wall and were not projected out. It is only in the photograph taken by John Claude White in1905 that the major change in the wooden components in the dzong is observed from the dzong’s state in
1783. The comparative photographs below show the changes to the dzongs from 1783 to the present time.
Yeshi
SamdrupSamuel Davis sketch of 1783

5
6

Comparative photo taken in November, 2013

The palace of great bliss
Punakha district is located to the north-eastern side of Thimphu. It was the capital of Bhutan until 1955.

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Yeshi
Samdrup

The restoration project was started in 1986 after
the fire burnt down the south-west section of thedzong where the Chief Abbot’s residence islocated. The renovation work was commandedby the fourth King of Bhutan and with this thereconstruction of Machen Lhakhang, theKuenrey (Congregation hall) and theDzongchung was started. The first phase of
project was the reconstruction of Machen
Lhakhang where the sacred body remains of
Zhabdrung is preserved. For the reconstructions,the best carpenters were recruited from all overthe country. The reconstruction brought
complete change from the existing structure.
The façade design altered completely and was
abruptly influenced by the earlier construction
Photo snapped by John Claude White in 1905
of Kurje Lhakhang in Bumthang.
The observation put up in the “report of thecooperation project on the conservation of historic buildings in Bhutan” conducted by Department ofCultural Properties from 1992 to 2002 clearly states the nature of wooden preservation undertaken in thereconstruction of Machen Lhakhang.
“ The columns currently being worked out at Punakha Dzong are decorated from top to bottom, with a lotof decorative work added on and the design was totally changed. However, from the aspect of the
traditional value of cultural properties, traditional techniques of sculpture have been maintained there,
and it is also necessary to retain the old poly chronic design.”
The impressive completion of Machen
Lhakhang attracted the introduction ofcontemporary building materials in
Bhutan such as cement concrete andnew techniques of concrete casting of
the frescoes and sculptures were
initiated. The second reconstruction
was Kuenrey, congregation hall, known
to Bhutanese as hundred pillars
building.
Thebuilding
wasreconstructed from the base and withthis lost all the material culture of theexisting building. The major flood in1994 destroyed the structure near themain entrance of the dzong,
Dzongchung, and the restoration
Comparative photo taken in November 2013
project also included the re-erection of it.
The roofing of the previous Kuenrey was gable with wooden shingles, but the new reconstruction was
done in hip roof with the CGI roofing. The earlier design of the timber façade were simpler with lesscarving with the decorations painted on it, but the reconstructed timber façade has intricated and very
detailed carving, which makes the structure “grander.”Marc Dujardin puts up precisely in his essay “from living to propelling monuments: the Monasteryfortress (Dzong) as vehicle of cultural transfer in contemporary Bhutan,”“From western ‘conservationist’ point of view and ‘monumentalist’ attitude towards issues of culturaland architectural preservation, the complete demolition and reconstruction of the old Machen Lhakhang

84

and Kuenrey, seems nothing but the erasure of a whole historical chapter. For the Bhutanese, however,
the re-erection of the new Machen Lhakhang, Kunre and Dzongchung, seems to confirm the ‘impermanent’
status of architecture on the one hand; on the other it may be viewed as a ‘built’ sign of protection
marking a new phase in furthering the country’s quest for national identity and cultural explication,
expressed in material culture.”
The reconstruction initiated in Punakha dzong spread rapid waves of similar trend across the country. The
wooden elements were replaced, in what Bhutanese feels the regeneration of cultural identity. In thisprocess many material culture are erased or altered. This change, which is not new in the conservation
methods of Bhutan, can be viewed from two sides of coin. The lost of material culture along with richhistorical information is rather contradictory of the western concept of preservation. On the other hand, therenewal of the identity strengthens the functions in it.

Picture taken by John Claude White in 1905

Comparative photo taken in November 2013

Yeshi
Samdrup

The way forward…

The front rabsey of Utse before renovation of 1986-2006 (left)
The present rabsey after the renovation (right)

85

The restoration project of Punakha dzong was undertaken when the western conservation ideas wereminimal and at very initial stage of its flow into Bhutan. Traditional method of construction or restoration
does not have the trend of documentation and inventory. Bhutan has come long way after it. The DCHS
office has undertaken the inventory and documentation of heritage sites. Modern concept of restoration is
being executed in some of the heritage sites. The balance between the traditional conservation methods
and the contemporary ideas has been brought, and the living heritage is sustained without compromising
the authentic values associated with the heritage sites. It is of enormous challenge to instil the values ofmaterial culture in the minds of general public and the DCHS office has undertaken many awarenesscampaigns. It is unfair to the living heritage sites to be viewed to be as fossilized monuments or sites. It
should be observed on the outlook of authentic change, so as to also emphasize on the sustenance offunctions in it.
Bibliography:
PHUNTSHO Karma, The history of Bhutan, Random House India, 2013.
DUJARDIN Marc, Journal of Bhutan studies, From Living to Propelling Monument: the MonasteryFortress (dzong) as Vehicle of Cultural Transfer in Contemporary Bhutan.
Division of Architecture, Department of Cultural Properties, Agency for Cultural Affairs (ACA),
Government of Japan, Report of the Cooperation Project on the Conservation of Historic Buildings in
Bhutan, March 2003.
Division for Conservation of Heritage Sites, Department of Culture, Ministry of Home and Cultural
Affairs, Bhutan, Basic guidelines for the Conservation of Heritage Sites in Bhutan, June 2008

Yeshi
Samdrup86Trends in the Restoration of Architectural Monuments
in Japan― With Reference to the Restoration of Gansenji
Temple Main Hall ―Ken-ichi FUJIKURATechnical Staff

Japanese Association for Conservationof Architectural Monuments (JACAM)

1. Architectural monuments in Japan today
Recent years have seen a change in the way architectural monuments are treated in Japan. In the past,
they were predominantly viewed as “treasures” to be preserved. More recently, there has been greater
emphasis on their functions as buildings and on actively using them, while making their value known
to the general public. Background factors for this change include the increased number of architecturalmonuments as well as their categories (including not only temples and shrines, but also residentialbuildings, public facilities and factories), and the public roles that publicly owned monuments are
expected to play. In addition, the different situations of different buildings account for various modesof use.
In my personal view, when architectural monuments are preserved in a manner that also encourages
their active use and communication of their value, it is important to ensure the following for theirusers:
A. Safety
B. Ease of use
C. Special measures to effectively communicate the value of the monument

Fig. 1 Gansenji Temple: Location

FUJIKURA
Ken-ichi

2. Trends in the restoration of architectural monuments
In parallel with the change in the way architectural monuments are viewed and preserved, restoration
methods have also been changing. In addition to using traditional methods of preservation passed
down from olden times, it is becoming necessary to use new technologies for preservation that allow
active use and communicate value. In this presentation, I would like to describe the recent restorationof Gansenji Temple Main Hall as an example in which, to fulfill the three requirements for users, thefollowing new technologies were used:
a. Seismic reinforcement
b. Technology for more active use (illumination)c. Technology for preserving colors lost during restoration

87

3. Gansenji Temple Main Hall: its characteristics and restoration
Gansenji Temple
Gansenji Temple is a Buddhist temple of the Jodoshin sect, located in Kaizuka City in thesouthwestern part of Osaka Prefecture. It is believed to have been established in the second half of the
Muromachi period, or 1392-1573. In 1583, Kennyo, the head priest of the Jodoshin sect at that time,
arrived at Gansenji. For the next two years or so, the temple served as the prestigious head temple ofthe sect. In the Edo period, in 1610, Shogun Tokugawa Ieyasu endowed Gansenji with the title to aterritory stretching 800 m north to south and 550 m east to west, made independent from thesurrounding Kishiwada domain. From this time to the Meiji period, the head of the Bokuhan family ofeach generation served as both the chief priest of Gansenji and as a feudal lord. The temple’s territory
reverted to government control in the Meiji period, but part of the town that developed there under thetemple’s rule still remains today, conveying the old atmosphere of the past. This area is now known as
Kaizuka Jinaicho, a community of families that have lived there for generations.
In addition to the Main Hall, there are numerous important cultural properties on the premises ofGansenji Temple, including its front gate, drum tower, and belfry. They are arranged in a manner
typical of a medium-sized temple under the True Pure Land sect.

Fig. 2 Gansenji Temple Main Hall (exterior)Fig. 3 Gansenji Temple Main Hall (interior)

FUJIKURA
Ken-ichiFig. 4 Gansenji Temple: Layout

88Characteristics of the Main Hall
The present Main Hall of Gansenji Temple wasbuilt in 1663. Its frontal width is 27.6 m and theside width is 27.0 m. The maximum building height,
from the ground to the roof ridge, is 15.8 m. It has asingle-story hip-and-gable roof structure. The roof
is tiled alternately with flat concave and rounded
convex tiles. The interior of the Main Hall is largely
composed of naijin or the chancel, the space for the
Buddha, and gejin or the nave, the space forworshippers. The nave is surrounded by a veranda
on three sides.

The chancel is brilliantly decorated with lacquer,colorful paints, and gold foil in stark contrast withthe austere nave where bare wood predominates.

Fig. 6 Cross section of Main Hall (side view)Fig. 5 Floor plan of Main Hall

The chancel is an artistic representation of thenotion of the Pure Land, the Buddhist equivalentof paradise. In terms of size, the nave is more
spacious and has a higher ceiling. This clearly
indicates the evolution of the main hall of a
Buddhist temple, which was originally the spacefor placing an image of Buddha, but gradually its
function as a gathering place for the congregation
also became important. This evolution is also
reflected in the architectural design: the floor plan
was drawn up with the size of one tatami mat as abasic unit, as is generally done for traditional
Japanese private residences.

FUJIKURA
Ken-ichi

Restoration of the Main Hall
From 2004 to 2011, the Main Hall, the front gate, the belfry, and the outer walls of Gansenji Temple
underwent restoration. The Main Hall had already undergone various partial repairs and renovations
since its construction some 350 years ago, but no fundamental restoration. For this reason,
considerable deterioration was found in various sections: pivotal distortion, drooping eaves, anddecayed wood due to leaks in the roof, as well as the erosion of the floor base by termites and rustingof the exterior metal elements due to exposure to ocean winds.

89Because of the state of damage, it was decided to restore the Main Hall by semi-disassembly: in otherwords, everything except the main frame (pillars and beams) would be removed for reinstallation or
replacement. Since this would be a large project and take a long time, a temporary protective roof tocover the whole building had to be constructed before the restoration work could begin. After that, theroof and other sections of the Main Hall were disassembled in the reverse order of construction.
During this process, the materials, dimensions, construction methods, and other particulars of thedismantled sections were carefully studied and recorded to determine the specifications ofreplacements.

Fig. 7 Restoration work flow

Replacements were manufactured and installed by artisans who have mastered the time-honored
expertise of traditional Japanese architecture, using the same materials, dimensions, and construction
methods as the original ones. These skills have been passed down from ancient times, and mostarchitectural monuments in Japan have been restored in this manner.

FUJIKURA
Ken-ichi

4. New technologies
a. Seismic reinforcement
In Japan, the Great Hanshin-Awaji Earthquake in 1995
emphasized the critical importance of safety forbuildings. In the disaster, large numbers of architecturalmonuments were damaged and some of them completely
collapsed. Following this experience, variousorganizations have been testing architectural buildings toevaluate their seismic resistance, and have been restoring
Fig. 8 Analysis model90

thosejudgedtoearthquake-resistant.

beinsufficiently

When the Gansenji Temple was restored, its
seismic resistance was also assessed at the sametime. A 3-D model of the temple’s frameworkand its response to earthquakes was created on acomputer, and earthquakes of likely magnitudes
were simulated. The results showed that the
temple could collapse in a major earthquake, so
we decided to perform seismic reinforcement as well.
There are various ways of reinforcing a building’s
seismic resistance, including adding building rigidity,
regulating responses to an earthquake, and isolating
the building from seismic motion. Each method has
both advantages and disadvantages. For example, toincrease wall rigidity, it is necessary to close openings,
but for the Gansenji Main Hall project, the originalform of the interior would be lost. On the other hand,regulation and isolation methods are usuallylarge-scale and costly.

Fig. 9 Details of a damper

Fig. 10 Beam-column joint dampers

As an alternative, we considered a small seismic control device recently developed for wood structures.
This device, made of two metal plates sandwiching highly viscous resin, is installed where building
elements meet at right angles, such as columns and beams, to absorb the energy of deformation. Whenthe building sways, the two plates slide, while the resin suppresses this movement, absorbing the energyof deformation and transforming it into thermal energy. This device is called a beam-column joint
damper.

b. Technology for more active use (illumination)
While some architectural monuments have lost ties
with local residents in recent years, Gansenji Temple
has been serving for over 20 years as a center of local
community activities through which residents
rediscover the history and cultural attractions of
Kaizuka Jinaicho and publicize them widely outside
the community. As a part of these activities, an event
called “Gansenji Theater” is held at the temple,
featuring traditional Japanese performing arts such as

FUJIKURA
Ken-ichi

Following a series of studies, we chose a method combining rigidity reinforcement and seismic
regulation. To reinforce building rigidity, the existing walls were strengthened instead of creating newwall surfaces, at sections under the roof that are invisible from within the Main Hall. In sections where
this method was insufficient, beam-column joint dampers were installed below the floor. As a result, thepredicted sway of the building was reduced within prescribed permissible limits.

Fig. 11 Noh performance in the nave

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noh, kyogen, and rakugo (comic story-telling) and concerts.
In the restoration project, the use of the nave, originally a place of prayer, as a theater was taken into
consideration, and lighting equipment for effective illumination was installed. The placement andother details of the lighting equipment were also carefully determined to harmonize them with thetraditional interior design.

ChancelNaveFig. 12 Lighting plan

FUJIKURA
Ken-ichic. Technology for preserving colors lost during restoration
During the restoration of the Main Hall, at the same time as
disassembling the building elements, the traces of pastrenovations were examined, and the changes that the building
had undergone since its establishment were unveiled. Based onthese results, and in consultation with representatives of theGansenji Temple and the Agency for Cultural Affairs, we
decided to restore the Main Hall not to its original state but toits state in the Horeki era (1750s), when the Main Hall was at its
most majestic. The colors of the Horeki era remained below
the present top layer, and by carefully examining those colors,
Horeki-era designs and color schemes were successfully
restored.
In this process, a special measure was taken. The presently
visible color schemes, patterns, and paints, different from thoseof the Horeki era to be restored, were considered worth
preserving for future generations. In such cases in the past, theywould be recorded by photography or drawings, and actual
surfaces would be scraped off and lost for good. In the Gansenji

92

Fig. 13 Examining colors

Fig. 14 Peeling, step 1

Temple project, the presently visible colored layer was in goodcondition, and the coloring technique used on the layer wasconsidered to be sufficiently important to be worth preserving
as-is for future generations. Accordingly, we used a recently
developed method consisting of peeling in order to preserve
such material.
Fig. 15 Peeling, step 2This simple method involves applying gauze to a coloredsurface, painting nikawa, or traditional Japanese glue, over it,
drying it until the glue obtains sufficient viscosity, and then gently peeling off the gauze, paying
attention to the way the glue is attached to the surface. In this way, only the top layer was peeled off,
revealing the Horeki-era layer.

The restoration of Gansen-ji Temple was the first time to apply this method to an Important Cultural
Property.
The advantages of this method include that peeled-off layers can be reattached to new mounts of washi(traditional Japanese paper) for preservation and comparison with the restored layers, providing future
generations with useful information on the history of the building’s renovations. Traditional glue wasused to protect the paints, so the materials could be kept intact and historical information transmitted
to future generations without modification, which we believe is particularly important.
5. Summary
I have explained about the restoration of Gansenji Temple Main Hall, for which traditional expertise as
well as new technologies were employed. In applying any new technologies such as these, it isessential to accurately determine the value of the particular monument and take great care not tocompromise it. I believe that restorers need to understand the respective values of individual buildings
and develop or apply new technologies accordingly.

FUJIKURA
Ken-ichi93IV. Conclusions

Conclusions of International Conference 2013
"Revisiting the Philosophy of Preserving Wooden Structures:
Restoration Method for Wooden Structures and Its Philosophy"
Preface
The International Conference on “Revisiting the Philosophy of Preserving Wooden Structures:
Restoration Method for Wooden Structures and Its Philosophy” was co-organised by the Cultural
Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO (ACCU Nara) andWorld Heritage Institute of Training and Research for the Asia and the Pacific Region under the
auspices of UNESCO (WHITRAP Shanghai). The scope of the conference was to look into thedevelopments in conservation policies particularly concerning wooden heritage structures over the two
decades since the Nara Conference on Authenticity in 1994. It was the first of three conferences thatare to be organized over a three year period, and it took place in Nara from 17 to 19 December 2013.
Eighteen invited experts, and several observers, attended the conference representing WHITRAP,
ACCU, and ICCROM, as well as governmental and research institutions from Bhutan, China,
Indonesia, India, Japan, Nepal, Sri Lanka, and Vietnam. On 17 December, guided visits wereorganized to examine conservation work in Shonen-ji Temple (Imai cho), and in Hōryū-ji Temple.
During subsequent two days (18 and 19 December), a special lecture on conservation philosophy, two
Keynote Speeches, and seven Case Study Reports were presented.
The participants appreciated the hospitality, sponsorship, and excellent organization by ACCU and
WHITRAP. They commended this collaborative initiative aimed at addressing conservation
philosophy and methodologies in the light of contemporary challenges and discourses, and adopted thefollowing recommendations.
Conclusions and Recommendations
Regarding the issue of authenticity, it was recognized that, together with the concept of culturallandscape, the 1994 Nara Conference on Authenticity marked a significant paradigm shift inconservation policies. The pre-Nara emphasis on material authenticity in heritage evaluation has now
broadened to include intangible aspects of heritage, and recognition of diversity. These concepts havebeen further elaborated and specified in UNESCO´s international doctrine, including the 2003
convention on intangible heritage, the 2005 convention on heritage diversity, and the 2011
recommendation concerning the Historic Urban Landscape, showing an increasing broadening fromexceptional to common heritage.
While recognizing the continuously evolving heritage policies, the participants sustained that the
1994 Nara Document on Authenticity be maintained as a historic reference, similar to the 1964
Venice Charter. The emerging needs for relevant policies should be interpreted in new documents
and with reference to the 1994 Document.
Regarding operational interpretation of authenticity in conservation practice, the participants
observed that the pre-Nara emphasis on material authenticity and minimum intervention continues toprevail in public policies on conservation of State protected built heritage. However, in the broader

97context of cultural landscape and urban conservation, such policies are not strictly attained to and may
actually need reconsideration. A gap is recognized between the on-going international debate on
heritage policies, and the national and local interpretation of authenticity. Challenges are encounteredin local interpretation due to inconsistent use of specific technical terms in different languages. A
more holistic view that takes into consideration local context and sources of information is desirable
for defining the significance of the property.
The concepts and principles of the 1994 Nara Document should be elaborated as practicalguidelines for undertaking conservation interventions, illustrated with select case studies. The
guidelines could start as an informal document, but once consolidated could be proposed for
adoption and publication by relevant institutions. The guidelines should be made multi-lingual witha recommended glossary of terms.
There appears to be some confusion regarding the relationship between Integrity and Authenticity.
According to the WH Operational Guidelines, integrity refers to the process of identification of all theelements that together define the significance of the property. Authenticity instead refers to thequalification of such elements in terms of their truthfulness and credibility. It can be observed that, incertain cases, part of the material authenticity of a property may be lost due to repairs or partial
reconstruction, while the architectural integrity gets re-established at the same time. In other cases, theformal integrity may have been lost in ruined structures, while material authenticity of the remaining
fragments still exists.
The illustrated guidelines proposed above should discuss the different aspects of authenticity, e.g. in
relation to creative cultural expressions, historical material, and the social-cultural context of thedecision-making processes. Furthermore, discussion should extend to the conditions of integrity, e.g.
the identification and the cultural, functional, or symbolic relationship of elements that contributeto the significance of a place in its context, and its state of conservation.
Further, the participants observed certain differences in current relationship between on-goingpractices and traditional continuity. While there do exist genuine traditions inculcated over generations,modern practices in conservation may easily cause changes if not properly controlled when excessive
resources are made available, e.g. from international tourism and/or globalized trade. These practices
may augment vulnerability of heritage due to increased pressure and lead to interventions such as the
19th-century idea of ´period restoration´ that unfortunately continues to be an option for tourism
promotion.
Research institutions are therefore encouraged to undertake research projects on the history, therecognition and treatment of human creative expressions in their context. Such research should
also take note of the evolution of the international doctrinal frameworks for conservation.
Regarding hierarchy of priorities, there is urgent need to clarify the significance of heritage resources
and how this relates to judgements on values. While authenticity is basically related to the significanceof the property, value judgements, instead, are the result of learning processes. These concerns should
be integrated into relevant capacity building programmes.

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V. Appendix

1. General Information of the Conference
International Conference 2013
“Revisiting the Philosophy of Preserving Wooden Structures:
Restoration Method for Wooden Structures and Its Philosophy”(17 – 19 December, Nara, Japan)

1. OrganisersThis conference is jointly organised by the Agency for Cultural Affairs, Japan (Bunkacho); the AsiaPacific Cultural Centre for UNESCO; National Institutes for Cultural Heritage, National ResearchInstitute for Cultural Properties, Nara and Tokyo; and WHITRAP Shanghai under auspices of theInternational Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM),
the JAPAN ICOMOS National Committee, the Japanese Association for Conservation of Architectural
Monuments (JACAM), Nara Prefectural Government and Nara Municipal Government.
2. Background and Objective
In the Asia-Pacific region, there are many wooden structures rooted in the history and culture of each
local area still remaining today. This is due to the efforts made in implementing appropriate repair,
restoration, and maintenance suited to the times. In order to sustain this maintenance into the future,
the understanding and participation of local communities are essential, as well as the procurement ofmaterials and the transmission of traditional skills.
When it comes to wooden structures, the “Nara Document,” which was formulated in Nara in 1994,
has been playing a key role. However, it does not necessarily mean that this conservation philosophy
has subsequently led to social transformation.
ACCU Nara has hosted international conferences with multi-year themes such as “Risk Management”(2006-2008) and “Human Resources Development for the Transmission of Traditional Skills” (20102012). For multiple years from 2013, we are scheduled to organise a series of international
conferences with the new theme of “Revisiting the Philosophy of Preserving Wooden Structures.”
The aim of the 2013 conference is to develop understanding on the relationship between socialtransformation and conservation of cultural heritage after the Nara Document, especially focusing on
how to view the conservation of timber structures.
3. Dates and Venues
Dates: 17 to 19 December 2013
Venues: Nara Prefectural New Public Hall (101 Kasugano-cho, Nara City), etc.
4. ScheduleDay 1 Tuesday, 17 December
08:45-17:00 Participants visit to the restoration sites at Shonen-ji Temple and Horyu-ji Temple in
Nara
Day 2 Wednesday, 18 December
09:15 - Opening Session
1
101

10:00 - Special Speech
11:00 - Keynote Speech I - II
14:10 - Case Study Report I – III
Day 3 Thursday, 19 December
09:30 - Case Study Report IV-VIII
13:20 - Summary of the Conference
13:20 - General Discussion
15:20 - Closing Session

5. Working Language
The working language of the conference is English. Simultaneous interpretation between English
and Japanese is provided when necessary.
6. Financial Arrangements
Organisers provide each of the participants with:
1) Travel Expenses: A round trip air ticket (economy class) between the international airport nearest
the participant’s residence and Osaka (Kansai) International Airport.
2) Daily Subsistence Allowance (DSA): A fixed DSA from 16 to 20 December to cover theparticipant’s meals, as well as hotel accommodation (including breakfast), which is arranged by
the organisers.
7. Correspondence
All enquiries and correspondence concerning the Conference should be addressed to:

ACCU Nara
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
Nara Prefectural General Office 1F
757 Horen-cho, Nara 630-8113 JAPAN
Tel: (+81) 742-20-5001 Fax: (+81) 742-20-5701
E-mail: nara@accu.or.jp



WHITRAP Shanghai
World Heritage Institute of Training and Research for the Asia andthe Pacific Region under the Auspices of UNESCO (Shanghai)
3F Wen Yuan Building, Tongji University
No. 1239 Siping Road, Shanghai 200092 P.R. CHINA
Tel & Fax: (+86) 21 6598 7687
Fax: (+86) 21 6598 7687
E-mail: whapshanghai@gmail.com

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2. Schedule of the Conference
Day 1 (Tuesday, 17 December)
Excursion: Participants visited Shonen-ji Temple and had an on-site lecture of the restoration site in the temple by
Mr KANEKO Takayuki, a head of Shonen-ji Temple Branch Office, Cultural Assets Preservation Division, Nara
Prefectural Board of Education. They also walked around Imai Town, where the vernacular houses and culturallandscape have been preserved. In the afternoon, they visited the restoration site at Horyu-ji Temple under theguidance of Mr MIKITA Hideo, Head of Horyu-ji Temple Branch Office, Cultural Assets Preservation Division,
Nara Prefectural Board of Education.
Day 2 (Wednesday, 18 December)
09:15 – 10:00 Opening Session
Welcome addresses by organisers and guests: Mr YAMATO Satoshi, Councillor for Cultural Properties, Agency
for Cultural Affairs, Japan; Dr ISHIZAKI Takeshi, Vice Director National Research Institute of Cultural
Properties, Tokyo; Mr SUGIYAMA Hiroshi, Director of Department of Planning and Coordination, National
Research Institute of Cultural Properties, Nara; Dr Ron Van Oers on behalf of Prof. ZHOU Jian, Director,
WHITR-AP Shanghai, World Heritage Institute of Training and Research-Asia and Pacific (Shanghai); and Mr
NOMURA Masaki, Director, Regional Development Department, Nara Prefectural Government.
10:00-10:45 Special Speech: Dr Jukka Jokilehto (ICCROM)"Conservation Philosophy Applied to Wooden Structures"
11:00-11:45 Keynote Speech I: Mr YAMATO Satoshi (Japan)"The Nara Document and the Conservation of Wooden Structures in Japan"
11:45-12:30 Keynote Speech II: Dr Zhu Guang Ya (China)"Protecting Authenticity and Value in Restoring both Interior and Exterior of Traditional Wooden
Structure of East Asia"
14:10-14:45 Case Study Report I: Mr Hou Weidong (China)"Disputes and Debates: Approaches to the Protection of the Wooden Pagoda of Yingxian County"
14:45-15:20 Case Study Report II: Mr Kai Weise (Nepal)"Conservation of Wooden Elements in the Architectural Heritage of Nepal"
15:40-16:15 Case Study Report III: Mr Priyantha Basnayake (Sri Lanka)"Restoration of Tampita Vihara (Temple on Pillars) at Dambadeniya"
18:30-20:00 Reception
Day 3 (Thursday, 19 December)
09:30-10:05 Case Study Report IV: Ms Vu Thi Ha Ngan on behalf of Mr Tran Dinh Thanh (Viet Nam)
"Principles and Techniques in Conserving and Restoring Wooden Architectural Heritage Sites inViet Nam"
10:05-10:40 Case Study Report V (read by ACCU Nara staff): Ms Mida Andriana, S. Si, MA (Indonesia)"Conservation of Traditional Wooden House (Joglo) at Kotagede, Yogyakarta, Indonesia"
11:00-11:35 Case Study Report VI: Mr Yeshi Samdrup (Bhutan)"The Practice of Wooden Conservation in Bhutan"
11:35-12:00 Case Study Report VII: Mr FUJIKURA Ken-ichi (Japan)"The Trends in Restoration of Cultural Properties in Japan Case Study of Conservation and
Restoration Project of Main Hall at Gansen-ji Temple"
13:20-16:30 General Discussion: All participants"Revisiting the Philosophy of Preserving Wooden Structures"
16:30Closing Session
1103

3. List of Participants
ITALY
Jukka Jokilehto
Special Advisor
International Centre for the Study of the Preservation and
Restoration of Cultural Property (ICCROM)
e-mail: j.jokilehto@fastwebnet.it

BHUTAN
Yeshi Samdrup
Architect
Division for Conservation of Heritage Sites (DCHS)
Department of Culture, Ministry of Home and Cultural
Affairs
e-mail: yesharit@gmail.com

CHINA
Hou Weidong
Deputy Director/General Engineer
Chinese Academy of Cultural Heritagee-mail: houweidong@263.net

Zhu Guang Ya
Professor of Institute of ArchitectureSoutheast University
Vice Director
Academic Committee of Key Laboratory of Urban andArchitectural Heritage Conservation, Ministry of
Education, Chinae-mail: zhgy@seu.edu.cn

LU Wei, Executive Vice Director
Ron Van Oers, Vice Director

Conservator/Laboratorist
Yogyakarta Cultural Heritage Preservation Office (BPCB)
Directorate General of Culture
Ministry of Education and Culture
e-mail: midaandriana81@gmail.com

JAPAN
FUJIKURA Ken-ichi
Technical Staff
The Japanese Association for Conservation ofArchitectural Monuments (JACAM)
Osaka Supervision Officee-mail: fujikura@bunkenkyo.or.jp

IMANISHI Yoshio
Executive Advisory Engineer
Todai-ji Temple
e-mail: imanishi@todaiji.or.jp

INABA Nobuko
Professor
Cultural Heritage Studies, Graduate School ofComprehensive Human Sciences, University of Tsukuba
e-mail: inaba@heritage.tsukuba.ac.jp

ITO Nobuo
Emeritus Professor

Kobe Design University
MASUDA Kanefusa

World Heritage Institute of Training and Research
for the Asia and the Pacific Region under the Auspicesof UNESCO (WHITRAP Shanghai)e-mail: whapshanghai@gmail.com

Researcher
The Japanese Association for Conservation ofArchitectural Monuments (JACAM)
e-mail: pfe02120@nifty.ne.jp

INDIA
Rohit Jigyasu

NAITO-AKIEDA Yumi Isabelle

Professor
Research Centre for Disaster Mitigationof Urban Cultural Heritage, Ritsumeikan University
e-mail: rohit.jigyasu@gmail.com

104

INDONESIA(writer of mannscript)
Mida Andriana, S. Si, MA

Part-time Lecturer
Tokyo University of the Arts
Project Researcher
Japan Cultural Heritage Consultancy
e-mail: yakieda@gmail.com

NISHIMURA Yasushi
Director
Cultural Heritage Protection Cooperation Office, Asia
Pacific Cultural Centre for UNESCO (ACCU Nara)e-mail: nishimura@accu.or.jp

TOYOKI Hiroyuki

Chief Senior Specialist for Cultural Properties
Architectures and Other Structures Division
Agency for Cultural Affairs, Japan (Bunkacho)e-mail: toyoki@bunka.go.jp

YAMATO Satoshi
Councillor for Cultural Properties
Cultural Properties Department
Agency for Cultural Affairs, Japan (Bunkacho)e-mail: yamato53@bunka.go.jp

NEPAL
Kai Weise
Chairperson
Planners' Alliance for the Himalayan & Allied Regions(PAHAR Nepal)
e-mail: paharnepal@gmail.com

SRI LANKA
Priyantha Basnayake
Chief Draughtsman
Architectural Conservation Division
Department of Archaeology Sri Lankae-mail: priyanthabasnayake@yahoo.com

VIET NAM
Vu Thi Ha Ngan (presenter)

Architect Expert
Division of Monuments Management
Department of Vietnam Cultural Heritagee-mail: vuhangan@gmail.com

Tran Dinh Thanh(writer of mamuscript)
Deputy Head/Architect
Division of Monuments Management
Department of Vietnam Cultural Heritagee-mail: thanh_thao022004@yahoo.com

105