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Preface
The Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO (ACCU Nara) has been
conducting training programmes on cultural heritage protection since 2000. For the programme held in Nara, a total of
301 heritage practitioners from 36 countries of Asia-Pacific region have joined in the Group Training Course and 86 from25 countries have done in the Thematic/Individual Training Courses. Additionally, 211 experts have taken part in the
Regional Workshop conducted in each country of the Asia-Pacific region.

This volume contains the training reports written by participants of the Thematic Training Course, Group Training Course,
and Regional Workshop. The contents of each programme are as follows:

Thematic Training Course-Participants: 6 mid-career professionals with 10-15 experiences from Kyrgyz, Tajikistan, and Uzbekistan-Training period: 24 July – 7 August 2019 (15 days)-Theme: Documentation, Conservation, and Utilisation of Museum Objects-Venue: Nara, Japan

Group Training Course-Participants: 16 young professionals with 5-10 years experiences from 15 countries-Training period: 4 September – 3 October 2019 (30 days)-Theme: Conservation and Management of Wooden Structures-Venue: Nara, Japan

Regional Workshop-Participants: 18 professionals who are involved in documentation of cultural heritage at museums or relevant institutes
in Cambodia-Training period: 18 – 23 November 2019 (6 days)-Theme: Photographic Techniques for Cultural Properties-Venue: Phnom Penh, Cambodia

Contents

I.  Thematic Training Course  Country ReportII.

Group Training Course  Country Reports 

Final Reports

III.  Regional Workshop
Training Reports

I. Thematic Training Course Country Reports

Practical training at Gangoji Institute for Research of Cultural Property

KyrgyzCountry Report
Khairullo Ibaidullaev
Deputy Director for Science
Historical Division, Science Department"Sulaiman-Too" National Historical ArcheologicalMuseum Complex

1ɿ
ɿOverview of the Museum
1.1 Museum organizational structure

Sulaiman-Too National Historical and Archaeological Museum Complex

The Sulayman-Too National Historical and Archaeological Museum Complex, one of the largest museums
in Kyrgyzstan, is located in the City of Osh, also known as the Southern Capital of Kyrgyzstan. The museum
was founded on September 13, 1948 by a decision of the Executive Committee of the Osh Regional Councilof Workers’ Deputies of the Kyrgyz SSR No. 770 “On the Founding of the Regional Museum of Local Lore
in Osh”.
The museum complex includes the unique Sulaiman-Too mountain, a UNESCO World Heritage site. Since
1975, this mountain has been a geological reservation. In 1982, when the mountain, together with monumentsof archeology and architecture on its slopes and at its foot, was transfered to the museum, it became an
integral structural component of the Sulaiman-Too National Historical and Archaeological Museum
Complex.

Sulaiman-Too Security Zone

Since 2004, the museum holds “National” status, and is directly managed by the Ministry of Culture,
Information and Tourism of the Kyrgyz Republic.
The museum complex employs 98 people and has the following structural units:
1.
2.
3.
4.
5.
6.
7.
8.

Administration Department, 7 employees
Accounting Department, 8 employees
Storage Department, 6 employees
Exhibition Department, 4 employees
Methodology Department, 3 employees
Science and Education Department, 8 employees
Popularization and Monitoring Department, 6 employees
Maintenance Department, 56 employees

1.2. A brief description of the museum (present condition of the collection items, exhibition halls, andstorage facilities)
New buildings, meeting the requirements of museum standards, were constructed for the museum in 2000.
The exhibition area is 2,090 square meters, and the storage facility area is 447 square meters.
Number of storage items: The museum has a collection of more than 33 thousand exhibits. They include
6,694 archaeological items, 3,702 ethnographic items, 19,852 photographic documents, and 1,196 art andcraft items, paintings, sculptures and prints. The exhibits are arranged in five rooms in the following order:
a room for woolen, felt, cotton and silk materials. There is a room for wooden or copper exhibits and paintings,
a room for photographic documents, a separate exhibition of archaeological items in the basements, a room
for precious metals. The museum exhibition reflects the nature and history of southern Kyrgyzstan fromancient times to the present day.
Number of visitors (2018): 217,658 including 6,748 visitors from non-CIS countries.
1.3 Cooperation and assistance from foreign countries including Japan
We cooperate with such international organizations as UNESCO, UNDP, SOROS Foundation. The main
methods of cooperation include seminars, trainings, festivals and exhibitions.
2ɿɿCurrent Job Responsibilities
Currently, as a Deputy General Director for Science, my responsibilities include the overall supervision ofscientific activities in the museum complex, in particular, preparing plans and reports, replenishing thecollection, recording and storing exhibits, organizing exhibitions, events, etc.
3ɿ Challenges
Management of museum collection: The main problems that I often encounter are related to collection, inparticular, recording and storing the exhibits. We record the exhibits using old methods. We have alreadybegun digitizing the exhibits, however this has also been inefficient so far.
Preservation and restoration: There are no professional restorers or the corresponding laboratory in our
museum. We now preserve and restore the museum objects on our own, but this is not enough.
Monitoring: In our complex, as I mentioned above, there are architectural and archaeological sites. Theircondition is constantly monitored by our staff. But we want to learn modern methods and practices ofmonitoring archeological and architectural sites.

Exhibition method: Our museum exhibition was last composed in 2000 and needs to be renewed. We wantto learn new, modern methods and techniques for making up an exhibition.
Public Cooperation: We also need experience in working with the public. This includes involving volunteers,
sponsors, public organizations with the purpose of developing museum practices and preserving monuments.
Organization of museum practices: We need experiences in the field of museum management, personnel
management, preparation of work plans, etc.

Exhibition hallMuseum storage room

4. Need
Higher educational institutions in our country do not yet train museum specialists. A course in museum
practices was launched last year, but few students enrolled. The job of a museum specialist is not very popularwith young people, maybe because of low salary.
Therefore, our museum also short of staff. Every year, there are fewer and fewer experienced specialists.
Such seminars are very important to us in order to gain international experience and share it with othermuseums in Kyrgyzstan.

KyrgyzCountry Report

Nurizat Omorova
Restorer Assistant
Art Group䠈
The National History Museum of the Kyrgyz Republic
1. Overview of the Museum
Kyrgyzstan is a country with rich centuries-old history. On its territory, there are a lot of archaeological sitesof ancient and medieval history. As in other countries of the world, our country has its own National History
Museum of the Kyrgyz Republic, which preserves the centuries-old culture and history of the past and present
for the future generations. The capital of Kyrgyzstan is the prosperous City of Bishkek. The National History
Museum is located in the center of Bishkek, in the Ala-Too Square. The museum is subordinate to the
Ministry of Culture of Information and Tourism of the Kyrgyz Republic.
There are 16 departments with 131 employees in the museum:
1. Administration and Management – 5 employees
2. Main staff – 4 employees
3. Department of Archeology – 4 employees
4. Department of Ethnography – 4 employees
5. Department of Research and Exhibition – 5 employees
6. Department of Collection Storage – 7 employees
7. Department of Recording Collection – 5 employees
8. Restoration Department – 4 employees
9. Department of Research and Methodology– 5 employees
10. Department of Education and Public Outreach – 6 employees
11. Department of Information and Communication – 3 employees
12. Artistic Design Team – 3 employees
13. Accounting Department – 3 employees
14. Engineering Department – 16 employees
15. Maintenance Department – 25 employees
16. Service staff – 32 employees
The national museum was founded on December 9, 1925. In 1991, it moved to the building of the Lenin
Museum constructed in 1984. At the entrance of the museum there is a sculpture dedicated to the epic poem
“Manas”, and in front of it there is a monument to the world-famous writer Chingiz Aitmatov.

The National History Museum of the Kyrgyz Republic is one of the first scientific and educational institutionsin the country. The museum houses extensive archaeological collections that reveal the secrets of early
civilizations and the life of primitive people. In addition, the museum stores ethnographic valuable items,
such as the traditional clothing of Kyrgyz nomads, woven items, leather and wooden items, and horse tack.
There are also numerous commemorative instruments and clothes of the great representatives of the Kyrgyz
people, such as those belonging to the great composer Toktogul Satylganov, ballet dancer Bubusara
Beishenalieva, great writer Chingiz Aitmatov and other famous personalities. The museum has over
100,000 collections. All of them, both displayed and stored, are genuine. The museum staff members dotheir best to keep these collections in good condition.

Thanks to the inspiration and hard work of former director Isiralieva Anarkul Ybykeevna, the museum has
been renovated. The halls are equipped with new multimedia devices; there is a specially designated area
over two floors where master classes for children and adults are held. The storage rooms are equipped withmodern devices for storage, restoration and conservation of collections.

                                        
The total area of the museum is about 8,000 m2 including 4,000 m2 of exhibition halls; the storage area formuseum collections is about 800 m2. Each hall of the museum is dedicated to a certain topic such as
Archeology, Ethnography, Soviet times, and Modern times. There is a hall for temporary exhibitions too.
2. Collaboration with Other Countries
The museum cooperates with the embassies of Russia, Japan, China, Turkey, USA, Germany and othercountries. With the help of the USA, we made an open storage hall called “The Gold of Ancient Kyrgyzstan”.
Unfortunately, it was lost during the renovation in 2018. The surrounding territory of the museum wasrenovated with the help of Turkey. In addition, the museum often holds exhibitions of Chinese and Japanese
craftsmen and artists – ceramics, gold jewelry, shadow theater, calligraphy and so on. Japanese experts
conducted a spectral analysis of ceramic and gold items. The inside of the museum was renovated by German
designers who also brought in new equipment.
3. Current Job Responsibilities
I am an artist, designer, and also assistant to Koibagarova Toktokan, who is the chief restorer. Our
responsibilities include the restoration of valuable artifacts.
As a professional designer, I helped set up new exhibitions in the museum of writer Chingiz Aitmatov andhero of the Soviet Union Cholponbai Tuloberdiev in the Talas region as well as the Museum of Local History
located in the Batken region together with fellow researchers and historians of our museum.

Unfortunately, there are no professional restorers who could design and use improvised materials correctlyin our museum and in our country. For restoring and preserving museum collections, our staff members haveto do using special materials such as glue, paper, specialized double-sided tape, nails, fishing lines and so on.
For example, in the village of Krasnaya Rechka in the Chuy region, the parts of a Buddha sculpture datingback to the 7th-8th centuries, made of local clay used for building temples, were found by archaeologists
from Russia and experts from the Academy of Sciences of the Kyrgyz Republic. For restoration of thisBuddha sculpture, the restorers from Hermitage used the glue invented by the experts of Hermitage.

In our restoration practice, we often have problems on conservation of metal, wooden or leather items.
Currently, three chief restorers work in our museum; two of them specialize in archeology and the otherspecializes in ethnography. The main problem in our country is the lack of universities that train museum
workers and restorers. Also, due to poor funding, our employees rarely conduct archaeological excavations,so the artefacts are often excavated illegally by treasure hunters.
I hope that professional restorers from other countries will conduct training seminars and master classes on
the latest technologies for the restoration and preservation of museum collections, especially objects made ofwood, metal, leather, soft materials and clay.

Tajikistan

Country Report

Bobomullo Bobomulloev
Junior Researcher
Department of Archaeology,
National Museum of Antiquities of Tajikistan
Overview of the Museum
The National Museum of Antiquities of Tajikistan is a state budget organization with the status of the
National Museum founded in 2001. The museum is subordinate to the Institute of History, Archeology andEthnography of the Academy of Sciences, Republic of Tajikistan. The main goal of the museum is to preserveand display the valuable cultural properties of Tajikistan. Since the museum is a division of the Institute ofHistory, Archeology and Ethnography, majority of the museum collections are the objects found during
scientific archaeological excavation conducted by the Institute. The museum purchases only a very small
number of its collections from local people.

National Museum of Antiquities of Tajikistan

The Museum has seven exhibition halls on an ongoing basis. These halls are in chronological order:
1.
2.
3.
4.
5.
6.
7.

Hall of the Stone Age.
Hall of the Bronze Age.
Hall of the Early Iron Age.
Hall of the Achaemenid and Greco-Bactrian periods.
Hall of the Kushan era.
Hall of the Early Middle Ages.
Hall of the Middle Ages.

Currently, more than 10,000 collections are on display at the museum halls.

Exhibition Halls of the National Museum of Antiquities of Tajikistan

The museum stores more than 100,000 items in the storage rooms. These are the results of archaeologicalexcavations in Tajikistan over more than 70 years.

Storage of the National Museum of Antiquities of Tajikistan

Painting collections in the museum storage

The museum has two departments: Department of Archeology and Department of Restoration andConservation. The total number of employees of the museum is 35 people and 15 of them belong to the
Department of Archaeology.
Every year, the Department of Archeology organizes and conducts archaeological excavation in Tajikistan.
The main task of the excavation is a more in-depth study of the history and archeology of the country.
Wall Painting Preservation Project Supported by Tokyo National Research Institute for Cultural
Properties
From 2008 to 2014, thanks to the support of the Tokyo National Research Institute for Cultural Properties(TNRICP), a large project on the conservation and restoration of wall paintings was carried out at the National
Museum of Tajikistan. Within the framework of the project, significant work was performed over more than
five years. Japanese restorers and specialists carried on the restoration work literally from the smallest
fragments of murals that had been stored in the museum storage for several decades. It should be noted thatthe scene with the image of “Musicians” from Hulbuk was put together and restored from small fragments
to become the precious item of our museum. As part of a joint project with the TNRICP, the museum storage
and archives were modernized.

TNRICP employees restoring murals

Museum Storage

In addition, TNRICP experts also held seminars and trainings for restorers both from Tajikistan and otherCentral Asian countries for years. I will take this opportunity to once again express my gratitude to all
NRICPT employees who participated in the preservation of the cultural heritage in Tajikistan.

Workshop with participants from all countries of Central Asia in the
National Museum of Antiquities of Tajikistan

Current Job Responsibilities
I work for the Museum as an archaeologist and study the Bronze Age in Tajikistan. My job duties are
conducting field archaeological excavations; documentation of archaeological finds; preparation ofcollections for the exhibition; and conducting excursions in the Museum. Over the past five years, I
participated in archaeological excavations of Bronze Age sites such as Sarazm, Farkhor and Kangurtut. The
Site of Sarazm was discovered in 1976, and since 2010 it has been inscribed on the UNESCO World Heritage
List. Farkhor and Kangurtut are new sites founded recently and they are the results of the research andexcavation conducted by the National Museum of Antiquities of Tajikistan.

Tajikistan

Country Report

Manuchekhr Rakhmonov
Junior Researcher
Department of Conservation,
National Museum of Antiquities of Tajikistan

Functions of the Museum and the Department of Restoration and Conservation
The National Museum of Antiquities of Tajikistan was founded by a decree of the Government of the
Republic of Tajikistan on April 4, 1996, and the Department of Restoration and Conservation began its workin 1998. The main task of the Department is the restoration, conservation and preparation of objects for theexhibition in the Museum. One of the first and most striking projects of the Department is the restoration ofa large statue of “Buddha in Nirvana” with length of about 13 m.
There are currently four employees in the Department of Restoration and Conservation who work under theguidance of my teacher Burkhonov Rustam. We restore sculptures, paintings, ceramics, metal (gold, silver,
copper, bronze, etc.) objects, wooden objects, and objects made from other materials. The problem in the
Department is lack of human resources; there are not enough restorers employed.
The responsibilities of the Department mainly include:
1) Monitoring the condition of the objects displayed in permanent exhibitions, as well as thosestored in the Museum's storage rooms.
2) Laboratory work.
3) Participation in archaeological excavation (primary restoration in the field).
Every year the restorers of the Department treat several museum objects that are not protected with display
cases. They include a large statue of the “Buddha in Nirvana”, a model of the stupa, a sculpture of Nana, wall
paintings, etc. “Treat” here means “removing the dust” from the objects. This is required work because they
become dusty during the year due to the influence of weather conditions. The treatment of such objects iscarried out with special brushes and cotton wool using industrial alcohol, acetone, and distilled water. We
treat other museum objects after assessing their conditions and conduct the restoration and conservation if
necessary.
Laboratory WorkIn addition, the Department restores new collections the Museum receives as a result of archaeologicalexcavations or from the public. When new objects arrive at the Department, the degree of damage isdetermined in the restoration laboratory. Then, pre-restoration examinations are carried out such as visualobservations, chemical analysis, and radiographic scanning. Finally, we make a restoration plan for aparticular object. For example, I mainly work on ceramic objects, and my work procedure is as follows:
1) Photographing the object before, in the process, and after restoration.
2) Cleaning the object with citric, acetic, hydrochloric or formic acid dissolved in distilled water in aconcentration suitable for the object.
3) Desalination using only distilled water. The object is placed in a container with distilled water, andthe water is changed periodically.
4) Drying the object by technical means and in a natural way.

5) Reinforcement (impregnation). Depending on damage of the object, ceramics are reinforced(impregnated) with A 3-5% solution of PBMA in acetone, alcohol (technical), and xylene.
6) Bonding with a 10-15% solution of PBMA in acetone.
7) Treatment with mastic. The mastic solution is prepared from polyvinyl butyral dissolved in distilledwater. Mastic paste consists of desalted clay, alabaster and a small amount of sand.
8) Colour selection (if necessary).

Restoration of Wall Paintings
In Tajikistan, special attention is paid to wall paintings. For example, I participated in exposure and removalof the painting “Tulips” in the ancient city of Penjikent in 2012.
Beginning in 1949, restoration experts at the State Hermitage, led by Pavel Ivanovich Kostrov, developed
conservation and restoration methods that made it possible to preserve adhesive painting on loess plaster,charred wood, and unbaked clay sculpture. This technique is based on the use of solutions of a synthetic
polymer, low viscosity poly (butyl methacrylate) (PBMA) in various solvents (acetone, xylene, alcohol,
MEK). PBMA is colourless, light-resistant, chemically inert, and resistant to aging, so it has all the necessary
properties of a restoration material. This technique, developed specifically for Central Asia wall loess
paintings, has been successfully used for over 70 years. It should be noted that these methods have been
continuously improved.
The work of restorers on each layer included a few steps.
1) Cleaning the painting surface.
2) Reinforcing the prime coat and paint layer with 3-5% PBMA solution in acetone.
3) Drawing the mural image on plastic film.
4) Photofixation.
5) Creating a protective film by repeatedly applying an acetone solution of PBMA on the surface of thepainting.
6) Closing with gauze using an acetone solution of PBMA.
7) Removing the painting by thin layer on a lath.
8) Removing plaster residues from the back.
9) Fixing the back side of murals with PBMA acetone solution (if necessary).

Archaeological Excavation
In addition, the staff members of the Department always participate in archaeological excavations. They carryout initial restoration of new finds that need restoration.
Since 10 May 2019, I have been working in the Sarazm excavation site in the Panjakent region, northern
Tajikistan. Sarazm is the only proto-urban monument of the Eneolithic and Bronze Age that is inscribed on
the UNESCO World Heritage List. During this period, I have restored and preserved about 10 artefacts inthe museum and excavation site.

Collaboration with JapanThe National Museum of Antiquities of Tajikistan, in particular the Department of Restoration andConservation, has been cooperating with the State Hermitage Museum of the Russian Federation since thevery start. In the framework of cooperation with the Hermitage, our specialists are invited to monthlong
internships for further training. In addition, the Museum and the Department have cooperated with restorers
from Tokyo National Research Institute for Cultural Properties, Japan (TNRICP) for several years. Thus,
within the framework of a project with the TNRICP, the painting called “Musicians” was restored. Japanesecolleagues also conducted special trainings to share knowledge and experience with our experts. They also
provided important assistance in acquiring a few necessary instruments for the Department.

Uzbekistan

Country Report

Bakhtiyor Khodjaev
Curator of the Numismatic Collection
Department of Numismatic,
State Museum of History of Uzbekistan

Introduction
Uzbekistan is a country of ancient civilization and deep culture. Uzbekistan has an ancient and eventful
history which includes the general historical processes of the development of civilization, the diversity of its
forms and the variety of manifestations, as well as features and patterns that are characteristic only of thehistory of Uzbekistan. Among the Central Asia states, Uzbekistan the largest number of historical and ancient
cultural monuments as well. The soil in our Republic is a precious archive that stores unique historical andarchaeological monuments of different eras from the first men to large ancient states. As a natural result ofextensive archaeological research in Uzbekistan, archeology became an independent branch of historicalscience with a number of outstanding discoveries of world significance.
At the end of the 2nd century BC the Great Silk Road was taking shape, the first transcontinental road in thehistory of mankind that connected the civilizations of the East and the West. The era of antiquity in thehistorical and cultural regions of Uzbekistan is characterized by rapid progress in all areas of material, artistic
and spiritual culture: quantitative and qualitative growth of cities, a high level of irrigation development,
agriculture and handicraft production, a wide interaction of various cultures, rapid development of trade andcommodity-money relations.
In total, more than 1,000 monuments of architecture and archeology have been restored. This all contributes
to the preservation of the cultural heritage of the Republic, and the study of the monuments of the ancienthistory of the people.
Currently, there are 7,750 cultural heritage sites under state protection in Uzbekistan. They include 3,945
archaeological monuments. Four cities – Khiva, Bukhara, Samarkand and Shakhrisabz – are included in the
UNESCO World Heritage List. Currently, work is underway to perform the procedure for 43 items of culturaland natural heritage to make the “On the Silk Road” nomination list.
Overview of the Museum
The State Museum of the History of Uzbekistan is the largest scientific and educational institution in Central
Asia. As a multidisciplinary scientific institution, the museum performs the functions of: a research institute,the largest storage of monuments and spiritual culture, a center for the promotion of historical knowledge.
The museum has been part of the Academy of Sciences of the Republic of Uzbekistan since 1943 when the
Academy was founded.
The museum exhibition occupies the third and fourth floors of the building. The total exhibition area is 2,500
square meters. The number of exhibits exceeds 10,000. In the design of the exhibition, complexes ofarchaeological finds, ethnographic material, coins, written sources, photographs were used widely anddiversely. The exhibition will, of course, be changed, improved, replenished with new exhibits, and in thisconnection new sections and other exhibitions will appear.

Over the past 5 years, more than 250 textbooks, monographs, study guides, and scientific articles have been
published.
Museum Collections
The museum stores over 300,000 collections in the storage rooms. In over 140 years of its existence, themuseum has collected more than 300,000 items in the following areas: archeology – 72,000, ethnography –18,000, numismatics – 100,000, material relics – 17,000, artworks – 1,300, documents and photographs –70,000, as well as other historical materials and sources. Affiliated is the scientific library with unique
editions of the 9th – 20th centuries and earlier manuscripts.
Archaeological and Numismatic Collections
Archaeological excavations conducted by the State Museum of the History of Uzbekistan for many years
have been the main source of replenishment of the museum’s archaeological and numismatic collections.
Such famous archaeologists of Uzbekistan as M.E. Masson, T. Mirgiyazov, V.I. Sprishevsky, M.E. Voronets,
Yu.F. Buryakov, L.I. Albaum and others worked in the museum.
The stone era in Uzbekistan is represented by numerous cave and ground sites, flint mines and individual
finds that reflect all periods of development (Paleolithic, Mesolithic, Neolithic). They reveal the progressive
nature of the development of human society in Uzbekistan: from the earliest groups up to developed culturesof the Neolithic era.
The numismatic collections of the museum are of great historical value. They include coins minted in a wide
chronological framework from the 5th century BC up to the 19th century. The collection contains coins ofdynasties: Achaemenids, Alexander of Macedon, Seleucids, Greco-Bactrian kings, Kushan, Khorezm, Sogd,
Chach. In addition, the collection contains a significant number of coins of medieval dynasties: Takhirids,
Samanids, Karakhanids, Genghisides, Temurids, Khanate of Bukhara, Khanate of Khiva and Khanate of
Kokand.
Golden Items
In May 2013, in the village of Maysky (Tashkent region), during excavation works, workers discovered gold
items. Subsequently, the state transferred the gold items to the museum, including various gold parts of thebelt set, gold plaques superimposed on the bridle, gold stripes for clothes and fragments of other items.
Among the finds there was only one gold coin of Byzantium, tremissis, presumably of the 6th century. The
front has a beardless emperor in a ceremonial tiara, you can see armor, part of the shield with the image of arider. On the back face, there is an image of the goddess Victoria. The image of Victoria, the goddess ofVictory, is also characteristic of the early Byzantine coins of the 5th-6th centuries. These finds are of crucial
historical importance.
Cooperation with Other Countries
Agreement with the Museum of the University of Tokyo on the study of the Stone Age in Uzbekistan. 20182022;
Memorandum of Understanding with Eastern Chicago University. 2018-2022;
Memorandum of Understanding with the Shanghai Museum of the People’s Republic of China. 2018-2022;
Memorandum of Understanding with the National Museum of Kazakhstan 2018-2022;
Memorandum with the Luoyang Museum of the People’s Republic of China. 2019-2023;
Memorandum with the National Museum of the Sultanate of Oman. 2019-2023;

Uzbekistan

Country Report

Dilafruz Karimova
Junior Researcher
Department of Registration and Recording of the Museum Collections
State Museum of History of Uzbekistan

General Information of State Museum of History of Uzbekistan
The museum was founded on July 12, 1876 as the National Museum of Turkestan and opened in Tashkent
on the initiative of Russian scientists – members of the Turkestan branch of the Moscow Society of Lovers
of Natural History, Anthropology and Ethnography. Very soon after the museum was founded, it collected
its main collections and prepared and held a number of international exhibitions: in Paris (in 1900) and in
Milan (in 1906). The museum also contributed to the opening of museums in Samarkand (1896) and inFerghana (1899).
Since February 1919, the museum became known as the State Museum of Turkestan, and later
received the name of Main Central Asian Museum.
In the past 20th century, the museum changed its name and location many times.
According to the resolution of the Cabinet of Ministers of the Republic of Uzbekistan No. 203 dated
April 21, 1992, the “Museum of the History of the Peoples of Uzbekistan” was transformed andnamed the State Museum of the History of Uzbekistan.
Currently, the museum is located in a building on Rashidov Avenue, which was built in 1970.
Exhibition halls of the State Museum of the History of Uzbekistan:
The territory of Uzbekistan in the era of stone (1.5 million years BC – 4th millennium BC)
The territory of Uzbekistan in the era of bronze and early iron (from the 3rd to the 1st millennium
BC)
Formation and development of statehood on the territory of Uzbekistan (middle 1st millennium BC– 4th century AD)
State entities on the territory of Uzbekistan in the 5th-13th centuries
The development of science and culture in the 9th-12th centuries
Renaissance in the era of Amir Temur and Temurids (14th-15th centuries)
Uzbekistan in the 16th-19th centuries
The conquest of Central Asia by Tsarist Russia (second half of the 19th century – early 20th century)
Uzbekistan during the totalitarian system
Independent Uzbekistan – a free country (since 1991)
The main research areas:
Collecting, studying, recording and storing museum collections, as well as creating scientific works
based on museum storage material
Development of scientifically based concepts, thematic structures and plans for stationary
exhibitions and displays
Development of original methods and programs aimed at performing a wide range of educationaltasks on the formation of a national ideology

Preparation and publication of scientific works and popular publications, monographs, collectionsof articles, albums, guides, catalogs, teaching aids for schools and universities and the use of museum
materials in educational and pedagogical practice
Conducting research
Organization of research excavation
The development of modern areas of museology
Research work:
The main results of basic research:• Museums of Uzbekistan in the 21st century̿New approaches and development prospects (20172020)
We collected information on independence period activities in relation to history, literature and fromart history museums located in Tashkent.
The main results of applied research:• Creation of an electronic database “Monuments of history and culture” (based on the collections of
the State Museum of the History of Uzbekistan) (2015-2017)• The electronic database including 81,440 items (2015-2017)
Department of Recording and Registration of Museum Items:
The work related to the reception of items acquired by the museum, as well as the recording of museum
collections and the storage of documentation is carried out by the Department of Recording and Registrationof Items in the following order:¾ The museum’s Committee for the Procurement of Items examines all items acquired by the museum
for permanent storage and make up a protocol;¾ Based on the protocol, an acceptance certificate is drawn up in three copies, one of which istransferred to the Department of Recording and Registration of Items, the second is handed to thecustodian of the respective archive, the third is given to the person who transferred this item to themuseum;¾ Based on the protocol and acceptance certificate, the item received in the museum is entered in themuseum book of receipt of the main collection for permanent storage, and the item serial number isentered in the acceptance certificate.
This department creates all museum certificates for items received for permanent or temporary storage, andone copy of each document is stored in the department. It also keeps and stores the book of receipt of themain and auxiliary collections of items for permanent and temporary storage. The documents for several
years are collected in a separate joint folder.
In addition, the department prepares the general report on items transferred to each museum collection during
the year.
Children’s Museum
In August 2011, for the first time in the history of the Republic, the Children’s Museum “In the World ofWonders” opened in the Museum of History. The museum targeted the children aged 4 to 14 years. The main
purpose of the Children’s Museum is to help children, through special programs and exhibitions, develop
and enrich their knowledge of history, as well as to show their abilities in practice. The museum has thefollowing departments: “Archeology”, “Numismatics”, “Pottery”, “Embroidery”, “Fine Art”, and “Gifts of
Uzbekistan”.

Job Responsibility
Since my main activity and scientific research are related to archeology, I regularly deal with thearchaeological collections of the museum.
Archaeological excavations conducted by of the State Museum of the History of Uzbekistan for many years
have been the main source of replenishment of the museum’s archaeological collections. Famous
archaeologists of Uzbekistan such as M.E. Masson, T. Mirgiyazov, V.I. Sprishevsky, M.E. Voronets, Yu.F.
Buryakov, L.I. Albaum and others worked in the museum. Archaeological excavations have become the main
source in the replenishment of the museum’s archaeological and numismatic collection.
Under the leadership of L.I. Albaum, our experts took part in the study of ancient settlements of the
Surkhandarya region: Balalyktepa, Zangtepa, Jumalaktepa, Khayrabattepa, and the settlements of Old
Termez – Fayaztepa and Chingiztepa. At that time, Buddhism had come to the southern regions of
Uzbekistan; in the 1st-3rd centuries AD, and played an important role in the life of the population of Northern
Bactria, and Termez (ancient Tarmita) became the main center of Buddhism. At that time, large monasteries
were built: cave monastery (Karatepa) and aboveground monastery (Fayaztepa). Buddhist monks from Sogd
and Bactria played an outstanding role in spreading Buddhist teachings in China. Dalverzintepa (near themodern city of Shurchi) in the Surkhandarya region was an important Buddhist center of that time.
Cooperation with Research Institutes and Museums of Several Countries• Agreement with the Museum of the University of Tokyo on the study of the Stone Age in
Uzbekistan. 2018-2022• Memorandum of Understanding with Eastern Chicago University. 2018-2022• Memorandum of Understanding with the Shanghai Museum of the People’s Republic of China.
2018-2022• Memorandum of Understanding with the National Museum of Kazakhstan 2018-2022• Memorandum with the Luoyang Museum of the People’s Republic of China. 2019-2023• Memorandum with the National Museum of the Sultanate of Oman. 2019-2023
From October 15 to December 15, the museum hosted Chinese international exhibition “Blue and White asa Symbol of the Greatness of the Great Silk Road” in cooperation with the Shanghai Museum of the PRC.
As a result of international relations, a temporary exhibition was opened in cooperation with the Luoyang
Chinese Museum.
In September 2018, together with the Institute of Oriental Studies of the University of Chicago, a seminar on“Preservation and restoration of archaeological sites” was held for specialists from museums of Central Asia.
International Archaeological Excavation
A project was implemented with the financial support of the Japanese Research Foundation “JapanFoundation” for September 6 – October 2, 2011. The main goal is to study the unique cultural heritage,
preserve and transmit it to future generations, as well as to train young specialists on the methods of protection
and preservation of cultural heritage via the joint efforts of archaeologists, restorers, architects, museologistsof Uzbekistan and Japan.
The Uzbek-French international excavation in Zharkutan Monument (2nd millennium BC) was conducted
in 2011. This excavation, organized by Uzbek and French archaeologists, discovered the cemeteries of theDzharkutan monument in the Surkhandarya region dated to the second millennium BC. Studying the graves
made it possible to determine the extent and nature of the funeral rites and religious beliefs of the ancestorsof the Uzbek people in the Bronze Age. The artefacts found during the excavation were included in themuseum exposition “Bronze Age of Uzbekistan”.

As part of the Agreement with the Museum of the University of Tokyo, archaeological excavations at themonuments of southern Uzbekistan were carried out in order to study the archaeological sites of the Stone
Age. More than 30 grottoes and caves were explored to look for the presence of cultural layers and the habitatof an ancient people. In 2015, in the village of Machai (Surkhandarya region), the excavation research
discovered a new monument, the Kainar-Kamar. Archaeological work in 2016-2017 resulted in significant
material dating from the ancient period to the Mesolithic.

II. Group Training Course,Country Reports

Practical training on photographic documentation at Tanaka Family ResidenceBhutan

Filling The Gap for Protecting Hheritage Sites in Bhutan:
the Need for Legislation and Stakeholders’ AwarenessYeshi Samdrup
Senior Conservation Architect
Division for Conservation of Heritage Sites, Department of Culture,
Ministry of Home and Culture Affairs
This paper aims to assess the linkage of past and present practices in heritage sites protection in Bhutan andthe gap between them, which has stood as a challenge for heritage practitioners in implementing protection
schemes and for custodians of heritage sites in imparting their say in the protection of those sites. These
challenges have long existed and this paper only intends to identify their issues and possible actions toaddress them, but does not necessarily provide solutions to holistically overcome such challenges, as they
are part of the practice of conservation.
Protection of heritage sites has made gains at a tremendous pace in Bhutan, both in principle and inmethodology, since the establishment of a governmental body, the Special Commission for Cultural
Agency, in 1985. This does not mean that no protection was carried out before this administrative step.
Rather, protection based on international practices and doctrines has been introduced in Bhutan ever since,
while professionals working in the field have sought to harmonize these international practices withtraditional ones. The operational guidelines for implementation of the World Heritage Convention, forexample, has been one such important guiding document, even though Bhutan has not endeavored to
inscribe even a single site on the World Heritage List.

Fig.1 Entrance side view of Semtokha Dzong

Protective works for heritage sites in Bhutan are carried out through executive orders of the government.
Before the Ninth Five Year Plan (FYP; 2002–2007), most of the works were carried out based on the plans
and instructions of renowned master carpenters, with little or no involvement of professionals in the field of
heritage. Many foreign experts visited the country and tried to impart standard practices in conservation,
but the age-old system of passing down intangible skills in craftsmanship through veneration of mastercraftsmen, and the perception of heritage sites as dynamic assets which have altered over the course of time,have been detrimental factors for the development of modern notions of protection for heritage sites. The
traditional approach has also prioritized living factors, and the value of antiquities and relics preserved inheritage sites, over the structures themselves. After the implementation of the first ever conservation
project at Semtokha Dzong in the Ninth FYP, and subsequent projects up to the current Twelfth FYP, theapproach to the conservation of heritage sites has changed. Through a series of policy documents andpublic awareness measures, the Department of Culture, as the lone governmental agency involved in theprotection of heritage sites, has succeeded in instituting standard approaches to the protection andmanagement of heritage sites. With technical assistance from Kyushu University of Japan and the
UNESCO office in New Delhi, the Department of Culture has drawn up the first ever holistic legislative
document on heritage sites, the Cultural Heritage Bill, which has been tabled for deliberation in the
Parliament since 2016. Some of the provisions of the Bill are being implemented with the understanding of
the stakeholders. Many new developments are being brought to the field of heritage protection. However,in the same manner as for most countries in the world, Bhutan has a long way to go to reach the required
level of protection.

Fig.2 Carpenter working on traditional joinery detail (top left); masons dressing stone (top right);
women ramming earth (above)

To understand the problems, this paper intends to focus on two aspects of cultural heritage in Bhutan and tooutline the areas which need attention, not only for professionals working in the field of cultural heritage
but also the general public and decision makers.
Considering the spiritual value of heritage sites as the paramount, or sometimes the only, value of
cultural heritage
For the first aspect, this paper will reflect the findings of an inventory carried out in 2016–2017 in Paro
Dzongkhag. 1 This dzongkhag was selected for the inventory since it has the highest concentration oflhakhangs 2 in Bhutan and is one of the country’s developed dzongkhags. In addition, it has the only airport
in Bhutan, and tourism is key to its economic activity.

The project aimed to survey lhakhangs in Paro Dzongkhag built before the sixteenth century. According to
the National Inventory List (NIL) maintained with the Department of Culture, there were 80 lhakhangs
built before the sixteenth century in Paro. However, during the site verification and documentation, only 58
sites could be assessed due to the availability of proper information and the consistency of data withreference to the NIL.

Fig3. Some of the heritage sites surveyed in Paro Dzongkhag

The results of the inventory raised concern in the Department of Culture. Table 1 shows the interventions
found to have been carried out at the surveyed lhakhangs.

Reconstructed
Renovated
No repair

939
10Table.1 Interventions at 58 lhakhangs built before thesixteenth century

Out of 58 lhakhangs, nine have been totally reconstructed, meaning there are no or very few portions
remaining of the former historic structure. Another 39 lhakhangs had been renovated but the renovation
works had partially destroyed or lost important parts of the structure. Only 10 lhakhangs have remained
intact with no intervention as of recently.
The assessment of the survey results and the information gathered from the owners and caretakers of thelhakhangs revealed interesting findings, particularly regarding the perceptions of owners and caretakers
regarding the protection of heritage sites. From the various justifications provided for interventions, themost common were the following in 10 cases of reconstructed and renovated sites.

1.
2.
3.
4.
5.

For better structural stability
More important cultural assets, relics and statues, are well preserved in the new structures
The sanctity and significance of the place is maintained despite the reconstruction
Continuity of the living heritage
Relevance to the community and stakeholders

Fig.4 Reconstruction in progress (left) and major alteration to the design (right)

This analysis of the perspective of the owners and community reveals that their consideration of heritage
value is solely from a religious/spiritual point of view. The spiritual value associated with a heritage site isone of the important values of the site but not necessarily the only value. At some of the sites, the historicalrelevance of the structure was paramount, but through reconstruction traces of the original form have been
completely erased, thus losing one of the essential values of the site. The relevance to the community andstakeholders is also an important criterion for the management of cultural heritage, but should not beviewed as contradicting the heritage value, and if possible the process of protection should seek to alignsuch relevance with the value of the site.
The Cultural Heritage Bill-2016 aims for value-based protection of cultural heritage. The bill states that
cultural heritage value “shall be understood as aesthetic, architectural, archaeological, historical, scientific,
religious or spiritual significance that is of importance to the nation of Bhutan, by reason, of:
i.
ii.
iii.
iv.
v.
vi.
vii.
viii.
ix.

bearing witness to important historical events of Bhutan;
demonstrating the course of Bhutan’s history or spiritual development;
association with the life or achievement of a person or group of persons of importance in Bhutan’s
history;
association with a particular community for social, cultural or spiritual reasons;representing traditional social systems, lifestyle or livelihood of Bhutan;
exhibiting unique integrity of humanity with the natural environment;
representing the uniqueness of style, techniques or innovations of a particular period;
potential to educate, illustrate or provide further scientific investigation or analysis that willcontribute to understanding Bhutan’s history or cultural heritage;
any other matter which is relevant to the determination of cultural heritage value.”

The definition in the bill shows the way to determine the cultural heritage value, but it does not necessarily
end there. The process of determining cultural heritage value, particularly for heritage sites, is more crucial
than the final statement of significance. The bill shows the way, but the journey taken in the process is mostimportant. That process requires consideration of human resources. Further, the involvement of the owners
or caretakers and their awareness will play a pivotal role in it. Aligning the original mindset of the
stakeholders to the appropriate process of determining the value of the site requires more than the technicalskills of conservation.

The enactment of the Cultural Heritage Bill has been a top priority of the Department of Culture since it
was submitted to the government in 2016. The bill has yet to come through as an Act. The first daunting
task foreseen after it becomes an Act is to integrate other important values of heritage sites, at a level equal
to or greater than the spiritual value, with the stakeholders’ appreciations of the sites.
Segregation of cultural heritage property and traditional buildings“It is important to segregate and understand the distinction between the property or site as cultural heritageor traditional/old property or site,” according to Professor Tsuguto Ezura, of Okayama University of
Science, Japan, as his take on the general trend of protection methods of cultural heritage. This statement isof vital importance for us to reflect on in the protection work carried out in Bhutan. It is through suchsegregation and distinction that protection methods can be appropriately determined.
To carry out the segregation and distinction of heritage sites, a comprehensive inventory is required. The
Department is currently working on this inventory of heritage sites, in parallel to the registration of heritage
sites as mandated in the Cultural Heritage Bill. The inventory will be pivotal for the value-based protectionof heritage sites. Based on the inventory of heritage sites and their proper segregation and distinction, andin accordance with the legislation, appropriate methods for protection need to be determined. It is not astraightforward case or a standard approach, but will be specific to each site.
In conclusion, the gap highlighted in this paper, between traditional and modern practices in heritage sitemanagement, is common to every nation promoting cultural heritage protection. The professionals working
in the field of cultural heritage need to understand this and the support of governments will be crucial to
overcome the challenges. Stakeholders and the general public have a huge role to play in the process.
Capacity building and awareness are also vital parts of the process. There is never a single perfect approachto the protection of cultural heritage, as the contexts are intricate. However, the right process will always
lead to wise protection.

1
2

The term dzongkhag means “district.” There are twenty districts in Bhutan.
Buddhist temple.

Cambodia

Present Situation and Challenges Regarding Tangible Cultural
Heritage in Cambodia
Cultural Heritage Protection: The Cambodian Context
Lun Saosovann
Technical Official
Battambang Provincial Department of Culture and Fine Arts, Cambodia

პ Geographical Setting
Cambodia covers an area of 181,035 square km, forming part of the southwestern portion of the
Indochinese peninsula. The country’s maximum extent is about 580 km from east to west and 450 km from
north to south. Cambodia shares its 2,438-km border with Thailand (in the west and north) and Vietnam (inthe east and southeast). In the southwest Cambodia is bordered by the Gulf of Thailand.
ჟ Cambodian Cultural Heritage Resources
The most up-to-date heritage inventory shows that Cambodia has more than 4,000 archaeological sites,
including prehistoric sites, ancient mounds, ancient monuments, man-made water reservoirs, irrigation
systems, cave sites and ancient Buddhist temples, which have been discovered throughout the country andare dated to between the late 3rd millennium BCE and the 19th century based on current research. The
majority are monuments in brick or sandstone. It is common to see basalt, brick, sandstone and laterite
monuments scattered throughout Cambodia.
With regard to the immovable tangible cultural heritage, the General Department of Cultural Heritage,under the Ministry of Culture and Fine Arts (MCFA), maintains a register of the monuments and sites in
Cambodia. The tangible heritage has been classified under various categories such as colonial and modernbuildings, monuments, forts, old wooden buildings of pagodas, caves, graves, places where significant wars
have been fought, etc. Cambodia also has a significant built heritage from its colonial and early
independence periods, and excellent recent studies are available of the process of architectural and urban
history and development in the capital city of Phnom Penh and in three provincial towns (i.e. Battambang,
Kampot and Kratié, with its neighboring city of Chhlong). The early colonial cities developed without any
directed planning, and were divided into French quarters and those of the local inhabitants: Khmers, Chams(Islamic Khmers), Chinese, Vietnamese, etc.

Fig1. Archaeological map of Cambodia

Fig.2–3 Pre-historical archaeological site and its excavation: Laang Spean
Cave dated to about 70,000 BCE, located in Battambang province, western
CambodiaFig.4–5 Angkor Borei cemetery (400 AD), Takeo province, southern Cambodia

Fig.6–9 Basalt, brick, sandstone and laterite monuments and ancient bridges of Cambodia

Fig.10–11 Old vihears of Mahaleap and Svay Sach Phnom pagodas, 19th century
Fig.12 Old stupa, early 20th century

რ Conservation of Monuments and Old Buddhist Temples
The MCFA has been making considerable progress in the restoration and conservation of the monuments
and old pagodas under its responsibility, which exclude the Angkor monuments of Siem Reap province,
Preah Vihear Temple, and the Sambor Prei Kuk Temple Group that are under the responsibility of the
APSARA, Preah Vihear, and Sambor Prei Kuk Authorities, respectively. Work at these latter monuments is
also sponsored by UNESCO, foreign governments and other partners representing international donors andresearch communities.

In the meantime, emergency work for the preservation of monuments and old buildings at pagodas andother heritage sites has been maintained by increasing police, guards and security personnel on a moreregular basis.

Fig.13–15 National Museum of Cambodia and its stone conservation laboratory

Fig.16–19 Emergency work on monuments

Fig.20–23 Emergency work for first aid needs

Fig.24–27 Monuments before and after restoration

Fig.28–30 Pagoda and community involvement

Fig.31–33 Stone decorative conservation and transformation

სThe Challenges and Conservation of Old Buddhist Temples:“Case Study of Vat Chen Damdek Khang Choeung Monastery”
I now present a case study related to the Chen Damdek Monastery. The scope of this training marks asignificant step forward for case studies such as the following.
Vat Chen Damdek Khang Choeung Monastery is one of the most well-known pagodas in Phnom Penh, as
the 15th-century birth of the pagoda coincided with that of Phnom Penh. The pagoda has one of the oldest
ancient temples left from the reign of King Norodom, built in 1887, along with other buildings such as
dormitories and cemeteries, all of which are well-preserved ancient structures built during the Frenchcolonial period. Vat Chen Damdek Khang Choeung Monastery of Wat Daekdae is one of the oldest
surviving monuments of Udong art found at Wat Preah Vihear in Udong. Therefore, I would like to present
the case of the preservation of Buddhist buildings at the Vat Chen Damdek Monastery of Phnom Penh,
preserved and restored by MCFA.
Vat Chen Damdek Khang Choeung Monastery was built of brick, lime, tile, and concrete, and having
ornamentation and a gabled wooden roof. There were wooden doors and windows, with iron planks aroundthem, numbering two doors at the east and two others at the west, plus nine windows on the north and nineon the south. The temple is 21 meters long and 12 meters wide. The exterior is adorned with ornaments on
the roof and wooden facades on the east and other concrete sections (renovated during the 1960s). Theinterior section has wooden pillars, ceilings, tiles and concrete, featuring gold motifs on the ceilings,
roofing units and pillars.

Fig.34–36 Vihear before and after restoration

Risk Factors
Without proper maintenance, Vat Chen Damdek Khang Choeung Monastery was severely damaged, andthe causes of the damage were structural changes, building life expectancy, lack of moisture maintenance,and especially pest damage.
- Human factors: The monks do not pay much attention to the heritage value of the old vihear.
- Natural factors: Weather, rain, sun and humidity have damaged the structure of the vihear inmany places, such as the outer pillars and parts of the walls. Many parts have been damaged.
- Insect/pest factors: Among insects, termites are the most destructive, with the roof of the vihear
completely eroded from termite damage.
The Phase of Preservation and Repair of the Vihear- Removing termites: Termites are destructive to the structure of the vihear.



Fig.37–38 Removing termites from the wooden structure
Fig.39 Poison for removing termites

- Restoration of roof accessories and ornaments

Fig.40–42 Repairing the damaged wooden structure of the temple- Restoration of wooden structures destroyed by termites: Reinforcing with wooden supports of damaged
and corroded portions (door frames, window frames, roof top).

Fig.43–45 Restoring wooden portions destroyed by termites- Restoration of brick pillars: Pillars damaged by natural factors (rain, sun, time…).

Fig.46–48 Repairing brick pillars- Repair of sculptures: Most of the sculptures and ornamentation needed repair.

Fig.49–51 Sculpture repairs

Cambodia

Conservation of the Wooden Structure,“National Museum Building’’
Sort Sokonthea
Architect
Planning Office, National Museum of Cambodia,
Department of Museum,          Ministry    of
 Culture   and Fine Arts
I. Introduction
It is very important that we pay attention to the conservation of buildings which are more than 50 years old,
because all types of old buildings can identify for us the lifestyles of our ancestors, whether of low or highlivelihood, and some can show us the style of the owners or describe for us the events of an era. Styles andaesthetics of buildings change by era, so that we can identify for example fives styles of traditional Khmer
houses. Even though some old buildings are not yet listed as National Heritage, they are still treasures of
our nation. All kinds of important buildings include stone temples, brick colonial buildings, pagodas, andalso wooden buildings such as houses. Everywhere in Cambodia there are all kinds of such buildings, bothprovincial and urban (Fig. 1).

Fig.1 A 60-year-old provincial house

II. Museum history
The National Museum of Cambodia (NMC) houses one of the world’s greatest collections of objects of
Khmer cultural materials, including sculptures, ceramics and ethnographic objects from the prehistoric, preAngkorian, Angkorian, and post-Angkorian periods. The museum promotes awareness, understanding andappreciation of Cambodian heritage through the presentation, conservation, safekeeping, interpretation andacquisition of Cambodian cultural materials. It aims to educate and inspire its visitors (Figs. 2–3).
The foundations of the principal structure of the Museum were laid on 15 August 1917, and it wascompleted two-and-a-half years later, during the Khmer New Year and was inaugurated on 13 April 1920.
In 1924 the building was slightly altered. The central section of the east façade was renovated in 1986
under the supervision of Cambodian architect Vann Molyvann. The museum was closed between 1975 and1979, the years of Khmer Rouge control, and re-opened on 13 April 1979.
During the years of Khmer Rouge control, the museum was evacuated and abandoned. The museum
suffered from neglect during this time. After liberation on 7 January 1979 it was found to be in disrepair, itsroof rotten, the garden overgrown and a colony of bats inhabiting the museum roof. The building wasseriously damaged at that time by animal, human, natural and other factors.
However, despite such obstacles the last decade has seen considerable progress, thanks to generous
assistance from individuals, foreign governments and numerous philanthropic organizations. In recent years
the Museum has successfully addressed a range of key concerns, including the protection and repair of themuseum building.

Fig.2 The Albert Sarraut Museum in 1933



Fig.3 The Albert Sarraut Museum in 1920 (©NMC)

III. Preservation and repair work on the main building, National Museum of Cambodia
After suffering from neglect and being abandoned for many years during the Khmer Rouge regime, themuseum building was preserved and repaired again by the national government with generous assistancefrom various individuals. Below is a summary of the course of repair work.
In 1994 Australia provided funds to renovate the structure of the museum building, such as the rafters,
battens and roof tiles. Some of the damaged timber rafters were removed and replaced, and some of theroof tiles were cleaned and repaired. Additionally, a new batten ceiling was added above the old one. This
repair program ended in 1995.
In 2001 a structural intervention to construct a new “bat-proof” ceiling was proposed. The National
Museum of Phnom Penh had a problem with a sizable colony of bats living in the large roof space over themuseum’s priceless collection of Khmer sculpture. A report was prepared, following a request from the
National Museum of Phnom Penh in collaboration with the Wildlife Conservation Society, New York, fordeveloping an answer to the future of the bats and ultimately the future of the museum. An inspection of
the building was undertaken by a team from the World Monuments Fund working at Preah Khan. Eleanor
Briggs provided funds for financing the preliminary investigations and the development of the design
program.
Apart from the above, to protect the museum building from the colony of bats the director of the museum,
Mr. Kun Samen decided in October of the same year to expel the bats from the roof space, and the plan was
carried out until completion in March 2002.
In 2006, through cooperation between the Ministry of Culture and Fine Arts of Cambodia and the French
Embassy in Cambodia, a portion of the galleries (Exhibition Hall B) was renovated, with tiles of the floor
removed and restored again (Fig. 4), and an old painting on a window repainted (Fig. 5).

 Fig.4 Renovation of the exhibition hall in 2006 (©NMC)

Fig.5 Repair and repainting of a window of the National Museum, 2006 (©NMC)

In 2008 part of roof was repaired with funds from the national budget. This time the focus was not so muchon the structure of the roof but on portions of the roof top, such as part of the tile roof and its ornaments(Bos Sbok, Neak Dang Kda, etc.) and the top of timber structure (Fig. 6).
In 2018 part of the structure of the roof and the ornaments were renovated. The Ministry of Culture andFine Arts provided the budget and experts to repair and restore structural parts of the roof. In cooperation
with the experts, the Planning Office of the Department of Museums provided some damage documentation,and photographed and reported on the work.

Fig.6 Repairing the roof top, 2008 (©NMC)

IV. National Museum Building
The National Museum is composed of four wings encircling a central patio. The front wing of the National
Museum consists of a lower basement floor and a raised main floor with the National Archive on the upper
floor. The three exhibition gallery wings have been constructed as lofty single story structures withlongitudinal bearing masonry walls, a wooden roof structure, and a lightweight wooden ceiling. The
masonry bearing walls have a thickness of 38 cm.
Physical dimensions
The east façade is 97.09 m long, the north and south sides are 72.98 m, the floor area of the exhibition
galleries is 2,800 m2, that of the studios and stores is 540 m2, the offices and archives are 1,200 m2, and thetotal is 5,190 m2.

Museum plan
The museum has a plan of two floors, the first floor functioning as gallery halls and three conservation labs.
These include the stone, metal, and ceramic conservation labs. The second floor is used for offices, library,
and the textile conservation lab (Fig.7).

1. Metal conservation lab
2. Stone conservation lab
3. Ceramic conservation lab
4. 100 Buddhas exhibition hall
5. Exhibition galleries
6. Temporary Exhibition Hall A
7. Temporary Exhibition Hall B
8. Garden patio

Fig.7 The Museum ground floor plan

V. Techniques and experiments in conservation and restoration of wooden structures
Renovation of a colonial building in Kampot
Renovation of a colonial house on a list of UNESCO or culture heritage buildings is not easy, as we have tokeep it in the same older style. We can change to a functional floor plan but the building elevation has tokeep the current appearance. Accordingly, before renovation or conservation, a record of the existing stateis required. This work needs to be careful for all steps, first checking the existing site and old photographsof the building before renovating, then measuring to draft extant plans, observing all structural deteriorationof the building to determine what parts should be removed or reused or restored. If the structure is still
strong or there is no damage it is better, but if parts of the structure must be removed it is a big problem, as
we have to find some technique to stabilize the structure before it is dismantled (Fig. 8). Dismantlement
should be done step by step.

Fig.8 Stabilizing a structure to be dismantled, colonial building in Kampot, 2014

Museum roof top renovation
Dismantlement
This describes the techniques used in conservation of the roof top and ornaments of the Museum building.
Site preparation is an important step when starting construction. After the site is prepared, taking photos
before dismantling and then checking and noting the order of dismantling the structure is needed forrestoration. Then removal and repair or replacement of damage can proceed (Fig. 9)

Fig.9 Dismantling an ornamental structure of the roof top (Bos Sbok) 2018 (©NMC)

Replacement and tidying up
Unsound structural members were removed and replaced with prefabricated items, but some members that
could be used again were cleaned and repainted (Fig. 10).

Fig.10 Replacing and cleaning structural members of the roof top (Bos Sbok) 2018 (©NMC)

Waterproofing and repainting
Latex mixed with sand was used for waterproofing wooden parts. The latex must be warm before mixing
with sand. Waterproofing and repainting were done after restoration (Figs.11–12).

Figs.11–12 Waterproofing and repainting the roof top of the Museum building (©NMC)

Restitution
The last step is restitution of the structure. This step should carefully follow the reverse order of thedismantlement (Fig. 13).

Fig.13 Restitution of the roof top of the Museum building 2018 (©NMC)

VI. Issues and needs
This 100-year-old building still has many problems from multiple factors such as nature and animals. Raincauses a lot of problems, as water flowing in from the roof to the galleries and other parts is harmful to theceilings and walls. Not only that, the large storage area in the basement is sometimes flooded by heavy
rains. Some collections are also affected. The elevation of the building is damaged by the atmosphere,
including the brick walls and the stairs outside the tile floor area. Incidentally pigeons reside everywhere in
the building, in the side galleries and along the roof of the museum. The walls inside and outside of thebuilding are soiled and damaged by pigeon droppings, resulting in bad aesthetics for the building. To
prevent all these problems, other techniques are required. For its future needs the museum might consider
repairing the patio roof top structure and tiles causing that roofing part to have some problems in need of
fixing. It will be hard to do this job, as the repair must be done part by part, because of a lack of funds andexpert techniques in this field of work. However for the future the Museum needs to provide its young
professionals with more technical skills in protecting against natural and animal risks. The Museum needs
more cooperative programs to enhance and update the staff’s knowledge. In conclusion, this workshop isvery important for young professional conservators in Cambodia.

ChinaSome Discovered Issues in Conservation Work in China
Protection and Utilization of Cultural Heritage
Jing Han
Conservation Architect Project Leader
Cultural Heritage Conservation Center | The Architectural Design
and Research Institute of Tsinghua University

I am a conservation architect practicing at Tsinghua University, China, being fortunate to live in an era thatis unparalleled for our cultural revival. In 2012 during the 18th CPC National Congress, the president of ourcountry, Xi Jinping, proposed the motto “to make the relics come back to life.” It subsequently became anational undertaking to restore all sorts of cultural heritage. Along with protective measures, the utilizationof our cultural heritage in modern development has become increasingly important. Most of my professional
work involves designing protective shelters, relics exhibitions and building renovations. In the following
report, I will introduce some of the issues I have encountered in my work as a conservation architect.
Issue I: Insufficient Historic Record
From Neolithic times in the Hemudu region (6,000-7,000 BCE), we already have relics of wooden structureswith mortise and tenon joints. Wooden structures constitute the majority of our traditional building types thathave evolved for about 9,000 years. However, only two historic treatises on architectural design andconstruction survive today, the Yingzao Fashi, a treatise on architectural standards published in 1103 AD(Song dynasty), and the Qing Gongbu Codes for Architectural Practice, published in 1734 AD (Qing dynasty).
We did not have our own history of architecture until the 1930s when members of the Yingzao Xueshe, theSociety for the Study of Chinese Architecture, successfully translated these two treatises from ancient
Chinese and thus deciphered the building construction and management techniques of the Song and Qing
dynasties. Their study was accompanied by extensive field trips around China, recording and analyzing reallife examples to confirm their understanding of the treatises, as well as to fill in the gaps in the records.
During one of their trips in Shanxi, they identified the Nanchan Temple, which is dated to 784 AD (Tangdynasty), as the oldest preserved timber building in China. The fruits of their research laid the foundation forthe history of Chinese architecture and building culture. One of the most important discoveries was that our
traditional architecture has an order that is based on the measurements of the brackets, and each componentof a building conforms to a very precise proportional system.
Notwithstanding their contributions, we still know very little about the appearance of buildings before theTang dynasty, because written records were lost, and compared to earthwork relics that may last for thousandsof years, timber structures tend to perish easily. These reasons have made the reconstruction of buildings
before the Tang dynasty rather difficult. From 2016 I started to work on the conservation of the family
mausoleum of the Marquis of Haihun (Fig. 1) near the city of Nanchang, Jiangxi. The mausoleum was built
before 59 BC for the first Marquis of Haihun and his offspring. It represents a unique example of a marquislevel mausoleum from the Western Han dynasty (202–8BC). My tasks involve designing a protective shelter
for the tombs of the Marquis and his wife (M1 and M2), as well as reconstructing some of their sacrificial
buildings for exhibition.

  Figure 1. The archeological plan of the family mausoleum of the Marquis of Haihun

The buildings above ground were completely gone, but we could extract some building information from thefeatures surviving in the soil. We could confirm that in front of M1 and M2 there were four sacrificial
buildings (F1, F2, F13 and F14) and could infer the size and layout of the buildings from their bases andrammed earth foundations. There were also tiles scattered nearby, significantly larger than the ones fromlater dynasties. This indicated a larger basic unit for the building plans. A wooden bracket was found inside
one of the ancient wells, a rather important discovery because it would shed light on the proportion andstructural members of architecture of the Western Han dynasty. However, because of insufficient historic
records to confirm the finding and lack of monetary support from the government for more on-site staff andexperts, the report was never completed. Since 2016 we have organized several meetings with experts onarcheology and architectural history to discuss the reconstruction work. Even though each time we madesome progress, piecing together details confirmed from the site and other contemporary relics, we still do nothave a complete picture for the architecture of the Western Han dynasty.
Issue II: Inadequate Conservation Management
As wooden relics are both complex and vulnerable, they need special care for documentation and risk
management when they are removed from their original locations. Even though nowadays we use highly
advanced tools such as HD photography, 3D scanning and GIS to measure and digitize the relics, muchhistoric information can be lost due to negligence during the documentation process. A 3D scanner can
produce high-definition 3D models of artifacts, but it cannot reconstruct how each component is put together
in complex relics such as wooden structures. Therefore, a professional system for on-site documentation isextremely important for successful preservation.
The tomb of the Marquis of Haihun, like its contemporary noble tombs, was buried with abundant treasuresand made with marvelous building techniques. Most of the noble tombs in the Han dynasty were emptied
and destroyed by tomb robbers from later eras for their treasures. The tomb of the Marquis of Haihun,
however, was exceptionally well preserved because it was fully flooded during an earthquake in 318 AD,
and the water made the tomb both airtight and impenetrable. The wooden chamber inside the tomb, alongwith the buried objects, presented to us the life of the Marquis of Haihun, because during the Han dynasty
the nobility would build their tombs to replicate their everyday life settings.



The chamber was built with large pieces of camphor wood, intricately interlocked together. The archeologists
recalled that when they first opened the tomb, they were amazed by the strong fragrance inside. By the time
we first visited the site in 2016, a year after its excavation, the layout of the chamber had been well preserved,
but we could still detect the scent of the wood. However, each member dismantled from the top of thechamber was laid out randomly and numbered with a loose paper label.
When we visited for the second time, the labels were gone, and some of the wooden pieces could no longer
be returned to their original locations. Later, serious water leakage was found at the bottom of the chamber,so the remaining portion of the chamber was quickly removed for processing to make it waterproof. Becauseof a drastic change in humidity, the wooden pieces became dehydrated, shrank quickly, and lost theirfragrance. As a result, there was no hope to restore the original chamber.
Advanced technology can do little to save wooden relics from deterioration and misplacement without acarefully executed conservation management plan. A thorough conservation plan should be devised inadvance, even in cases of emergency, to monitor the risks to the remains when they are removed from their
original environment. The plan should also be carried out with considerable care and discipline. Once welose the original condition, we lose it forever.
Issue III: Fading Craftsmanship Heritage
In Chinese history, human professions have been categorized into the four classes of scholars, farmers,
artisans, and merchants, from the most esteemed to the lowest. Wood craftsmen therefore belong to thesecond lowest social class. Considered as high art through the lens of modern people, architecture as acreative profession was not so favored by the historic elites compared to poetry, painting or calligraphy.
Architectural design was also strictly regulated by building codes of each dynasty to control the construction
scale and cost to avoid corruption and transgression. For these reasons, very few books were devoted toarchitectural design and craftsmanship. The ingenuous skills of the best craftsmen were orally transmitted
through family heritage and kept secret from others, and thus were easily lost during wars and dynasticchanges.
Each dynasty adopted new standardized building systems, and the founding emperors usually burned down
preceding buildings or renovated them in the contemporary style for political and economic reasons, so mostof the extant historic buildings have been rendered in the styles of the Ming (1368–1644 AD) and Qing
(1636–1912 AD) dynasties. Construction techniques were an invisible part of building history that was poorlytransmitted. Even with written regulations and real-life examples, it remains a mystery how craftsmen fromeach dynasty selected the timber materials, processed them, and made them endure.
In 2017 I started to work on a renovation project in Wuhouci, Chengdu, China. Wuhouci dates back to 223
AD, during the Three Kingdoms period (220–280 AD). It consists of the mausoleum of Liu Bei, the emperorof Shu Kingdom, and the memorial halls for him and his most revered prime minister Zhuge Liang. The
original buildings of the Three Kingdoms period are completely gone. Because Zhuge Liang was widely
known for his outstanding wisdom, war strategies, and most crucially, his loyalty towards his emperor, hebecame an exemplary figure throughout Chinese history. Many emperors from succeeding dynasties spentconsiderable sums of money for renovation and expansion of the memorial for people to commemorate Zhuge
Liang. The current layout mostly preserves that of the Daoguang Emperor (1821–1850 AD; Fig. 2), with allof the buildings rebuilt in the Qing dynasty.



Figure 2. Layout of Wuhouci during the Daoguang years of the Qing dynasty

In modern days, because concrete construction turned out to be much more efficient and less expensive, thewoodcraft industry has gone downhill. Since the 1980s, after a major renovation and addition of an exhibition
hall, Wuhouci became a public museum. Some of the traditional wooden architecture has been replaced withconcrete structures, built in the likeness of the Qing style. The exhibition hall was also built in concrete witha traditional appearance. Even though some of the important buildings were renovated in wood, they turned
out to be less elegant and cannot be expected to last long because of the difficulty of finding wood of thesame quality, and the loss of original techniques.
Conclusion
With more archeological sites of early history being uncovered, increasing amounts of historic building
information is becoming available to us. Comparative studies of such remains worldwide would also help inreconstructing the ancient building styles and techniques. A shared vision regarding conservation
management plans would also help us to improve our site documentation and risk management to preserve
our heritage in a non-destructive manner. We also need to learn from the Japanese craftsmen and architects
how to develop systems that will allow wood craftsmanship and construction to endure through modern
development.
IndiaTraditional Knowledge Systems in India: The Case ofDravidian Style
Shivangi Shukla
Senior Project Officer
National Centre for Safety of Heritage Structures (NCSHS)
Department of Civil Engineering
Indian Institute of Technology Madras

India is a country with one of the most extensive assemblages of living built heritage in the world, with arich cultural past and several magnificent historic precincts. Since the time of ancient civilisations natural
products have been used as the primary construction materials, and the early construction methodology has
influenced that of later ages. The remains from Indus Valley Civilization (3300–1300 BCE) indicate theuse of timber in upper storeys which have not survived. Many ancient treatises from the Vedic period andearly texts and commentaries mention timber constructions, including urban dwellings, palaces, temples,
sculptures, idols and vernacular structures providing protection against the extremes of weather andcalamities. We also have a well-developed tradition of wooden architecture for Hindu temples in India, but
owing to the perishable nature of this material, none of the early structures have survived, with only a few
remaining that explicitly use timber, while others lie endangered.

Tamil
Nadu

Figure 1. World Heritage sites in India (source: Pinterest, 2018)

The Indian subcontinent comprises 29 states each having a diverse vernacular architecture varying with thelocal construction requirements, materials, and culture. I am currently settled in South India, hence
focusing on traditional timber architecture from the two southern states of Kerala and Tamil Nadu. The
traditional architecture of these states has two distinct architectural styles called the Kerala and Dravidian
styles. Both are based on Vastu Shastra principles but show distinct regional features. The Kerala styleconsists of residences and temples built primarily in timber, while the Dravidian style comprises mostly
temples and mandapams (pillared gateways) constructed in stone.1
The present report discusses two case studies from my professional work in Tamil Nadu, and one literature
study from a Conservation Master’s thesis on traditional timber construction.
1(Thampuran, 2010)

Case study 1: Strategies for rehabilitation of the Rajagopuram, Arulmigu Naganathaswamy
Kailasanathar Temple Brahmadesam, Tamil Nadu, NCSHS, IIT Madras report (2017)
This temple is said to have been constructed in the tenth century CE with subsequent additions by later
kingdoms. The overall temple complex was in satisfactory condition and structurally safe except for the
Rajagopuram, which is the main entrance to the sanctum. Significant differential settlement was noticed on
the north side of the Rajagopuram, the possible cause for which could be the natural drainage process at thesite, as corroborated by the masonry crack patterns and structural distress in the Rajagopuram as shown in
Fig. 2a.

(a)(b)

Figure 2. (a) Gopuram front elevation with cracks, and (b) typical upper floor plans

The Rajagopuram is a seven-tier brick masonry structure over a base called kalkaram (stone construction)
which has the entrance opening. The typical floor plan of the tiered layers is shown in Fig. 2b. Each floor
has structural timber columns supporting the timber ceiling as shown in Figs. 3 and 4a. Timber structuralmembers also showed noticeable damage with excess deflection and missing or damaged timbercomponents at various levels (Fig. 3). Cracks in the timber beams were observed at the third-floor level at a
critical location with corner separation in the masonry (Figs. 4a and 4b). At a few locations on the sixth
floor the timber columns appear to be unloaded or detached from the beam and the floor.

Figure 3. Timber ceiling components showing excess vertical deflection and missing panels

The timber post-and-lintel system in the upper floors has some members embedded in the masonry. Due todamage to the masonry or dampness these vertical posts and the horizontal members in the flooring also
show various signs of deterioration.

(a)

(c)

(b)

Figure 4. Sculpted columns and timber members embedded in the masonry

At the topmost level (seventh floor), a loss of mortar and deteriorated mortar joints are observed which isthe possible cause of rainwater seepage inside the Rajagopuram. The ingress of rainwater through openings
at different levels of the structure causes perpetual dampness in the timber elements and accelerates thedeterioration of both masonry and timber (Fig. 5).

(a)

(b)

Figure 5. (a) Loss of plaster and mortar in the ceiling and walls at the seventh-floor level,and (b) deterioration in lower ceilings

The biggest challenge is the inaccessibility of these vertical towers, as they are not open to the public andproblems do not get noticed until we see signs of damage on the exteriors. Also, such problems become
aggravated due to a lack of regular maintenance or any repair protocols on the part of concerned authorities.
Case study 2: Conservation of the ‘Church of Our Lady of Light’ shrine, Chennai, Tamil Nadu
(2019)
This 500-year-old Portuguese church is listed as a Grade I heritage building in Chennai(http://www.cmdachennai.gov.in/HeritageBuildings-PhaseI.html). The main hall and altar are built of
laterite stone set in lime mortar (original structure); two transepts were added later in brick masonry to thenorth and south and the entire structure was re-plastered in cement (date unknown). The structure has ahistory of differential settlements with cracks in the north transept. Open joints/gaps in the terrace tiles andan inadequate drainage system allow water ingress into the structure, which is absorbed by the porous
masonry. Laterite has a high rate of moisture absorption (up to 17%), meaning the walls can hold large
amounts of moisture and cause perpetual dampness in the structure. This moisture needs a proper channel
to escape, since the cement plaster being nonporous fails to allow the moisture to escape completely,
causing degradation of the laterite masonry walls.
The presence of moisture causes damage to the materials, weakening the masonry structure and also
affecting principal non-structural elements in the interiors, such as wooden friezes in the altar and statues
made of timber.

Figure 6. A 3D model of the church, with interior views of the altar and timber friezes

The other structures and elements made of timber include the mezzanine floor (suffering from poor
maintenance), a staircase (new addition), and teak and rosewood furniture. Some wooden members
appeared to be damaged due to moisture ingress in the roof (Fig. 7a). Damage to the timber was observed
after removal of the panels, with a loss of material and hollow sounds in the panels indicating termite
attacks, corroborated by mud tubes on the walls as shown in Fig. 8a.

(a)

(b)

(c)

(d)

Figure 7. (a) The north transept after tile removal, and (b, c, d) dismantled timber panels

The exterior of the altar (Fig. 8b) has no plinth protection, and stagnated water has caused dampness to risein the walls, the trapped moisture in the plastered masonry being detrimental to the structure.

(a)

(b)

Figure 8. (a) The altar after removal of the wooden panels, and (b) the exterior wall of the altar

Literature study: Padmanabhapuram Palace, Tamil Nadu; Master’s Thesis (2018)

Padmanabhapuram (present Tamil Nadu) is an ancient capital of the former kingdom of Travancore. The
6.5-acre palace complex (1550 to 1750 AD) is a protected monument of the Department of Archaeology,
State Government of Kerala.2 Being the oldest and largest surviving example representative of its style oftraditional timber architecture, the structure is a quintessential example of indigenous building technology,
exquisite craftsmanship and superior knowledge of material science, codified as the Taccusastra (thescience of carpentry). 3 It is on the tentative list of UNESCO World Heritage sites in India.

(a)

(b)

Figure 8. (a) Padmanabhapuram Palace (Source: Google images); (b) axonometric view, Thai Kottaram (Shah,2018)

As part of a master’s thesis in conservation, Mr. Keyur Laxmichand Shah has tried to bridge the gap
between the disappearing knowledge from ancient texts and modern conservation principles by the use of
information modelling. As he notes, many efforts have been taken in the past to record the architecturaldetails of the palace, but unfortunately the documentation did not result in a very meaningful output interms of documenting the timber joinery. In timber structures like these, many times the damaged elements
are repaired or replaced by local carpenters without any involvement of conservation architects. This
sometimes leads to a loss of valuable information on ancient joinery systems if they are replaced with newconnections. The older arrangements have to be inferred from our old texts such as the Mansara,
Taccusastra, Tantrasamuchalaya, and Manusyalayacandrika.
The term heritage in India has several connotations. It represents thousands of years of coexistence ofcommunities, social customs, and religious practices. Understandings of this context are encoded in ancientIndian texts which are not fully deciphered. This knowledge needs to be examined in the context of modern
conservation principles. With the fast pace of urban development, the gap between traditional knowledge
systems and the modern architectural/engineering education system in India is continually widening.
Stakeholders have their own challenges, in terms of the absence of guidelines and policies for heritage
conservation in the Indian context. There are no in-house work forces in many of the relevant regulatory
bodies, and secondly we cannot see any convergence between modern principles and ancient knowledge
when people often lack the skills or expertise for understanding the historic materials and living heritage.
The restoration procedures mentioned in traditional Indian canons are not compatible with international
conservation norms on timber constructions. Hence, our conservation principles need to be redefinedcomprehensively, with religious views and cultural practices included as part of an interdisciplinary
approach to bridge these gaps through concerted research, teaching, and heritage management practices.

2
3(https://whc.unesco.org/en/tentativelists/5897/, n.d.)(Shah, 2018)

Indonesia

Conservation of a Bolon house, Pematang Purba,
Simalungun, North Sumatra
Dian Eka Puspitasari
Conservator
Balai Konservasi Borobudur (Borobudur Conservation Office)Indonesia is an archipelago that has cultural diversity. Each island still consists of various tribes who havetheir own language, culture and customs. Among the traditional buildings, each tribe has a distinctive
traditional house which adds to the cultural diversity of Indonesia. Traditional houses owned by each tribe
use local materials available in their respective regions. The form, technique and manufacturing process
embody local wisdom that has been passed down from their ancestors. Therefore, sometimes even adjacenttribes have different forms of houses and traditions.
Most of the traditional buildings in Indonesia are wooden structures. The wood used as the building
material is the strongest wood in each area. The forms of the buildings are the work of indigenous peoples,
which have been passed down from generation to generation and are influenced by culture, beliefs,
mythology, and cosmology. In addition, the function and division of space in traditional buildings are also
influenced by the culture and customs of each region. Therefore the construction process, from the search
for materials, the determination of the location and direction of the building, the actual construction andeven the manner of use after construction, will not be independent of the influence of the customs andtraditions of each region. Traditional ceremonies will also sometimes be performed according to theirrespective traditions.
The Borobudur Conservation Office is one of the Technical Implementation Units under the Directorate
General of Culture, Ministry of Education and Culture. The task of the Borobudur Conservation Office is tocarry out the conservation and preservation of Borobudur Temple along with the Borobudur cultural
heritage area. To carry out this task, one of the functions of the Borobudur Conservation Office is toconduct conservation studies on aspects of civil engineering, architecture, geology, biology, chemistry, andarchaeology of Borobudur Temple and other cultural heritage reserves. Thus, in addition to research on
Borobudur Temple, the Borobudur Conservation Office can conduct research on cultural reserves
throughout Indonesia.
The problems affecting cultural heritage made of wood are quite complex. Wood is an organic material thatis vulnerable to physical and biological damage, so efforts are needed to preserve and maintain such
wooden heritage. The approach depends on the type of wood used, which affects the heritage building’s
strength and durability. The structure and construction techniques used also affect the durability of woodenbuildings.
Some research on cultural heritage made from wood has been carried out by the Borobudur Conservation
Office. Research that has been done concerns methods of conserving wood and the changes in thosemethods, as well as research on traditional wooden structures. This is because each region has its own
traditional buildings and different types of wood, and also has its own traditional conservation methods.
Research on traditional conservation methods conducted by the Borobudur Conservation Office include theuse of tobacco, cloves and banana leaves for the conservation of traditional wooden houses. Other researchon changing wood conservation methods involves the use of liquid smoke to preserve wood. Research on
cultural heritage made from wood that has become carbonized or water logged has also been carried out for
its consolidation. As for the building structures and the types of wood used, research has been done on
traditional Joglo houses in Yogyakarta and Central Java, Gadang houses in West Sumatra, Tongkonan
houses in Tana Toraja, South Sulawesi, Bolon houses in Simalungun, North Sumatra, and traditional
Sumba homes in East Nusa Tenggara. Research on these traditional buildings concerns their construction,
structure, and traditional conservation systems.

Research on conservation of the Bolon house, Pematang Purba Simalungun, North Sumatra
A Bolon house is a traditional house of the Batak tribe of North Sumatra. The term Bolon means “big,” so
it was a palace or residence of Batak leaders in the past and at the same time a symbol of the social status of
the community. A Bolon house is a building constructed with a large stage-like floor which is acharacteristic of the Proto Malayan race, such as the Minangkabau Gadang house, the Kalimantan
longhouse, and the Tongkonan Tana Toraja of South Sulawesi. A Bolon house is a building assembled
without using nails. The construction system uses bonding with mortise and tenon joints, and also notch
joints.
One example of a complete Bolon house is the main structure of the Pematang Purba Palace complex,
Simalungun Regency, North Sumatra. This house is owned by the Simalungun Batak tribe. In the palace
complex, there are several houses besides the Bolon house where the king and his family live, which are
named Balei Bolon, Jambur/Godang, Pattangan Sada/Raja, Pattangan Dua/Puang Bolon, Losung, Utteri
Jungga/Jabu Jungga, and Balei Butu. Balei Bolon is a place where the king holds hearings and meetings,
conducts court and keeps temporary prisoners. Jambur/Godang is a building for storing rice and for areas
where guests can stay, as well as a sleeping place for unmarried youth. Sada/Raja Pattangan is the building
where the king rests. The Pattangan Dua/Puang Bolon is where empresses do their weaving. Losung is abuilding where the women pound rice. Utteri Jungga/Jabu Jungga is where the commander and his family
live. Balei Butu is a building for the palace guards.

Fig.1 Bolon house, front view (left) and rear view (right)

a. Bolon house structure
The Simalungun Bolon house is a stilt house with a floor height of 1.75 meters from the ground. The
bottom of the house (beneath the floor) is used as a place to raise pigs, chickens and buffalo. The
building is divided into two portions, namely the front (jabu lopou) and the back (Bolon house proper).
At the front of the main building, the floor is supported by a structure of logs (galang) arranged
horizontally. Galang beams rest on a base made of natural stone or concrete. Concrete bases, with aheight of 0.5 m in the middle and 0.8–0.9 m at the edge, are not the original form of the base. The
original bases used natural stone. At the back (Bolon house), the supporting structure consists ofcolumns called partogu with a height of 1.85–1.98 m. The number of partogu columns is 20, but the
primary item among these is considered to have strength and be the strongest column. The partogu
columns do not rest on stone bases but are directly planted in the ground to a depth of about 30–50 cm.
The base of each column is coated with palm fiber to keep it from directly touching the ground, so thatthe column does not stay moist and can be protected from termites. The construction system at thefloor bottom uses a notch joint system combined with a mortise and tenon joint system. Mortise andtenon systems help the stability of the beams against shear forces.
The Bolon house plan is in the form of a rectangle with a size of 8.2 x 30.5 m. The area within thebuilding is without insulation, and there is only a difference in floor height. Local wooden floorboards,
made of sambaho wood, are placed on small galang beams to support the floor structure. Galang
beams are arranged using a mortise and tenon joint system. The walls in the jabu lopou use woven
bamboo while the Bolon house uses 5–10 cm thick wooden boards. The wall structure is not attachedto the columns, but is bound to a wall plate. The wall structure also does not stand in perpendicular
fashion, but rather is tilted. The joint system uses notches that are added to mortise and tenon joints,
and is reinforced by ropes tied to rattan.

The roof of the Bolon house has a shape like a horse saddle, which is curved at the front and back, withthe back being longer. The roofing material uses palm fiber and thatched leaves. Connections on theroof trusses use ties, but there are some that use a mortise and tenon joint system.

ColumnColumnprotector

Palm fiberlayer
Fig.2 Partogu column 3D detail (left), and partogu column cross section detail (right)

Fig.3 Detail of the structure’s bottom joint

Lopou

Bolon House
Fig.4 Bolon house planb. Material, structural, and architectural damage
As is generally the case for wooden buildings, damage that often occurs in these buildings is material
damage. This is because wood is an organic material that is highly favored by insects, such as moths
and termites, and by fungi. Some parts of the Simalungun Bolon house had suffered quite severematerial damage, such as weathering in the columns, beam joists, ropes, bamboo woven walls, andsome parts of the rafters. Weathering in these parts causes the wood to become porous and easily

destroyed. Weathering also occurs in pedestals overgrown by moss. Some of them were very fragile
and peeled easily.
Other damage that is very substantial was structural damage. In the Bolon house there was verticaldeformation from front to back, as the rear columns were increasingly sinking into the ground. Thiswas due to the presence of moisture and water saturation conditions in the subgrade so that the carrying
capacity decreased and could not function as a grading and load receiver. Therefore, the columns had
become deformed so that there was a deflection in the galang beams, causing the wood to bend andresulting in fractures. Other structural damage was the occurrence of dislocation, namely changes in
the positions of components due to shifts in the directions of the x-, y-, or z-axes. Such damage had
occurred in almost all connections between the columns and the galang beams, which are the meeting
points that must withstand vertical or horizontal loads in the form of shear forces. The occurrence ofsuch deformation and dislocations made the loading less than ideal. As a result, some of the wooden
members had broken at the edges. Some small galang beams, which are beams under the floorboards,
are also prone to this structural damage, and had broken. This is because these beams are subjected tocompressive and tensile loads.

Fig.5 Material and structural damage in the Bolon Housec. Material components of Bolon houses and environmental climatology
A Bolon house is a building that uses wood as the main material. Other supporting materials are fibers
for roof components, stones for the pedestals, and rattan for fastening. From observations andexperiments conducted by Swastikawati (2013), the results show that the wood used for columns(partogu columns) which are still original is pokki wood, better known as ironwood. Ironwood is awood of the highest class in terms of strength and durability. It is resistant to termite attacks, although
it is susceptible to such attacks after long periods of time. Ironwood is also rarely attacked by ambrosia
beetles, but it is easily attacked by longicorn beetles and the chopped wood is easily attacked bypowder beetles. However, the wood used for the replacement columns is salagundi wood (Rhoudolia
teysmanii Hook. f.). Salagundi is also a wood with premier class strength and durability.
From the results of petrographic and chemical analysis of the sampled stone, it was found that theranggisgis stone was a sandstone. Sandstone is a stone with a high level of porosity and a low level ofhardness. Therefore, sandstone is a highly fragile stone that cannot withstand heavy loads, which willaffect the strength and stiffness for receiving the beam load.
Another component that can also affect the stability of buildings is the subgrade. In the jabu lopou partof the building, the stone base was originally standing on the ground, but at the time of restoration it
was coated with cement mortar. The part that is directly exposed to the subgrade is the partogu column,
which is the Bolon house column. From the results of measurement of the soil pH around the Bolon
house column and in the soil in front of the terrace and beside the building, the pH values were
between 4.2–6.4. The pH level indicates the acidity of the soil layer and also affects the development of
microorganisms in the soil. At a pH range of 5.5–7.0, fungi and bacteria promoting waste management
will grow well. However, according to Jones & Eggleton (2000), neither high nor low pH will affectthe presence of termites. Rather, what affects the breeding of termites is the soil moisture level.
In addition to the extent of damage and conditions of the material, climate and weather conditions also
affect the sustainability of the Bolon house. From observations made by installing data recordersplaced inside and outside the building, the results show no significant temperature or humidity
differences between the inside and outside of the Bolon house. The humidity at the Bolon house site isquite high, around 85.5%. This high humidity level affects conditions for the maintenance of thewooden building material. Humid conditions also affect the growth of microorganisms and weathering.
From the observations of the Bolon house, something interesting was learned about the remnants/traces
left by the cooking process, namely soot. Wooden parts affected by layers of soot were found in better
conditions of maintenance than those not exposed to soot. Soot is like a waxy coating that keeps thewood safe from termites.

Fig.6 Layer of soot on the beam above the kitchend. Conclusions
Based on the results of observation and analysis, several things can be concluded.
1. The damage that occurs in the Bolon house is mostly in the substructure because that part has
the function of withstanding the greatest load.
2. Factors that contributed largely to the damage include inappropriate maintenance that was notin accordance with the rules of preservation and with restoration principles.
3. Conservation measures in the form of consolidation of several columns and the replacement of
new columns need to be done immediately.
4. There needs to be an immediate environmental conservation program to promote thepreservation of the Bolon house.
5. Local wisdom embodied in the Bolon house design indicates that the building structure takes
advantage of a layered seismic control so as to protect the building from damage and collapse
due to earthquakes.
e. Suggestions and recommendations
Steps that need to be taken immediately which can support the sustainability of the Bolon houseinclude the following.
1. Restoration and conservation work must be well prepared and executed with proper handling,
and needs to be conducted with supervision from experts.
2. There needs to be study for the development of non-destructive methods to determine thedegrees of fragility and strength of the wooden material in parts that must withstand large
structural loads.
3. One such non-destructive method is modeling using structural analysis software. To carry thisout, it is necessary to study the local wisdom of traditional wooden structures to take accountof their inherent earthquake resistance.

IranCountry Report
Rouhollah Darabi
ExpertAdministration of Buildings, Urban Fabrics and Historic Sites,
Iranian Cultural Heritage, Handicrafts and Tourism Organization

President of Islamic
Republic of Iran

Deputy of President andChairman of ICHHTO

Deputy ofHandicrafts

Cultural
Heritage
Listing Office

Deputy of Cultural
Heritage

Museums andMovableHeritage Office

Deputy of
Tourism

Conservation, Restoration andRehabilitation of Monuments,
Historic Sites and Cities Office...

National/World
Heritage Office

Deputy ofConservation and
Restoration

Deputy of
Rehabilitation

Head ofMonumentsand Historic
Buildings

Head ofHistoric
Cities andFabrics

Head ofHistoric Sites
Senior Expert ofHistoric Sites(Rouhollah Darabi)

Fig.1 Organizational chart of ICHHTO

Initially, the activities of the Iranian Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO)
in the Directorate General for Conservation and Restoration began with expertise on the historical fabric of
the country. At first, the identification and survey of historical cities was undertaken, and according to theavailable documents and information a list of historic cities was compiled, and aerial photos taken in 1335

(Gregorian year 1956), covering all of Iran as a basic document, were collected for documentation, andbased on new Google maps and aerial photographs, in coordination with provincial experts, we have set thebuffers for historical fabric areas, pursuing multiple conservation goals. But for the historical fabric survey
detection and management of interventions at later stages of the historical fabrics, we will manage activities
and interventions that happened through bad management and unbalanced development.
Comprehensive urban development plans were then guided towards sustainable development andpreservation, and historic city buildings and monuments and their importance were introduced to citizens
and local communities. About 785 historic urban sites were thus identified, and conservation work is inprocess.
The buildings are selected for the list of Iranian national monuments according to their cultural andhistorical value. The responsibility of my Department for these buildings is Conservation andRehabilitation.
According to the province under supervision, staff experts review a province’s proposed programs. After
field visits, the necessary budget planning meetings are approved, along with a description of the executive
operations.
The expert’s job is to supervise and prepare guidelines for historic buildings, cities and sites. Once a projectis started it is first done in the province and quality approval is made at headquarters, with visits toworkshops and project control checks.
Historic sites are first identified and explored, and architectural remains found there are treated withtraditional conservation methods such as a cover of special mortar (a plaster of clay and straw), thenfencing, marking and signage are introduced and movable cultural objects are transferred to museums orprotected at an on-site museum.
Wooden Structures and Buildings
Wooden structures are common in northern Iran, and elsewhere wood is used in columns, roofs, beams,
windows, and ornaments. The importance of wooden monuments is such that in Gilan province, there is arural museum near the city of Rasht where wooden monuments have been relocated from different places.

Fig.2 Gilan Rural Museum 1
1 http://www.gecomuseum.com/fa/default.aspx

One of the most important monuments of West Azerbaijan province is the museum of Baghche Jokh
(Baqcheh Jooq) Palace, located in Maku, which was restored with the participation of local authorities who
use the facility.
Initially, the bed was evaluated by a geotechnical and mechanical studies consultant, and then bed
consolidation was performed according to the results. The roof is gabled due to the rainy climate, sowooden trusses are used. Also this building has wooden floors and interior components.

Fig.3 Location of Baghche Jokh and the city of Maku 2

Fig.4 View of Baghche Jokh Palace 3

2 Emarat-e-khorshid Engineering consultant
3 ICHHTO archives

Fig.5 Interior photo by Hossein Moammeri 4

Fig.6 Floor plan and southern view 5

4

ICHHTO archives photo by Hossein Moammeri

5 Emarat-e-khorshid Engineering consultant

Wood was used according to the original design for the restoration of the roof, for the trusses and beams,
and the beams to be replaced or re-fitted with metal joints. Of course, prior to the execution of decorative
detail and painting, which clearly distinguishes between Iranian and European methods, the paintings were
protected with polyester and wooden sheets and metal rods.

Fig.7 Northern viewFig.8 Roof

Fig.9 Roof details

Fig.10 Joints

Fig.11 Flooring

Fig.12 Joint

Fig.13 Termite damage

Fig.14 Consistency of wooden beams

Fig.15 New structure based onan original one.

The walls are load bearing and made of adobe, and due to the structural reinforcement of the roof it seemed
reasonable to the technical committee to reinforce the walls as well, especially due to the high levels ofusing plaster adhesions and decorations in the rotary with anchoring and grouting techniques. The
campaign was proposed and traditional methods of repair were planned.
Of course, the challenge of using modern materials in monuments is very important and needs to be studied
with greater scrutiny.

LaosPreservation and Development
for Giving Added Value to Luang Prabang as a World
Heritage City
Soulisack Sisana
Engineer
Luang Prabang World Heritage Office
Laos (Lao People’s Democratic Republic, or Lao PDR) is a country in the Southeast Asian/Pacific region.
It is located in the center of the Indochinese peninsula, with a total area of about 236,800 square kilometers.
Laos is a landlocked country, surrounded by borders with five neighboring countries: China to the north,Vietnam to the east, Thailand and Cambodia to the south, and Thailand and Myanmar to the west. Laos isdivided administratively into 17 provinces and one capital city district.
Characteristics of Luang Prabang
Luang Prabang is one of Lao PDR’s northern provinces located about 400 km from the capital, Vientiane.
Luang Prabang’s population is currently estimated as 475,000 inhabitants, consisting of 12 different ethnic
groups. The provincial capital, Luang Prabang city, itself has a population of approximately 68,000
inhabitants. The protected zone of the Town of Luang Prabang World Heritage Site has 24,000 inhabitants
and an area of 800 ha.
Luang Prabang was the former capital of Laos, and is one of the anciently established towns of Laos which
has been preserved and has developed for more than 1,200 years. In the past Luang Prabang served as thecapital of the kingdom of Lane Xang for more than a century, and has been called by different names:
Muang Sua, Muang Xieng Dong, Xieng Thong. In 1358, the King Fa Ngum brought the Prabang – a sacred
Buddha statue – from Cambodia to Muang Vieng Kham, and in 1489 the Prabang statue was moved to
Muang Xieng Thong for worship by the Lao people. At that time the name of the town was changed from
Muang Xieng Thong to Muang Luang Prabang, and has thus been named for the Buddha statue since then.
The city of Luang Prabang is situated on a peninsula, formed by the Mekong and the Khan Rivers, which is
300 m wide and 1 km in length, and surrounded by beautiful mountains. Particularly, one of these hills,
called Phousi, is located in the middle of the town. It serves as a tower for the people to climb in order tolook over the beautiful view of the city in all directions.
Evolution of the city of Luang Prabang
Luang Prabang was the capital of the kingdom of Lane Xang; the city is exceptional both for its richarchitectural and artistic heritage that reflects the fusion of Lao traditional urban architecture with that of
the colonial era. Its remarkably well-preserved urban landscape reflects the combination of these two
distinct cultural traditions. Centuries-old festivities, rituals and traditions are still very much alive andclosely intertwined in the livelihood of the people of Luang Prabang.
Outstanding universal value of Luang Prabang
 As a town with an ancient and long-lasting history and legends
 Having the pattern of its settlement and urban planning well preserved
 Its people having a coherent and gorgeous culture tradition maintained for many generations
 Having unique architecture and craftsmanship of the Lao nation
 Having a magnificent, charming and impressive natural landscapeCriteria for listing as World Heritage
The cultural criteria for accepting Luang Prabang as UNESCO World Heritage city were as follows.
i Criterion (ii): Luang Prabang reflects the exceptional fusion of traditional Lao architecture andbuildings of the nineteenth and twentieth centuries of the European colonial style.
i Criterion (iv): Luang Prabang is an outstanding example of an architectural ensemble built over the
centuries combining the sophisticated architecture of religious buildings, vernacular buildings andcolonial buildings.
i Criterion (v): The unique urban townscape of Luang Prabang is remarkably well preserved,
illustrating a key stage in the fusion of two distinct cultural traditions.
Integrity and authenticity
Integrity. The integrity of the designated site is linked to an architectural and cultural heritage located in anatural landscape that reflects its outstanding universal value. The set of significant elements, particularly
the urban layout and main monuments (temples, public buildings, traditional houses), is safeguarded.
Authenticity. The landscape and urban layout retain high degrees of authenticity, with no major
construction having disturbed the site. Religious buildings are regularly maintained; monks transfer
restoration techniques for their heritage to novices. The Buddhist worship and cultural traditions related toit (rites and ceremonies) are still alive and practiced diligently.
Inscription as World Heritage
For the sustainable safeguard and development of Luang Prabang’s heritage wealth, in 1993 the Lao
Government proposed to place Luang Prabang under the aegis of UNESCO.
Luang Prabang was inscribed on the World Heritage list on December 9, 1995, at the 19th session of theWorld Heritage Commission in Berlin. Luang Prabang’s value was recognized as follows: “This cityreflects the exceptional merger of traditional architecture and European colonial urban structures from the19th and 20th centuries. Its unique urban setting is remarkably preserved, illustrating a major step in thefusion of two different cultural traditions.”
Preservation of Luang Prabang as World Heritage
The objective of Luang Prabang’s preservation is to maintain the outstanding universal value of the city,and to safeguard its authenticity and integrity, in accordance with UNESCO requirements.
To preserve and highlight the natural and cultural heritage of the city of Luang Prabang and to control its
development, in 1996 the central government established a national committee for the management of thenational heritage, and Luang Prabang Province also set up a local committee for the management of the cityand its development.
Laws relating to the protection of national and local heritage- Prime Minister’s Opinion No. 1037 / PM of 3 August 1996 on the Approval of the Decentralized
Cooperation Program- Prime Minister’s Decree No. 158 of 24 August 1996 on the adoption of the Urban Plan of the Cityof Luang Prabang- Prime Minister’s Opinion No. 1037 / PM on the Establishment of the National Committee forCultural, Historical and Environmental Heritage on 24 October 1996
- The Presidential Decree of Lao PDR on the Conservation of National Cultural, Historic andNatural Heritage, dated 20 June 1997
- The Provincial Order of the Governor of Luang Prabang Province No. 157 dated 10 August 1996,
concerning the creation of the Local Heritage Committee- Decentralized cooperation agreement between the cities of Chinon and Luang Prabang signed on 4
August 1997-Prime Minister’s Order No. 15 / PM on Increasing the Management and Inspection of Timber,Moving of Timber and Business of Timber

The protected area of the conservation plan (PSMV)The area covered under the conservation plan (Plan de Sauvegarde et de Mise en Valeur – PSMV) is nearly
800 hectares, divided into 4 zones: ZPP-Ua, ZPP-Ub, ZPP-M and ZPP-N. The conservation area covers 29
villages, 610 inventory buildings, 443 civil buildings, 167 religious buildings and 183 protected wetlands.
In addition, we also specified the creation of a buffer zone for Luang Prabang, as explained below.
The buffer zone and its importanceA buffer zone is promoted by UNESCO for supporting the development and conservation of World
Heritage Sites. It plays the role of protecting against new development projects in the future, to avoid
negative impacts to a protected site.
Aims. A buffer zone is desirable for the World Heritage site to achieve the following goals of sustainableurban development.
- To ensure the conservation of the Town of Luang Prabang World Heritage Site
- To ensure conservation of the environment- To ensure socio-economic growth- To fulfill UNESCO recommendations for heritage conservation
Conditions for consideration. The following conditions should be considered in creating the buffer zone.
- Simplicity of the zone, ensuring that it is manageable, and that its perimeter is related to theadministrative zone
- Possible discontinuity of the zone, flexibility of the principle depending on particularities of eacharea (with their specific regulations) to enhance their locally defined values
Public awareness. After the boundaries of the buffer zone were determined, we broadcast the area’s rules
to the public to raise their understanding of the requirements of area, while also informing the monks andnovices, government officials, military and police, tour guides, village Chiefs, design companies,
educational institutions and universities, in addition to the local people.
Cooperation involved in preservation activities¾ Cooperation with international organizations (Chinon district)¾ Cooperation with the U.S. Ambassador
Restoration and renovation (U.S. Ambassador Fund for Culture Preservation)¾ Cooperation with Japan’s Tokyo Institute of Technology
Creation of a website and a heritage database for the preservation of Luang Prabang as World
Heritage.
Launching of a mobile learning application
Application of remote sensing and photogrammetry
Expansion and update of GIS data for the entire protected area
IT capacity building for the Luang Prabang World Heritage office staff
Restoration activities completed- Xiengthong Temple restoration projects (Nos. 445, 446, 447, 448, 449, 450, 452, 453, 454)
- River House Building restoration project (colonial style; No. 322)
- Xiengmouane Building restoration project (No. 119)
- Luang Prabang Primary School restoration projects (colonial style; Nos. 299, 300, 301)
- Vihan of Aham Temple restoration project (No. 524)
- Dwelling of Sop temple restoration project (No. 471)
- Dwelling of Xiengmouane Temple restoration project (No. 492)

-Pasa Secondary School restoration projects (colonial style; No. 138, 139, 331)
Dwelling of Visoun Temple restoration project (No. 530)
Vihan of Pahouak Temple restoration project (No. 511)
Miscellaneous other projects…

Luang Prabang as a World Top City for tourists
Every year thousands of national and international tourists visit Luang Prabang in order to participate innumerous centuries-old festivals, such as the Lao New Year, the end of Buddhist lent, the boat race festival,
etc. Traditional rites (morning alms to monks, basi ceremony, etc.) are celebrated with fervor by the locals.
The number of tourists has increased constantly and is expected to continue increasing in the coming years.
During three consecutive years, 2006, 2007, 2008, Luang Prabang was elected the World Top City as afavorite destination of tourists by the British travel magazine Wanderlust, and this same award was gainedby the city in 2010, 2011, 2012, and 2015.
Current problems and needs for cultural heritage protection and restoration activities
Problems. Problems that need to be addressed for the long-term conservation of heritage value include thefollowing.
- Traffic jams in the town
- Lack of understanding of culture on the part of tourists- Construction and store openings inappropriate to the protected area
- Cleanliness of the town
- Waste management- Placement of objects covering public areas on footpaths- Filling in of ponds on the heritage list
- Increasing the shop service along the river bank in the town
- Inappropriate decorations on stores- Shortage of budget for the restoration of buildings on the list and for the development of engineers
capable of heritage conservation for wooden construction
Sources of risk to heritage. Natural and human sources of risk include the following.
- Flooding, tropical storms, landslides- Burning, development, tourism, commercialization
Strategy for cultural heritage protection. For the sustainable management of heritage preservation, theLuang Prabang authorities have outlined the following strategy.
1. Promotion of sustainable protection of Luang Prabang as a World Heritage City
2. Creation of Luang Prabang as a refreshing park, a charming city that is attractive and has a goodenvironment
3. Promotion of Luang Prabang as a tourism center for its culture, architecture and nature
4. Creation of Luang Prabang as a research center on the outstanding value of Lao culture
Future activities. Activities aimed at future conservation include the following.
1. Conservation and promotion of the outstanding value of the traditional culture
2. Planning and infrastructure development
3. Construction management
4. Tourism management
5. Urban transportation management
6. Promotion of Lao handicrafts
7. Urban environment management
8. Advertisement and community awareness9. Production of magazines, brochures, posters, CDs and other sources of information on the heritageof Luang Prabang.
10. Cooperation with concerned departments, foreign countries and international organizations inorder to secure assistance in funds and experience on heritage management, in accordance withgovernment regulations

NepalProblems and Needs for Cultural Heritage Protection
and Restoration/Preservation Activities in Nepal
Gopal Bhattarai
Conservation Engineer
Department of Archaeology,
Ministry of Culture, Tourism, and Civil Aviation

1. Introduction
Nepal is rich in cultural heritage. Its unique architectural, archaeological and historical heritage is very
popular worldwide. This remarkable heritage is not only part of what makes Nepal a popular travel
destination, but is also something that needs to be properly protected, maintained and preserved, so that
future generations can enjoy and know their identity through it as much as we do today. Historic buildings
and other types of cultural heritage are the backdrop of our lives and tell the story of the places from where
we have come.
As the sole authority over the cultural heritage of the country, the Department of Archaeology (DoA) has
been actively working to preserve these heritage sites across Nepal. Most of the traditional architectural andhistorical monuments in Nepal are wood and brick masonry structures made with mud mortar. In somestructures wood is used for the main constituents or as the main structural members. Many monuments are
made from only wooden members, like Kasthamandap. Therefore, knowledge about the conservation ofwooden structures is most essential while working in the conservation of monuments in Nepal.
In the Nepal Earthquake of 25 April 2015 large amounts of cultural heritage, namely monuments, were
badly damaged, with 891 monuments counted as having some damage. Since then, conservation andrehabilitation have been continuously in progress. Altogether rehabilitation work has been completed for
240 monuments to date. This massive program of conservation requires both skills and expertise. Even
under the best of circumstances, the restoration of historic buildings takes time as it is a very slow, step-bystep process.
A survey taken in 1975 showed there were 888 important historical monuments within Kathmandu valley.
Among them, 262 were in Kathmandu, 298 in Patan, 62 in Bhaktapur, and 166 in other areas. Data fromthe DoA show there are 1,872 monuments total for all of Nepal, as surveyed in 72 districts (now 74
districts), apart from the districts of Kathmandu, Bhaktapur and Lalitpur, and among these 799 have beenclassified. According to the classification 101 are in category A, 93 are in category B, 482 are in category C,
and 123 are archaeological sites.
There are two World Cultural Heritage Sites in Nepal, which are (1) Kathmandu Valley, inscribed in 1979
and including the palace complexes of Bhaktapur, Hanuman Dhoka, and Patan, the Buddhist stupas of
Swayambhu and Bauddhanath, and the Hindu temples of Changu Narayan and Pashupati, and (2) Lumbini,the Birthplace of the Lord Buddha, inscribed in 1997. There are various types of monuments, namely
architectural buildings, historical sites, religious places, pilgrimage destinations, and archaeological sites
and museums at places such as palaces, temples and shrines, stupas, monasteries, traditional rest houses,
water fountains and ponds, locations of artistic images and sculpture, thanka paintings, wall paintings, andarchives.

2. Objectives of this report
The general objectives of this country report are as follows.
1. To identify problems in the protection and restoration of wooden monuments/architecture in Nepal
2. To identify needs in the protection and restoration of wooden monuments/architecture in Nepal
3. To explore some solutions for these problems by analyzing the problems and needs
3. Conservation and management of monuments in Nepal
The Department of Archaeology is the sole authority of the government of Nepal which is responsible forthe overall conservation and management of cultural heritage in the country. Some other individualorganizations such as the Pashupati Area Development Trust (PDT) and Lumbini Development Trust(LDT) are responsible for their specific locations or monumental zones. Similarly, different municipalities
and rural administrative authorities are also responsible for the conservation of the monuments in theirterritories.
On the other hand, the Guthi Cooperation and other NGOs and INGOs like the Kathmandu Valley
Preservation Trust, and international organizations such as UNESCO are also helping in this field. The
most important actors and stakeholders for the conservation and management of monuments are the local
communities, and local clubs and different cultural groups.
4. Current practical issues regarding wooden monuments in Nepal
For most monuments, intervention is the main issue even when such intervention is minimal in scale. There
are some social and local cultural differences in the practice of conservation that create problems and a lackof coordination between oversight agencies such as the DoA, and municipalities and guthis (local socialorganizations), but these difficulties in conservation are not universal and occur only in some cases.
The encroachment on heritage or heritage property by individuals using it for business purposes sometimes
creates major issues which present significant challenges. The retention of traditional craftsmen, such as
carvers and other workers in traditional jobs, is also a challenge for policy makers. Issues regarding theadaptive reutilization of monuments are vital in the field of heritage conservation. There is always debate
over the materials used for foundations, and especially in cases of foundations for bodies of water, or inwaterlogged or low bearing capacity soil areas. The use of modern materials such as concrete/cement infoundations in such cases creates conflicts between archaeologists and structural engineers. Sometimes thenecessity indicated by structural analysis to enhance the safety of structures is ignored.
Accordingly, by following only traditional principles and techniques, in some cases structural safety cannot
be achieved. Apart from this, the reutilization of disassembled traditional materials is a big concern. Afterthe earthquake, in some temples carved elements and old brick have been used differently.
5. Problems in the conservation of monuments
Since restoration and reconstruction are very complex tasks, they require highly skilled expertise and cantake a long time to execute. There is only a limited amount of traditional skilled manpower on the market.
Young people do not want to continue the family professions followed by their ancestors, meaning theywant to change occupations. Likewise the supply of traditional construction materials such as ma apa anddachi apa (traditional bricks) is insufficient because only a few enterprises produce them, and the lack ofsal wood is also a big problem for monument conservation. Insufficient documentation also makes therestoration process difficult. Encroachment on monuments by local people is also problematic in somecases. A lack of periodic/routine maintenance practices also brings unintended harm to monuments as aminor problem.

We have experienced problems regarding the procurement system and tendering process from low-bidding
contractors in some cases. We have seen cases of dampness causing decay in timber and creating otherproblems, even while using traditional technology and materials. Due to a lack of proper drainage, street
runoff sometimes enters into monuments; feces/excreta of pigeons and other birds also cause the decay ofwooden elements and brick walls. Oil lamps and incense sticks lit by pilgrims make surfaces sticky andoily. Sometimes a lack of sufficient expertise within the DoA or insufficient research efforts also create
problems. The transfer of knowledge from senior skilled human resources to their juniors is lacking, a gap
which causes the loss not only of skills but also of institutional memory, which both degrade the heritage.

Fig.1 Street runoff entering Patan Durbar square (left); grass/bushes on a monument at Patan (right)

6. Needs in the conservation of cultural heritage
Trained and sufficient manpower is needed for the conservation of wooden cultural heritage, and frequent
refresher training is also necessary for staff personnel engaged in conservation work. Sufficient resources(budget allocated by the government) and logistics should be provided.
There should be clear provision for the adaptation of new technology as it makes conservation work easierin various aspects. Detailed and proper documentation is vital to conservation, so it should be done
properly. Priority should also be given to significant monuments and also to entire heritage districts.
Comprehensive master plans for heritage districts are needed for proper conservation. The promotion of
ethical principles for engineers and archaeologists is vitally necessary. Sufficient research in conservation
work with organizational strengthening of the DoA is essential. The main stakeholder is the local
community so proper coordination and community involvement is important in most projects.
7. Case study: Rehabilitation of Adinath Lokeshwar Temple, Chovar
Adinath Lokeshwar Temple is situated atop a hill called Chovar in a village of the same name, 6 km
southwest of the city core of Kathmandu. This famous temple is revered by both Buddhists and Hindus.
According to the available evidence the temple was built in the 15th century. Adinath Lokeshwar isvenerated by Buddhists as a form of the Bodhisattva Avalokiteshvara, and as Surya the Sun God by Hindus.
There is a multi-storied (shikhara-style) shrine, which has a Shiva lingam, in front of the temple, and thethree-storied multiple roofed (pagoda-style) temple is situated on the front side of the monastery courtyard.
The temple’s frontage is decorated with pots, pans, water jugs and other utensils, which have been hungthere by young couples seeking to ensure a happy marital life. Although the temple was built in the 15th
century, it was reconstructed in 1640 and has been renovated several times by the local community.

Fig.2 Adinath Lokeshwar Temple, Chovar, after the earthquake (25 April 2015)

The three-storied temple is made of wood and traditional bricks. The walls of the temple are made fromstructural ma apa bricks, and the outer veneer is made with glossy dachi apa bricks, using mud as mortar.
The wooden posts, doors, and windows are carved with motifs of Nepalese traditional arts and crafts. The
sanctum is in the middle of the ground floor. The roof is made with traditional clay roof tiles (jhingati) laid
on a layer of mud over wooden planks.

Fig.3 Drawings and details of the temple

The temple was significantly damaged by the earthquake. Accordingly a careful survey was conducted,
with drawings, plans, sections, elevations and detail drawings prepared. After preparation of these
documents the rehabilitation work was started in coordination with members of the concerned local
community, who have been continuously involved in this project. During the disassembly of the bricks andwooden members of the walls, detail sketches were prepared, photographs were taken, the disassembled
parts were stored and reusable members such as carved doors, windows, and wooden posts were separated
and the required minimum interventions were done.

 
Fig.4 Disassembly in progressFig.5 Exploration of the foundation                
Fig.6 Thams (posts) and nidals(beams) are erected

After disassembly, exploration of the foundation was done. The central main part, the inner sanctum where
the icon of the main deity is kept (garvagriha), was protected so that no disturbance or distortion would
occur during the conservation work.

Fig.7 Rituals continued while the reconstruction was in progress8. Intervention/issues faced in Adinath Temple, Chovar
As mortar made with lime and surkhi (powdered burnt clay) is a traditional material, mud mortar was
replaced by a mortar made with lime and surkhi sand for better performance in the monument. Foundationstones were used for load transfer. Timber structures (posts, horizontal and vertical members) are used as alateral load resisting system. However some points for interventions and issues are listed below.

1. Lime surkhi sand mortar was introduced instead of mud mortar, due to evidence that the mud used
as mortar previously in this temple was a risk factor.
2. Foundation stones were introduced for tightening the posts (thams), and wooden tie beams(lakashis) were added.
3. Wooden posts and bracing were carried out with consideration for flexible diaphragm action,achieved by inserting extra posts, joists and beams.
4. Connections were made between the meths.
5. Usable parts were reused and unusable parts of doors and windows were replaced, according toevidence of their viability.
6. The jhingati roof was replaced with copper sheets in response to community demand, in
accordance with the Nepalese legal system and with approval of the DoA.
7. Relocating the icon of the deity was problematic, as regular worship needed to be carried out.
8. The open area in between the thams of the back side was enclosed with wall in response tocommunity concern, as there was a chance of loss through theft of the icon.
9. Lessons learned
Detailed documentation should be carried out with proper listing and numbering, and complete drawings
with details of the wooden joints should be made for the rehabilitation of any monument.
Photographs with high resolution should be taken. In the disassembly process special care should be givenso that the bricks and timber elements can be taken out without any damage to items that may be reusable.
Strong supervision should be done to avoid any irregular activities on the part of contractors. Researchshould be done continuously before, during and after the rehabilitation. Regular and frequent meetings
should be held with members of the concerned community before and during the rehabilitation.

1. Proper documents and photographs should be well managed.
2. Lateral load resisting systems should be introduced for monument buildings.
3. Regular maintenance should be done.

New Zealand

The Old and the New – Merging Traditional Approaches and
New Technologies to Aid Preservation and Restorationof New Zealand’s Historic Wooden BuildingsAlex Bell
Property Lead for Te Waimate and Hokianga
Heritage New Zealand Pouhere Taonga
Located in the southern Pacific Ocean, New Zealand is a group of islands that was first settled
approximately 800 years ago by Polynesian voyagers, who settled along New Zealand’s coastlines andinterior and became a distinct Polynesian culture, Maori. European arrival in New Zealand begins with
exploration and mapping of the coastlines in the mid-17th and into the late 18th century, with a steady
influx of European settlers through the 19th century, following the growth of industry around products liketimber.
This report looks at work being undertaken in northern New Zealand on properties managed by Heritage
New Zealand Pouhere Taonga (HNZPT), New Zealand’s statutory heritage agency and the government
entity responsible for the promotion, protection and preservation of New Zealand’s historic and cultural
heritage.
Product of engagement between Maori and Europeans. They utilise traditional styles of British architecture
and construction methods but are rendered in materials local to the New Zealand environment. Under New
Zealand’s heritage legislation, these wooden structures are protected sites, and because of their role inearly European and Maori relations, particularly during events such as the Treaty of Waitangi (New
Zealand’s foundational document), they are used as places to engage with the public in sharing New
Zealand’s national bi-cultural history.
Mangungu Mission
Built in 1838, the Mission House is the only surviving building from the original Wesleyan settlement on
the Hokianga Harbour. As part of the original Mission Station, it was central to key events like the Treatyof Waitangi and bi-cultural engagement between Europeans and Maori through the 1830s and 1840s.
As this area was central to a number of local timber milling operations, including one which was being run
from the property, it is very likely that timber was sourced locally and milled at the Mangungu Mission.
Mangungu is unique in that the entire building was disassembled and barged approximately 300 km south
to Auckland where it was reassembled and incorporated into a new site. In the 1970s, it was cut into
sections and returned back to the Mangungu settlement. The building is constructed from native timbers,
but its mixed life means that its construction methods span a period of almost 140 years, from pit sawn
timbers and hand finishing through to machine milling, timber grading and uniformity of processing     
Fig.1 Mangungu Mission, Hokianga Harbour,New Zealand(HNZPT)Te Waimate Mission
Built in 1831, the Te Waimate Mission is the 2nd oldest European building in New Zealand and the only
surviving part of the Mission Station that was constructed as a model English village. The settlement wasestablished to engage with Maori through traditional trades and skills such as carpentry, masonry,
wheelwrighting, blacksmithing, and textile production.
The house itself is constructed predominantly from local Kauri timbers, utilising other native species insome of the framing and flooring. These pit sawn timbers are often finely dressed and finished. Throughmuch of the house, these original timbers are a key aesthetic in the experience of the building.

Fig.2 Te Waimate Mission, Bay of Islands, New Zealand (HNZPT)

Clendon House
Clendon House was a private residence constructed in the early 1860’s with several additions over thefollowing decades. As the home of a politically influential trader and magistrate, his local Maori wife andtheir family, the building is constructed predominantly from native timbers but during a period when New
Zealand’s timber trade is being industrialised. Timbers are mostly cut in local mills rather than pit sawn,
and there is uniformity in the materials used in the construction. The multi—phase style of construction on
this residence is also influenced by the fluctuating finances of the family.

Fig.3 Clendon House, Rawene, New Zealand (HNZPT)Problem 1: Tools and Technology
These three wooden buildings date to the early to mid-19th century and in New Zealand’s history, span the
period between pit-sawing and hand milling of timbers through to the mechanized milling and bulk
processing of logs.
This means that the buildings themselves are representative of some key elements in New Zealand’s built
heritage. They are traditional styles of British buildings but constructed using materials exclusive to New
Zealand. The Te Waimate Mission House for example is a Georgian style building, it is wide but shallow,
has symmetrically placed windows and a hipped roof, elements typical to Georgian architecture. However,the shortage of fired bricks and the abundance of timber in New Zealand meant the same styles were built
using native timbers and features such as verandahs were added because of the New Zealand climate.
In a site like Te Waimate, the timbers were pit sawn and then planed and dressed which has created an
exposed timber finish, where individual tooling and plane marks are visible in the timber surface. Thisfinish is an aesthetic element of the building that helps create an atmosphere in the house for visitors but
also provides an opportunity for HNZPT to talk about the development of the sites and cross-cultural
engagement between Europeans and Maori through the construction trades.
These same building attributes however, also present problems when it comes to repairing or replacing
timbers. Do you replace a hand-tooled piece of timber with a modern machined version, acknowledging
that it is the history of the site that is most significant or do you attempt to replicate the original finish of
the timber acknowledging that the sense of place created by these materials is a part of the narrative for theproperty? Our decision making process is guided by HNZPT conservation plans and policies including
those that consider the Maori cultural values associated with these heritage sites, and the principles of the
New Zealand ICOMOS Charter.
Problem 2: Access to materials
In the 19th century, the processing of timber was a significant part of the New Zealand economy. Initially,materials like Kauri were exported in vast quantities to Australia, America and the United Kingdom, butwith the rapid growth of European migration after 1840, that timber was often used to build new
settlements around New Zealand or simply burned to clear land for agriculture.
The timbers that were traditionally used to build these historic structures are now in very limited supply.
Native tree species such as Kauri (Agathis australis), Totara (Podocarpus totara), Puriri (Vitex lucens) andMatai (Prumnopitys taxifolia) are often slow growing. The Kauri tree for example is an extremely long
lived conifer that can live for 1000-2000 years and which can take 600-700 years to reach a diameter of
one metre.
These three properties were constructed at time and in an area, where native timbers like Kauri wereabundant and mature. A valuable resource for the construction of buildings at the time, but now thesematerials are in extremely limited supply. Under New Zealand legislation, they are protected tree species
which means they are difficult to acquire. New timber is potentially available when trees are storm
damaged or when they are removed for development (e.g. roading). Alternatively, suitable materials
maybe available from demolition projects (primarily residential) and may be re-milled and processed to be
used as replacement materials.
It is also important to consider how that timber is being used. At the time of the buildings initialconstruction they simply used the materials that were readily available, not necessarily what might be best
suited to the purpose. As technologies have improved, some of the elements of the building may need to be
replaced by materials that are less traditional more offer greater long term support for the whole structure,for example treated modern timber piling. In some cases, these modifications may also be regulatory
requirements to bring heritage buildings up to current compliance standards.
Because of the way the buildings are used to engage with the public in appreciating New Zealand’s history,
there is a need to manage the balance between the aesthetics of the site created by the use of these native
timbers, with the structural integrity of the building offered by some modern materials.

Problem 3: The Environment
The environment in northern New Zealand is classified as a sub-tropical climate which means moderatetemperatures, high humidity, and high rainfall. Climatic conditions are one of the key planning elements inthe preservation of these wooden buildings, especially the management and dispersal of rainfall.
Periods of heavy or sustained rainfall can directly impact the conservation work on these properties by:- Causing a spill-over effect on overwhelmed gutters, drains etc. resulting in water ingress into thestructure- Surface flooding that can lead to soil erosion around structural elements (e.g. foundations) or
saturation of the ground under the building resulting in increased moisture levels in the building
environment- Increase the effects of ‘Down Hill Creep’ on sites with clay soils by exacerbating the expansive
effects of clay soils when wet. Rainfall may also hasten the ‘slip effect’ of clay soils over anunderlying base of greywacke stone resulting in downhill movement of clay hillsides.
The specific impact might vary according to the local environments, but the overall effect is the same.
Water left to its own devices shortens the life span of wooden structures by increasing the decay of
external timber cladding, increasing moisture levels within the building structures and weakening thestrength of the building foundations leading to structural movement and misalignment.
Protecting and Preserving for Another 200 Years
Current conservation planning is focused on:- How different elements of the site interact with one other (e.g natural water movement)- Methods for gathering data that generates meaningful information to assist in planning and- minimises the need to modify heritage fabric in the future.

Fig.4 View over the Mangungu Mission and the Hokianga Harbour, a hilly landscape with high rainfall andhigh humidity because of the proximity to the coast (HNZPT)-Information exchange and digital planning – how to make property management information  accessible and utilise organisational knowledge.
Monitoring the impacts of tourism on buildings and managing visitor activity to protect thehistoric timber fabric.

Ensuring that planning work is carried out in sufficient detail is key to allowing for a measured responsewhen undertaking conservation work. Understanding not only the methods of construction and materials
used but also the intended use of the original building element and its current use, can allow us to develop
conservation plans that preserve the heritage values of these places of national significance.

Philippines

Problems and Needs for Cultural Heritage Protection
and Restoration Activities in the Philippines
Giancarlo B. Aycardo
Architect II

Historic Preservation Division, National Historical Commissionof the Philippines

I. Introduction
The Philippines, with its natural resources and rich biodiversity, is blessed with a number of structuresand movable items of heritage which are the artifacts of its rich history and culture. These structuresand items, which constitute a fraction of the country’s Important Cultural Property (ICP), are under thejurisdiction of cultural agencies, with the National Historical Commission of the Philippines (NHCP)
being one of the implementing agencies for their conservation/preservation. The NHCP traces back as
an institution to the 1933 Philippine Historical Research and Markers Committee whose sole goal was
to identify and mark “historic antiquities” as the first step towards their protection and preservation. 1
Conservation/restoration is a relatively new field in the Philippines, which started around the mid-1950s
with the documentation and undertaking of minimal repair work on heritage structures.2 More serious
work and organization only started in 2009 with the passage of the Heritage Law and recent
unprecedented events which severely damaged some of these historic structures. 3
This report is an attempt to present the needs and challenges that the Philippines face in terms ofcultural heritage protection and restoration activities, and deals mainly with (1) the limitations andneeds faced by the cultural agencies, specifically the NHCP, in the implementation and enforcement of
the National Heritage Law, and (2) the technical challenges in the course of implementation ofconservation/restoration work. Furthermore, case studies are presented, illustrating these limitations.

II. Heritage conservation and protection under Philippine law
The protection, conservation, promotion, and popularization of the nation’s historical and cultural
heritage and resources are enshrined in the Philippine Constitution 4 and specified in the present
Philippine Heritage Law. Passed in 2009, the Heritage Law currently in full effect is the latest
legislative endeavor for the protection and conservation of the nation’s cultural properties, which
include among others significant movable and immovable structures, works of National Artists,
significant objects, and important sites.
For the recognition, protection, and conservation of heritage structures, the law empowers the NHCP
and the National Museum of the Philippines (NMP), with the National Commission for Culture and theArts (NCCA) at the head. 5
In general, the NCCA, as the lead agency, is in charge of the policy making and of the management andconservation of intangible heritage.6 The NHCP and NMP, on the other hand, are the agencies in chargeof movable heritage and immovable structures and their conservation. The NHCP is in charge of all
matters relating to Philippine history and the conservation of historically significant structures, while
the NMP is responsible for artistically, culturally and scientifically significant structures.
1 Executive Order 451 (1933), under the American Colonial Insular Government of the Philippines.
2

Inovero, Reynaldo A., 2015, “Summary of NHCP undertakings in the maintenance and conservation of San Agustin Church
in Paoay, Ilocos Norte,” Journal of Philippine Local History & Heritage.
3 Examples of these events include the Cebu-Bohol Earthquake (2013) and Leyte storm surge which damaged historicchurches and civic buildings, the Batangas Earthquake (2017), and the more recent Pampanga Earthquake (2019).
4Art. XIV, Sec. 15 (along with Sections 14 & 16), The 1987 Constitution of the Republic of the Philippines.
5
Republic Act 10066, An Act Providing for the Protection and Conservation of the National Cultural Heritage, Strengthening
the National Commission for Culture and the Arts (NCCA) and its Affiliated Cultural Agencies, and for Other Purposes.
6 Ibid.

The foremost need of the state in the protection of its cultural properties is improved public awarenessand cooperation with the cultural agencies for the implementation of the law. At times, the roles andfunctions of the agencies are confused and overlap, or simply, some people are not aware of theirfunctions and mandates.
The basic protection that the law affords heritage structures is from undue demolition or modification.
To prevent this, it gives an automatic presumption of “Important Cultural Property” (ICP) status to
structures built at least fifty years ago, and charges cultural agencies with the responsibility ofevaluating such structures’ significance, and of rescinding or confirming this presumed status.
In current practice, however, the limited manpower of the agencies, or at least of the NHCP, isinsufficient for handling the growing number of heritage cases. While there are certain groups ororganizations which seek the declaration and recognition of their old structures for consideration as
Important Cultural Property, there are also those who would like to rescind the presumed status or evenremove their state-recognized and protected heritage structures from the official registry, in favor ofmodification or demolition to allow construction of newer, modern, and profit-generating structures.
At a constant, the NHCP receives an average of 15–25 cases every month for requests alone, which
present challenges requiring the NHCP to update the registry of important sites and structures. Further,
there is also a need to monitor proactively and document periodically the state of its declared andmarked structures, which is currently being addressed. At present, the action plan of the culturalagencies is to update and integrate into the heritage law the consolidation of common functions,principles, and management of cultural properties, and to localize heritage management by creating
regional offices. 7

III. Technical challenges in cultural heritage conservation /restoration activities
Endeavoring to be on par with international standards, the cultural agencies actively undertake efforts toimprove their systems and processes for the protection and conservation of the nation’s culturalproperties, yet they are faced with limitations and challenges in the technical implementation ofconservation or restoration work. The following are some of these limitations and needs, in brief.
Constraints on planning and implementation imposed by the budgeting system
Despite the financial support of the Philippine government, conservation efforts are still subject to therules of the national budgeting system, which implements projects on a one-year maximum basis.
Because of this, there is a rather hasty period of transition from the study and planning phase to project
implementation, to meet this deadline. The scope of the planned work must either prioritize criticalactivities or divide implementation into multiple phases addressing the more pressing needs andrequirements of heritage owners and the host community. Accordingly, there is an evident need to findand devise a more efficient way to program the required research and implementation of projects.
Enhancement and drawing up of common standards of conservation
Both the NHCP and the NMP subscribe to international principles of conservation according to theirdiffering mandates, but they need to enhance, refine and agree upon common standards of restoration.
Conservation work depends on the manner of presentation based on the relevant mandate. The NHCP
engages in and prescribes the manner of restoration of historic structures 8 with conservation decisions
firmly anchored in its mandate to promote Philippine history and conserve historic structures, taking
care to present and interpret the history hidden beneath the physical fabric of the structure. The NMP,on the other hand, is guided by its mandate for the promotion and conservation of cultural, artistic andscientific importance.9 Both agencies, however, are still in an active process of refining their guidelines

7 Lita, Reynaldo S., Chief-Historic Preservation Division, National Historical Commission of the Philippines.
8 Republic Act 10086 , 2010, “Strengthening Peoples’ Nationalism Through Philippine History Act” or the “NHCP law,”

Sec.5-c: The NHCP shall “undertake and prescribe the manner of restoration, conservation and protection of the country's
historical movable and immovable objects.”
9
Republic Act 11333, 2019, “National Museum of the Philippines Act,” Sec. 4-f: “Extend technical assistance in thepreservation and restoration of cultural properties of national significance.”and drawing up new protocols for conservation based on lessons drawn from their institutional
experiences.
The need for a revival of traditional methodologies and a renewal of depleted material resources
A large portion of the heritage structures in the Philippines are products of its Spanish and Americancolonial periods (the 1600s to early 1900s), comprised of unreinforced masonry structures made with avariety of stone and lumber, or a mixture of both. With regards to wooden construction and building
components, few examples have survived owing to the climatic context of the Philippines. Subsequent
to construction, many wooden structures and components either gradually evolved over time or weresignificantly altered or replaced entirely with other materials for durability and as a practical solution to
fit the given context, an example of which is the replacement of wooden components with steel or stone
to provide resistance to severe typhoons.
By the mid-1900s, the climax of the spread of modern techniques, new materials, and rapid
urbanization, the use of traditional methodologies had become rare. Preference was for the moreconvenient, stronger, and cheaper contemporary methods. Additionally, the supply of traditional
materials (i.e., quality aged wooden planks and coralline limestone) had declined or vanished alongwith traditional construction or building techniques. Some contemporary laws or policies have even
imposed a ban on the harvest of such endangered materials. 10
Being under the framework of the National Government Procurement Law (RA 9184), theimplementation of conservation projects is accordingly open for bidding and awarded to a very limited
number of contractors specializing in the use of traditional techniques. This also imposes various
technical limitations on implementation, as appropriate for each unique case of heritage structure.

IV. Case studies
The following are select case studies from the experience of the author as architect-in-charge ofseveral conservation projects of the NHCP. The following projects have unique or pressing limitationsin their implementation, illustrating the above-discussed limitations and needs.

Fig.1 Pre-restoration photograph of
St. John the Baptist Parish Church façade,
NHCP, March 2017

Fig.2 St. John the Baptist Parish
Church façade after restoration, NHCP,May 2019

Restoration of Bato Church
The church of St. John the Baptist, located in Bato, Catanduanes (an island province located in theeastern part of the Philippines) is a 17th-century church located near a river estuary. This historicallysignificant structure uses hewn coralline limestone and river stones for its unreinforced mamposteria 11
masonry walls. The structure was subjected to the destruction of its roof and loss of all of its wooden
components due to several typhoons that hit Catanduanes.
10

Presidential Decree (PD) No. 1219, 1977, “The Coral Resources Development and Conservation Decree,” as amended by
PD 1698, 1980, and orders mandating log bans making it difficult to source good lumber.
11
Definition: A method of wall construction using river stones or other irregularly cut stones laid atop each other, held in placewith lime-based mortar.

Periodic typhoons have acted as the structure’s main agent of destruction, wiping out the original
wooden trusses and other wooden components. Because the wooden trusses had been destroyed andrebuilt several times, recent efforts were undertaken by the parish using a non-traditional material(steel) for durability. Quality aged timber is very scarce, and may be extremely expensive or even
unavailable. The NHCP allocated a budget and prioritized the conservation of the original stone walls
while respecting the contemporary intervention by the community regarding the church’s roof.
Decision-making limitation: Any effort to restore the roof using timber trusses, which had been
historically destroyed and rebuilt several times, would have to be made without reference to the original
design of the trusses, thus risking conjecture. The will of the community for perceived reasons of safety
was to retain the newer trusses for protection from subsequent typhoons. This posed a dilemma for
decision making, considering the perceived notion of the community, and the possibility of further
study being impeded by the limited duration available for implementation.
Restoration of Tabaco Church
St. John the Baptist Church in Tabaco City, Albay, is a National Cultural Treasure and a Marked
Historical Structure designated by the NHCP. The 18th-century church boasts square-cut black and red
volcanic rocks, which bear marks of unique masonry. Further, it is one of the last surviving churches in
the Bicol region (in the southern tip of the island of Luzon) to have preserved a majority of its original
timber trusses and doors. The NHCP is engaged in the work of its restoration, which originallyprioritized the cleaning of the walls, with exploration of the original timber trusses scheduled for a lateroccasion.
Sometimes towards the end of the conservation work, however, a typhoon hit the church and caused agreat number of leaks in the roofing. The stakeholders of the parish decided on a change in priorities,
calling for the whole roof to be replaced for the protection of the church interior and the trusses. Due tolimited funding, roofing replacement was carried out while reinforcing the purlins but leaving theoriginal trusses untouched.

Fig.3–4 Photos of Tabaco Church original timber trusses supporting the ceiling andwooden framing, Arch. Lorilla, 2018 AugustFig.5 (left) Pre-restoration façade of the Tabaco Church, featuring hewn dark volcanic stones,
NHCP, 2017
Fig.6 (right) Detail of the church wall showing dark and red volcanic rocks, NHCP 2018

Decision-making limitations and dilemma: Under the pressure of meeting the implementation
schedule, a detailed exploration of the original timber trusses was put on hold and the roofing
replacement was prioritized. The timber trusses were protected in principle, and given first-aid withminimal intervention. A more comprehensive and holistic study could have been performed beforehand
but was limited by the deadline for implementation. This indicates the need to allow for betterscheduling along with the need for holistic research.
Restoration of Sorsogon East Central School
Gabaldon Buildings are structures of the 1920s made mainly made of wood, which were designed andimplemented throughout the country purposely as schools for basic instruction. Gabaldon Buildings
exemplify the introduction of American construction technology and materials with a specialized design
tailored to the Philippine setting. Gabaldon schools were recently declared important structures byvirtue of RA 11194 which was enacted 7 February 2019, 12 which recognizes their importance andspecifies their conservation and protection.
The Sorsogon East Central School is a simple school building which is one of the surviving Gabaldon
Buildings located in Sorsogon City, Sorsogon Province. The school building was found to be in a
deteriorated condition, with one of its annexes at risk of collapse. The structure posed a hazard for
passing pedestrians, including school children. Measures to restore the original parts of the building
were undertaken by prioritizing the original appearance, based on the architectural plans. Wooden
members of an alternative timber material were used, but were cut to the same dimensions and style ofthe originals.

Fig.7 Pre-restoration panoramic view of the Sorsogon East Central School Gabaldon Building, showing thecramped site space

Decision-making limitations: Scarcity of material resources and the loss of traditional construction
methods.

Fig.8–9 Dilapidated wooden components of Sorsogon East Central School
FIGoogle photos, 2017

V. Conclusion
The above-discussed limitations and needs faced by the Philippines in the conservation and protectionof its cultural heritage as illustrated by the case studies reflect the current efforts being undertaken by
the NHCP in the performance of its mandate. Unifying efforts in organization, and much-neededrefinements to the Heritage Law, are currently being pursued to bridge gaps and address the statedadministrative and technical limitations and needs.
The transfer of new knowledge and technology made possible through participation in training andworkshops focusing on the protection and conservation of cultural heritage, such as the programorganized by the ACCU Nara office in Japan, provides highly instrumental input which will be of great
help to our engagement with the discourse, development, and improvement of heritage work in thePhilippines.

1

Republic Act 11194, Feb 7, 2019, “An Act Mandating the Conservation of Gabaldon Buildings Nationwide, Providing
Penalties for Violations, and Appropriating Funds Thereof”

Sri Lanka

Problems and Needs for Cultural Heritage Protection and
Restoration Activities in Sri Lanka
K.P. Pubudu R. Samanthilaka
Assistant Director/Architect
Division of Architectural Conservation, Department of Archaeology,
Ministry of Housing, Construction and Culture Affairs

Introduction
Sri Lanka is an island enriched with cultural diversity, holding a written history of 2,000 years as
demonstrated by World Heritage ancient cities such as Anuradhapura and Polonnaruwa. Sri Lankan culture
has been influenced by the heritage of Buddhism which spread from India, and its legacy can be seen in thesouthern and central areas of the country. There is also a history of colonial invaders who influenced Sri
Lankan traditional culture and life beginning from the year 1505. Although Sri Lankan traditionalarchitecture has thus been influenced by more recent colonial architecture, the essence of Sri Lankan
identity has been enlightened by Buddhism since the 3rd century BC.
Sri Lankan architecture, arts and crafts are represented in many forms originating from religious beliefs. In
consideration of their Outstanding Universal Values, eight sites have been inscribed on the UNESCOWorld Heritage List, namely the Sacred Cities of Anuradhapura and Kandy, the Ancient Cities ofPolonnaruwa and Sigiriya, the Rangiri Dambulla Cave Temple, and the Old Town of Galle and its
Fortifications as cultural heritage sites, and the Sinharaja Forest Reserve and Central Highlands of Sri
Lanka as natural heritage sites.
The architecture of ancient Sri Lanka displays a rich diversity of form and style from the Anuradhapura
Kingdom to the Kingdom of Kandy, which was mainly based on religion and includes stupas, monasteries,
temples, Buddha image halls etc. Over the ages, the materials of those buildings have varied as stone, mud,clay, brick, timber, limestone, and wattle and daub. Historical records indicate the presence of timber
structures since the early period. Some of those buildings have either totally decayed by now or are in aruined state. Timber was extensively used as a construction material during medieval times.
Applications of timber in heritage buildings
There are examples of early timber construction methods still surviving in relatively well preserved states
for building types such as tampita vihara (shrines on pillars), devala (shrines dedicated to deities),
ambalama (resting places for wayfarers), and mandapa (assembly places for administrative routines).
Wood was the best medium for expressing the craftsmanship of traditional builders. It was used not only
for image houses but also for the type of structure known as ambalama, a place constructed for pilgrims,
traders and travellers to rest while walking towards a destination. These are simple structures designed toshelter those people. Some of these ambalamas and all tampita viharas were constructed on stone pillars
about a foot in height to prevent damage from insects and environmental factors.

Fig.1 Tampita vihara, mandapa (audience hall), devala, ambalama

The properties of any structural material will change with the passage of time. In the case of timber, this ishighly relevant since variation in the considerable moisture content of timber affects its strength, durability,
stiffness, shrinkage and swelling, shape stability etc. The surrounding environmental conditions related towater, such as atmospheric humidity, rain water, and capillary water action, thus pose a variety of risks to
the durability of timber structures. In addition, biological degradation due to fungi, insects and bacteria also
threaten the structural integrity of timber. Apart from these internal conditions, there are external factors
such as wind loads, settlement, and thermal effects that can affect structural stability.
Historical timber structures exhibit some extraordinary sectional joints to transfer forces from one member
to another. The joinery methods adopted in medieval Sri Lanka timber constructions include the following.

x Pekada – This is an intermediate structural element used for connecting beams with columns(pillars). It is a separately carved capitol or bracket. This bracket is made of two pieces, fit together
in a crossed manner to comprise a four-faced bracket assembly. The top of the pillar itself ismortised into the bracket through the centre of the crossed parts.

Fig.2 (Left) Section and isometric view of pekada(Right) Carved pekada at Panavitiya Ambalama

This arrangement prevents the transfer of internal stresses, due to thermal expansion or settlement, from thebeams to the columns. It also enables the transfer of lateral as well as vertical loads from the beams to thecolumns without inducing high local stress at the joints.

x Madol-kurupawa – This is a structural element seen in medieval buildings provided with hip roofs.
Rafters of the lateral and end sides are gathered at a pinnacle by a timber boss known as madolkurupawa. This provides structural compression between the rafters and ridge beam without any
mechanical joinery.

     Fig.3 (Left) Madol-kurupawa section (Right) Madol-kurupawa at Embekke Devale

Due to this arrangement, the forces exerted by the rafters on the ridge beam are converted to compressive
forces rather than introducing bending moments. This is another example of traditional, indigenous joineryin timber construction which differs from the mechanically fastened or glued carpentry connections that are
standard in modern timber engineering.

Problems and needs for cultural heritage protection and restoration
Present challenges for tangible values
Heritage sites and monuments of different types bring a variety of new challenges and issues to theguardians, users, authorities and governments. Like other types of heritage, Buddhist heritage is facing
challenges for its survival and continuity. Most of these sites fall into the category of living heritage as
defined by the continuity of religious practices and festivals conducted by community groups. The bondingof religious beliefs and rituals to a physical structure tends to multiply the demands made with regards tothe site. To cope with such increased demands of the users, various facilities and infrastructure often haveto be developed.
As an example, tampita viharas are Buddha image halls which are proportionally small in size. Temple
guardians or custodians tend to make new, larger image houses, or make alternative structures to theoriginals, to accommodate greater numbers of people at a single occasion. Gradually the original image
houses are abandoned or closed to the public due to underutilisation (Figure 4). This increases the moisture
content inside and promotes biological degradation.

Fig.4 (Top) Abandoned original tampita vihara; (Bottom) New image halls

Figure 5 shows another example of a tampita vihara which has been modified as an enclosed building bycovering it with masonry walls on all sides. While this was done by the temple custodians to protect theimage hall from environmental changes, the increased moisture content resulting from enclosing the spaceprovides a comfortable space for insects and promotes early degradation.

Fig.5 Modified tampita vihara and its current interior condition

Wood decay is caused by a combination of moisture, fungi, and temperature. To prevent decay it isnecessary to know the nature of the fungi that attack wood and the conditions necessary for their growth.
When moisture cannot be controlled or wood has to be placed in wet locations, adequate treatment for thewood should be done to control decay. When we have to restore wooden pillars or roof structures withdelicate carving, it is essential to know the methods to be used to preserve both the aesthetic and structuralvalues step by step. The pictures below show the conservation steps taken when conserving and restoring a
famous panavaitiya ambalama. Some wooden portions were replaced using new timber beams, andreplicating the carving was a difficult task.

Fig.6 Conservation steps and final appearance

Embekke Devale is a complex of shrines dedicated to the god Kataragama and contains delicate carvingson timber pillars. This was originally a drummers’ hall for a colourful festival in the month of August,followed by the main festival at the Temple of the Sacred Tooth Relic in Kandy. The maintenance andrepairs have traditionally been carried out by skilled craftsmen who live on temple lands and used materials
provided by the lands, while the village community has rendered their services to repair and restore thebuildings, structures and roads before the annual festival. This system has continued for more than 600
years and the building and other structures have been maintained in the best possible way while protecting
their artistic, architectural and historical values.
After enactment of the Antiquities Ordinance in 1940, this site became an archaeological monument andconservation was mandated to be carried out with professional involvement using government funds.
Subsequently, community involvement became dramatically reduced and the socioeconomic system boundup with the temple collapsed. Skilled local people migrated to the city and engaged in other professions.
Accordingly there were extreme issues in finding skilled carpenters to restore the buildings and theextraordinary carvings. This suggests that the local community and professionals would all benefit if thelocal people continue to provide tangible contributions while the professionals are involved in the form of
guidance, so that the two groups work together in symbiosis.
Challenges for intangible values“Living religious heritage is expressed in cultural material: the tangible structures, objects and works of art
created to support forms of worship within particular faiths and in associated intangible rituals, celebrations
and devotional activities. In all cases, the tangible and intangible manifestations of the heritage carryintangible values, expressing the significance of the heritage for the communities who consider it
important.” 1
Most of the ancient tampita vihara in Sri Lanka can be seen in the districts of Kandy, Kegalle andKurunegala. Among these, there are several tampita viharas which need immediate attention to beconserved and restored for further worship. Painted layers can be seen inside the image hall on every
possible surface of the walls, which are made of wattle and daub, on timber ceilings, and sometimes on theoutside walls as well. These paintings depict stories of the Lord Buddha’s life and were made to enhance
1

Herb Stovel, “Introduction,” in Conservation of Living Religious Heritage: Papers from the ICCROM 2003 Forum on
Living Religious Heritage, ed. H. Stovel, N. Stanley-Price, and R. Killick (Rome: ICCROM. 2005), p. 9. Available:
https://www.iccrom.org/sites/default/files/ICCROM_ICS03_ReligiousHeritage_en.pdf

the spiritual devotion of the people. The paintings belong to the Kandyan era, and most of them have been
attacked by white fungi. Therefore chemical treatment should be given to remove the fungi, followed bywork to reintegrate the paintings.
“Restoration and renewal of objects of worship and structures to regain their symbolic form and meaning,
and the need to appreciate them in their completeness, are among the most significant value systems
attached to Buddhist heritage.” 2 The images in the top row of in Figure 7 show a decayed timber ceilingwhich may have originally been painted with traditional artwork, and the entrance view of the sameabandoned tampita vihara. The photos in the second row show a completely restored image hall for acomparison of the spiritual atmosphere.

Fig.7 (Top) Image hall scheduled for conservation; (bottom) A well conserved image hall and paintings

These living heritage structures carry high degrees of spiritual value after being completely restored to theirformer glory with the use of traditional designs, similar materials, and traditional craftsmanship. Therefore
it is important to secure them as platforms for worship, rituals, and beliefs to enhance the spiritual values ofthe people, in order to maintain these places as living heritage. Local community involvement providing
continuity of the original utilisation is the best method for the management and maintenance of monumentsof this calibre to prevent them from being abandoned. Since all the examples given are not located in
popular areas or World Heritage sites, continuous oversight for these monuments can only be done by the
local community by ensuring they are living heritage.
As mentioned above, the Antiquity Ordinance came into law in 1940 as a legal framework to protect allarchaeological monuments and sites. Thereafter the management and maintenance of such heritage fell
under the purview of the Department of Archaeology. In administrative reports it is emphasized that lessattention and interference be given to heritage monuments in order to avoid unnecessary damage. But themost important factor is to promote the spiritual feelings of the local community while valuing their skills
and knowledge, from generation to generation.
2

Gamini Wijesuriya, “Introduction,” in Asian Buddhist Heritage: Conserving the Sacred, ed. G. Wijesuriya and S. Lee(Rome: ICCROM, 2017), pp. 3–4. Available: https://www.iccrom.org/sites/default/files/2017-11/asianbuddhist_web.pdf

Thailand

Problems and Solutions for Cultural Heritage Managementin Thailand
Chayada Suwaratchupan
Archaeologist
Ayutthaya Historical Park, The 3rd Regional Office of Fine Arts
(Ayutthaya), Fine Arts Department

Thailand of the present day originated from many different historic cultures, such as the Lanna Kingdom in
the north, Lanchang and Lopburi to the northeast, the central kingdoms of Sukhothai and Ayutthaya, andSrivijaya in the south, resulting in a great variety of cultural heritage, both tangible and intangible, in the
country. There are many benefits from this wealth of heritage. At the same time, it presents a number ofproblems related to its utilization and management. This essay will mention some of the problems and theirsolutions that have been required for cultural heritage management in my own experience.
To begin with, I have officially worked for the Fine Arts Department since 2014. My first posting was tothe 7rd Regional Office of Fine Arts (Nan), which is in the highlands of the north and has responsibility for
an area of 36,878 square kilometers in the four provinces of Nan, Phayao, Phrae and Lampang. About 500
archaeological sites have been found in that jurisdiction, with only eight officers, two administrators, threearchaeologists and three technicians working there. The problem of understaffing became more evident
when I moved to Ayutthaya and worked for Ayutthaya Historical Park, which is under the 3rd Regional
Office of Fine Arts (Ayutthaya). Ayutthaya Historical Park also has authority over the district of Phra
Nakhon Si Ayutthaya, which has 130 square kilometers including the 7.7 square kilometers of Ayutthaya
Island, of which 2.9 square kilometers is the World Heritage Site of the Historic City of Ayutthaya. There
are seven officers who take responsibility for this area, which includes 500 archaeological sites. The
persistent problem is an imbalance between the number of appropriate personnel and the scale of the work.
A second problem, resulting from this workload, concerns the planning that is necessary for cultural
heritage management. The latest edition of the Master Plan for the Historic City of Ayutthaya has eightcomponent plans: (1) archaeological study and research, (2) monument conservation, (3) development ofancient roads and canals, (4) controlling land use and involving the community, (5) landscape
improvements, (6) support for public relations and tourism, (7) increasing community income, and (8)reducing the effect of disasters. But even if the current ideas are adequate, recently the concept of cultural
heritage protection has changed considerably, calling for conservators to respect a monument not only as abuilding but also as the object of religious faith. Along with this extra burden it brings for management, thespiritual aspect can also be a source of added value, so the planning should incorporate understandings ofstakeholders’ beliefs and their religious involvement in the heritage before any archeological procedure is
carried out.
As a third problem, archaeological research must rely mostly on historic annals for background on
Ayutthaya. These past two years, there have been five projects excavating sites that are unrelated to eachother. This is problematic because the archaeological results and the annals cannot explain the context ofAyutthaya clearly, which is the reason for proposing a plan to study the context of Ayutthaya
systematically based on archaeological evidence alone, as provided by archaeological procedures ofsurveying and excavation. The greatest challenge for this proposal was how to prove that such research is abetter approach. To that end, I compiled and managed the database of archaeological sites because I believe
such a database can help the archaeologist analyze more easily. I also believe that scientific techniques suchas observations using X-rays and scanning electron microscopes (SEM), and absolute dating based onthermoluminescence (TL) or accelerator mass spectrometry (AMS) measurements of

14C,

make

archaeological research very advantageous. This has heightened my interest in scientific techniques
because of the certainly they can provide in dating the evidence. But they also pose problems regarding thecorrect way of collecting and choosing samples suited to each scientific approach, which can be sent to thelaboratory and give the best results. For example, I sent four samples from the same area at the Santiphap
archaeological site in Nan province, where human graves and kilns for making tiles were found in the same
location (Fig. 1), for dating by AMS. The first sample was a piece of coral, the second was shell, the third
was human tooth and the last was charcoal. The results were disparate (3,608 ± 30, 4,560 ± 30, 320 ± 30
and 1,690 ± 30, respectively), which was quite confusing.

Fig.1 Santiphap archaeological site, Nan Province

As a fourth problem, there are many ways of protecting cultural heritage, with restoration as one mode ofcaring for any property, and it is likely that many of the structures and remaining traces such as the oldpalace and principle temples of Ayutthaya had been restored in the reign of King Rama V. This presents
problems for choosing a method of cultural heritage protection and development, which should be decided
and carried out by specialists. The lack of specialists with understanding of the context as well as thescientific methods possible for conducting research is as extensive a problem as the lack of personnel with
the necessary traditional skills.
Further, solutions to these problems should provide benefit for the protection and conservation of heritage,even while balancing a need for development and the effects on community life. Similarly, public relations
are important because the sympathy of the masses has power. In a good way, it can provide income andimprove community life in the manner of the influence brought by the Thai TV series Love Destiny(Bupphe Saniwat), a historical drama which used the ancient temples in Ayutthaya as scenic locations,especially Wat Chai Wattana. Increasing numbers of visitors subsequently came to Wat Chai, reaching
more than 10,000 people daily, and as traditional Thai dress also became more popular, many
establishments across from Wat Chai have thrived up to the present day from rentals of Thai costumes. In
contrast, regarding the owners of cultural heritage, in many cases they have showed a lack of understanding
and inattention to these properties. Due to the legal status as a monument conferred on Ayutthaya Island byan act of Parliament, activities there must be approved by the Director-General of the Fine Arts Department
and follow the Department’s rules and procedures to obtain permission for building construction. These
rules divide the island into three areas, the first on the west side where the most important monuments are
situated, the second in thecenter and the last to the east where the old and modern cities overlap. Limits
have been set for each part regarding roof patterns and heights, with the latter set at 8, 12 and 15 meters forthe three areas, respectively. Not only personal buildings, but also government buildings that represent thebiggest projects have been controlled by this rule. Currently problems arise when construction takes placeon or close to a monument’s location. In addition to the work for the duration of the contract, the builder’s
responsibilities include proving archaeologically that the activity will not affect the heritage value of theproperty. For example, in developing a flood protection system project, carried out by the Public Works
and Town and Country Planning Office of Ayutthaya, on Chao Phraya river’s blank where the U-Thong
Road is located, it was determined from old records that this road originated from the wall of Ayutthaya
city which was leveled around 120 years ago. For that reason, archaeological excavation was carried out
and the outside of the wall was found, being a brick construction 3 meters thick and more than 1.5 metersin height (Fig. 2), and now a new plan is in process for a dam to protect this wall.

Fig.2 Ayutthaya city wall

To summarize, as we can see there are many problems for cultural heritage protection which divide into
three main areas of trouble, the first being a deficiency of public officials and specialists, the second
requiring systematic processes for heritage planning and management, and the last involving participationof the people and their relations with public officials. For all of these problems, human resource
development and creating understanding are necessary.

Uzbekistan

Common Problems and Needs for Cultural Heritage
Protection in Uzbekistan
Saida Azimova
Senior Expert on Cultural Heritage
Preservation of Cultural Heritage Division, Culture
Department,National Commission of the Republic of    
Uzbekistan for UNESCO
Uzbekistan is located in the central part of Central Asia. It borders on Kazakhstan to the north,Turkmenistan to the southwest, Kyrgyzstan and Tajikistan to the east, and Afghanistan to the south.
Uzbekistan attracts visitors from all over the world with its ancient, unique and beautiful cultural heritage
sites and traditions, which play a vital role in the Uzbek people’s life.
At present four historical cultural heritage sites of Uzbekistan have been inscribed on the UNESCO list ofWorld Cultural Heritage. They are Itchan Kala in Khiva (inscribed in 1990), the Historic Centre of Bukhara(1993), the Historic Centre of Shakhrisyabz (2000), and Samarkand – Crossroads of Cultures (2001).
Khiva, located in the Khorezm region, is considered to be one of the gems of world culture. The Khorezm
region is home to various wooden objects, representing the following.
 Archaeological finds (e.g., wooden objects as parts of doors and shelters). These archaeologicalfindings date back to the end of the third millennium and the beginning of the first millennium BC.
Some of them belong to the ninth–twelfth centuries AD.
 Architectural objects (e.g., doors, gates, columns, roofs, shelters). The oldest architectural objects dateback to the tenth–thirteenth centuries AD. The majority of wood carving examples belong to thethirteenth–nineteenth centuries AD.
The wood carving art of Uzbekistan is a part of its Central Asian artistic heritage, the origin of which goesback to antiquity. From time immemorial, carved wood has held great popularity in the territory of presentday Uzbekistan.
Making geometric forms from wood and as decoration on wooden doors and columns began from theseventh century. During the Timurid period, wood carving started to develop very rapidly along with otherfolk art. Woodcraft continued to be produced in the same spirit later as well, in the sixteenth to twentiethcenturies, in combination with Islamic architecture. In the traditional architecture of the nineteenth andtwentieth centuries, as original examples illustrate, carved wood was at times the sole element used fordecorative purposes. Examples can be found in the doors and windows of the Shah-i-Zinda Complex, in
Registan (in Samarkand), in Bukhara, in numerous mosques, and in madrasas in Khiva. It was used as animportant element of design, for instance in columns, cornices, doors, ceilings, lattices, etc.
The use of carved wood in everyday life was paramount. It was possible to see it in furniture, household
items, and so forth. In making such objects the basic material came from local wood such as the plane tree
(Platanus), elm, nut trees, fir, mulberry, apricot, poplar, willow, pear tree, quince tree, djida (wild olive,
Eleansus hortensis), etc.

Fig.1-2 Tash Hauli Palace in Khiva (Uzbekistan, nineteenth century)

Wood is an important material in traditional Uzbek buildings, which have proved efficient in resisting
earthquakes and other forces of nature. As an organic material, however, wood is easily perishable when
exposed to weathering and tends to deteriorate over time. It is also highly combustible.
A structure built with wooden components is considered safe, energy efficient, dependable, affordable, andenvironmentally superior. As wood is widely available and easy to work with, it is used from the simplest
and most basic structures to the most elaborate and intricate architecture. The tapering wooden columns
used in traditional buildings are quite interesting, and are a typical example of Uzbek architecture. Thesecolumns support the principal beams (dung) and joists for achieving a larger space inside.
A basic and distinctive characteristic of a great majority of permanent buildings that are wooden structures
is that they are not comprised of monolithic blocks, but compounded from separate units which can bedisassembled and re-assembled. This peculiarity of wooden structures allows the execution of someprocesses not readily feasible for permanent stone block constructions, for example, complete or partial
dismantling for solidifying, treatment for preservation, or replacement of separate components, etc. Thanks
to this feature, the building of architectural/ethnographic reserve museums of national architecture has
become possible in many countries of the world. Decorative parts and other units of a timber building may
be restored easily if they have survived in sound condition, but not if they are badly decayed or destroyed.
In the latter case, genuine component parts can not only be samples for study through techniques such asarchitectural drafting, but also serve as direct models for craftsmen in preparing suitable items to use as
replacements.
Artistic monuments of Uzbekistan built of wood are simple but distinguished by the extreme carefulness of
their execution. Therefore great attention should be paid to their structural elements, and architects engaged
in the restoration of artistic monuments should begin by scrupulously studying the ancient construction
methods, otherwise serious errors can be easily made, destroying the nature of the architecture.
Architects need to follow special procedures for disassembly when it is necessary to relocate a monument.
First of all, a system of marking should be developed so that each separate member is properly recorded.
The marking system should be accurate and simple. All component parts are marked, including those which
may need to be replaced due to their state of preservation, since they can serve as models for making exact
copies.

One of the most representative examples of wooden art in Uzbekistan is Djuma Mosque, which is situatedin Itchan Kala in Khiva. The historic center of Khiva is known as Itchan Kala (which simply means the
Inner Town—as opposed to Dishan Kala, or Outer Town). Surrounded by thick earthen walls some 8 to 10
meters high, it remains to this day a coherent, well-preserved example of traditional Muslim architecture ofCentral Asia, and for this reason it was inscribed on the World Heritage List as nominated by the Republicof Uzbekistan in 1990.
For the example of Djuma Mosque, it is possible to trace the procedures executed as measures for the
structure’s preservation. It is a unique archaic multicolumn mosque of Central Asia.

Fig.3-4 Entrance door and interior of Djuma Mosque in Khiva

Ancient carved wooden columns for Djuma Mosque were brought together by inhabitants from all over the
Khanate of Khiva. A total of 212 pieces were placed at distances of 3.15 m from each other. Of these, 25
originate from the tenth–sixteenth centuries. Others originating from an ancient mosque include 16 carved
wooden columns from the eleventh–fourteenth centuries, 14 columns of the seventeenth–eighteenth
centuries, and 135 areas of the building, including pillars (except for eight columns which are in a museumof history of the people of Uzbekistan), plus carved wooden doors on the northern face, and single-leaf
carved wooden doors on the southern and western faces of the mosque, have been preserved. One of themasterpieces of wood carving art in Khorezm is the entrance door of the mosque.
Back in 1952, after repair and restoration work on the ceiling had been performed in 1947, it became
obvious that the small-scale repair works being carried out at the mosque could not save the monumentwith its ancient carved columns. Also, the roof was in bad condition. The area of the roof was large, so torestore it and make it modern made no sense.
In light of a theoretical problem about the restoration work conducted at Djuma Mosque, it is necessary toview the present materials in relation to an actual production history of design proposals, directed at saving
the surviving architecture of the monument. For saving the columns, various proposals were offered such as
the following.
1. For saving on site, bars should be placed on all four sides of a column to keep it from contact
with the grain being held in storage.
2. Removing the columns and transporting them to a museum.
3. Collecting the columns in one place and making a roof over them.

After lengthy discussion, it was decided to take measures for disinfection, preservation, and strengthening,
while leaving the columns in place.
According to written sources the monument was emptied of its stored grain, research was conducted on the
structure, and minor repairs were made on the roof. However, the question of preservation of the ancientcolumns remained unresolved.
A solution to the problem was decided only in 1981 after architect J. M. Sanochkin conducted research at
the site and carried out extensive historic surveys of archival and bibliographic materials. He collected
together the majority of the surviving data on the archaeology and the history of construction of Djuma
Mosque. According to Sanochkin, the mosque was built originally in 1666 and its currently existing
borders result from an initiative by Abdurakhman Mekhtar in 1788. The general structural condition of theceiling, roof and ancient wooden columns was extremely urgent. All wooden members of the monument,
including the ancient columns, had been significantly damaged due to storage in the mosque of raw cottonand grain which exposed the wood to fungus, causing it to be gradually destroyed. Bearing beams andgirders had sagged and in some places (in the southeastern and southwestern parts) collapsed under theweight of the roof.
The main reasons for such an urgent condition of the monument was the lack of reliable roof and ceiling
structures (i.e., protection from precipitation), and an inadequate degree of slope in those structures for thedischarge of precipitation from the monument.
Thus the main task of the restoration project was to restore the ceiling structures, preserve the ancient
carved columns of the mosque, and restore the original appearance of the building, taking into account its
historical development, and giving new life to the unique architectural monument as a museum of ancientarchitecture and folk art of Khorezm.
To solve these problems, it was proposed to perform restoration work that would replace the wooden
ceiling structure completely with new traditional lumber. The complete replacement of the mosque ceiling
was due to the fact that in 1947 the ceiling was completely repaired without reference to the old structure in
the process. A structural diagram had been preserved. Beams with a cross section of 200 by 180 mm were
set upon brackets to cushion their load on the columns, and on top of these the joists were fit and covered
with the vassa, a board ceiling. The slope of the covering was created by a difference in the heights of thecolumns; the heights of the ancient columns were taken as a basis. The slope was distributed from thecenter of the mosque continuously to its outer walls, thereby creating a natural slope of 2%.
The roof was proposed to be multilayered with the use of modern roofing materials, which according to theauthors would prolong the term of its service and would significantly facilitate the overall load on thecolumns.
A layer of reed mats or berdan, mats woven from reeds, was laid on top of the vassa. Then it was proposedto lay a thatch and clay coating of 3 cm, then a filling of clay to expand to 15 cm as insulation, above which
was a cement covering of 6 cm, then two layers of roofing material on bitumen mastic, and finally a layerof a complex solution mixed with waterproof cement at a thickness of 3 cm. As an outer protective layer
for the roofing structure, it was proposed to apply a pavement of square bricks, followed by the pouring ofa complex cement solution into the joints. The total height of the roof was not to exceed 39–40 cm. Gutter
trays were to be sealed in a parapet structure as a single monolithic form having waterproofing in common
with the roof.

In 1981 restoration work on the site began with the bulky roof and ceiling structures. When disassembling
the roof, it was found that it consisted of the following layers: wooden framing (chipped boards, poplar
poles, tala), reed mats, earthen filling, and multiple layers of clay coating. In some places, the thickness of
the roof reached up to 60 cm. Supporting beams, trimmed on four sides from round logs, and girders ofcircular cross section were almost all damaged by wood fungus and not suitable for reuse.
The mounting of the wooden columns, meaning the installation of the wooden columns and thesuperstructure, was started from the southeast part of a mosque. The team of carpenters/restorers under theguidance of Salaev Ruzmat was engaged in the installation of these columns, the manufacture andinstallation of the surmounting brackets, main girders, lintels and other units of construction of the ceiling.
Three carved replicas of the octagonal pads that were bases for wooden columns of the tenth–fourteenth
centuries, with 3/8 of the design based upon preserved samples and an additional third on an ancient carved
pad under column J-5, were made by the master woodcutter Sapayev Kuzi. Unfortunately, the initial copy
was not used in the restoration at one of the original locations. At present it is kept as a reserve item.
All wooden bases, brackets, and columns of the mosque were cleared of dust, dirt, and were impregnatedwith cotton oil, and the supporting beams, joists, and board ceiling (vassa) were painted with antiseptic
solution and a coat of varnish.
From 2007 the spread of termites from the directions of Turkestan and Transcaucasia was observed in
Uzbekistan. These termites caused damage to many buildings and structures, including objects of cultural
heritage of our republic.
In the historic city of Itchan Kala there are 57 structures designated as cultural heritage. Termites were
found in 31 of these. It was impossible to rid the wooden structures of termites relying only on
conventional methods (spraying with powdered or aerosol insecticides).
From 2008 the Institute of Zoology of the Academy of Sciences, in cooperation with the Ministry of
Culture, began implementing the project “Development of an effective system for the protection of objectsof cultural heritage of Khiva and nearby territories against damage by termites.” Currently specialists
engaged in this project are trying to rid the termites with toxic bait. They continually try to monitor theprevalence of termites. Since the affected territory is huge, controlling the situation becomes very difficult.
All of the activities for the preservation of wooden structures depend on funding. Furthermore there areother sources of damage, apart from insects, or problems in conservation for wooden structures of
Uzbekistan. These include the following.
 Rising damp: Most monuments and historic buildings are affected by too much dampness due tolack of sunlight, and thus they absorb water all year round. The historic mosque city has been
affected by rising damp (absorption from the ground by capillary action).
 Problems of rainwater disposal and lichen growth: Rainwater disposal, both away from thebuildings and in their environs, is almost non-existent.
 Lack of instruments, equipment and techniques for analyzing materials before conservation.
 Human activity: Man is another agent causing the deterioration of cultural heritage.
Anthropogenic causes and activities include continued occupancy; lack of knowledge and skills
for proper treatment; lack of scientific research and storage systems and incorrect conservation
practices; vandalism, theft and a lack of security; lack of funding; and lack of proper andscientific digital documentation.
The Ministry of Culture of the Republic of Uzbekistan in cooperation with the Academy of Sciences istrying to preserve our national heritage and create the means for the effective restoration and protection ofour cultural resources. It is a fact that managing anything requires funding and a substantial, appropriate
infrastructure. The following measures should be taken in order to preserve cultural heritage in Uzbekistan.
 Policies should be updated and implemented.
 International cooperation should be improved.
 Cooperation with governmental and non-governmental organizations, and with scholars fromvarious universities, national libraries, research libraries and museums should be developed.
 Human resources should be developed.
 Awareness programs through workshops, seminars and courses to safeguard the rich cultural anddocumentary heritage of the country should be arranged.
 The necessary infrastructure should be built for the preservation of cultural properties.
 There should be a modern laboratory equipped with the latest technological facilities required for
effective conservation.
 Local communities should be encouraged to participate in the preservation and monitoring of theheritage.
 For the efficient monitoring of archaeological sites, the number of observation posts should be
increased at the protected sites.
 Funds should be increased for carrying out archaeological activities such as excavation,
exploration, conservation, restoration, and maintenance of cultural heritage.
 For more effective management in safeguarding the national cultural heritage, a special center
dealing with research activities for conservation should be created, since preservation of such
unique objects is extremely important for any society, specifically for the aim of studying its own
history through such material historical heritage, and for preserving it for future generations.

Viet Nam

The Challenge of Balancing Conservation
and Development
 Vuong Phuc Tu Tuoc
Conservation Engineer
Department of Relics Restoration, Hoi An Centre
for Cultural Heritage Management and Preservation    

The economy is developing strongly, improving people’s lives. Sadly, this also leads to many mistakes
in repairing and transforming houses and other heritage. New technologies, materials and building
techniques are being popularized with cheap prices making many owners avoid using traditional
materials and techniques when repairing houses and heritage.
1. Outline of Hoi An
Hoi An, located on the lower section of the Thu Bon River in Quang Nam Province, has a city center(its core zone, the World Heritage Site of Hoi An Ancient Town) at a latitude of 15°53' N and alongitude of 108°20' E, and lies about 30 km southeast of the city of Da Nang.

The total area of the city is 6,146.88 ha (accounting for 0.58% of the province’s area), of which
74.53% is on the mainland, with the remainder consisting of islands. The population of 121,716
residents is divided among 13 communes and wards.
The Ancient Town (core zone) has three main streets running east–west in parallel to the Thu Bon
River. The first street by the river is Bach Dang (dating from 1878), then Nguyen Thai Hoc street(1841) and Tran Phu (which extends further west as Nguyen Thi Minh Khai street). Some of thestreets running north–south are Hoang Dieu, Tran Qui Cap, Hoang Van Thu, Le Loi, Nhi Trung (alley),and Chau Thuong Van streets. In addition to carrying traffic as their main role, some small alleys
running north–south also serve for ventilation, rainwater drainage and other functions. In addition,
there is a system of old trees distributed throughout the Ancient Town.

2. The architecture of Hoi An Ancient Town
There are about 1,360 standing items of architectural heritage (in addition to architectural orarchaeological heritage underground), including those briefly described below.
Residential heritage: Pipe-shaped shop houses as the majority
Shop houses with wooden architecture occupy a large percentage (more than 90%) in the architecturalcomplex of Hoi An Ancient Town, typically on a corridor plan (“pipe-shaped” or “tubular”) withbuildings and interspersed yards placed in sequence on long, narrow lots. Due to differences in thetime of construction, the structures of old houses are not similar (especially for the façade). Survey
results indicating the typical types of architecture are illustrated below.

Drawings and photos by Hoi An Center for Cultural Heritage Management and Preservation (HACCHMP)

The figure above introduces a traditional shop house in Hoi An, showing the façade and layout ofstructures on the town lot.
Religious and other heritage
Other noteworthy heritage structures include a Japanese covered bridge, communal houses, pagodas,
temples, shrines, assembly halls, family chapels, markets, Cham architectural relics, and the tombs ofFrench, Chinese, and Japanese residents.

Photos by Vuong Phuc Tu Tuoc

3. Challenges in wooden architecture conservation
Indirect factors
One indirect factor posing a challenge to conservation is a cultural imbalance being introduced by thedevelopment of tourism, and the invasion or adoption of elements of modern and especially foreigncultures. If too many people visit, trade, provide services, do business and live in the ancient town, thiscan cause an overload leading to difficulties of waste, drainage and traffic management. The risk ofdamage to the surviving heritage rises in proportion to such increases in pressure on the urban
infrastructure system.
Another indirect factor is climate change. Sudden increases in rainfall, storms or prolonged drought do
not follow the natural patterns known for hundreds of years.

Photos by Vuong Phuc Tu Tuoc

The most pressing problem is the flooding that occurs every year. Water and mud from the riverdamage the lower parts of houses (both inside and outside) in the Ancient Town, and when theinteriors of houses become immersed in water, this causes deterioration. Wooden structures inparticular are vulnerable to damage and some of their heritage value is lost every time flooding occurs.
Risk management for wooden heritage is limited, and preventing the yearly flooding inside the houses
is nearly impossible.
Though not visiting the area every year, typhoons are also a problem that can cause severe damage.
Direct factors
As a more direct challenge to conservation, many artisans with traditional skills are getting older andleaving almost no successors among the younger generation.
Also, deforestation and indiscriminate forest exploitation lead to the depletion of indigenous wood as amaterial for renovation. At present, we are using imported wooden materials from Africa and Malaysia
for renovation.

As wood and other highly inflammable materials are used as building materials, the outbreak of fire isa huge risk. This potential problem is exacerbated in many old houses and restaurants by the use of gas
for cooking, and as there are many inflammable materials inside the houses the fire cannot always be
extinguished quickly and contained. Additionally, fire prevention measures are not at the highest
standards.

Fires at heritage structures (left to right, photos by HACCHMP and Vuong Phuc Tu Tuoc): 134 Tran
Phu, 09/2013; 76 Nguyen Thai Hoc, 02/2017; Fukien Assembly Hall, 10/2017

Finally, termites also cause considerable damage, especially to wooden members inside the houses, as
illustrated below.

II. Group Training Course,,Final Reports

Group work on making restoration plans at Tenman Shrine

BhutanIntrospecting and enhancing the existing system of
documentation and identification of values of heritage sites in Bhutan
Yeshi Samdrup
Senior Conservation Architect
Division for Conservation of Heritage Sites,
Department of Culture,
Ministry of Home and Culture Affairs

The protection of heritage sites in Bhutan is now in the important juncture; in the threshold of the past and towards
the systematic approach through legislative protection, as Bhutan endeavors to enact the Cultural Heritage Bill
(CHB) - 2016, the first ever legislative document of heritage sites protection in the country. The current juncture
is imperative, as it not only endures to see through the introduction of new system of protection and concerted
effort with it, but also linking the protection system and approach in the past to the new system. The CHB dobuild on the existing approach and practices on the cultural heritage protection but sometimes, the introductionof new law is deemed as additional enforcement and restriction and therefore, appropriate transition needs to be
carried out, so as to convey that the law is not restrictive and focuses on integrated approach through value based
protection. My “country report” submitted as part of this training course highlights on two main issues in heritage
sites protection in Bhutan; (1) identification of heritage value of the sites, specifically the religious living sites
and with that the resultant protection methods and (2) segregation of cultural heritage property and traditionalbuildings for different protection methods. The latter will be covered while resolving the first issue.
In due consideration of the issues stipulated in the country report and with the understanding of heritage sites
protection system and practices in Japan through this training course, the goal of my action plan is to introspectand enhance the existing system of documentation and identification of values of heritage sites in Bhutan.
The legislative system of protection of cultural heritage of Japan and its chronology of amendment andintroduction of new system provided broad understanding on inclusive approach of protection and exploration ofwider range of cultural heritage over the course of time. It was stipulated that the development of legislation isbased on the experience and requirement in the field, carried out through proper scientific approach and inconsideration of societal requirement. I believe that many things can be achieved with the law as an overarchingguiding document but as a practitioner, I feel that what we do in the field is crucial in heritage protection endeavor
and therefore, utmost attention and importance should be given to the documentation and evaluation of heritage
sites.

Fig.1
Left: Tenman Shrine used as case site
for documentation and evaluation
during the training course
Right: Evidence of change (survey oftraces) seen in the base of pillar.

The training course was generally divided into six themes. All the themes are important for the protection ofheritage sites and should not be viewed as separate entity but rather as inclusive effort in protection of heritage
sites. However, in the interest of relevancy to the nature of the work, I would like to directly link my action plan
to the three themes which focuses on the documentation, evaluation and protection system of heritage sites.
Documentation is the most important part of conservation or restoration process, as it is the point of reference
for all future actions. Through documentation, we not only understand the dimensions of the structure but manyother things such as historical information, transitional phenomenon and architectural specificity, which will
determine the value of the historic structure. The standard method applied to documentation of monument inJapan was intriguing with series of activities leading to the evaluation of values and appropriate restoration
methods. The restoration methods differed from case to case but to arrive at that decision, the standard
methodology is applied. The engagement of community/owners from the initial stage and involvement of private
partners in the course of documentation was well noted. With this general understanding.

I propose my short-term goal to review the current documentation process applied in Bhutan and enhance it withsome of the relevant methods learnt from the training course in documentation of a Buddhist temple, Hontsho
Trashigang Goenpa under Thimphu District in Bhutan.

Fig.2 The front view of Hontsho Trashigang Goenpa, the case site
for the short-term goal of the action plan

The temple was founded in 1786 and has served as the center of meditation for the monks. The temple is proposed
to be restored in the 12th FYP through the Thimphu district’s budget allocation. The custodians of the temple
have clearly indicated the need for major change in the historic structure through the project as the structure isdeemed unstable and I have been assigned for preparation of restoration proposal which is to be completed by
December 2019. For this work, the methodology adopted for documentation will be based on the process learnt
through this training course and adapting to the nature of structure of Hontsho Trashigang Goenpa and theexisting methodology applied in Bhutan. The main objective of this short-term goal is to carry out documentation
to understand the values associated with the temple structure not only for the people working in the field of
heritage protection but also to the custodians of the temple. The monks living in the temple is the important
community and custodians of the temple and the lessons from community centered approach of protection in the
training course can be useful during the process. The workflow chart shown in figure 3 will be used for the work,
which is little different from the existing workflow (the comparison with the existing workflow is also shown in
the figure).

Proposed workflow

Existing workflow

Fig3. The workflow for documentation to achieve the goal of the action plan (left)and existing approach (right)

The Department receives application for approval of restoration works of heritage sites from the local government.
After the application is received the concerned focal official is assigned with the work. The concerned official
carries out basic scientific studies and recommends for the restoration measures based on the findings. Regarding
the existing practices, I would like to propose for enhanced approach of documentation as shown in figure 3.
After the application is received from the local government, the owners/community will be engaged from thestarting point of documentation. The documentation will be carried out in series of stages as shown in figure 3.
The recording of the structure at different level in the practical training course not only provided the informationof the damages in the structure but the information on the chronology of change in the structure. It is importantto understand the chronology of the structures not only to correlate with the architectural specificity but to linkto spirituality and sacredness of the structure. The different level is as proposed in figure 4 for the site. With
proper understanding of the change and involving the monks in the process, the heritage practitioner and thecustodians can discuss on values. The changes in the structure are mostly carried out by historic figures in thepast and respecting such changes can be veneration of that person. Through this process, the architecturaluniqueness of the building and spirituality can consent on the shared values. The consensus might happen or it
can be contradictory one too. However, the emphasis is more on the process and to provide a platform for dialogue
between the parties.

1. Foundation level
2. Floor level/s
including floor boards
3. Structural wall andpillars
4. Windows
5. Beam (Dhung) level
6. Joist (Cham) level
7. Truss level
8. Roof levelFig.4 Identification of levels for recording damages and traces

The existing documentation practices in Bhutan hardly focus on documenting individual elements of the building
and understanding the craftsmanship and tools used to make the element or part of the structure. Consequently,
many important elements, particularly wooden elements are lost in the process of restoration. The lesson onunderstanding of the craftsmanship and tools used during the training course conveyed the importance of suchwork to determine the age of the elements and the techniques of the olden times. Therefore, the documentationof Hontsho Trashigang Goenpa will also include the detail study of elements of the structure.
The experience of this short-term goal is expected to contribute to the long-term goal of standard practice of
documentation to identify the values of the site in Bhutan. This in turn is expected to contribute in defining therestoration methods applicable based on the identified values. The documentation approach can be standardized
but the values will differ and consequently the restoration methods. However, the documentation andidentification of values is the basis of the intervention required in the site and following such standard practicewill also contribute in enhancement of conservation measures in Bhutan. The CHB emphasizes in the valuebased protection of the heritage sites through the system of designation and registration, and the documentationand identification of values will be pivotal in determining the protection scheme of the site. Carrying out such
documentation is also expected to contribute to understanding the history of architecture of Bhutan and thechronology of changes in the architectural practices in the course of its history.

Fig.5 Difference of surface finishingusing two different tools, as shown in
Takeneka Carpentry Tools museum

Fig.6 Connecting short term goal to long term

Cambodia

Final Report on Group Training Course on Cultural Heritage Protectionin the Asia-Pacific Region 2019
Lun Saosovann
Technical Official
Battambang Provincial Department of Culture and Fine Arts,
Ministry of Culture and Fine Arts
I. INTRODUCTION
This course was organized by the Culture Heritage Protection Cooperation Office, Asia-Pacific Cultural
Center for UNESSCO (ACCU Nara Office), from 4 September to 3 October 2019. There were 16 participantsfrom 15 countries, namely Afghanistan, Bhutan, Cambodia, China, India, Indonesia, Iran, Lao PDR, Nepal,
New Zealand, Philippines, Sri Lanka, Thailand, Uzbekistan, and Viet Nam.
This report focuses on the outcome of the training course. It was good opportunity for me to join in it withpeople from 15 countries. I could learn so many things from them and we could share the differences between
our respective cultures. Also we could learn the methods of the conservation and management of wooden
structures by each country through our presentations. Moreover, I learned a lot about the classification ofcultural properties and the management methods for the protection of cultural properties in Japan that
promote strong link between the national government, the local community, and people as a whole. I also
learnt the problems affecting cultural properties, joint technique for wooden structures, restoration andconservation of wooden structures, and practical way of documentation.
This training course provides the participants with the chance to enjoy special visits to the heritage sites not
only in Nara prefecture but also some other prefectures such as Gifu (Takayama city and Shirakawa village),
Kobe (Takenaka Carpentry Tools Museum), Nagano (Narai and Kiso Hirasawa,) etc. The participants also
had a chance to visit a working site for restoration and conservation of wooden temple, which would normally
be a prohibited area for tourists.
II. DISASTER PREVENTION MANAGEMENT FOR THE CULTURAL PROPERTIES IN JAPANAs Japan is the country which experiences many time of the disaster that can easily damage to the cultural
heritage such as typhoons, earthquakes, fire, flood, etc., Japanese people had a lot of knowledge and goodlaws. They are so friendly and understanding each other. We know that most of lands of Japan are mountains
and surrounded by ocean, which easy to get disaster. However, Japanese government and Japanese experts
try to prevent people from the disaster. They are also ready for protecting cultural properties from the disasterwith a lot of experts, effective systems such as anti-seismic reinforcement, fire resistant, fire fighter system,
devices for prevention from lightening etc. So, in order to protect cultural properties we need to think about
not only the restoration and reconstruction of the buildings but also the systems which can be against theupcoming disasters.
III. RESTORATION, CONSERVATION AND MANAGEMENT OF WOODEN STRUCTURES
We had a lot of lectures about wooden structures such as the current Issues and global perspective on
conservation, protection system, documentation, restoration, and management (risk management, successionof conservation techniques, community-centred management of historic towns).
Beside the lectures at the ACCU Nara office, this programme also provided the chance for participants tohave on-site observation at many different World Heritage monuments such as Toshodai-ji Temple, Todai-ji
Temple, Yakushi-ji Temple, and the preservation districts for group of traditional buildings such as
Takayama city, Shirakava village, Narai, and Kiso-Hirasawa,and as well as the practical training at Tanaka
Family Residence and Tenman Shrine.
O-site observation
During the on-site observation, we have learned many things about the management work of the sites andthe assessment of damage which could cause natural and artificial factors such as rain leakage, insects damage,inclination, deterioration of the components, structural defects, and missing components. The complicatedwooden structure, the technique of building dismantlement, the jack-up system, and the roofing concept wereexplained by the Japanese experts during the site visit. Most of the heritage monuments and traditionalbuilding are provided with wooden components, stone baseman, and clay mortar wall with bamboo. It is
incredible that many structures of those building and temple built in early times still survive after more thana thousand years.
Moreover, we can see the different types of wood used for different functions due to the characteristic ofeach type of wood. I am really impressed with the technique of the structure of wood joints in Japan since
this is the first time for me to see this special technique. I admit that such a technique is unique in the world
and I also hope to learn it more and apply it to my future work.
Practical Work Session
We have learned a lot about how to make an accurate section sketch, drawing, and measurement at the Tanaka
Family Residence as well as practical method of the classification and risk mapping at Tenman Shrine using
some special instruments under the instruction of the Japanese experts. Also, we learned how to take photos
with a good camera for documentation at Tanaka Family Residence.
Management, Restoration and Conservation Work
The conservation and restoration work for the wooden temple is supported by the Japanese government. As
we know, Japanese government has their own good policy for management of cultural properties.
By observing the building and the remaining document records, the architect conservator can start to makethe master plan for the restoration and conservation work. Before they start the restoration and conservation
work for heritage building, the architects or experts have to focus on documentation to collect all related data.
After the discussion on the budget for restoration and conservation work, the government approves the
projects.
In the meantime, when the historical building in Japan is reconstructed for the interpretation at the historicalsite, the traditional techniques and materials are used. The craftsmen who know the tradition technique ofchopping wood and using the traditional tools have been encouraged in Japan.
IV. CONCLUSIONS
Through this training course for one month in Japan, I gained a lot of practical knowledge and learned about
Japanese culture, lifestyle, high technique, restoration and conservation methods for wooden structures, andthe cultural properties protection system. I also realized the government of Japan is trying to promote theirheritage to next generation and encouraging the local people to maintain their traditional way of life and the
traditional techniques. I am very interested in cultural landscape and group of traditional buildings. It is avaluable new idea for me to start thinking about this kind of cultural category in my country. Cambodia also
has many this type of cultural properties, but they are not well protected yet.
In my opinion, this training course is very useful because most of the contents of the course are related closely
to the work which I am involved in nowadays and I will share knowledge that I have got from this training
with all my colleges in Cambodia.
Finally, I would like to say many thanks to all the organizers: Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU Nara Office), Agency for Cultural Affairs, and National
Research Institute for Cultural Properties (Nara&Tokyo).

Fig.1 How to use technique tool at Takenaka
Carpentry Tools Museum (Kobe city)

Fig.2 observation Restoration and field study at
Toshodai-ji Temple (Nara city)(T d i ji

Fig.3 technique joint tool at Nara Palace Site
(Nara city)

Fig.5 Practical to classification and Risk
mapping on Tenman Shrine (Nara city)l N)

Fig.4 Roof structures at Shirakawa village,Gifu

Fig.6 façade of group traditional building,
Shiojiri-shi Narai ,Nagano

Cambodia

Group Training Course on Cultural Heritage Protection in the Asia-Pacific Region 2019
Conservation and Management of Wooden Structures
Sokonthea Sort
Architect
Planning Office, National Museum of Cambodia, Department of Museum,
Ministry of Culture and Fine Arts

I. Introduction
I would like to hank Cultural Heritage Protection Cooperation Office, Asia-Pacific Culture Centre of UNESCO(ACCU Nara Office) for giving me a good chance to join in this training course. One-month training course
from 4 September to 3 October provided not only the knowledge of preservation and management of culture
heritage but also good life experiences in Japan, visiting World Heritage site such as Toshodai-ji Temple, Nara
Palace Site, Shirakawa village, etc., so that I could know about Japanese living style including food and good
taste of tea.
I hope the lecturers from Japan and many countries to give ideas to some problems in my work field after thiscourse ended. Participants from 15 different countries who are very kind and friendly shared a lot of knowledge
from their own country and heled me improve my knowledge. I could learn more about conservation work in
not only Japan but also 15 counties and understood the different problems as well as the same problems that weare facing in the conservation work. Some problems are not seen in Cambodia but it is clue for me; how toprevent what would happen in the future and how to take care of it. I am more interested in my job after thiscourse.
II. Knowledge
What have I learned and got from this training course? First, I learned about many problems in conservation
work that we had met and will meet and problems that had happened in other 15 countries. Second, I learned
what cultural heritage is and in what system they are protected in Japan. The cultural properties administered by
Japanese government are categorized into tangible cultural property, intangible cultural property, folk culturalproperty, monuments, cultural landscape, and group of traditional buildings. I also learned the importance of thecommunity in the conservation work and there is the network between owners of cultural property, local
government, and central government. Community is involved in the protection system of cultural properties inJapan and playing an important role.
After I learned about the value of culture heritage and its importance, I notice that the value is main point ofconservation work and we can decide which building, which zoon, or which traditional technique should beprotected depend on each value. Different categories of cultural properties have different values. If we know thevalue of each cultural heritage, experts can decide the parts and styles to be restored or conserved.
Learning Japan’s conservation measures for wooden structures, techniques, and tools is amazing. Although all
the structural type and tools are not same as those of Cambodia, observation of wooden structures is very import.
It was very interesting to visit Takenaka Carpentry Tools Museum, to observe the traditional Japanese carpentry
tools, and to learn about Japanese carpenters
Funding for conservation work is most important in my country. Write a proposal requires the necessity tounderstand a hazard for the heritage and some ideas to convince community to involve in the conservation work.
The difference in the work process between Cambodia and Japan is small, so this training course provide many
good ideas that I can apply at my work place.

When I return to Cambodia, I am going to make careful observations of the buildings of the National Museum
before we start discussing the plan for conservation and restoration. We also need to raise community awarenessfor museum buildings and museum collections; how important they are to the community as well as encouragethem to participate in the conservation activities. I will try my best to share this idea with my coworkers anddiscuss with my director again as much as I can. Additionally, I will take pictures of the culture heritage building
as daily work using the techniques I acquired from the practical training, which is important for documentation
and writing reports and proposal.
III. Conclusions
The conservation and protection system for cultural heritage in Japan is very amazing although my county has
not reached this point yet because of lack of fund and experts, insufficient community awareness, and low levelof conservation work. My work place also has a big problem in funding to conserve and restore the museum
buildings and collections and in community awareness at provincial level. I will try my best to work on these
problems by find some subsidy, inviting experts from Japan to be involved in our conservation work, and so on.
In addition, I also do hope that I will have another chance to come to Japan so that I can learn more about
conservation work.
Overall, this training course provided me and my work place with useful knowledge and skills such as techniquesof restoration wooden structures, prevention measures from natural disaster, conservation work using modern
technology and methods, documentation method, and good ideas for planning a proposal. I will apply what I
have learned from Japan to my work place as much as I can. I will share these experiences with my colleagues
in my work place and other provincial offices in Cambodia if I can. I am grateful to participate in this training
course. I would like to say thank you very much for all organizer, Culture Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU Nara Office); Agency for Cultural Affairs, Japan; andNational Research Institute for Culture Properties (Tokyo and Nara).

ChinaFinal Report, Group Training Course on Cultural Heritage Protectionin the Asia-Pacific Region 2019
Jing Han
Architect
Architecture Division, Cultural Heritage Conservation Centre,
Architectural Design and Research Institute, Tsinghua University
Over the past month, I was offered the greatest opportunity to comprehend the preservation system andrestoration technique of timber structures in Japan. The consecutive series of lectures was a full embodimentof the advanced preservation philosophy demonstrated in the Nara Document on authenticity and Nara +20
Document. It triggers the contesting views towards the definition of values, with a mind-blowing shift frommonument-centric preservation approaches to people-centric ones. In my previous work, the judgements
towards authenticity has been rather limited to the tangible forms. From the instructions of the training course,
I came to realize that not just the tangible forms of heritage are of importance, but the people who inherit thetraditional skills, those who live their lives as a continuity of the past and those who formulate delicate
preservation systems make heritage preservation work meaningful and sustainable. With such considerations
in mind, I came to formulate plans in hoping to improve some of the heritage preservation conditions in mycountry.
Short term plans:x
Formulate training plans for young conservation practitioners
Like most of my colleagues, I was a design architect before joining my institution. Before coming to Nara,
I have never received a systematic professional training on preservation methodology. I was inspired by thetraining programs offered by the Japanese government that engage with experts in different preservation
fields. I find it necessary to pass on what I have learned from the training course to my colleagues, andendeavor to help my institution to formulate professional training programs for young conservation
practitioners to understand value assessment, protection system and philosophy, documentation andrestoration methods, as well as conservation management. As we have a large volume of challenging andcomplex projects, it is important to build up a strong team with sufficient knowledge foundation.
x
Support the restoration work of Foguang Temple (Ṛ⁈⫹)
Meantime I will offer support to my institution to prepare for the restoration work of the East Main Hall of
Foguang Temple, the second oldest timber structure in China constructed in 857 AD (Tang Dynasty). The
buildings of Toshodai-ji, Horyu-ji and Yakushi-ji from Asuka and Nara period present great examples tounderstand the construction techniques during the time when Foguang temple was constructed. From thelectures of Mr Hayashi Yoshihiko and Mr Kondo Mitsuo, I learned about the Japanese methods forobservation, survey, documentation, and restoration plan. The on-site study to Nara Palace Site also offeredme cutting-edge restoration knowledge that combines the traditional wood carpentry and modern woodprocessing technology. The design of the protective shelter of the South Gate enables a well-organised
workflow for restoration work that is both efficient and delicate. As we do not have much experience tohandle such an antique and complex building as the Foguang Temple, the resourceful materials and casestudies from our training course are invaluable to our institution.
Long term plans:x
Restore the intangible values of relic sites
Inspired by the concept that “a reconstruction may embody in tangible form the many intangible values ofthe place”1, I realized we shall put more focus on the study and preservation of intangible values to improve
our current heritage interpretation methods, for the purpose of making the heritage values legible to the
public. The Japanese museums often exhibit vivid interpretation of the relics based on careful study of theliving intangible heritage. Most of the museums I worked with in China, however, offer very little
information to explain how the relics were constructed or used. The experts worried much more about formal澳濄澳 Cited from 'U Gamini:,-(65,<$ lecture slideauthenticity than the intangible values have been lost. One of the effective solutions is to uncover anddocument the still existing construction craftsmanship in China and formulate preservation plans for thecraftsman to pass along their skills to the young generation. The other is to conduct comparative study amonginternational building typologies and craftsmanship to understand the traditional techniques that has been
lost in our country but preserved elsewhere.
x
Promote community engagement
From the lectures of Mr Watanabe Yasushi, I was amazed by the capacity of local community to support
heritage preservation. Our Important historic districts are governed by the central and provincial
governments. Currently it is hard to persuade the government to pass the right of decision making to local
communities. The people who live in the heritage site have almost no knowledge of how to preserve thevalues of their community, and their livelihood and needs often give way to tourism demands. In addition,
the government offers much more support to the costly rescue protection or significant restoration than to
the routine maintenance that is both effective and low cost. As preservation experts, we need to develop
training courses for local community to understand how to protect their hometown from potential hazards
and actively express the needs of local community to the government to preserve their livelihood.

IndiaTraditional Knowledge Systems in India: Case of Dravidian Style
Shivangi Shukla
Conservation Architect
Structural Engineering Laboratory, Civil Engineering Department,
Indian Institute of Technology Madras
As an architect and a heritage enthusiast, I work on sustainable development of cultural heritage with astructural safety-centric interdisciplinary approach. While most of my work experiences have been on brickand stone masonry conservation, my experience with conservation of timber structures has basicaly been
exploratory. Hence, this ‘Group Training Course on Cultural Heritage Protection 2019’ program wasdefinitely a value addition in my academic and professional upbringing.
This was an exposure to a global experience on the current state of knowledge and practice in the field oftimber conservation. Learning the science in an Asian-Pacific context was implausible experience with myfellow participants having similar cultural background owing to our shared history with strong socio-culturalreligious exchange in the past.
Currently, cultural heritage protection in India faces great challenges due to an enormous stock of built living
heritage, alongside spiritual beliefs, rituals and community involvement, in the face of rapid development
and modernization. Preservation of the tangible and intangible components of heritage remains a challenge
due to shortage of expertise and resources, coming from a lack of focus on these aspects in mainstream
education. Fundamental and applied research on this subject is also in its initial stage in India. There aremany gaps in the implementation of the international principles on ‘fire safety or disaster management for
cultural heritage protection’. Thus, learning these subtleties in Japan, a country which has developed robust
risk mitigation strategies for cultural heritage, was an unmatched opportunity.
The program also introduced me to a new domain and provided learning opportunity on the aspects ofcommunity-centred conservation and management of historic precincts and raising community awareness,
which I had never engaged in before. This was also an opportunity to develop my network of technicalpersonnel and professionals from Asian counterparts. Apart from the theoretical knowledge and on-site
observations my personal visits to historic structures in Nara, Himeiji Castle and Kobe city revealed how theancient and the modern forms of architecture thrive alongside each other with a fine and unmatched balance.
I utilised the opportunity in collecting some meaningful information on construction mechanism andearthquake resistant nature of traditional and modern structures i.e. traditional dwellings, pagodas, temples,high rise buildings etc. It is interesting to notice how various construction typology such as the temples builtwith timber and castles siting on high mound stone platforms both have proved their effective survival fromearthquakes.
A fruitful visit to Himeji Castle- understanding Japanese tradition of periodic maintenance of the structures
which is generally considered as a continuous process to monitor and prevent the decay of the materials. The
horizontal and vertical distortions were monitored every 20-30 years, and necessary reinforcement or repairs
are done. Acquired a detailed understanding on restoration procedure in Showa and Heisei Era as explainedin or lectures.
Port of Kobe Earthquake Memorial Park illustrates the painful event of the Great Hanshin-Awaji earthquake(January 17, 1995), recovery and the restoration process of the Kobe Port which was one of the busiest
container ports in the world before the disaster. Overwhelming to see how the city developed in just two
decades where the people of Kobe united and still working towards disaster resilience education andimproving regional disaster preparedness.

Future plans to utilise and develop the outcome of the training course in my country
Short term action Implementation of disaster management plans and risk mitigation and preparedness in my professional
worktraining myself and others on the usage of fire extinguishers. Installation of fire-fighting systems
and group training for emergency scenarios in cultural heritage properties
 Sharing the acquired knowledge and experience in my country through training program and educational
research (also long term) Utilising the on-site case studies examples for the repairs and retrofitting wherever applicable.
Examples: steel reinforcement in the Great Buddha Hall (Daibutsuden) of the Todai-ji Temple,
introduction of dampers in gable roof (not original) in Daigokuden-in (south gate) under reconstruction
at Nara Palace Site etc.
Long term strategyAs part of my current research on traditional knowledge systems, I am examining the concept ofJeernodharana (rejuvenation) in Dravidian temples, which lies encoded and not fully deciphered in ancientIndian texts. This knowledge needs to be examined in the context of ‘modern conservation’ principles. The
puranas and several ancient treatises discuss about constructions in timber including temples, palaces,
dwellings, sculptures, idols and vernacular constructions providing protection against extremes of weather
and calamities. We had a well-developed tradition of wooden temple architecture for Hindu temples in India,
but owing to the perishable nature of this material, none of the early structures have survived, with few
remaining with an explicit use of timber, while others lying endangered.
With regard to Dravidian temple architecture and construction techniques, the program has provided a deeper
understanding of the traditional material conservation techniques, and connect with the subtleties andpractical challenges in historic precincts and built living heritage in the Indian context. With the fast pace ofurban development, the gap between traditional knowledge systems and the modern architectural/engineering
education system in India is ever-widening. The restoration procedures mentioned in traditional Indiancanons are not comparable to international conservation norms on timber constructions. The learning fromthis training program would help me develop a comparative study and find a convergence between ancientand modern philosophies of conservation of traditional construction materials and seek a solution relevant to
the Indian context.
According to Japanese system, an effective preservation of historic buildings can be achieved by preserving
the historic techniques of craftsmanship and vice versa. In order to keep this living traditions of techniquesof craftsmanship and the continuity, it is important to form a multi-disciplinary team for conservation workwith modern and traditional knowledge systems.
Analysing and making a comparative study of the traditional carpentry systems in India and Japan andincorporating protocols on the preservation of the construction techniques and joinery systems are also
required. As one of the challenges in India, the architectural documentation of timber structures is notmeaningful in terms of recording the joinery systems. Many times the damaged elements are repaired or
replaced by the local carpenters without any involvement of conservation architects. This sometimes leads
to losing the valuable information on ancient joinery systems if they are replaced by new connections. Thishas to be co-related from our old texts such as ‘Mansara’, ‘Tachusastra’, ‘Tantrasamuchalaya’, and‘Manusyalayacandrika’.
We often have conflicts between the modern and traditional knowledge systems. From a structural point ofview, the repairs in the vertical members are not recommended because splicing in a vertical member may
snap under even a small lateral force due to non-uniform transfer of loads. Several such examples of
traditional joinery systems and repairs can be compared to the modern principles with structural analysis
results.
Regarding effort in finding solutions to conflicting approach to heritage conservation -what to conserve?
Understanding the context of cultural heritage in Asian-pacific region and Indian temples where values inliving heritage are associated with spiritual beliefs of communities. How to restore the historic continuity?
Hence a paradigm shift is essential to find innovative solutions that do not isolate the communities, and yet
ensure safety of the structure, while respecting the spirit of conservation. Hence, our conservation principles

need to be redefined comprehensively, where cultural practices and religious studies should be part of aninterdisciplinary approach bridging gaps through concerted research, pedagogy and heritage management
practices. Therefore, it is the time to frame specific guidelines for the conservation of Dravidian temples with
our own Indic approach where there is a need to preserve the intangible heritage, which is defined by living
traditions and knowledge systems.
Learning from the present government policies on subsidies or managing communities and making changes
in social structure to solve the changing population pyramid where elderly population is more and younger
people are no longer living in the historic towns and moving to urban settlements. Also, future planning forthe availability of resources and construction material is indispensable.
Thus, awareness and active civic participation is must, and being a part of this social revival as a conservationarchitect is imperative.

Indonesia

The Future Challenges of Conserving Wooden Structures in Indonesia
Dian Eka Puspitasari
Conservator
Maintenance Division,
Borobudur Conservation Office
INTRODUCTION
Cultural heritage is a manifestation of the results of human thought, in the form of tangible and intangible,
inherited from past generations, preserved in the present and bestowed for future generations. This is because
in cultural heritage there are important values for the present and future that are worth preserving. One formof cultural heritage is a traditional wooden structure. Wood is a natural material that is not eternal. Therefore,
many buildings with wooden materials have been damaged and need to be repaired. Likewise, traditional
wooden structures, because of important values as cultural heritage, require maintenance, care and repairs sothat they can be sustainable for future generations. Therefore, what we are doing now for the cultural heritage
will determine the future of the cultural heritage.
NEW EXPERIENCE AND KNOWLEDGE DURING THE TRAINING
Participating in the Training Course for Young Professionals on Cultural Heritage Protection in the AsiaPacific Region held by ACCU Nara Office in partnership with ICCROM and Bunkacho was new to me. First,
I was able to come to Japan and also visit the places I had dreamed of (especially Shirakawa village). Second,
this is the longest training I have ever taken. Third, this is the longest overseas visit I have ever done and alsocame alone without a team. Fourth, I can meet friends from 15 countries (Afghanistan, Bhutan, Cambodia,
China, India, Iran, Lao, Nepal, New Zealand, Philippines, Sri Lanka, Thailand, Uzbekistan, Viet Nam, andJapan) who have a lot of experiences and challenges in managing cultural heritage in their own countries.
I got many things from this course. Starting from the knowledge given from lecturers, visits to sites underrestoration, visits to museums, practices, and also study tours to historic cities in Japan. At Tanaka Family
Residence, we learned how to document a wooden structure (measured drawing), how to identify bothdamaged and original materials, and how to apply appropriate photography techniques for heritage building.
At Tenman Shrine, we learned how to identify damages and how to make a restoration plan. In that place wealso learned how to manage risk and hazard towards cultural heritage.
In this training course, we coincidentally visited a museum in Kobe city, the Takenaka Carpentry Tools
Museum. The museum building that looks like simple structure from the outside is new building combining
modern and traditional elements. Affiliated to the museum, there is traditional Japanese tea house. Inside themuseum there are various tools used by a carpenter. The most interesting thing is that visitors can touch someitems on display. The visitors can understand the various types of wood by touching timber pieces andshaving as well as try the hands-on activity to combine wooden framings. With the workshop of the museum,the visitors can try to use various carpentry tools. This museum is very interesting for me as the museum
really shows appreciation for work of carpenters as well as their soul with the exhibition of a wide variety
of tools.
In addition, we visited Toshodai-ji Temple, Yakushi-ji Temple, Nara Palace Site, and Todai-ji Temple thatare UNESCO World Heritage sites. Some places, such as Toshodai-ji Temple, Yakushi-ji Temple, and Nara
Palace Site, are currently under restoration and reconstruction work. It is fortunate that we were allowed tosee closely the restoration and reconstruction process carried out for some of the buildings. What is interestingfor me is the process of the reconstruction work that is planned and implemented by architects andprofessionals using their expertise with a large budget. They have also built the shelter to cover thereconstruction work. Besides, the damage such as cracks of columns and beams is interesting for me. I knewthat as they are not something dangerous, they don’t need any treatment or measurement. Additionally, if thecrack is covered with other materials such as resin, one day it will cause damage elsewhere.
For the on-site study, we visited Takayama city and Shirakawa village, Gifu prefecture, as well as Narai and
Kiso-Hirasawa, Nagano prefecture. We saw wonderful traditional towns and beautiful landscapes. There I
learned how they are prepare for fire hazard to the wooden heritage buildings and how they have built thenetwork with communities in the area. It is quite interesting for me to observe how they camouflage hydrants
and other fire extinguishers with small wooden buildings in Takayama city, Shirakawa village and Narai,
while in Kiso-Hirasawa they camouflage them with the small buildings made of aluminum painted in brown.
In addition, what is interesting to me is how they preserve the landscape by hiding electrical wires and poles
from the street.

Small building storing fire extinguishers in Shirakawa village

TRADITIONAL WOODEN STRUCTURES IN INDONESIA
Traditional buildings have been built by adjusting to the natural conditions, climate, availability of materials
and the surrounding vegetation. The buildings have also been developed through the process of planning,drawing, and calculating in detail, that is not like in modern times. The traditional buildings in Indonesia
were built through trial and error processes for decades, ancestors’ mature considerations, and adjusting tosurrounding natural conditions. However, some conservation techniques and method for traditional buildings
are not well documented because they have been passed on to the next generation only by the oral tradition
such as telling folklore, legends, and stories without detailed descriptions.
Just as Japan has traditional villages with wooden houses, in Indonesia there are many traditional wooden
structures. Indonesia is an archipelago with a wide variety of tribes that have their own customs andtraditional buildings from Sabang to Merauke. But now, modernity has entered even remote areas. On one
hand it has positive impacts but there are also negative impacts. For example, the presence of electricity inremote areas. Unlike Shirakawa village, Takayama city, or Narai where electric wires and poles are notvisible on the purpose of the preservation of landscape, some villages in urban area in Indonesia already haveelectricity but the installation seem to be less organized. The electric cables and poles, as they are not wellarranged, make the rural landscape irregular, disturb the view, and cause the visual pollution.

Visible electric cables and poles and satellite dishes damaging the visual landscape in Tarung village (left)
and Waitabar village (right) located in the middle of the city in the West Sumba area, East Nusa Tenggara.

In addition, some traditional villages in Indonesia which have wooden structures do not have a landscapeplan and prepare for facing fire hazards yet. The construction of traditional building is actually earthquakeresistant because the ancestors built traditional houses to adapt to the surrounding environment and nature.
However, for the fire hazard, there needs to be preparation by the local government or the local community.
There are many activities that can be fire hazard such as cooking activities using firewood in the house,irregular cables and electricity poles, burning garbage and more.

Fire in Tarung and Waitabar villages on October 7, 2017

CHALLENGES FORWARD TRADITIONAL WOODEN BUILDING CONSERVATIONS IN
INDONESIA
Wood is a natural resource that can be used up if it is not renewed. Uncontrolled logging and forest fires cancause these natural resources to run out. Therefore, the price of wood has become increasingly expensive.
Traditional buildings in Indonesia are mostly made of wood, especially some places such as Toraja, Sumba,
Simalungun, Nias, etc., using a long and large wood. However, due to the high cost of wood resources,
concrete is used for some traditional houses instead of wood materials. In addition, roofing materials such as
palm fibre, alang, bamboo, or sago leaves are also increasingly difficult to be found. Because of the difficulty
to obtain these materials and the limited availability around traditional villages, many local people are
replacing traditional roof for cheap and easy-to-find roof, namely with zinc/asbestos roof.

Left: Traditional houses in Sumba using concrete instead of bamboo columns and beams
Right: Traditional buildings in Sillanan, Tana Toraja, South Sulawesi with zinc roof replacing the original
bamboo roof

In addition, people's views of life have increasingly changed. Respect for ancestors is diminishing withmodernity. Costs for maintenance and repair of traditional buildings are higher because sometimes it isaccompanied by a series of traditional ceremonies. Carpenters who maintain their ancestral heritage are
increasingly diminishing because there is no successor. This is because working as a carpenter that requires
expertise and accuracy is underappreciated and considered as less prestigious. If such a situation continues,
the traditional houses will disappear slowly over time in Indonesia.

CONCLUSION
Following are needs to be done immediately based on what I learned from this training course:
1. Documentation of the traditional wooden buildings: There are several experts who do the
documentation so far but needs to continue the documentation and make integrated data of traditionalbuildings that have been documented in the past.
2. Forests conservation: For cultural heritage protection, forests should be conserved so that woods
can be easily supplied for the restoration work.
3. Maintenance and preservation of the landscape in traditional villages: In this case, cooperation
between local communities, non-governmental organizations, and government is necessary.
4. Preparation for facing hazards such as fire, flood, landslide, earthquake and others: Preparation or
preparedness such as the provision of supporting equipment, training on risk management to deal
with disasters, setting up the standard operating procedure or guidelines, etc. are required.
5. Efforts to involve local communities in caring for traditional buildings in their area and cooperation
between local communities and both central and local governments: Some areas have local
communities, but they still work independently.
6. Study of various kinds of wood: It is necessary to understand the strength and effect of each type ofwood used for traditional building when carrying out the conservation work.
7. Consideration that Indonesia becomes a member of ICCROM: Many things can be obtained if
becoming a member of ICCROM. For me, by taking part in the training course organized by ACCU
Nara and ICCROM, I increased my knowledge and expanded my network with friends who workfor the field of heritage in other countries.

IranConservation and Risk Management of Wooden Structures (Japan 2019)
Rouhollah Darabi
ExpertIranian Cultural Heritage, Handicrafts and Tourism Organization

Introduction
Iranian architecture and urban historic city are based on climates conditions and geographic situation, so Iran
has much type of buildings, construction, and traditional skills to build. Mud architectures are in arid regionsof centre of Iran, brick architectures in plains of southwestern Iran, wood architectures in forestal area ofnorthern Iran, stone architecture in mountainous area western Iran.

Fig.1 Gillan Rural Museum

Fig.2 Brick architecture

Fig.3 Stone architecture

Fig.4 Mud architecture

Woods are used in any type of architectural buildings in Iran for structures such as pillars, beams,
reinforcement to support other structural members, doors, windows, and ornaments. In addition, woods
combined with other materials such as clay, brick, and stone need to be researched more as we need todiagnosis its behaviour and pay attention to the materials when we decide to restore the historical building.
Conservation System in IranConservation system in Iran is based on scientific research and follows these processes:
1- Recognition and Documentation
2- Building’s Pathology
3- Conservation Plan
4- Rehabilitation PlanFortunately, in Iran we have many professionals in conservation such as architects, conservation architects,
archaeologists, civil engineering, traditional masters etc. They can conserve cultural heritage in true ways.
The traditional masters artisan need to train more young professionals to transit the traditional technique to
new generation.
In Iran, when cultural property is identified and it has values registered in the national list, it is protected withthe principles, which designate the drawing zone and buffer zone. The plans and documents are madeaccording to the principles, ratified by provincial branches under the ministry, and passed through thetechnical committees and counsels, and then, the budget is decided. After these procedures, the restoration
and rehabilitation projects start.
Conservation/Preservation District in Iran
Iran has 785 historical fabric and 12,000 historic village. The process of conservation for historical cities andvillage are different from historical buildings. When ratifying a preservation district (168 districts ratified
until now), the specialist from local government or other organizations are sent to review the district. They
make special principles with engineering consultants such as a principal for landscaping in Japan as well asa criterion of action for all organizations and municipalities.
In addition, we conduct the excavation research at historic sites. The challenge before, mostly during, andafter the excavation is how to conserve the remains.
In the preservation district, the site museum plays an important role to attract tourists and show how local
community lived there in past and what the values and attributes of the site are.
This is a brief summary of how we preserve cultural property in Iran, but we have a big problem in somecases especially in preservation for large historic cities such as Tehran, Tabriz, Shiraz, and Isfahan. In thesecities, there are no collaboration between local community and some municipalities, and the principles andurban design projects for development is becoming important approach. This approach would be changed
although it needs time and education.
What I Learned from This Course
I learned the Japanese approaches to conservation of the cultural property: restoration, documentation(measured drawing and photography), and the survey method through the practical training at Tanaka Family
Residence and Tenman Shrine. Especially, the combination between traditional technique and new modern
technology for restoration work and the transition system for historical building are impressive.

Fig.5 Tenman Shrine

Fig.6 Tanaka Family Residence

Other subject that I was very interested in is on-site study at Takenaka Carpentry Tools Museum in Kobecity; its building design, how to exhibit the objects and old techniques, especially the hands-on exhibition

allowing visitors to touch the objects in order to understand wooden structure are interesting. Todai-ji Temple
Museum also has such an education activity that visitors can experience using the traditional tools. The
building of Takenaka Carpentry Tools Museum, I think, is a type of architecture that combines new and oldtechniques because I could see and feel the Japanese carpenters’ spirit and intangible value of the woods.

Fig.7,8,9 Yakushi-ji Temple

Fig.10,11,12 Toshodai-ji Temple

Fig.13,14,15 Takenaka Carpentry Tools Museum

If I compare the conservation system of historic district in Japan to that in Iran, I can explain that they arevery similar but the collaboration whit municipalities, local government and community is not enough in Iranthough it is getting better. Landscaping, how to designate the buildings as cultural property, and theory of
restoration practices in Japan are very similar to my country but we need to improve practical measures more.

Fig.17 Kiso-Hirasawa

Fig.16 Narai

Fig.18,19,20 Shirakawa village

What Can I Do for Iranian Cultural Properties?
1. Do practical measures to encourage further collaboration with local community. Produce guidelines
and principles for the implementation.
2. Change and update the system of restoration by combining new technique and traditional one.
3. Update the information bank of traditional masters.
4. Update the instruction methods, guidelines, and principles for utilisation of cultural heritage.
5. Make guidelines, principles, and action plans on risk management to protect cultural properties fromthe hazards such as earthquake, flood, and fire.
6. Upgrade the documentation method.

Acknowledgments
I would like to express great thanks to ACCU Nara Office, Director and staff members as well as lecturers
for supporting this course. I hope that such courses continue in future. I would also like to thank myclassmates as I learned many things from them during the course period. I hope to see them soon in the
future.

Lao PDR

Conservation and Management of Wooden Structures
Soulisack Sisana
Engineer
Heritage Planning and Management Division,
Luang Prabang World Heritage Office

I. Introduction
The Group Training Course for Young Professionals on Cultural Heritage Protection in the Asia-PacificRegion was held in Nara city, Japan from 4th September to 3rd October 2019. This course was jointly
organized by the Agency for Cultural Affairs, Japan (Bunkacho); Asia-Pacific Cultural Centre for
UNESCO (ACCU Nara Office); International Centre for the Study of the Preservation and Restoration ofCultural Property (ICCROM); and National Research Institute for Cultural Properties [Tokyo and Nara], incooperation with the Japanese Association for Conservation of Architectural Monuments (JACAM); Japan
Consortium for International Cooperation in Cultural Heritage (JCIC-Heritage); under the auspices ofJapanese National Commission for UNESCO; Nara Prefectural Government; and Nara City Government.
ACCU Nara Office hosted this course for participants from 15 counties: Afghanistan, Bhutan, Cambodia,
China, India, Indonesia, Iran, Lao PDR, Nepal, New Zealand, Philippines, Sri Lanka, Thailand, Uzbekistan
and Viet Nam. This training course is designed for young professionals and comprises comprehensive basic
knowledge and techniques in the fields of investigation, conservation and management of wooden
structures in the Asia Pacific Region, and then, the participants received the updated methodologies andtechnologies which can be applied and practiced in their counties.
The curriculum of this training course was designed so that participants are able to learn the overview ofthe process of investigation, restoration and conservation of wooden structures in Japan as well as theinternational principles and methodologies for heritage conservation from lecturers form overseas. The
participants could upgrade their knowledge with the provided lectures, skill-based work session on
documentation and analysis of wooden structures, and on-site study tours. Through the one-month course,
the participants leaned new techniques for repair/restoration of wooden structures, principles andmethodologies for conservation of wooden structures, knowledge of disaster risk management for cultural
heritage properties, and so on. In addition, they had opportunities to share their knowledge and experienceof heritage protection and to build networks among heritage practitioners in the region.

II. Activities and Lectures in this Training Course-

On 5th and 6th September, the “Participants Country Reports Presentation and Discussion” session was
held, and after presentations, Prof. Inaba Nobuko (University of Tsukuba) presented a lecture on“Protection Systems for Cultural Heritage in Japan”.
On 7th September, Dr. Gamini Wijesuriya (ICCROM) presented a lecture on “Current Situation andIssues of Architectural Conservation in the Asia Pacific Region”, and after that we had a group work on
value assessment.
On 9th September, Takeuchi Masakuzu (Agency for Cultural Affairs) presented a lecture on“Introduction to Wooden Structures in Japan” and Tanaka Sadahiko (Agency for Cultural Affairs)presented a lecture on “Conservation Practice for Wooden Structures in Japan”.
On 10th September, Hayashi Yoshihiko (NNRICP) presented a lecture on “Structure of Japanese
Wooden Structures”, and then Yamaguchi Isumu (Nara City Board of Education) presented a lecture on“Documentation of Wooden Structures”. I learned structural survey and documentation methods.
On 11th September, the participants attended the work session on “Documentation of Wooden
Structures” at Tanaka Family Residence (Nara city). We learned the method of measured drawing anddrew the floor plan.
On 12th September, the work session on “Documentation of Wooden Structures” continued and theparticipants drew the sectional plan.
On 13th September, Sugimoto Kazuki (Saidaiji Photo) presented a lecture on “Documentation of
Wooden Structures (Photography)” and then, the participants had a practical training of photography.

-

-

-

On 15th September, Kondo Mitsuo (JACAM) presented a lecture on “Restoration Systems and Project
Planning Wooden Structures” at the ACCU Nara office in the morning. In the afternoon, he explained
the overall process of repair work.
On 16th September, Kondo Mitsuo and Hayashi Yoshihiko provided the orientation to the work session
on “Survey on Damage and Making Restoration Plans”.
On 17th September, the work session on “Survey on Damage and Making Restoration Plans” continued.
On 18th September, the participants continued to make restoration plans, and in the afternoon, they
visited Yasumigaoka Hachiman Shrine, Yakushi-ji Temple and had site study on restoration of roof andpainting, presented by Honda Yuchiro.
On 19th September, the participants had group presentations and shared the restoration plans. In theafternoon, they visited Ichijo Shinden, Toshodai-ji Temple and received an explanation on restoration
work by Takamiya Kunihiro (Nara prefecture).
On 20th September, JIGYASU Rohit (ICCROM), presented a lecture on “Risk Management for Cultural
Heritage” and in the afternoon, the participants had a group work on risk assessment and management
plan at Tenman Shrine.
On 21st September, the participants made presentations on risk management by groups. After that, Rohit
JIGYASU (ICCROM) delivered a lecture on “Risk Management for Cultural Heritage”.
On 23rd September, On site visit to Takenaka Carpentry Tools Museum. Nishiyama Marcelo explained
an overview of the museum and museum’s learning programmes. The participants also observed themuseum facilities and exhibitions and experienced the museum workshop.
On 25th September, Miyai Tatsuya (Heijo Branch Office, Asuka Historical National Government Park
Office) and Tani Toshimitsu (Shimizu cooperation) explained the reconstruction work at Nara Palace
Site and the participants learned about preservation and succession of conservation techniques.
On 26th September, Watanabe Yasushi (Shiojiri City Board of Education) delivered a lecture on
townscape preservation and overview of Narai and Kiso-Hirasawa, the designated historic towns.
On 27th September, Nishi Kazuhiko (TNRICP) presented a lecture on “Townscape Presentation with
Local Communities and its Global Trend”. And then, Dr.ANG Ming Chee (George Town World
Heritage Incorporated) delivered a lecture on “Conservation of Traditional Building with Local
Community: Experience from George Town World Heritage Site for Community-Centered Preservationand Management of Historic Town”. The participants had a group work and discussions.
On 28th September, the Participants arrival in Takayama City, Gifu And in the afternoon, Matsumoto
Mitsuo presented a lecture on Community-Centered Preservation and Management of Historic Town III(Disaster Prevention). And on site study tour of preservation district in Takayama City,Gifu.
On 29th September, the Participants arrival in Shirakawa village, Gifu. And then, Matsumoto Keita
presented a lecture on Community-Centered Preservation and Management of Historic Town IV (World
Heritage Management). And in the afternoon, visited to Shirakawa village Gifu.
On 30th September, the Participants arrival in Shiojiri-shi Narai,Nagano on site study tour ofpreservation district in Shiojiri-shi Narai,,Nagano and in the afternoon, Watanabe Yasushi (Shiojiri City
Boart of Education) presented a lecture on Community-Centered Preservation and Management ofHistoric Town V (Group of traditional Building). And on site study tour of preservation district inShiojiri-shi Narai,Nagano
On 1st October, the Participants arrival in Shiojiri-shi Kiso-Hirasawa,Nagano on site study tour ofpreservation district in Shiojiri-shi Kiso-Hirasawa, Nagano and in the afternoon, Discussion.
On 3rd October, the Participants Final Reports Presentation and Discussion, and in the afternoon,
continued to Final Reports Presentation and Discussion, and then, Closed Ceremony.

III. Conclusion
Following are the most useful elements that I learned from the training course:- Value assessment of cultural heritage and its importance for heritage protection- Skill-based work session for conservation and management of wooden structures (documentationand making a restoration plan)- Principles and methods for conservation and restoration of cultural heritage- Knowledge and techniques of photography
I could also improve my knowledge and skills through exchanging opinions and experiences with theparticipants from 15 counties and experts from ACCU Nara. I understood the history of cultural heritage
properties in Japan as well as recognized many ancient sources of heritage.

This training course was comprehensively framed and structured to identify, analyze, and educate about
cultural heritage protection and restoration activities. Also, this course was a wonderful opportunity forparticipants to upgrade their basic knowledge in all aspects of the current problems and solutions for
cultural heritage protection and restoration activities in the Asia-Pacific region. I could understand the
problems to be solved initially and learn new techniques and methods that I can implement for conservation
and restoration work at my work place.

Recording/Documentation of wooden Structure and Restoration Methods at Tanaka Family Residence

Practice with Camera and Image Files at Tanaka Family Residence

Recording/Documentation, Restoration Methods and Risk Assessment at Tenman ShrineNepalConservation and Management of Wooden Structures
Gopal Bhattarai
Conservation Engineer
Department of Archaeology,
Ministry of Culture, Tourism, and Civil Aviation
Introduction
The country report submitted as the primary requirement of the course focused on the issue of rampant
reconstruction after the disastrous earthquake on 25 April 2017. Nepal had not prepared for such level ofdisaster, particularly in the post disaster preparedness. The impact on the cultural heritage is manifold sincemass reconstruction and restoration the monument are not carried out through proper scientific approaches
due to the limitation of human and economic resources as well as communities’ disregard for the oldstructures through the aftermath of the earthquake. Amidst such issues, for my office which has been
involved crucially in restoration process of the heritage structures, the knowledge of the conservation andmanagement of wooden structure is essential to work in accordance with the international as well as
domestic laws and guidelines.
After taking part in this Group Training Course I realize that those types of training not only enhance theknowledge but also help participants develop their skills which can be directly utilized in the conservation
fields. The course also helped me make my attitude towards the conservation field and broaden my mind.
While I was listening the lectures in the class and observing at the field, I was always curious how I could
apply those techniques, experiences, and approach to my own context. The international lectures not only
imparted the experiences of heritage protection but also taught the international principles andmethodologies, which helped me build up the professional confidence in the conservational fields.
Lessons from the Group Training Course
The initial objectives of this course was to provide participants with knowledge of skills based techniques
for the documentation and analysis of wooden structures, knowledge of skills based techniques for the
repair/restoration of wooden structures, knowledge of principles and methodologies for the conservation ofwooden structures, knowledge of disaster risk management for cultural heritages, opportunities to share
their knowledge and experiences of heritage protection and build networks among heritage practitioners in
the regions.

Restoration site at Toshodai-ji Temple

Due to some religious restrictions we were facing some issues like conservation work in Agamche that
didn’t allow us to dismantle the upper structures of 4th floor. The restoration methodologies such as liftingand hauling the upper structure of the building observed in Tohsodai- ji Temple are the applicable
examples for us.
This course curriculum was designed very nicely including current issues and global perspectives onconservation of wooden structures, protection system for wooden structures in Japan, documentation ofwooden structures, restoration of wooden structures, and management of wooden structures. We were able
to learn an overview of the processes of investigation, restoration, and conservation of wooden structures inJapan.

New Knowledge Acquired from the Group Training Course
From the theoretical lecture sessions as well as on-site observations, I acquired some knowledge andunderstandings. The designation system for cultural heritage in Japan which has three levels (national,
prefectural, and municipal) is quite interesting and informative for me. I found it more realistic andapplicable to other countries too. I also learned about the practices of disaster risk assessment, identificationof vulnerabilities, and adoption of mitigation measures like fire fitting systems, well-managed hydrants,
auto detection system, open drain for fire that I observed in the preservation district in Takayama city.

Firefighting implements and drain in Takayama city

In the context of my country, there are many historic settlements which have unique vernaculararchitectural styles and values. The knowledge that I got from the on-site study in Shirakawa village can beapplied to the conservation for these settlements although I understood that it may need adequate revenue
source to preserve the historic towns and implement the practices like landscape management and parking
managements.

Gatalang village, Rasuwa, Nepal (left) & Shirakawa village, Gifu, Japan (Right)

I learned the Japanese style of measured drawings and the knowledge of photography, that are the basic
and key parts of the documentations.

Tanaka Family Residence

The practices on damage assessment survey and formulation of restoration plans for Tenman Shrine
increased my skills and they are applicable to my work as well.

Tenman Shrine (right: floor plan)

The system appointing the head carpenters for conservation projects is certainly beneficial since main
responsibility goes them. The training for young carpenters not only improves their skills but also helps the
succession of traditional techniques and craftsmanship. At the reconstruction site of South Gate in Nara
Palace Site, I observed traditional way of work using carpentry tools, preservation of craftsmanship, andthe modern idea such as installation of iron dampers to mitigate the effects of earthquake and ensure thestability of structures. The installation of dampers is the most significant actions for me as the structure
itself should be safe against earthquake or any disasters to ensure the safety of the public.

Iron dampers at reconstruction site in Nara Palace Site

Short-term & Long-term Action Plans Developed from the Training OutcomesThis Group Training Course was excellent chance for me to learn the techniques and methods practiced in
the conservation fields in the Asia-Pacific region. The discussions and sharing experiences among theparticipants and lectures was a good way to understand and identify the significant problems and issues in
the region. So, the knowledge obtained from this course will help me take appropriate actions for the futureplanning and execution of conservation work.

Cultural Heritage damaged by the earthquake on 25 April 2015 in Nepal

Currently, I am involved in the documentation of heritage sites, particularly in damage assessment andpreparation for restoration plans. I am also responsible for supervision of the work after completing theplan. Through the Group Training Course, I could clearly understand the process of documentation. I willtake back what I leaned in Japan and from the case studies of other countries to Nepal and particulary apply
new knowledge on documentation to my daily work.
My understanding of heritage was usually from the perspective of an engineer and the structural stability
was always my utmost consideration. However, through this course, I found the importance of balance
between the structural stability and the heritage value, which enabled me to rethink my approaches to theheritage conservation.
Additionally, in the long run, it is sure that the knowledge will help me implement the conservation work inmore systematic way. I would like to be involved in the heritage conservation improving my techniques,using modern technology, and cooperating with the different stakeholders.
Conclusions.
The participation in the Group Training Course was very informative and valuable experience for me. I
could closely observe the landscape, heritages, people, and modern developments in Japan. The mostamazing thing was the Japanese vernacular architectures and uniqueness of the monuments. I look forward
to taking back and sharing what I have learnt with my colleagues in Nepal.

New ZealandFinding Balance: The Art of Compromise in Heritage Conservation
Alex Bell
Property Lead Te Waimate and Hokianga
Heritage New Zealand Pouhere Taonga
After four weeks of training in the Japanese approach to the conservation of wooden structures, one of theunderlying themes that has given me a lot to take back and consider in my own work are the ideas ofbalance and compromise. Heritage sites are complex, they are structures and landscapes that have evolved
out of a myriad of cultural and environmental influences and we are tasked with capturing that social
diversity and preserving it for future generations.
Balance and compromise come to play a key part in the conservation process as we:-Work within the bounds of current heritage legislation, funding, and compliance,
Manage the needs and interests of local, national and international communities,
Make accessible the knowledge, traditions and histories of those who established these sitesthat have become significant to our sense of place and culture.

These two concepts are universal and they are applicable to all of our roles, but how we weight thosetangible and intangible values is culturally specific. This final report is an examination of where I am
focusing that balance in my own role in New Zealand and some short and long term outcomes I will betaking home from this course.
Whose Values?
The structure of heritage management systems tends to result in an emphasis on the conservation of thephysical structure itself. The conservation need is visible, the results are visible, the preservation of heritage
sites for future generations is visible.
But who are we preserving this heritage for? This question is one of the most challenging aspects of myrole and one that I considered through each element of this training course. It plays such a significant partin the broader conservation planning and management of our heritage sites because it influences so many ofthe decisions we make in the conservation process.
Balance and compromise is an important theme here because each heritage site can have many overlapping
and abutting tangible and intangible attributes associated with it. These can be derived from communities
that may have con-currently used the site or who may have used the site differently across generations. It is
a complex issue to unravel and understand what one heritage site might have meant to different
communities.
From the perspective of this course, this is a long term issue for us to continue to address, picking up where
there are gaps in our understanding of the heritage sites and then finding ways to fill those. There is noquick answer or applicable formula to identifying the values of our heritage sites and weighting themaccording to significance. It comes from working with those properties and with those communities andcoming to understand what has made this place significant enough up until now that we made the decision
to start allocating time and money to ensure its ongoing preservation.

Conservation Approaches
The training at Tenman Shrine and Tanaka Family Residence allowed for discussion about where different
specialists placed emphasis during the conservation process. Through the investigation of the structuraldevelopment and modification of these traditional Japanese buildings, one of the most useful outcomes wasa better understanding of what specific information an architect will focus on compared to an engineer
compared to an archaeologist.
At each stage, that group input is invaluable in understanding how the different aspects of the conservation
process might affect the tangible and intangible heritage elements. It is in the coming together of thosedifferent approaches to conservation planning that the course really highlights its strengths. This was anopportunity to listen to ideas and approaches forged under completely different conditions and consider
how they might have an application in improving our own approaches to heritage management andconservation at home. In this case, those key ideas of balance and compromise really shone through in our
approach to the restoration of those buildings and how our different backgrounds influenced where wefocused our restoration and conservation actions.
One of the repeating themes from other students was the constraints of time and budgets on theconservation process. It was chance to compare the bureaucratic and conservation processes of our homecountries and where we could consider looking for efficiencies in our processes. Understanding what
information is required by architects, archaeologists etc. is one way to look at refining that process,delivering the right information to the right people to allow each stage of the conservation planning andwork to feed into each other. Money is one way to resolve some conservation issues, but improvements in
the gathering and management of information could relieve some of the pressure when it comes to planning,consents and costing of conservation projects.
Community Heritage
Settlements like Shirakawa village,Gifu are excellent examples of how heritage preservation begins at thecommunity level with a local interest in conservation of their own tangible and intangible heritage and how
it can grow to international levels of recognition.
But as the recognition for these places increases, we need to ensure that we have plans in place for theongoing engagement of communities in those heritage traditions. Maintaining relevance is difficult in
heritage sites where we capture a snapshot of our national identity in the heritage structures, and collections
and stories but have to operate in a society which is continually evolving. Community support is important
not only for maintaining this connection, but also ensuring that at times we have a sufficient support
network to allow us to manage, monitor and undertake the conservation of heritage sites.
There is also increasingly a need to address the engagement between heritage conservation and the tourism& retail sectors. Heritage sites have been and will continue to grow as stand out examples of a nation’s
cultural identity and will continue to be popular options for engagement in unique cultural experiences.
This interest also goes hand in hand with an increase in tourism experiences associated with the heritagesite as well as a growth in retail opportunities at those locations. These are both elements that can bebeneficial to the community associated with the heritage sites but they are also aspects that require planningand management much like the conservation work. If left unchecked, these elements have the potential toundermine the heritage values that local, national and international organisations worked hard to preservein the first place.
Again, it comes back to balance and compromise, finding what works at that site to allow us to maintain theheritage values and preserve its cultural importance to but ensuring that there are ways to maintaincommunity engagement and support for that conservation work.

Conclusions
The immediate actions resulting from my experience on this course are to critically review some of ourown processes and identify where we can strengthen our approaches to conservation management. The longterm results of this will hopefully be a more robust approach to the conservation of our wooden structuresand ensuring their ongoing position and protection within our communities for future generations.

Philippines

Final Report
Giancarlo B. Aycardo
Architect II
Historic Preservation Division,
National Historical Commission of the Philippines
Ϩ. INTRODUCTION
In order to have sound decisions in the management and choice of intervention works for the conservationof heritage structures, it is essential for conservation professionals to engage in continuing education and be
exposed to the views, concepts, and approaches that may be applicable to their practices. The month-longGroup Training Course on Cultural Heritage Protection in the Asia-Pacific Region 2019 with the theme“Conservation and Management of Wooden Structures” held by the ACCU Nara Office provides suchopportunity to gain awareness of global perspectives and trends affecting heritage conservation and to learn
new knowledge, in particular, the Japanese system and strategies for the protection and restoration ofwooden heritage structures, among others.
As a participant of the training course, I can say that I have learned a lot of things and have gained a clearer
concept of what conservation is all about, contrasting it with my experiences and the current issues that
affects conservation in the Philippines. This paper shall serve as a final report for the training course andshall have the following objectives:xxx

To synthesize the learnings obtained from this training and present options to adapt it in aid of or for
the improvement of the current practice of management and conservation in the Philippines;
To formulate possible solutions to the problems and needs for the protection and restoration activities
in the Philippines, as presented at the start of the training course, andTo formulate short-term and long-term plans that will achieve the above-mentioned objectives.

ϩ. INVALUABLE LEARNINGS GATHERED FROM THE TRAINING COURSE
The following are five (5) major themes or key points learned from the training course:
1. The Primacy of VALUES in any decision making for heritage conservation
One of the most important points discussed throughout the training program is the primacy of values in any
decision making to be engaged with regards to heritage conservation. In essence, heritage conservation is
the protection of attributes and the values ingrained in it. These attributes are components to which thepeople place attachment and meanings, which constitute the core of the importance of the heritage structure.
Throughout the course, values, as a baseline of the different approaches towards the protection andconservation of heritage structures allow us to explore the range of decision making that should be done toensure any intervention work shall not impact or result in the loss of values.
2. Continuity and Living Heritage
With the importance of values in mind, the idea of continuity and living heritage should also be given
importance. This theme introduced the concept that heritage structures are inseparable with the people andthe cultural practice that it caters to. This is in a sense another major theme that affects decision-making in
the form of prioritization of values with sensitivity to its current use.

Fig.1 Townscape of Shiojiri-shi Narai
Fig.2 Demonstration of fire hydrant at Takayama city

3. The reality of risks and importance of its mitigation to prevent or minimize the loss of value
Another highlight of the training program is the module on risk management which discusses the natureand reality of disasters impacting the values of a heritage asset. On this theme, the balance between
ensuring the safety of both the people and the heritage structure while minimizing the loss of value isemphasized. In most cases, this is one of the most overlooked aspects of heritage conservation. This is avery strong asset of the Japanese way of conservation, specifically on the initiatives of people whothemselves organized into associations, for protecting their wooden heritage assets. This laid the foundation
for community-based conservation and management.
4. Heritage is a communal or multi-sectoral endeavor
Heritage is a communal or multi-sectoral endeavor. Heritage conservation’s success depends primarily on
the interest and awareness of the community that it belongs to and all other relevant sectors or stakeholders.
Without the continued support and cooperation of each other, it would be a challenge to accomplish
anything.
5. What we can learn from Japan’s protection systems and conservation practice
Overall, we can learn a lot from the Japanese way of protection and conservation, and how organized,
systematic and well-structured it is. In terms of financial and administrative support, the local communityand government assume the first responsibility and follow a hierarchy that also extends support. This
necessitates a very efficient system.
The documentation of heritage structures, be it in the form of photography or measured drawings is aprerequisite and is a very important document that will serve as the basis for the restoration plan, and arecord of what the building went to for reference and use of the future generations. Therefore, as practiced
in the Japanese system, due diligence and attention to detail should be considered in the documentationwork.
In terms of damage assessment and survey, there should be a profound understanding of the history,material, and deterioration of the heritage structure in order to properly conduct a survey. The quality of thesurvey is crucial to the intervention decision to be applied, which relies on expert experience and holisticknowledge of the structure.
The systematic and organized implementation of every conservation work, may it be minor repair work or amajor/full-dismantling and assembly work is a practice that I also admire with the Japanese way ofconservation. The use and nurturing of traditional methodologies by hiring traditional/ specialist carpentersis also present. Fund support is not lacking and is an appropriate form of multi-level cooperation (i.e., acounterpart of national-prefectural-local with community support)
Conservation of forests as a means to safeguard the steady supply and availability of replacement materials
in case of repair or restoration works is also a unique feature of the Japanese system/strategies.

Fig.5 Survey plan of the posts of Tenman Shrine

Fig.3 Well-organized restoration site ofYakushi-ji Temple original pagoda

Fig Well-organized restoration site of Shinto
Shrine at Yakushi-ji Temple complex

Fig.6 Practical training on photography with
Sugimoto KazukiFig.7 Experiencing the yarigana with mastercarpenter at the Takenaka Carpentry Tools

Ϫ . POSSIBLE SOLUTIONS TO THE STATED PROBLEMS AND NEEDS FOR THE
PROTECTION AND RESTORATION ACTIVITIES IN THE PHILIPPINESThe Philippine government, as mentioned in the country report, is currently engaged in the refinement of
the heritage law and addressing the challenges its administrative challenges specifically on the law’s
implementation. Upon synthesis of the key points learned from this training, the following are possible
solutions to the challenges that may be a very valuable input in the Philippine government mitigation
efforts:a. Revisiting and strengthening the Philippine Heritage Law
The protection systems for the cultural heritage of Japan are closely similar to that of the Philippines in asense that: (1.) there are levels of hierarchy or jurisdiction (National-Regional-Local), (2). the Philippines
follow the same designation systems (Important Cultural Property-ICP/ National Cultural Treasure-NCT)and 50 years as the minimum heritage building age requirement and (3) the duration of application for thebudgeting system. However, the major differences that may be adopted are as follows:
ϸ. Engagement and close cooperation with private conservation professionals
The network and mutual cooperation and understanding between the association of practicing conservation
professionals (JACAM, in Japan’s case) and the government authority are well integrated into its system. In
effect, each project starting from the assessment or survey works up to the actual restoration work is closely
monitored or supervised by a heritage professional. This way, the quality of any survey, restoration plan or
the actual implementation is ensured. Furthermore, the same association or pool of professionals has theopportunity to compile all experiential knowledge and further research is possible. The cultural agencies of
the Philippines may learn from this example in extending support the practice of heritage conservation in
the Philippines and nurturing a good network and cooperation.
Ϲ.Financial Support and Manpower counterpart on Prefectural (Provincial) and Local Government.
The subsidy system for restoration work in Japan is commendable in the sense that there are the other levelsof hierarchy that constitute a share (i.e., a counterpart of national-prefectural-local with community
support). Therefore, the appropriate budgeting is possible and conservation becomes a venue forcooperation, with the local government fully aware of its responsibility. Furthermore, each municipality
and prefecture have their own conservation professional that can facilitate the proper protection policies
and restoration works. At present, the action plan of the Philippine cultural agencies is the refinement of the
Heritage Law along with creating regional offices. This option of gathering support from other agencies
and ascertain their direct involvement can be adopted as an alternative consideration.
Ϻ.Improvement of Implementation duration.
For nationally-significant structures in Japan, the duration of the implementation of restoration work is
given adequate time which ranges from several months to years (5 to 10 years) depending on the neededintervention. This is one major solution that the Philippines can adapt to ensure that projects are not being
rushed and therefore the quality of restoration works done is maintained.
b. Adopting ways to make conservation a multi-sectoral responsibility
In my opinion, much of the administrative challenges in the Philippines stems from the rather centralized
approach to protection and conservation and limited mobilization of other sectors or agencies involved with
it. From the modules on risk and community-based conservation and management, I learned thatconservation is a multi-sectoral/ stakeholder approach sensitive to each function. The cultural agencies cantap into other agencies affecting the site.
Also, there should rather be a “people-centered approach” where everyone involved is given the chance toparticipate in conservation. Everyone willing can be enlisted and has a role to play. That way, we can also
nurture a “sense of ownership” and “sense of community” as a way to strengthen the attachment and values
to the community, and thereby promote its relevance.
c. Application and nurturing of traditional skills
One laudable effort that I think is very unique to Japan is its continued use of the traditional methodologies
in building construction and its recognition and support for traditional skills (i.e. the “master carpenter”).
The support for the specialized craftsmen who pass on the woodworking traditional skills to the next
generation is in itself conservation of the intangible. This not only ensures the survival and repair as theheritage structures need but also the survival of the perfected traditional knowledge.
Following this example and given the current situation in the Philippines, further research, documentation,use, and promotion of traditional knowledge may be a strong advantage to address the technical challenges
in the Philippines. Furthermore, the determination and recognition of the traditional craftsmen/carpenters
are also beneficial as a point for the conservation of the intangibles.
d. Conservation of resources
Much of the technical challenges not only in the Philippines but apparently experienced by otherneighboring nations stems from the problem of scarcity resources. The example of Japan is leading and lays
precedence on tapping its agency concerned with the environment to preserve areas for the protection of thetrees. These trees, as a sustainable and refillable material, may be used for any repair or restoration works.
The Philippines should, in my opinion, follow the example of Japan for such endeavor, to ensure theavailability of materials used for conservation. By doing this, other technical challenges (use ofincompatible materials, etc) are minimized.
ϫ. CONCLUSION: LONG-TERM AND SHORT-TERM PLANS

Given the above-mentioned learnings and solutions, the following shall be my personal goals in achieving
those ends as a conclusion to this final report:
a. Short-Termx Echo-seminar of learnings from the training program
One of the ways that I can share the learnings obtained from the training-course is to cascade theinformation, techniques, and concepts or approaches by means of conducting an “echo-seminar” of themodules or themes of the training-program at the office and in other places in the Philippines. This might
be in the form of technical assistance or information- dissemination as part of the NHCP mandate.
x Application of the learnings to ongoing works
The following are what I can do with the learnings on my ongoing or future works:
1. Technicala. Employing VALUES as a lens for better decision-making of conservation decisions;b. Adoption of documentation and survey technique on actual practice: attention to detail and being
mindful of the traces of past interventions;c. Improving knowledge of traditional skills through more research.
2. Managementa. Being sensitive to the needs of the community by hearing them out during stakeholders’ meetings
being done before, during and after any conservation workb. Minimizing risks through integrating mitigation measures or interventions in the restoration plan andadvocating disaster preparedness for heritage.
b. Long-Term
The following are long-term goals that are concerned with crafting general principles or guidelines that the
National Historical Commission of the Philippines can issue as a part of its mandate. These are items which
I can provide inputs from the learning of this training:




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Inputs on the crafting of unified principles and guidelines on wood conservation
Improving valuation methods/ value-assessment by involving the community
Research on traditional knowledge (techniques)
Establishment of modules on the risk awareness mitigation for heritage structures
Adopting community-based conservation (especially along heritage zones)
Conducting seminars about wood conservation and management

Sri Lanka

Final Report
Pubudu R. Samanthilaka
Assistant Director
Division of Architectural Conservation,
Department of Archaeology,
Ministry of Housing, Construction and Culture Affairs

INTRODUCTION
The training course on conservation and management of wooden structures was held from 04th September to
03rd October 2019 in Nara. There were 16 participants from 15 countries who have given me a great
opportunity to learn the knowledge on cultural values of their own countries.
This training course basically contained lectures, work sessions, group work and presentations, and on-site
study and all of them were very effective. Conservation practice for wooden structures in Japan,
documentation of wooden structures, damage survey and making restoration plans, risk management for
cultural heritage, preservation and succession of conservation techniques, and community-centred
preservation and management of historic towns were the basic topics of this course that helped me develop
my knowledge gradually.
The techniques for conservation and management of wooden cultural heritage in Japan is systematic andhighly appreciable. The collaboration between professionals, carpenters, community, and government
bodies; good management of documentation; adequate budget all together help me make a systematic
approach to heritage conservation. There are many things that Sri Lanka can learn and implement in practicalsense in order to protect and transfer our cultural heritage to the next generation.
DISCUSSION ON TRAINING OUTCOMES
The training was commenced with the participants’ country report presentations which helped me widen myknowledge and identify the issues on cultural heritage in Asia pacific region. In my presentation, I
emphasized the challenges that we are facing during the conservation, maintenance, and management processwith reference to the wooden structures. I believe that the content of the training gave me a platform to tackle
my issues which I have raised.
After the first lecture series I could realize the values, attributes, and negative and positive impacts of ourown case studies regarding to wooden structures. Authenticity should be identified not only from thematerials but also from the values, skills of crafts, presence of communities, use, context, traditional practice,and management system. Sometimes it makes debates in determining conservation measures in considerationof the authenticity of the cultural heritage materials specially when the authenticity is associated with wood.
It is important to understand the value of cultural heritage to facilitate decision making in conservation
process. The lectures on Japanese system and international perspectives on conservation and management of
heritage gave me an initial exposure to wooden architecture of Japan and systems for heritage conservation.
Comparing to Sri Lanka, massive structures of wooden materials can be seen basically in Nara, and those arestill surviving without any major defects. That is mainly because of periodical supervision and maintenanceby the authorized bodies or the community. That is one factor which I need to transfer to my country; torevisit the existing process of periodical inspection and restoration system.

Fig.1 Site inspection of restoration projects

In Japan, wood has been used for most of the constructions; temples, shrines, palaces, houses etc. It is also
used in almost all the building structures such as columns, beams, walls, doors, windows, roofs, decorative
elements etc. The wide varieties of wood species are used for the structures depending on the colour,
fragrance, texture, weight, durability, properties, geographical variation etc. Commonly used wooden species
are Japanese cypress and cedar. Since Japan has grown forests to source of timber, it is not difficult to findgood quality same species wood. But in Sri Lanka, wood sources are not available in the country and theoriginal timber is mostly being replaced by imported timber which is not the same quality as the existed one.
Lack of documentation is one of my issues in the conservation process in Sri Lanka. The two-day practicalsession at Tanaka Family Residence where we documented Japanese traditional house was a very productive
learning experience for me. As an architect, I have documented buildings during my career but this session
gave me more precise and accurate documentation skills. I learned it is important to observe each and every
corner of the structure and make it into the drawing. The photography session also helped me sharpen myknowledge on photography that is one of my hobbies as well. As the photography is important evidence when
making records of heritage sites and monuments, it is the aspect I have to improve for my work.

Fig.2 Measured drawing and photographic documentation at Tanaka Family Residence

The Tanaka Family Residence has been moved from the original location for the purpose of protection.
Whether the relocation has destroyed the heritage from the view point of authenticity is debatable. Manylecturers said that there is no single answer to the heritage problems, and therefore, we have to develop ourown way to protect our own cultural heritage.
The Nara Document on Authenticity was adopted in Nara in 1994, which expands the universal outstanding
values and embraces various concepts and issues related to cultural heritage both theoretically andmethodologically. Therefore, I think the Tanaka Family Residence will be one of the examples that Naramunicipal government has experimented in relocation successfully.
The four-day practical session on damage survey and restoration plan was a systematic method to gather all
the data onto a sheet and to make the restoration plan accordingly. That helped me identify decades of theelements and which elements have been changed because of series of restorations in the past.
To investigate the transitional history of the structure and select the best transition design with reference tothe values is one of the debatable moment for me. The difficult part was to make a restoration plan using theconcept of minimal approach to the original structure. In Sri Lanka, we rarely use the concept of total
dismantling and commonly use repairing or partial dismantling.

“Risk Management for Cultural Heritage” is a novel aspect for my career relevant to conservation ofmonuments and sites in Sri Lanka. We have not implemented a proper risk management system so far. But
after two-day presentations and group works on risk management, we were able to identify primary hazards,
secondary hazards, vulnerability factors which could make potential impacts on a heritage site ultimately
disaster risk. The analysis on Tenman Shrine which is a small-scale wooden building with mainly spiritualvalue and social value, and it is also a living heritage. I can easily apply the analysis to my case study whichis exposed to the risk of flood and landslide in rural mountain area.
In order to make continuity of authenticity in wooden heritage, Takenaka Carpentry Tools Museum in Kobe
contributes a massive input to the present and future generations. It is highly appreciated that their efforts totransfer the traditional knowledge through workshops and exhibition. It is important to preserve and succeed
the tools, the spirit of the carpenters, and awareness of the tools and techniques used in repair of traditionalbuildings from master carpenters to young ones.

Fig.3 Takenaka Carpentry Tools Museum for learning on carpentry through workshop and exhibits

In Sri Lanka it is essential to carry out identification and documentation of traditional techniques andcraftsmanship as we don’t have proper awareness of those and measures to pass to future generations. As
observed in the museum, we are going to support and empower the carpenters and their craftsmanship toincrease young carpenters who are really interested in cultural heritage through sharing knowledge withexperts in the field. The museum provided a better solution for the fading traditional skills in Sri Lanka as
well as some other countries.
There is less enthusiasm for heritage conservation among people especially young generation as a whole. It
is more common scenario that many countries are coping with the development of modern technology. I
visited the preservation district in Takayama, Shirakawa, Narai, and Kiso-Hirasawa where the local
government have been making good efforts to develop the system in communities to protect and utilise theheritage. During the site visit, I realized that it is also very difficult to maintain the balance between people’s
lives and heritage protection as they are living heritage.

Fig.4 Well-preserved townscape (Shirakawa village, Narai, and Kiso-Hirasawa)

According to the Antiquities Ordinance 1940, over 100-year-old constructions with heritage values are
declared as ancient monuments in Sri Lanka. The traditional vernacular houses built over 100 years ago areincluded, but we don’t have preservation districts or towns such as the system of Japan. I hope that this onsite study at the preservation districts will help me develop a conceptual idea for preservation of villages in
my country, which is my long-term plan.
࠶ࡾࡀ࡜࠺ࡈࡊ࠸ࡲࡋࡓ

Thailand

New Knowledge from Training on Conservation and Management of Wooden Structuresthat Can Utilize for Cultural Heritage Management in Thailand
Chayada Suwaratchupan
Archaeologist
Ayutthaya Historical Park,The 3rd Regional Office of Fine Arts (Ayutthaya),Fine Arts Department
A lot of new knowledge and ideas which I had learnt from the training course are able to be applied and help
develop the system of cultural heritage management in Thailand. This report will mention new knowledge andsome possible solutions that can be developed.
I. New knowledge from the training course (3 main topics)
a. Realizing the Values of Cultural Heritage: Most people know “value” but how to realize it is unclear. Group
work on value assessment provided me with the points that how we are able to interpret and presume values andwhat we will do and prepare for that situation.
b. Principles of Planning, method, and procedure for cultural heritage protection: The comprehensive way andsteps to manage the site are taken in order of priority based on the emphasized values and the attributes and theaction plan which suitable for each state is set up.
c. Community Connection: This topic let me know how important local people are, how to focus on therelationship with them, and how to work with them. I realize that the most attractive element of property is social
dynamics. It is not only the building and structure but also the sentimental value. It may increase economic worth
for the community and can make a circle of cultural heritage protection.
ᶚ. Possible utilization to cultural heritage management in Thailanda. Archaeological Research: I use the tool which Dr.Gamini Wijesuriya assigned us to work in group. That is the
key concept of conservation that can be applied for Ayutthya island, the ancient city designated as World Heritagesite. It is one of the world’s largest and most cosmopolitan urban areas and a center of global diplomacy andcommerce.
I will apply this concept in this fiscal year’s project (1st Oct. 2019 - 30th Sep. 2020) that we are arranging forarchaeological work at the Dhevasathan or Braman Temple which was the residence of the Brahmins who
performed the important royal and religious ceremonies for the Ayutthaya monarchy.
Monument Site
ValuesTo whom
Attributes
Factors affective
What would you do?
Benefit to?
Guiding principles

Dhevasathan or Bramani Temple, Ayutthaya
Sentimental value
Symbolic to the royal monarchy in Ayutthaya period
Braman Family
Archaeologist
Represent to root of Ayutthaya belief
Abandon Site
Archaeological work
Fine Arts Department (job duty)
Archaeological approach

Table.1 The key concept of conservation that apply for Dhevasathan or Bramani temple Archaeological ProjectIn addition, I will create the framework of archaeological research in 10 years to realize Ayutthaya’s social
dynamics and answer to the questions such as where the fists king of Ayutthaya came from, how he establishedthe kingdom, how Ayutthaya people managed water system, how they conducted supplying and trading, etc.

The long-term plan will include many different short-term archaeological plans that is challenging because everysite has dissimilar contexts of history, present ownership, and neighbour. Besides, the biggest problem is no
guarantee if the government will not appropriate the budget for the long-term project.
b. Cultural Heritage Conservation: Exactly I do not often document and measure the site by myself. Technician,architect, and engineer are in charge of these work. Through this training, I acquired better understanding of theirwork. The work session of documentation and planning for restoration instructed by Hayashi Yoshihiko,
Yamaguchi Isamu, and Kondo Mitsuo at Tanaka Family Residence and Tenman Shrine were very useful for theparticipants working in the conservation field. These procedures, especially survey method, are good model for
adapting monument conservation in my country.
Moreover, risk management is also useable topic as fire and flood often happen in Thailand. The easiest thingthat I can apply in short-term period is setting up the fire protection system such as fire extinguishers at locationof vulnerabilities and train and teach the officers how to use them. The fire protection system that we learnt from
Takayama city is also possible to adapt to my site because there are many ancient canals in Ayutthaya island. To
set up the fire protection system utilising these canals is the long-term plan.


Fig.1 Fire protection system in Takayama city

 Fig.2 Ancient canals, Ayutthayac. Community Management: This topic is so impressive. There are many cases representing the community
people’s participation in heritage protection especially in the preservation districts in Japan. This case is rarely
seen in my country. I think that this is the result from the efforts the Japan have been instructing and educating
community people since they are young. In the contrast, laws and rules for control are used in Thailand, whichmakes people’s participation quite difficult. I came up with an idea for these issues; trying or applying theanthropological method such as making good connection with community and interviewing neighbours about
necessity of documentation of historic site as well as their needs.
In addition, system and consideration for landscaping and repairing like the cases in Narai are very interesting.
Fine Arts Department of Thailand has similar consideration and rules for procedure and permission of building
construction, but government officers hardly have the opportunity to counsel with community people and ask
their needs. In Ayutthaya there are many cases reflecting this problem because this area contains the ancient cityin which ancient monuments are maintained by Fine Arts Department and the living city managed by CityMunicipal Office. Such a situation makes the issues very challenging but I learned some solutions to connect thepeople and officers.

      

Fig.3 Landscaping of preservation district in Narai 

Fig.4 Landscaping,
AyutthayaUzbekistan

Final Report
Saida Azimova
Senior Expert on Cultural Heritage
Preservation of Cultural Heritage Division,
Culture Department,
National Commission of the Republic of Uzbekistan for UNESCO
During the training course on cultural heritage protection in the Asia-Pacific Region “Preservation and
Restoration of Wooden Structures,” I had an opportunity to improve and broaden my knowledge andskills in the sphere of cultural heritage preservation especially wooden structures, which is new forme.
This training course gave me knowledge, hints, and points of improvement, even though it was such ashort period of time. I especially appreciate every instructor giving lectures on theory, followed bypractical sessions. The topics covered in the course were very broad and diverse, including cultural
heritage protection systems, documentation through measured drawings and proper ways tophotograph cultural properties, conservation and restoration, risk assessment, and management of
cultural properties.
In fact, Japan has numerous wooden heritage buildings and always gives intensive care to preservethem. Japan began to establish a legal basis for preserving architectural monuments from 1897. Every
practice to protect the existing cultural heritage here is governed by laws and agencies. Despite hugeadvances in technology, Japan has protected and remained its culture.
The inclusion of many different categories in the cultural properties register of Japan is an impressive
way to ensure that the best conservation methods are applied for each cultural property.
Although it works effectively in Japan, it would be very hard to make it work in Uzbekistan due todifferences between the Japanese system and the current system used in our country. We currently
have one inventory detailing all the heritage sites in the country. We began to revise and update the listin the past, and this process is still ongoing. As mentioned above, we lack proper laws and guidelines
on how to look after and protect our heritage sites. However, I obtained a lot of information andknowledge on many methods for improving the system in Uzbekistan. It may be possible toimplement some aspects of the Japanese legal system in the sphere of cultural heritage protection in
Uzbekistan.
Firstly, assigning responsibility to local governmental bodies for sites which are located within the
territory of these local regions or areas. Strengthening both superior and local authority, developing
special regulation, and ensuring a sufficient budget allocation will have an influence on building aneffective system of control and monitoring by governmental bodies.
Secondly, creating and implementing specific guidelines for restorers and architects who areresponsible for the preservation and restoration of cultural heritage. The development andimplementation of new guidelines or instructions and regulations is very important to protect ourcultural heritage in Uzbekistan.
Through site visits we were able to see how the sites were managed and utilised in Japan. For instance,
our visit to Shirakawa village was surprisingly interesting. The local community plays a major role inprotection of their cultural heritage.
But in the case of Uzbekistan, this role has always been played by the central government. The
involvement of the local community is very important in protecting the cultural heritage of the country.
Apart from these, there is no specific law or legal governing body to protect individual or groups oftraditional buildings in historic towns and rural settings, which are occupied by people and form a partof the tangible living heritage, where the ownership pattern is private. There is an urgent need todevise a strategy to protect these traditional buildings. Japanese system of preservation andmanagement of group of traditional buildings is a good case study and reference material.
As a developed country Japan has contributed much to preserve and protect its cultural heritage. One
approach that I found very interesting and probably the most useful to Uzbekistan is the government
subsidy program. The extensive number and range of cultural properties protected by thegovernmental bodies of Japan benefit hugely from the subsidies provided annually, which can be as
high as 80 or 90 percent.
But in Uzbekistan the funds for restoration of historically significant architectural buildings that areunder private ownership have to be generated on their own. The government subsidy programme is aninteresting approach and our organization as a consultant to the respective organisations in elaborationof legislation would like to work on the implementation of projection the subsidy programme in
Uzbekistan. It would be interesting to gauge how such a system can be used for cultural sites and push
heritage for tourism to the forefront.
Practical training in documentation of the Tanaka Family Residence was a very good experience forme. It was my very first time drawing a floor plan and cross-section of an old vernacular house. At
Tanaka Family Residence we were also taught the importance of taking photographs and learned basic
knowledge of photography for cultural properties, which was a good experience to know more about
how to take detailed and precise photographs. As a culture specialist I will use these knowledge andskills for observation of future World Heritage nominations, reports and other documents. As part ofour job we coordinate the projects on research of historic sites, and always need a good camera andgood photography in recording and explaining the sites and artefacts.
Accordingly, from the site visits and on-site lectures during my training period with regard to risk
management, I learned methods and approaches on how to take precautions against such disasters,
how to assess damages after disaster, which I will share with my colleagues working in those sectors.
The water guns are one of many things that I found to be useful to Uzbekistan. It is the general
preparedness and proactive approach rather than waiting for disaster before addressing it. The generalplanning and utilisation of practices is what I can incorporate into the general planning phases of a
project. It is not only proved to be a well thought out plan but the implementation of the plan in sortingout the logistics and making sure that such countermeasures against disasters are also aestheticallypleasing and well placed and disguised. Such an approach would be beneficial to our country and canutilise some of the creative ways of hiding such important safety measures within reach but not so
visible and make them blend in more with their surroundings.
Furthermore, information board in four languages we saw in Kiso-Hirasava and QR code to make theexhibit interactive are very important details of preservation and popularisation of cultural heritage
properties.
The successful implementation of that ideology in Uzbekistan may take longer than in Japan, but
working to promote this concept to the local public and the higher authorities in the government will
be one of the priorities of my work in the future. I believe that these few criteria I have chosen could
be something to start with on a small scale, as we are very limited in terms of budget, capacity, andlogistical constraints to venture out on a larger scale.
I have found that all the approaches can be utilised and this is something I will be sharing with mycolleagues and discuss all the materials I will be taking back with me. Also, I realised that myparticipation in the training course will significantly expand my collegial networks, will help me keepin contact with specialists from different countries of the region, to obtain access to their experience,and to share specific knowledge and techniques in my home country.

Viet Nam

Survey, Planning, and Training to Build a Team of Collaborators and Volunteers
for Disaster Risk Reduction in Ancient Town
Vuong Phuc Tu Tuoc
Conservation Engineer
Department of Relics Restoration,
Hoi An Centre for Cultural Heritage Management and Preservation

1/ Background
In Hoi An Ancient Town total of 929 houses are in private ownership, 120 are collectively owned, and 205 arestate-owned. Almost all of the wooden architectures meet the outstanding universal value. Numerous local
residents live there continuing their daily traditional lifestyle. One good thing is that conservation shows goodresults every year thanks to consensus between local government and local people.
After restoring, the state-owned heritage buildings have been re-used for various purposes as museums andgovernment offices, etc. and privately-owned heritage buildings have mainly been re-used as shops or restaurants,
etc. The conversion of heritage buildings in the old quarter of Hoi An into commercial space such as shops andrestaurants have been actively promoted by municipal authorities. While it has been successful in terms ofgenerating tourist revenue, it caused the degradation of the integrity of the heritage assets. Very few traditional
shops catering to the residents remain in the old quarter and family residents have significantly reduced.
1. 2 Challenges in Conservation of Wooden Architectures
1.2.1: Indirect reason:- Cultural imbalance: development of tourism, cultural invasion
Too many people visit, trade, provide services, do business and live in the ancient town, which is causing
overload. The overload causes difficulties of waste, drainage, and traffic management. The risk of damaging
the relics and urban infrastructure system is increasing highly.
- Climate Change:+ The sudden increase of rainfall, storms, or prolonged drought does not follow the natural rule of hundreds ofyears.
+ The most pressing problem is the flood occurring every year. Water and mud from the river damage the lower
parts of houses (inside and outside) in the ancient town; the interior of houses is immersed in water, whichcauses deterioration. Especially wooden structures are destroyed and relics are downgraded every time theflood occurs. The risk management of wooden relics is limited and preventing the yearly flooding inside thehouses is nearly impossible.
+ Though it does not occur every year, typhoon is also a problem causing severe damage.
1.2.2 Direct reason:- Many artisans are getting older and the young generation has almost no successor.
- Deforestation and forest exploitation indiscriminately lead to depletion of indigenous wood materials forrenovation; today, we use the imported wood material from Africa and Malaysia for renovation work.
- As wood and other easily inflammable materials are used as building materials, the outbreak of fire is a hugerisk. This is still a potential problem: many old houses and restaurant use gas for cooking. Although there aremany inflammable materials inside the houses, fire is not always extinguished and handled carefully.
Additionally, fire implementations are not at the highest standards.
- Termites also cause a lot of damage, especially to wooden structures inside houses.

2/ Action Plan:
Survey, Planning and Training to Build a Team of Collaborators and Volunteers for Disaster Risk
Reduction in Ancient Town
2.1 Object:+ Build, training collaborators and volunteers for:- Prevent, extinguish fire and mitigation natural disaster- Aid the victims in case of fire or natural disaster.
+ Action with slogan: “4 in places”- human resources in place- equipments in place- logistics in place- commander in place+ Examine and upgrade fire prevents and extinguish equipment
2.1.1. Who join program:x Head and Deputy of the group population
x Officer of local ward.
x Volunteer (who live in group population)
2.1.2 Agencies participating in the program:x Hoi An People’s Committee:
General managementx Local ward Committee
Administrative management residential areas
x Police fire department
Training and join extinguish firex HoiAn District Health Bureau
Training first aidsx HoiAn Center for Cultural Heritage Management and Preservation.
Training to prevent degrading monuments
Supervisor, Executive Manages team and collaborators
2.2 Task of Program:
2.2.1 Preparing for Action Plans:

1

1.1

1.2

Activity

Parties

Subject

Assessing actual situation prevent,extinguished fire and disaster
reduction in population
communities of ancient town.

- HoiAn Center for Cultural
Heritage Management andPreservation (HACCHMP)- HoiAn People’s Committee.
- Local ward Committee- The situation damage of monuments- Awareness and knowledge of people inancient quarter for disaster prevent- The infrastructure of ancient quarter fordisaster prevent

Survey and evaluation of manpower

Survey and evaluation of equipment
and infrastructure- HACCHMP- Local ward Committee- Survey the current state of populationand labor statistics for planning- Survey available equipment for disasterprevent (fire and natural disasters)

- Table plans for building collaboratorsand volunteer disaster prevent based onhuman resources are available inpopulation quarters areas.
- Purchase, upgrades and additional
equipment missing and damaged.

2

Find and Build suitable solution- HACCHMP (main duty)- Local ward Committee- Police fire department- HoiAn District HealthBureau.

3

Submit for approval and funding
for the project- HoiAn People’s Committee.
- HACCHMP- Approving the plan and allocate funds
for implementation

Parties

Subject

2.2.2 Developing for Action Plans:
Activity

4

5

Procurement additional equipment

Establish, Training collaboratorsand volunteers of populationgroups

5.3

Training prevention and control
collapse for relics
Trainings aid the victims in case offire or natural disaster.
Trainings prevent and extinguish fire.

5.4

Trainings use equipments.

5.1
5.2

6

Experimental and Deployment- HACCHMP- HoiAn Department of
Finance and planning(Supervisor)- Upgrade equipment for fire and disasterprevent.
- First Aid Equipment- HACCHMP- Local ward Committee

Establish a team of collaborators andvolunteers in each population quarters
area :+ Head and Deputy of the group
population, Volunteer (who live in group
population)+ Officer of local ward.
+ Volunteer (who live in group
population)- HACCHMP- HoiAn District HealthBureau.
- Police fire department- Local ward Committee- HoiAn People’s Committee.
- HACCHMP- HoiAn District HealthBureau.
- Police fire department- Local ward Committee

Training prevention collapse of monument
in disaster.
Training first aids.
Training fire prevents and extinguish.
Training use equipments.

Test and deployment activities.

2.3 Timetable(See attachment)
3. Finacial Support:- Funds from the annual budget of the local.
- Funds from National Prevention Disaster program.
- Funds from the conservation program.
- Find more funding of equipment from other organizations and foreign governments.

4/ Conclusion:
In the time of the studying experience in Japan, I've noticed many similarities and common problem for the
heritage buildings in Hoi An is similar to traditional buildings in Japan. Hoi An world heritage does not affectedby the earthquake and tsunami like Japan. But the risk of fire to the wooden architecture, the impact of storms
and floods every year is available. Although it is not too late, it is an urgent problem that we have the opportunity
to prevent. Thus the construction of a concrete plan to link the prevention, mitigation, rescue and disaster recovery
is necessary than ever.

Survey andevaluation of
manpower

Survey andevaluation ofequipment andinfrastructure

Find and Buildsuitable solution

Submit for
approval andfunding for the
project

1

1.2

1.3

2

3

PREPARE

Assessing actual
situation prevent,extinguished fireand disaster
reduction in
population
communities ofancient town.

2019
1 2 3 4 5 6 7 8 92.3.1/ TIMETABLE FOR PREPARING:

10 11 12 1 2 3

2020
2021
4 5 6 7 8 9 10 11 12 1 2 3 4 5 6 7 8 9 10 11 12Establish,
Training
collaborators andvolunteers of
population groups

5

Trainings aid thevictims in case offire or natural
disaster.

Trainings preventand extinguish fire.

Trainings use
equipments.

Experimental and
Deployment

5.2

5.3

5.4

6

for relics

5.1 and control collapse

Training prevent

Procurement
additional
equipment

4

DEPLOYMENT

2019
1 2 3 4 5 6 7 8
9 10 11 12 1 2

2.3.1/ TIMETABLE FOR DEVELOPING:
2020
2021
3 4 5 6 7 8 9 10 11 12 1 2 3 4 5 6 7 8 9 10 11 12

III.Regional Workshop
Training Reports

Practical training on shooting stone inscription at National Museum of Cambodia

Chea Socheat
Vice Chief of Office Conservation
Conservation Office, National Museum of Cambodia

I have learned a high-quality photograph shooting on the artistic objects and the functions of the camera.
Moreover, throughout the workshop, I am able to improve my shooting skills in order to shootphotographs with a proper exposure and brightness which is really useful in my daily work. I also learned
how to properly store the photographs.
This is the first and only experience I can ever imagine. It is not easy to take a good picture as we haveto find a proper position and creative ideas in order to present our ideas about each artistic object.
Von Noeun
Metal Conservator
Metal Conservation Laboratory, National Museum of Cambodia
I, Von Noun, am an official of Department of Museum, workshop and metal conservation ward.
After attending this training course on The Conservation of Cultural Heritage, I have gained a lot ofknowledge and skills such as:- Camera selection- Position selection for photograph shooting
How to install and secure tripod and lighting kits
- Lighting preparation- How to use camera functions- Data (photographs) storing in computer- Camera cleaning and maintenanceAs I have mentioned during the workshop, I have never received any training on photographing
technique from any institution. I learned the techniques from other people. That is why my skills arelimited.
After attending the training workshop, I know that my photograph shooting skill needs a lot of
improvement, and the skills which I have learnt are the key points that I need the most in my daily work.
After the training on The Conservation of Cultural Heritage, I will apply the skills and experienceobtaining from this workshop to my daily work and improve my specialty as well. Also, I will share thisknowledge on photography to officials in the relevant institutions and students who are interested in thisskill.
Last but not least, I would like to extend my sincere thanks to the Management and relevant officials
who conducted this training workshop as well as to thanks to professors and lecturers from ACCU forspending your valuable time to teach the cultural heritage photographing skill to all trainees, and thanks
to the facilitators who coordinate the whole workshop to run smoothly from the beginning until the end.

Eng Sitha
Ceramic Conservator
Ceramic Conservation Laboratory, National Museum of Cambodia
I, Eng Sitha, am an official of Department of Museum, workshop, conservation and repair of pottery
and ceramics object ward.
I have never received any training on photographing technique from any institution. I learned thetechniques from other people. That is why my skills are limited. After attending this training course on
The Conservation of Cultural Heritage, I have gained a lot of knowledge and skills such as:- Camera selection- Pre-photographing preparation- Position selection for photograph shooting- How to install and secure tripod for shooting artistic objects- Lighting preparation- How to use camera functions- How to choose pixel sizes- How to store photographs- Camera cleaning and maintenance- How to shoot small and big immovable artistic objects
After attending the training workshop, I know that my photograph shooting skill needs a lot of
improvement, and the skills which I have learnt are the key points that I need the most in my daily work.
After the training on The Conservation of Cultural Heritage, I will apply the skills and experienceobtaining from this workshop to my daily work and improve my specialty as well. Also, I will share thisknowledge on photography to officials in the relevant institutions and students who intern in theworkshop, conservation and repair of pottery and ceramics object ward in order to know how to shootartistic objects that need to be repaired.
Last but not least, I would like to extend my sincere thanks to the Management and relevant officials
who conducted this training workshop as well as to thanks to professors and lecturers from ACCU forspending your valuable time to teach the cultural heritage photographing skill to all trainees, and thanks
to the facilitators who coordinate the whole workshop to run smoothly from the beginning until the end.
I would like to wish the Management, professors, lecturers and staff of ACCU a happiness, prosperity,
good health and success.

Kong Kuntheary
Textile Conservator
Textile Conservation Laboratory, National Museum of Cambodia

Throughout the 6-day training workshop, I have gained new knowledge on cultural heritage objects
photography which is the first and new training I ever received so far. The cultural heritage objects
photography is difficult as it requires a high-quality photograph. To shoot a high-quality photograph weshould:1. Select camera types
2. Know how to use camera functions such as:
x Aperture and shutter speed
x ISO
x Relationship between aperture and shutter speed
x Proper exposure and Exposure correction, etc.
When we put this cultural heritage objects photography into practice, we must keep the original
photograph without editing. To get a good shot, we must know about:
1. Focus
2. Lighting
3. Camera kits installation, etc.
- Menu setting
x Mode setting
x Previewx White balance settingx Picture selection, etc.
After this workshop, I will properly apply the skills I have learned to my work as well as to teach mycolleagues who have not attend this workshop. If there is something unclear, I can ask my friends or the
professors for further explanation. The textile workshop is lack of camera specialists. While theworkshop has only the low-end camera, which could not take good images, I will do all the best I canto properly capture the photographs.
Even though the lecture and the training were too short, as a conservator and the repairer of the cultural
heritage, I must know how to properly shoot the photographs and store those photographs in accordancewith the technical requirements in order to make it easier for the researchers and the next generation.
Last but not least, we, the trainees, would like to extend our sincere thanks to the Japanese professors
and staff for sharing the skills needed for our team.
We wish the Japanese professors and staff a good health and success.

Sun Linada
Civil Servant of Education Office
Education Office, National Museum of Cambodia


Cambodia is still a developing country which need many human resources to help develop our country.
In order to archive the goal, aids and supports from all country around the world is the crucial factors.
Japan is one of great country who support us in nearly all sectors such as sport, education, etc. Culture
sectors was also got a lots aids and support from them in many activities such as conservation project,
excavation project, training and workshop, etc. Obviously, from 18th to 23rd November 2019, AsiaPacific Cultural Centre for UNESCO of Japan and Ministry of Culture and Fine Arts of Cambodia coorganised a workshop for cultural heritage protection about “Photographic Documentation” to 15
Cambodian cultural officers in Phnom Penh, Cambodia.
I feel so honor to be selected for joined and learned many new techniques relate to photographic
documentation that I never known before such as:










Mechanism of camera: type of camera, knowledge of lens, sensor, knowledge of exposure(aperture, ISO, shutter speed), image quality, timer, image style
Shooting setting: tripod setting, shooting technique
Image: function of image, foundation of color, color temperature, knowledge of pixel, techniqueto set custom white balance with gray card to caught real color from artifact
Lighting: how to set lighting, lighting reflector, knowledge of lighting reflection
Shooting stage: setting of background, how to set stage depending on each artifact (ceramic,
textile, stone, metal), size of artifact (small, big, unable to move), and direction of artifact (above,
below, left, right)
Media storing: Memory card (transfer only), HDD (3-5-years backup), CD-R, DVD-R, BD-R
(easy to transfer to many people), Microsoft Excel (Note for easy to search)
File type: RAW (able to edit and color correction with Camera Raw in PC), JPEG (color alreadycompressed effect to quality), TIFF (color stability to long future)
Building Shooting: Some technique about sunlight, focus and flash light
Camera Cleaning: Sensor and lens cleaning, tools for cleaning, cleaning process

After participation, I can manage my work related to photography more suitable and technical. Exactly,
nowadays I don’t work directly with heritage photography but I can apply some techniques related tocamera function with my photography skills to capture more quality and suitable images in workshop,
exhibition, handover ceremony, etc. In addition, I can share my knowledge from the workshop to mycolleagues who work directly with heritage photography in order to capture more professional images
with international standard that could store as documents easier to manage, as evidences to file complain
for illegal heritage trafficking in the future. Lastly, I hope to work directly with photographic
documentation in the near future and I will try my best what I have been learned through the workshop
in real-time job.
In conclusion, I show all my respect to ACCU team and the Ministry of Culture and Fine Arts for coorganized the workshop that provide not only knowledges but also experiences in real-life job to me as
individual and all other participates as a whole. I determine to apply all knowledges that I got from theworkshop for my daily occupation to develop my skills along with technology generation.

Khuoy Suosobranith
Government Official
National Museum of Cambodia
After attending this 6-day workshop, I gained new knowledge and skills on how to properly shoot artistic
object photographs in accordance with the standard. This workshop is a key capacity developer for ourofficials in culture sectors to better register and record the data.
I will apply the skills I have learned from this workshop to my daily work with efficient and high-quality
manner as well as to teach other officials who missed the chance to attend this workshop.



Hang Chansophea
Technical Officer
Angkor Conservation (Siem Reap Province), Department of Safeguarding
Preservation of Monuments, Ministry of Culture and Fine Arts

When I had been participated in the workshop, I thinks very useful for my daily work. Because I workon inventories art objects at Angkor Conservation. It’s large scale of national level have storage rooms
for the art objects need to conservation and managements. Inventories of artefacts is my main task andresponsibilities. Example, photograph before and after restauration, photograph artefacts before
transfers to other institutions for the purpose of conservation such as Nara institute for restoration
Western Top temple, National Museum in Phnom Penh, Angkor Museum and Preah Vihear Museum.
In the past, I had been tried many times to improve my shooting art objects for inventories purpose.
when I got the photograph still poor condition. In later, after I joined this workshop I known and improve
more skill than can be manage idea and tools to support in the period of shooting in next step at myworking place. It’s great skill for me to responsible at work.
Great times, met trainees from differences provinces and working place can be share experience andideas in the training period. We can keep contact for next times for improve work situation.
I will bring all of my experience from this workshop to share with my team work at Angkor Conservation.
Because the photograph of artefacts is a part of the evident of documents concern on national heritage
value nee to preserve.
Most interesting experience was learned from the workshop is digital management doc and maintenanceof photograph equipment tools. Digital managements system had been learned it is great concepts to me
can me take as module for digital management system at my working place.
I am suggested that please continue workshop in the future because staff need to improve skill
for sustainable development work on cultural heritage conservation. Because technology system weredevelopments need to follow up in the purpose for protect value of culture heritage property.
Thank you for allowed me on the schedule than made me improve great skill to my work processing at
Angkor conservation in current time.

Kheng Sokleng
Deputy Head of Bureau
Department of Antiquities, Ministry of Culture and Fine Arts

Throughout this workshop, I obtained some basic knowledge related to photographic techniques for
cultural heritage. I would like to mention 5 points describing what I observed and learned during thetraining:
1. Basic knowledge on camera: Understanding the process of camera when using it.
 Understanding the two types of camera such: film camera and digital camera with memory.
Camera is divided into two parts: lens and body. There are also interchangeable lens cameras
and fixed lens cameras. The interchangeable lens cameras have more photographic functions
than the other.
 Understanding some functions of the camera such as aperture, ISO, shutter speed, pixel, andcolour temperature.
 Understanding the mechanism of photography
2. Photo scene setting:Trainees learned about scene setting for photographing both moveable and immovable objects asfollows:
 Using lighting accessory: understanding sufficiently lighting for photographing objects, lighting
location, how to use light diffuser films to soften light and a reflection board light to reduceshade, etc.
 Two techniques of lighting: one is to use direct light without a diffuser to reduce brightness. It
can take a clear photo of the sculpture depth particularly when photographing inscription andlower sculptures. The other technique is to use a diffuser to soften light from projection on tothe object and so as to reduce the shadow over it.
 Equipment: understanding how to use the equipment for setting up the shooting table such as
electric bulb, diffuser, reflection board, glass board, scissors, tape, blank paper, PVC pipe,
background carton box, and other materials which can be used for the set. In addition, we havealso learned how to keep the balance of equipment in order to prevent them from collapsingleading to damage of the important objects. The other important material for photographic work
is grey card. Grey card has two sides, each of which is grey and white. It can help camera withsetting the colour temperature of the item in any brightness location.
 Shooting techniques: there are many types of shooting techniques based on the objects to be
photographed. In this training, I learned three types of them as follows:
1. Front shooting: it is a shooting technique where the camera is placed in the front andthe white background is set. This shooting is used for photographing objects that aresmall, medium and big and movable such as pottery and ceramic, statue and scripture.
This shooting technique may also apply to a big immovable object such as big statue
and stone inscription, etc., and in this case, the light may be projected directly onto theobjects without using any diffuser to ensure the sufficient lighting or to make a shadow
on the depth of the scripture or the inscription stones, etc.
2. Overhead shooting: this shooting technique is conducted by placing the camera on theobject and the background is organized in the lower part. This shooting uses glass board
which is placed on their supports above the white underneath background so as toreduce the shadow over the object. This shooting is suitable for photographing small
objects, photos, old documents, small inscription stone or other statues, etc. However,the lighting is varied to the actual status of the objects, for example, photographing

inscription stones, old documents or photos, a diffuser is not required to projectsufficient light on the fixture and the format of the instruction letters to be clearly seen,
while the location of the lighting is not different.
3. Horizontal shooting (textile shooting): This shooting technique is used to photographclothes, silk, and ink rubbing paper of stone inscription which may be big or long. The
lighting is required in this shooting technique to ensure the clear picture as per the actual
colours of the objects and the preferences of the photographers. The background shallbe grey in order to reflect the surface of the silk or inscription pieces that is white.
Background: Background will be white paper or cloth but should not be in other colours that
result in changes of the actual colours of the objects to be photographed due to the reflectionof the colour of background. The black background should be avoided as well because it isdifficult to detect the shadow of the object and it is also hard to distinguish the deference
between the surface of the object and the surface of the background.

3. Setting mode:
Setting mode and functions of the camera are vitally important for photography in the heritage sector.
During this training, I learned how to choose the correct setting mode and functions of the camera forphotography in the heritage sector in order to produce a clear and high-quality picture. In taking photos,
we have to set modes and functions of the camera (Cannon camera) as follows: Turn on the camera, then select mode “AV” and make sure that the camera’s lens is taking on
mode “MF” (AF-MF).
 Setting “Aperture”: Select Aperture mode to the middle level which is between the smallest
value and the biggest value (representing by F) according to each type of the camera that comewith the different Aperture. For photographing an archive, we may set the Aperture to the big
value so that the shutter speed will be ensure without any vibration so the good and clear photowill be taken.
 Setting ISO: Set the ISO to the lowest value representing by 100. The higher value of the ISO
is set, the shutter speed will be faster, but the quality of the photo will be decreased.
 Image quality: The type of photo file is set according to our preferences, for example, RAW
or JPEG, etc. In the training, we decided to select file “JPEG” for photographing.
 Picture style: For picture style, the mode “neutral” was selected.
 White Balance: For this setting, mode “custom” was selected.
 “Custom white balance”: Shooting the white side of grey card to set the colour temperature on
any location of the object. To do this, we have to place the grey card next to the object and set
the lighting as we prefer, and then shoot very closely to capture the white side of grey card
clear, avoiding the card from being blocked by the shadow. After shooting a grey card (whitesite), we have to set custom white balance, enabling the camera detecting the colour. We haveto go to Menu and select on “custom white balance” and then select “OK” to confirm.
All above-mentioned points are the most important parts for me in the training. I want to use all training
outcomes in practice to take a photo effectively.
4. Photographic Techniques
After setting the mode of camera, next step is to organize the photographing and detect the angle of theobject to be photographed. To make a good shot, we have to check the camera stand and the balance ofthe camera. To make a clear shot, first we have to focus on the point of the object to be clearlyphotographed. For focusing point, we have to set the middle point of the front surface and the back partof the object to be photographed by pressing the zoom button. When a point of the object is well focused,
the style or the surface of the object will be clearly shot. If the other points are yet to be seen clearly as
per our preference, we may have to press a button next to the inner of the lens so as to view the clarity
and check the Aperture.
When set of the focus is done, we have to return to the normal zooming position before starting to shoot.
Before pressing the shooting button, the balance of the camera must be ensured because if the camera isvibrated, the shot will not be clear enough. To ensure the balance of the camera, controlling code may
be used on the camera or the shooting timer will be applied so that we don’t have to touch the camera.
Moreover, when shooting a building, we have to set mode according to the description in point 3 above,
but we have to use a flash to enhance the lighting so that the dark location will be clearly captured or to
reduce the lighting from outside. For shooting the picture of object or building, camera setting depends
on our preference or the actual status of the object to be photographed.
5. Data storage:
In this section, we learned how to store photo data of any heritage objects. We understood about thetypes of data storage devices that may be stored and compatible with computer and other operational
systems. There were three data storage devices mentioned in the training.
1. SD, CF, USB
2. HDD
3. CD-R, DVD-R, BD-R
About these three types of data storage devices, we learned basic function, specification, and weaknessof each type. The lifespan of these devices is 5-10 years and they have high risk of losing or damaging
their memories.
Therefore, in order to protect the data from loss, the original data shall be copied to the other storage
devices and copied them into more devices. We need to check the format of the photos in order to avoid
damaging or losing the old photos or original files as well as store the original files in a separated location.
To do this, we have to create a folder to store the data according to the type and put them accordingly
to make it easier to be found in the future.
Conclusion
This workshop provided me with the opportunity to practice photographing. I practiced the front
shooting of deity statue’s head; the overhead shooting of fragment of pottery and ceramic, Phnom Da’s
Vishnu, Pre Rup temple’s inscription stone, and ink rubbing paper of stone inscription; and the terraceof the Leper King’s building. After the training, all trainees received the comments and feedback fromthe instructor Mr Sugimoto Kazuki who explained and instructed us to improve our knowledge ofphotographic technique through the practice sessions.
I am very pleased to attend this training on photographic technique for cultural heritage. Even though
the workshop is short, it is very beneficial to build upon my existing capacity and useful enough to makemy daily work more effectively. I will apply the result and knowledge I gained from this training at mywork place particularly for the inventory of ancient artefacts that are unregistered yet and requires skilled
and professional photographers for documentation.
I would like to take clear and proper photos for documentation so that the information of cultural heritage
will be stored for a long-term period for our young and next generations. The new knowledge gained
from this training will be useful for my personal capacity development and help me improve my present
weakness. In addition, these photographic techniques and new knowledges gained from this workshop
will be put into practice in my daily work and will be shared to other civil servants (colleagues) who
were unable to attend this training, particularly those who are in charge of photographing and registering
heritage objects at the heritage sector of capital and provincial departments so that they will have basic
knowledge of photography for heritage objects.



Tol Marady
Technical Officer (Museum Office)
Heritage Division, Department of Culture and Fine arts, Kratie Province
I would like to extend my sincere thanks to the instructors and facilitators of ACCU Nara as well as theofficials from the Department of Museum, Ministry of Culture and Fine Arts, Cambodia for your efforts
to conduct this workshop. Even though the duration of this workshop is short, but I have gained newexperiences. Below is the summary of what I have learned from this workshop:
Theories and techniques of using cameras:
 Principles and benefits of photography for heritage conservation works
 Types of cameras (film cameras and digital cameras)- For film cameras: The bigger the film size, the clearer the image.
- For digital cameras: The bigger the pixel in the camera, the clearer image it can produce.
 Camera functions and roles (sensor, pixel, aperture) Advantages and disadvantages of files types such as:- RAW is an original image file which can be converted into other file types.
- JPEG is an original image file which cannot be converted into other file types.
- TIFF is an image file which cannot be compressed.
Photographic technique practical training: Exposure setting and the level of brightness that can produce a clear and high-quality image.
 Photograph scenes setting, studios and other location preparation for both indoor and outdoor
shooting.
 How to securely store the image files and how to maintain the cameras.
I am able to apply the know-how gained from this workshop to my daily work as well as to deal withthe challenges we have been facing during our works in the museum.
I am going to re-document the photographs of each ancient object stored in the museum since theprevious photograph documentation contains low quality images, lacks of photographic techniques, does
not deliver the details and key features of the objects. So now I know the importance of photography aswell as the methods to securely keeps those photographs for a longer period.
Moreover, I am able to apply the know-how to my other works related to photographing special
immovable heritage, ancient temples, and other historical sites exposed to the nature and human. I know
how to properly use the camera now, so I can share my experiences from this workshop with mycolleagues as much as possible.

Dy KeoTechnical Officer (Museum Office and Heritage Office)
Heritage Division, Department of Culture and Fine Arts, Battam Bang
Province

As per an invitation No. 189 of the Ministry of Culture and Fine Arts to invite participants to attend theworkshop on heritage protection, which was held on November 18-23, 2019. I arrived Phnom Penh inthe evening of November 17, and on the next morning, I attended the opening ceremony of the workshop
on which was presided over by H.E Prak Sovannara, the Secretary of State, representative of Her
Excellency Minister of Culture and Fine Arts, accompanied by the Ministerial Delegates and instructors
from Japan (ACCU Nara) as well as the trainees at the Angkor Wat Hall inside the Ministry of Culture
and Fine Arts.
After finishing the event at Angkor Wat Hall, trainees went to Preah Vihear room for the workshop. At
that time, all instructors and trainees introduced their names, positions, learning objectives andchallenges in their respective entities. After that, the Japanese instructor explained the generalknowledge on photography for cultural heritage as well as photographic mechanism as follows: Roles and photo types in the heritage section: Photography relates to work, research, and preservationand its role is to provide a documentation with good quality and detailed information of cultural
heritage so that it can be kept for the next generation people.
 Camera types: film camera and digital camera Film camera: the bigger the film is, the clearer the photos provided
 Digital Camera: the bigger of the sensor and camera results in a good quality of photos
 Specification of digital camera: It depends on the specs, photos types, CCD, and its pixels.
 How to save digital photo: RAW, JPEG, and TIFF are the different types of data. When taking photos
in RAW type, the data can be converted to JPEG and TIFF through computer.
 Photographing mechanism: When taking photos, we firstly need to understand aperture, shutter speed,
ISO to adjust brightness of the photo. Use a fast shutter speed and wide aperture and high ISO for
short and unclear item. Use a slow shutter speed and narrow aperture and low ISO for high and clear
item.
 Lighting direction: Setting light at a correct angle is an important point for photographing goodquality photos and documenting the information of cultural properties. There are three types oflighting: main light, side light, and back light, which can help improve the quality of the photos.
 Shooting plot: How to shoot the object changes according to the photo’s concept and our needs andpreference.
 Data storage: There several types of storage drives such as memory card, hard disc and optical disc
(CD-R, DVD-R). For memory card, we should use it when storing photos and copying photos into
computer, and we should not delete it because it can be damaged or the problem might be occurred.
Hard disc is used for storing huge and big data as well as copying data from computer to safe storage.
Optical disc is also a storage device which can be used for storing data for a short period of time
because it is easy get damaged. In order to properly keep the data, we should keep it in a cooltemperature and in many difference devices, not only in one device.
 Installing camera: For photographing cultural properties, it shall be done step by step depending on
the brightness, focusing, camera installation in order to make the photos clear and can be kept for the
next generation.
After attending this 6-day workshop, I aquired general knowledge as follows: Different types of camera: small cameras, film cameras, digital camera
 How to store the photo data How to set up the shooting platform How to set up lighting: It is important for improving the quality of image.
 Pre-photographing process: Set the camera as AV mode, check aperture at central point (9,10,11),select the Quality Image and photo size (18M), and select the Picture Style and Neutral. Then, takea photo of the blank white paper and select the Custom White Balance.
 Techniques of photography for movable and immovable cultural properties
 Installation of camera Camera functions
I will share new knowledge I leant from this training with my colleagues who didn’t have opportunity
to attend the training. Even though I don’t understand the lesson deeply, at least it will become a basic
knowledge for further study.
Lastly, I would like to thank the officials of the ministry, especially the Director General of the General
Department of Heritage and Department of Museum for their cooperation with ACCU Nara to makethis workshop in order to provide knowledge to all the trainees.

Khat Somorn
Technical Officer
Heritage Division, Department of Fine Art, Prey Veng provinceBefore attending the workshop, I didn’t know how to correctly set the functions of camera and I simply
used the default setting (auto mode). For photographing, I have never compared the quality between the
picture seen by eyes and the taken photo. I only focused on how to make a sharp photo.
This 6-day workshop is also helpful for my daily work. I am now able to choose a camera that is suited
to me and the degree of quality that may be used for generic purpose. Moreover, I have learned about
how to use the functions of camera and many other things as follows: How to set aperture and ISO according to the standard and type of camera in order to take a highquality sharp photo.
 The mechanism of white balance: It is very important for photography to reproduce the correct colour(R.G.B). Before setting the custom white balance using a grey card (white side), I need to first checkthe place of lighting and the object to be taken.
 Required equipment for photography: For example, in a case where there are not enough professional
lights for photography, we need to use electric light bulbs and stands. Light diffuser films will be
required to soften the brightness of the light.
 Lighting: It is essential to take a clear photo with enough brightness. Lighting adjustment depends
on the purpose and type of photos to be taken, angle of the photo preferred to be seen in detail, theposition of the object to be photographed, and so on.
 Background: It is significant for any particular photo as well. The background cloth or paper in greyor white colour which is not too refractive is required for photography.
 Position of the object to be photographed: I should ensure the safety when deciding where to put theobject to be photographed and avoid any danger from happening. Lightning adjustment also depends
on the position of the object.
 Focusing: When starting to photograph after setting the aperture, ISO, shutter speed, and whitebalance, as well as organizing a place for the object to be photographed, background, and lighting,
we need to adjust the focus to ensure the clear depth of the photo. The dimension of the focus depends
on the aperture.
 Storage: We also need to understand the storage location of shot photos.
 Defining a place to be photographed and selecting the time of photographing: Since some places
have natural light, it is difficult to photograph at the specified spot at a particular time.
This workshop is very beneficial for professionals in the heritage sector to extend their knowledge on
documentation. Through this 6-day workshop, I have acquired new photographic techniques to help thecultural heritage sector in Cambodia. This knowledge is very useful for my job, enabling me to perform
my daily work more effectively and take better quality photographs. I will share the new knowledge andexperiences with those who were unable to attend the workshop as well.

Thun Sopheaktra
Director of Museum
Heritage Division, Department of Culture and Fine Arts,
Kampong Thom ProvinceThrough this workshop, I have gained new knowledge and skills on how to use Cannon camera anddiscovered its benefits as follows:
x
x
x
x
x
x
x

x

How to photograph movable cultural properties and architecture
Types of cameras for use in heritage works
How to use a camera in the heritage conservation work for photographic documentation
Camera functions useful for the heritage conservation such as sensors, pixels, ISO, aperture,and shutter speed
Necessary equipment for photography: Such as electric light bulbs, light diffuser films,
assistance light, background white paper, and grey card
We have to set aperture, shutter speed and ISO when shooting, place the camera chest-high orin the middle of the objects. Then move the camera closer to the objects and set white balance.
How to store photographs inside the camera and computer. There are three types of photographformat:
1. RAW is a file with the fullest details of the captured images but it has to be converted using
computer; otherwise we will not be able to view the images.
2. JPEG is a compressed image (small size) but it doesn’t loss the image quality. It can beviewed in the computer without converting.
3. TIFF is a lossless compressed image maintaining the integrity and clarity.
How to properly keep the films and photographs and store the data in the computer: To keep theoriginal files, we need to copy the files into local disk with the convertible format. We can also
store our images inside the camera’s memory but it will be full. It is better to select the image
format than delete or cut the images.

How can I apply the knowledge given in the workshop to my work?
x I will share the know-how to the officials at all levels who want to learn this photographic
technique such as: photography for movable objects (wooden, stone, metal objects, pottery, andceramic) and photography for architecture (temples and monasteries).
x To conduct a practical training on photography for cultural properties using available museum
collections including movable and immovable objects.
Acknowledgement
The “ACCU Workshop for Protection of Cultural Heritage” has successfully ended. I would like toextend my sincere thanks to His Excellency Prak Sonnara, Secretary of State of Ministry of Culture andFine Arts, representative of Lok Chumteav, the Minister of Culture and Fine Arts, and ACCU Nara as
well as all the officials who seamlessly and successfully conducted this workshop.
I am so grateful to attend this workshop as it gave me the clearest understanding of how each camera
function works and how to shoot objects and buildings.
RequestIn my own capacity as a Director of Kompong Thom Museum, I would like this “ACCU Workshop forProtection of Cultural Heritage” to be conducted again at other provinces in the Kingdom of Cambodia
in order to strengthen and develop the capacity of the officials working at the field of cultural heritage
conservation.

Chhorn Bunhak
Deputy Head of the Provincial Museum
Heritage Division, Department of Culture and Fine Arts,
Takeo ProvinceFirst and foremost, I would like to express my profound gratitude to the Office of Cultural Heritage
Cooperation, Asia-Pacific Cultural Centre for UNESCO (ACCU) and the Agency for Cultural Affairs(Bunkacho) for the contribution in arranging the workshops on the topic of technical photographic skills
for cultural heritage with overwhelming support and leadership from the Ministry of Culture and FineArt.
Although the workshop is short (6 days), it was great significant and valuable for the participants fromall over the provinces and capital in Cambodia because we have only taken casual photos of cultural
heritage up until this point. The participants who attended the courses on photography for cultural
heritage have learned the knowledge and techniques from the Japanese instructors.
Before the lesson started, the instructors asked participants how we usually take a phot of cultural
heritage and how we preserve it. After being asked the question, we participants have kept it in mind
and pay close attention to studying photography for cultural heritage. At the same time, the instructors
explained the usage of certain types of camera and the principles of photography. The photographic
technique for cultural properties has three advantages: (1) easy to manage, (2) applicable for scientific,
historical and artistic researches, (3) be crucial evidences for cultural properties that have been lost or
illegally taken out of country.
Furthermore, the instructors have taught some theories on how to adjust camera functions to take good
photos of cultural heritage as follows:
1. Setting the right adjustment in the camera when shooting cultural heritage photos in the studio,
outdoor, and knowing how to set up camera stance when shooting
2. Using the standard lighting when shooting
3. Knowing the techniques for shooting certain artistic objects with elaborate designs
4. Using certain equipment in the process of shooting to get the best result (artistic object shooting
techniques from above and from the sides)
5. Going outdoor shooting (large-scale photos)
6. Adjusting the right size and scale of the photos
7. Knowing how to preserve the photos for future documents
After the 6-day training, I have gained new experiences and skill in shooting the technically accepted
cultural heritage photo. It is also an opportunity to build the capacity of specialized officials in shooting
high quality photos. Hence, after I have obtained this knowledge from the Japanese instructors, I shallcontinue to explore deeper into this expertise to the extends of my ability as well as to utilize it in theadvantage of my unit and spread the knowledge to those who have not the opportunity to attend theworkshop.

Cheng Vanna
Deputy Director of Provincial Department
Heritage Division, Department of Culture Fine Art,
Banteay Meanchey ProvinceI have learned about:
1. Roles and types of heritage photographs
2. Types of camera
3. How to store digital image
4. Functions of aperture, shutter speed, and ISO
5. How to set colour balance
6. Front shooting, overhead shooting, and shooting immovable objects
I will use all the knowledge and skills obtained from this workshop to shoot architectural heritage
photography, artistic objects, pottery and ceramic, as well as to share what I have learned to the officials
who missed the opportunity to attend this workshop.
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Khom Sreymom
Conservator
Sculpture of Stone Conservation Workshop, National Museum of CambodiaIn this workshop which focused on photography for cultural properties stored in the museums. I learned
how to shoot objects with high quality in accordance with the standard and other knowledge as follows:

1. Mechanisms of the camera and the basic of photography
2. Setup of the shooting platform in accordance with the standard
3. How to position the camera and the objects for shooting
4. Lighting technique
5. Storing of photograph data
6. Photographic techniques for each object
7. Photographic techniques for building
I will be able to apply the knowledge given in the workshop to my photography practical work for thestone and wood objects such as:
1. Installation of movable shooting platform at stone conservation workshop
2. Photographing objects based on the techniques and lessons gained from the workshop
3. Dissemination of lessons to the team
I would like to extend my sincere thanks to the instructors and staff members of ACCU for their efforts
to teach us the photographic skills to Cambodian officials which are necessary for photographing thecultural properties inside and outside the museums.

San Chanthoeurn
Technical Officer (Museum Office)
Heritage Division, Department of Culture and Fine arts,
Kampong Chhnang Province

Throughout this important workshop, I have learned the basic of photography for cultural heritage. The
theme met our needs as we need we need high-quality photographs for research of cultural heritage anduse and keep it for a long period.

The instructors explained about the importance of the photographs. We learned about the camera
functions, types of camera, specification of the digital camera, and how to store digital photographs.
In the practical training, we were divided into groups to prepare the shooting table and background,lighting kits, arrangement of small objects for shooting, installation of camera stands, and camera setting
according to what we were taught. Beside shooting small movable objects, the instructor also taught us
how to shoot large statues and large stone inscription with small letters carved on the stone. Moreover,the participants learned how to shoot the boat which is the part of the National Museum collections.
During the practical training, there were many questions from the participants and the instructors
answered all of them with details and clear explanations.
Currently, I am working for the Museum Office of Kompong Chhnang Provincial, Department ofMuseum and Fine Arts, where all the ancient objects need to be stored properly. Many of the objects
inside the storage room and the objects displayed at the museum have not been registered or properly
photographed yet.
Fortunately, the Ministry of Culture and Fine Arts had conducted the workshop on the protection ofcultural heritage in collaboration with ACCU, which gave me and other officials the opportunity to learn
how to shoot high-quality photographs and how to store and preserve those photographs for a longer
period. I will apply the photographic technique learned from this workshop to the photography work formuseum objects and other historic sites in order to register and document those heritages for the next
generation.
Last but not least, I would like to extend my sincere thanks to the officials of the Ministry of Culture
and Fine Arts who have conducted this workshop for capital and provincial officials in order to teachthem the standard of photographic technique and help them perform their conservation tasks more
effectively and efficiently.
I also would like to thank to ACCU team for their efforts to train and teach the photographic techniques
for cultural heritage protection. I strongly hope that ACCU will continuously conduct such workshop orother trainings for heritage experts in Cambodian.
I wish the officials of the Ministry of Culture and Fine Arts, ACCU team and the participants the bestof luck.

Khun Sathal
Chief of Education Office
Education Office, National Museum of Cambodia

I have learned a basic knowledge of using camera, setting and function of camera for taking cultural properties,
setting the appropriate aperture and shutter speed, white balance, and colour temperature. I have also learned
to set up a simple studio for taking photographs with local available materials and understood the shooting
technique for movable objects and immovable objects.
As I have learned how to take photographs appropriately, I can take nice photographs for any exhibition workand publication for the education office.
Sharing the knowledge gained from the workshop to my colleague is one of the things that I can do as well.

Muong Chanraksmey
Staff
Inventory and Documentation, National Museum of Cambodia

I have learned how to apply the proper technique of taking pictures for cultural heritage. Those include lightcontrol, camera setting, space, background, and other key concepts of producing the professional photograph.
I would like to apply these methods and techniques in the field of heritage, which involves both history andarchaeology where I am based in. I will also be happy to disseminate these methods to the colleagues andstudents in the future, which will help them to achieve their research and work in any circumstances.
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