Asia Conserved PDF

Spanning diverse cultures and building traditions, Asia Conserved:
Lessons Learned from the UNESCO Asia-Pacific Heritage Awards for

Culture Heritage Conservation (2000-2004) presents a panoramic
survey of the wealth of architectural heritage in the region and provides
a blueprint for concerted action on the part of private citizens and
governments alike in its conservation.
Presented in case study format, this book showcases best conservation
practices achieved by winning projects in the first five years of the
UNESCO Asia-Pacific Heritage Awards programme. The projects
encompass a range of building typologies, from fortified palaces to
vernacular residences, ornate houses of worship to utilitarian factories,
elegant engineering works to urban districts. From the case studies are
derived important lessons that show how strong public-private
partnerships and innovative grassroots initiatives can create a powerful
platform for the protection of the historic built environment in such
diverse places as the ancient cities of Central Asia, the cultural
landscapes and historic precincts of South Asia, the port settlements of
South-East Asia and the urban centres of East Asia.
Lessons Learned from

the UNESCO Asia-Pacific Heritage Awards
for Culture Heritage Conservation (2000-2004)
Through colour photographs, architectural illustrations and detailed

narratives, profiles of the Award-winning projects guide the reader in
the approaches taken to resolve challenging technical, economic, social
and political issues. Technical briefs, contributed by the conservators
themselves, provide in-depth solutions to critical conservation
problems. Bridging theory and practice, essays authored by the
distinguished jury members provide a cross-cutting analysis of the body
of conservation knowledge emerging from the UNESCO Asia-Pacific
Heritage Awards programme.
Aimed at a broad audience of conservation architects, heritage
professionals, decision-makers, heritage homeowners, scholars,
students and the concerned general public, the publication will serve as
an invaluable reference for safeguarding the monumental and
vernacular heritage of the Asia-Pacific region and contributing to its
sustainable future.
Back cover images from top to bottom:

St. Ascension Cathedral, Kazakhstan
Dorje Chenmo Temple, India
Gongziting, China
Supported by the Lord Wilson Heritage Trust
Lessons Learned from

the UNESCO Asia-Pacific Heritage Awards
Asia Conserved
Lessons Learned from the UNESCO Asia-Pacific Heritage Awards
Library Catalogue
ISBN 92-9223-117-0
Editor-in-Chief
Contributors
Richard A. Engelhardt
The publication of this volume was supported by

Lord Wilson Heritage Trust
UNESCO Beijing
UNESCO Islamabad
UNESCO Jakarta
UNESCO Phnom Penh
Editor
Aga Khan Cultural Service Pakistan

Fanny Ang
Susan Balderstone
Salman Beg
William Chapman
Chiba University
Paromita Desarkar
Sanjay Dhar
Lynne DiStefano
Sher Ghazi
Godden Mackay Logan
Hoi An Centre for Monuments
Management and Preservation
Minakshi Jain
Sheila Kamunyori
Lee Ho Yin
Mandy Lee
Spencer Leineweber
Budi Lim
Laurence Loh
Lin Lee Loh-Lim
David P. Y. Lung
Nimish Patel
Gurmeet Rai
Ruan Yisan
Pat Seeumpornroj
Showa Womens University
Tanner & Associates
Eric Tilbury
Natalia Turekulova
Timur Turekulov
Johannes Widodo
Debbie Wong
Published in August 2007 by

UNESCO Bangkok
920 Sukhumvit Road
Bangkok 10110
Thailand
Tel: (66) 2 391 0577 x509
Fax: (66) 2 391 0866
Email: culture@unescobkk.org
www.unescobkk.org/culture
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system, or transmitted in any form by any means, electronic, mechanical, recording
or otherwise, except brief extracts for the purpose of review, and no part of this
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publication do not imply the expression of any opinion whatsoever on the part of
UNESCO concerning the legal status of any country, city or area or of its authorities,
or concerning its frontiers or boundaries.
The views expressed by the authors, the selection of facts presented and the
opinions stated with regard to the facts are the responsibility of the authors and
do not necessarily represent the views of UNESCO.
UNESCO 2007
Printed by Clung Wicha Press Co., Ltd.
Email: cwpress@loxinfo.co.th
Montira Horayangura Unakul
Assistant Editor
Ernesto Endrina
Editorial Coordinator
Caroline Swartling
Copy Editors
Kim Chai
Ellie Meleisea
Art Director
Wee Viraporn
Layout
Supamas Adulpat
Chanya Anupasanant
Chatnarong Jingsuphatada
Taweesak Pathungwong
Parisa Ratanaprichavej
Ravin Vichien
Illustrators
Fanny Ang
Sorasith Bootsingkhon
Kachain Chanjaroen
Ernesto Endrina
Siyanee Hirunsalee
Thananart Kornmaneeroj
Chonthicha Thamasith
Attakit Uthaikarn
Akekaraj Werunit
Pongsakorn Yimsawat
As the only UN agency with a mandate in the culture sector, UNESCO is charged with promoting the conservation of both
tangible and intangible cultural heritage, in particular, the built environment and associated social practices. Cultural
heritage constitutes a significant aspect of our resource endowment and its stewardship has become increasingly critical
as sustainable development advances to the forefront of political concerns.
Foreword
A broader understanding of cultural heritage has developed in the past decade, with heightened recognition for the importance
of cultural diversity. Accordingly, the representation of diverse interests has become critical for the sustainability of any
conservation effort. In addition to the public sector, the private sector, including local residents, commercial establishments,
corporations, traditional caretakers and homeowners, has emerged as an important stakeholder in the conservation and
utilization of cultural heritage in all its diverse manifestations.
In response to this paradigm shift, UNESCO has set standards and developed strategies for the preservation of cultural
heritage through legal frameworks, including the 1972 Convention Concerning the Protection of the World Cultural and
Natural Heritage, the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage and the 2005 Convention
on the Protection and Promotion of the Diversity of Cultural Expressions, which are used in conjunction with a growing
array of professional guidelines and charters in the conservation field.
The UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation programme was founded in 2000 to recognize
outstanding conservation efforts that have been undertaken through public-private initiatives in the region. Pathbreaking
in their scope and rigour, the Award-winning projects have not only consolidated significant structures, but have also raised
awareness of the value of local building traditions and the viability of giving a range of types of historic structures a renewed
lease on life through restoration and creative adaptive reuse. The projects are a testament to concerted community efforts:
they have galvanized both local and professional communities alike, resuscitating lost craft guilds, reviving traditional
social practices and reinvigorating neighbourhoods.
As a compilation of lessons learned from the programme, this publication investigates both the technical aspects and the
social process of conservation, reflecting on successes and challenges encountered. Representing a range of cultural and
socio-economic contexts, the projects provide worthy models for emulation that operate within the UNESCO framework of
linking cultural heritage conservation to local development, which emphasizes sustainability through grass-roots capacitybuilding. It is hoped that the publication of these best practices will be a positive step towards creating a self-educating
community of conservation specialists and advocates in the Asia-Pacific region.
Sheldon Shaeffer
Director
UNESCO Asia and Pacific Regional Bureau for Education
Foreword
Table of Contents
Part I
First Principles
Part II
UNESCO Asia-Pacific
Heritage Awards Criteria Essays
Conveying the Spirit of Place
Determining Appropriate Use
13
Interpreting the Significance of Heritage Sites
21
Understanding Technical Issues of Conservation
28
Using Appropriate Techniques and Materials
34
Adding New Elements
40
Contributing to the Communitys

Cultural Continuum
46
Influencing Conservation Practice and Policy
51
Ensuring Ongoing Viability
59
Outstanding Project
Hotel de lOrient, India
Hung Shing Old Temple, Hong Kong SAR, China
Ohel Leah Synagogue, Hong Kong SAR, China
Residence of Dr Zhang Yunpen, China
St. Patricks College, Australia
Honourable Mention
Harischandra Building in Maha Vihara Monastery,
Sri Lanka
Mawsons Huts Historic Site,
Australian Antarctic Territory
Residence of Charles Prosper Wolff Schoemaker,
Indonesia
Rumah Penghulu, Malaysia
89
93
97
103
107
111
115
119
123
2001 UNESCO Asia-Pacific Heritage Award Winners
Part III Five Years of the UNESCO Asia-Pacific

Heritage Awards: Case Studies of
Best Conservation Practice
Most Excellent Project
Cheong Fatt Tze Mansion, Malaysia
Excellent Project
Chanwar Palkhiwalon-ki-Haveli, India
Hoi An Town Preservation Cooperation Project,
Viet Nam
69
77
83
Award of Excellence
National Archives Building, Indonesia
129
Award of Distinction
Bushells Tea Warehouse, Australia
Krishan Temple, India
135
141
Award of Merit
DBS House, India
King Law Ka Shuk Temple, Hong Kong SAR, China
Tea Factory Hotel, Sri Lanka
Xijin Ferry Project, China
Zhongshan Road, China
147
151
155
159
163
Honourable Mention
Jin Lan Tea House, China
University of Mumbai Library Building, India
Nielson Tower, Philippines
St. Josephs Seminary Church, Macao SAR, China
Thian Hock Keng Temple, Singapore
167
171
175
179
183
Honourable Mention
Catholic Cathedral of the Immaculate Conception, 293
Hong Kong SAR, China
Dalongdong Baoan Temple, China
299
Gota de Leche, Philippines
303
Part VII Glossary
412
Part VIII International and Regional Charters
418
Part IX Profiles of Jury Members

(2000-2006)
420
Part X
425
Award of Excellence
Ahhichatragarh Fort, India
Australian Hall, Australia
Yarikutz, Rupikutz, Kuyokutz, Mamorukutz
Mosques, Pakistan
Award of Merit
Cheng Hoon Teng Main Temple, Malaysia
Convent of the Holy Infant Jesus (CHIJMES),
Singapore
Polsheer House, Iran
Sydney Conservatorium of Music, Australia
Wat Sratong, Thailand
Honourable Mention
No. 125 Huajue Alley, China
Broken Hill Heritage and Cultural Tourism
Programme, Australia
Centre for Khmer Studies, Cambodia
Jaisalmer Streetscape Revitalization Project
(Phase I), India
Kow Plains Homestead, Australia
189
199
205
211
217
221
225
229
233
237
241
247
251

Award of Excellence
Guangyu Ancestral Hall, China
257
Astana of Syed Mir Muhammad, Pakistan
Water Towns of the Yangtze River, China
265
273
Award of Merit
Cangqiao Historical Street, China
The Medina Grand Adelaide Treasury, Australia
The Virtuous Bridge, Indonesia
281
285
289

Award of Excellence
Baltit Fort, Pakistan
309
Church of Our Lady of Mount Carmel, Australia
Lakhpat Gurudwara, India
St. Ascension Cathedral, Kazakhstan
317
323
331
Award of Merit
Dadabhai Naoroji Road Streetscape, India
Dorje Chenmo Temple, India
Phra Racha Wang Derm Palace, Thailand
St. Thomas Cathedral, India
Vietnamese Traditional Folk Houses, Viet Nam
339
343
349
355
359
Honourable Mention
Elphinstone College, India
Female Orphan School, Australia
Gongziting, China
Namuna Ghar, Nepal
Suzhou River Warehouse, China
Tak Seng On Pawnshop, Macao SAR, China
Zargar-e-Yazdi House, Iran
Zhangzhou City Historic Streets, China
365
369
373
377
381
385
389
393
Part IV Conclusion: Sources of Knowledge

and Sources of Continuity
397
Part V
398
Regional Map of Winning Projects
Part VI Regional Directory

Heritage Architects/Designers
Contractors
400
Award Regulations
Index
429
Photographic and Illustration Credits
438
References
439
First Principles
First Principles for

Conserving Built
Heritage
Best Practices from the
UNESCO Asia-Pacific
Heritage Awards for
Culture Heritage
Conservation (2000-2004)
UNESCO leads efforts worldwide to safeguard the continuity of diverse cultural values represented in both tangible and
intangible heritage. The 1972 Convention Concerning the Protection of the World Cultural and Natural Heritage (popularly
known as the World Heritage Convention) forms the framework for international action in the conservation of immovable tangible
cultural heritage, which encompasses built structures, sites and landscapes. The principles enshrined in the Convention and its
Operational Guidelines extend not only to properties inscribed on the World Heritage List, but also, by example, to other heritage sites.
The World Heritage Convention calls on each State Party to ensure effective measures for the protection, conservation and
presentation of the cultural and natural heritage situated on its territory, especially in the context of growing pressures
stemming from both natural and human causes. In particular, the Convention encourages States Parties to adopt a general
policy which aims to give the cultural and natural heritage a function in the life of the community, thus linking heritage
conservation to living traditions and sustainable development.
UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation
Throughout the Asia-Pacific region, the role of private individuals and institutions in safeguarding built heritage is
paramount, as buildings and sites are largely in private or civic ownership. The UNESCO Asia-Pacific Heritage Awards for
Culture Heritage Conservation programme, launched in the year 2000, is a flagship strategy to recognize private sector
achievements and public-private initiatives in successfully restoring structures of heritage value.
The UNESCO Asia-Pacific Heritage Awards programme was established as a means of identifying and showcasing the most
successful best practices in built heritage conservation and adaptive reuse in the region. Through the programme, UNESCO
encourages policies and practices which result in the preservation of the unique heritage values and historic significance of
our communities, thereby paving the way for future projects both within the same communities and beyond.
Since its establishment, the programme has brought to public attention a noteworthy body of work in the field of heritage
conservation. In the first five cycles from 2000-2004, 181 entries were received from 23 countries, of which 64 projects
were recognized with UNESCO Asia-Pacific Heritage Awards. Winners represent a broad spectrum of the regions built
heritage, serving as a testament to how buildings can be successfully preserved in their traditional settings and also to
how conservation principles can be integrated into various local development strategies. The range of religious architecture
that has been awarded is extensive, encompassing Chinese ancestral temples, Buddhist monasteries, Hindu shrines, Sikh
gurudwaras, Muslim mosques, Christian churches and Jewish synagogues. These buildings collectively bear testament to the
diverse living traditions of the region. Secular buildings receiving awards include monumental structures such as forts and
palaces; non-monumental buildings such as houses, factories, schools, shops and other commercial buildings; and public
infrastructure such as bridges. Awards have also gone to large-scale projects involving the protection and rehabilitation of
gardens, streetscapes, canal and waterfront districts, in situ archaeological sites and historic urban quarters.
UNESCO Asia-Pacic Heritage Awards
Since the award-winning projects are mostly drawn from the private realm, they include a representative slice of the vernacular
built legacy of the Asia-Pacific region. This focus on the everyday landscape underscores the broad mandate of UNESCO and the
World Heritage Convention to foster an inclusive interpretation of heritage and nurture an ethic of conservation that extends
beyond the hallmarks of high architecture to the living, and now threatened, traditions of vernacular building.
UNESCO receives entries from countries and administrative areas across the Asia-Pacific regionfrom Antarctica to
Uzbekistanrevealing the universal concern for conserving the unique sense of our cultural places. The entries highlight
the various challenges facing the conservation profession in the Asia-Pacific region today, ranging from the disappearance
of traditional materials, skills and techniques to the economic and political forces driving urban redevelopment.
In recognition of the ever-evolving nature of built form and cultural expression, a special award category, the Jury
Commendation for Innovation, was inaugurated in 2005 to recognize innovative new buildings which are integrated into
historic districts in a way that complements and enhances the historic character and contributes to the cultural continuum
of the area.
Assessing Conservation Excellence: the Criteria of the UNESCO Asia-Pacific Heritage Awards
The selection process for the Awards programme is rigorous and is conducted annually by a panel of international experts in
conservation architecture, urban planning, landscape design and heritage conservation, all of whom practice professionally
in the Asia-Pacific region.
To qualify for the UNESCO Asia-Pacific Heritage Awards, buildings must be more than 50 years old, the restoration must
have been completed within the last 10 years and buildings must have been in viable use for at least one year. Residential,
commercial, cultural, religious, industrial and institutional buildings; historic towns; gardens and bridges are all eligible for
consideration. The project must have been carried out with private sector input in the form of ownership, funding or other
support. Public-private partnership projects are especially encouraged to apply for the Awards.
Entries to the UNESCO Asia-Pacific Heritage Awards are examined in terms of the extent to which they demonstrate
excellence in the following criteria:
Criterion A: The articulation of the structures heritage values in order to convey the spirit of place through the
conservation work.
Criterion B: The appropriate use or adaptation of the structure.
Criterion C: The interpretation of the cultural, social, historical and architectural significance of the structure(s)
in the conservation work.
Criterion D: The understanding of the technical issues of conservation/restoration in interpreting the structures
significance.
Criterion E: The use and quality control of appropriate building, artisan and conservation techniques.
Criterion F: The use of appropriate materials.
Criterion G: How well any added elements or creative technical solutions respect the character and inherent
spatial quality of the structure(s).
First Principles
Criterion H: The manner in which the process and the final product contribute to the surrounding environment
and the local communitys cultural and historical continuum.
Criterion I: The influence of the project on conservation practice and policy locally, nationally, regionally or
internationally.
Criterion J: The ongoing socio-economic viability and relevance of the project, and provision for its future use
and maintenance.
Criterion K: The complexity, sensitivity and technical consistency of the project methodology.
The UNESCO Asia-Pacific Heritage Award winners consistently demonstrate that technical achievement in conservation
should be underpinned by a profound understanding of conservation as a social process. As such, the Award-winning
projects not only set standards of technical excellence, but also make a significant impact by contributing to the local
cultural and historical continuum. All winning entries serve as best practice models in their understanding of the issues
of conservation in relation to the cultural, social, historical and architectural significance of the building. They foster
community involvement and capacity-building, and have a catalytic effect on local restoration and conservation efforts.
The process of conservation consolidates important structures while at the same time returning the buildings, which are
significant either by themselves or as part of an urban ensemble, to their place of pride within local communities.
First Principles for Conserving Historic Built Heritage
The Award-winning projects reflect a consensus around a set of powerful first principles guiding the conservation
of the historic built heritage in the Asia-Pacific region, which have evolved and been validated through professional practice
over the past two decades. They are:
Principle 1: Collective mapping of cultural space, its hierarchies, symbolic language and associations is a prerequisite for appropriate and successful conservation.
Principle 2: Tangible cultural expressions derive their origin, value and continuing significance from intangible
cultural practices.
Principle 3: Authenticity, the defining characteristic of heritage, is a culturally-relative attribute to be
found in continuity, but not necessarily in the continuity of material only.
Principle 4: The conservation process succeeds when histories are revealed, traditions revived and meanings
recovered in a palimpsest of knowledge.
Principle 5: Appropriate use of heritage is arrived at through a negotiation process, resulting in a lifeenhancing space.
Together, the first principles affirm a set of professional norms which have arisen out of a distinctive Asia-Pacific physical
and socio-cultural space, but which have universality in application.
Principle 1: Collective mapping of cultural space, its hierarchies, symbolic language and associations is a pre-requisite for
appropriate and successful conservation.
Conservation professionals and students are taught that conservation work should begin with a thorough investigation
of the building. By studying historical documentary evidence and in situ physical evidence in the building fabric itself, it is
possible to come to an understanding of the evolved significance of the place and to identify character-defining elements
of the site which must be conserved in the ensuing work.
Developing an understanding of the true spirit of place, and reflecting this understanding in the conservation process
and product, is central to the mission of re-animating the heritage through conservation work. Only a truly participatory
process, which is predicated on a broad-based cultural mapping exercise, can ensure a full understanding of a place. The
mapping process reveals which heritage is important, to whom and why. It may identify heritage which was heretofore
overlooked, or it may uncover other aspects or alternative readings of already-identified heritage. This socio-cultural
mapping process brings to light the heritage values which are inherent and often unspoken in a community, notably, social
and spiritual values. On this basis, conservation work can be undertaken in an appropriate manner, with full cognizance of
the issues at hand, adding a how dimension to the mapping exercise.
Beyond a purely technical approach to the research process, often dominated by the voice of the conservation expert, the
UNESCO Asia-Pacific Heritage Awards winners bring in multiple voices, resulting in a collective mapping of cultural space,
its hierarchies, symbolic language and associations. This allows for actualization of the principles espoused in the
2001 Universal Declaration on Cultural Diversity.
Principle 2: Tangible cultural expressions derive their origin, value and continuing significance from intangible cultural practices.
Tangible and intangible cultural expressions are interdependent. Any conservation project which privileges tangible over
intangible values of a building risks stripping away the significance of the place, leaving only an empty shell.
Manifestations of intangible cultural heritage include oral traditions, performing arts, social practices, rituals, knowledge
about nature, traditional craftsmanship and associations acquired through use. This living heritage provides not only the
wellspring of cultural diversity, but in fact guarantees continuing expressions of creativity. Indeed, the 2003 Convention
for the Safeguarding of the Intangible Heritage makes provisions for the protection of tangible artefacts and cultural
spaces which are associated with the manifestations of intangible cultural heritage. This allows for effective harmonization
between the 2003 Convention and other international legal instruments, such as the World Heritage Convention.
Principle 3: Authenticity, the defining characteristic of heritage, is a culturally relative characteristic to be found in continuity,
but not necessarily in only the continuity of material.
The Heritage Awards have shown that the conservationists mantra of do as much as necessary and as little as possible
is subject to interpretation in the context of cultural norms of the Asia-Pacific region. Anecdotal evidence illustrates that
tensions can arise between conservation professionals who hold material authenticity sacrosanct and local stakeholders
who call for renewing the material fabric to ensure the spiritual intactness of the place.
First Principles
The Nara Document on Authenticity, adopted in 1994, has articulated a middle ground which reflects a way of balancing
the varying definitions of authenticity, reflecting diverse underlying values in the conservation process and product. The
Nara Documents states that It is thus not possible to base judgements of value and authenticity on fixed criteria. On the
contrary, the respect due to all cultures requires that cultural heritage must be considered and judged within the cultural
contexts to which it belongs.
The Nara Document further states that, Depending on the nature of the cultural heritage, its cultural context, and its
evolution through time, authenticity judgements may be linked to the worth of a great variety of sources of information.
Aspects of these sources may include form and design, materials and substance, use and function, traditions and techniques,
location and setting, spirit and feeling and other internal and external factors. The use of these sources permits elaboration
of the specific artistic, historic, social and scientific dimensions of the cultural heritage being examined.
The Nara Document does not provide a license for cultural relativity, but rather, reaffirms the validity of a rational system
for evaluating and consequently safeguarding various heritage values, one that is consistent within its own socio-cultural
system. In so doing, social, cultural and spiritual values may gain a foothold alongside artistic and historic values in the
conservation process.
Principle 4: The conservation process succeeds when histories are revealed, traditions revived and meanings recovered in a
palimpsest of knowledge.
In extreme, but increasingly more common circumstances, the thread of continuity of a historic place has been frayed to the
point that it is barely distinguishable. Left to the course of economic renewal and the tides of social change, the heritage
and the values it embodies is often vulnerable to being erased or subsumed into newer narratives which may not be selfreflexive, thus failing to incorporate the richness of a places past into its present regimes of creating and re-creating
identity and knowledge. The judicious intervention in these cases through a conservation activity can result in revealing
unique histories, reviving local traditions and recovering the meanings of the place.
The UNESCO Asia-Pacific Heritage Awards have recognized projects which have excelled not only in technical merit but also
in the dramatic impact that they have effected, especially in the revival of traditions that are dying or have faded away.
These projects do so in a way which does not impose one solitary reading of the place, freezing one particular narrative at
a point in time, but rather by revealing a renewed understanding of the place in the context of other historical layers of
meaning embodied in the building. In some projects, this remembrance of meanings past is accomplished in a quite literal
yet effective mannerby physically juxtaposing the layers of the building history over each other until the present day. In
other projects, this recovery is a social process, which reaches back into historical traditions and revives the living core of
the community by renewing social practices associated with place.
Principle 5: Appropriate use of heritage is negotiated, resulting in a life-enhancing space.
The projects which have won the UNESCO Asia-Pacific Heritage Awards have often been conducted by conservationists
who also play an advocacy or activist role. With heritage conservation unfortunately being a relatively low priority on
most political agendas in the Asia-Pacific region, the conservationist-activists have had to shoulder the task not only of
ensuring professional excellence, but also of raising awareness of the multiple benefits of conserving heritage. The essential
messages conveyed by these change agents include: heritage as a fundamental cultural right, heritage as a building block
for sustainable development and heritage as a shared resource for local stakeholders.
The success of such advocacy efforts is usually the result of a process of negotiationrevisiting the fundamental questions
of which heritage is important, to whom, why and how it should be conserved. The cultural diversity of the AsiaPacific region, embodied in multicultural influences dating back to its earliest periods of history, belies easy answers to
these questions. Add to the debate, at the local level, the complication of state-mandated histories and definitions of
heritage, and the process becomes very complicated indeed.
Seeing value in the process of negotiation, however, means recognizing the value in this cultural diversity and according
respect to the full range of stakeholders. The projects that have been undertaken through this negotiation process in
identifying the heritage, its values, its conservation and adaptive reuse have emerged all the stronger, ensuring greater
social and political sustainability.
Building on Best Practices
The UNESCO Asia-Pacific Heritage Awards winners bring to light best practices in conservation of tangible heritage as
inextricably linked to intangible heritage. As a whole, they add to the global scope of our understanding of the role of
heritage conservation as a social development process. They demonstrate that good conservation practice needs to be
grounded in an understanding of the place and its many values. These values of place, identified through a participatory
cultural mapping process, should inform the conservation decision-making and process. The values-based approach
to conservation practice yields a richly-nuanced end resultwhere tangible and intangible heritage are authentically
conserved, and historic layers of meaning are revealed. Through the application of these first principles, we can ensure the
long-term safeguarding of our cultural heritage, which form the core resources for sustainable development.
UNESCO Asia-Pacific
Heritage Awards Criteria Essays
Award Criteria Essays
Conveying the
Spirit of Place
Spirit of place conveys the cultural essence of a site. In historic sites it encompasses the meanings of a place accrued
through time and through its past and present uses. Expressed through the tangible built heritage, these intangible heritage
values give the place its distinctive character, an aura that draws people to the place, speaks to them, engages their emotions and, often, gives them a sublime experience of their surroundings.
Laurence Loh
The concept may be better understood if one alludes to the notion of body and soul. The body is the physical fabric of the
heritage site in its original state and setting. The soul, the spirit of place, is the sum of the sites history, traditions, memories, myths, associations and continuity of meanings connected with people and use over time. Collectively, these tell the
story of the place, generate its identity and give it emotional impact.
UNESCO Asia-Pacific
Heritage Awards Jury Member
How does conservation of a physical structure articulate its spirit of place? Primarily, the place has to be true to its history.
This truth must be conveyed in the very process of conservation itself, in a heritage sites physical form, in its contemporary
use, and in its interpretation and presentation.
Authenticity, East and West
Most fundamentally, the spirit of a place resides in its authenticity, retention of which is an essential condition of heritage
conservation, as reflected in many international charters, especially the Nara Document on Authenticity. The challenge,
therefore, is first to identify the authentic elements that define the character of a place and convey its spirit, and, secondly,
to ensure that through the conservation process these elements are maintained, safeguarded and celebrated.
As the Nara Document asserts, judgments of authenticity must be culture-specific. This emerged in the conservation
of the Cheng Hoon Teng Main Temple (2002 Award of Merit) in Melaka, Malaysia, for which I was the heritage architect.
The seventeenth century temple, the oldest formal site of worship of Malaysias Chinese community, was restored to a high
standard, using traditional materials and techniques wherever possible. At the insistence of the congregation, many of the
temples frescoes or chai hui, which had succumbed to the tropical climate, were repainted by specialist Chinese artisans
with the traditional tempera paints and organic dyes. Since time immemorial such frescoes, with their relatively impermanent
inks and paints, have been periodically renewed, often by different artists, to honour the deities.
Criteria A.
The articulation of the structures heritage
values in order to convey the spirit of place
through the conservation work.
But renewal in the conservation of traditional Asian architecture raises the question of authenticity. To Western eyes, accustomed to the preservation of frescoes in their found fragmentary form, not only would the new painting look too bright,
fresh and intact, but also it would be deemed poor conservation practice, resulting in the loss of material authenticity. From
the Chinese viewpoint, however, renewal of the frescoes conforms to traditional religious beliefs and promotes continuity
through artisanship and apprenticeship. There is authenticity in form and function as well as meaning, helping to preserve
the temples cultural essence, enhancing its spirit of place.
Histories revealed
Since heritage is by definition a legacy of the past, revealing the history of a heritage site is vital to manifesting its spirit of
place. Visual evidence of the march of time, and clear interpretation of that evidence, makes people feel they have direct
access to the history of the place. This can be achieved by displaying a sites accretions over its lifetime, rather than restoring
it to a state at a chosen moment in time. Exhibiting a sites historical timeline often enlarges its significance and amplifies
its spirit of place.
The conservation of the Guangyu Ancestral Hall (2003 Award of Excellence) in Guangdong province, China sensitively
exposes its layers of meaning. Not only was the buildings original structure, dating from the Song dynasty (960-1279)
retained and repaired, but also many traces of its 600-year history were preserved. These include political slogans painted
onto its walls and gables during the Cultural Revolution (1966-1976). Moreover, the replacement of original components,
mainly for reasons of safety, was guided by the principle of making the new distinguishable from the old. This juxtaposition is apparent, for instance, in the replacement of the halls original, severely weathered red sandstone column bases.
The new bases, fashioned in the same style and material, are placed next to the old ones, giving a sense of their age. The
meticulous preservation of these historical layers means that the Lu clans ancestral hall is not only a record of Qiangang
villages history, but also of Chinas as well.
Traditions revived, meanings recovered
Spirit of place comes alive not just in the ways a site is conserved and presented, but in the ways it is used and valued by
people. How a place is animated by its community gives it meaning, just as a place has meaning for its community, be it
historic, social, spiritual or aesthetic. The best conservation brings out the values implicit in the heritage site and integrates
them into the life of the community. By taking part in the conservation work, and then using and maintaining the building
after it is conserved, the community breathes life into the site, invigorating its spirit of place.
An exemplary case is the rehabilitation of a quartet of 300-year-old, wooden mosques in Ganish, an historic mountain village in northern Pakistans Hunza valley. The village elders initiated the project to restore the disused Yarikutz, Rupikutz,
Kuyokutz and Mamorukutz Mosques (2002 Award of Distinction) to a structurally sound condition, and Ganishs 30-plus
households freely contributed labour, materials and organizational skills. Under professional guidance, the small mosques
were stabilized with minimum intervention that retained their original fabric and intricate decoration. The long abandoned
chataq, a paved courtyard that the mosques enclose, was returned to its traditional use for village gatherings. The work
strengthened community spirit and cohesion in a village that had experienced in recent decades disastrous flooding, substantial demolition and major socio-economic change. After the projects completion in 2001, the villagers set up their
own heritage body to manage their cultural resources. Here, Ganishs spirit of place is amplified by villagers wholehearted
participation in reviving local tradition and commitment to sustaining it. Involving the local community from the outset in
the conservation of their heritage is more likely to ensure the sustainability of the project and the living traditions.
An equally powerful project which rebuilt social meaning through the process of recovery is the Krishan Temple (2001
Award of Distinction) at the heart of Kishankot village in Punjab, India. The temple, built in the 1830s and containing fine
murals depicting Hindu and Sikh themes, represents inter-faith harmony in a region of religious and sectarian strife. These
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divisions had also afflicted Kishankot, a community of Sikhs, Hindus and Christians, compounding its high unemployment
rate and social problems. Restoration of the dilapidated temple was not only a technical job but also a social process. It
mobilized the community to work together, empowered them to offer ideas and make decisions, and equipped them with
skills to assume responsibility for the building once it was conserved. Villagers became deeply involved in the project
through paid labour as well as unpaid seva (service for the community by the community), demonstrating the temples
message of communal cooperation. The conservation project was linked to long term community development schemes to
improve the quality of health and education in the village, especially involving its women, children and elderly.
Conservation of the Krishan Temple was a contemporary expression of what the building stood for, both symbolically and
materially. Painful memories found a healing ground through the process of restoration, resulting in the recovered selves
of the people. The temples spirit of place was revived as it became again a common social, spiritual and educational space
for a multicultural community.
Appropriate use
The appropriate use of a heritage site is often the key to revealing the cultural values embedded within its original design
and purpose, which is, in turn, a first step towards enshrining its spirit of place. The concept is particularly evident in
Cheong Fatt Tze Mansion (2000 Most Excellent Project) in George Town in the Malaysian state of Penang, for which I had
to privilege to serve as the conservation architect. Once a neglected ruin, the building has been meticulously restored to its
former glory, revealing its many layers of meaning, the philosophy of its maker and the genius of its artisans.
Cheong Fatt Tze personified the immigrant success story, rising from humble origins to social and financial prominence as
head of a business empire at the turn of the last century. He built and decorated his magnificent 38 room mansion with the
finest materials from Europe, yet based the design on Chinese principles of geomancy and feng shui, and imported master
craftsmen from China to do traditional decorative work. Today, the sumptuous restored mansion reflects his cosmopolitan
outlook and eclectic tastes.
As an architectural statement, given its beauty and originality, conservation of the building alone would have carried the
day. However, its spirit of place has been further enhanced by its adaptive reuse as a heritage homestay. The creation of
16 guestrooms enables residents to experience life in the mansion as it was in its heyday, when entry was a privilege, thus
maintaining its aura as a private sanctuary. The presence of residents also ensures that the mansion is always animated
with a human presence, in keeping with the conservation principle that the most sustainable use for a heritage structure is
one which is closest to the use for which it was originally intended.
Interpretation of the house is crucial to evoking its spirit of place. During daily guided tours, the mansions stories are
retold, myths reborn, memories aroused, adding to the intangible quality of the experience for visitors. They start to form
an association in their minds between the place and its creator, and they never fail to be moved by the beauty of the architecture and interior dcor.
Visitors are also introduced to the concepts of geomancy and feng shui observable throughout the mansionin particular
the chi point (energy vortex) in the middle of the central courtyard. Visitors with extra sensory abilities have perceived its
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existence. Real or imagined, the chi point and its explanation contribute to embedding the mansions spirit of place in the
psyche of visitors.
The vision of Cheong Fatt Tze Mansions current owners is to attain the right balance between conservation and change,
the ambience of a home and the exigencies of a boutique hotel, a sense of privacy versus a public role, a mood of informality as well as a sense of etiquette, and most of all, to retain the spirit of place that draws people back to where it resides
again and again.
Life enhancing architecture
These regional examples carry within them abstract and metaphysical concepts that are as important as the authentic,
physical substance of the sites. Expressions of intangible heritage are spiritual assets that are unquantifiable and impossible to label, but nevertheless are central to the Asian approach to heritage conservationboth in how heritage is perceived
and how it is conserved.
Cheong Fatt Tze Mansion, Malaysia
It is the totality of these tangible and intangible values, recognized and recovered, or created in addition to original themes,
which reveal the spirit of place within the architecture. It is an architecture that is life enhancing, that forces us to engage
with the site through the use of all our senses, and that allows us to be touched by a place where our sense of self and well
being is strengthened and revitalised.
The message that buildings with a strong spirit of place convey is that the answers are not to be found in a purely rigorous
analytical approach. A system of evaluation is only a starting point for conservation practice. Looking beyond, it is about
allowing what is living to stay alive and true to the place. It is about letting the architecture, the traditions and the cultural
essence live on with minimal intervention. Often it is also about the recovery of meaning that has been lost through attrition. If change is necessary, the change must be so seamless that very quickly it becomes absorbed into the original value
system. Before long, it attains its own meaning and becomes part of the collective memory, as if it has always been there
as part of the place.
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Determining
Appropriate Use
William Chapman
UNESCO Asia-Pacific
Appropriate use is a key factor in evaluating the quality of heritage conservation projects. Whether the original property is
a palace or a fort, a factory or a house, a church or a mosque, an archaeological site or a cultural landscape, how such a place
was used and continues to be used is critical to its heritage value and character. Use relates to the physical and architectural
character of a building or site, and also to its history and its cultural significance. How it functioned historically, its original
(as well as later) purpose, its symbolic importance in the community, and its continuing social or spiritual values.
Use is concerned with design, materials, layout and decoration, but also involves many intangible factors. These might
include the movements of people into, out of, and within the building or site; the periods of occupancywhether seasonal,
monthly, weekly or daily; and especially variations or specializations in use within or around the site. Even from an
architectural point of view the concept of use might include the effects of voices and sounds, relative temperature and
humidity, and countless other, often minute factors that together combinealong with cultural memory and historical
associationto give a building or site its spirit of place.
Use then, is a determining aspect of a buildings or sites identityan aspect perhaps not conveyed fully by photographs or
drawings but one that can best be gained through direct access to the place itself. Evaluating a project for its use value
becomes a task of careful understanding and extrapolation from past experience by anyone undertaking a conservation
project, or anyone assessing the results of it afterwards. They must visit the site in their imagination. Comparisons with
other buildings or sites may be made. But in the end pictures and written descriptions can only begin to determine whether
an appropriate use has indeed been found, or whether the new use fails to convey the heritage values implicit in the
building or site. The final test is the experience of the place itself.
Questions of use and reuse
Criteria B.
Appropriate use or adaptation of the
structure.
Probably the most important question of appropriate use is whether the primary concern is the retention of distinctive
architectural or other physical forms, or whether considerations of use pertain more to cultural, social and symbolic values.
To give an example: a historic church might well be adapted to another kind of use. The immediate impulse is to assume
it should become, say, a community centre if it no longer is needed as a church. But what about a potential commercial
use? Can a church become a restaurant? A discothque? Such new uses may best preserve architectural and decorative
elements that distinguish the building. But do such new uses adequately address the less tangible aspects of a building and
its significance? Alternatively, were the church to become housing for homeless people or a clinic, these functions might
well preserve the social or community-oriented qualities of the original church, but may require more radical changes in the
buildings configuration or appearance. What if, for example, a historic public housing project requires partition walls and
a new interior circulation pattern? Do these new elements threaten the physical character of the structure and therefore
its greater significance?
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The choice of an appropriate use becomes, as a result of these considerations, a complex intellectual and experiential
balancing act. Critical factors in evaluation must include how far the original and historic design qualities and materials have
been retained, whether the property is still used to the same degree or manner as before, and to what extent community,
spiritual and symbolic values continue. Factories turned into housing? Maybe, since few formal architectural features,
meaning designed features, are affected. A house made into a hotel? Perhaps an easier transition and one more readily
justified.
Other aspects of appropriate use are the intensity of use and the degree of intervention involved in the conservation
project. Intensity of use refers to how many new elements are introduced and correspondingly how many new requirements
have been imposed on a site or building. An example may be a large private house turned into an apartment building or
group of flats. Three units may well preserve the original character of the residence; five may be too many. If the project
requires changes to the roof to accommodate even more units in order to meet the clients needs, this may further bring
into question the appropriateness of the choice of reuse.
Degree of intervention introduces other concerns. How much must a structure be altered in order to allow a new use or
uses? Will a steel frame be needed? Will walls be required to divide open spaces into offices or rooms? Will an important
component of the structure need to be rebuilt? These questions underscore the larger question of whether a planned new
use is a good one or whether it will undermine the very values that are to be preserved.
But what about changes in the less tangible qualities of a place as a result of a new use? Can a mosque become a school?
Does this shift in use interrupt the quietude and spiritual values once associated with the mosque? What about an office
building converted into housing? Does this change the overall character of the property? Again, what if the question is just
the degree of new use? If, for example, too many rooms are required to make a hotel project economically viable (from the
owner, client or developers point of view), would this tip the balance toward a negative appraisal?
Finally, what about common or utilitarian spaces versus more designed buildings or sites? Are highly decorated buildings
representing elite culture of greater value than spaces once occupied by goods or by factory workers? Or do highly designed
and decorated spaces also embody workmanship and crafts skills associated with ordinary people? Is the elite structure less
adaptable owing to its higher instrinsic value? Does a factory or warehouse open itself to a wider range of uses? All of
these are difficult questions that need careful consideration of each context.
Appropriate use in charters and resolutions
Since the time of the Athens Charter for the Restoration of Historic Monuments, promulgated in 1931, appropriate use
has entered into the language of conservation. Resolution 2 from this first international congress of conservation specialists
seems to inherently refer to issues of appropriate use: Proposed restoration projects are to be subjected to knowledgeable
criticism to prevent mistakes which will cause loss of character and historical values to the structures. Under Doctrines
[and] General Principles this same early document states: The Conference recommends that the occupation of buildings,
which insures the continuity of their life, should be maintained but that they should be used for a purpose which respects
their historic or artistic character [my emphasis].
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The 1964 Venice Charter, the first comprehensive post-World War II statement of international conservation principles,
considered the issue of appropriate use with even greater clarity. Article 5 explains: The conservation of monuments is
always facilitated by making use of them for some socially useful purpose. Such use is therefore desirable but it must not
change the layout or decoration of the building. It is within these limits only that modifications demanded by a change of
function should be envisioned and may be permitted.
The 1972 Convention Concerning the Protection of the World Cultural and Natural Heritage, referred to as the World
Heritage Convention, states a similar priority: These components of the cultural and natural heritage should, in addition,
be restored, whenever appropriate, to their former use or given a new and more suitable function, provided that the cultural
value is not thereby diminished (Article 22).
During the closing decades of the twentieth century, concerns over appropriate use increasingly emphasized intangible
cultural values. Australias Burra Charter, first promulgated in 1979, with significant revisions in 1981, 1988 and 1999, puts
considerable emphasis on the notion of cultural significance and value. The preamble of the present document advocates
a cautious approach to change: do as little as necessary to care for the place and to make it useable, but otherwise change
it as little as possible so that its cultural significance is retained [my emphasis]. To further clarify, the charter states that
cultural significance is embodied in the place itself, its fabric, setting, use, associations, meaning, records, related places,
and related objects [original emphasis]. Under the section on definitions the document explains that Compatible use
means a use which respects the cultural significance of a place. Such a use involves no, or minimal, impact on cultural
significance [original emphasis].
Dalongdong Baoan Temple, China
The 1994 Nara Document on Authenticity similarly emphasizes the consideration of tangible and intangible expression[s]
of cultural value. As with the Burra Charter, the Nara Document emphasizes spirit and feeling as implicit aspects of the
significance of a place.
More recent resolutions and conventions have reinforced this trend toward recognition of cultural significance. The Principles
for the Conservation of Heritage Sites in China (2002), adopted by the Chinese national committee of the International
Council on Monuments and Sites (ICOMOS) calls for minimal intervention (Article 11), recognizing that a building or site
combines historical, artistic, and scientific values (Article 3). The Principles also stress that a site should be used in a
rational manner for the benefit of society, recognizing too that its inherent cultural and symbolic values must in no way
be compromised for short-term gain (Article 4).
The Hoi An Protocols for Best Conservation Practice in Asia, drafted in November 2003 under the guidance of UNESCOs
Regional Advisor for Culture in Asia and the Pacific, consistently underscore the retention of integrity and prevention of
dismemberment in the reuse of historic sites, as well the need to preserve the historic character in the broadest sense
when undertaking new use projects. In the case of historic residential properties, the document emphasizes the importance
both of retaining original use and avoiding displacement of historic populations.
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Historic context of reuse projects

These conventions, charters and documents were promulgated against a backdrop of increasing acceptance of conservation
ideals worldwide. Once limited to sites of great national and international interest, the concept of conservation began to
be adopted more widely, especially by the 1970s. Coupled with the birth of the international environmental movement
and a growing scepticism of progressive planning policies, the conservation of historic places became a common cause
for many of the post-World War II generation. The assumption that modern was better and that highways, skyscrapers
and clusters of bland public housing were preferable to traditional urban neighbourhoods and older buildings came deeply
into question. Old buildings offered opportunities for places of continuing cultural value; old neighbourhoods provided an
alternative to planned housing and suburban migration from inner cities.
The redevelopment of older buildings and sites became an important aspect of this revolution in thinking. Adaptive use
became a popular term to describe the revitalization of older buildings through new use. The United States played a
significant part in this new trend. Commercial developments such as Ghirardelli Square in San Francisco and Quincy Market
in Boston, rehabilitated in the 1960s and 1970s, respectively, celebrated the reuse of older buildings. Features such
as Victorian towers, classical columns, ornate entrances and strong articulated cornices became part of the vocabulary
of reuse projectsas did fenestration openings fitted with modern plate-glass, stripped interior wall surfaces and other
features to remind the user that this was an old space made new. Through a tax credit programme administered by the
United States National Park Service, adaptive use became a significant expression of United States policy, especially in
the period between 1979 and 1984 when the tax incentives were at their highest. Thousands of historic buildings were
redeveloped, from factories through to warehouses and industrial lofts, many of which become upscale apartments. Other
older buildings served as banks, retail spaces and offices.
European nations, long committed to the conservation of their historic urban cores, also experienced a surge of reuse
projects, such as Londons Covent Garden Market and the adaptation of the Gare dOrsay in Paris for the Louvres collection
of nineteenth century art. Similar projects occurred in Sydney, Adelaide and other cities in Australia and New Zealand.
These prestige projects, combined with billions of dollars of private and public investment in historic buildings, brought
sophistication to the reuse industry. Standards for new mechanical systems, laws to regulate new components such as
rooftop additions, and new zoning ordinances that recognized changes in use followed in the wake of this trend.
Luckily for the historic and architectural values of older properties, the fashion for glibly contrasting old and new
gradually fell out of favour. A greater appreciation of original components, stronger governmental oversight, the growing
influence of architectural conservation specialists and, especially, the increasing availability of good quality materials and
building componentssuch as historically compatible replacement windows and electrical fixturesall contributed to the
improvement of reuse-type projects. By the 1990s most projects of this kind were far more advanced in their understanding
of conservation principles and showed greater respect for original materials and design, as well as for intangible factors
such as historical association and traditional use. It is rare now to see a project celebrating the contrast of old and new by
simply changing windows and sand-blasting brick walls (although such projects lamentably do still occur).
More recently, say in the last five years, the issues around reuse of historic places have fallen into two primary areas. One is
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an increasing emphasis on appropriateness in reuse, meaning the consideration of cultural and historical values as part of
what constitutes an acceptable project. The other is a growing sophistication in ways to introduce new components, such
as elevators, stairs, mechanical systems and built additions.
Two distinct approaches appear to have evolved in the area of introducing new elements. One is to embed modern
facilities so that they are not visible, such as hidden air-conditioning ducts and vents. The second trend is to call attention
to changes by way of contrast. This latter approach is not the same as that of the 1980s when modern components were
used to substitute for historic ones, such as the use of plate glass windows. It is, rather, an approach where original features
are respected and newer elements are meant to be read at a different level, almost on a different plane or dimension,
from their historic context. Such an approach is in keeping with longstanding prescriptions on the need to preserve the
original and historic features of a place and to make new features distinguishable from old ones.
As a result of these developments, approaches to adaptive and even continuing use have grown increasingly sophisticated.
Recent projects more clearly defer to the history and cultural values of the property than they might have twenty years
ago. Some defer to traditional crafts and skills to ensure the continuity of both technical and community values. Others
reintroduce original uses back into buildings. In terms of new features, many projects now use up-to-date components
sensitively: high-tech elevators attached to the less visible rears of buildings, consolidated electrical conduits and hubs that
obviate the need to install systems in walls, and modern metal stairs that seem to float in unaltered historic spaces.
Overall, the issues stemming from the concepts of continued use and reuse have been subjected to greater scrutiny in
almost all contexts. The result has been a gradual and significant improvement in the quality of the projects themselves
and the ways in which heritage places convey a sense of their cultural and historic value.
The UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation

The projects submitted for the UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation demonstrate a
diversity of approaches to the appropriate use and adaptive reuse of historic properties. These approaches may be usefully
grouped in four categories: continuing original use, return to original use, minimal change of use and completely new use.
All involve varying levels of (often reversible) intervention as part of the conservation process.
Continuity of use
A large number of Award-winning projects represent continuity of use. Most of these are historic religious buildings.
Those that required a relatively high degree of intervention to repair their fabric and modernize their facilities include: the
Ohel Leah Synagogue in Hong Kong SAR, China (2000 Outstanding Project), a 1901 landmark fitted with new mechanical
systems and a contemporary external staircase and lift; the Hung Shing Old Temple in Hong Kong SAR, China (2000
Outstanding Project), a small, rural temple that needed reroofing and refurbishment of decorative elements; the Church
of Our Lady of Mount Carmel in Mullewa, Western Australia (2004 Award of Distinction), which had its stained-glass
windows repaired and cement render removed; and St. Thomas Cathedral in Mumbai, India (2004 Award of Merit), which
had a roof replaced and an ancillary building reconstructed.
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Those that involved a lower level of intervention to continue existing uses include: the Yarikutz, Rupikutz, Kuyokutz and Mamorukutz
Mosques (2002 Award of Distinction) and the Astana of Syed Mir Muhammad (2003 Award of Distinction), both in northern Pakistan,
which were stabilized and repaired; the Catholic Cathedral of the Immaculate Conception in Hong Kong SAR, China (2003 Honourable
Mention) whose roof was waterproofed and lighting and accoustics redesigned; and Dorje Chenmo Temple in Ladakh, India (2004
Award of Merit) a project centering on restoring the small Buddhist shrines deteriorated murals.
Apart from religious buildings, the conservation of several historic streetscapes and townscapes also restored their fabric and improved
their infrastructure, but largely left their commercial or residential uses unchanged. Several of these are in China: the Zhongshan Road
Project in Quanzhou, Fujian province (2001 Award of Merit); the Cangqiao Historical Street in Shaoxing, Zhejiang province (2003
Award of Merit); the Zhangzhou City Historic Streets in Fujian (2004 Honourable Mention); and the Water Towns of the Yangtze
River (2003 Award of Distinction).
In India, the Jaisalmer Streetscape Revitalization Project (2002 Honourable Mention) in the medieval Rajasthani fort city of Jaisalmer
restored sandstone facades and installed modern amenities in a traditional neighbourhood. Mumbais Dadabhai Naoroji Road
Streetscape Project (2004 Award of Merit) restored shopfronts and signage to reflect the areas Victorian-era commercial character. In
Australia, the Broken Hill Heritage and Cultural Tourism Programme (2002 Honourable Mention) revitalized an historic, New South
Wales mining town.
Return to original use
Projects that restored historic buildings to their original use are far fewer in number, but again, religious buildings predominate. Perhaps
the most dramatic reversion of a spiritual sanctuary to its original purpose was that of St. Ascension Cathedral in Almaty, Kazakhstan
(2004 Award of Distinction). Built in 1907, the extraordinary timber building fell into disrepair after the 1930s, when it was used as a
museum and radio station. After substantial structural repairs and repainting of the exterior and interior surfaces, the cathedral was
returned to its former glory and intended function as a place of worship for the Russian Orthodox community of Almaty.
Less dramatic but equally impressive was the restoration of a disused sim (Buddhist ordination hall) to an active role in Wat Sratong
(2002 Award of Merit), a village temple near Khon Kaen in Thailand, and the stabilization of the mid-eighteenth century St. Josephs
Seminary Church (2001 Honourable Mention) in Macao SAR, China. So structurally unstable that it was closed in 1995, the Baroquestyle church had to be given a new dome, pillars and foundations before it could be reopened to the faithful in 1999.
Minimal change of use
A very wide range of conservation projects that involved a minimal or moderate change to the sites traditional use have won Awards.
A sampling: St. Patricks College, an Australian parochial school becoming a tourism training institute in Sydney (2000 Outstanding
Project); DBS House, a commercial office building in Mumbai converted for use as a bank (2001 Award of Merit); the Harischandra
Building, a colonial building adapted as a monks residence in Sri Lanka (2000 Honourable Mention); and the Centre for Khmer Studies,
a temple complex used as a library and meeting space (2002 Honourable Mention). There has also been the conversion of a house into
a bank in the Residence of Charles Prosper Wolff Schoemaker (2000 Honourable Mention) and an architects office at the Polsheer
House (2002 Award of Merit). These were all conservation projects of the best typewhere the use was little changed, and therefore
less intervention was required.
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Some Award winning properties were restored simply as heritage sites before an appropriate use was found for them. Two
projects in Rajasthan, IndiaChanwar Palkhiwalon-ki-Haveli in Amber (2000 Excellent Project) and Ahhichatragarh Fort
in Nagaur (2002 Award of Excellence)employed or revived traditional artisan skills in massive efforts to stabilize and restore
the abandoned sites. Although the work was done without a specific use planned, the haveli (mansion) has since become a
textile museum and the fort a venue for local festivals and performing arts. The restoration of Mawsons Huts Historical
Site (2000 Honourable Mention), an early twentieth century explorers campsite in Antarctica, was undertaken primarily to
preserve a historic chapter in the nations history, in a remote site with very little visitation. These were restorations of the
purest kindreuse and economic gain played no part in their rationalization. They remind us that some sites and buildings
require no economic justification for their survival if they can have the support of their community.
Completely new use
Award-winning projects that involved change to a completely different use are less numerous, but perhaps more striking
because of the contrast between the old site and its new incarnation. Among them: the adaptation of a seventeenth century
colonial mansion in Jakarta, Indonesia into the National Archives Building (2001 Award of Excellence), a straightforward
restoration with few high-tech frills but excellent workmanship; the reinvention of a rural tea factory as the upscale
Tea Factory Hotel (2001 Award of Merit) retaining much of the utilitarian buildings open spaces and tea-processing
machinery, in the central highlands of Sri Lanka; and the conversion in Singapore of the Convent of the Holy Infant Jesus
(2002 Award of Merit) into CHIJMES, a lifestyle complex of shops and restaurants, with its 1903 Gothic Revival-style
church now used for weddings.
Australian projects are well represented in the new-use category, with three in and around Sydney alone: the once derelict
Bushells Tea Warehouse (2001 Award of Distinction) transformed into office spaceprobably the most technically
advanced of the Award winners; an historic armory and stables converted into the Sydney Conservatorium of Music
(2002 Award of Merit), and the Female Orphan School, an abandoned orphanage and mental hospital made into a campus
building at the University of Western Sydney (2004 Honourable Mention). In Adelaide, the old Treasury Building was reborn
as the Medina Grand Adelaide Treasury Hotel (2003 Award of Merit). Many of these reuse projects have involved the
sensitive insertion of mechanical systems, modern utilities, elevators and other contemporary features, while the original
buildings continued to be legible as historic sites.
To take just one example, the reuse of Bushells Tea Warehouse in downtown Sydney demonstrates the harmonious merger
of high-tech adaptation and conscientious preservation. The project introduced mechanical systems, an elevator and other
services to convert the building to office use. State-of-the-art electrical and communication hubs were installed and
all workstations were organised around centralized power, cable and telephone lines. Lighting was also provided from
the central hub. This choice allowed for the retention of the original open plan of the warehouse and even its industrial
equipment. Original wall surfaces, down to flaking paint and graffiti, were also preserved.
Top: Polsheer House, Iran

Above: Bushells Tea Warehouse, Australia
Noteworthy is the number of projects involving adaptive reuse as museumsthe most conventional approach to
conservation, but one that clearly has public and educational benefits. Significant museum projects include the Phra Racha
Wang Derm palace in the old naval headquarters in Bangkok, Thailand (2004 Award of Merit); the Kow Plains Homestead
in Victoria, Australia, a late nineteenth-century log cabin (2002 Honourable Mention); Rumah Penghulu, a vernacular
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timber house that is now a space for folk life exhibits in Kuala Lumpur (2000 Honourable Mention); and the Tak Seng On Pawnshop,
reused as a museum and teashop in Macao SAR, China (2004 Honourable Mention).
Intensity of use
Apart from change of use, intensity of use is an important factor in evaluating the effectiveness of conservation projects. But often
it is a factor overlooked by owners, architects or developers when making key decisions early in the planning stage. A project that got
it right was the Hotel de lOrient in Pondicherry, India (2000 Outstanding Project), where existing walls, rooms and hallways were
repaired to convert a large private house into a small hotel. It demonstrated a consensus by the parties involved that the number of
rooms would be limited by the existing space. The Tea Factory Hotel also limited reuse to the original structure, when it might have been
tempted to expand the number of rooms beyond this limit. Similarly, commercial reuse projects, such as the DBS House, the residence
of Charles Prosper Wolff Schoemaker, and Polsheer House showed admirable restraint in deciding on the number of services, offices and
other uses needed for new purposes.
Some projects, such as the National Archives Building, necessarily experienced a change in intensity, but that change was done with
respect to the original character of the building. The same can be said of the far more high-tech transformation of Bushells Tea
Warehouse into an office building. In both examples, the need for new uses overrode the general preference for minimal change of both
use and intensity. Nevertheless the results are a satisfactory accommodation to both the historic significance of the building and the
modern requirements of its new role.
But even when there is continued use or minimal change of use and intensity, some degree of intervention is often necessary. The degree
is determined by the condition of the property as much as the desire to introduce changes of use or intensity of use. St. Patricks College
remained an educational institution but required the insertion of new mechanical systems and services, in addition to the restoration
of its historic elements. The dilapidated St. Ascension Cathedral required a high level of intervention, though the final product looked
little different from the original. Similarly, the seemingly modest restoration of Mawsons Huts in Antarctica by an Australian team
of architects and conservators showed little apparent change, but was in fact a substantial rebuilding of a severely deteriorated
structure.
The UNESCO Asia-Pacific Heritage Awards have recognized a diverse range of approaches to conservation practice and use and reuse
of historic buildings and sites. These have included traditional, almost pure, restorations and stabilizations of sites, through to museum
projects centred on historic buildings, to more dramatic reuse projects involving the injection of advanced technology into historic
structures. The best projects have often been those where intervention was least visible, where old buildings in a state of disrepair
have been returned to their original use or given uses that minimally alter their historic character and feeling. The Award-winning
projects demonstrate the possibilities open to owners and communities to ensure that the regions rich heritage may be preserved for
the future.
20
Interpreting the
Significance of
Heritage Sites
David Lung
UNESCO Asia-Pacific
with contributions by
Lynne DiStefano
Lee Ho Yin
Debbie Wong
The conservation of built heritage begins with finding out the facts and understanding the meaning of a place. Interpretation,
or telling the story of a place, moves beyond a straightforward narration of the facts to celebrate the stories associated with
the place in either historical or legendary form. These stories exist in the minds of local people or may be discovered through
research by interested scholars. As such, interpretation may be seen as the retelling of a known story.
Good interpretation not only draws upon specific facts and stories but sensitively relates to the cultural values of the
present community. These requirements for good interpretationfacts, sensitivity and relevancemay seem obvious, but in
practice, interpretation is only as good as the people doing it, and it is very easy to do it badly.
Insufficient research is one of the most common problems affecting the quality of interpretation, and this is often due to
blind faith in the published word and to time constraints. The consequence can be the perpetuation of assumptions rather
than accurate facts, leading to flawed interpretation.
In addition, many cases of interpretation are indifferent to the interests and needs of the community, or, worse, insensitive
to the underlying significance of the place. This is often the case when there is lack of community involvement in the
interpretative process, and failure to understand the complexity of the place or to present interpretative materials in a way
that stimulates and sustains interest in a broad cross-section of visitors.
Moreover, there are often conflicting views on which version(s) of a story truly expresses the significance of a heritage place.
This is probably more apparent in Asia, where many places have experienced a colonial past. The complex multicultural
layers of history of heritage places in these former colonies pose particular difficulties for telling stories that reflect multiple
heritage values. Hence, frequently, the stories of these Asian places are only interpreted truths, almost inevitably tinted by
different understandings of the main storyline. To complicate matters further, there can be differences in the storytelling
between professionals (trained conservators and interpreters) and residents, who probably perceive themselves as having
greater ownership of these stories.
Over time, the values of a place may change. After all, values reflect the judgement of a particular person or group
at a particular point in time. Different people have different perspectives on the importance of any given place, so its
significance may grow, diminish or evolve as ideas change about what constitutes significance. As such, good interpretation
entails presentation of information that will not become outdated in a short period of time.
Criteria C.
The interpretation of the cultural, social,
historical and architectural significance of
the structure(s) in the conservation work.
The elements of a story: defining and assessing significance

The story of a place lies in its significance or its values. Significance not only refers to the physical fabric or physical
context of a place, but also to the character-defining elements that contribute to its values. Defining significance is about
21
identifying these values and their contribution to the meaning of a place.

To establish the significance of a place, we must first understand the place, its character and its story. Only then can we tell
an engaging story to an audience. The first step entails gathering evidence, both physical and documentary, on the place.
Physical evidence comprises information that can be retrieved from the physical fabric of a place, which often includes a
site survey and on-site photographs. Documentary evidence covers a broad range of resource materials, including writings,
drawings and photographs, as well as oral information. Next comes analysis of both the physical and documentary evidence
in order to arrive at a balanced assessment of the place. After analysis, a set of criteria should be used to establish the
significance of a place.
Different international charters for heritage conservation have adopted slightly different terminology to define the
significance of a place. Table 1 provides a comparison of such terminological differences.
Table 1: Definitions of Significance and Assessment Criteria in International Charters
Rumah Penghulu, Malaysia
22
Charters
Definition of Significance/Assessment Criteria
Venice Charter
(1964)
Referred to as cultural significance and encompasses architectural, historical,

social and scientific values.
Washington Charter
(1987)
Referred to as qualities, with the following definition:

Qualities to be preserved include the historic character of the town or urban
area and all those material and spiritual elements that express this character,
especially: urban patterns defined by lots and streets; relationships between
buildings and green and open spaces; the formal appearance, interior and
exterior, of buildings defined by scale, size, style, construction, materials, colour
and decoration; the relationship between the town or urban area and its
surrounding setting, both natural and man-made; and the various functions
that the town or urban area has acquired over time.
ICOMOS New Zealand Charter

(1992)
Referred to as cultural heritage value and cultural meaning. These refer to

places which: have lasting values and can be appreciated in their own right;
teach us about the culture of those who came before us; provide the context
for community identity whereby people relate to the land and to those who
have gone before; provide variety and contrast in the modern world and a
measure against which we can compare the achievements of today; and provide
visible evidence of continuity between the past, present and future.
Charters
Definition of Significance/Assessment Criteria
Burra Charter
(1979, with revisions in 1981, 1988
and 1999)
Referred to as cultural significance and value. Cultural significance means

aesthetic, historic, scientific, social or spiritual value for past, present or future
generations. It is embodied in a place itself, its fabric, setting, use, association,
meanings, records, related places and related objects.
Principles for the Conservation of

Heritage Sites in China (commonly
referred to as China Principles)
(2002)
Referred to as heritage values, and comprising historical, artistic and scientific

values.
A comprehensive approach should be used to define a set of criteria (values) for assessing significance. Consistency in the
criteria allows for a more accurate assessment and better interpretation in relation to other heritage places. Of course, it
is not always possible to find evidence for all criteria; a place may be deemed significant if only one or two criteria are
applicable.
As it meets the assessment needs of many countries, the set of criteria (values) listed in Australias Burra Charter have
become widely used in Asia and the Pacific, although sometimes in modified form. According to the Burra Charter, cultural
significance means aesthetic, historic, scientific, social or spiritual values for past present or future generations. The values
are defined in Table 2.
Table 2: Types of Heritage Values
Historic Value
What the site has to tell us about the course of human history, or the history
of a group or culture. The site may conserve important physical fabric or
other evidence of the past. It may be associated with important events and
developments of people.
Aesthetic and Artistic Value
The intellectual or emotional impact of a place. This may be the emotional

association or mood of a site. It may also be a demonstration of a particular
design, style, artistic development or high level of craftsmanship.
Scientific and Research Value
The capacity of a place to provide significant knowledge of value to humanity.
Social Value
The degree and the way in which a place is now or was in the past a focus of
spiritual, political, national or other cultural activity to majority or minority
groups.
Adapted from Proceedings of the International Conference on Cultural Heritage Management and Urban Development:
Challenge and Opportunity, Beijing, 2000
Female Orphan School, Australia
23
Broadening the heritage horizon: value-added alternatives

Taking a step back, let us examine how the understanding of heritage value has evolved through time. Alois Riegl, a pioneer
in the field, clearly distinguishes the difference between modern and traditional meanings of value. In the traditional usage,
the value of a place lies in keeping the story of a place unchanged, while in modern usage, value is perceived as changing
in response by different generations to a specific cultural context, and hence allowing the story to evolve.
Jukka Jokilehto, in A History of Architectural Conservation (1999), states clearly that modern conservation is principally
characterized by the fundamental change of values in contemporary society. Based upon Riegls earlier work, Jokilehto
poses the concept of universal value, which is not simply a best model, but rather, it is the sharing of a particular
creative quality, a uniqueness, and the quality of being true, original, authentic, as a constituent part of the common,
universal heritage of humanity.
While there are some values that have universal acceptance (such as historic, aesthetic and scientific), the necessity for
fine-tuning the categories of heritage value to adequately reflect a particular local context has gradually been recognized.
Further to the mentioned charters and evaluation criteria, alternatives for establishing the significance of a place have been
put forward. One example is the work of renowned conservationist Bernard Feilden. In Conservation of Historic Buildings
(1994), he suggests, use values and emotional values are as important as cultural values in establishing significance.
While this may not be a set of criteria that all countries would choose to follow, Feilden has indeed expanded on how
we look at heritage values. He shows us that the significance of a place may extend beyond its cultural factors, and that
emotional and use values can also be seen as important determinants of the value of a heritage place.
A heritage hierarchy: comparing and ranking significance
The different criteria adopted in different charters and by different experts seem to suggest that there is no fixed, standard
set of criteria (values) for assessing significance. How, then, can we compare the level of significance of places? While each
place may be significant in its own right, what processes are available for comparing the level of significance of different
places?
Assessing levels of significance can be done using a qualitative or quantitative approach, or both. The qualitative approach
focuses on the description and analysis of a place without necessarily comparing it to other heritage places. In other
words, a place is understood and evaluated on its own terms. The quantitative approach provides a basis for comparing
one place with another, generally using a fixed set of criteria. Such comparisons can use a simple rating scale, such as the
one proposed by James Kerr in The Conservation Plan (2000), which includes: A = exceptional significance, B = considerable
significance, C = some significance, D = little significance.
Similarly, in The Evaluation of Historic Buildings (1980), Harold Kalman presents a quantitative system for grading
significance, on the basis of five basic criteria: architecture, history, environment, usability and integrity. He then subdivides
these five into detailed criteria. For example, architecture is subdivided into style, construction, age, architect, design and
interior, each of which is scored numerically. By adding up the separate scores for each criterion, a numerical score can be
obtained for a particular place. This score allows for the classification of heritage buildings in four grades which can then
24
be used for making comparisons with similar buildings: excellent (of major significance), very good (of importance), good
(of value as part of the environment) and fair/poor (of no importance).
Yet, understanding the significance of a heritage place on its own is not sufficient to generate interest on the part of the
community. It is how the story is told that gives meaning to the place. This important relationship between determining
significance and interpreting it is demonstrated in the UNESCO Asia-Pacific Heritage Awards for Culture Heritage
Conservation.
The role of the storyteller: the importance of interpreting significance
The interpretation of the significance of a place is about presenting its values in a way that the public can appreciate
them. Winning projects of the UNESCO Asia-Pacific Heritage Awards exemplify best conservation practice in the region by
successfully revealing the values of historic places and offering valuable lessons from which we can learn.
Since their establishment in 2000, the selection criteria have evolved, with more emphasis being placed on the assessment
and understanding of the significance of a place. Not only has this encouraged applicants to clearly define the heritage
values of projects, it has led to a fuller interpretation of the places through conservation work, thus helping to generate
greater awareness of the importance of heritage management in the Asia-Pacific region.
Although no reference is made to any single charter, the selection criteria are based upon the establishment of the cultural
significance of the heritage place, with specific reference to historical, architectural, aesthetic and social values. The
emphasis on these values is clearly evident in the winning entries, as shown in Table 3.
Table 3: Significance of Selected Winners of the UNESCO Asia-Pacific Heritage Awards
Winning Project
Significance
Historical
Architectural/Aesthetic
Social
Ohel Leah Synagogue,

(2000 Outstanding Project)
One of the few remaining

synagogues in Asia. Built in
the early twentieth century.
Significant representative
of Edwardian Free Baroque
architecture.
A longstanding place of
Jewish worship associated
with a wealthy group of
non-British immigrants and
pioneering families of the
colony, such as the Sassoons and the Kadoories.
Tea Factory Hotel,

Kandapola, Sri Lanka (2001
Award of Merit)
Original home to the

Hethersett Tea Factory.
Predominant building
type of the hill country of
Ceylon.
Employment for the local

community as a tea factory.
Tea Factory Hotel, Sri Lanka
25
Cheng Hoon Teng Main

Temple, Melaka, Malaysia
(2002 Award of Merit)
An important spiritual and

One of the oldest edifices of Malaysias earliest
formal worship for Chinese example of Hokkien temple social centre for Chinese
architecture, reflecting the immigrants.
immigrants in Malaysia.
skills of artisans from Fujian
and Guangdong provinces
in China.
Guangyu Ancestral Hall,

Conghua, Guangdong,
China (2003 Award of
Excellence)
An ancestral place of worship and an integral part of

a 600-year-old village.
A detailed record of the

different styles and craftsmanship of Lingnan, which
combines the architectural
styles of ancestral halls
from both the north and
south parts of the Pearl
River delta region.
The practice of ancestor

worship and sense of
community spirit in Chinese
villages.
The rise of social significance: leveraging conservation for development

The UNESCO Asia-Pacific Heritage Awards show a clear trend of increasing emphasis on social valuehow heritage places
were or continue to be a focus of spiritual, political, national or other cultural meaning for their communities. And social
value has expanded to include voluntary community involvement in the place and the contribution of the conservation
project to community development. Now, projects no longer simply conserve existing social value. Rather, projects become
the means by which greater social value is generated, through reinforcing civic pride, enhancing local identity and
strengthening the communitys sustainability. This shift is reflected in many of the winners.
The Hung Shing Old Temple (2000 Outstanding Project) on the island of Kau Sai Chau in Hong Kong SAR, China, is a good
example. The temples conservation took into account its profound value to the local community as a place of worship
and social interaction. Before restoration work started, the advice of a fengshui (Chinese geomancy) master was sought
and auspicious dates chosen. Completion of the work was celebrated with lavish festivities in which the local villagers and
thousands of Hong Kong residents took part. Throughout the project, community input was encouraged, with villagers
inspecting the temple and attending site meetings. The project reinforced community pride, revived the traditional skills of
craftspeople and generated public appreciation of the fishing villages heritage with its extensive media coverage.
The conservation of Astana of Syed Mir Muhammad (2003 Award of Distinction), a 300-year-old Islamic tomb in a
historic village in Baltistan, Pakistan, was also discussed in detail with the elders of the community. A woodcraft workshop
was set up to train apprentices, helping to revive handicraft traditions while generating income for villagers. The pilot
project nurtured in the community a sense of ownership and pride in its heritage, triggering a locally-driven process to
upgrade buildings in nearby settlements.
26
The conservation of the Krishan Temple (2001 Award of Distinction), a Hindu temple in Kishankot Village, Punjab, India, aimed
to highlight the tradition of exchange among the regions different religious communities. Rather than the conventional
emphasis on physical fabric, the project treated restoration of the temple as a social process, a tool for recovering the values
of the place and healing scars within the community. The villagers participated in restoring the temple through voluntary
and waged labour, while benefiting from development and learning programmes that enhanced their sense of unity and
built their capacity to sustain the place after the project ended. A vocational training centre has since been built to impart
livelihood skills and other cultural heritage programmes.
In the Australian outback, the Broken Hill Heritage and Cultural Tourism Programme (2002 Honourable Mention)
created many dynamic partnerships between residents, businesses and authorities to preserve and present a historic mining
settlement. Visitors experience Broken Hills past and present as a living museum by means of booklets, guides, walks and
trails. The project encouraged community participation and increased the sustainability of the town through such measures
as free heritage advisory services, heritage assistance funding, a residential paint assistance scheme, a verandah restoration
programme, and heritage training workshops for residents. Sustainable cultural tourism was seen as an important growth
opportunity for the community, and has since generated local pride and economic viability.
As social significance has become more and more important in assessing heritage places, social development has accordingly
become more prominent as a goal. The conservation project is now seen as a means to an end rather than an end in itself. In
the Asia-Pacific region, where heritage is often sacrificed to economics, this is an encouraging development. The broadening
of cultural heritage values has resulted in the social significance of a place being leveraged as a bridge to unite people and
conservation. This is particularly demonstrated in two projects: the Virtuous Bridge in Medan, Indonesia (2003 Award of
Merit) and the Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques in Ganish, Pakistan (2002 Award of Distinction).
The first project is a simple bridge, built in 1916, which symbolizes the multicultural identity of the city of Medan. The
project coordinator, the Sumatra Heritage Trust, encouraged voluntary participation from all walks of life to restore and
interpret the bridge. The project is a reminder that the success of a conservation project is not based on budget, but on
support from the community. In this project, not only was the spirit of interracial cooperation reignited, the community
gained a stronger sense of belonging through their joint efforts.
The four mosques, among the best examples of family mosques typical of northern Pakistans Hunza Valley, were restored
with assistance from the Aga Khan Cultural Service Pakistan. But the project was initiated by the elders of Ganish and
executed by the villagers, generating a strong sense of cultural identity and ownership. The villagers are now better equipped
to take care of the mosques in a sustainable manner, and have formed new institutions to manage their heritage assets.
Emphasizing social significance and ensuring community involvement in heritage projects is an effective way to unite
conservation and people. More than evoking awareness of the need to conserve heritage, this approach can generate
civic pride, making a community stronger and more sustainable. The future of cultural heritage does not just depend on
conserving historic buildings, or implementing heritage protection policies, it relies above all on the peoples passion and
pride in their communities, their history and their traditions.
Common pool area at Yarikutz, Rupikutz, Kuyokutz,
Mamorukutz Mosques, Pakistan
27
Understanding
Technical Issues
of Conservation
Spencer Leineweber
UNESCO Asia-Pacific
A major criterion of the UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation programme is the approach
to the technical aspects of the conservation work. This technical approach must respect and protect the qualities that
underlie a site or buildings heritage significance. This significance can be derived from historical events that have happened
at a particular time and place. Other sources can be socio-cultural values, special relationships from the community,
including religious traditions, socio-economic movements, or governmental policies. These are often manifested in a
specific design or spatial relationships, function, and aesthetic qualities of the site. Usually, special construction techniques
unique to a region are reflected in the craftsmanship or quality of how the building has been put together.
Despite the wide variety of projects and locations throughout the Asia-Pacific region, there was a very consistent
conservation philosophy in the technical approach of the Award winning projects. This conservation philosophy included:
A careful evaluation of the site, its history and cultural values to determine the elements that contribute to the sites
significance and their condition;
A selection of appropriate functions for a site which allows for continued use of the resource without compromising any
of the historic qualities;
An appropriate conservation strategy which responds to the reasons for renewal and maintains the historic materials and
craftsmanship with minimal intervention from the conservation work; and
Involvement of the community which is essential to value the resource, assist in the technical work and maintain the
site in the future.
Careful evaluation of the site and cultural values
A meticulous investigation of the history and conditions of the site is critical to understanding how to approach the
conservation work. This process contains four essential steps: recording existing conditions, undertaking written research
and oral histories, identifying character-defining elements, and documenting physical damage. Sometimes portions of these
steps may be repeated as information is gathered that requires more research or field evaluation to verify.
Criteria D.
The understanding of the technical issues of
conservation/restoration in interpreting the
structures significance.
28
Recording existing conditions often involves detailed measurements of the site and buildings and producing drawings that
show these relationships and details. The site is also photographed so that the building can be recorded and understood
before any work begins. This evaluation work results in understanding the evolution of the building including original
construction and materials and how the building may have changed through time. Frequently, original materials are buried
by later finishes. Documenting these layers may tell the story of the buildings use or changes in material supply or
construction technology. All of these items are recorded before restoration work begins on a site.
Historical research involves reviewing written and visual records and interviewing people familiar with the site. The written
records may be archival government sources, documents belonging to the owner of the building, journals, newspapers, and
organization records. Oral histories of those familiar with the building often provide essential information for changes to
the building or about special uses important to the socio-cultural understanding of the site.
Analysis of the building documentation and the research must include identification of the features that define the historic
character. These character-defining elements often include special materials or specific craftsmanship. These elements
should be protected during the conservation work. Typically, archival research and oral history information are corroborated
by the physical evidence at the building site. For example, a wood beam in a structural system must be evaluated not only
for its structural capacity but also wood type, tool marks of its manufacture and shaping, joinery, and any decorative or
protective finishes that are applied. All these elements contribute to the character of the wood element and should be
defined first in the evaluation phase so that the repair may be approached in the most respectful manner.
It is also important to understand the current physical condition of the building and record it in a systematic way before
any work is undertaken. This documentation is accomplished at several different levels, beginning with an overall reconnaissance view that evaluates verticality and alignments, all the way down to a detailed investigation of materials and finishes.
The detailed evaluation calls for looking at the exterior skin of the building including roof, walls and foundation, as well as
the systems of the building including structural, lighting, plumbing and heating. In addition to surface investigation, a more
detailed analysis of conditions is undertaken when more information about a system is required. Often a careful physical
dismantling of a small portion produces information to better understand construction systems. Microscopic analysis can
provide detail on the composition of mortars, the distinct colours of paint layers, and specific wood species. When an element is missing, shadow lines, colour changes, or research on buildings from a similar period can also be investigated. From
this condition assessment a conservation strategy begins to develop in concert with a proposed plan for building use.
In the first year of the Awards in 2000, the Most Excellent Project was awarded to the Cheong Fatt Tze Mansion in Penang,
Malaysia. The architect and developers of this project thought of themselves as caretakers of the building, treading lightly and
touching softly. This careful approach allowed a thorough evaluation of the building to better understand the architectural
character and the condition of the eighteenth and nineteenth century Chinese style and eclectic architectural elements.
This unhurried discovery approach provided information that was not initially evident, including geomantic principles
about wealth and harmony. Gold was found buried at the auspicious corners of the building to bring continuous wealth to
the owners of the building. Analysis of the rain gutter drainage system indicated that water, an element of harmony in feng
shui principles, ran through floors and ceilings to cool the structure and facilitate amicable social relations for its occupants.
Careful study of decorative works over doorways provided information about Chinese gods and myths associated with the
building that had been buried by dirt and time. Propitious sayings marked the entry to rooms. Further analysis revealed that
an historic finish made from tree sap (ta cik or da qi) used to coat the beams provided termite protection for the exposed
structural elements, and that the roof tiles were set in a bed of lime mortar with animal hair binder. All this information
29
went into formulating the approach to the future conservation work.

The stabilization of the Astana of Syed Mir Muhammad in Khaplu, in the Ghanche district of Pakistan (2003 Award of
Distinction) also approached the required work in a measured and analytical way. The conservation strategy relied heavily
on detailed drawings of the simple structure. The significance of this community tomb was the vernacular construction
techniques of the wood frame and the hand cut nature of the decorative elements. Minimal intervention and maximum
retention was the strategy of the conservation in order to protect these indigenous construction techniques.
Astana of Syed Mir Muhammad, Pakistan
Analysis of the existing condition drawings indicated that the structure was leaning about 30 centimetres off-centre. Two
options were considered for the stabilization: one was disassembly, the other realignment. The chosen alternative was
to pull the skewed structure slowly back into alignment while carefully monitoring any stresses caused to the individual
pieces. This decision was based on an examination of the structure, which revealed not only a cribbage joinery system for
the inner shrine but a mortise and tenon system for the outer supports. Analysing the detailed drawings showed that the
building could be moved upright by pulling at certain points using turnbuckles and cable. Disassembly was not selected
because there were concerns that the multi- joinery nature of the pieces might be difficult to fit back together. Traditional
techniques such as protecting the wood using linseed oil and tamping the mud roof by foot were processes repeated in
the repair of the building.
The conservation strategy developed in these Award winning projects was a direct result of research, documentation, and
analysis. Understanding the building first before beginning the conservation work was critical to the success of these
two projects.
Selection of appropriate functions for the site
Maintaining the historic materials, form and spatial qualities that are identified as significant to the site are important
considerations in investigating new uses for a building. There must be a commitment to protect all the character-defining
elements as well as an ability to continue the use of the site within the community. This requires careful choices in the
technical approach to the conservation work.
Several Award winning projects removed later additions that were not contributing to the understanding of the historic
character of the structure. The desire to remove later additions must always first consider that the use of a structure may
change through time, and often those changes become significant in their own way in telling the history of the structure.
Consequently, it is important to identify in the evaluation phase the specific elements that contribute to the significance
and use of the building.
Deciding how and what to remove while still protecting the buildings history was accomplished with particular skill at
the Guangyu Ancestral Hall in Guangdong province, China (2003 Award of Excellence). After a detailed study of the
building, certain elements were identified as providing authenticity to certain historical periods in the buildings life. The
conservation plan indicated how to best preserve the buildings original historical aspects and still respect subsequent and
important changes to its form and design. Changes that recorded important events during the 600 years of its history
were retained. The work of the previous restorations was also integrated to continue the narrative of past alterations. New
30
pieces were spliced together with old and the new portions were marked with a contemporary notation to distinguish old
from new. The repair of the roof structure was also done in a traditional way: by numbering the pieces of the middle bay,
removing them, restoring each piece while preserving the original materials as much as possible, and then reassembling
them before proceeding on with the next bay.
While the Guangyu Ancestral Hall continued with a similar use, the integration of new uses into historic buildings needs
a careful design hand to add the new requirements without negatively impacting the integrity of the historic materials.
The Baltit Fort in the Hunza Valley, Pakistan (2004 Award of Excellence) approached the need for balancing new uses with
retaining the old fabric by phasing the repair work and approaching the work progressively. Each of thirteen different work
stations recorded and analyzed the materials and then engaged in individualized repair to improve structural integrity and
conserve finishes. Since each part of the large fort could be looked at as an independent unit, it allowed lessons learned in
one area to improve the succeeding work.
The new functions at the Baltit Fort included the incorporation of a museum and cultural centre. The new uses were
integrated without damaging the historic portions. Improved safety features including fire exits, rest facilities, and new
electrical and plumbing were installed in areas that allowed the new elements to be removed if necessary in the future
without damaging the integrity of the original materials.
Appropriate conservation strategy
The best projects developed a detailed conservation plan to define the scope of work and determine how it would be
accomplished. Maintaining the original materials and replacing only what is damaged is often central to the conservation
philosophy. The evidence presented in the condition documentation and the demands of potential uses shape the
conservation plan. It is important to undertake a critical analysis of what has caused the deterioration, in order to determine
a strategy for correction. For instance, when a crack has been recorded as part of an evaluation of surface conditions, an
essential component is to understand why that crack has occurred before it is repaired.
The Mawsons Huts in Cape Denison, Antarctica (2000 Honorable Mention), was recognized for its careful development of a
conservation plan to integrate all the unique circumstances in this very isolated and challenging site. The conservation plan
outlined how to accomplish the work, acquire all the necessary materials beforehand, especially for unknown conditions,
and still defer to the camp-like atmosphere of the structures. Most of the deteriorated conditions were related to the
extremely high winds bearing ice and snow most of the year. Not only did the materials require attention but the conditions
of construction posed challenges as well, and these were comprehensively addressed in the conservation plan.
The National Archives Building (2001 Award of Excellence) was notable for its perceptive grasp of the circumstances
leading to the deterioration of the building and for devising a solution to prevent future damage. The culprit of most of the
damage to the walls was found to be an inadequate rainwater drainage system, which deposited water at the base of the
building, leading to decay. An underground drainage system was incorporated to correct roof and surface water problems.
This required careful analysis and cooperation between conservation and engineering consultants to protect the historic
integrity of the resource in the routing of the new underground drainage lines and finding a solution that minimized impact
on materials significant to the structure.
31
The conservation work also respected the integrity of the existing materials as essential to defining the character and feeling
of the building. Consequently, rather than replace damaged pieces with new materials, recycled roof tiles and teak flooring
from previously demolished buildings from the same historic period were used to accomplish the necessary repairs. Where
millwork was damaged by termites, new pieces were spliced in to replace the damaged parts. The conservation work for
materials unique to Indonesia, such as Balinese painting, relied upon local craftspeople skilled in traditional techniques.
Materials should be obtained locally in conservation work if at all possible. However, sometimes techniques or materials are no
longer available due to changes in the economy of an area or a loss of specific construction skills. The conservation approach
of the Award winners specifically addressed the training of craftspeople in these vulnerable specialized techniques so that the
buildings could be maintained in the future and similar buildings could be repaired with the new technical expertise.
The Vietnamese Traditional Folkhouses project (2004 Award of Merit) was specifically conceived as a training ground for
the wood craftsmanship found in vernacular residences. The training programme was a partnership between the Vietnamese
Ministry of Culture and Information, the Japan International Cooperation Agency (JICA) and Showa Womens University
in Japan. Specific technical knowledge was transferred from Vietnamese and Japanese conservation specialists to local
artisans. The restoration of the six houses, each using distinctive regional building crafts, developed artisans throughout
the country in the necessary skills for additional conservation work.
Involvement of the community
Top and above: Krishan Temple, India
Involvement of the community is essential in any conservation project and was a distinctive element in all of the Heritage
Award winners. With involvement there is an understanding of the buildings importance to the history of the region and
a sense of ownership for the buildings future protection. As noted earlier, in many projects training programmes in lost
construction techniques were initiated to promote a sustainable economic base for these skills in future projects. Younger
workmen from the community were trained by those who had skills in specialized crafts, including woodwork and stone
building, as well as fresco painting and the techniques of lime plaster and mortar. Not only were these craftspeople able to
repair the designated site but also gained a specialized skill to be used in future heritage projects. The benefit financially
to the community was also realized as employment was provided for economically challenged areas. Community members
began to value the qualities of these historic materials and specific techniques when experiencing the construction process.
This had the added benefit of pulling the community members together as a purposeful group to address other issues in
the community.
The Krishan Temple, in Kishankot Village in Punjab, India (2001 Award of Distinction) and Lakhpat Gurudwara in the Kuchchh
District of Gujarat, India (2004 Distinction) are both excellent examples of community support for historic conservation
work. The restoration projects acknowledged the common social history of the region and identified the importance of
the specialized construction techniques originally used in the building. One of the main objectives was to involve the
community, both skilled and unskilled workers, in training in these now abandoned skills of construction. For instance,
the knowledge of lime work was revived. As a consequence, the community was able to understand the importance of the
building to their local identity and of using appropriate materials such as lime in future conservation work on other local
heritage sites.
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There were a number of common lessons learned in the projects that won UNESCO Asia-Pacific Heritage Awards. This was
typical for the small as well as very large and complex projects. The first lesson was the importance of a careful plan before
construction began and an evaluation of the process as the project progressed. Understanding the conservation issues in a
project was essential in defining the work to be done. Many projects undertook evaluation and testing of special techniques
in the conservation process, and made adjustments when necessary to provide the best final product. Asking for assistance
from specialists when unknowns were encountered was also critical.
The second was that the involvement of the community is essential for long term success of every conservation project.
Strategies for this involvement included employing local workers to accomplish the tasks of conservation and developing
with community input an appropriate and viable economic use of the building. Often the conservation of a building
involved reviving nearly-lost technical skills specific to an area. The continued or new use of a building was the most
successful when the needs of the local area were met in the conserved project.
The final lesson was the importance that the conservation work of one building had on focusing the community on the
value that all the heritage buildings had to the future livelihood of the community. The initiative of one project often led
to the consideration that work should be accomplished on other heritage projects and to the larger realization that the
conservation of heritage buildings is critical to the future of the community.
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Using
Appropriate
Techniques
and Materials
Nimish Patel
UNESCO Asia-Pacific
Construction and finishing materials are an integral part of the culture of any society. They play a significant role in
determining the nature of a societys built environment which, as decades become centuries, begins to be seen as its
cultural heritage. The choice and use of materials reflect local environmental factors and also help to give a region its
distinctive identity. They contribute to the continuity of a regions aesthetic language which, in turn, reinforces the unique
character of its built heritage.
Local sources, local skills
Traditionally the selection of materials was restricted to those available in relatively close proximity to the site of construction.
Lack of infrastructure made it difficult to transport materials from distant sources. The manner of use became increasingly
refined and articulated as knowledge grew about a given materials characteristics, its strengths and weaknesses, the ways
it could be exploited and the technologies that could be applied to it. The resultwhether a fort, a bridge or a house
represented an accumulation of understanding gained through the use of materials over a long period of time. Yet it is
the quality of timelessness which makes us admire structures made from traditional materialsa quality exemplified in
the majestic Ahhichatragarh Fort complex at Nagaur in Rajasthan, India (2002 Award of Excellence). Built in the twelfth
century and modified over the next 600 years, the sites palaces, temples, shrines and two-tier defence wall display an
increasingly sophisticated employment of local materials, including red sandstone, off-white limestone, gypsum and teak,
as well as jaggery, natural gum and fenugreek which were used as binding and waterproofing agents in the lime mortar.
And local context
Availability was not the sole determinant in the choice of materials. The local geographical context was important, including
climate, landforms, soil types and seismic conditions. All of these factors influenced decisions about which material was
right for a given building, space, or landscape. Arid regions with scant rainfall, for example, allowed for stone masonry
construction without the use of binding materials. In the hot, humid climates of South-East Asia, split-bamboo matting
screens were used as wall infill, allowing internal air movement while offering protection from heavy rains. Thick mud walls
found in the south of China and India provided thermal mass, which reduced heat ingress and achieved desired comfort
levels. In many earthquake-prone zones, the same mud walls were effectively combined with wood-framed construction to
give flexibility against seismic shocks.
Collective responsibility
Criteria E.
The use and quality control of appropriate
building, artisan and conservation techniques.
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In addition, the selection of materials and technologies reflected the purpose of the buildings, the attitudes of their
designers, builders and craftspeople, and their sense of responsibility towards the place. Traditional wisdom lay in making
the most appropriate choice from among the options at hand. It was a decision-making process often guided by collective
responsibility regarding consumption of finite resources and adherence to traditional practices. These common sense
principles provide the template for conservation projects today. The judicious use of materials and techniques appropriate
to the heritage site contributes to the continuity of local traditions and the sustainability of the sites themselves.
The longevity of traditional materials, often over centuries, is proof of their appropriateness. They were not only durable
but also renewable, resulting in the creation of settlements which present a coherent whole, despite the fact that their
growth was often piecemeal. This is evident in many of the cultural landscapes that have won UNESCO Asia-Pacific Heritage
Awards, as well as in the streetscapes, precincts or villages that surround Award winning projects.
The conservation of the Baltit Fort (2004 Award of Excellence) in northern Pakistans Hunza Valley demonstrates the
eminent applicability of traditional materials and artisanship in the context of a 700 year-old historic settlement. For this
monumental project, the building materialsstone, mud and timberwere sourced locally. They were cheap, earthquake
resistant, durable and good for thermal comfort. The artisans, well versed in their use, were drawn from the nearby
community. Subsequent to the restoration of the Fort, the newly revived skills have been applied in other vernacular
structures in the immediate neighbourhood and also in other historic villages facing similar concerns. This in turn has
generated demand for traditional crafts and re-established their relevance in the contemporary context.
A natural evolution
Almost all the built environment in the Asia-Pacific region has evolved using the primary materials of mud, brick, stone, wood,
bamboo, cane or grass, bound with various applications of mud and lime. Where one of these materials was in abundance, it
was used throughout the building, from the foundations, walls, columns and beams to decorative elements such as screens
and brackets. Such buildings demonstrate a highly creative mastery of the characteristics of the dominant material.
An impressive example is Rumah Penghulu (2000 Honourable Mention), originally a village headmans home in the
Malaysian state of Kedah, now restored and relocated to Kuala Lumpur, Malaysia. Built in the 1920s and 30s, the elegant
residential ensemble was made entirely of local timber, except for the clay-tile roof. Structural components were hewn
from hardwoods and non-structural elements, such as fretwork archways, carved from a softer wood. Another example is
the Kow Plains Homestead (2002 Honourable Mention) in the pastoral Mallee region of Victoria, Australia. The homestead
is mainly made of unsawn pine logs slotted horizontally between saplings attached to load-bearing postsa simple but
effective technique known as drop-log construction.
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Timber: a material for all seasons

The extensive use of wood in the region is not surprising: Historically it was the most accessible natural material other than
mud and stone, and remains the most regenerative of the primary building materials. The appropriateness of timber as a
construction and finishing material is not questioned as much as its volume of use. Alarmed by deforestation, inadequate
replanting and the unabated demand for timber, concerned citizens are calling for a reduction in its use worldwide. But
in architectural conservation, the use of timber is essential for authenticity and appropriateness. Perhaps we should look
again to tradition for possible solutions. In times past, the southern Indian states of Kerala and Goa had a custom whereby
a few teak trees would be planted at the birth of a child, so that when both reached maturity 25 years later, the trees would
provide timber for a new home, or to renew an ancestral home.
Jin Lan Tea House, China
Wood has been used for almost all the components of the built environment, of any nature, scale or complexity. In China
for example, the variety of methods and elements, from simple joinery to complex woodwork, in any historic settlement
reflect the ingenuity of the local craftspeople and their understanding of the properties and potential of wood. The Jin Lan
Tea House (2001 Honourable Mention) in Kunming displays the full panoply of wooden elements. Its timber frame bears
the weight of the roof and floor in the two storey courtyard house, and is flexible enough to be dismantled for structural
changes; wooden panels divide the interior space into rooms; and fine latticework, richly carved lintels and fascia panels
decorate the wooden faade.
South-East Asians, too, have demonstrated highly imaginative and effective ways of using timber, and combining it with
bamboo, cane and grass in their built environment. This multiplicity of styles and uses is illustrated by an ambitious project
that restored six Vietnamese Traditional Folkhouses (2004 Award of Merit) in six villages across the country. The loadbearing structural frames of the six houses, ranging in age from 100 to about 270 years, were predominantly made of local
timber. But the conservation project revealed that the assembly and joinery of the wooden members were significantly
different among northern, central and southern Viet Nam structures, requiring different restoration techniques.
Masonry: stone, mud, brick and lime
Stone, mud and brick have been used as primary building materials for centuries throughout the Asia-Pacific region. The
composition and properties of different stone types determine their potential for different uses. Granite, for instance,
is primarily used for floor and wall finishing, limestone for floor and wall finishing as well as for masonry works, and
sandstone for floor and wall finishing, masonry, intricate carving and sculptural works.
Brick has produced a variety of built forms, from load-bearing walls to articulated fenestrations, while mud has been
used widely to make bricks and adobe, combined with wattle, or simply used as rammed earth. Mud has also been used
extensively as mortar in masonry constructions in hot and dry climates.
But the universal binding material in traditional structures was limemade from limestone converted to quicklime and then
to hydrated or slaked lime. Thanks to its widespread availability and versatility, lime has been used as mortar, plaster and
floor finish. In the past, builders soaked quicklime in water in metal troughs made at the job site. The slaking process could
take a few hours to several days. To make aged lime putty used for plaster coatings, it could even take a number of years.
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Used in combination, stone and lime complement and support each other in the totality of the building fabric. Masonry
construction using lime mortar, lime plaster and an annual application of lime wash results in structural homogeneity,
and thus great strength and durability. Of the numerous examples to be found in the Asia-Pacific, especially in India and
Pakistan, the Lakhpat Gurudwara (2004 Award of Distinction) stands out. The Sikh pilgrimage site, in Lakhpat Village,
Kuchchh district, Gujarat, houses relics sacred to the Udasi sect. The courtyard complex was built with local limestone and
red sandstone bound with lime mortar and overlaid with a fine coat of lime plaster. Carved stone balconies protrude from
the external walls and stone decorative features are built into the masonry. The conservation project rigorously used locally
sourced limestone and sandstone, ensuring that the work would be easily replicated in the event of future repairs. Local
people were trained in the techniques of making lime mortar with slaked lime, sand and small shell aggregate, as well as
lime plaster and grouting.
Industrial materials: a challenge for conservation
The age of industrialization brought rapid technological advances which drastically changed attitudes towards time-tested
traditional materials. The emergence of new materials greatly widened the range available for construction. New modes
of transportation and means of communication spread these products across the globe. An ever faster pace of life and
pressure of time popularized their use.
This reality has posed one of the biggest challenges to heritage conservation everywhere. As the choices have continued to
multiply, so has the use of new and inappropriate materials in conservation projects. The selection of appropriate materials
separates a good conservation project from a not-so-good one, and makes the former more sustainable than the latter.
Three factors determine the appropriateness of materials in any conservation work: their being local and natural; their continued use over time and their longevity; and their chemical congruence. The last factor basically means how well the different materials work together. For example in many of the winning Indian projects, a traditional method of waterproofing
the roof was applied, which uses a 300 millimetre layer of lime, jaggery and fenugreek over flat stone slabs, with inverted
earthen pots for insulation. This combination of materials has lasted decades if not centuries. Contemporary waterproofing
techniques, in comparison, use several layers of bitumen-based and other polymerised chemicals that have less affinity with
each other. This technique carries a maximum 10-year guaranteeand even that is questionable in many cases.
Cement vs lime: inherent differences
One of the most significant turning points in the evolution of the built environment is the introduction of cement as
an effective binding material and reinforced concrete as a readily available technology. Both have helped reduce the
construction period dramatically. Consequently, they have gained huge popularity in contemporary construction, virtually
replacing lime mortar and plaster as a binding material almost everywhere.
However, cement and lime have differing characteristics. Cement-based technology helps in gaining structural strength
early and saves time, but has little inherent congruence and thus less longevity. Lime-based buildings reach their strength
gradually until it acquires an almost rock-like quality in its composite construction time, and are known to last centuries.
Unfortunately, cement-based technology is used in many conservation projects, even in lime-based historic structures.
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This practice brings to the conservation process an inherent incongruence that ends up adversely affecting the life of the
building. The water needed for mixing and applying cement, for example, leads to corrosion of the steel bars in reinforced
concrete, limiting the longevity of the intervention. Lime-based intervention, on the other hand, integrates itself more
cohesively with the historic structure, prolonging its life rather than truncating it.
Take, for instance, the Jaisalmer Streetscape Revitalization Project (2002 Honourable Mention) within the 800-year-old
fort of Jaisalmer in Rajasthan, India. In the two residential streets under conservation, the prevalent use of cement to repair
the traditional sandstone houses had led to cracks in the stone walls and the need for yet more repairs. Replacement of the
cement with traditional lime mortar helped to deal with thermal stresses and prevented the stone from cracking, leading
to greater structural stability. Additionally, lime mortar was more aesthetically compatible with the distinctive golden-hued
sandstone of Jaisalmer, and the making of the lime locally led to the revival of a lost skill.
Similarly, only lime was used in the restoration of the Chanwar Palkhiwalon-ki-Haveli (2000 Excellent Project), for which
my partner and I served as the lead heritage architects. To retain the chemical compatibility of this ornate, centuries-old
mansion in Amber, Rajasthan, the craftspeople used lime in the rendering, the plastering and the finishing. Preparation of
aged lime putty for the araish decorative plaster wall-finish took as long as a year.
In the words of one of the master craftsmen who worked on the haveli, the life of cement-based building ends at 90 years,
and the life of lime-based building begins at 70 years. In their experience, limestone, lime mortar, lime plaster and many
layers of lime wash over decades become a homogeneous entity, surviving for centuries with minimum maintenance.
The rediscovery of traditional materials at the haveli provided the much-needed impetus for the revival of traditional
building trades in Amber. The projects original five craftsmen have all become contractors, employing about 100 people
among them, ten years after they started working on the haveli.
Vanishing skills
Top and above: Chanwar Palkhiwalon-ki-Haveli, India
Indeed, many UNESCO Heritage Award-winning projects have stimulated a revival of the traditional crafts necessary to
restore the buildings with the authenticity they deserve. An admirable case is the conservation of the University of Mumbai
Library Building (2001 Honourable Mention), which involved the training of local glaziers to repair its beautiful Victorianera stained glass windows. The craft of stained glass, imported to India during British colonial rule and adopted in local
buildings of the Victorian Raj, was gradually lost after independence. Three British experts trained seven local artisans to
clean, cut, repaint, re-solder and treat the stained glass panels. With their new skills, the Indian glaziers have since worked
on stained glass repairs in other parts of the country.
Such craftspeople, however, represent a rare renaissance of a form of intangible heritage that is elsewhere under threat.
The vast body of knowledge about traditional materials and techniques is carried by a rapidly diminishing number of
craftspeople. Over many generations, these skilled communities have developed a mastery of local materials and the most
effective methods of using them. In many countries of the Asia-Pacific, such skills still survive, although there is little
demand for them, heightening the risk of their extinction.
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Local wisdom about the use of traditional materials and technologies is not fully documented. Nor is it possible to formally
document a knowledge acquired through years of apprenticeship and other hands-on learning processes, normally passed
on from one generation to the next. In the past half century, lack of familiarity with traditional practices among professionals
emerging from the modern education system has sharply decreased demand for time honoured artisanal skills, which are
likely to disappear eventually.
If and when that happens, we will lose a significant part of our cultural heritage. The losses would include:
A holistic understanding of local natural materials, their mutual compatibility, their strengths and weaknesses and ways
to overcome the weaknesses.
The ability to differentiate between usable and non-usable materials through sight, smell, touch and sound, without the
aid of scientific evaluation techniques.
A time-tested knowledge of the longevity of different materials, and methods of further prolonging their life by
selecting the most appropriate ingredients and their use in correct proportions.
The attitude of balancing the consumption of the materials with their availability, so crucial for the conservation of
scarce resources.
The ability to evolve simple solutions for most situations, often more desirable in the long term.
A creative approach to finding solutions within the overall aesthetic paradigm that gave historic settlements both their
coherence and their distinctive identity.
The sequencing of decision-making and execution that is conducive to the characteristics of the materials used.
The pursuit of quality and pride in work over cost-cutting, time-saving and other economically expedient measures.
Conserving built heritage is important, but conserving the knowledge, the crafts and the skills that made the buildings
worthy of being deemed heritage is even more important. While their revitalization in conservation projects is to be
applauded, such skills will only be retained if architects and other professionals increase their familiarity with them and
their use, even for newer projects. It is evident from the UNESCO Asia-Pacific Heritage Award winners that materials and
technologies are inherent to the unique language and enduring significance of each localitys built cultural heritage. It
would augur well for the continuity of this rich heritage if the present generation of architects, engineers, designers and
conservators would respect and emulate these important lessons from tradition.
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Adding
New Elements
Spaces enclosed by buildings inevitably evoke some kind of response. Whether it is the simple intimacy of a vernacular
dwelling or the soaring grandeur of a religious monument, the inherent spatial quality has the power to engage people in
some way through their feelings or memories. It is not surprising then that the general view of the success or failure of a
buildings conservation is coloured by how well that spatial quality is maintained.
Susan Balderstone
How well any added elements or creative technical solutions respect the character and inherent spatial quality of the
structure(s) is one of the criteria for the UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation. The
criterion is probably most difficult to satisfy when the project involves a major change of use, such as from a factory or
warehouse to a hotel, office or apartment building, or from a public building to a private use. In such cases retention of the
structures internal fabric and artefacts is not always easy to achieve, and retention of major industrial or public spaces can
be difficult to argue on economic grounds.
UNESCO Asia-Pacific
Character and inherent spatial quality as components of cultural significance

In establishing this criterion it was accepted that character and inherent spatial quality are part of the cultural significance
of a structure. They may have aesthetic and architectural value, but in particular they relate to the function for which the
building was designed and are an expression of the historic and social values of the place.
Religious buildings
In the case of religious buildings the interior spatial quality of the structure is usually a major part of its significance as a religious meeting hall and place of worship. The interior may also be of architectural value in itself, by virtue of its design and
decoration. At the Award-winning Ohel Leah Synagogue in Hong Kong SAR, China (2000 Outstanding Project), the high,
barrel-vaulted space, with its public area and gallery focusing on the location of the ark and Torah, is key to understanding
the communal and spiritual use of the building. The social value component of the cultural significance of this building
resides in these aspects. It was not difficult to respect the spatial organization in this particular conservation project as
the building was to continue in its existing use as a synagogue. The design and decoration of the interior contributes to
the architectural significance of the building as an expression of the Edwardian Baroque style of the period, and this was
conserved through repair of leadlight windows, plaster mouldings and timber joinery.
Criteria G.
How well any added elements or creative technical solutions respect the character and inherent spatial quality of the
structure(s).
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Public and institutional buildings

Public and institutional buildings such as government office buildings, law courts, prisons, schools or mental health hospitals can often present greater problems. These have usually been altered considerably over time due to changing occupation
standards and the introduction of modern services. Law courts, prisons and hospitals will most likely retain at least some
of the spatial definition that relates to their function, for instance courtrooms with their judges bench, witness box and
public gallery, and prisons with open double or triple height corridors leading to banks of cells. However, government office
buildings are often a rabbit warren of rooms off corridors and may present only a public foyer and staircase, and possibly
some vaulted basement storage rooms full of archived files, to indicate public use. The public foyer may be quite grand in
scale and elaborately decorated, as for instance in the Award-winning Medina Grand Adelaide Treasury (2003 Award of
Merit), indicating the importance of its public function.
This project converted the former Adelaide Treasury Building, once an important government building for the state of South
Australia, into a hotel and serviced apartments. The works revealed the quality of the public spaces such as foyers, stair
halls and corridors by removing false ceilings and redundant services. The former cabinet room was retained as a significant
space, a place where important decisions affecting the state of South Australia were made. The character of the former
Treasury as a public building on one of South Australias most important colonial sites was captured through exposure and
conservation in situ of the section of sandstone wall remaining from the original 1839 building. This archaeological remnant
in what is now the main entry lounge is an immediate connection to the sites colonial past, and a feature of considerable
public interest.
Medina Grand Adelaide Treasury, Australia
Industrial structures
Industrial structures are likely to present the biggest challenge in relation to this criterion. In general they are not only being
conserved but also recycled, usually for a use which is very different from their original purpose.
Industrial places represent production processes. They need to be analysed in terms of four kinds of historical context:
chronological, typological, social and geographical. The chronological and typological context both relate to function, in
that the place needs to be analysed in relation to scientific and technological developments in the particular function over
the relevant time scale. The social context includes the economic value of the process to the community, region, or nation,
and also covers power structures and worker-employer relationships. The latter may extend to the provision of workers
housing or other provision such medical care for workers and their families, recreational or child care facilities. The geographical context includes proximity to raw materials, other similar or associated industries, transport and labour force.
The current context of the place may of course be considerably different. The buildings may already be used for other purposes than those for which they were originally designed, or they may have been modified over time to accommodate new
technology, or they may have become obsolete and no longer be in use. The topographical context may have changed due
to the industrial processes themselves, such as open cut mining. In the case of obsolescence, the people who once worked
there may have moved away. The place may now be a remnant associated with a ghost town.
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Redundant industrial structure may therefore be difficult to understand and need careful analysis. It is not only the physical
fabric of industrial structures that is important but also the information they give about the processes they accommodated.
In the case of the Award-winning industrial structures, such as the Bushells Tea Warehouse in Sydney, Australia (2001
Award of Distinction) and the Tea Factory Hotel in Kandapola, Sri Lanka (2001 Award of Merit), the character of the
interior spaces related directly to the industrial processes carried out there. The character of the Bushells Tea Warehouse
derived from the exposed structural members and from the in situ tea handling equipment including hoppers, spiral chutes
and lift shafts within a well-lit, open space. These demonstrated the function of the building and are thus part of its
historic value. Similarly, the character and spatial quality of the Sri Lankan Tea Factory derived from the internal open air
shaft essential for the movement of hot air which dried or withered the tea leaves and the large fans on either side of
this space which drew the heated air from the basement furnace. These features enable understanding of how the building
operated historically and are part of its significance. In both these projects these culturally significant aspects of the place
were respected and retained.
Suzhou River Warehouse, China
Another Award winner, the Suzhou River Warehouse project in Shanghai, China (2004 Honourable Mention), retained
an open spatial character and exposed structure that demonstrated its historic function as a warehouse, but lacked the
industrial artefacts that would more clearly have identified it as a grain store.
Reuse issues
The recycling of historic structures needs to be based on the results of investigations into their cultural significance and their
structural condition. The economics of any reuse proposal will be of prime importance, so accurate estimates of the required
works are required. In many cases such estimates will have to include not only the capital costs of the building works, but also
the future running costs of the proposed use, including maintenance of the facilities, in order to demonstrate that the proposal
is economically viable. This is particularly the case where a museum, recreational or community use is proposed.
It is of great importance to understand the significance of the place, and the relative technological value of the structure
before making decisions about use. It is necessary to consider functional adequacy, strength adequacy, serviceability, fire
and accident safety as well as financial return. Many industrial buildings used innovative structural techniques developed
in the late nineteenth and early twentieth centuries. However, any new use has to conform to current relevant statutory
requirements and this may not be possible without structural modification. For example in the Tea Factory Hotel project,
the original steel structure was not designed to accommodate the greater loads imposed by the new hotel use and needed
to be augmented.
Steering committee
When the proposed recycling of a heritage building generates considerable public interest, a useful approach can be to set
up a steering committee to oversee the project. This is most often done where a government agency has assumed control
of the site and buildings, rather than in the case of a private owner or development company. Committee members are not
usually paid for their time and the success of this approach depends on the interest and commitment of the steering committee members. The committee will usually include representatives from the relevant heritage agency, local council and
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local interest groups. Ideally it should include someone with financial skills, someone with legal knowledge and someone
in business. In order to collect local views on possible uses for the place, it can be helpful to run an Open Day at the site
and issue a questionnaire to visitors, asking them to complete it and hand it in to the organizers at the end of their visit.
Adjacent property owners and neighbours should be specifically invited. The steering committee members can make use
of the opportunity to canvass ideas either formally through a presentation or informally through talking to visitors. Ideas
generated in this way need to be followed up through investigating the market for them. Local council staff, local businesses and real estate agents can be helpful in this regard.
Many of the winning projects have relied upon an active steering committee to carry forward the momentum of the restoration work. In the case of religious buildings, members have been typically drawn from the existing temple or church
committees. For instance, for the Catholic Cathedral of the Immaculate Conception in Hong Kong SAR, China (2003
Honourable Mention), the steering committee was composed of devoted parishioners, engaged not only in key decision
making but also in mobilizing the wider congregation to provide input and comments at all stages of the project, even in
technical matters such as selecting the buildings lighting schemes.
Feasibility study
A feasibility study can be a useful tool when adapting a heritage building for new uses, provided it follows a logical process.
Ideally, the feasibility study should:
Summarise the heritage assessment, conservation policy and action plan for the place. If a Conservation Plan has not
been done already, this work will have to be commissioned prior to commencement of the feasibility study.
Set out the various reuse options proposed by the steering committee, following community consultation.
Assess these options against the conservation policy for the place and propose a preferred option or options.
Assess the preferred option(s) against financial, business and market criteria. This is where a realistic estimate of
the capital works involved in refurbishment and additions must be made, together with realistic projections of financial
return against investment.
Recommend the preferred proposal and set out the financial objectives for a Business Plan.
Propose a programme for implementation, covering access to grants and other funding sources, in relation to the construction programme and cash flow requirements.
The feasibility report should include the plans, existing condition schedules and design images of the proposal on which the
estimates are based, together with descriptions of site information, contextual framework, any proposed new installations,
building additions, proposed rental schedules, market study, financial plan or other relevant concept designs used as a basis
for costing the overall project.
For the Bushells Tea Warehouse project, the real estate developer relied upon the feasibility study to determine the
commercial viability of the proposed restoration project. The buildings industrial typology appeared to be an unusual
choice for commercial adaptation at the outset. In fact, the feasibility study revealed that it had the potential to attract a
certain niche of tenants seeking precisely that unique character, and indeed, would be willing to pay a premium for such a
space. This allowed the project to proceed and to realize a steady stream of revenue which has funded not only the initial
investment, but also the ongoing maintenance of the property.
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Added elements and creative technical solutions

Reuse and recycling projects often require the addition of new buildings. Even in cases where a monument or museum use
is proposed, a new building may be required to accommodate a visitors centre, shop and toilets. The need to provide access
for disabled people may require the insertion of ramps or lifts.
There can be a difference in opinion between how architects want to approach the design of new buildings on heritage
sites and the views of the general public. The former may want to use new forms and materials, while the public may be
happier with an historicist approach. However, what is important is not that new buildings should directly imitate past
styles, but that they should be well designed with respect to their context. Special regard should be had for such matters as
scale, height, form, massing, the traditional pattern of frontages, vertical or horizontal emphasis, and detailed design. One
approach is that the addition or annex should not dominate the heritage structure. Another approach is to separate the
new building or annex from the original. This was done successfully with the new lift tower and foyers for the Bushells Tea
Warehouse, and the small new building at the Ohel Leah Synagogue. The latter was needed to house additional facilities and
was constructed in granite, steel and glass, connected by a bridge to the synagogue through an existing opening. Similarly,
at the Tea Factory project in Sri Lanka, the second stage proposes a separate, glass-domed structure away from the existing
building but connected by a basement tunnel.
With large industrial structures it may be possible to add smaller elements such as new stairs, access ramps or lifts required for
disabled access unobtrusively within the structure. Sometimes they must be placed on the exterior of the building, as in the case of
the new lift and stair added to the exterior of the Ohel Leah Synagogue. There the approach was to create a minimalist structure
which sat well against the blank wall of the building. However, in a more traditional or vernacular building, a new stair could
be constructed as a continuation of the existing traditional or vernacular style. In either case it can be done in such a way that the
element may be readily dismantled in the future, without damage to the existing building should the element no longer be
required. This principle of reversibility applies to all such insertions and additions, external or internal.
A common issue in adapting large warehouse spaces is the introduction of internal partitions. The design needs to suit
the new use but not detract from the character and integrity of the space. At the Suzhou River Warehouse, which was
converted into a design office, the use of screens with an almost sculptural quality created innovative work spaces without
detracting from the quality of the overall space or impeding views of the structure. The screens can easily be removed
without change to the structure if and when they are no longer required.
Reuse and recycling will almost always require the installation of new services, and possibly structural modification. Respect for the character and spatial quality of a heritage building will mean dealing with these in ways that have minimal
impact. The approach demonstrated in the Award-winning projects was that in high quality architectural interiors, services
should be concealed. The Ohel Leah Synagogue and the Medina Grand Adelaide Treasury projects took this approach.
However in the industrial buildings the inserted services and structural modifications were often exposed as a continuing
expression of industrial character, although clearly evident as new work.
There were a number of different creative technical solutions to the problem of inserting new services in Award-winning
projects. At the Bushells Tea Warehouse, raised access floors were provided to accommodate new cabling and give flexibility for office use. This was a less obtrusive solution than the more usual overhead cable trays or false ceilings.
44
Pipes for hot and cold water, and ducts for heated or cooled air have usually been accommodated in false ceilings. However
in order to retain the integrity of the architectural interiors at the Ohel Leah Synagogue and the Medina Grand Adelaide
Treasury Hotel, piping was located in the floor space and individual air-handling units were used to avoid the need for
ducting. In the former project, the individual air-handling units were floor mounted as unobtrusive joinery items. At the
Medina Grand Adelaide Treasury Hotel, they were installed in the false ceilings of subsidiary spaces such as bathrooms and
utility rooms.
New lighting and fire services were suspended and exposed under the ceiling at the Bushells Tea Warehouse in such a
way as to allow clear views of the structure. In architectural spaces where this is not acceptable new electrical wiring can
sometimes be fed through existing concealed gas piping which supplied the original gas lighting fixtures. In multi-storey
buildings a location for the main service riser is often difficult to find. At the Bushells Tea Warehouse, an existing light well
was used. In public buildings such as the Medina Grand Treasury, old ventilation shafts concealed in the existing structure
can often be used. Chimneys are another possibility.
External service elements can sometimes be innovatively concealed as demonstrated by the Bushells Tea Warehouse project
and the Tea Factory Hotel. At the former, use was made of an existing architectural featurethe temple tower, which once
housed a water tank, for the new cooling tower. Meanwhile, the new kitchen of the Tea Factory Hotel replaced the original
boiler room and the existing chimney now accommodates the kitchen fume exhaust pipes.
New work should be readily identifiable as such
The approach taken in the Award-winning projects involving additional buildings or new insertions is essentially in accord
with the philosophy of the Australian Burra Charter, Article 22, which states:
Newwork
work
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as additions
to the
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place, or and
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or detract
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The general principle followed is that new additions should be well designed but treated as a separate structure where space
allows. They should be distinguishable from the heritage building, but not dominate it. New services and structural modifications should be able to be identified as new work but designed to have a minimal impact on the character and spatial
integrity of the interior. For example, structural modifications required for the Sri Lankan Tea Factory Hotel were clearly
designated by painting the new steel a different colour from the original steel structure. However, while colour designation
of the new steel in the Tea Factory Hotel worked in that particular case because of the way in which the bracing pattern
fitted the overall design, it is not necessarily a preferred approach. The principle is that new insertions should not dominate
the interior.
Of course it is never possible to remove subjective appreciation of design from the evaluation process. It is not intended to
prevent the opportunity to propose innovative and creative solutions to the problems of adding new elements to heritage
places. The approaches and principles described above are intended as a guide and, bearing this in mind, sensitive designers
will find their own successful solutions.
45
Contributing to
the Communitys
Cultural
Continuum
Johannes Widodo
UNESCO Asia-Pacific
Why give awards for the conservation of cultural heritage? Simply because conserving, restoring and sustaining our
heritage is the best way to ensure the continuation of the diversity of our cultures. Built heritage is a tangible expression of
that diversity and is also the environment that keeps alive the range of identities, practices, customs, histories, traditions and
memories that make up our intangible heritage. Cultural continuity is possible only through the preservation and passing
on of local heritage, in all its diversity, from generation to generation.
This diversity faces serious challenges in the age of relentless globalization and mass consumerism. Contemporary urban landscapes
featuring look-alike high-rises, identical fast food franchises, uniform chain stores and other homogenizing forms of modernity
have led to the loss of local character and the erosion of cultural identity. Often, this is done in the name of economic development.
But policy makers and planners have tended to take a top-down approach, treating people as the object of development and giving
them little say in decision-making. In the field of conservation, this is manifested in the process of urban redevelopment: large
swathes of historic urban fabric being taken over by government or property developers, with the original inhabitants evicted and
the building shells turned over to commercial usesor even worse, the entire structure razed to make way for shiny new buildings.
Fortunately these negative trends have triggered a reaction from local communities and civic organizations, which are emerging in
many countries to regain control over their environment, to rebuild community ties and to protect their own heritage. To increase
their leverage, various heritage bodies and non-governmental organizations are cooperating in alliances and networks, and even
with government institutions. International organizations such as UNESCO actively support them as individual groups or through the
networks. This has resulted in a movement towards more equal partnerships among all stakeholders. While top-down decision-making
and commercial exploitation remain threats to heritage conservation, more and more people are uniting in their desire to rediscover
their unique history and restore their distinctive architectureand, in the process, to strengthen their sense of community.
The UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation programme seeks to encourage this positive trend.
Winners have to excel in 11 criteria, one of which is the manner in which the process and the final product contribute to the
surrounding environment and the local communitys cultural and historical continuumin other words, a projects method and
outcome must not only conserve the physical structure, but must also help to sustain, or even enhance, the local communitys ways
of life.
Criteria H.
The manner in which the process and the
final product contribute to the surrounding environment and the local communitys
cultural and historical continuum.
46
A project can further a communitys cultural and historical continuity in many ways: as a backdrop for intangible cultural and
social practices, as a repository of local history, as a heritage educational facility, as an expression of artistic and craft traditions,
as a space of traditional socio-economic modes of production or consumption, or as a focus of community identity. Exemplars
of any combination of these qualities can be found among the Award winners; some projects embody all of them. Such an
holistic approach, for example, is epitomised by the Jaisalmer Streetscape Revitalization Project in Rajasthan, India (2002
Honourable Mention), which perpetuated the unique character of two traditional residential streets within the 800 year-old
fort. The project sought not only to repair physical fabric, but to maintain the totality of a traditional communitys ways
of lifefrom modernizing drainage and sanitation systems to replacing unsightly cement on houses with traditional lime
mortar; from reviving the fading skills of local artisans to educating owners about how to conserve their properties, and
strengthening the residents role in the maintenance of their living environment.
This kind of a multifaceted approach is also demonstrated in the conservation of a single building, Cheong Fatt Tze Mansion
(2000 Most Excellent Project), built by and named for the self-made tycoon who personified Penangs commercial ascent and
cosmopolitan lifestyle in the late nineteenth century. Through rigorous historical research followed by the use of traditional
materials, skills (with artisans imported from China) and construction techniques, the mansion was able to express again the
richness of its cultural symbolism and historical layers. The site interpretation, through publications and guided tours, relates the
story of the house and its owner to the larger history of Malaysias immigrant Chinese community. Its celebration of the Penang
story brings the past into the present, and its reuse as a small hotel restores its historical function as a residence.
While many Award winning projects have had multiple effects on their community and its capacity to sustain its collective
memory, some illustrate the successful implementation of one aspect particularly well.
Reinforcing community identity
Historic places of worship have provided a focus of identity and continuity in many communities. Often, a community groups
passion for preserving its religious heritage has helped to sustain its cultural and historical continuum, strengthening its
sense of identity amid frenetic development all around it. Such was the case with the century-old Ohel Leah Synagogue
(2000 Outstanding Project), whose painstaking restoration to its original state was driven by the small Jewish community
in Hong Kong. The high standard of the work done there, with modern services integrated harmoniously into historic fabric,
ensures that the building will continue to serve as a Jewish spiritual and social centre far into the future, even as highrise
condominiums tower around it.
The restoration of wall paintings at the Dorje Chenmo Temple (2004 Award of Merit) in Ladakh, northern India, was a project
of a much smaller scale and completely different nature, but served the same goalsto maintain a communitys distinctive
traditions that give it confidence and cohesion. The traditions of the devoutly Buddhist villagers of Shey include an annual
ritual in which the spirit of the temple deity, Dorje Chenmo, is believed to enter the body of the village oracle. The deity
obviously appreciated the work done on her shrine by the villagers, under professional guidance. After the dirt encrusted
and partly damaged wall paintings were stabilized, cleaned and touched up, plus minor structural repairs undertaken, the
deity, through the oracle, expressed great satisfaction with the villagers efforts. This not only reinforced the Buddhist
practice of merit making but validated the new practice of conservation among the local community, strengthening their
commitment to preserving their heritage.
47
A moving non-religious project that brought together a fractured Indonesian community was the relatively simple
restoration of the Virtuous Bridge (2003 Award of Merit), built in 1916, in Medan, Sumatra. Completely undertaken by
local residents, conservation of the bridges lamps, pillars, railings and inscriptions allowed the community to share in
rediscovering the multicultural legacy of the city. The final product, interpreted in a bilingual narrative of that legacy on a
plaque beside the bridge, contributes to this historic continuity and hopefully to better intercultural understanding.
Keeping the past for the future
Gota de Leche, Philippines
The outstanding work on the Guangyu Ancestral Hall (2003 Award of Excellence) in Guangdong province, China, shows
how local history can be revealed in the process of conservation and retained in the final product. During the process,
significant traces of periods and renovations in the buildings life, from the Ming dynasty to the Cultural Revolution,
were discovered and preserved through traditional craftsmanship or thoughtful restoration methods. In the final product,
these historical layers are displayed like an open bookfrom ancient murals to revolutionary sloganspresenting a three
dimensional, living record of the history of Qiangang village and its founding clan. The once abandoned hall has been
returned to its traditional usesby the clan to worship its ancestors, and by villagers for festivals and gatherings.
In Australia, a highly symbolic moment in Aboriginal history lives on, thanks to the restoration of the Australian Hall
(2002 Award of Distinction) to its state in 1938the year in which the indigenous community held the Day of Mourning
conference in the hall to mark the 150th anniversary of the arrival of British settlers. The red-brick building, saved from
demolition by the Aboriginal community, has been sensitively restored as a physical reminder of the Aboriginal civil rights
movement. By commemorating the communitys long struggle against persecution and inequality, the Australian Hall also
has renewed Aboriginal awareness of and pride in their history.
Intangible cultural and social practices
Tangible heritage needs to be preserved because it provides the place in which intangible heritage happens. Historic places
are, literally, irreplaceable once lost and their loss often leads to the diminishing of practices associated with the place.
These include artistic traditions and craft skills expressed in the construction and decoration of buildings and passed on for
generations through apprenticeship.
No more inspiring backdrop for intangible cultural practices can be found than Ahhichatragarh Fort in Rajasthan, India (2002
Award of Excellence). After 30 years of neglect, the restoration of the sprawling twelfth century fort complex bequeathed
a huge public venue to the community of Nagaur. The conserved palaces and grounds now host traditional festivals,
cultural and religious events. And the conservation work resurrected historical activitiesfor example, a new generation
of craftspeople were trained in traditional construction methods, such as the hitherto forgotten art of carving jallie (stone
lattices). But intangible heritage encompasses less obvious traditions than arts and craftssocial practices, for example. The
conservation of the Gota de Leche building in Manila (2003 Honourable Mention), not only protected a beautiful tropically
adapted Italian Renaissance building, but also allowed for the continuation of its community service use. The restoration
of the building to its former architectural distinction put the building back in the public limelight, attracting generous
sponsorship for its community programmes.
48
Continuity of crafts and skills

Conservation is a virtuous circle. The prerequisite for sustaining intangible heritage is the faithful restoration of the tangible,
built heritage. And the prerequisite for restoring built heritage is the continuation or recovery of traditional building and
decorative skills, which are part of the intangible heritage of the local community. In conserving tangible heritage, dying
arts and crafts therefore need to be revived, through the training of the local people. Commmunities should be aided to
discover, respect and care for their own cultural resources and empowered with the technical skills that enable them to do
so. Only in this way will the long term survival of our heritage be assured.
Several UNESCO Asia-Pacific Heritage Award winners exemplify grassroots training efforts to enable local communities to
undertake local conservation. Take the restoration of Wat Sratong in Ban Bua village, Khon Kaen, Thailand (2002 Award of
Merit). Work on the temples ordination hall was entirely and voluntarily undertaken by the villagers after on-site technical
training by the local university. In the process, they learned traditional construction and finishing techniques that they will
be able to use for future repairs, besides gaining a strong sense of ownership over the project.
Dadabhai Naoroji Road, India
A similar example is the restoration of the centuries old Chanwar Palkhiwalon-ki-Haveli in Amber, Rajasthan, India (2000
Excellent Project). During conservation work on this grand and intricately decorated mansion, a large number of local artisans
were recruited and trained, especially in the making and application of decorative lime plaster, a traditional skill that had been
lost. The training enabled several master craftspeople to subsequently set up their own businesses specializing in historic
conservation.
The Hoi An Town Preservation Cooperation Project (2000 Excellent Project), in which Japanese and Vietnamese experts
and local artisans restored several traditional homes and shops in the Hoi An World Heritage Site in Viet Nam, was another
model of skills transfer which enabled the project to be sustained by the local community after the experts left.
Old economic spaces in the new economy
Modes of buying and selling, trading and manufacturing are as culturally distinct as they are varied. The marketplace
is often a microcosm of local life. Historic spaces of commerce and industry are eminently worthy of conserving, and
several have won Awards for doing it. Old commercial streets that successfully implemented conservation plans include
Zhongshan Road (2001 Award of Merit), a mile long vista of 1920s and 1930s shophouses in the southern Chinese
port city of Quanzhou, and Dadabhai Naoroji Road (2004 Award of Merit), a bustling streetscape of nineteenth century
bazaars, pedestrian arcades and Neo-Classical buildings in Mumbai. In both cases, structural stabilization, faade repairs
and removal of incongruous additions, restored their historical character and enhanced their commercial vitality. In the Mumbai
case, the streets shopkeepers, residents and other stakeholders have voluntarily formed a non-profit association to maintain the
areas heritage values, through such means as installing cast iron street furniture and redesigning shop signage to be
compatible with the streets Victorian-era urban character.
Other projects recycled derelict industrial buildings and breathed new life into them. Two tea-processing facilitiesBushells
Tea Warehouse in Sydney, Australia (2001 Award of Distinction) and the Tea Factory Hotel in Kandapola, Sri Lanka (2001
Award of Merit)successfully used as an office block and a deluxe hotel, respectively, while maintaining their historical
49
significance through imaginative integration of the original industrial spaces and machinery into the renewed structure.
By the Suzhou River in Shanghai, an architects minimalist adaptation of a dilapidated grain warehouse into his chic design
studio saved the buildingand started a trend. An artists colony has sprung up around Suzhou River Warehouse (2004
Honorable Mention) leading to the rehabilitation of surrounding warehouses, thus preserving a remnant of Shanghais
industrial history and regenerating an entire riverside district with lively new commercial activity.
Learning from heritage
Heroic conservation efforts have allowed many historic sites to serve their community as continuous sources of knowledge
in the form of heritage educational facilitiesas cultural centres, museums and libraries. For example, despite political and
economic turbulence in post-Suharto Indonesia, work went ahead on the vacant, flood-prone, termite-infested National
Archives Building (2001 Award of Excellence), built in Jakarta in 1760 as a residential villa by a senior official of the Dutch
East India Company. The installation of drainage and other modern utilities gave it a useful new role as a cultural centre,
while careful restoration of the compound has preserved a piece of Dutch colonial history, open to the public as a popular
venue for exhibitions, performances and social events.
In Malaysia, a traditional northern Malay village house has been transformed into a heritage centre. Rescued from ruin in
the state of Kedah, Rumah Penghulu (2000 Honourable Mention) was carefully relocated to the capital, Kuala Lumpur,
where it was reassembled as an example of vernacular Malay architecture in which educational workshops and cultural
activities are now held by the Heritage Trust of Malaysia.
A typical Newari farmhouse in Bhaktapur, Nepal, was conserved for a similarly didactic purpose. After a decade of neglect, the
Namuna Ghar (2004 Honourable Mention), meaning model house, was restored, to demonstrate the modern reuse of a 150
year-old building compatible with its heritage values. As a residence, museum and events space, the house not only showcases
vernacular architecture, but also blazes a trail for the conservation of other historic houses in the Kathmandu Valley.
Top: National Archives Building, Indonesia
Above: Namura Ghar, Nepal
A more radical change was the adaptation of the Nielson Tower (2001 Honourable Mention), a pre-war airport terminal in
Manila, Philippines, into the Filipinas Heritage Librarya fitting reuse for one of Asias earliest airports. Its high-tech functions
were moulded around the existing fabric, rather than the other way around, with even the airport signage being retained.
The eight year project in Bangkok, Thailand to restore the Phra Racha Wang Derm palace complex (2004 Award of Merit)
renewed public interest in a previously eclipsed period of Siamese history. The project illuminated the seminal reign of King
Taksin the Great (1733-82), who moved the capital to Thonburi on the west bank of the Chao Phraya River, and built his
palace there. The restored buildings, comprising royal residences, Chinese pavilions, a fort and a throne hall, now house
museums on the Thonburi era and a research library.
A future for heritage
In a world habituated to rapid change, instant gratification and detachment from the past, we are more than ever obliged
to prolong the lifecycle of our heritage for the sake of future generations. How else will they connect with their roots amid
societies in flux? How else will the collective memory be transmitted? It is essential for communities to find a balance
between conservation and development, but to do so they must first know the sources of their history and culture.
50
Influencing
Conservation
Practice and Policy
The UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation programme has provided impetus to
the regions emerging civic conservation movement by reinforcing technical know-how, social momentum and political
support. By recognizing outstanding efforts in the conservation of structures of heritage value, UNESCO aims to catalyze
conservation at all levelsfrom the community sphere to national heritage policy. The influence of the Award-winning
projects on both conservation practice and policy is therefore an important consideration in the programme. Each of the
winning projects has demonstrated exemplary fulfillment of the awards criteria concerning the influence of the project on
conservation practice and policy locally, nationally, regionally and internationally.
Richard A. Engelhardt
Setting technical benchmarks
UNESCO Asia-Pacific
Heritage Awards Jury Chairperson
Montira Horayangura Unakul
Solid technical achievement is the cornerstone of the UNESCO Asia-Pacific Heritage Awards programme. The mere act of
conservation, while laudable, is not an end in itself and can in fact be detrimental to the authenticity of the building if
carried out using inappropriate materials and techniques. Hasty or inappropriate conservation jeopardizes the future of many
heritage properties in the region.
The Award-winning projects have been undertaken with systematic conservation methodology, using a combination
of traditional techniques and modern conservation technologies. The projects have also led to setting standards in the
conservation profession and in many cases have led to policy reform.
Systematic conservation methodology
The winning projects serve as valuable models in the development and application of rigorous conservation methodology. This
systematic approach is particularly significant in the Asia-Pacific region where conservation is a relatively new profession,
international norms are not widely understood or practiced and localized modes of operation are still evolving.
The methodology exemplified by the projects rests on a values-based approach to conservation, which entails establishing a
thorough understanding of the values inherent in a heritage propertyartistic, architectural, social, historical and economic.
These values are thoroughly documented, and then form the basis for decision-making regarding how to safeguard the
buildings physical fabric together with its social and cultural meaning.
Criteria I.
The influence of the project on conservation
practice and policy locally, nationally, regionally or internationally.
Forming a thorough understanding of the buildings multi-faceted significance before commencing work results in
a comprehensive conservation approach, which ensures the authenticity and integrity of the whole building fabric. As
such, conservation travesties such as faadismthe retention of only the building faade while the rest of the building
is demolishedcan be avoided. Furthermore, the values-based approach also allows for the defining spirit of place to
be understood as a historical continuum of change, with many layers of meaning preserved in the building. Finally, by
51
factoring in intangible values such as historic, cultural and social values alongside the architectural and artistic values of a
property, the holistic significance of a site is safeguarded.
The Australian Award-winning projects, undertaken within the guiding framework of the Burra Charter, have consistently
demonstrated excellence in this regard. In determining the significance of the place, each Award-winning Australian project
has undertaken extensive research into archival sources and a detailed survey of the structure itself to determine its
historical development and its present-day condition. In addition, consultation with local residents, users and caretakers has
played an important role in framing a process informed by viewpoints which were grounded in local historical associations
and beliefs, which may be different from the purely professional vantage point. This rich understanding of the building is
then borne out in the physical conservation works. For instance, in the transformation of the abandoned Female Orphan
School in Sydney (2004 Honourable Mention), the buildings past stages of adaptation were determined to be a valuable
part of its historical value, and were showcased by carefully preserving the various paint layers. This literal display of its
earlier repairs creates a visual metaphor for the social history of the building.
Highest level of technical achievement and workmanship
Grounded in conservation processes which meet the highest international standards, the winning projects have demonstrated
a commendable pursuit of excellence in the execution of works. They have addressed complex technical issues caused in
many cases by years of neglect, compounded by urban encroachment, natural disasters and ill-informed conservation and
repair works. While many of the projects have benefited from the latest in conservation technology and ample budgets,
others have been carried out under conditions of extreme remoteness, lack of skilled workers, limited access to appropriate
materials, and shortage of funds.
Top: Female Orphan School, Australia

Bottom: Gongziting, China
The projects employed a range of approaches to halt material deterioration, reinforce weakened structures and address
causes of decay. The firm principle, cutting across geographic lines and project types, has been the need for the least
intervention possible, insofar as warranted by social and cultural circumstances. Innovative technical solutions have been
devised to preserve the original building fabric as much as possible, while at the same time ensuring its sustained longevity.
These have extended not only to structure and finishes, but also to the artefacts found in situ. Original materials have been
salvaged and reused when determined to be still sound. Modern engineering techniques, especially where required to meet
present-day building codes, have been applied in non-invasive and unobtrusive ways.
The outstanding workmanship deployed by the projects shines through in the restored decorative works. The conservation
of Chinese temples, clan halls and mansions in China, Malaysia and Singapore, for instance, has placed an emphasis on
sourcing only the most expert artisans in the arts of porcelain mosaic, tempera painting and wood carving. In most projects,
experts are sourced from the local region, fostering the continuity of indigenous skills and knowledge. However, in some
cases where the knowledge is no longer locally available, the projects have brought artisans from other provinces or even
from overseas. These specialists have worked alongside local artisans to painstakingly repair or re-create weathered and
missing decorative elements essential to the significance of the buildings, producing contemporary works on par with the
historical ornamentation. This attention to detail has allowed the buildings to regain their original grandeur, gaining favour
with residents, devotees and visitors alike.
52
Balanced combination of traditional and modern techniques

In recent years, age-old and time-tested building technologies have been largely eclipsed by modern construction materials
and techniques. However, the Awardwinning projects have demonstrated the wisdom of reviving indigenous knowledge in
the building trades and using it in combination with contemporary construction and conservation techniques. Vernacular
methods have evolved over centuries to adapt to local climatic, geo-technical, environmental, social and economic
conditions. This body of knowledge includes not only building techniques, but also sophisticated practices and rituals
associated with maintenance or periodic renewal of the building. This knowledge is reflected in the construction process as
well as the final material form of the building and its associated social meanings.
Bringing this traditional knowledge into the conservation process allows for continuity in the use of materials and
techniques that are best suited for the buildings and their contextboth from the point of view of structural and chemical
compatibility as well as aesthetic and social appropriateness. Especially in the Asian context where renewal of the physical
fabric is often a cultural requirement for reasons of spiritual or social belief, and thus rebuilding or replacement of damaged
parts is often necessary, the use of traditional crafts allows for the restoration to be undertaken in the most culturally
appropriate manner.
At the same time, the Award winners have also played an important role in introducing modern conservation science to
complement traditional regimes of building and re-building. In many cases, the projects have convincingly demonstrated to
homeowners and local community members how strict restoration can serve as a judicious alternative to the more familiar
modes of total renewal. These techniques range from the use of gentle chemical solvents and techniques in the cleaning of
decorative works to the careful insertion of damp-proof courses to protect buildings from rising dampwhich have proven
to be highly effective yet respectful of the context.
This careful balance between traditional building crafts and modern conservation techniques has been achieved in the
projects undertaken by the Aga Khan Culture Service Pakistan. These projects include the Baltit Fort (2004 Award of
Excellence), the Yarikutz, Rupikutz, Kuyokutz and Mamorukutz Mosques (2002 Award of Distinction) and the Astana of
Syed Mir Muhammad (2003 Award of Distinction). The stabilization and structural repair of the buildings were carried out
using local materials and simple traditional hand tools. Teams of skilled local carpenters were mobilized to repair wooden
structures. Where local materials or techniques proved inadequate, sophisticated modern technologies were introduced; for
instance, the application of geo-mesh in the stabilization of the foundation of Baltit Fort.
Consolidation of conservation knowledge
The projects have contributed in important ways to advancing the state of conservation education in the regionboth
within the profession and within academia. The rigorous documentation of the conservation process in many of the projects
has provided invaluable references for future works, adding to the repertoire of conservation knowledge within the region
and globally. For instance, in the conservation of the Church of Our Lady of Mount Carmel (2004 Award of Distinction),
the composition of the original lime-based mortar was determined through the analysis of historic samples by a materials
chemist and subsequently lodged with the local conservation authority as a matter of public record, in order to aid in other
conservation projects in the township.
Baltit Fort, Pakistan
53
Many projects have been carried out through collaboration between local builders, traditional artisans, municipal
authorities, professional conservators, conservation students and scholars. This has allowed for a rich cross-fertilization of
ideas and approaches that have been mutually enriching. In particular, the exchange between local builders and artisans
and conservation professionals has often been a valuable one. This has taken on a cross-cultural dimension in cases
where foreign conservation experts were invited to take part in projects. For instance, in the restoration of six Vietnamese
Traditional Folk Houses (2004 Award of Merit), undertaken through collaboration between Vietnamese builders and a
team of Vietnamese and Japanese conservators, local craftspeople learned about less intrusive conservation approaches to
retaining original fabric and finishes. At the same time, the conservators learned about the properties and beliefs associated
with local materials and building techniques, and adapted their conservation practices accordingly.
The professional exchange of knowledge can be systematized into conservation practice through official adoption by public
authorities. The restoration of the faade of Elphinstone College (2004 Honourable Mention) was notable for the formal
collaboration between professional conservators and engineers from Mumbais Public Works Department (PWD), leading to
heightened sensitivity to conservation approaches and the transfer of low-impact methodologies and technical approaches
which respect the historic fabric. Following the success of this project, PWD officials now apply these conservation principles
to other projects in the city.
The participation of academics in conservation projects has a direct impact on conservation education. Many of the
winning projects have benefited from the guidance and involvement of universities, and at the same time, students and
professors alike have gained valuable exposure to conservation practice in the field. This improved state of knowledge has
helped to expand the boundaries of conservation as it is taught in the classroom and practiced at historic sites. The active
involvement of architecture faculties in the UNESCO-ICCROM Asian Academy for Heritage Management network is notable
in this regard, with members in India and China taking a widely-acknowledged leadership role in the field.
Codification of appropriate techniques into conservation guidelines or policies
In optimal circumstances, the technical standards developed by Award-winning projects have been codified either into
professional guidelines or, in some cases, formal legislation, thereby greatly facilitating their long-term replicability and
sustainability. For instance, the design guidelines created for the Dadabhai Naoroji Road Streetscape (2004 Award of
Merit), one of the first sets of such guidelines to be commissioned and disseminated in India, provide measures for the
coordination of signage and street furniture within the context of the historic street. However, instead of being implemented
under the force of municipal legislation, these guidelines were first applied through the co-operation of local shopkeepers
along the road, who came together in the name of their common interest in reviving the commercial corridor. With the
positive impact of their efforts, the guidelines were subsequently adopted by the municipality.
In a more straightforward process, urban design guidelines were also formally adopted in the conservation of the historic
streetscapes in the Australian town of Broken Hill (2002 Honourable Mention) and the Zhangzhou City Historic Streets,
China (2004 Honourable Mention). Upon adoption, the Broken Hill guidelines were put into place with a wide-ranging
set of municipal incentives which provided grants, loans and professional technical advice to homeowners. Likewise, the
guidelines in Zhangzhou were ensured of success by municipal support to upgrade public infrastructure, source traditional
materials and subsidize faade restorations.
54
The winning projects show that technical conservation guidelines should not be instituted as a separate set of legislation, but
are most effective when integrated holistically into urban planning and development schemes. For instance, the conservation
recommendations developed for the traditional Water Towns of the Yangtze River (2003 Award of Distinction) were
implemented as part of the towns long-term physical and socio-economic growth plan. Likewise, in the case of Broken Hill,
the heritage revitalization measures were at the heart of a comprehensive strategy for the towns renaissance.
Engendering social benefits
The winning projects have proven, however, that outstanding technical achievement on its own is insufficient to ensure
the long-term sustainability of the conserved heritage. The social component of the projectsboth in their planning and
executionhas an important bearing on their long-term impact within the local community and the nation as a whole.
Capacity-building and community strengthening
In the most direct sense, many of the Award winners have contributed to improving the well-being of the communities in
which the projects are initiated. The projects have proved that conservation projects can become a vehicle for delivering both
tangible and intangible benefits through building livelihoods, restoring a sense of local pride and fostering social cohesion.
Many projects have placed an emphasis on reviving local livelihoods, particularly in the traditional building sector. Local
masters have been encouraged through the projects to take on an active mentoring role, ensuring a transfer of knowledge
to a younger generation as an integral part of the project outcomes. In some cases, where the knowledge of lost and
dying crafts is no longer locally available, master craftspersons have been located and brought in to train local artisans.
For instance, in the restoration of the University of Mumbai Library Building (2001 Honourable Mention), the lost art of
stained-glass window making was resuscitated by inviting two master glaziers from England. Over the course of the project,
a team of Indian glaziers was trained in the intricacies of the craft, and has since formed a guild which now undertakes the
restoration of the citys collection of magnificent Victorian stained-glass windows, turning a craft which had disappeared
locally into a viable modern profession.
The restoration of shared heritageespecially in fragmented or multicultural communitieshas been an excellent opportunity
for the re-establishment of historic relationships and local pride. The restoration of Wat Sratong (2002 Award of Merit)
became the common focal point for a small community in northeastern Thailand, where young and old worked side by
side on their previously-derelict Buddhist chapel, creating a common bond increasingly rare in a rural area decimated by
the emigration of youth to the cities. Likewise in Medan, Indonesia, the restoration of the Virtuous Bridge (2003 Award
of Merit), through a joint civic effort from the citys Malay, Chinese and Indian community, has strengthened the sense of
mutual goodwill and has become the basis for renewed co-operation.
Top: Zhangzhou City Historic Streets, China

Bottom: Wat Sratong, Thailand
Mobilization of conservation movements

At another level of impact, the winning projects have invested a tremendous effort in raising public awareness of heritage
and conservation, as a way of ensuring long-term sustainability. The projects have achieved spin-off effects by rekindling
other forms of cultural expression, encouraging other restoration efforts and mobilizing conservation movements.
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The conservation of a physical heritage structure has often led to the revival of other forms of local heritage and traditional
practices linked to communities of faith, ethnicity or clan ties. During the restoration of Dorje Chenmo Temple (2004
Award of Merit), for example, the professional conservators undertook a dramatic transformation in the abandoned sootcovered temple through the careful cleaning of the obscured wall paintings, which revealedto the delight of the resident
lamas and villagersa pantheon of Buddhist deities rendered in vibrant pigments that led to the eventual renewal of
sacred rituals associated with the temple. It has also raised awareness of the value of other historic buildings in the area,
encouraging the local community and authorities to identify and safeguard other structures of heritage value.
Close consultations with the local community have enabled the projects to be grounded in the local context and sensitively
address local concerns, thereby laying the groundwork for sustained long-term involvement, enthusiasm and support for
conservation efforts. In the restoration of the Catholic Cathedral of the Immaculate Conception in Hong Kong SAR, China
(2003 Honourable Mention), for example, detailed consultations were carried out at every stagefrom initial identification
of the project scope to the selection of the acoustic and lighting equipment. The subsequent sense of ownership for
the project has fostered an ethic of conservation amongst parish members which continues to this day in the ongoing
maintenance of the cathedral. Indeed, the success of the project has inspired the larger Catholic community in Hong Kong
SAR, leading to the conservation of many other properties by the Catholic Diocese in close co-operation with local parishes.
Indeed, it has also encouraged other communities of faith in Hong Kong SAR to take a renewed interest in their heritage,
encouraging a surge in the restoration of clan halls, synagogues and churches of other congregations.
Catalyzing political action
Acting in concert with broad-based social mobilization, the catalytic impact of the successful projects has in many
cases resulted in increased political commitment and action. Embedding outstanding conservation practice into actual
conservation policy has secured the most stable framework for long-term sustainability, providing the basis for channelling
political goodwill and regulating commercial interests.
Heritage redefined and protected
The successful conservation and adaptation of previously-overlooked and neglected heritage properties have demonstrated
the potential and viability of reuse of these resources, not only to community members but also to private developers
and official authorities. Indeed, in some cases, conservation works have been carried out, seemingly against all odds, on
buildings which were previously thought to have negligible heritage value. The pioneering conservation of such buildings
resulted in strengthening the understanding of the value of such vulnerable heritage and has help put in place the right
policy environment for the institution of protective measures.
This is especially true of neglected heritage, in particular industrial heritage, which in many parts of the Asia-Pacific has
not yet been officially recognized as heritage per seto say nothing of being protected. As regional trendsetters, three
industrial heritage projects have been recognized with Awards: the Bushells Tea Warehouse (2001 Award of Distinction),
the Tea Factory Hotel (2001 Award of Merit) and the Suzhou River Warehouse (2004 Honourable Mention). The latter
is particularly noteworthy in that it effected a policy shift in Shanghai. The conversion of the once run-down Art Deco
grain warehouse into an architects office was much chronicled in the local press, and gave rise to a trend which saw the
56
transformation of neighbouring and similar buildings into popular restaurants and cutting-edge creative industries. This
commercial success, combined with continuous advocacy in the media, led to the declaration of a protection zone for the
citys industrial heritage by the municipal authoritiesa remarkable accomplishment due in part to this project. Its success
demonstrates the potential of a single conservation effort in effecting a transformation of the policy environment at the
local, and eventually, national level.
Linkage of conservation with urban and socio-economic revitalization
Long-lasting comprehensive benefits from conservation can be achieved through the deliberate linkage of conservation
with urban and socio-economic revitalization policies. This has been seen in the projects which have been linked to a
district-wide strategy for urban upgrade. For instance, the revitalization of the National Archives Building (2001 Award
of Excellence), located at the gateway to the old district of Jakarta Kota, has marked a turning point for this historic but
run-down area. The colonial landmark has now been transformed into a cultural centre hosting events and exhibits under
the management of a private foundation. Consequently, this revitalization strategy has been adopted for nearby properties
in Jakarta Kota, which also remain in state hands, but have the potential for private sector investment. In particular, the
strategy calls for the revitalization of the district through the adaptive reuse of the now-abandoned buildings to showcase
traditional and modern cultural industries (museums, crafts workshops, training schools and galleries). It is foreseen that
rehabilitation and adaptive reuse of these historic buildings will draw creative entrepreneurs and visitors, fostering a new
productive lease of life for the once-bustling commercial core of historic Batavia.
The restoration of landmarks in the historic Fort Precinct of Mumbai has also contributed to a multi-pronged urban
revitalization movement spearheaded by various civic groups. The efforts of the Kala Ghoda Arts Association have seen the
restoration of historic street faades of major institutional buildings in the precinct, such as Elphinstone College, linked to
a revival of artistic activity and public outreach. Meanwhile, the concerted efforts of shopkeepers and local corporations in
the renewal of the commercial corridor of Dadabhai Naoroji Road have effected an improvement not only in the heritage
streetscape but also in the stimulation of local business. The restoration of local landmarks such as St. Thomas Cathedral
(2004 Award of Merit) and the University of Mumbai Library Building has also returned some of the citys venerable social
institutions to their place of pride. Collectively, the projects have engendered a high awareness and concern for historic
heritage in Mumbai, spurring an increasing commitment to protecting the areas distinct identity.
Many winning projects involving residential rehabilitation were undertaken as pilot projects for the larger-scale upgrade of
historic neighbourhoods which have undergone a physical and social decline. In addition, these pilot projects have placed an
emphasis on retaining the local residents in order to allow for social continuity. The Sino-Norwegian co-operation project in
restoring No. 125 Huajue Alley (2002 Honourable Mention) was a successful first step in the eventual conservation of the
ancient Muslim Drum Tower district of Xian, China, and the house is still used today as a family residence, thus retaining
its original social significance. International cooperation has been important in the success of many projects. For example,
the restoration of Jin Lan Teahouse in Kunming, China (2001 Honourable Mention) was undertaken under similar terms
to that of No. 125 Huajue Alley, through cooperation with the city of Zurich, Switzerland.
St. Thomas Cathedral, India
57
The restoration of residential and commercial properties in the historic water towns in Fujian and Zhejiang provinces of China
have seen the added benefit of increased tourism to the restored sites, which has resulted in increased revenue generation
and growth. Indeed, cultural tourism has been a powerful engine driving the replication of successful conservation projects
either through private or public initiative. The successful conversion of Cheong Fatt Tze Mansion (2000 Most Excellent
Project) into one of Malaysias first heritage homestays has provided an attractive redevelopment alternative for other
properties in historic George Town. Especially after the repeal of rent control measures in the city, such self-supporting
forms of adaptive reuse, which are compatible with the historic nature of the buildings, allow them to be conserved and
given a meaningful new life. Similarly, the private initiative taken by the owner of the defunct Tak Seng On Pawnshop
(2004 Honourable Mention) presents another response to this opportunity. Located along the route of Macao SARs World
Heritage trail, the property has been converted into a cultural showcase, run by the Cultural Institute of Macao, about the
historic pawnshop industry.
The role of public-private partnerships
Tak Seng On Pawnshop, Macao SAR,

China
The successful partnership between public and private entities in undertaking many of the winning projects has provided a
strong endorsement for the benefits of this joint approach in funding, directing and implementing heritage conservation.
Heritage trusts have often played an important role in brokering these partnership arrangements. In some cases, private
initiatives have been critical in spurring the public sector into taking action, as in the case with the Suzhou River Warehouse.
Early successes by projects spearheaded by private businesses, shop owners and architects have provided convincing
proof of the viability of protecting historic buildings and even the potential of investing in the conservation of individual
structures and entire urban precincts.
In other cases, success has been predicated upon a clear delineation of roles and responsibilities from the beginning. These
projects show that investment in public infrastructure spurs private investment, leading to an overall improvement in the
urban environment. For instance, the conservation of Cangqiao Street (2003 Award of Merit) was supported by public
funds in the form of infrastructure upgrades and subsidies to private homeowners for building repairs. The project has seen
a revival of the neighbourhood, located in the heart of historic Shaoxing, allowing old residents to stay while at the same
time attracting visitors from outside. Another form of partnership was developed in the conservation of Phra Racha Wang
Derm (2004 Award of Merit). The private initiative of a foundation to raise funds and source private conservation expertise
was accompanied by technical oversight provided by the Thai governments Fine Arts Department. This allowed the project
to be executed with efficiency and to high technical standards, offering an alternative to the usual lengthy model of state
intervention in rescuing significant buildings that have become vulnerable.
Drawing on the respective strengths and potential of the public and private sectors, the winning projects have demonstrated
the role for co-operation in various waystechnical, financial and social. The precedents set by these public-private
initiatives herald an important step forward in ensuring the sustainability of conserving the cultural heritage of the AsiaPacific region.
58
Ensuring
Ongoing Viability
Budi Lim
UNESCO Asia-Pacific
Caroline Swartling
Our cultural heritage is handed down to us from our forebears and we are responsible for finding viable ways to conserve
and sustain it into the future. The process of conservation seeks to preserve our built environment and find new functions
where old ones are no longer applicable, and in doing so, it guarantees the continued relevance of both our built heritage
and traditional indigenous know-how. Heritage conservation should therefore be integrated into the larger concept of
sustainability, as a way of using the earths finite resources wisely and managing the crucial impact of human development
on the global environment.
Successful conservation of our built heritage lies in reusing and adapting older buildings to modern standards and
requirements. It concerns not only saving the physical fabric of the building but also finding appropriate new functions
that are socio-economically feasible, culturally appropriate and self sustaining. To be reused, historical buildings often have
to change roles to serve different users with their particular needs and requirements. Likewise, cultural heritage itself has
to have a changing role, adapting over time to remain relevant. The challenge for sustaining our cultural heritage is how to
find a viable solution to adapt to these changes.
The UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation call our attention to conservation projects that
are not just technically proficient and socially engaged, but also demonstrate the potential for socio-economic viability
and relevance in the long run. Viability refers to the continued survival of a project after it has been completed through
sustainable use and maintenance. The viability and sustainability of conservation projects depend on economic, social
and legal factors, and on political circumstances.
Understanding the economics of conservation
Many of the Award winning projects have managed to find a financial solutionusually through a commercial usethat
will justify the conservation investment and ensure the longevity of the heritage. From the range of actors and partnerships
in the Award winners, it is clear that there are many models for success. Funding may be potentially sourced from the
private sector, the state, foundations and heritage trusts, or from the income generated by the building itself. The most
straightforward channel of mobilizing financial support is setting up a dedicated conservation and building maintenance
fund, as in the case of restoring Guangyu Ancestral Hall in China (2003 Award of Excellence). The villagers took an active
role in establishing and managing the Guangyu Ancestral Hall Restoration and Management Fund, using donations from
the villagers themselves. The fund is used for ongoing repair and maintenance of the Hall.
Criteria J.
The ongoing socio-economic viability and
relevance of the project, and provision for
its future use and maintenance.
The most successful projects in the Awards programme are typically projects where new, economically viable solutions
have been found for the cultural property. Usually, they stem from a public-private partnership where both sides have an
interest in the redevelopment of the property. While the interest in the protection of local cultural heritage provides the
impetus for the project, the conservation objectives can only be achieved through sound financial planning. Quite often
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potential investors are reluctant to fund conservation because of uncertainty regarding costs, time and actual benefits.
Understanding the potential of cultural heritage as investment assets, mixed with a creative and viable solution, is the key
to successful adaptive reuse. In large scale projects, it may be preferable for the work to be managed by professionals to
achieve better efficiency regarding time and money.
It is telling that the majority of the winning projects are commercially self-sustaining. Out of the winners, two major
groups involving commercial uses can be discerned: offices and hotels. Offices that convey a sense of history and local
culture create a certain atmosphere that attracts many companies with a representative function. DBS House in Mumbai,
India (2001 Award of Merit) is a fine example of a private residence being restored to serve as a business centre. The
professional conservators adopted the minimal intervention approach and restored the building as close to the original
appearance as possible. This demonstrates how a large adaptive reuse restoration project can be carried out by the private
sector for a modern business purpose and be economically viable. Now the building is a well known landmark, giving extra
publicity and prestige to the company.
For conversion into hotels, the explosion of cultural tourism is a vital ingredient for a sustainable outcome. Peoples
appreciation of other cultures provides an audience for authentic restorations that give visitors a uniquely local experience.
Today, the tourism industry is by far the most important catalyst for economic development in the heritage sector. When
carefully managed, tourism can have an important impact on improving and developing the community, by creating job
opportunities, attracting business investors and so forth. Attracting visitors can help in preserving traditional crafts and raise
awareness among the local community, where traditional cultural values are sometimes taken for granted. However, if not
managed properly, tourism can also be an immensely destructive force and cause a negative impact on the authenticity of the
environment. Therefore, measures need to be taken to balance heritage conservation needs and development objectives.
An illustrative example of a conservation project which achieved an economically viable solution is the formerly dilapidated
Ceylon tea factory, which was converted into the deluxe Tea Factory Hotel. The factory, owned by the British, was abandoned
in 1973 when tea plantations in Sri Lanka were nationalized. The building was left to deteriorate until 1992, when a hotel
management company realized its potential for redevelopment. The company purchased the building with a vision to create
a boutique hotel that still reflected its industrial character. The existing building fabric was retained as much as possible,
contributing to the unique ambience of the interior. Most of the existing tea processing equipment was also reused for
hotel service needs. Completed within twelve months, the new hotel helped boost the local economy by providing a variety
of employment opportunities in the community.
Likewise, transforming industrial heritage into a tourism magnet at an urban scale was the key objective when the local mines
closed down in Broken Hill, New South Wales, Australia. The town struggled to survive economically and the community
had lost its confidence. To be able to sustain and revive the town, a viable role for heritage resources was found by turning
the whole town into a living museum. The main aim was to use heritage and culture tourism as an economic engine. The
Broken Hill Heritage and Cultural Tourism Programme (2002 Honourable Mention) demonstrates how local governments
can inspire and stimulate conservation works on a very broad scale. Two funds were set up to support the conservation
work, with one fund for the restoration of key heritage buildings and the second for the restoration of private houses. In
addition to this, the City Council provided the owners with free conservation advice. The extensive programme set up by the
City Council has greatly increased the number of visitors to Broken Hill over the years.
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Drawing on the strength of the community

Conservation efforts need to pay special attention to the contextual aspect of the place and should benefit the community
and future generations as a whole. Good conservation calls for community participation in order to generate awareness,
support, a feeling of belonging and, as a result, community pride. Connecting people emotionally to the heritage property
will help to protect the building in an ongoing way.
Conservation of heritage should not be merely a technical process but a social one. Indeed, conserving heritage can provide
a common platform for social interaction and enhanced cohesion. In the Lakhpat Gurudwara project in Gujarat, India
(2004 Award of Distinction), the conservation process was to foster greater cohesion in the towns multiethnic community
by involving everyone in the conservation of the sacred site. Through active participation by all villagers and on-the-job
training in traditional construction trades, the project reinforced the sense of joint ownership of the Gurudwara while
entrusting the community with responsibility and practical skills to maintain it into the future. Together the community
can now safeguard their common heritage.
Broken Hill, Australia
Turning heritage restoration and maintenance into a viable vocation allows local residents and homeowners to continue
to upkeep the historic structures in their towns and cities. Conservation processes can serve as engines to revive and keep
traditional crafts alive. Skills that are virtually extinct in the community can be consciously rebuilt during the conservation
project through workshops and training. Several Award-winning projects in Pakistan and India are good examples of this,
notably Baltit Fort in Karimabad, Pakistan (2004 Award of Excellence), which trained young villagers in traditional crafts,
especially in the culturally significant woodcarving tradition. With their new skills, they are able to seek local employment
in refurbishing other heritage structures in the traditional way. Furthermore, they can pass on the acquired knowledge and
skills to future generations, reviving a lost trade and system of knowledge transfer.
Maintaining the social viability of a heritage settlement requires that the needs of the local residents are addressed, so
they can continue to function and carry on their customary ways of life, thereby preserving the intangible heritage and
alleviating development pressures on the built heritage. In order to sustain historic living communities in their traditional
built contexts, we need to accommodate modern standards of living in older buildings that do not easily respond to these
requirements. Conservation works can help to upgrade living quarters and urban services in a way which is sensitive
to both the place and the people. In the revitalization of two landmark streets in the twelfth century Jaisalmer Fort
(2002 Honourable Mention), the Indian National Trust for Art and Cultural Heritage (INTACH) and the charity Jaisalmerin-Jeopardy worked very closely with the residents to understand and respond to their needs for modern facilities such as
plumbing in their houses and upgraded public infrastructure, particularly sewerage and street paving. With these pressing
issues resolved, ad hoc building extensions and the use of inappropriate modern building materials by local residents which
were damaging the authenticity of the fortified city have decreased. The daily lives of the inhabitants have improved,
allowing for a new chapter in the ongoing life of the Fort.
Community involvement can be sustained in the long run through formal consultation with local stakeholders at all stages
of the conservation project. In some cases, especially in religious buildings, the decision-making regarding conservation
options is entrusted to a committee already charged with overseeing building works or established during the course of
the project. In the restoration of the Centre for Khmer Studies (2002 Honourable Mention), a ten year lease was taken
61
with Wat Damnak the monastery in return for restoring two derelict buildings as a conference hall and library. Before any
decisions were taken during the course of work, the Pagoda Committee had to be consulted. Composed of local elders and
the laymen of the monastery, the Committee serves as the traditional social and administrative body in the community. The
Committee provided insights into the temples history and communitys needs, and helped to raise awareness and support
for the restoration project both during and after the conservation works.
Putting in place a long term legal framework
In addition to social or community-based mechanisms, the long term sustainability of the historic property can be ensured
only if there is a clear legal framework for protecting its heritage value. A fundamental legal concern is the security of land
tenure. It is sometimes the case that old buildings were built on land with an unclear title or in communal grounds with
contested ownership. Checking and regularizing the legal status of the land and building should be considered as the first
step in the conservation process. Clear title will also allow the owner to collateralize the property to access funds to support
the restoration and ongoing maintenance of the building.
Strong conservation legislation which protects the property from being altered, added onto or torn down is often necessary.
Examples from countries such as Australia demonstrate the importance of comprehensive legal mechanisms at the national
and municipal level for the designation, protection and sensitive redevelopment of heritage properties. If a heritage
property is included in a national or local register for historic properties, it will be governed by laws which will regulate the
changes that are permissible within the scope of the heritage protection act. In some cases, the laws may protect both the
tangible heritage associated with the physical building fabric, as well as the intangible heritage which enlivens the building.
Moreover, the legislation framework may not only govern the final conservation product, but might also guide a sustainable
conservation process, one which calls for consultation with stakeholders at all steps of the restoration work.
Legal protection was fundamental to the conservation of the Australian Hall, located in downtown Sydney, Australia
(2002 Award of Distinction). The building is most significant for its Aboriginal heritage, having hosted the first Aboriginal
Day of Mourning Conference in 1938. During the 1990s urban plans for redeveloping the area included the demolition
of the Australian Hall. The Metropolitan Local Aboriginal Land Council and the National Aboriginal History and Heritage
Council launched a campaign to save the building, and as a result a Permanent Conservation Order was placed on the
entire Australian Hall in 1998, which entitles the building to protection under the New South Wales Heritage Act. Having
successfully managed to get the building under heritage legislation, it was then purchased, with funding from the Indigenous
Land Fund, by the Metropolitan Aboriginal Association and the conservation project was initiated later in 1998.
In spite of some success stories, heritage legislation throughout the Asia-Pacific region is still relatively weak. Existing
laws may be inadequate in effecting an actual impact on conservation in the larger context of urban development. Often,
conservation laws are easily overlooked as governments and owners lack the political will and economic means to undertake
heritage conservation. The scope of the legislation in some countries is often still focused on monuments, to the exclusion
of less spectacular vernacular buildings, more recent buildings, historic precincts or cultural landscapes. As such, buildings
such as simple houses or examples of modern architecture may sometimes not be eligible for protection under these laws.
Heritage protection laws are often designed to ensure that urban redevelopment does not occur at the expense of razing
heritage properties by listing and protecting significant buildings. However, they often stop at the designation of a building
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as a landmark, with weak measures to protect the surrounding site context adequately. As a result, new developments in
adjacent areas often have a visual and physical impact on the heritage property.
A number of Heritage Awards winners demonstrate the long term value of designating not just a single building, but
a district with clear regulations for restoration and construction activities. Tak Seng On Pawnshop (2004 Honourable
Mention) is located near The Historic Centre of Macao World Heritage Site, China, and its conservation was carried out
within the framework of conservation guidelines governing the buffer zone which are intended to preserve the larger urban
context of the World Heritage sites. In the case of the Hoi An Town Preservation Cooperation Project (2000 Outstanding
Project), the restoration works were also conducted in accordance with regulations for the protection of the World Heritage
site as an intact ancient town. Urban conservation guidelines can be applied with success even without being enacted as
formal legislation, with the willing cooperation of the local municipality, homeowners and shopkeepersas demonstrated in
the urban upgrade of several historic Chinese neighbourhoods such as Cangqiao Historic Street in Shaoxing (2003 Award
of Merit) and the revival of the Victorian streetscape of Dadabai Naoroji Road in Mumbai, India (2004 Award of Merit).
Building strong partnerships
As the definition of cultural heritage broadens to include many local voices, reflecting the importance of cultural diversity,
a larger number of stakeholders are becoming more involved in the heritage conservation process. In particular, the private
sector has emerged as an important stakeholderincluding everyone from villagers and residents, local businesses and
even large corporations. By being involved, they help to ensure that local interests are represented in the planning and
implementation for the conservation project. Most importantly, they can also advocate for all dimensions of local heritage
to be included in conservation effortsranging from small community shrines to old factories. The UNESCO Heritage
Awards have shown that partnerships between the private sector and the public sector can prove critical for the success
and sustainability of any conservation intervention.
The conservation of the Water Towns of the Yangtze River (2003 Award of Distinction) was enacted through a privatepublic partnership that was established to save the six dying historic towns, which had become unpopular places to live
as residents abandoned their traditional houses to move to buildings with modern public services. A coordinated urban
development and conservation plan for each town was developed that aimed to conserve the historical environment,
improve living conditions and develop the cultural tourism market. The division of work and responsibility was clearly
indicated from the start of the project. The responsibility of the local government was to regulate and direct the conservation
process by establishing relevant management plans and regulatory bodies. Meanwhile, private businesses and homeowners
were charged with implementing the plans, in accordance with the government regulations. Funds for the work came from
two sources: government investment for public facilities and investment from each property owner for the conservation
of privately held buildings. The public-private partnership enacted during the project implementation has established an
ongoing working modality not only for these six towns, but also for other towns with similar conditions.
In some cases, a civic partnership can be formed to save shared heritage within a community, which then becomes a
forum for harmonious dialogue and co-existence. The restoration of the Virtuous Bridge (2003 Award of Merit) not
only upgraded a vital connecting thoroughfare in the heart of Medan, but also served to strengthen the ties between the
different communities of the rich multicultural city. The bridge was built to commemorate a mayor known for encouraging
Top and above: Tak Seng On Pawnshop,

Macao SAR, China
63
peaceful cross-cultural exchange between the citys Malay, Chinese, Indian, Arab and European residents. As part of their
anniversary celebrations, the Sumatra Heritage Trust decided to initiate the restoration of the dilapidated bridge to create a
spirit of harmony between the various groups. Local businesses generously donated to the project, which resulted in the
refurbishment of the bridges decorative rails and street lights and the installation of an interpretation board celebrating
the unique history of the city. As a result, the town has seen a revival of its historic intercultural civic spirit, which will
support the maintenance of the bridge and other similar public works.
In light of the Asia-Pacific regions complex historical layers, especially in the post-colonial era, renewed partnerships can
provide a way to revisit and reposition shared heritage in its modern context. The National Archives Building in Jakarta,
Indonesia (2001 Award of Excellence) sets a precedent in this regard. Owned by the Indonesian government, the building
was restored by the private sector with funding from the local Dutch business community. The Indonesian alumni of Dutch
schools and the Indonesian Heritage Society were approached as the local counterparts. An Indonesian-Dutch architect
team was formed, in which I took part, along with Han Awal & Partners and Cor Passchier. The Gedung Arsip National
Foundation was launched in October 1998 to manage the restored building. Its committee members are prominent local
Indonesians and expatriates, including the initiator of the project, a Dutch lawyer working in Jakarta, Mr Erick Hemerstein.
Today the National Archives Building sustains itself on donations and fundraising activities. Organizing public cultural
events and leasing the building for social events not only raise the buildings profile in the country, but also help to cover
maintenance costs.
Ensuring long-term viability
A common dilemma in conservation works is that even when people share good intentions for conservation, they often
have different conservation values, approaches and technical know-how, which can produce different outcomes and even
conflicting results. Good intentions alone do not guarantee successin any conservation project, stamina is needed to
manage and to nurture relationships, so that trust among all stakeholders can be built up and suspicion can be cleared
away. Yet, while being inclusive is important, the more people who get involved, the more ideas will emerge. So it is not
only vital to nourish a good collaborative spirit, but it is also crucial for the project to have clear visions and objectives,
with well-established guidelines for undertaking the work. This will ensure that the project meets high standards and will
make managing the process easier. The restoration work is a short term goal; and the ultimate goal should be to achieve
sustainable reuse for the future.
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Five Years of the UNESCO

Asia-Pacific Heritage Awards
Case Studies of Best Conservation Practice
Most Excellent Project

Cheong Fatt Tze Mansion, Penang, Malaysia
Excellent Project
Chanwar Palkhiwalon-ki-Haveli, Rajasthan, India
Hoi An Town Preservation Cooperation Project, Hoi An, Vietnam
Outstanding Project
Hotel de lOrient, Pondicherry, India
Hung Shing Old Temple, Hong Kong SAR, China
Residence of Dr Zhang Yunpen, Zhenjiang, Jiangsu Province, China
St. Patricks College, Sydney, Australia
Honourable Mention
Harischandra Building in Maha Vihara Monastery,
Anuradhapura, Sri Lanka

Mawsons Huts Historic Site, Cape Denison, Commonwealth Bay,
Australian Antarctic Territory
Residence of Charles Prosper Wolff Schoemaker, Bandung, Indonesia
Rumah Penghulu, Kuala Lumpur, Malaysia
Cheong Fatt Tze Mansion
City map
Location
14 Leith Street, George Town
Penang, Malaysia
Size
3,250 square metres
Cost
Approximately US$2,000,000
Responsible Party
Context
Gothic louvered windows, Stoke-on-Trent geometric floor tiles

and Scottish cast-iron elements.
Cheong Fatt Tze Mansion is the late nineteenth-century architectural legacy of the man dubbed the Rockfeller of the East.
Originally a penniless boy from China, Cheong Fatt Tze had a
remarkable rags-to-riches life in which he rose from poverty and
obscurity by creating a multinational conglomerate and subsequently gained high standing in Penang society.
Cheong Fatt Tze lived in the mansion until his death in 1916, with
three of his eight wives, his six sons and numerous daughters. In
his will he stipulated that the house could not be sold until the
death of his last son but because his sons had insufficient funds
to maintain the house, it fell into ruin.
Surrounded by modern structures, Cheong Fatt Tze Mansion is

one of the few remaining historic buildings in Penang and could
well have been demolished had it not been for a group of determined citizens and a privately-funded operation which rescued
the mansion from redevelopment.
When Cheong Fatt Tzes last son died in 1989, the house was put
on the market. By this time it was in an extremely dilapidated state
and faced the prospect of either demolition or eventual collapse. In
1990 it was sold to a small group of conservation-minded buyers,
who, despite the derelict appearance of the building, recognized
its heritage value and were charmed by its unique character.
It is still challenging to effectively implement legal protection for

historic buildings in Malaysia. Until recently, heritage architecture
in Penang was not widely recognized as having significant value
and the focus was on the construction of modern structures rather
than renovation of historic buildings. This restoration project was
therefore a milestone and a turning point in terms of heritage
protection in Penang.
Building history
Constructed over a seven-year period between 1896 and 1904 by
teams of master craftsmen from China, the majestic mansion of
38 rooms, five granite-paved courtyards, seven staircases and 220
windows was designed to reflect Cheong Fatt Tzes stature and
eclectic approach to life.
Cheong Fatt Tze Mansion Ltd.
Heritage Architect
Laurence Loh
Lin Lee Loh-Lim
Contractor
Individual sub-contractors, artisans
and conservators
Date of Completion
April 1999
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The mansion is one of three remaining stately Chinese-style dwellings of its kind outside of China, and is the only one in Southeast
Asia. This building is particularly unusual, however. While it represents the best of eighteenth and nineteenth-century Chinese
architecture, and it is laid out according to Chinese geomantic
principles and decorated with intricate carvings, chien nien and
Chinese lattice-work, the courtyard house also reflects an array of
other influences. These can be seen in Art Nouveau stained glass,
Project history
The new owners of the building believed there was a need for a
change in the communitys outlook towards historic buildings
and the values ascribed to them. In the Cheong Fatt Tze Mansion
project, they hoped to undertake a project with integrity and raise
restoration practices in Penang.
Indeed, it was Penangs first high-profile renovation venture. The
project began in 1991 and most major works were finished by
1996. With the installation of electrical wiring and plumbing in
1999, the restoration works were completed.
Project scope and framework

The main objective was to preserve and restore as much of the
original fabric of the building as possible and to secure the future
of the exceptional building for future generations.
Faced with the absence of sympathetic statutory laws and the
lack of financial incentives, local expertise and awareness, the
conservation team started from scratch. Picturing themselves as
Cheong Fatt Tze Mansion / 2000
simply caretakers of the building, treading lightly and touching

softly, the philosophy of the project was embodied in five key
approaches: unhurried discovery, restrained repair, reuse and recycling of materials, practicality and attention to detail, and lastly,
research, consultation and networking between consultants.
The restoration was a process of discovery, during which the
secrets of the mansion were slowly revealed. These included the
feng shui principles, numerology and spiritual emanations woven
within its architecture. For example, in keeping with geomantic
beliefs that natures wealth should be drawn into the building,
rainwater gutters take circuitous routes and air flow is cleverly directed through the building, cooling both floors and ceiling
spaces. Also, gold had been buried in auspicious corners of the
courtyard to ensure continuous wealth. Propitious sayings were
found inscribed over doorways while examinations revealed that
the detailed decorative works were scenes of gods and myths.
Conservation methodology
and materials
The conservation approach was to retain the integrity of the
mansion by applying traditional methods and making only minor
modifications. Local Penang artisans were employed and local
materials were utilized wherever possible, while artists and materials were brought in from China for restoration of the Chinese
decorative arts.
The roof was restored with imported Chinese roof tiles and a
traditional lime mortar reinforced with fibres and animal hair. The
tiling system, typical of temples, palaces and large mansions, is
composed of large flat tiles laid on the timber battens which are
over-laid with half-cylindrical tiles which taper at the top end to
allow for overlapping. A decorative green ceramic drip edge tile
caps the end.
Samples of the various original wall plasters were sent for laboratory analysis to determine the exact proportion of lime, river sand
and additives such as papier mache, horse hair and other fibres.
The lime plasters were then reproduced by hand in order to match
Top: The restored mansion is now a much sought-after boutique

hotel and a prominent stop on the Penang tourist trail.
Above: The mansions cultural significance was slowly revealed
during the restoration.
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the original specifications. In restoring the wall finishes, the

building was returned to its original landmark colour of indigo
blue, produced by extracting a blue dye from the local clitorea
ternate flower, which was added to the lime wash in combination
with tung oil and a fixative obtained from boiled cartilage.
Local Cantonese carpenters were brought in to repair the timber
works using traditional hand tools. Elaborate timber filigree carvings, paneled doors, louvred windows, balusters and timber strip
ceilings were refurbished over a three-year period, along with
decorative works on furniture and ceilings. All timber works were
repaired with original teak or chengal tropical hardwoods and
finished with seven layers of ta cik, a tree sap used to prevent
termite infestation, providing a hardened finish guaranteed to
last a century.
Above: The interior courtyard highlights the

juxtaposition of Chinese cultural influences
and the original owners eclectic taste.
Right: The floor plan shows the rooms
arranged around the courtyard.
Opposite: Section through the building.
Local iron casting was done to replace missing cast iron pieces
that had originally been imported from Glasgow, Scotland. The
intricate Victorian cast iron elements include spiral staircases,
columns with Corinthian capitals in the main courtyard, external
fence grills, fanlights and lamp stands. All ironworks were carefully sanded down to remove rust and treated with an anti-rust
undercoat and metal paint.
Gilded works were meticulously cleaned in lieu of total re-gilding.
Cotton earbuds were dipped in an extremely dilute solution of acid
in order to remove a centurys worth of dirt and grease, revealing
the original brilliance and retaining the original craftsmanship. In
cleaning the elaborate timber filigree screens in the entry foyer
and the ground floor sitting room, an average of 26 hours was
spent on each panel alone.
The mansions original collection of 48 magnificent stained glass
panels, believed to have been imported from England in the nineteenth century, had deteriorated badly over the years, with brittle
lead lining, twisted frames, missing and broken pieces. A local
restorer undertook the repair of the remaining panels, using handmade restoration glass sheets imported from the United States
and Germany. Artisan flesh, ripple and rolled glass were replaced,
lead lining was changed and missing panels were recreated.
72
In the repair of the impressive chien nien works, almost 10,000

coloured pottery bowls were specially fabricated in Fujian province. Broken with pliers by Chinese artisans, the resulting shards
were then pasted in situ to form decorative displays depicting
gods, scenery and other images from Chinese mythology.
Egg white mixed with organic powdered paint, topped by a protective coat of tung oil, was used to restore tempera paintings
on the gables of the buildings. The massive trompe loeil beams
framing the main courtyard, composed of iron I-beams encased
in lime plaster and painted convincingly to resemble wood grain,
were also refreshed. Likewise, the internal wall dado panels,
which had been painted to resemble polished grey granite, were
carefully restored with a special lime plaster and Chinese ink.
Award Citation
The restoration of the Cheong Fatt Tze Mansion is an exceptional achievement for the conservation movement in Penang. It served as a model for restoration projects in the George Town
community and its impact prompted stronger heritage measures in the city and, indeed, the
broader region. A meticulous application of research coupled with scientific analysis, traditional artisan skills, and when necessary, imported materials and workmanship, ensured the
authenticity and methodology of its reconstruction.
The original Stoke-on-Trent decorative encaustic floor tiles in the

central halls were carefully cleaned, while the annexes and terraces were retiled with replica terracotta tiles imported from China.
73
No sealant was applied to the floor surfaces, to allow moisture to

ventilate naturally. Granite slabs salvaged from other demolished
traditional houses were used to pave the front driveway.
New plumbing and electrical works were the only modern additions to the main building during the project. The annex wings
have been equipped with air-conditioning and en-suite bathrooms
to allow them to function as comfortable guest quarters.
Important issues
Because Cheong Fatt Tze had filled his mansion with life and vitality, the new owners felt the mansion should continue to be used
and enjoyed by people. Following the restoration works, the owners
decided that rather than retaining the mansion as a private residence, the building should be adapted for use as a boutique hotel.
It was realized during the restoration works that some of the
workmen were unfamiliar with old techniques and materials and
had to be persuaded to use them. It became clear, therefore, that
in order to encourage such use, these workmen also needed to
learn about the value of these materials and methods and why
their use is important.
Project sustainability and viability

This project has encouraged greater community appreciation of
heritage buildings such that other owners began to restore their
historic properties. It fostered an appreciation for the value of
their built heritage, a good sign that such buildings have a future
in Penang.
Project impact
This impressive structure, which is an extraordinary testament
to the construction techniques and craftsmanship of the past,
has helped revive traditional building methods which are now
acknowledged as widely applicable throughout the historic city.
74
The project returned a nearly lost landmark to the community,

which is now regarded as a cultural icon in Penang.
Since its restoration, the central ensemble of rooms and courtyards has served as a public space for exhibitions, tours, concerts,
weddings and other public activities, and the annexes have been
converted into 16 themed apartments, decorated in nineteenthcentury style. This new use has opened the mansion to a broader
audience, demonstrating the value and viability of restoring
heritage building and serving as a model for conservation projects
throughout the region.
Technical Brief
Chinese decorative works

The features of a traditional Chinese building can include structural, architectural or ornamental elements and Chinese decorative arts can be expressed through any of these features. These
decorative works and ornamentation are filled with symbolism
and are a direct portrayal of the richness and variety of the
culture.
The traditional Chinese buildings submitted to the Heritage Awards
programme included Cheong Fatt Tze Mansion (2000 Most Excellent Project) in Penang and Cheng Hoon Teng Main Temple (2002
Award of Merit) in Melaka, Malaysia; Dalongdong Baoan Temple
(2003 Honourable Mention) in Taipei, China; Guangyu Ancestral
Hall (2003 Award of Excellence) in Guangdong, China; Hung Shing
Temple (2000 Outstanding Project) and King Law Ka Shuk Study
Hall (2001 Award of Merit) in Hong Kong SAR, China; and Thian
Hock Keng Temple (2001 Honourable Mention) in Singapore.
In these projects, when the differing forms of art works are viewed
in the context of symbolism, their corresponding meanings can be
seen to arise from Chinese mythology and legends. Sometimes
what is portrayed is actually a wish or a desirefor long life, good
health, wealth or many children. These ideas or aspirations are
simple and basic, and the artisan elevates them to a higher plane
by injecting into them his craftsmanship and creativity. By repeat-
The Cheong Fatt Tze Mansion (now also known as the Blue
Mansion) acts as a focus of local heritage regeneration and the
embodiment of the marriage between conservation theory and
practice. The project also demonstrates the concept of an historic
grouping by subsequently extending the conservation work to five
shophouses opposite the mansion which were formerly the servants quarters. These have been adapted for reuse as restaurants
and bars. The project has also prompted owners of neighbouring
mansions to undertake refurbishments, thus setting in motion a
shared commitment to the improvement of their surroundings.
ing them in various architectural components over and over again

in various parts of the building, the artisan is in fact seeking to
increase the chances that the gods may be watching or listening and the hopes and wishes of the people may be fulfilled. The
Chinese approach is simpleif you surround yourself constantly
with outstanding and magnificent portrayals, somehow life as you
know it becomes a little better. And if the artisan skills, techniques
and materials are of the highest quality, then the eventual effect
and product are exquisite and the desirable outcome becomes
more probable. The main decorative works in Chinese traditional
buildings which figure in the projects include chien nien (porcelain
art works), chai hui (Chinese decorative paintwork), timber carving
and gilding, and the use of colour.
Chien nien (porcelain mosaic work)
Chien nien is a mosaic style of ornamentation in which coloured
rice bowls, specifically produced for this work, are carefully clipped
with pliers into shardswhich are fixed onto lime plaster basrelief to form colourful portrayals of mythology and symbols, and
scenes of the gods and heaven. It is a craft practiced exclusively
by the Fujianese and Teochew and is used extensively in Cheong
Fatt Tze Mansion, Thian Hock Keng Temple and Cheng Hoon Teng
Main Temple.
Chien nien works of the highest grade, for example, those in
Cheong Fatt Tze Mansion, use lime plaster that, after curing, is
specially prepared by vigorous beating with wooden mallets to
improve its quality, making the plaster fine and smooth. The bowls
Top, middle, and bottom: The art of chien nien

involves the creation of decorative works using
small shards of colourful glazed pottery joined
with mortar.
Previous page
Top: The central hall features carved and gilded
wooden screens and encaustic floor tiles.
Far left: A skilled wood craftsman repairs one of
the door panels.
Left: One of the themed guest rooms.
75
that are used in chien nien come in seven basic colours and the
most desirable ones to work with are the thinnest with the inner
side unglazed.
Chai hui (Chinese decorative paintwork)
Chai hui involves the use of tempera paint mixtures of egg white
and organic powdered paint, coloured oil paints as well as Chinese black ink. In Cheong Fatt Tze Mansion, the chai hui was expertly combined with the chien nien on gable ends and decorative
panels. A final coat of tung oil was applied on all the decorative
paintings upon completion to act as a protective layer. At Cheng
Hoon Teng Main Temple in Melaka, the process of restoring the
chai hui involved research into Chinese mythology and styles of
painting that were popular at the time that the temple was first
embellished with these decorative works.
The traditional Chinese artisan approach to the restoration of
chai hui has rarely involved retention of the original painting or
paint stabilization and light touching-up. It has always been one
of repainting and complete renewal. From this point of view, the
restoration of decorative paintings conducted in both the Cheong
Fatt Tze Mansion as well as the Cheng Hoon Teng Main Temple
may be said to depart from tradition, towards a more international standard of conservation, since they were not repainted but
were instead repaired and conserved.
At the Cheong Fatt Tze Mansion, for example, dado wall panels,
decorated with trompe loeil frescoes resembling polished grey
granite, had entirely de-bonded from the brickwork and the
frescoes had faded. The initial approach of the artisans was to
completely remove the old plaster panels and create new plaster
panels on which new frescoes would be painted. Eventually the
artisans were persuaded to retain the original panels and to push
those panels back into position using a liquid lime drip-method
together with pressure, and then to lightly retouch any damaged
frescoes. New panels were only created in areas where the original
panels were missing. These panels were created with an unusual
lime plaster, especially prepared with the use of papier-mache
to produce a smooth and distinctive plaster, on which unique
Chinese black ink was then decoratively applied.
76
Timber carving and gilding

The Cantonese are particularly adept at creating elaborate timber
filigree carvings and screens, massive carved beams, embellished
paneled doors, windows and architraves. Dou gong, ornate, layered
carved timber brackets, are a distinctive feature of many temple
buildings. The quality of the carvings raises the aesthetic value of
the building. Carvings incorporate motifs of dragons, phoenixes,
bats (which all represent good luck), pomegranates (representing
abundance of seed), mythical animals, scenes from legends and
the artisan carvers perceptions of what heaven should look like.
These carvings are then often further enhanced with gold gilding.
Before gilding, the timber is primed with a layer of ta chik, a tree
sap, and is sometimes stained or painted red. As the final finish,
gold leaf is then applied in thin sheets and rubbed into place.
The use of colour
Colours are themselves decorative and are also symbolic. For
the Hokkien and Teochew, the colours red and gold are essential
in decorative works and used in abundance for decorations in
celebrations, festivities and rejoicing. Temples, in particular, are
often predominantly red, for example, Cheng Hoon Teng and Thian
Hock Keng temples. Traditional Cantonese buildings, in contrast,
are generally grey and decorations are less flamboyant. Unlike
Hokkien temples, for example, the ridges of Cantonese temples
are straight and motifs are more subdued.
In conclusion, it can be inferred that Chinese decorative works
are not simply reflective of the creativity of the artisan. There is a
symbolic basis for what one sees, regardless of its particular form.
The fundamental, elementary ideas are translated by the artisans
using their skill and originality in a particular decorative art form.
These are then meant to be admired and valued because the
viewer understands the symbols and the meaning behind what he
sees, beyond simple beauty and magnificence.
Lin Lee Loh-Lim
Quote from the project team

For us, the project has been an evolutionary
journeyan appreciation for time, recognition of the need for change, change itself,
and the need to be an agent of change.
It also set a benchmark in a milieu not notable for the quality of its restoration work
and opened doors for subsequent heritage
incentives. It has bought time for George
Town and put Penang on the world conservation map, imparting a memorable experience to all who enter its portals and share
its past glories and current revelations.
Chanwar Palkhiwalonki-Haveli
Town map
Context
Project history
The Chanwar Palkhiwalon-ki-Haveli is located in the ancient

township of Amber. Founded in 1036, Amber was once the seat
of power in Rajasthan, containing many temples and numerous
grand haveli (mansions) with ornamental gardens. But when
Raja Jai Singh II, who ruled from 1699 to 1743, chose to shift the
capital to the newly-founded city of Jaipur, Amber was abandoned,
leaving the impressive buildings to fall into a state of ruin.
In 1987, the members of the Jaipur Chapter of the Indian National

Trust for Art and Cultural Heritage (INTACH) began a process to
revive Amber through heritage conservation and restoration. The
members of INTACH wanted to protect the ancient township and
its historic ruins but at the same time believed that conservation
could only be effective if the heritage fabric was relevant in the
day-to-day lives of residents. They therefore sought to initiate
actions which would enable built heritage to play a part in the
communitys life and in the towns economic development. A
masterplan was prepared for the conservation of the historic
township of Amber in 1988. Within the framework of the plan, it
was decided to restore one monument as a pilot project.
By the 1980s the historic buildings had been long neglected and
many were crumbling. They faced further destruction as people
were using the ancient structures as a source of building materials
for new houses. Meanwhile the infrastructure and resources of
Amber were also under pressure as a result of an influx of people.
In addition, uncontrolled development was destroying the layout
and beauty of the town.
While India has legislation to protect historic structures, such as
the Ancient Monuments and Archeological Sites and Remains Act
(1958) and the Ancient Monuments Preservation Act (1904), the
ancient haveli and other built heritage in Amber are insufficiently
protected by these laws. Until recently, many of the decaying
buildings in Amber lacked owners and few people paid attention
to ensuring their preservation.
Location
Amber, Rajasthan, India
Building history
Size
830 square metres
Cost
US$65,000
Responsible Party
J.P. Singh and Faith Singh
Heritage Architect
Nimish Patel and Parul Zaveri
Contractor
Premchand Saini
Date of Completion
December 1994
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The Chanwar Palkhiwalon-ki-Haveli is centuries old and was

originally the home of a family of palanquin bearers. A stone and
lime-plaster structure in a mixture of Rajput and Mughal styles,
the building has ornate balconies and intricately carved decorative
features. When Amber was abandoned in the eighteenth century,
the Chanwar Palkhiwalon-ki-Haveli was, like the other mansions,
left to decay. By the time the restoration project began in 1990,
the building was almost in ruins.
INTACH at first planned to restore and convert a haveli for use as

a School for Building Conservation, with the view to eventually
making the town of Amber a centre for heritage preservation.
Complications arose, however, when the plans for the school were
abandoned and the original building chosen for the project was
instead donated to a leprosy hospital.
The convenor of the Jaipur Chapter of INTACH, J.P. (John) Singh,
then purchased another building, the Chanwar Palkhiwalonki-Haveli, and restoration work began in 1990. The majority of
conservation works was completed in December 1994.

The restoration project set out to return the Chanwar Palkhiwalonki-Haveli to a usable state. The project was envisaged as a means
of generating employment opportunities for local craftsmen with
traditional skills and emphasis was placed on ensuring community
and craftsmen participation in design and construction decisions.
The project was also seen as a catalyst for reestablishing civic
pride and appreciation of heritage by the Amber community. It
was hoped that the project would demonstrate the relevance and
establish the cost of using traditional techniques and materials in
a contemporary context.
Chanwar Palkhiwalon-ki-Haveli / 2000
and materials
Because the project sought to demonstrate the restoration
of a haveli using only traditional materials and techniques,
contemporary materials such as cement were not permitted.
Furthermore, to privilege traditional ways of working by the local
builders themselves, it was decided that no drawings were to be
made in the process of conservation and that all conservation
decisions were to be undertaken with the input of the traditional
craftsmen.
This emphasis on traditional materials, technologies and skills
led to a vigorous interchange of ideas between the tradespeople
involved in the project and to the revival of many forgotten
designs and vernacular techniques. Stone carvers, for example,
carefully recreated elaborate pillars, canopies and eaves with
details that cannot be found in modern buildings. The longabandoned process of making araish (refined lime plaster used as
decorative wall finish) was re-introduced.
The traditional builders, led by the chief mason, Premchand
Saini, took the lead in reconstructing the masonry structure, replastering the walls and reconstructing the roof of the haveli.
The roof was recreated with slabs of local stone and the ceiling
was rendered with lime plaster. The walls were colour-washed in
what was believed to be the original shade of the building, soft
terracotta, with white detailing. Design input was provided by
the project architects, and suggestions from visitors to the work
site were even incorporated if found appropriate.
Left and above: The haveli has been transformed from

a ruin into a museum of traditional textile crafts.
79

The strength of Indian architecture lies
in the anonymity of its architect and in
the act of providing buildings rather than
in the act of designing buildings. In the
final analysis, new buildings in historic
areas must attempt continuity with the
past (without fossilizing it) and a change
for the future (without being incongruent
with its surroundings). The conservation
process continues, and so does our learning.
Important issues
Above: Floor plan.

Top left: Traditional plaster work is one of the
hallmarks of this type of building.
Top right: The interior spaces were adapted for the
display of textile collections.
80
Determining appropriate reuse

Restoration work began without any particular reuse in mind
for the building. After its restoration the owners of the mansion
made a conscious decision not to put it to any commercial use
until a conservation-oriented set of by-laws for the development
of Amber was accepted and implemented by the government.
These by-laws were not implemented, however, so after over four
years of waiting the owners decided to convert the haveli into a
museum of block printing and traditional textiles.
Lessons learned
As work progressed, it became apparent that the ruins were
structurally much stronger than they had appeared to be and that
even the most dilapidated-looking buildings could be restored.
In addition, the project managers realized that most traditional

materials were much more durable than contemporary materials
and simple, time-tested methods are often better in the long term
than fashionable new innovations. Using vernacular materials in
restoration strengthened the ruins more effectively, since they
were more sympathetic with the original building fabric in both
chemical and aesthetic terms.
It also became clear that the traditional craftsmen have a much
better understanding of the local materials and technology than
architectural professionals, who gained their knowledge through
the education system without the benefit of hands-on experience.
This demonstrated the importance of including and encouraging
the input of local, traditional artists and craftspeople in such projects.
Chanwar Palkhiwalon-ki-Haveli / 2000

The restoration project led to a greater interest in protecting
and restoring the ancient structures of Amber. With the revival
of traditional skills, there is now increased capacity among
local people and craftsmen to bring these buildings back to life,
ensuring the sustainability and viability of the heritage fabric of
this historic town.
Project impact
Since the restoration of the Chanwar Palkhiwalon-ki-Haveli the
towns heritage buildings are no longer seen merely as sources of
construction materials for new structures, but rather as tangible
cultural elements that deserve stewardship. It has encouraged
other haveli owners in Amber to attempt the restoration of
their own properties as well. Citizens now voluntarily report
encroachments on ruins to the INTACH office and local authorities.
Such cooperation is integral to the conservation of not just one
building, but the whole ancient township.
The project was a learning opportunity for all involved. For the
professionally-trained architects, it proved to be a chance to
reevaluate their skills and to gain a deeper understanding of
heritage buildings and traditional techniques. At the same time, the
project enabled craftsmen to develop their skills and strengthen
their confidence and pride in their work. One tangible result was
the creation of employment opportunities for local craftsmen.
One has become an independent contractor with his own team
while another, a traditional plasterer, has been contracted to work
for the Oberoi Group of Hotels. Also, a team of trained masons
from the project is now employed by the Rajasthan Housing
Board and some were invited by the Department of Tourism to
work on their properties.
Award Citation
The rehabilitation of the Chanwar Palkhiwalon-ki-haveli ruins demonstrates that even severely deteriorated historic structures can be saved, restored to near their original condition and
given a prolonged life in an economically practical way. Utilizing local artisans and materials
resulted in economic revitalization among participants, with several eventually establishing
their own construction firms specializing in historic rehabilitation. The high visibility project
became a catalyst for master plan conservation of the 800-year-old historic town of Amber.
81
Technical Brief
Araish
Araish is a technique of producing an extremely smooth, glossy
and crack-free surface in the final coat of lime plaster or floor
finish. In India, it was developed and flourished in Rajasthan,
and is said to have reached its peak during the reign of Maharaja
Pratap Singh (1779-1803), the ruler of Amber and Jaipur.
This technique has been applied on a wide range of surfaces,
external as well as internal, in the form of plaster, floor finish,
borders and painted frescoes on elements of local architecture.
It has withstood extreme climatic conditions of arid and semiarid regions for centuries. The technique undergoes regional
variations in terms of proportions of the ingredients and in the
methods and lengths of processes, largely depending on the
quality of lime available.
For araish plaster, the process begins with the preparation
of its primary ingredients, which are quick lime, marble dust,
gur (jaggery) and methi (fenugreek). The longest lead time is
required for the preparation of lime. Lime has to be purified in
water for a year or two prior to its application. The lime and
water are stored in earthen pots, preferably in dark rooms, or
below the ground in constantly shaded areas, to ensure minimal
variation in the temperatures over this length of time. The water
is replaced almost every day and the mixture churned. Curd
(yogurt) is added to it to absorb the impurities of the lime. Over
this period the required fusion in the lime is achieved along with
the release of heat. The lime paste is then taken out and ground
with marble powder, gur (jaggery), methi (fenugreek) along with
other ingredients, and converted into a coarse paste, which is
applied to the previous coats of lime plaster with appropriate
tools. The prepared surface is kept moist to allow the settlement
of the lime for two to three weeks.
82
Hoi An Town Preservation

Cooperation Project
City map
Location
Tran Phu Street, Nguyen Thi Minh Khai Street
Nguyen Thai Hoc Street, Hoi An
Quang Nam Province, Viet Nam
Responsible Party
Sponsorship Association of the Hoi An
Cultural and Architectural Heritage
Heritage Architect
Hoang Dao Kinh
Nobuo Kamei
Nguyen Ba Dung
Kiyoshi Hirai
Contractor
Kim An Construction Enterprise
Date of Completion
December 1999
84
Hoi An Town Preservation Cooperation Project / 2000
Left and above: The restoration

maximized retention of the
building fabric.
85
Top: Consultative meeting with local stakeholders.

Middle: Hoi Ans buildings reflect a blend of
various architectural traditions.
Above: Floor plan of a shophouse.
Top left: Hoi An streetscape.
Top right: A residence being restored.
Opposite Page
Left: The first case study house, at 80 Tran Phu
Street, is now a museum.
Right: The section drawing shows the buildings
layout, centred on a courtyard.
86
Hoi An Town Preservation Cooperation Project / 2000
Award Citation
Restoration of the historic vernacular structures in Hoi An Town exemplifies a holistic conservation strategy within a community. The collaborative efforts of international experts and
local artisans followed a well-defined plan of survey, selection and restoration, integrated with
skills training and knowledge transfer during the reconstruction. The inclusion of structures housing a variety of private and commercial uses promotes long-term viability of the community
through continuation of its historic tradition of productive commercial and domestic diversity.
87
Technical Brief
Repairing timber components

Termites and rot were the major problems affecting timber
components. The presence of termites was determined by
a termite trail at the base of the pillar. If there was a hollow
sound when the wood was tapped, this was also an indication
that there was a termite problem. Termite infestation led to the
deterioration of the joints between the pillars, beams and rafters,
and to the decay of the pillar bases. Eventually, this caused the
subsidence of the pillars and the supported beams, which made
the whole structure lean.
The crucial rule in the repair of the historic buildings was to save
old materials. Therefore, replacements with new materials were
limited to a minimum. Termite damage to pillars and beams was
repaired by removing the damaged part and replacing it with
new wood. Hoi An is known for its decorative carved beams,
especially the inclined beams. In repairing these beams, the
exterior flanks of the beam were conserved to retain the original
carvings. Only the central portion of the beam was replaced with
new wood, and the carved sides were affixed to this new core
with an adhesive agent.
roof or a leaking exterior wall. For pillars, damage tends to be

most prevalent around the base and in pillars situated along the
walls. Rot is also commonly found on the edge of rafters, purlins,
floor beams and joists along the external wall.
Timber members affected by rot were repaired in a similar manner
to termite-infected pieces through the removal and replacement
of damaged areas. This included in particular damaged rafters
located at the valleys of roofs where rainwater had accumulated
and infiltrated through leaks.
In finishing the wood members, they were first sanded with
sandpaper to prepare the surface, then a resin coating was
applied. The use of mineral colorant was avoided even though it
has a high degree of resistance against water since it was found
to harmonize badly with the colour of the existing wood. In
painting the new timber parts, a slightly lighter shade was used
in order to distinguish the new parts from the original old parts.
Wooden doors and windows were also carefully restored. Many
of them had suffered decay in the pivot section, which led to
difficulty in opening and closing them. The damaged parts were
thus repaired with the same material and carpentry techniques,
and coated to match the existing historic ones.
Termite damage was often not visible externally, but in some

instances, the core section was damaged to the point of
becoming hollow. In cases where the core had been eaten away
by termites, the hollow part was filled in with new wood, leaving
the exterior part intact. In order to do this, the existing wood
member was split into two halves and the damaged part scooped
out, before the new wood was inserted and fixed securely with
epoxy resin. The wood was treated with insecticide, which was
handled with utmost care to prevent adverse effects to people
and the environment.
In order to reduce the incidence of termite infestation or rot, it

was recommended that maintenance measures be undertaken
on a regular basis. For instance, the roof should be maintained
periodically in order to prevent the leakage of rainwater. Metal
sheets should be added to line the valley gutters. Good ventilation
should be ensured in order to allow wooden members to stay
dry. Interior water pipes and drainpipes should be maintained
to prevent water leakage on wooden members. Eaves should be
installed to prevent rain from striking the external wall. These
measures will help maintain the condition of the wooden parts
in Hoi An buildings.
Rot on the timber members was identified by a whitish smear

detected on the surface of the wood. Similar to termite damage,
a hollow sound could be heard if the wood member was tapped.
Rot is caused by rising damp or water infiltration, often from the
Adapted from the UNESCO Heritage Homeowners

Preservation Manual for Hoi An World Heritage Site,
Showa Womens University, Chiba University and the
Hoi An Centre for Monuments Management and Preservation
88

The main objective of the cooperative project is to reach a level where the town preservation effort can be self sustained by the
Vietnamese people.
Hotel de lOrient
Project synopsis
The Hotel de lOrient is located in Pondicherry, a former French
colony with a mixture of European buildings and vernacular Tamil
architecture. With its elegant classical style and red lime stucco
faade, the building is one of the few remaining structures built in
the French colonial style. The building was originally constructed
as a residential property. However, the construction date was not
known until the discovery of a bricked-up niche during restoration
work, which uncovered evidence of the date of 1809.
City map
Opposite left: The courtyard was repaved with new
stones and turned into a dining area.
Opposite middle and far right: A modified mixture
of traditional lime, cement and coloured oxides
were used to repair and give fresh life to the deteriorated faade.
Initially slated for demolition to make way for a high-rise

apartment complex, the house was purchased by Francis Wacziarg,
who set out to convert the building into a small boutique hotel.
The brief was to create 10 guest rooms with modern bathrooms
and air-conditioning. Eight of these rooms were designed within
the existing structure while the remaining two rooms were
new additions, but constructed in harmony with the existing
architectural design.
The initial three months of the project were dedicated to
investigations of the existing fabric to evaluate the building condition
and determine the works which would need to be undertaken. The
building was restored over a period of 18 months.
Location
17 Rue Romain Rolland, Pondicherry, India
Size
700 square metres (before restoration)
880 square metres (after restoration)
Cost
US$125,000
(including interior fittings)
Responsible Party
Francis Wacziarg
Heritage Architect
Ajit Koujalgi and Renate Hach
Contractor
C. Guedjabady
Date of Completion
March 2000
90
Conservation approach
The guiding approach throughout the restoration was to retain all
the parts of the building which were in good condition and specify
materials as close as possible to the original for the damaged ones.
As an example, parts of the buildings interior lime plaster were
badly damaged by poorly-nailed electrical conduits, pictures and
partitions. It was decided to repair the damaged portions while
the undamaged areas were left in situ. The old and new sections
can therefore be distinguished by their different colours.
Since there were difficulties in finding artisans capable of the
original plastering technique, a modern version was devised,
using a mix of marble dust, white cement, shell lime powder and
colour oxides. The mixture was applied in a thin coating of three
millimetres on a base of cement mortar, then the surface was
trowel finished and polished with river pebbles before it fully set.
After curing, it was sanded with emery paper and waxed smooth.
This technique was used for the bathroom walls in different
colours and is one of the most admired features of the project. The
lime stucco street faade was treated in a similar manner.
In cases where the original materials could not be found or
replicated, alternative materials had to be substituted. For
example, good quality lime was not available to match the original
pure lime mortar of the building, so a composite mortar consisting
of pug-milled lime mortar plus cement was used instead. The doors
and windows were repaired and missing elements were replaced
with exact replicas by skilled local carpenters using recycled wood
bought locally from recycled-wood dealers.
The original roof structure, known as the Madras terrace, consisted
of closely-spaced timber joists and beams supporting a brick slab
made of flat-formed bricks set in lime mortar at a 45-degree angle
to the joists. Termite infestation of the timber joists was rectified
with a thorough anti-termite treatment applied at the plinth level.
All the damaged timber members were replaced with recycled
timber beams and joists. The leaking roof terrace was also repaired
in a traditional way using a lime-cement mortar and terracotta
tiles. Vegetation growing in the masonry was removed and the
walls were treated with a natural herbicide known as asafetida.
Unsympathetic additions such as sheds in the courtyards and
partitions in the rooms were removed. New additions to the
building were created using modern materials to differentiate
the old from the new. For example, the new spiral staircase was
constructed in form-finished concrete and the new roof slab
for two of the rooms was constructed with reinforced concrete.
Existing bathrooms were upgraded and modern bathrooms were
created in three guest rooms, with low partitions in order to retain
the quality of space.
Hotel de lOrient / 2000
Conservation and the community

In recent times, many old buildings in Pondicherry have been
demolished to make way for new developments. Often, these
contemporary buildings have clashed with the existing historic
context and have compromised the value of its heritage
townscape. Through the conservation of Hotel de lOrient, the
community has been alerted to the possibility of countering the
rapid deterioration of the towns cultural legacy. This project has
demonstrated to the local government, heritage homeowners
and the general public that heritage buildings can be revitalized
for modern commercial use.
Award Citation
Restoration of the Hotel de lOrient proves that successful heritage conservation does not
require massive intervention or rebuilding. This inspiring project was completed with minimal
intervention, done relatively inexpensively, and maintained the integrity of both the original
exterior and the interior architecture. The care and attention given to original design elements
in the interior restoration give the Hotel de lOrient admirable charm and historic authenticity.
The addition of two guestrooms and a staircase in order to make the project economically
viable illustrates the creative approach to the structures adaptive conservation. In addition to
contributing to the cultural enhancement of the community, the popularity of the hotel has
validated the decision to restore the building rather than demolish it.
91

The clients intention was to show that old
buildings should be saved, restored, extended and put to remunerative use, and this
project is helping to get this message across.
Above and top right: Ground floor plan and section.

Right and far right: The rooms were appropriately
adapted into guest rooms, with upgraded services
and fittings.
92
Hung Shing Old Temple
Project synopsis
Thought to date from 1889, Hung Shing Temple on Kau Sai Island
is a Grade III listed heritage building dedicated to Hung Shing, the
god of the sea. A typical rural temple, it consists of a main hall
with altars in between two smaller side halls. It is constructed
in grey brick with a timber-framed roof, and features intricately
crafted eave boards, painted friezes and decorative plaster work.
City map
Opposite: The Shanghai plaster and paint that
obscured the original brick fabric were removed
during the conservation process.
Location
Kau Sai Chau, Sai Kung, New Territories
Cost
Approximately US$300,000
Responsible Party
Hung Shing Temple Restoration
Committee
Heritage Architect
Trevor J. Holmes
Contractor
Ding Hsung Construction Company
Date of Completion
February 2000
94
Records indicate that the temple has been renovated several times,
first in 1949, then during the 1970s and most recently in 1988.
Although structurally sound and well-managed by the villagers,
the roof was in a state of decay due to termite infestation and
the historic features of the temple were hidden behind the many
inappropriate additions and repairs made in previous renovations.
The original brick faade had been rendered in white Shanghai
plaster and the granite stone supporting the brickwork had been
painted green. In addition, modern glazed tiles had been used for
the roof and the granite paving in front of the temple had been
covered with cement. In the interior, the walls had been covered in
pink glazed tiles and the floor given a modern terrazzo finish.
Managed by Hong Kongs Antiquities and Monuments Office,
the restoration of the Hung Shing Temple began in August 1999.
Financed by the Hong Kong Jockey Club, the objective was to
restore the temples original appearance by removing inappropriate
modern materials and to aid in the preservation of the culture and
way of life of the fishing community of Kau Sai Island.
In accordance with temple traditions, all major works and the
opening ceremony were undertaken on auspicious dates decided
upon by the village geomancer. Works were completed within six
months in February 2000.
In order to revert the building to its original design, one of the major
tasks undertaken was the removal of the Shanghai plaster applied
on the front and side walls in order to expose the historic brickwork.
Unfortunately, the brickwork had been damaged during previous
restoration and could not be reinstated, so the front and side

walls had to be rebuilt with reclaimed bricks. The new bricks were
matched exactly with original ones in order to be laid tooth-in at
the corners. Because traditional bricklaying methods had died out,
bricklayers were trained in the old techniques and they practised by
constructing sample panels before actual rebuilding began.
The terrazzo flooring in the interior was removed and replaced
with traditional Canton tiles, laid on a damp-proof membrane
base. Geomantic advice was given on the tiling pattern, with the
main hall tiles set in a diamond pattern, in contrast to the square
pattern with borders used in other areas of the temple. After the
removal of the tiles, the interior wall finish was restored to a
traditional grey painted plaster, with the exception of the rear wall
behind the altar where the mural was conserved.
Regarding the decorative plaster mouldings on the gable and
ridges, which were an integral part of the temple, the objective
was not to recreate new versions but to clean and restore the
originals. Samples of existing paint pigments were studied and
various techniques were investigated before any decisions were
made about decayed parts. Skilled mainland Chinese artists were
employed to repair and repaint the broken and weathered plaster
decorations. Generally, the original motifs of auspicious creatures
and scenes were retained but executed in a more crisp fashion
as the mouldings created in the previous restoration were quite
rough. In some cases, slight adaptations were made to create a
livelier effect.
Eave boards over the front entrance were repainted and re-gilded,
while the pair of rare Shekwan ceramic panels flanking the main
entrance was cleaned. The main entrance doors were painted with
new door gods. A conservation specialist was brought in for the
first time to restore internal artefacts and relics, such as the four
guardian figurines, the altar, the weapons, the bell and cloud gong
and the honorific boards, all dating to the late Qing dynasty. Missing
pieces of the artifacts were replaced, cracks filled and modern gloss
paint painstakingly removed to restore the original colours. A new
lighting system was installed in order to upgrade the 15-year-old
electrical system, with wiring unobtrusively placed in conduits or
under the plaster.
Hung Shing Old Temple / 2000
The entire timber roof structure was termite-ridden, necessitating

the replacement of the main roof beam and batten rafters with
Chinese fir beams which had been treated with pesticides to
prevent further termite infestation. Traditional bamboo nails were
used to secure the framing. Termite treatment was also applied to
all new furniture inside the temple.

Pride in the heritage of the fishing community intensified as the
project progressed, with the village elders participating actively
during the weekly meetings. Since the villagers are the main
users of the temple, their requests were accommodated as much
as possible. Some residents inspected the temple each day after
the workers had left. Upon its completion, an elaborate opening
ceremony was held with lavish celebrations including a lion dance,
puppet show, and a traditional meal for about 4,000 people. The
finale of the ceremony was a traditional dragon boat race, befitting
the temples special significance for seafarers.
Award Citation
Restoration of the Hung Shing Old Temple was a community preservation project with
full involvement of not only local villagers but far-flung members of the extended clan. The
restoration was bold enough to remove inappropriate modern accretions, thus evoking an earlier
phase of the buildings history when the community was at its most cohesive and prosperous,
taking the traditional regional approach to preservation but also calling upon conservation
experts as appropriate.
95

The appreciation for the project by the
population of Kau Sai, and indeed many
visitors returning from the rest of Hong
Kong and abroad, was clear, and has
helped greatly with the promotion of Hong
Kongs heritage.
Above: Ground floor plan.

Top: The gaily decorated temple during
the opening ceremony.
Right: The damaged bricks on the front wall
were repaired using reclaimed pieces.
Far right: Skilled artisans from China restored
the broken plaster decorations.
96
Ohel Leah Synagogue
City map
Opposite left: During the restoration, inappropriate accretions and obtrusive service units
were removed, thus reinstating the elegance of
the main faade.
Location
70 Robinson Road, Hong Kong SAR, China
Cost
US$4,000,000
Responsible Party
Incorporated Trustees of the
Jewish Community of Hong Kong
Project synopsis
Constructed in 1901, the Ohel Leah Synagogue has served as a place

of Orthodox Jewish worship in Hong Kong for over one hundred
years. Designed by Leigh and Orange, the building is a significant
example of the Edwardian Free Baroque style and is one of few
synagogues in Asia constructed during the nineteenth and early
twentieth centuries that is still being used for its original purpose.
The conservation team followed the philosophy and approach set

out in the Burra Charter. Conservation policies were determined
subsequent to detailed historical research and careful inspection
of the fabric of the building, which enabled the preparation of the
Conservation Plan and a detailed dilapidation study.
The internal layout, with a central bimah on a longitudinal axis

with the ark, is typical of Sephardic synagogues, reflecting the
fact that most of Hong Kongs early Jewish settlers were Sephardic
merchants from Baghdad and Iran engaged in the tea and opium
trade. Meanwhile, the location of the seats backed up against the
bimah shows the later Ashkenazi influence of the congregation.
The red brick, stucco-rendered synagogue building and site
had been subject to a range of inappropriate additions and
alterations over time. Encroachment of new developments
within its boundaries had greatly affected its physical integrity.
In recognition of this state of affairs, the Board of Trustees of
the Jewish Community of Hong Kong requested improvements
to the building in October 1996. These works were designed to
meet the current needs of the Jewish community as well as the
requirements of authorities.
In addition to conservation works, a small structure was built to
house additional facilities requested by the Jewish community.
The new structure is a simple modern building, constructed with
contemporary materials such as glass and painted steelwork.
The new structure is connected by a bridge which links into the
synagogue tower through an existing fire escape doorway. This
allowed for minimal impact on the historic building.
Heritage Architect
Bruce Pettman (SACON International)
Katrina McDougall (McDougall & Vines)
Geoffrey Rex (Hassell)
Contractor
Progress Constructions Ltd.
Date of Completion
September 1998
98
The project was carried out over two years. The major stages
were: analysis and investigation, preparation of the conservation
plan, design and documentation, calling of tenders and, finally,
construction works, which began in December 1997 and were
completed on schedule in September 1998. Each stage involved
detailed discussions with the Board of Trustees and the wardens of
the synagogue.
The guiding conservation principle was do as much as necessary

and as little as possible, emphasizing the architectural integrity
of the building and retaining as much original fabric as possible.
Where replacements were required, matching materials were
sourced, mainly from China, including lime for the render,
traditional terracotta roof tiles and balcony paving tiles. Materials
were installed using the original methods by local tradesmen.
For the exterior, works undertaken included the detailed repair of
joinery, the rationalization of the roof drainage system and the
installation of a damp-proof course into the brickwork of the
external walls. The modern cement stucco render on the walls
was removed to allow the original brick construction to breathe
and replaced with softer lime render. It was deemed impossible to
reinstate the original open face brickwork due to damage to the
brick surfaces when applying the early render.
Internally, works included the careful removal, repair and
refinishing of the original wooden joinery in the bimah, pews,
leadlight windows and doors. The fine white lime plaster of
the wall surface was retained but plaster destabilized due to
penetrating damp was re-adhered where necessary. Damaged
plaster mouldings were repaired, with particular attention to the
detailed elements around the ark. The internal colour scheme was
chosen from the original colour palette which was revealed during
careful investigation of wall surfaces and detailing.
In addition, obtrusive air-conditioning units and inappropriate
lighting fixtures were removed. New services were installed as
discreetly as possible and intervention in the building fabric was
kept to a minimum by using existing recesses in the walls of the
synagogue. A special, separate museum-standard air-conditioning
system was created for the ark to ensure the conservation of
Ohel Leah Synagogue / 2000
valuable religious artifacts, such as early embroidered fabrics and

vellum Torah scrolls.
It was deemed structurally unwise to interfere with the current
roof form so a decision was made to retain the existing concrete
barrel roof rather than reinstate the original timber framed roof.
The roof was, however, retiled in the traditional manner with
the original system of double layer terracotta tiles. A membrane
system was installed on the concrete barrel substructure.
The work was carried out through the collaboration between
Australian conservation specialists and local craftsmen. This
allowed for the introduction of international conservation
principles and methods such as plaster stabilization, rising damp
mitigation, paint removal, lead light restoration, decorative
painting and restoration of joinery and furniture.

The synagogue has immense value to the users, members of the
Jewish community and the neighborhood as a spiritual centre
and an area of visual relief from the intensive development which
encircles it. This value is reflected in the continuing use of the
facilities over the past century. As a measure of the enthusiasm
of the community and their satisfaction with the restoration
process, the Trustees of the Jewish Community commissioned
a substantial publication on the history and the restoration of
Ohel Leah Synagogue, which has contributed to promoting
architectural conservation in Hong Kong.
The Ohel Leah Synagogue building is considered a significant
example of conservation by Hong Kongs Antiquities and
Monuments Office. Advancing the conservation cause in Hong
Kong, the restored synagogue is now a source of inspiration and
encouragement for other private and public heritage buildings.
99

The outcome of the project has provided the
community with a range of functionally
flexible spaces around the conserved synagogue
and allowed the building to retain its historic
and spiritual qualities. With a maintenance
plan and budgetary programme in place, this
will ensure the careful stewardship of the
building well into the next century.
100
Ohel Leah Synagogue / 2000
Technical Brief
Masonry restoration
Brickwork
The building is constructed in red brickwork and it is
presumed that the original building was face brick, a
material finish typical of buildings designed by Leigh and
Orange. The later stucco render did not involve raking
out the joints of the bricks and the removal of the render
damaged only the face surface of the brick. The brickwork
at lower levels of the building was very damp and this was a
result of the absence of a damp-proof course (not inserted
at the time of construction), the raising of the ground level
by 100 millimetres and the encasing of the walls in cement
render.
In order to ensure the ongoing physical integrity and
strength of the structural brickwork of the building
and minimize the level of moisture in the bricks, the
installation of an appropriate damp-proof course system
was recommended. The hard render of the brick walls was
removed, after consolidation of the decorative moldings
to prevent any dislocation of the moldings during render
removal, and then necessary brickwork repairs were
undertaken.
Damp-proofing
The building had moisture and air damp problems which
were an inevitable consequence of the lack of a damp-proof
course near the base of the walls, inadequate and damaged
stormwater drainage, and the raised ground level.
Above: Front elevation.
Opposite page
Top: The interior restoration works included
plasterwork, joinery repair and painting conservation.
Bottom from left to right: Floor plan.
Repair of furniture and fixtures was part of the integrated
conservation project. The roof was treated with a new
waterproofing layer prior to retiling.
The walls of the building were treated to ensure that they

were secure from further rising damp. It was recommended
that a gravity feed chemical injection system be used
(rather than the insertion of a physical barrier or a pressure
injection system) as this would require the least physical
disruption to the building.
101
The damp-proof course was installed to the external walls of the

building by insertion of oligometric siloxane, a low-odour, nontoxic, isoparaffin-based damp-proofing course fluid, by gravity
feed method. A suitably experienced contractor was selected
for this work. The adjacent ground level was lowered by 100
millimetres to the original level.
Render
The building was rendered in two types of render finisha smooth
early lime render finish and a later cement stucco render (with
stone aggregate) which replaced the early render to the majority
of the building. It is presumed that the building was originally face
brickwork with lime dressings as all the extant Leigh and Orange
buildings were constructed with these finishing materials. It is
possible that the building was rendered soon after construction
to conceal cracking of the building which was inevitable given
its position on the side of a steep hill and the lack of footings to
accommodate this.
The stucco render comprised an 18 millimetre thick strong
grey cement stucco render finished with a 3-5 millimetre light
coloured skim coat finished in lime wash. The stucco render was
certainly installed prior to the installation of the concrete roof
(circa 1935). This render was extremely hard and well-bonded to
the base brickwork and was stronger in composition than the red
bricks of the walls. The encasing of the building in cement render
dramatically increased the problem of rising damp as the porous
brick walls were no longer able to breathe and any damp was
forced further up the building. The surviving original render to
the capital was in many cases broken down and cracked, causing
water penetration and associated deterioration of the building
fabric.
It was not possible to return the Synagogue to face brick finish
due to the damage done to the brick work when keying in the
early render. Therefore the walls were returned to a smooth
rendered finish. All render detailing was also returned to its
original configuration through the use of a render mix which
closely matched the original. Retention of a section of the original
render was recommended as an example of the early render and
the position of this sample was well-documented. An appropriate
102
location was under the eaves where weathering is minimal. All

repair work to render and plaster was undertaken by experienced
plasterers. It was recommended that decorative mouldings should
be conserved where possible by stabilization (or re-adhering)
rather than re-running of mouldings. All render was finished in a
surface paint which simulated the texture of early limewash finish
used on this building. No acrylic-based paint (emulsion paint) was
used on any external render.
The later cement stucco render was removed to allow the
original brick construction to breathe. The smooth finished lime
render was removed where this was failing. The original render
mouldings were re-run only where they were deteriorated beyond
repair. Decorative mouldings were consolidated (using appropriate
adhesive repair methods) to retain original fabric and to reduce
costs of total re-rendering. Mouldings were consolidated before
the removal of the paint to the building areas where the plaster
was not stripped off. The tops of all stringcourses and capital
moulds were re-rendered, as these were generally drummy. The
render was finished with a mineral-based paint.
Adapted from the Conservation Plan for Ohel Leah Synagogue,
McDougall and Vines
Residence of
Dr Zhang Yunpen
Project synopsis
Once home to a famous doctor of Chinese medicine, Dr Zhang
Yunpen, this century-old residence is representative of traditional
residential architecture in the southern Yangtze region of China.
Located in downtown Zhenjiang, a city renowned for its rich cultural
heritage and picturesque scenery, this private residence consists of
four one-storey buildings with a total of 10 rooms separated by
four courts and a garden.
City map
Opposite left: The roofs timber structure had to
be dismantled and repaired before relaying the
roof tiles.
Opposite right: The restored residence is a
unique heritage sanctuary among a mass of
high-rise buildings.
Location
69 Cangxiang Daxi Rd, Zhenjiang City
Jiangsu Province, China
Size
200 square metres (built up area)
550 square metres (total area)
Cost
Responsible Party
Zhang Songben and Zhang Songxing
The main building has three rooms and is supported by timber

columns, covered by a tiled overhanging roof. The front of the
building is decorated with carved wooden panels and is surrounded
by a balustrade. The garden features stone carvings and a 100year-old well and is paved with large square bricks, some of which
derive from the Ming dynasty.
Declared by the city government of Zhenjiang as a culturally
significant site, the residence has been under municipal protection
since 1993, and was thus spared demolition, unlike many of the
surrounding buildings. The typical one-storey wooden private
houses had been largely replaced by new six-storey apartment
buildings when the whole neighborhood was redeveloped in
1994. However, exposure to climatic elements had resulted in
major deterioration of the building and its physical integrity. As
a result, a project to restore the building to its original condition
was initiated in October 1994. Funds were raised by the owners of
the house, the two sons of Dr Zhang Yunpen, and the project was
completed in six months.
Dr Zhangs two sons and their families still occupy the compound
and aim to continue their traditional way of life in spite of the
changes and demolition occurring around them.
Heritage Architect
Cao Rushen
Contractor
Zhenjiang Traditional Architecture
Construction Team
Date of Completion
March 1995
104
The project began with the sourcing of appropriate building
materials. These included blue bricks and traditional small tiles.
All materials were salvaged from old traditional houses being
demolished within the district, thus providing components

as similar to the original fabric as possible. In addition, skilled
bricklayers and carpenters with experience in restoring old
buildings were employed, ensuring that traditional techniques
were used in the conservation works.
The wooden roof structure was partially dismantled and
reassembled, and the roof tiles relaid. The interior of the halls
was restored. The main hall, which serves as the drawing room,
contains fine traditional Chinese-style furniture, scrolls of Chinese
ink paintings, calligraphy by renowned artists, ancestral portraits
and an altar table.
The traditional landscaping in the courtyards has also been
conserved, adding to the historic character of the compound.
Circular moon gates frame views of the garden from inside the
house while elaborately carved wooden screens create walkways
mediating between the exterior and interior. Old shade trees,
a rockery and a bamboo grove capture the essence of Chinese
landscaping. Discreet stone plaques provide on-site interpretation
and help to educate visitors about the features of the house.
Both the interior and exterior works have allowed for the
harmonious conservation of not only the physical fabric of the
building, but also the living history and intangible heritage of
its inhabitants. Although the owners actively participated in the
restoration process, they were not building professionals and an
external senior civil engineer was engaged as a technical advisor to
provide advice on the structural works. The building was surveyed
by the Department of Architecture from Southeast University,
which produced detailed architectural drawings, documenting
both its traditional structure as well as decorative details.
After the conclusion of the project, the owners realized that their
residence had become an exemplar in the preservation of cultural
and historical sites. At the same time, they noted that there were
still a number of existing issues which needed to be resolved.
Notably, the plot to the north of the residence which belongs to the
premises was still occupied by other residents and had not yet been
integrated into the compound. Accordingly, the boundaries of the
residence have been prevented from being clearly demarcated.
Residence of Dr Zhang Yunpen / 2000

A modest project, the restoration has offered the community
an example of a successful private conservation effort. The
project has been featured on several local and cable television
programmes and periodicals, thereby educating the public about
the renovation of the residence. Not only has it paved the way
for private individuals to undertake conservation of residences,
the restoration project has also reinvigorated, within the broader
community, the value and beauty of heritage architecture.
Nestled amidst tall apartment buildings, the restored residence is
a tangible reminder of the importance of ancestry and the need
to remember cultural roots and traditional ways of life in our
rapidly changing and developing cities.
Award Citation
Restoration of the residence of the late Dr Zhang Yunpen shows what can be achieved when a
single individual chooses heritage conservation and restores his property to the state intended by
his ancestors. This project is an example of determined preservation in a situation of ongoing
demolition and reconstruction and attendant loss of heritage. The restoration is an endeavour
to properly maintain an ancestral residence using traditional materials and techniques and to
single-handedly promote, by example, the culture of maintenance in the surrounding community.
105

After the renovation, the residence stands
elegantly among the high-rise modern
buildings, presenting a striking contrast
between tradition and modernity.
Top: The courtyard garden is a significant

feature of Chinese residential architecture.
Top right: Section through the complex.
Right: The restoration has safeguarded the
connection between the interior and the
tranquil landscaped setting.
106
St. Patricks College
City map
Opposite left: The main building enclosed in
scaffolding during conservation work.
Opposite right: The restored Moran House commands a sweeping view of both Sydney Harbour
and Manly Beach.
Project synopsis
Originally a seminary educating Catholic priests, St. Patricks

College now houses the Australian Tourism Groups International
College of Tourism and Hotel Management. The complex is located
on a spectacular site occupying 24 hectares stretching from
Spring Cove on the harbor side to Shelley Beach on the ocean side.
Constructed between 1885 and 1935, the four main buildings
on the campus are recognized nationally and regionally for their
heritage significance.
Works on the exterior included changing the cast iron gutters and
downpipes to match the originals, replacing damaged slate roofs
and repairing marble and slate tiled colonnades. The sandstone
facades were extensively re-pointed using mortar to match the
original. Chipped stones were repaired with a mix of epoxy and sand,
while the badly damaged parts were replaced with hand-carved
ones. A template was made of the original stone and the new piece
carefully carved with tungsten-tipped chisels and a nylon mallet.
Moran House, the main building, was formerly the main seminary
building and was built between 1885 and 1889. A four-storey
Gothic building constructed of superior quality sandstone, it
was modeled on St. Patricks College in Ireland. The Cardinal
Freeman Pastoral Centre, built in 1910, is a single-storey building
of rusticated coursed sandstone with a slate roof and bull-nosed
corrugated verandah in Federation style. The other two buildings
are the Cardinal Cerretti Memorial Chapel and the Kelly House,
which were constructed in the 1930s and 1950s, respectively.
In the interior, works were undertaken in a similarly attentive

manner. All new joinery work, particularly doors and windows, were
detailed to match the existing ones. New glazed smoke screens were
introduced to smoke-isolate the existing stone staircases; they were
designed to fit exactly against the stone archways without causing
any damage and to harmonize with the existing joinery.
Sourcing a suitable tenant for the buildings, the Church finally

found a suitable candidate in the College, providing an opportunity
to undertake a commercially-viable adaptive reuse of this ensemble
of heritage buildings. Though structurally sound, the buildings had
suffered from ad hoc alterations and lack of maintenance.
Location
Darley Road, Manly, Sydney, Australia
Size
24 hectares
Cost
US$12,000,000
Responsible Party
Trusts of the Roman Catholic Church
Archdiocese of Sydney
Heritage Architect
Howard Tanner and Associates
Contractor
Lend Lease Development
Date of Completion
May 1996
108
Over the course of five months, the buildings were restored and
refurbished for their new function, which included the repair of the
historic building fabric, the upgrade of the interiors to comply with
building code requirements and the restoration of the landscape to
complement the buildings and reflect the sites original character.
A conservation plan was prepared prior to the restoration by the
heritage architect to guide the project. The principle behind the
process was to preserve and enhance this ensemble within it current
setting, hence paying tribute to its unique place in the history of
the Catholic Church and Australia. The work was accomplished
from the roof down, so whole floors were completed sequentially.
Incorporating many specialist tradesmen and consultants, different
works were carried out simultaneously, with a peak of 200 workers
at one time, to meet the tight deadline of the project.
The addition of new building services was a significant intrusion in

the buildings, yet necessary for their new use. The services included
fire equipment, smoke detectors, emergency lighting, alarms,
communication systems, electrical services and domestic hot and
cold water. Generally, the services were surface mounted to avoid
damage to the building fabric.
To comply with the building codes, a full fire-sprinkler system
was introduced in Moran House, which has timber flooring, to
compensate for its lack of fire rating. A system using copper
tubing with side action heads was selected, which allowed for easy
installation with minimum penetration of the walls and ceilings. It
is also visually unobtrusive adjacent to the timber panelled ceilings.
The new hotel school required the refurbishment of functional
working areas, such as the upgrade of a commercial kitchen and
the installation of a new training kitchen, which proved to be a
challenge. Careful design and detailing ensured that this was done
in full compliance with building codes while avoiding damage to
the historic building. The use of false walls and false doors allowed
for the preservation and maintenance of existing paneled ceilings
and plastered walls.
Another authority requirement was to provide disabled access

throughout the complex. In the case of Moran House, a hydraulic
passenger lift was installed to access all floors of the four-storey
building. The new lift was positioned in the original goods hoist
shaft at the eastern end of the building, but extensive structural
alterations were required to increase the size of the shaft and to
ensure structural adequacy for the new lift.

The restoration of St. Patricks College has effectively shown
the community that adaptive reuse of heritage buildings can be
economically viable without being destructive. Not only has the
project revived a set of deteriorating buildings, it has preserved an
architectural and cultural icon as well as an important historical
chapter. The rehabilitation of St. Patricks College has achieved
self-sustainability with income generated from the lease allowing
for the future maintenance of the building, making certain that
its heritage will be retained for future generations to enjoy.
Award Citation
Restoration of the structures of St. Patricks College gave a new, yet congruent, adaptive
reuse as a tourism training institute, preserving the dignity and scholarly character of these
buildings. The project successfully incorporated all required services in the face of tough
integration issues. The high quality of workmanship is evidenced by the meticulous work
and careful attention to every interior and exterior detail. In illustrating the benefits of heritage
preservation to students involved in the tourism industry, the project can be expected to have a
far-reaching impact upon the heritage conservation movement.
109

Throughout Australasia, major historic
buildings lie dormant. St. Patricks College
demonstrates the virtues of adaptive reuse
of finding a new on-going role for such
landmarks.

Top right: Section through the main building.
Right: Marble and slate tiles being laid along
the exterior gallery.
Far right: The same tile scheme is applied in
the elegant grand entry foyer.
110
Harischandra Building
Project synopsis
Site plan
Opposite left: The building was once used as
a post office.
Opposite right: View from the north-west of
the restored building.
Location
Ruwanveliseya Temple of the Mahavihara
Monastery, Anuradhapura, Sri Lanka
Size
360 square metres
Cost
US$62,739
Responsible Party
Venerable Pallegama Hemarathana Thero
Heritage Architect
Heritage Conservation Unit of
the Central Cultural Fund
Contractor
Abhayagiriya Vihara Project of
Date of Completion
February 1999
112
Constructed during British colonial rule at the turn of the

twentieth century, the Harischandra Building is located in the
ancient capital of Anuradhapura. Originally a rest house, after
independence in 1948 it was converted for use as a public library
and was given the name of Harischandra in honour of one of
the eminent leaders of the Buddhist revival movement. While the
majority of the colonial-era buildings were removed in order to
preserve the sacred character of the city, a number of buildings
with special characteristics were spared. During the 1960s the
building was used as a post office and later as the headquarters of
the Urban Council of Anuradhapura, before it was handed over to
the Ruwanveliseya Temple for their use in the 1980s. Located 200
metres northwest of the great stupa of Ruwanveli, the building
now houses part of the Mahavihara Parivena (monks teaching
institution).
Embodying the fusion of colonial and local architecture, this
brick and lime plaster structure with its wide verandah and grand
interior spaces is one of the few remaining colonial-era buildings
in Anuradhapura. Over its history the building has undergone a
number of construction phases, with additions and alterations
made to the original structure, some of which were unsuited to
the buildings style and spatial layout. By the 1990s, due to neglect
and these inappropriate alterations, the buildings integrity and
beauty had greatly diminished; it was in a dilapidated state with
roof leakages, structural cracks and decaying timber elements.
However, the brick foundation was still solid, without any cracks or
settlements, and most of the interior doors were well preserved.
In 1998 the building was no longer in use and the chief priest of
the temple decided to restore it and convert it into residential
quarters for three resident and three visiting scholar monks,
meeting spaces, a reading room and a refectory. As the original
spatial configuration of the building accommodated the
requirements harmoniously, it was agreed that the restoration
would revive the character of the historic design and at the same
time illustrate the different construction phases of Anuradhapura
as reflected in the building.
Restoration work commenced in August 1998 and works were

accelerated in order to be complete by the auspicious full moon
Poya day on 1 March 1999 (ahead of the initially programmed
construction time frame of 12 months).
As the structural cracks suggested inadequate bonding of masonry
during different periods of construction, the project began with a
series of investigations to determine the construction phases of
the building and to make detailed documentation of these phases.
The investigation involved studying the cracks and different
textures of the wall plaster, examining the brickwork and bonding
patterns by removing the plaster in sample areas, and undertaking
test excavations as necessary. It was discovered that the building
had started as a four roomed structure, which grew over six
phases into a larger structure with toilets, bay windows and a
side verandah. At its peak, the building had high arched doors,
low windowsills and a front verandah offering a 180-degree view
of the surrounding landscape. Over time, however, many of the
openings were partially infilled with brick, which obstructed the
free spatial flow and visual connections.
As a result of the findings, steps were taken to restore the original
spatial layout. For example, brick walls that had been installed
during a later construction phase were removed. Areas of arches
and bay windows which had been infilled were taken out to
reveal their original shape and design. Similarly, the front door
was removed and a new door was introduced which matched
the dimensions of the original arch. To reveal the construction
history of the building over time, the areas where changes had
been made in earlier phases were marked and differentiated, for
instance indicating the outlines of historic doors by recessing the
internal wall surface.
To ensure structural stability, a reinforced concrete tie beam was
introduced at the wall plate level to stabilize walls. Reinforced
concrete pads were added to the walls to accommodate the
point load of the timber purlins. Cracked walls were stitched with
reinforced concrete blocks cast in situ. All the loose plaster was
Harischandra Building / 2000
removed and walls were re-plastered with materials matching

the originals. In addition, all decayed timber elements and frames
were recreated with new materials and the deteriorating modern
plain valance board was replaced with a new decorative one,
based on the design found on remnants of the original carved
board. The cracked and sunken interior floor was revamped with
terracotta tiles on a new base of concrete, and the verandah was
laid with granite slabs. These new materials were used to give
these floor surfaces a more refined appearance.
Other modern materials were introduced to improve the buildings
function and amenities. The two existing bathrooms, for example,
were upgraded with new sanitary fittings. Similarly, an improved
lighting system was introduced to enhance functionality and
ambience. The original roofing tiles were subject to frequent
dislocation by monkeys and had led to leakages. Corrugated
sheets were introduced over the timber roof framing to ensure
that any breakage of the tiles in the future would not cause
rainwater infiltration. The original semi-circular clay tiles were
then laid over the sheets in accordance with the roofs original
appearance.
Award Citation
Restoration and conservation of the Harischandra Building demonstrates the successful
adaptation of an existing structure for a new contemporary use. The building is now a
residence for monks teaching at the Mahavihara Parivena (monks teaching institution).
Located in the World Heritage city of Anuradhapura, this project is a remarkable step towards
the involvement of the community in the pursuit of conservation of local cultural heritage and
the promotion of adaptive reuse of historic structures.
113
In order to clarify the layout of the compound, a landscaping plan

was prepared, leading to the removal of young fruit trees and
mounds of dirt. This has enhanced the hierarchical structure of
the space, creating an axis anchored by the historic building and
a large mango tree.

The project has revived one of the few remaining buildings
constructed under British rule. The restoration project has
reopened to the public an important chapter of Sri Lankas history
and now showcases the building materials and techniques used
during colonial times.
The success of the project has prompted the chief priest to
request the preparation of plans to conserve the rear block of the
building, which upon its completion could serve as a residence,
allowing the Harischandra Building to perhaps be converted into a
museum of the temple complex for the benefit of the community.

Top left: Section through the building.
Far left: The verandah roof was saved from collapse.
Left: Interior view along the main hallway, revealing
the original arched openings.
114
Mawsons Huts Historic Site
Site map
Opposite: The abraded wood boards were a
major focus of the restoration.
Location
Cape Denison, Commonwealth Bay
Antarctica
Size
150 square metres
Cost
US$2,420,000
Responsible Party
Australian Antarctic Division
Heritage Architect
Godden Mackay Logan
(Richard Mackay and Geoff Ashley)
Contractor
AAP Mawsons Huts Foundation
Date of Completion
February 1998
116
Project synopsis
Located at Cape Denison in Commonwealth Bay, the Mawsons

Huts site is one of the most important historic places in Antarctica.
Consisting of prefabricated timber huts and a memorial cross, it
served as the base of the Australasian Antarctic Expedition (AAE)
between 1911 and 1914, led by of one of Australias greatest
explorers, Sir Douglas Mawson. As evidence of the Heroic Era
of Antarctic explorations, the rare, intact complex of buildings
is of international and national significance. The main hut and
memorial cross are included on the Antarctic Treaty List of Historic
Sites and Monuments.
Implemented in accordance with the Burra Charter, the project

emphasized the stabilization of the site and its structures, rather than
the full restoration of the historic site. The conservation team aimed
to retain the maximum amount of fabric and to undertake repairs
only where structural stability or further deterioration through snow
ingress was threatened. Where fabric had completely failed, the same
or similar material and construction techniques were used to repair
and replace the fabric. In many cases, small amounts of new timber
fabric were scarfed or spliced into existing members.
Since the 1914 expedition, the site had been largely neglected,
with only sporadic investigation and minor works undertaken
until the AAP Mawsons Huts Foundation was established in 1996
and efforts began to develop and carry out a conservation plan
for the site. The overall objective of the conservation project was
to stabilize the huts so that their existence could be ensured well
past their centenary in 2012.
The plans for the conservation works were based upon those
identified in the 1991 Conservation Plan for Mawsons Huts,
which in turn drew upon earlier expeditions in the mid-1980s.
The project consisted of three main components: the conservation
works on the structures and relics; an associated conservation
programme, including detailed building archival recording and
condition survey project; and a full archaeological programme of
the huts and Cape Denison as a whole.
Eleven specialists with a broad range of experience and skills
were chosen for the conservation expedition. Conservation works
were carried out over seven weeks between December 1997 and
February 1998.
Given the limited time frame, harsh climatic conditions and the
uncertainty as to when a future expedition could be planned, clear
work methodologies were formulated prior to the expeditions
departure from Australia. This included having a range of
approaches in order to respond flexibly to on-site conditions. For
example, an archaeological methodology was devised to use ice
cores and rapid excavation techniques which could be completed
prior to commencement of building conservation works. In
certain circumstances outside of the anticipated scope, additional
approval was sought from Australia via satellite phones.
As part of the site documentation, detailed measured drawings of
each of the huts was prepared, showing true elevations of roofs
and batten fabric. Photogrammatic recording of the Main Hut was
undertaken, along with building structure surveys, which revealed
that the structure was sound and level.
The most significant conservation intervention was over-cladding
the roof of the main hut. The roof was in a critical condition as a
result of 85 years of ice abrasion in the windiest place on earth.
Baltic pine boards of the same size and profile as the existing were
selected to match the original timber. Skylights, ridge capping,
apron flashes and gutters were also restored, minimizing further
ingress by snow and summer melt-water into the building. Inside
the hut, forty-one cubic meters of ice were removed to repair
collapsed beams and the structure of a storage platform.
Mawsons Huts Historic Site / 2000
In addition, several buildings from recent expeditions, considered

to be intrusive elements of the setting, were removed along
with the explosives left on the site by the AAE. In an act of great
symbolism, the memorial cross was also restored, with the cross
arm recovered from the ice and re-attached with a stainless steel
bracket.

By retaining and stabilizing this complex of structures, the
conservation of the Mawsons Huts Historic Site has enabled
the sites long-term preservation and has raised community
awareness of Australias important role in the early exploration
of Antarctica. Furthermore, through substantial media coverage,
including a film documentary, the project has brought to light
another typology of heritage assets worthy of conservation, and
allowed meaningful interpretation of a remote place otherwise
not accessible to many people.
Award Citation
The conservation of Mawsons Huts Historic Site demonstrates that even simple buildings,
and those of recent vintage, have distinctive character and are part of the heritage of our built
environment and should be saved. Conservation of the Mawsons Huts, humble quarters of
the Australasian Antarctic Expedition (AAE) 1911-1914, preserves the memory of our
communitys aspirations and accomplishments. The restoration project itself is a good example
for the professional community of how to conduct an extremely complex project with a lot of
inherent unknowns.
117
Technical Brief
Conservation in an extreme
environment
The expedition in the summer of 1997 to carry out the conservation
work of Mawsons Hut found the structures and internal living
areas relatively intact and square, but unstable because of ice
ingress. The Baltic pine wall and roof cladding for both the huts
living and workshop sections had survived because severe cold
limits normal timber deterioration. However, wind gusts with ice
would continue to abrade the fabric until it finally disintegrated.
The roof cladding had worn down to a dangerous 8 milimetres
thick and thus became the conservation priority.
Originally, it was planned to carefully remove the original cladding
and metal flashings, made from biscuit tins, fix a new layer of roof
boards and re-install the original ones with new metal flashings
over them. Tests showed potential damage to both the biscuit
tin caps and the brittle cladding with this method. The duration
of calm days was also shorter than the two weeks needed to
undertake this work.
The alternative approach was to install the new 20 millimetre
tongue and groove pine cladding over the existing fabric. The
118
three hip rafters supporting the roof were broken, and were
troweled with low-temperature epoxy where they had split (3
millimetres wide) and held together by screws, discreetly installed
from the underside. The new Baltic pine cladding was installed
in place with 62 millimetre stainless steel screws. They were
previously pre-coated with primer on one side, and a transparent
coating on the other to resist ultra-violet (UV) radiation. The
honey-colored anti-UV coating will eventually fade into the same
weathered patina as the existing wood surfaces.
The roof flashing at the junction of the living and workshop
roof sections of the hut had failed and was allowing melt-water
to the interior. A new zincalume (aluminum-zinc coated steel)
valley gutter flashing, 600 milimetres wide, was laid over the
new boards and a mild steel over-flash laid on top, to reduce
the visual impact of the zincalume sheets. The mild steel overflash was carefully fitted to lead water over the verandahs of the
east and west sides of the hut. Finally, the existing roof battens
found on the ridges were removed, recorded, and then carefully
re-installed over the new roof in the same positions they were
originally found.
Adapted from the Mawsons Huts Conservation Report,
Godden Mackay Logan
Above: Floor plan of the main hut.

Above left: The section drawing depicts the
main huts living section on the left and workshop area on the right.
Residence of Charles Prosper

Wolff Schoemaker
City map
Opposite left: A considerable part of the
building was gutted.
Opposite right: The restored building in its
current use as a bank office.
Location
Jalan Sawunggaling 2, Bandung Jawa Barat
Indonesia
Cost
US$40,000
Responsible Party
Pramana Surjaudaja
Heritage Architect
Dibyo Hartono
Contractor
PT. Aneka Intimulya
Date of Completion
May 1999
120
Project synopsis
Constructed in 1930 as the residence of the Indonesian-born

architect Charles Prosper Wolff Schoemaker, this house is a
cultural landmark. Considered one of the best architects practicing
in Indonesia during that time, Schoemaker rigorously explored the
relationship between European design and vernacular expression,
blending traditional features and decorative elements with
modern architectural vocabulary that was influenced by the Art
Deco movement and the Amsterdam school of post-World War I.
Located in a northern residential district of Bandung, the house
epitomizes Schoemakers architectural vision.
The restoration commenced with thorough photographic and

architectural documentation of the house. Research papers on
Schoemaker and his numerous design projects provided insight into
the design of the residence and assisted in the reconstruction of the
parts of the house that had already been demolished.
In later years, the house had been used as student housing and a
police station. The buildings decline paralleled the decline of the
neighborhood and other historic zones of the city. Although the
house was registered as being of special historical and architectural
value, the owners made plans to replace it with a modern structure
with commercial spaces for lease and began demolition of the
building in 1995. The intervention of the Bandung Society for
Heritage Conservation led to the buildings rescue. An agreement
was reached with the owners to reconstruct the part of the house
already demolished, restore the remaining portions of the building
and adapt it for use as a commercial building.
With a tight budget and a construction time frame of only five
months, a conservation team was formed in January 1996,
including young architects and students from the local design
institutes.
After restoration works were completed, a schedule of maintenance
and suggestions for conservation were provided to the owners
in order to ensure its ongoing upkeep. The restored property
now houses a commercial bank branch and the offices of a local
airline.
The objective of the project was to restore the building to its original
appearance as much as possible. As a result, original material and
features were retained and restored wherever possible. The interior
and exterior woodwork was stripped of paint, cleaned, sealed and
varnished, while original brass fixtures were likewise repaired and
polished.
There was difficulty, however, in obtaining some of the original
materials. When they were not available, sympathetic replacements
were installed instead. In the investigation stage it was discovered,
for example, that the original roofing was sirap tiles, which had been
replaced with terracotta tiles in the 1950s. Although the restoration
team wanted to restore the building to its original appearance, sirap
tiles were expensive and difficult to obtain. As a result, the terracotta
tiles installed during the 1950s were retained.
The team also encountered difficulty in colour matching modern
glass to replace the missing panels of the beautiful curved glass
ceiling in the central interior passageway. Similarly, in restoring the
decorative wrought zinc ceilings, a popular feature of the 1920s,
some parts, notably the triangular and circular floral medallions,
could not be re-installed because sections which complemented the
design were missing.
The reconstruction of the demolished section (40 percent) of the
house proved to be a major challenge. For instance, 35 of the original
37 columns lining the open corridor surrounding the house had to be
rebuilt according to the original specifications. Interior detailing had
to be reproduced from historic photographs. New sheetrock ceilings
were finished in a neutral tone. Interior windows and doors which had
been removed prior to demolition were restored and re-installed.
Residence of Charles Prosper Wol Schoemaker / 2000

Restoration has offered a new lease of life to the building and
conserved a significant landmark that now has been appropriately
reintegrated into the local community. Furthermore, the restored
building is now featured as a stop on cultural tours of the
city, thus highlighting the viability of heritage conservation as
an anchor in boosting Bandungs tourism industry. The pride
exhibited by the owners and the effective adaptive reuse of the
residence has provided encouragement in preserving the built
heritage of Bandung among the wider community.
In the process of conserving the historical landmark, the project
also served as practical training in conservation skills for
architecture and design students, who had a chance to work on a
real project. It has instilled in the younger generation the culture
of conservation for Bandungs other heritage buildings.
Award Citation
The restoration and reconstruction of the Residence of Charles Prosper Wolff Schoemaker
is the result of the heroic effort of the Bandung Society for Heritage Conservation to rescue
the residence of an influential Bandung architect from demolition. The project, of adapting a
residence for reuse as a bank, demonstrates to the business community the viability of reusing
historic structures for commercial purposes. It also proves that perseverance and activism in
support of cultural heritage conservation is indeed worth the effort.
121

When it was realized that the building
was being demolished, I wrote a frantic
letter to the local newspaper, and based
on the prestige of the heritage society in
the community, the government intervened
and asked members of the heritage society
to meet and work with the owners. The
building encapsulates the design and
spatial order which Schoemaker created
for his clients, but specifically reflected his
taste alone. It was for this reason that the
Bandung Society for Heritage Conservation
was anxious to save the monument.
Far left: Ground floor plan.
Above: Shoemaker strove to
combine modern building form and traditional
decorative vocabulary, as
exemplified in the buildings
elevation.
Bottom left, middle, right:
The severely deteriorated
hallway was restored and its
false skylight re-introduced.
The interior spatial layout
was also re-instated.
122
Rumah Penghulu
City map
Opposite: The dilapidated house was transformed
into a heritage centre.
Location
2 Jalan Stonor, Kuala Lumpur, Malaysia
Cost
Responsible Party
Badan Warisan Malaysia
Heritage Architect
Yahaya Ahmad
Contractor
Date of Completion
November 1997
124
Rumah Penghulu / 2000
Award Citation
Relocation and restoration of the Rumah Penghulu, undertaken by Badan Warisan Malaysia,
saved for posterity and opened to the public a significant historic structure that illustrates
the beauty of vernacular Malaysian architecture and is at the same time associated with
important events in local history. Though relocation is generally not the preferred means of
preserving ancestral homes, in this instance relocation was an appropriate solution, for it saved
a unique building that would have been lost in a few years.
125

The relocated house serves as a reminder to
residents and visitors in the nations capital of the value of Malaysias vernacular
architecture. As the country is still in the
learning curve of conservation techniques,
a key contribution of the restoration process was the education of all those involved
in the project team.
Above: Floor plan.

Top right: Elevation drawing
Bottom left: A traditional house is built as a
pre-assembled kit of parts.
Bottom right: Exhibit of a typical Malay household.
126
Excellent Project
National Archives Building, Jakarta, Indonesia
Bushells Tea Warehouse, Sydney, Australia
Krishan Temple, Punjab, India
Award of Merit
DBS House, Mumbai, India
King Law Ka Shuk, Hong Kong SAR, China
Tea Factory Hotel, Kandapola, Sri Lanka
Xijin Ferry Project, Zhenjiang, Jiangsu Province, China
Zhongshan Road, Quanzhou, Fujian Province, China
Honourable Mention
Jin Lan Tea House, Kunming, Yunnan Province, China
University of Mumbai Library Building, India
Nielson Tower, Manila, Philippines
St. Josephs Seminary Church, Macao SAR, China
Thian Hock Keng Temple, Singapore
National Archives Building
Context
The restoration of the 300-year-old National Archives Building
was initiated by a Dutch lawyer working in Jakarta, Erick
Hemerstein, who launched a project to restore one of Jakartas
historic buildings as a gift to the Indonesian people from the
Dutch business community on the occasion of Indonesias fiftieth
anniversary of independence in 1995.
City map
When the National Archives Building was constructed in the

eighteenth century, the area in which the structure was built
was a pleasant suburb some distance from malaria-infested
Batavia. Today the neighborhood is part of inner, modern Jakarta
and contains many contemporary buildings, with the National
Archives Building one of the few remaining villas of its era.
Although Indonesia has national laws for the preservation of
cultural heritage, it has proven difficult to protect privatelyowned heritage buildings, and thus many have been lost to
development pressures. In the meantime, some governmentowned structures, such as the National Archives Building, have so
far been spared demolition, but have required private funding to
enable restoration efforts to proceed.
Location
100 Jalan Gajah Mada, Jakarta
Indonesia
Size
9,350 square metres
Cost
Approximately US$2,000,000
Responsible Party
Stichting National Cadeau
(National Gift Foundation)
Heritage Architect
Han Awal & Partners
Budi Lim Architects, Cor Passchier
Contractor
Decorient - Ballast Indonesia
Date of Completion
October 1998
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Building history
The National Archives Building was built as a residence in 1760
by Reiner de Klerk, who became the governor general of the
Verenigde Oost-Indische Compagnie (VOC), or the Dutch East India
Company, in 1777. The residence was constructed as a compound
of five buildings on a plot adjoining the Krukut River, which was
historically a busy and popular inland waterway. The buildings
are arranged along a main east-west axis. The main building is
a stately, two-storey, brick structure with a high pitched roof, and
features a grand entrance hall and a beautifully decorated light vent
above the main doors. The ground floor was used for entertaining
guests, while the upper storey was used for private quarters. The
other buildings in the complex are smaller but similar in style and
were built as administrative offices, storage and slaves housing.
Over time the complex has changed hands a number of times.

After the death of Reiner de Klerk the buildings were sold and later
became an orphanage. The complex was subsequently abandoned
and left to deteriorate until the Dutch colonial government
converted it for use by the Mining Department. In 1925 the main
building was renovated and became the landsarchief (national
archives). When the Indonesian Government took over the
building upon Independence in 1945, it continued to function as
an archive and has since been known as Gedung Arsip Nasional
Republik Indonesia (the National Archive Building of the
Republic of Indonesia). The Indonesian Government expanded the
compound with the addition of a two-storey U-shaped building,
joined to the rear auxiliary building. The buildings function
continued until the mid-1980s when the archives were relocated
to a more modern building. The complex then became vacant and
steadily deteriorated until restoration work began in 1997.
Prior to the conservation project the building was suffering from
weathering and neglect. Because much of the site was below the
surrounding ground level, with the area behind the main building
being 1.7 meters lower than the adjacent road, the buildings had
been badly affected by flooding over the years. There was no
natural surface drainage and drainage pumps were broken. During
the annual rainy season, the whole back garden and auxiliary
buildings were submerged in the floodwaters collected from
surrounding areas. Rising damp had damaged the walls, the plaster
and the paint work. The roof was leaking. Furthermore, much of
the timber in the buildings was infested with termites, including
the roof beams. The door and window panels were damaged. The
wiring was old and dangerous. Finally, a transformer building
belonging to the National Power Company had been erected in
the front garden, damaging the historic garden landscape.
Project history
Together with Christine Paauwe-Meyer, Erick Hemerstein
established a fundraising and management organization, the
Stichting National Cadeau (National Gift Foundation). They
approached Pia Alisyahbana, representing the Indonesian Dutch
alumni and the Indonesian Heritage Society, to become involved
National Archives Building / 2001
in the project as the local counterpart. Funds were raised through

donations from over 60 Dutch businesses operating in both
Indonesia and the Netherlands.
In choosing which building to focus their restoration efforts
on, the Stichting considered many potential sites. After careful
deliberation, the National Archives Building was selected to be
restored, as it represents a valuable architectural legacy of the
Indo-Dutch history.
The project managers engaged in a four-year process of
networking, building trust, understanding and cooperation with
public and private stakeholders. The central and local government
was lobbied for their endorsement of the project which ultimately
resulted in establishing a successful public-private partnership.
The Stichting appointed the professional team, managed the
funds and oversaw the implementation of the project. Han Awal
& Partners was appointed as the conservation architect and
subsequently invited PT Budi Lim Architects and Cor Passchier to
join the team.
Shortly after works commenced in 1997, the Asian currency crisis
erupted, plunging the country into economic and social turmoil.
The sharp devaluation of the Indonesian rupiah turned out to be a
blessing in disguise as the project funds had been raised in Dutch
guilder, and therefore yielded enough local currency to undertake
the entire project. However, riots in the neighborhood threatened
the historic building. The site was well-protected by the workers,
however, and the project was smoothly continued to completion.
Above: The restored faade lit at dusk.

Left: Before restoration.

The project centered on the restoration of the buildings and
grounds and the prevention of flooding, which was found to be
the major culprit precipitating the decay of the structures. The
installation of modern drainage systems was given high priority
in the conservation plan. Due to funding limitations at the start
of the project, the drainage work and the restoration of the main
131
building commenced first, with the remaining works phased in

when the additional funds were secured.
Top: The entry foyer reflects Dutch-Indonesian

hybrid architecture.
Top right: Original materials underwent laboratory analysis.
Above and opposite: Ground floor plan and rear elevation
of the building.
132
The restoration aimed to restore the buildings to their original

appearance in an authentic and historically accurate manner,
bearing in mind the importance of retaining the original form
and ambiance. It was discussed how far back in history the
project should go. It was decided that the restoration works
would concentrate on the buildings built before 1945, with
the restoration work on the auxiliary building based on 1925
photographic documentation. In addition to restoring the
structural elements of the buildings, the project managers sought
to re-capture the spirit of the eighteenth century by refurbishing
the interiors with furnishings in the prevalent styles of the Dutch
East India Company era. For the gardens, the Foundation decided
to adopt the grand formal garden design of the eighteenth
century, with a Dutch landscape architect brought in to undertake
the conceptual design.
National Archives Building / 2001
and materials
In accordance with international conservation standards, the
project team developed conservation guidelines with minimal
intervention being the underlying principle. Consequently, as
much of the historic building fabric was retained as possible.
For example, for teak timber elements which had partial termite
damage, instead of replacing the entire piece, only the decayed
part was repaired or replaced. Furthermore, wherever possible,
replacements were made with old, recycled building materials.
Broken roof tiles were replaced with roof tiles from other buildings
of the same era. Similarly, despite initial resentment, the building
contractor was proud to locate replacement teak members from
other old buildings. Materials originally used in the building were
replaced with the same variety whenever possible practically.
Terracotta tiles were manufactured especially for the project in
Central Java. Missing and broken iron hardware was produced or
repaired in East Java.
Award Citation
The exceptional restoration of the National Archives Building was realized through the joint
efforts of private sector restoration professionals, archaeologists, government conservation
experts, and local craftsmen. The 300-year old colonial-era mansion was given, with the
restoration, a new livelihood as a local cultural centre with a strong educational mission.
With an exemplary integrity of materials and conservation methods, the conservation of
the building has been carried out successfully despite political uncertainty. The revitalized
National Archive Building has not only safeguarded a vital landmark of Indonesias living
heritage, it has also stimulated the rebirth of the surrounding area of historic Jakarta. Its
well-received success has sparked a new awareness of the opportunities inherent in historic
conservation and an appreciation of the roles of private citizens and public entities alike,
opening the path to future collaborations in heritage preservation.
133

We have added one more jewel to the old
part of Jakarta. The National Archives
Building project is a public-private partnership that operated on an international scale
to meet the needs of the local people. The
project had the luxury of having sufficient
funds, being run by professionals, using the
right materials, without having to make
hardly any compromises. It has been a good
training ground for us all. Our wish is that
the building will survive another 300 years
and be used and enjoyed by the public.
The introduction of new materials was only considered as a last

resort, and had to be approved in advance. In certain conditions,
the project team made use of modern materials where necessary
to enhance structural durability. For instance, instead of wooden
beading, linseed oil-based putty was formulated experimentally
and manufactured on-site in order to provide a strong and
waterproof sealant for the original glass panes. Waterproofing
paint was used on the external walls to minimize water
penetration, but allow the walls to breathe at the same time.
In addition, the team endeavored to employ not only local
materials, but also local craftsmen. Traditional building techniques
were combined with modern ones whenever appropriate. A
special paint and varnish specialist based in Bali was invited to
team up with the site architect to retouch the original doorframe
and decorative vent light.
The site was protected from future flooding by installing large
underground drainage pipes, one metre in diameter, running
through the entire site and a huge underground tank in order to
collect rainwater before pumping it out to the canal in front of
the compound. Meanwhile, the unsightly transformer building in
the front garden was removed by the National Power Company
and an underground transformer house was built insteadthe
first in Jakarta. Indeed, this model is now being considered by the
Jakarta municipality for areas where land is scarce.
Before the works commenced, archaeological investigations were
undertaken which helped to determine the characteristics of the
original building materials and decide on the most appropriate restoration methods and materials. Samples from the plasterwork and
paint were analyzed for their material composition. This allowed,
for example, for the identification of the historic colour palette. The
archaeological finds and entire restoration process was well-documented and displayed in a permanent exhibit in the building.
Important issues
The restoration project was a gift from the Dutch business
community to the people of Indonesia, so it was important that the
building would be of value and use to the local community. While
the original focus was on simply restoring the structure and on
134
emphasizing the educational value of the buildings architecture

and historical features, the focus shifted as the project progressed
towards adapting the building for modern reuse. Based on
government and public inputs, the project managers concluded
that the complex should be converted into a public centre for
social and cultural activities.

After the completion of the restoration work in 1998, an
independent foundation known as the National Archive
Building Foundation was formed with the remaining project
funds. Composed of both Indonesian citizens and expatriates,
the Foundations committee members are responsible for the
operation and management of the building. The existence of this
organization will ensure the ongoing protection, maintenance
and use of the structure.
Project impact
As a result of the project the National Archives Building has
become a case study for heritage conservationists as well as
an attraction for visitors from educational institutions. It has
generated a greater appreciation for heritage from the public and
government sectors. With its intact eighteenth-century style and
period furniture, the building embodies the charm of Old Jakarta
and gives the public a tangible insight into Indonesias colonial
past.
Since its restoration, with effective management by the National
Archives Building Foundation, the building has become a popular
venue for social and cultural activities, such as weddings and exhibitions. This project has therefore shown that heritage buildings
can be viably rehabilitated and reused in modern Jakarta.
Furthermore, as a successful collaboration between the private
and public sectors, the project sets a precedent for future
heritage conservation partnerships. It is hoped that the success
of this project will set the stage for future heritage restoration
undertakings.
Bushells Tea Warehouse
Context
The Bushells Tea Warehouse is located in the historic area known
as The Rocks on the edge of the central business district in
Sydney. Designed in the early 1920s by the architectural firm of
H.E. Ross & Rowe, the warehouse has a classical facade and a
utilitarian interior of masonry walls and exposed timber ceiling
beams.
Notable for its industrial character as well as its long historical
association with Bushells Tea Company, the building is a local
landmark. It also represents the development of industry in Sydney
and is rare evidence that manufacturing and food production
once occurred in the area.
City map
The Bushells building is under the protection of the Sydney Cove

Authority (SCA) which has placed restrictions on the buildings
use and has limited modifications to the building and its contents.
In addition, the building is listed on the Register of the National
Trust of Australia and by the Australian Heritage Commission in
the Register of the National Estate and is protected under New
South Wales (NSW) heritage legislation.
Building history
Location
121 127 Harrington Street, The Rocks
Sydney, New South Wales, Australia
Size
7,000 square metres
Cost
US$7,000,000
Responsible Party
Built in 1923, the warehouse building was commissioned by

Bushells Tea Company, a company synonymous with Australian
cultural identity. Bushells utilized the building for tea sorting,
storing and packaging until 1975, after which the building was
vacant until 1999. When the restoration project was proposed by
the project developers, Charter Hall, the building had been long
neglected and was in a state of decay.
Charter Hall Holdings Pty. Ltd.
Heritage Architect
Tanner & Associates
Project history
Contractor
A.W. Edwards Pty. Ltd.
Date of Completion
January 2001
136
Any restoration plans for the warehouse had to conform with SCA
restrictions, which called for existing manufacturing and storage
equipment in the building to be retained in situ. Therefore any
redevelopment or reuse of the building had to be compatible with

the retention of these features.
The developers undertook extensive research to determine the
viability of redeveloping the historic structure for use as an office
building. Given the restrictions on the restoration plans, it was
important that tenants could be found who would appreciate
the buildings features, including industrial equipment such
as tea silos and spiral steel chutes. After some investigation it
became apparent that there was strong demand from a certain
sector of tenants which preferred to lease space in a building
with special characteristics and identity instead of standard office
space. Charter Hall concluded that the Bushells building had the
potential to offer tenants an unusual work environment with
excellent building services while still maintaining proximity to the
citys business core. Having established the viability of the project,
a feasibility study was carried out in order to determine the level
of rental revenue required in order to make the project financially
practicable.
The tenant eventually found for the building was an information
technology firm, Comtech (now Dimension Data Australia), which
not only embraced the unique aspects of the Bushells warehouse
but actively participated in its refurbishment. The firm has
occupied the property since the completion of restoration works
in January 2001.

The project managers sought to redevelop the site by introducing
a sophisticated contemporary office fit-out while retaining the
character and historic values of the Bushells warehouse building.
The restoration and adaptation project was guided by the principle
of maximum conservation and minimal intervention. The projects
scope of works involved two main objectives: the conservation of
important existing industrial building fabric, and the careful and
sympathetic insertion of new services and transformation of the
buildings function.
Bushells Tea Warehouse / 2001
and materials
Both the exterior and interior of the building were overhauled. On the
exterior, the facade was carefully restored, which involved repairing
brickwork and repainting rendered elements. Pressurized water jet
cleaning was undertaken in conjunction with manual scrubbing
to avoid significant deterioration of the brick surface. The historic
Bushells signage was reinstated. Windows frames were repainted
and existing windows were reglazed for acoustic and smoke sealing
purposes. The addition of a glass awning identifies a new point of
entry.
In the interior, the walls were repainted and the timber structural
elements were repaired and restored where necessary. Office fittings
were installed around existing tea handling equipment and much
of the original signage was retained. The project team sought to
conserve and adapt the building artefacts in a manner that would
allow for an interpretation of the buildings history. Industrial features,
including tea hoppers and lift enclosures, were transformed into
small meeting or storage rooms, thus integrating historic elements
into the buildings modern functions. Graffiti left from workers in the
Bushells factory was retained as a form of artwork and a window
to the past. The works on the industrial artefacts were undertaken
under the supervision of an industrial archaeologist who worked
alongside the conservation expert. The architects ensured that any
new additions were reversible, so as to allow for alternative future
redevelopment possibilities.
The sensitive incorporation of modern services, such as airconditioning, into the existing building fabric was an important
aspect of the project. In order to prevent alteration of the building
layout, the new lifts, fresh-air ducts and the core of the electrical
services were installed within the existing southern light well instead
of building new structures to accommodate them. The roofscape
was retained with minor modifications to allow the introduction of
modern plant. For instance, a new air-conditioning system was housed
within the roof temple tower, the location of the original water
tank, and vented through a new louvred roof. Similarly, a raised floor
was installed to conceal wiring and to accommodate flexible cable
reticulation. This raised floor avoided the need for obtrusive false
Above and left: The warehouse before

and after restoration, showing the original
advertising signage which was reinstated.
137
ceilings or cable trays, thus allowing the original exposed timber

ceiling to be retained as a feature and remain uncluttered.
Rather than altering the original entrance area, a dramatic atrium
was created on the southern side of the building. Bridges span
the atrium, connecting each floor to the newly-installed lift
tower. The lightweight glass and steel structure of the bridges
maximize natural light penetration while providing a distinct
visual connection between old and new.

Top left and right: The original chutes were
retained, conveying the industrial history of the
building, and becoming features in the new offices.
Opposite: This section shows the new lift insertion
in the south (left) wing of the building.
138
Important issues
Prior to the redevelopment of the building into office space, the
Bushells building was proposed to be transformed into a hotel or
convention centre. But each proposal languished as a consequence
of the strict requirement for the remarkable collection of
manufacturing equipment be retained in its current location.

Previous redevelopers believed that accommodating the heritage
requirements would make remodeling the building too difficult or
expensive. From a developers point of view, the antique industrial
equipment simply took up valuable space.
Rather than allowing this to be a hindrance, however, the developers
used this to their advantage by transforming the building to
suit a certain niche market of tenants. Growing appreciation of
industrial archaeology meant that people became increasingly
aware in the late twentieth century of the unique potential of the
building. As a result, when the building was converted into office
space, the industrial remnants were not only retained as symbols
of the previous function of the building, but many were adapted
for contemporary use in original and innovative ways.
Bushells Tea Warehouse / 2001

The extensive feasibility studies undertaken prior to implementing
the project ensured that the revenue stream from the commercial
use of building would be financially sustainable. An interpretation
plan was developed to guide the development of exhibition
spaces to convey the significance of the building and explain the
restoration works to future occupants and visitors. A management
plan was submitted to the authorities to regulate tenancy
fitouts and provide procedures for the general maintenance of
significant building fabric, including the on-going use of the
industrial artefacts.
Project impact
The project has injected vitality into a building which had
previously ceased to have a contemporary function. It has not
only provided additional office space in a prime location in inner
Sydney, but has done so in a technically proficient manner which
enhances the buildings cultural and historical significance and
sets new conservation standards.
By proudly showcasing the industrial character of the
warehouse, the project has drawn renewed attention to the
role of the manufacturing industry in Sydneys history and the
value of industrial architecture. It has become a notable model
demonstrating the adaptive reuse potential of this type of historic
building, leading to greater interest in preserving and converting
other historic industrial buildings. Such trends have created an
environment which will ensure that the Bushells Warehouse will
continue to be retained for the foreseeable future.
Award Citation
The exemplary conversion of Bushells Tea Warehouse into a prime commercial office building
marks a major accomplishment in the redevelopment of historic industrial architecture.
Innovative treatment of added service infrastructure allows for the old and the new to be read
separately, while maintaining the spatial integrity of the existing building. By expressing the
existing warehouse timber structure and incorporating in situ tea factory equipment, the new
office spaces gain a rich character reminiscent of Sydneys industrial heritage. The impact
of the building extends beyond the historic Rocks area of the city, as the pioneering methods
and techniques present a noteworthy illustration of successful industrial adaptive reuse.
139
Technical Brief
Modern insertions to heritage buildings

A dramatic new introduction is the entry atrium which occupies
a former light well. As is the case throughout the building, the
new elements are strikingly contemporary. The lift shafts are
flanked by walls clad in a double-curved fibre cement sheets,
steel and glass bridges span the atrium to connect the lifts to
the historic building, and light pours into the seven-level space
through a glass roof and through the glass floors of the bridges.
The painted masonry walls, timber columns and exposed timber
beams and joists have been retained as have the in situ tea
handling artefactsspiral chutes, hoppers and various lift types.
These surviving industrial artefacts provide an intriguing insight
into the past processes of tea manufacture and have been
interpreted with explanatory signs. Some tea hoppers and the
former lift enclosures have been inventively reused as storage
areas and small meeting rooms.
A fire management solution was required, involving sprinklers
throughout the building and a new fully-complying fire stair
with egress onto Gloucester Street. An impervious floor topping
was installed over the existing timber floors to provide both
smoke and acoustic separation. A membrane between the new
concrete topping and the timber floor optimizes the reversibility
of the work. The construction of a dropped central ceiling zone
at the centre of the floor plate facilitated the reticulation of services without the need of a suspended ceiling across the entire
floor area. The central services spine feeds into the ceiling from
the existing light well within the building, which is reused as
the main services riser. Joinery units housing services were constructed under windows along the eastern and western perimeters. They are fed via small risers located in each corner of the
floor plate which minimize damage to the existing fabric and do
not affect the quality of the space. Air-conditioning outlets are
located above the central access spine and around the perimeter
of the building to provide effective air distribution and minimize
140
the impact on the interiors. Computer flooring and carpet tiles

allow full flexibility for cabling, with the timber ceilings remaining exposed throughout the building. Overall, the fit-out design
by Geyer complemented and developed the architects intent.
The reuse of the building as contemporary offices has been
greatly assisted by the positive attitude of the tenant towards
the robust nature of the interiors and the special character
provided by the hardwood framing and the retained historic
tea-manufacturing artefacts.
Tanner & Associates
Krishan Temple
Context
Located in the village of Kishankot, in the northern Indian state
of Punjab, the Krishan mandir (Krishnas temple) is a Hindu shrine
housing fine wall paintings depicting both Hindu and Sikh themes
from the Kangra tradition and the Sikh school of art.
Village map
Location
Kishankot village, Gurdaspur, Punjab, India
The community of Kishankot is a multicultural one, including Sikhs,

Mahashas (Arya Samajist Hindus) and Christians. The town has
around 109 households and a population of approximately 650. The
village is fragmented as a result of the social and political unrest in
Punjab in the late 1970s and 1980s. Most households are landless
and therefore rely on several jobs as sources of income. However,
due to high unemployment in the region most of the male segment
of the population has to leave the area to find work. The men are
able to earn relatively high wages during the harvest season, but
many end up frittering away the income on alcohol and gambling,
neglecting the nutritional and educational needs of their families.
Two pieces of legislation serve to protect ancient structures in
India: the Ancient Monuments and Archaeological Sites and
Remains Act (1958) and the Ancient Monuments Preservation
Act (1904). Such legislation is often not effective, however, as
few are penalized for flouting it. The rights of the community over
sacred or historic sites are often not recognized by law. Therefore,
unless communities actively guard against encroachment to historic
structures and vigorously defend them, such buildings can easily be
lost.
Size
302 square metres
Cost
Building history
US$35,000
Responsible Party
Krishan Mandir Temple Trust
Heritage Architect
Gurmeet S. Rai, Munish Pandit
Contractor
Undertaken by community members
Date of Completion
September 2000
142
The Krishan mandir was built in the 1830s by the grandson of Chaju
Mal, a general who settled the village of Kishankot. The temple is a
rectangular single-storey building with a central courtyard and is
composed of burnt bricks laid in lime mortar, covered with a fine
coat of lime plaster. The courtyard walls have foliated arches and
the interior is decorated with elaborate frescoes. In contrast, the
external faade is simple and not decorated. The temple is flatroofed but has an elaborate brick and masonry shikhara (spire)
built over the garbha griha (inner sanctum).
A number of alterations were made to the temple over its history.

For example, the mud and brick floors had been cemented and
the external walls had been painted with a green limewash.
Significantly, a drain had been laid along the northern external
faade, which was causing rising damp in the walls.
Before restoration work began on the temple, the structure was
in a serious state of deterioration. The temples roof was on the
verge of collapse, vegetation in the walls was causing structural
cracks and the external plaster was being eaten away by extensive
algal growth. This state of affairs was of great concern to many
people in the community.
The temple had belonged to a thakur (land-owning, feudal class)
family which sold their land and left Kishankot in 1984. The
temple was then used inappropriately during the 1980s as a
police post. Later a rich local landlord, who had purchased the
land from the thakur family, announced plans to demolish the
temple. In response, members of the local community set up an
organization, the Krishan Mandir Temple Trust (KMTT), to protect
the building. Conflict between the landlord and the KMTT divided
the community greatly in the 1990s but a community-initiated
court case eventually led to the prevention of the demolition.
Project history
The project began with the recognition that the only way to ensure
the protection of the temple was through a skilled and unified
community. Conservation work on the Krishan mandir was seen
as a means of building capacity, enabling community members to
address their social problems and ultimately enhance collective
unity. In this way, restoration of the villagers shared heritage was
viewed as a social process, as a means of bringing the multicultural
community together.
The restoration project was also seen as a way of reviving interest
and pride in the communitys history and culture. Furthermore, the
project aimed to restore the social functions of the temple rather
than to simply preserve the building as an artefact. In contrast
to conventional conservation methodology in India, where the
Krishan Temple / 2001
emphasis is placed on the preservation of the physical fabric,

this project opted for an interpretative and social methodology.
That is, the project aimed to recover and restore the role of the
building in its social context and emphasized the pivotal role of the
communitys participation in the process.
In the absence of funds and government conservation
programmes, the KMTT approached the Cultural Resource
Conservation Initiative (CRCI) for assistance. The CRCI, an
organization which aims to preserve Punjabs built and living
heritage, protects built heritage because such structures are
symbols of past traditions and are the anchors of a communitys
secure future. The CRCI selected Krishan temple as one of three
religious historic sites to be restored as part of a project to
highlight the tradition of exchange and understanding between
different communities of Punjab. While it is a Hindu shrine, it
is also valuable to the resident Sikh community. The other two
historic sites included in the programme also embody this spirit of
intercultural harmony. Supported by the CRCI, the Archaeological
Survey of India, UNESCO and the UN Development Programme
UN Volunteers programme, the Krishan Mandir restoration project
commenced in October 1999 and was completed almost one year
later, in September 2000.

The project aimed to repair water damage and prevent further
damage from occurring, restore the roof and the original flooring,
and protect and preserve the valuable interior wall paintings.
Physical restoration works were carefully planned. Before work
commenced on the temple, the building, and particularly the wall
paintings, were extensively documented by conservation architects
and art conservators through measured drawings, photographs
and condition assessments. In addition, the materials were tested
for their chemical composition.
Above: The restored temple has

been returned to the community.
Left: The condition of the temple
prior to restoration.
In keeping with the projects social goals, project managers

decided that all restoration work would be carried out by local
residents, with the exception of repair work to the wall paintings,
which would be undertaken by experts.
143

Restoration is a science for the future. It
has three aspects: recovery, preservation
and conservation. The first aspect concerns
the memories of the past and healing
injuries from them. The second aspect
concerns the preservation of the recovered
selves of the people. It requires measures
that prevent the dissipation of skills and
cultural reserves that have been recovered
with memories. The third concerns
sustainability.

Top left and right: Villagers contributed to the
works by helping to clean the wall paintings and
make lime plaster.
144
The project plans stipulated that materials would be sourced

locally wherever possible in order to ensure the community would
be able to access the appropriate materials in the future. A work
yard was established beside the temple using traditional materials
and machinery such as khaka (ash), surkhi (burnt brick dust), river
sand, lime kilns, a slaking pit and a lime mortar machine to make
slaked lime.
and materials
Limestone is one of the key traditional building materials not

available in Punjab. It was historically obtained from the Himalayas
or Rajasthan. Because cement is relatively cheap compared to
limestone, use of lime plaster had become rare in Kishankot and
the skills of making lime and lime plaster had been lost. In order
to revive these skills, various workshops taught lime making and
lime plaster application to members of the local community who
were involved as builders.
As with most historic buildings in the region, one of the main

threats to the structure was water damage. The first item of work
therefore was the relocation of the village drain away from the
external faade of the building. A rainwater drainage system was
introduced which would carry water from the roof down into the
courtyard and then into the village drains.
The guiding philosophy in the restoration process was that

interventions were to be made only in order to strengthen the
fragile structure of the building and only if they did not cause
damage to the valuable wall paintings.
Krishan Temple / 2001
Vegetation was carefully removed from the structure, including

trees growing out of the walls and algae covering the floor.
Inappropriate recent additions to the building were also removed.
The concrete floor of the central courtyard, for example, was
replaced with the original brick-on-edge type of flooring, laid in
lime mortar.
The roof was reconstructed in the traditional manner, with
timber purlins laid with planks and covered with two layers of
brick tiles. The roof tiles were laid in lime mortar and finished
with traditional lime plaster, which is vital for waterproofing.
Lime plaster was also applied to all the external walls, both in
the courtyard and the street faades. The lime mortar used on
the walls was stronger in composition (1 part lime to 4 parts
aggregate) than that used in the flooring (1 part to 6 parts) so
that moisture on the ground would evaporate at the floor level
and not rise into the walls.
Repairs to the exquisite wall paintings were undertaken by
experienced art conservators. At the same time, these experts
trained some of the young men in the village in the technique of
removing lime wash from the wall paintings.
Important issues
Beyond the positive support for the restoration project by the
Kishankot residents, the KMTT members felt it was necessary to
encourage practical and hands-on community participation in
the project. The local community provided input not only in the
form of seva (service without payment) and waged labour, but
also, very importantly, in the form of ideas and feedback.
While the restoration works were being undertaken, community
development programmes were developed in the areas of health,
education and horticulture, with the aim of providing the
residents with valuable knowledge and enhancing cooperation in
other aspects of village life.
Award Citation
The restoration of the historic Krishan Temple in a multicultural village in the Punjab
validates the important role that the conservation of shared heritage has in generating
community involvement. The leading role of the NGO, especially in consolidating
the efforts of the local community, is particularly commendable. The restoration was
approached not just as a conservation project, but as a community-strengthening endeavour,
demonstrating the success possible by conservation embedded in community. By reintroducing traditional construction techniques and materials, and transferring this technical
knowledge and appreciation to the local villagers, the project conservators ensured the
future sustainability of the temple and the continued life of the building after restoration.
145
Project sustainability
and viability
Due to the active participation of community
members in the restoration, they gained a strong
sense of ownership and stewardship of the
Krishan Mandir, and have assumed responsibility
for the building. The fact that the villagers were
not simply used as a source of labour increased
community pride. By obliging them to work
together, the project led to a sense of unity and
greater social cohesiveness.
The project was a mutual learning exercise for
both the visiting professionals and the local
community. The architects and other experts
learned about local architecture while the
community gained an understanding of the
technical problems in caring for the temple. They
re-established the skills in traditional building
techniques needed for on-going maintenance of
the building and other heritage structures. The
workshops held during the project were especially
effective in raising capacity among marginalized
members of society. Youth, for example, now have
useful skills which will improve their prospects
for employment in the future.
Since the projects completion, an institutional
framework has been developed to sustain
common spaces and group activities, and to
draw upon and renew the cultural capital of the
historic building for the overall development of
the village. To this end, a learning curriculum
has been created to enrich restoration skills. The
KMTT is working towards the establishment of a
vocational training centre in the temple grounds
to address education, livelihood skills and cultural
heritage conservation.
146
DBS House
Project synopsis
Located in the Fort Precinct, DBS House is a noteworthy example
of Victorian architecture in Mumbai. Built in 1895 as the residence
for a prominent Jewish family, the house was converted for
commercial use during the 1950s, involving substantial alterations
which diminished the character and significance of the threestorey building. The exterior was marred by the installation of
services such as plumbing and air-conditioning, while the original
faade of exposed red brick with white limestone ornamentation
had been covered in grey cement wash. The interior was altered
by the addition of mezzanine floors and a reinforced concrete
staircase in the original courtyard located between the two wings
of the house.
City map
Opposite: Service conduits, air-conditioning units
and cement render were removed during the
conservation, uncovering the red brick walls.
The building was acquired by DBS Financial Services in 1988 and

has since been used as an office centre. When the building was
listed as a Grade III building by the Mumbai Municipal Corporation
in 1995, DBS Financial Services initiated a project to restore the
building to its former elegance. The restoration project was
envisioned as a comprehensive improvement process to enable
the building to function efficiently in the future while enhancing
its heritage significance. A survey of the building revealed that the
building had great potential and the property would appreciate if
the restoration works were undertaken. Works began in April 1998
and were completed in September 2000.
Location
31 Adi Murzban Road, Fort Precinct
Mumbai, India
Size
15,000 square metres
Cost
US$400,000
Responsible Party
DBS Financial Services PVT Ltd.
Heritage Architect
Sandhya Savant
Contractor
Sewri Construction PVT Ltd.
Date of Completion
September 2000
148
From the outset, the project managers aimed to keep new additions
to a minimum, use reversible methodologies and make repairs and
replacements that retained the original architectural character
of the building. New additions would be made in a discreet but
modern architectural language while fake historic detailing would
be avoided.
The main task of the project was to restore the original red brick
faade by removing the grey cement wash which had been applied
during the early 1960s, without stripping off the impervious brick
face. A small section of the faade was sandblasted but this caused
too much damage to the glazed brick facing so this method was
discontinued. Therefore, to minimize damage, a combination of
handtools and techniques were used, such as brushes, sandpaper
and air brushing. The cleaned brick surface was then given a silicone
finish in order to withstand the heavy monsoon rains.
Great care was also taken in the removal of the cement from the
limestone decorative features, such as the Gujarati trefoil arches.
The limestone was particularly fragile and care had to be taken to
avoid marking the stone. The damaged and weathered portions were
repaired with lime putty and the limestone features were painted
with a thin layer of lime wash as protection. Faade details such as
cornices were also restored and missing elements were replicated
using the original types of materials.
The building services visible on the exterior were relocated to
improve the appearance of the faade. Electrical wiring was rerouted carefully and bathrooms were relocated so that wires and
plumbing pipes would no longer disfigure the buildings faade. A
catwalk was constructed at the rear of the building to house the
new air-conditioning system. At the same time, it also provided the
building with an easily-accessible fire escape.
The sloping roof was leaking extensively prior to restoration, causing
the timber roof support structure to rot. All damaged timber elements
were replaced with the original material, old Burma teak, and the
leaks were resolved by re-lining the valleys with lead and adding a
layer of waterproofing felt.
For the interior, substantial repairs were undertaken to restore the
structural integrity and improve the functionality of the building.
The damaged wooden posts, joists and beam structure on the
southwestern side were repaired. New internal services were installed
in such a way as to minimize their aesthetic impact, while allowing for
the greatest flexibility in adapting the space to suit various tenants
with different spatial requirements. Electrical wiring in surfacemounted tracks at the skirting level was designed to be rerouted
in minimal time. In the reconfiguration of the spatial layout, new
mezzanine floors were added to maximize usable space within the
existing shell. These included suspended slabs and thin 40 millimetre
DBS House / 2001
plate glass floors. A modular partition system was also introduced to

allow greater flexibility in the division of space without overloading
the structure. In order to accommodate modern needs, the crudely
constructed concrete staircase was removed and a new hydraulic lift
was inserted. In addition, an atrium was created in the stairwell to
facilitate the entry of natural light into the building.

As this was a large-scale restoration project undertaken by an
individual owner, its successful completion is testimony to the fact
that major conservation works can be successfully carried out by
the private sector, in this case, a corporate entity. Furthermore, this
project demonstrates to the community that the sensitive adaptation
of a heritage building for a new use can inject vitality into a building
and be economically viable. Since its restoration, the building has
become a well-known landmark and the success of the project has
catalyzed similar restoration projects on nearby heritage buildings
in the historic district.
Award Citation
The restoration of DBS House demonstrates how close collaboration between the corporate
property owner and local conservation experts has resulted in an exemplary adaptive reuse
project that preserves local heritage while accommodating the requirements of a state-of-the-art
business centre. A legacy of inappropriate and sub-standard architectural additions presented
a host of structural and technical challenges, which have been resolved with commendable
creativity and restraint, respecting the integrity and quality of the original structure. The
minimalist approach has allowed new interventions to stand alongside existing structures
with equal integrity. Leading by example, the restoration of DBS House has been a catalyst
in inciting further conservation efforts in the Fort Precinct of Mumbai.
149

The cleaning and restoration was a unique
undertaking as it highlighted this fusion of
English brick architecture and Indian-style
ornamentation that is so distinctive in the
Fort Precinct. It also encouraged owners
of other brick buildings to embark on the
restoration of their properties.

Top right: Section through the building.
Right and far right: The interior was successfully
adapted for use as business suites.
150
King Law Ka Shuk Temple
Project synopsis
City map
Opposite: The conservation work re-established
the temples original appearance and function.
Location
Tai Po Tau Village, Tai Po, New Territories
Size
349 square metres
Cost
US$335,000
Responsible Party
Clan of Lau Kwong Tong of Tai Po Tau
Heritage Architect
Antiquities and Monuments Office
Architectural Services Department
Guangdong Provincial Institute of Cultural
Relics and Archaeology
Contractor
Date of Completion
January 2001
152
Situated in Tai Po Tau village in rural Hong Kong, the King Law Ka
Shuk temple is a traditional grey brick, three-hall, two-courtyard
building. Named after Tang King Law, an ancestor of the clan, the
temple was built in a functional design with elegant ornamental
features. Its roof ridges and wall friezes are patterned with
geometric motifs and the internal eave boards are decorated with
leaf and floral patterns. Two drum terraces are located in front of
the hall. The main chamber houses a beautifully carved six-level
altar, which was specially made in Guangzhou in the 1930s to
hold the soul tablets of the ancestors.
The temple was constructed in the early 1700s as a place for
ancestral worship and as a shuk (study hall) to prepare clan
members for important imperial examinations. With the launch
of government education programmes in 1948, the teaching
function of the building ceased, but it continued to be used as
a ceremonial hall to honour ancestors and as a venue for village
meetings.
While still a significant building, its heritage value had diminished due to a 1932 renovation project which added a considerable amount of inappropriate modern material to the structure.
In 1998, with roof leakages, rotting timber beams, walls damaged
by rising damp, and limited lighting, the need for repair was urgent. The conservation team debated whether to retain the 1932
additions as part of the continuing history of the building. However, strong pressure from the community called for restoring the
building to its architecturally harmonious and traditionally accurate state, in a way which would showcase the limited remaining
historic fabric. Therefore, the project sought to return the hall to
its 1851 Qing Dynasty condition and to upgrade the buildings
services to accommodate modern requirements for a village community centre.
Declared a monument in 1998, the hall is under the full legal
protection of the Hong Kong SAR government. The buildings
restoration was implemented with government funding and was
monitored by the Antiquities and Monuments Office (AMO) and
the Architectural Services Department.
A detailed cartographic survey, historical analysis and measured

drawings were undertaken prior to the commencement of the
restoration by the AMO and a specialist team from the Guangdong
Provincial Institute of Cultural Relics and Archaeology. The detailed
drawings proved to be indispensable during the course of the
project. Since the projects completion in 2001, the once-neglected
hall has become a central celebration venue for traditional village
functions.
The main challenge was to remove the modern materials
introduced in the previous restoration, in particular, reinforced
concrete which was deemed inappropriate both for reasons of
inauthenticity and feng shui, as metal is deemed incompatible
with traditional religious buildings. Meanwhile, all evidence of
nineteenth century building fabric was carefully preserved and
enhanced, such as the rare red sandstone facings, which were
associated exclusively with high officials in the Qing dynasty.
Grey bricks were used as a replacement for the concrete loadbearing walls, and traditional timber brackets and roof beams
made of Chinese fir were installed in lieu of the concrete roof
beams. A traditional tiled and pitched timber roof was constructed
to replace the concrete slabs covering the two side chambers. Four
concrete columns in the main hall, later additions which were not
sympathetic to the original granite columns, were taken out to
make way for new grey granite columns with a natural handtooled finish. The hard cement mortar rendering on the main
external walls was scraped off, exposing the fair-faced brickwork
underneath. In addition, the Shanghai plaster covering the drum
terraces was replaced with granite and the later iron windows on
the faade were removed and filled in with grey bricks.
Traditional artisans were employed to repair paintings of door
gods and other motifs. They prepared full-sized drawings on
paper for approval, before sketching the outlines on the timber
doors and applying paint.
King Law Ka Shuk Temple / 2001
The project architect and building owners strongly favoured an

approach in which visual significance was emphasized while the
Guangdong Provincial Institute of Cultural Relics and Archaeology
and AMO preferred an emphasis on historical significance. There
was some debate, for example, over whether the 1930s-era tiles
on the altar base should be retained as part of the living history
of the building or be replaced with more authentic materials. The
issue was resolved with the replacement of the tiles with local
grey granite after consultation with the feng shui master who
ruled that the use of foreign materials was not appropriate in a
Chinese religious building.
The restoration of the wooden main altar itself was also debated,
as the villagers were anxious for the altar to look fresh and bright
to show respect to the ancestors and to impress other clans in the
neighbourhood, to the extent that some villagers suggested that
it be replaced entirely with a new one. Instead, the meticulous
repair and restoration of the altar by an experienced conservator, at
the urging of the AMO, yielded results which impressed both the
villagers as well as other clan members.
Award Citation
The outstanding restoration and preservation of the King Law Ka Shuk temple sets an
example in the application of best practice methodology of renovation and in demonstrating
the value of restoration and conservation of an historic building for community use. Carried
out with a balanced conservation approach and strong community involvement, the restoration
was an ambitious attempt to bring the temple back to its original state while also integrating
some more modern elements from the 1930s.
153

Since opening to the public after restoration, the building has
generated much interest. While in its dilapidated state the hall
was underutilized and its significance un-appreciated, the restored building is now in regular use. With the provision of lighting and power supply for night-time functions, improved kitchen
facilities and a relaid front courtyard, it now serves as a popular
local meeting place. Ancestral worship and rituals have recommenced and a long programme of events is planned each year.
The project has injected into the community a new sense of pride
in their traditional way of life and has revitalized many customs.
With the restoration of the temple the community has gained
greater appreciation of the villages heritage value. Furthermore,
the success of the project has increased the communitys interest
in restoring the remaining traditional Qing Dynasty buildings of
the Tang clan in the village.
Above and top left: Plan and section through the hall.
Far left: Celebrating the completion of restoration works.
Left: Conservators discuss treatment methods for the
decorative wood planks.
154
Tea Factory Hotel
Area map
Opposite: Abandoned after the closure of
the tea company in the 1970s, the factory
complex is now a heritage hotel.
Location
Kandapola, Nuwara Eliya, Sri Lanka
Size
3,052 square metres
Cost
US$2,150,000
Responsible Party
Aitken Spence Hotel Management
(Private) Ltd.
Heritage Architect
Nihal Bodhinayake Associates
Project synopsis
The Tea Factory Hotel was originally the Hethersett Tea Factory,
famous for processing some of the finest tea in Sri Lanka. Located
at an altitude of 2,072 metres in Kandapola, the building was
constructed by the British in 1935 and functioned as a factory
until it was abandoned in 1973 as a result of the nationalization
of tea plantations.
The industrial character of the building was highlighted in the

design of the hotels public spaces while the private spaces, such as
the bedrooms, were designed to be comfortable retreats.
A building type common in the hill country, the steel-framed

factory had four upper lofts with pine floor boards supported by
jarrah wood joists, and featured evenly-spaced windows framed
with Burma teak. Installed on either side of the atrium, timber
bladed fans ten feet in diameter sucked and distributed the hot air
produced by a furnace at the ground level. When it ceased to be
used as a tea factory, the building was put to use as a storehouse
for fertilizer and lime.
Prior to restoration works the building was in a state of complete
neglect. Its steel columns were corroded, most of the window
panes were shattered and sections were missing from the roof,
accelerating the decay of the structure. Two engines, pulleys,
galvanized iron pipe switches and some of the original electric
lamp shades were intact. By chance, in 1992, the building was
seen by the director of Aitken Spence Hotel Management who
recognized its heritage value and potential for redevelopment.
His company purchased the building, envisioning a themed
boutique hotel which would accentuate the buildings historical
significance.
The architectural challenge was to transform the existing industrial
fabric into a luxurious and comfortable environment with modern
amenities. As a guiding approach, it was decided that the exterior
of the building would be restored to its original 1930s state, and
after much consideration, it was decided to retain most of the teamaking machinery as integral parts of the interior dcor.
Contractor
Link Engineering Ltd.
Date of Completion
April 1996
156
Within a restoration project time frame of just 12 months, the

hotel opened its doors to the public in November 1996.
An understanding of the existing fabric resulted in different

sections of the buildings being converted for necessary uses in
an appropriate manner, such as the transformation of the original
boiler room into the new kitchen. Once used to expel smoke from
the boiler room, the original 70-foot high masonry chimney now
exhausts cooking fumes. Similarly, the original steel sprinkler tank
has been converted to serve as the tank for the newly-installed
sprinkler system.
Fifty-seven rooms, complete with en-suite bathrooms, were carved
from spacious lofts that used to serve as tea withering spaces.
The extra loading of the lofts was accommodated by reinforcing
the existing structure. The steel columns were reinforced at the
ground floor level with hollow steel box sections, and additional
steel lateral bracing was concealed between the new partitions
and the galvanized iron exterior cladding. The weight of the lofts
is transferred through new two-foot deep latticed beams that
connect to the existing columns. The old steel was painted green
and the new in red to differentiate between the original fabric and
new additions.
The continuous vertical open space, which once facilitated the flow
of hot air required in the drying process of tea-making, still connects
the four upper lofts. This space was extended to the ground floor,
where it now forms the atrium-lobby that greets visitors upon their
entrance, and continued down to the new basement.
Much attention was paid to enhancing the industrial character of
the hotel through the retention of historic artifacts as well as the
compatible design of new interior elements. One of the salvaged
engines was relocated to the atrium-lobby and operates as a gong
to notify hotel guests of mealtimes. The 100-year old open cage
lift of British make was salvaged and repaired. All services ducts
were left exposed in accordance with typical factory fit-outs. The
ground floor was cement-rendered and laid with jarrah planks
Tea Factory Hotel / 2001
which were screwed into the floor with oversized brass screws,
giving the lobby a utilitarian ambience. The restaurant houses a
buffet table constructed from recycled tea chests with a canopy of
hand-beaten copper sheets fixed with copper studs to two giant
steel wheels from the engine room. Similarly, in the lobby, etched
glass panels are used as a directory while the lighting consists of
industrial glass lamp shades hanging from an exposed network of
conduit pipes.

The conservation project has given new life and meaning to an
abandoned building, while sensitively respecting its historic character and form. In addition, the new use as a hotel has provided the
local community of predominantly Tamil ethnicity with supplementary sources of income. For example, local farmers now have the opportunity to sell their produce to the hotel and the younger generation now has a range of employment options. A sense of community
pride has flourished with these new opportunities and livelihoods.
Award Citation
The impressive conversion of a tea factory into a luxury hotel complex demonstrates a challenging adaptive reuse project executed with commendable skill and vision. The project showcases the industrial heritage of the Sri Lankan hill country, where tea factories are the predominant building type, and suggests how this legacy can be adapted to future uses. The respectful
treatment of the exterior allowed the project to maintain its contextual integrity, while bolder
interior interventions allowed the building to assume its new role in the hospitality sector.
157

The challenge was to dramatize the
transition of a building from a silent,
abandoned, industrial structure into a
livelier, much sought-after tea factory hotel.
At the same time, it has nurtured a workforce
created from a different employment base,
and supported an environment that has
been neglected for nearly three decades.
Above and top right: Ground floor plan and section,

showing the planned indoor pool.
Right: The former tea sifting room, now a restaurant.
Far right: The wooden fan, previously used to
exhaust air from the tea drying area, was retained.
158
Xijin Ferry Area Project
City map
Opposite: Inappropriate concrete additions
were removed from the pagoda.
Location
4 Xiaomatou Street, Zhenjiang
Size
914 square metres
Cost
US$458,600
Responsible Party
Zhenjiang Xijin Ferry Area Conservation and
Restoration Co. Ltd.
Heritage Architect
Dong Wei, Yang Xin and Ding Hongwei
Contractor
Zhenjiang Ancient Construction Company
Suzhou Xiangshan Traditional Architecture
Date of Completion
October 2000
160
Xijin Ferry Area Project / 2001
Award Citation
The recognition and subsequent restoration of three key structures in the Xijin Ferry area
demonstrate how a strategic preservation project can anchor and give impetus to a widerreaching intervention affecting the larger urban fabric. Appropriate new use of the buildings
in accordance with the original use is an expression of a commendable effort in preserving
authenticity. Architecturally sophisticated and restrained, the conservation project was
successfully carried out with minimal intervention and has acted as an important catalyst,
opening up an enormous residential area for future restoration.
161

The restoration programme was planned
according to the rule to restore heritage
as it was and retain its original spirit.
Through restoration, the structures hidden
perils were removed and the buildings
functions were resumed and improved.
Above and top right: Ground floor plan and section

through the pagoda and Buddha Hall.
Right: Stone lintels being removed prior to the
stabilization of the pagoda structure.
Far right: The Buddha Hall after restoration.
162
Zhongshan Road
Project synopsis
Zhongshan Road is the main historical street of the ancient city
of Quanzhou, a major port town between the ninth and sixteenth
centuries which was the starting point of the Maritime Silk Route.
Redeveloped in the 1920s and 1930s, Zhongshan Road is now a
busy commercial street featuring 984 traditional shophouses. Due
to the variety of influences from foreign trade, these shophouses
portray a mixture of SouthEast Asian styles, such as the street level
arcade, but were constructed using local materials and traditional
building techniques.
City map
Opposite: A typical retail building in the commercial district before and after restoration.
By the mid-1990s these buildings were in a dilapidated state,

and had poor and outdated services. Damaged internal structural
members caused visible damage on the exterior facades and
uneven pavements. Furthermore, many modern additions had been
made to the buildings, most of which were against regulations,
and had diminished the aesthetic appeal and heritage value of the
historic street. New signage and commercial shop frontage had
been installed by individual shopkeepers, creating a cacophony of
textures and colors, many of which were not compatible with the
historic buildings.
To restore the street to its former appearance and charm,
a conservation project was implemented by the Quanzhou
Government in early 1998, with an emphasis on restoring the
original ambience, revitalizing the traditional buildings and
improving the residents quality of life and the local economy.
The residents were responsible for the cost of the repairs with
subsidies from the government, depending on the state of the
premises. The municipal administration paid for the cost of
installing the infrastructure and services (water supply, cable
television, electric power, telecommunications). The government
financed the necessary restoration works for those who did not
have the ability to pay for the repairs, dividing the cost evenly
between the municipal and district offices. Of the total cost,
over half was paid for by the homeowners themselves, with the
remaining balance divided between the government and the
municipal administration.
164
Throughout the project, emphasis was placed on the unity of

the streets appearance. Not only were the architectural styles of
the buildings to conform to established guidelines, all the street
fixtures, signage and paving were carefully coordinated in order
to achieve a cohesive streetscape character. The project was also
considered to be an academic exploration into the methods and
process of heritage conservation for the district. Works were
completed in November 1999.
The main aim of the project was to restore the original condition
and form of the buildings, with a focus on the street facades.
Restoration works used traditional construction materials and
techniques. Building parts which exceeded the height limit were
removed and inappropriate modern construction was rebuilt in a
more compatible manner. The extent of repair work on the buildings
depended on their condition. Works ranged from simple cleaning
and repairs for those buildings which had retained their original
facades and were structurally sound, to major reconstruction for
buildings which had been significantly altered or were structurally
unsound. Buildings with structural damage were reinforced in the
interior. In addition, modern services were installed in the buildings
in order to improve the quality of life of residents and prevent
further degradation of the surrounding area.
The street was divided into units, comprising about 10 shophouses
per unit. By completing the units, in a logical sequence, the team
was able to discover problems and rectify issues before proceeding
onto the next unit, thereby correcting mistakes and enhancing
the teams restoration expertise along the way. Every shophouse
facade was documented and the drawings were used to guide the
restoration process, and retained as part of the citys permanent
record.
Participation by the local residents played an important role in
the project. They provided feedback to the designers and the government, and also helped to monitor the construction accounts.
The heritage architect was required not only to coordinate and
guide the restoration effort between several parties (community
Zhongshan Road / 2001
members, government and construction team) but was also tasked

with assisting the local government in drawing up conservation
regulations and design guidelines for the future safeguarding of
Zhongshan Road.

The restoration project has preserved the historical character and
features of the street and at the same time improved the quality of
life for its residents. The commercial value of the area was boosted
and provided opportunities for tourism-related businesses to
develop.
In addition, the project has served as an excellent model in the
application of techniques and processes to protect historical
streets in the region. It has also demonstrated that any heritage
conservation project depends on the successful cooperative efforts
from both the community and government sectors. The active
community participation, including their feedback and suggestions,
was a key factor bringing the project to completion. It demonstrated
the value of inclusion of the community in both the planning and
implementation phases of such projects.
Award Citation
The impressive conservation effort of a one-mile stretch of Zhongshan Road in the historic
port town of Quanzhou sets a new model: a comprehensive urban conservation plan that
creates a guideline by which individual buildings can gradually be adapted and unsympathetic
concrete additions can be removed. The initiative of the local government and the active
support of the private sector exemplify collective responsibility for heritage conservation. The
authentic choice of materials coupled with a sensitive introduction of modern elements ensures
the feasibility of the conservation plan.
165

The restoration reversed private construction
that had got out of control, while it also
revitalized and enriched the experience of
those living in the community. The project
has perfected the environment of the
street, improved the commercial value and
protected the historical style and features of
the street. By adopting a set of special and
effective measures, such as participation
by the masses, reasonable cost sharing
and scientific construction, this beneficial
experience can be applied in protecting
other historical areas.
Above: A typical shophouse ground floor plan.

Top right: The elevation depicts the blending of
eastern and western architectural styles in the
shop faades.
Right and far right: Shop frontages were renovated in keeping with the traditional character
of the street.
166
Jin Lan Tea House
Project synopsis
Located on Wen Ming Street, in the remaining section of the
historic city centre of Kunming, the Jin Lan Tea House is a timberframed courtyard house with brick and adobe walls and a tiled roof.
Constructed in 1927, the house is one of the biggest in the district
and was originally the residence of an important local politician
and general, Ma Zheng. Oriented along the traditional north-south
axis, it features a richly adorned faade and carved wooden lattice
work.
City map
Opposite: Once slated for demolition, the building
was restored and converted into a tea house.
In 1996, in recognition of the areas heritage value, Wen Ming

Street was selected as the subject for a study and preservation
programme undertaken by local authorities, Chinese architects
and Swiss experts. In the following year the Wen Ming Protection
Area was established and in 1998 the Kunming city government
approved a Protection Plan for the area drawn up by the Kunming
Urban Planning and Design Institute. The plan called for three
levels of implementation: at the overall district level, the block level,
and at the building level. The restoration of Jin Lan Tea House was
undertaken as part of the third level of implementation.
When the house was sold by its original owners to Jin Sha Company
in 1997, the new owners had planned to demolish the house
and replace it with a high-rise building. However the Protection
Plan ruled out such development and saved the building from
destruction. Instead, the Jin Sha Company was convinced of the
viability and value of preserving the house and converting it for
use as a tea house.
Although considered in relatively good condition compared to
the other houses in the district, the building was still in need of
repair. While structurally sound, problems such as rising damp had
resulted in significant decay of parts of the walls and roof, which
adversely affected the quality of life of the occupants. Furthermore,
the building lacked modern sewage and water supply systems,
making it an undesirable living space.
The house was regarded by the city planners and architects as an
example of one of the important building typologies in the area.
It embodies the classic Chinese courtyard house form, which is
168
enveloped by walls outside but open and transparent inside. They

undertook conservation of the structure as a pilot project and
model for further restoration projects. Work began in 1999 and the
restoration process took place over a period of four months, with
completion in early 2000. The building has now been transformed
into a popular tea house.
Prior to conservation works, thorough documentation of the
house was undertaken by Southeast University in conjunction
with the Kunming Urban Planning and Design Institute as part of
the pilot renovation project. Over the course of 11 intensive days
the team produced detailed plans and drawings, a 3D computer
model showing the structural composition of the house, and a
photographic record of the most vulnerable structural elements.
The drawings included framing details and an inventory of different
architectural components such as column bases.
While the major timber structural frame of the buildings was sound,
quite a few of the wooden columns and beams along the open
corridors surrounding the courtyard were decayed due to water
penetration from the roof and water used by the residents. The most
heavily damaged were the four inner corners of the corridor. This
wooden corridor sub-structure was disassembled and examined
for its condition. Decayed sections were replaced with new timber
elements. In order to allow efficient drainage of rainwater away
from the house, repairs were made to the eaves and rainwater
drains along the corridors, while new downpipes were installed.
Water pipes and valves were removed from the corridors to lower
the risk of leakage. Exposed timber elements in other parts of the
house were also repaired, which involved the careful removal of old
layers of paint and the application of new paint.
The heavy walls, as thick as 68 centimetres, were built with adobe
on a stone base with brick corners. They had been damaged from
rising damp, especially along the south wall. They were repaired
with new adobe and then rendered with plaster. In addition, the
stone pavement and the timber floor were also repaired and
polished.
Jin Lan Tea House / 2001
The roof consists of two layers of tiles resting on timber rafters,

in a manner typical to Yunnan but heavier than other vernacular
houses in China. Many of the tiles along the eaves were broken.
To address water leakage through the roof, the roof tiles were
removed, with good pieces kept for reuse. The wood rafters and
brackets were first repaired before a waterproofing layer was put
in place. New, compatible tiles were installed in combination with
the original tiles over the waterproofing membrane.
Award Citation
The restoration project has revitalized the Wen Ming Street area
by attracting local and foreign visitors to the tea house and
the surrounding streets. The project has demonstrated good
conservation practice to the community and has educated the
public on the value and meaning of heritage buildings. Following
the completion of the pilot restoration project, conservation
guidelines were drawn up through the Sino-Swiss cooperation
which provided simple recommendations for identifying and
protecting other heritage buildings in Kunmings historic core.
The commendable restoration of this traditional Chinese courtyard house in Kunming Old
Town is the successful result of thorough research, community involvement and preservation
planning. As a sample house for a conservation manual intended to guide the restoration of a
large area of Kunming Old Town, the restoration of the Jin Lan Tea House has important
implications for the whole community and advances the efforts of the local conservation
movement. The restoration of the courtyard house exemplifies heritage conservation through
the enhancement of community culture and through the illustration of the traditional Kunming
lifestyle to local inhabitants and visitors.
169

A lively historic town can be interesting
to visitors, but just as important, it allows
younger generations of our citizens to
understand their past and their culture.
Above and top right: Experts from Kunming

and Zurich produced detailed typological
drawings.
Right and middle: Sections of the adobe walls
were repaired and replastered.
Far right: The project is a model for restoring
the rest of the historic neighborhood.
170
University of Mumbai
Library Building
City map
Opposite: The 260-foot clock tower before
and after restoration.
Project synopsis
The University of Mumbai Library Building and Rajabai Clock

Tower building is one of the finest historic structures still in use
in Mumbai. Designed by Sir George Gilbert Scott, the building was
constructed over a period of 10 years between 1869 and 1878, in
Gothic Revival style. It is notable for its superb features, including
friezes with exquisite animal and foliage motifs, wooden coffered
ceilings and magnificent stained glass windows. The 85-metre
clock tower is a landmark in the panorama of the city.
The project sought to establish a benchmark for conservation in

Mumbai which drew on both scientific conservation techniques
and methodology as well as local building crafts. At the outset,
an inspection report was undertaken in which the defects were
analyzed and recommendations were made. It was discovered that
the stained glass windows had suffered the most, on account of
bad original panel fixing details; improper supports from saddle bars
and excessive heat, resulting in buckling; corrosion of iron hardware
holding the glass panels; combined with vandalism, neglect and
poor maintenance. Totaling 213 square metres in area, the Victorian
windows were designed in the 1870s in London by the glaziers
Heaton, Butler and Bayne and shipped in panels to Mumbai. Popular
in India in the nineteenth century, the art of stained glass slowly
faded away after independence and along with it, the local guilds
who had the knowledge to create and maintain the works.
In 1996, although the building was in fair structural condition,

certain elements such as the stained glass windows, limeplastered ceiling, Milton flooring tiles and timber window frames
were in a poor state. Recognizing the need to preserve the unique
features of this landmark building, restoration plans were drafted
and with the joint collaboration of the University of Mumbai, the
British Council and the Department of Trade and Industry (UK), a
restoration project was launched in February 1997.
The project aimed to restore this listed Grade I national landmark
and to provide impetus for the development of conservation skills.
It involved training of local glaziers, masons and metal workers in
a hands-on environment. In addition, the project was seen as an
opportunity to create awareness in the community of the need for
heritage conservation. Works were conducted over a period of 28
months and were completed in July 1999.
The library building is one of the first public buildings in the
country to be restored completely while still in use. Prior to
this project, conservation of this type was still a relatively new
practice in India. While the Archaeological Survey of India (ASI)
was responsible for conservation of heritage, preservation works
were previously limited to buildings no longer in use which were
over 100 years old. Moreover, convincing clients to use traditional
skilled artisans and traditional construction materials in a modern
urban context proved to be a great challenge.
172
Supervised by two British expert glaziers, the team of local trainees

undertook extremely careful repairs over the course of 37 weeks.
Depending on the extent of the damage, the stained glass was
either dismantled or repaired in situ. Cleaning was done very gently
using water, non-ionic detergent such as Teepol, wire brushes and a
scalpel to remove layers of dirt from the unpainted outside surfaces.
The painted surfaces were cleaned with special glass fibre brushes.
Buckling was repaired by shoring up the saddle bars. Broken pieces
of glass were replaced by cutting new glass to match the shape of
broken pieces and repainting them. Painting was done using the
appropriate brushes and glass paint before firing in a special kiln, a
process known as tracing.
The other restoration works were also carried out using traditional
methods and original materials wherever possible. For example,
the ornate gilded lime plaster ceiling, characteristic of the Gothic
Revival style, needed substantial repairs due to water ingress. It was
restored in the traditional manner using an inch-thick layer of lime
plaster, mixed with jute fibres, applied on bamboo laths. Similarly,
the delicately ornamented rosewood windows, which were partly
decayed, were repaired using the original methods and materials. The
glass was removed and the windows numbered before in situ timber
repairs were made. In the case of the Minton floor tiles, many tiles
University of Mumbai Library Building / 2001
had de-bonded, so were reaffixed after properly consolidating the

base with the original type of lime mortar.
When necessary, new materials were introduced. For example, panels
of the still pristine 930 square metre coffered Burma teak ceiling had
fallen off due to corrosion of the fastening screws. The ceiling was
reinforced with new, non-corrosive stainless steel screws to prevent
other sections from falling.

Not only has the project prolonged the lifespan of this historical
landmark, it has revived the use of traditional materials such as
lime mortar, providing a much-needed boost for encouraging
traditional masonry works. Through this project, a team of Indian
glaziers and painters have revived specialist skills and are now
being approached for repairs on other heritage projects in the
country.
In addition, the project has increased general awareness of the
importance of heritage conservation within the community and
has inspired owners of other heritage buildings to restore entire
buildings or significant elements such as stained-glass windows.
Buildings which have had conservation works carried out as a
result of the library building project include the Wesley Methodist
Church in Colaba and St. Peters Church in Bheemnupatnam.
Award Citation
The state-of-the-art restoration of the Library Building at the University of Mumbai exhibits
exemplary technical accomplishment and returns one of the citys landmark buildings to its
original splendor. Commendable attention to methodology of restoration and authenticity of
the new elements is evident in the meticulous conservation project. Reintroducing some lost
arts by training local craftsmen to accomplish an authentically accurate restoration has revived
these art forms for use in the community and in future conservation projects.
173

The project has been a success in its objectives, such as transferring stained glass
skills to Indian craftsmen and reinventing
the use of lime mortar for heritage structure repairs. It has been a trendsetter in
introducing scientific conservation methodologies in the city of Mumbai, and has
made the library ready to face a new millennium.
Above and far right: Floor plan and elevation.

Top, right and far right: Stained glass windows
and rose windows being restored.
174
Nielson Tower
Project Synopsis
Built in the 1930s, Nielson Tower was the passenger terminal and
control tower of Nielson Airport, one of biggest and best-equipped
airports in Asia at the time. Cleverly designed to resemble an
airplane from a birds eye view, the two-storey reinforced concrete
structure is the only remaining pre-war structure in what is now
the bustling Makati financial and commercial district.
City map
Opposite left: The former air terminal
before restoration.
Opposite right: Now a library with
significant archival collections.
Location
Makati Avenue, Makati, Metro Manila
Philippines
Size
859 square metres
When the airport ceased operations in 1948, the Nielson Tower

was utilized as a police department and later as offices. From the
late 1970s until 1994, the building was converted into a premium
club and restaurant. Over this period the surrounding area was
increasingly built up, with new buildings constructed in what was
previously the airfield.
When the lease of the club and restaurant ended in 1994, the
owners, Ayala Land, proposed to integrate the tower into a plan
for a cultural centre by redeveloping the building to serve as a
specialized research library of Philippine culture. The building
was ideal for such a conversion because of its heritage value and
its central location, allowing for easy access by the public yet
remaining insulated from the bustle of the surrounding area.
The overriding objective of the conservation project was to enhance
the Nielson Tower as a historical and cultural landmark while innovatively adapting it for reuse. The buildings exterior has been
largely retained but substantial interior renovation work was undertaken to meet the librarys requirements. The construction project began in May 1995 and works were completed in nine months.
Cost
US$1,700,000
Responsible Party
Ayala Land Inc.
Heritage Architect
Leandro V. Locsin & Partners
Contractor
D. M. Consunji Inc.
Date of Completion
January 1996
176
The guiding principle of the project was to weave function around
structure, respecting the existing fabric rather than forcing the fabric
to adapt to its new use. As a result, the major issue was in striking
a balance between conserving the original fabric and building style,
and implementing changes to facilitate the new use as a library with
efficiency and effectiveness.
With the aid of old photos, the project managers were able to establish
the original appearance of the building. Apart from some damage
received during the Second World War, it was clear that the towers
structure and appearance have remained virtually unchanged since
the 1930s. Minimal work was therefore required in the restoration
of the exterior. The roof, walls and original window frames were
refurbished with a fresh coat of paint, window glass panels were
replaced and the Manila International Air Terminal signage on the
rear of the building was restored. The only major modification on
the exterior was the removal of the 1970s-era canvas canopy at
the front entrance, which was replaced with a permanent circular
canopy, designed in conformity with the buildings architectural
style. Landscaping was also integrated in the restoration scheme,
with the bordering gardens filled with plants that were mainstays of
Philippine gardens in the 1930s and 1940s.
The interior layout of most rooms in the building was also retained
to respect the original spatial organization of the building, in spite
of the initial intent to enlarge some of the spaces. Original features,
such as hardwood doors, trims and floors, were retained although
some major alterations were made to the interior. The central
staircase, which provided access to the basement and the tower, had
to be replaced to meet safety standards, so a new spiral staircase
was installed at the back of the building which used to serve as the
check-in area. The relocation of the stairs changed the access to
the tower room, but the rooms 360-degree view was retained. The
dumbwaiter and its shaft were dismantled to clear the central area
on the main floor and an elevator was installed to facilitate access by
handicapped visitors.
In order to meet the space requirements of a library, the building had to
be expanded. Since it was important to maintain the original external
appearance of the building, this enlargement was implemented
underground in the basement. Effects on the foundations were
minimized by limiting the direction of the expansion towards the rear
of the building. The basement was constructed with an extremely
tight envelope and an efficient new water drainage system to prevent
flooding or water infiltration. In order to ensure the preservation
of rare collections, the new section was provided with special
environmental controls regulating temperature, humidity, dust,
Nielson Tower / 2001
insects and light. Modern network wiring allowed for the library to
function as an online gateway, linked to other major libraries and
databases in the country.

Now home to the Filipinas Heritage Library, the Nielson Tower
offers traditional library services as well as access to a realm
of Filipino national heritage information on the Internet. Not
only has it launched a new era in library development, it has
contributed to raising the communitys awareness of and interest
in studying and preserving the countrys heritage. By increasing
creative interaction, the restored Nielson Tower has also become
a source of inspiration and national pride to those who witnessed
its transformation. In 1996, the National Historical Institute, the
government body tasked to promote and preserve Philippine
heritage, recognized Nielsen Tower as a national landmark.
Since its restoration, the building has also become a popular
venue for community activities such as book launches, lectures,
conferences, poetry readings, concerts and social functions,
including weddings. The income generated from the book store
and room rentals helps to support the librarys operations, while
the major cost of maintenance is shouldered by the building
owner through the Ayala Foundation.
Award Citation
The impressive conversion of one of Asias earliest airports into a heritage library represents
a major achievement in preserving an important era of Manilas history. Historical events
and architecture are exemplified in the legacy of the structure and in the choice to continue its
livelihood as an educational facility. In a time of rapid urban development and expansion,
the Nielson Tower is an excellent model for others to follow on how to appropriately re-adapt
historic structures in the community.
177

In the Philippines, historical and architectural landmarks have been sacrificed in the
name of urban development and expansion. Some have been simply abandoned
and left to rot because there are just not
enough resources to support conservation
and restoration projects. Given this context,
the success of the Nielson Tower project
the result of a combination of creativity,
planning, vision, pragmatism and the solid
support of the projects primary stakeholders has taken on added significance.
Above and above right: Ground floor plan and

elevation.
Right and middle: The spiral stairs were demolished
to make way for an art exhibition hall.
Far right: The former ticketing counter is now a
reading area.
178
St. Josephs Seminary Church
Project synopsis
Constructed over a span of 12 years between 1746 and 1758, St.
Josephs Seminary Church is an important heritage building and
testimony to the missionary history of Macao SAR. The building
is an excellent example of Baroque architecture but also displays
local influences in its structure and ornamentation. In the past, the
church served as a private chapel for the seminary, a university-level
educational institution considered to be one of the most prestigious
learning facilities of the region during the eighteenth century.
City map
Opposite: The Baroque faade before
Although classified as a monument in the ensemble of St.

Agostinho and the Protection Zone of S. Lourenco, the building
had suffered many alterations during past renovation works which
modified its original appearance, especially during the earlier half
of this century. Although the Ecclesiastic Chamber of Macao has
supported more recent conservation and maintenance works, the
church building was in a state of disrepair, leading to its closure
in 1996 out of safety concerns. The brick dome faced imminent
collapse and serious termite problems had damaged major wood
elements, including the high chorus. Ground movement had caused
cracks on the wall faade to appear and the granite pavements to
subside unevenly. In addition, water ingress had resulted in water
stains and disintegration of the plaster and decorative stucco work.
Location
Macao SAR, China
Size
2,981 square metres
Cost
US$1,125,000
Responsible Party
St. Josephs Seminary
Heritage Architect
Chan Chak Seng, Lei Man Fong
Paula Figueiredo, Lipari Pinto
Cheong Cheok Kio, Chan Kin Seng
Carla Figueiredo
Contractor
Companhia de Fomento Predial Tak Fat Ltd.
Date of Completion
December 1999
180
At the request of the seminary, conservation works were

implemented in 1999 after geological tests and preliminary
inspections of the churchs condition and structural stability. The
works were funded by the government and technical support
was provided by the Cultural Institute. Emphasis was placed
on reinstating the structural stability of the church dome and
returning the faade to its historic condition, using the same
materials and construction techniques wherever possible.
The project team referred to archive drawings and research
studies to ensure accuracy in the restoration works. The Seminary,
represented by Father Luis Lei Xavier, was involved throughout
all phases of the project, providing useful information as well as
advice relating to the original appearance of the building.
Completed in nine months, the official ceremony to reopen the

Church took place on 3 December 1999. Continual maintenance
works and surveillance were also taken into consideration in
the project. More than simply restoring the buildings original
appearance and ambience, the project has ensured that the
church will receive ongoing maintenance and continue to serve
the seminary community and the general public.
Prior to commencement of works, all existing elements were first
documented through drawings, photos and moulds to ensure that
exact replicas could be made for any necessary replacements.
The most urgent task in the restoration project was to repair the
roof. Taking into account the complexity of the structural problems
and the lack of cohesion of the existing materials, the project
managers decided that repairs to the existing dome would only
be a short-term solution. Therefore, a new concrete dome for
the building was built, replicating the architectural details of the
original one. Before the new dome was erected, supporting pillars
and arches were steel-reinforced. Decorative stucco mouldings on
the arches were recorded to enable faithful reconstruction in case
they sustained damage during reinforcement. The rooftop was
waterproofed to prevent water leakage.
Other major structural works included strengthening the walls
with the integration of new pillars and foundations. In addition,
jet-grouting, a cement injection technique for soil stabilization,
which had been successfully applied in another church restoration
project, was used around the foundations and external walls
of the building in order to prevent further damage caused by
subsidence.
In order to restore the faade of the church, the Shanghai plaster
which had been applied during an earlier restoration was completely
removed and replaced with the original type of plaster. The building
was also repainted in its original colour scheme of yellow with white
detailing.
St. Josephs Seminary Church / 2001
The interior of the church was carefully refurbished to attain its

historic splendour. All timber elements were carefully examined and
any pieces which showed signs of termite decay were replaced, such
as the teak balustrades. Damaged decorative stucco works were
recreated based on the project documentation. Relics and art objects
inside the church, including sculptures, oil paintings, silverware and
ceramics, were cleaned and restored.

Since the completion of the restoration works, the church has
reopened to the public and has been accessed by locals and
visitors every day. Although no regular public religious services are
held, a Te Deum ceremony is organized once every year, fostering
the interaction between the church and community. On some
occasions, the church is also the venue for cultural activities such
as chamber music orchestras and choral sessions. The project
demonstrates the success of a joint endeavour in rescuing one of
the communitys most valuable historical sites, which has allowed
for the rediscovery of another cultural dimension in Macao.
Award Citation
Restoration of St. Josephs Church exemplifies the heroic rescue of a severely dilapidated
structure, which is testimony to, and one of the most important vestiges of, the missionary
history in Macao. In order to consolidate the decaying architecture, balanced decisions were
taken to introduce new structural elements to the building. The co-operative effort that went
into the revitalization of the structure made a notable impact in the community.
181

The design and integrity of the building
have been respected, in accordance with
the original concept of the building. All
technical solutions adopted in this work
were widely debated and were proven
to be the best possible way to ensure the
quality of the work and the preservation
of this monument for many generations
to come. The modern structure has been
well-integrated into the existing building,
restoring the original ambience of this
magnificent church.

section through the sanctuary.
Right and far right: The unstable dome was
demolished and rebuilt.
182
Thian Hock Keng Temple
Project synopsis
City map
Opposite: The temple in the 1960s and after
restoration works.
Location
158 Telok Ayer Street, Singapore
Thian Hock Keng Temple was established in 1842 by Melaka-born

immigrant Tan Tok Seng on the site of one of Singapores oldest
temples. Dedicated to Ma Zu Po, the goddess of the sea, who
was worshipped by immigrants for a safe passage, the temple is
a three-hall complex with multiple courtyards and exemplifies
typical Minnan forms and other architectural styles of southern
Fujian province in China. The temple is richly decorated with
intricate artwork throughout and houses a calligraphy plaque
from the Qing Dynasty emperor, Guang Xu, which was presented
in 1907 in recognition of the stature of the temple.
The temple was renovated in 1906 and many European features
were added, such as a wrought-iron gate from Glasgow and dado
tiling. In this restoration project these additions were considered
historically significant, so were retained along with Peranakan
(local Chinese-Malay hybrid culture) elements, notably those
found in the rear hall.
Today the Thian Hock Keng Temple (Heavenly Fortune Temple)
operates under the management of the Singapore Hokkien Huay
Kuan (Hokkien Association) as a place of worship for devotees.
Gazetted as a National Monument in 1973, the temples
conservation, undertaken in 1998, was subject to guidelines
prepared by the Preservation of Monuments Board and the Urban
Redevelopment Authority of Singapore. It was also the first fullscale restoration programme undertaken for the temple complex.
Size
979 square metres
Cost
US$2,200,000
Responsible Party
Singapore Hokkien Huay Kuan
Heritage Architect
Alisdair John Ferrie
Contractor
East Art Design and Engineering Pte. Ltd.
Date of Completion
May 2000
The general aim was to restore the temple as authentically as possible, with reference to its original architectural order, structure,
building techniques and materials. Where replacement was necessary, original material from authentic sources was required. In addition, all new introductions of materials or techniques to enhance
the use or longevity of the structure were to be non-intrusive to the
original fabric.
Thorough historical research and appraisal of the building condition
184
was carried out, with the preparation of measured drawings, site

study and photographic records of the building and all its parts. The
structural inspection revealed that the building had suffered from
settlement on the stone footing, widespread termite infestation,
and weathering and corrosion of the structural elements, which had
badly weakened the structural bearing capacity of the temple.
Top-down dismantling and restoration, the traditional method for
Chinese temple conservation, was applied. This meant that work began with the roof and proceeded down to the foundations. Roof tiles
were removed first, and undamaged tiles were kept and cleaned up
for reuse. Damaged timber boards and battens were removed and
replaced. Timber columns and beams were disassembled and hoisted
to the ground for inspection of termite damage. Those deemed to
be repairable were injected with chemical fillers or partially replaced
with similar timber sections. All new and reused timber members
were cleaned and treated against termites. The sub-base of the stone
footing was well-compacted and the stone footing was relaid. After
the consolidation of the foundation, the timber elements were reassembled in reverse order, ending with the laying of the roof tiles.
As the decay of the original roof structural members was caused by
water penetration followed by termite infestation, it was necessary to
improve the roofs water resistance. The traditional tiling method was
slightly porous. To compensate for this, a stainless steel membrane
was inserted between the tiles and the roof frame.
The intricately carved carpentry work of the roof structure was
decaying and had been badly repainted in previous restoration
efforts. Some elements had also been blackened by incense soot over
the years. The decayed parts were removed and repaired by skilled
craftsmen using scarfing techniques or replaced with new timber.
During cleaning, it was revealed that the original embellishments
had been made with a rich combination of gold leaf and a variety of
colourful paints. Restoration of the timber finish was accomplished
with traditional methods in which a primer was used to harden the
surfaces before reapplication of gold leaf and paint.
For repairs to the severely weathered roof spirals and the dancing
dragon motifs adorning the ridges and hips, traditional methods
involving the application of chien nien (decorative porcelain works)
Thian Hock Keng Temple / 2001
were proposed. However, research in China and close inspection

of surviving spirals showed that the correct method for the spirals
should involve the use of a lacquer paste made of minerals and
glazes. Meanwhile, the dragon embellishments were repaired with a
combination of lacquer and chien nien. Lightning conductors, which
were necessary to meet building codes, were mounted in line with
the swallowtail profiles of the ridges.
Replacements were not available for all the different designs of
the broken tiles in the courtyard. In order to maintain a consistent
appearance, original tiles were salvaged from the wings and relaid
only in the main courtyard. New handmade tiles of a similar design
were used for the wings and distinguished from the original tiles by
the change in levels of the courtyards.

Today, Thian Hock Keng Temple continues to serve, as it has for
the last 150 years, as a significant place of worship and as a place
of interest to people from all faiths. Tourists, photographers and
researchers frequent the place and the restoration project has
drawn interest worldwide, with requests to film documentaries
about the conservation works. Since the completion of project,
the temple has become a valuable model for future conservation
projects of similar nature in the region.
Award Citation
The restoration of one of Singapores oldest temples exemplifies the successful result of
a collaborative effort of a team of conservation experts and skilled artisans. The use of
traditional methods and materials, coupled with the introduction of innovative technical
solutions to protect the structure, were successfully implemented without interfering with the
original aesthetics of the temple. This also demonstrates the understanding of cultural and
social significance to devotees and tourists alike.
185

The philosophy for the restoration was to
restore as authentically as possible to status
quo ante (as was before). The traditional
crafts for Chinese temple refurbishment
were applied to the Thian Hock Keng
restoration project. In the process of
construction, the judgement from architects
and engineers, plus traditional crafts,
was the key to realizing the successful
conservation of the historical building.

section.
Right: Detail of gilded and painted brackets.
Far right: The temple features carved granite
columns from China and floor tiles from England.
The beams are lacquered and gilded.
186
Excellent Project
Ahhichatragarh Fort, Nagaur, Rajasthan, India
The Australian Hall, Sydney, Australia
Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques,
Ganish, Hunza, Pakistan
Award of Merit
Cheng Hoon Teng Main Temple, Melaka, Malaysia
Convent of the Holy Infant Jesus (CHIJMES), Singapore
Polsheer House, Isfahan, Iran
Wat Sratong Temple, Ban Bua, Khon Kaen, Thailand
Honourable Mention
Broken Hill Heritage and Cultural Tourism Programme,
Broken Hill, Australia

Centre for Khmer Studies, Siem Riep, Cambodia
Jaisalmer Streetscape Revitalisation Project (Phase I),
Rajasthan, India
Kow Plains Homestead, Cowangie, Victoria, Australia
No. 125 Huajue Alley, Xian City, Shaanxi Province, China
Ahhichatragarh Fort
Context
Located in Nagaur, 135 kilometres northeast of Jodhpur in central
Rajasthan, the Ahhichatragarh Fort and palace complex embodies
the towns long history of shifting power struggles. Constructed in
the twelfth century, the complex displays a variety of building styles
and includes fine examples of Rajput and Mughal architecture.
Town map
Location
Nagaur, Rajasthan, India
Contractor
Ghewar Chand, Poonam Chand
Abdul Kadir, Safi Khan, Hema Ram
Ashok Makad, Jagdish Prasad
Latur Ram, Mool Chand
Sadakat Khan, Dilawar Khan
Keshu Ram, Lakha Ram
Suresh Bhakar, Birma Ram
Arjun Prajapati, Pappu Ram
Chawwar Lal, Teja Ram
Emamuddin, Bhiya Ram
Manish Mathur
M/s Ruchi Meeta Electronics
Size
Cost
US$513,645
Responsible Party
His Highness Maharaja Hanwat
Singhji Charitable Trust
The arid region, once predominantly the site of pastoral activities

has seen increasing desertification in recent years that has
led to a decline in the traditional livelihood and an increase in
unemployment. As a result, lifestyles have been altered and
community cohesion and customs weakened.
In 1998, the Mehrangarh Museum Trust (MMT), a charitable trust
established by His Highness Maharaja Gaj Singh II, undertook to
restore Ahhichatragarh. The MMT is dedicated to preserving local
culture and heritage and also seeks to reduce local unemployment
levels and poverty. It does so by supporting the training of artisans
and by promoting traditional building skills, handicrafts and local
performing arts.
Building history
The Nagaur kingdom is believed to have been established by the
Nagvanshi kings who built the original mud fort in the fourth
century. Ahhichatragarh was built on the site of the mud fort
between 1119 and 1121 by a Muslim ruler. In 1154 a number of
major modifications and additions were made to the fort complex
but few further changes were made until 1540. The fort was a
coveted prize and Nagaurs strategic location and importance as a
trade centre meant that the town was the setting of a number of
conflicts as a series of Hindu and Muslim rulers battled to retain
control. After 1540 successive additions were made to the fort
complex until 1752, when the last building was constructed.
Heritage Architect
Minakshi Jain
Date of Completion
June 2001
190
The fort complex was occupied by the Rathors of Jodhpur from

the late eighteenth century until 1947 when the state government
began renting the complex. One of the government departments,
the Border Security Force, adapted the buildings to create barracks

and other facilities and occupied the site for over a decade. When
the Force vacated the complex in 1970 it remained unused for a
further 30 years.
The imposing site consists of four palaces, 56 smaller ancillary
buildings including a mosque, temples and highly ornamented
gates. The complex is surrounded by a two-tier defence wall
punctuated at regular intervals by 30 bastions and a now-defunct
moat. The construction system of the buildings is a composite
one, in which internal spaces are enclosed by load-bearing
sandstone walls, while bracket arches are used to span pillared
halls. The overall juxtaposition of architectural styles, building
heights and visual axes creates a physical layering that is central
to its aesthetic appeal.
Ahhichatragarh has a hierarchical system of open spaces ranging
from spacious grounds to fully landscaped gardens to internal
courts between buildings. The landscape is organized in a formal
manner, with the cross-axial Mughal char bagh being the most
common layout. Such an arrangement of open spaces created a
spacious uncluttered setting for the many buildings and palaces.
Due to the hot dry climate, a large number of water fountains,
channels, step-wells, pools and tanks were created within the
fort structure. The placement of buildings around these features
created a pleasant microclimate, with hilltop breezes that flowed
through the site being cooled as they passed over the water.
Over its long history the fort has been subject to weathering. In
the past century it suffered more from neglect than damage from
conflicts. Since it was vacated by the Border Security Force, the
fort deteriorated dramatically from natural causes and vandalism.
Encroachments to the moat area by residences and shops have
detracted from the overall attractiveness of the outer walls, while
incompatible structures built adjacent to the main gate had
compromised its original use. Pilfering of stones from the wall for
off-site usage has led to structural instability. The historic water
system was completely abandoned. Roofs leaked badly and were
overgrown with vegetation. Beautiful mural paintings had been
damaged by water or whitewashed over. Iron clamps holding
arch brackets together had failed due to formation of rust. Stone
Ahhichatragarh Fort / 2002
elements and plaster were cracked, projecting architectural

features were missing and the flooring was damaged. The external
fort walls suffered massive damage. However, owing to the solid
stone construction, none of the buildings had collapsed totally,
a testament to traditional building technology. Most of the
structural damage was partial, being limited to the domed and
large span roofs, foundations, columns, slabs and bracket arches.
Project history
Due to the experience of the MMT in managing and restoring
important heritage sites, including the Mehrangarh Fort, the
owner of Ahhichatragarh handed management of the complex
over to the MMT in 1985.
Because of financial constraints, initial conservation efforts were
minor, concentrating on preventing further damage, particularly
to important wall paintings in the main palaces. These repair
measures were undertaken by Shri Gokulram, a highly skilled
artisan, who used traditional methods and materials in his
restoration work. In 1996, the MMT was awarded a grant for
$250,000 for a period of two years by the Getty Foundation and
then raised funds to match this amount.
Conservation work began in June 1998, beginning with the Krishna Temple, one of the most auspicious buildings on the site, which
proved to be a testing ground for material quality and construction methods. In June 2001, the planned works, focusing mostly
on structural stabilization and major buildings conservation, were
completed. However, conservation works are ongoing and funding continues to be sought for further research, restoration and
repair to lesser structures and water systems in the complex.
Left and above: The condition

of the fort before and after
restoration.

The main aim of the project was to conserve the entire complex
as a physical ensemble, emphasizing historic authenticity and
minimum intervention. Given the limited funds, however, careful
planning was undertaken to ensure maximum impact in critical
191
areas. The buildings were restored to be made suitable for modern

uses. The fort wall was stabilized to check further damage while it
awaited more comprehensive treatment. In addition, the grounds
and open spaces of the complex were returned to their former
condition, in order to encourage the use of the complex by the local
people as a gathering place for festivals, meetings and seminars.
A related objective was to increase public awareness of the
heritage value of the Ahhichatragarh Fort and appreciation
of and pride in cultural heritage in order to revive local rituals
and enhance community cohesion. By emphasizing the use of
traditional methods and materials in its restoration, the project
also aimed to re-establish customary skills and create new
opportunities and livelihoods for local people.
Finally, the ultimate goal was for the complex to become an
architectural museum and a living laboratory for students of
traditional architecture.
and materials
Above: This aerial view shows the scale and spatial
axes within the twelfth-century citadel.
Right: The fort was surrounded by a ring of defensive walls, bastions and gates.
Opposite: Elevation showing the rich spatial hierarchy of the buildings
The project involved a number of stages, beginning with a

thorough assessment of the damage to understand the causes of
failure and deterioration.
After an appraisal of the complex, the buildings and fortifications
were then documented in detail, showing the site condition and
allowing conservation measures to be drawn up. Vegetation on
the roofs and courts was cleared to prevent further damage
by the penetration of roots into the structure. Inappropriate
additions such as partition walls were removed in order to restore
the original layout and ambience. An investigation of the water
system was carried out at the same time with a view to eventually
restoring the buildings original water-cooling and distribution
system.
Following this, the stone roofs were repaired by strengthening the
sub-structure, repairing cracks and refinishing the surfaces with
lime concrete. The wooden ceilings, damaged by water ingress and
192
subsequent termite attacks, were repaired, resealed and treated

against termites. The ornate ceiling paintings were saved.
It was suspected that uneven settlement of the foundations
had led to the formation of wall cracks and the displacement
of arch brackets. In some cases, the walls were dismantled, and
the foundations were given a proper base after removing loose
soil and underlying vegetation and roots. In other cases, the
ground was dug up in alternating 70 centimetre sections, and the
foundation base and trenches were filled in with lime concrete.
Cracks were then filled, grouted, pointed and plastered. The arch
brackets were repaired through the insertion of new stainless steel
U-shaped rods at the apex. All exterior plastered surfaces were
merely stabilized; new plaster was applied only in the interiors. In
addition, the lime flooring was repaired and doors, screens, and
windows in the original style and materials were installed.
Award Citation
The ambitious large-scale restoration of the Ahhichatragarh Fort complex in Rajasthan
has checked its advanced dilapidation through a comprehensive, multi-faceted and standardsetting conservation programme. Neglect had led to widespread structural instability of the
buildings and grounds.The minimalist restoration resulted in varying levels of intervention
which responded to the range of damage. The conservation combined the application of
modern scientific techniques with the revival of traditional crafts and materials. Removing
unsympathetic additions and introducing new infrastructural services allow the complex to
accommodate modern use while preserving the sense of place in the exquisite architecture and
landscaping.The sites historic evolution has been captured by respecting its various periods
during conservation.The ongoing work has created a live research laboratory, valuable for field
education of conservation professionals and students.The preservation returns the largest open
grounds in the region to the local public, as a venue for festivals, cultural performances and
religious events, thereby allowing for the continuity of the forts rich history.
193
The massive fort walls were stabilized by shoring up the foundation,

adding buttresses and reconstructing severely damaged areas.
The broad restoration approach was one of minimum intervention
and maximum retention of original fabric. The huge size of the
complex and variation in building styles and extent of damage
meant that individual buildings required different treatment
and the range of conservation work was therefore extensive and
varied. As a result, no specific conservation theory was adhered to
and project managers instead opted for a multi-faceted approach,
drawing on a number of models and on guidelines provided by
several international charters.
Enormous efforts were made to conserve as much as possible of
the original building materials and form. When realigning the
outer screen wall of the Deepak Mahal building, for example, the
wall was dismantled piece by piece, the stones and bricks were
numbered, then the wall was reconstructed in the exact original
form. Similarly, in removing vegetation from the west corner wall,
the wall was dismantled, then rebuilt using the original materials.
Above: View from within one

of the restored ramparts.
Right: The foundation of the
twotier defensive walls was
reinforced and repaired.
Opposite: To accommodate heavy usage, stone
paving replaced traditional
lime-based finishes in the
restored colonnades.
Most materials used in repairs and replacements were identical to

those used in the original construction. Well-matured ochre Khatu
stone and the red sandstone of Jodhpur were used extensively and
care was taken to test material quality and match colours. Offwhite limestone was used to produce traditional lime, as it is a pure
source of lime and of the standard required for use in plastering,
masonry and terracing. Other traditional materials included shell
plaster, known as kody, special lime mortar mixes containing
binding agents such as gud (jaggery) and guggal (natural gum),
and waterproofing agents such as methi (fenugreek).
Because many customary artwork, craft and construction
techniques had been lost, a new generation of artisans and
craftsmen were trained in traditional methods and in using the
original materials. Stonemasons, for example, were employed
from as far away as Karauli in Rajasthan to recreate carved stone
elements such as jallie (lattices) and takiya (railings).
When training artisans and craftsmen, it was discovered that
considerable explanation of the projects purpose was required
194
in order for the trainees to understand the reasons for using old
materials and techniques. Certain walls were built, for example,
with new coursed stone masonry, of which the craftsmen were
very proud. Unfortunately the new style and materials did
not meet the authenticity requirements of the project and did
not match the original fabric, and thus these new walls had to
be dismantled. However, once the craftsmen understood the
philosophy behind the value of traditional skills and the use of
local materials, work progressed more smoothly.
Modern techniques and materials were employed sparingly and
only to enhance structural stability, resilience and to speed up
construction. Manual rollers, for example, were used instead of
traditional bamboo sticks in order to expedite the compaction
of the sandla (lime surfacing) layer of floors. Other modern
techniques included grouting, anti-termite treatments, steel
scaffolding for faster set up and to avoid scraping the walls, and
stone cutting machines. When additional strength was essential,
cement was added to the traditional lime mortar mixture.
Contemporary designs were introduced in a few cases for the sake
of enhanced functionality, such as the glass panel doors installed
in the large archways of the Abha Mahal building to protect
the painted interiors from dust, light and birds. Likewise, stone
flooring was laid in lieu of the lime flooring in the two semi-open
baradaris, which were expected to be heavily used.
Modern services such as electrical lighting were incorporated
sensitively into the ancient structure, with elements such as
cabling installed underground to minimize visual disturbance.
The water supply and drainage systems were upgraded with new
water pipes and additional storm water drains.
Important issues
Careful planning and management were required in order to
ensure that the most vulnerable sites in the fort had sufficient
resources, while at the same time supporting the overall
conservation of the fort complex. One lesson learned was that
it was better to employ several contractors rather than just one.
While originally only one contractor was employed, it was soon
discovered that the works would be expedited and made cheaper

and more efficient if a number of competing contractors worked
simultaneously. Each contractor was assigned a separate part of
the site which enabled managers to ascertain the abilities of the
contractors, evaluate their work and recognize lapses.
The MMT arranged for students from various schools of architecture
to participate in the documentation processes, in investigative
work and in fieldwork in 1993 and again between 1998 and 2001.
The training of local craftsmen and artisans was also organized
and coordinated by the MMT. These trainees received on-site
instruction and supervision by experienced artisans.
A number of seminars and workshops were organized in order
to increase awareness of the project among architects, students
and the general public. These seminars also generated valuable
feedback and suggestions which were incorporated into the
conservation works. A special awareness-raising workshop
was held for 50 children in order to initiate the children into
appreciating their built and cultural heritage.

While the major restoration project is complete, conservation of
the complex will be an ongoing process of continuous research
and maintenance. This has enabled the fort to become a laboratory
in which both experts and students can study its remarkable
architectural history and artwork. Because of this increased
awareness of Ahhichatragarhs value as a source of historical and
architectural information, efforts to preserve the complex are
more likely to be sustainable and viable.
Likewise, the increased level of appreciation for Ahhichatragarhs
heritage value among local people and the usefulness of the forts
open spaces for community gatherings will ensure the community
retains an interest in protecting and preserving the fort complex
in the future. Ahhichatragarh has also become an attraction for
visitors from different regions since its restoration, and revenue
earned from visitor entrance fees is assisting in the ongoing repairs
and maintenance of the fort.
195
Project impact
The project has restored a sense of unity and identity in the
local community and has led to greater levels of participation in
celebrating traditional festivals and religious occasions. As a point
of convergence for various aspects of the local social fabric, the
fort has become the venue for fading traditions of performing
arts, thus revitalizing those arts and enriching the community.
Enabling the rediscovery of materials and construction methods of
a bygone era, the project also generated a new team of artisans
who will be able to pass on their knowledge to future generations.
Top and above: Stainless steel rods are inserted

to support arch brackets, a typical feature in the
buildings openings.
Above left and right: The sentry gates were carefully restored.
Opposite: Restored palace and baradaris
(pavilions).
196
Ahhichatragarh is one of few heritage sites in the country to have

experienced such a comprehensive conservation programme.
Completed in just over three years, the project is a testament to
the dedication of the owner and project team to raising awareness
of the forts history and preserving its heritage values.

The last three years have dramatically
changed the face of the Ahhichatragarh
Fort complex. It has reverted to its
historic, authentic and participatory
status. Finally, once again, it is emerging
in its historic role as a centre of culture
and patronage, and an anchor for the
communitys aspirations.
Technical Brief
Repairing roofs and ceilings

Most of the roofs in the fort complex had deteriorated, being
under stress from the environment for long periods. In 1998,
after proper investigation, decisions were taken to replace
stone pattis and refinish surfaces after repairing cracks in the
roof. Deteriorated and broken stone pattis were replaced in all
buildings to strengthen the sub-structure. Cracks were found
in the roofs but no broken stone pattis were found in the main
palaces. Once the stone pattis were in place, thin stone pieces
were spread on the uneven roof and lime aggregate mortar was
poured on it to level it out. This layer is called a rasthal.
Stone aggregate (30-35 millimetres) was then spread evenly
on top of this layer. Lime mortar (1 part slaked lime to 2 parts
fine aggregate) was poured onto the stone aggregate until
all the cavities were filled and thoroughly rammed. Ramming
continued for about three to four days. A lot of water was
poured on the surface during ramming and compacting.
A layer of lime mortar (1 part lime to 2 parts fine aggregate to 2

parts coarse aggregate) was applied as the final surface (25-38
millimetres thick) to fill up and level the uneven surface of the
last layer. This layer was also rammed, albeit gently, with the help
of rollers, and the surface made smooth. This surface was cured
by sprinkling water three to four times for about 15 days. The
rooftops were waterproofed with proper gradients and edging.
Repairing cracks on the rooftop
The main causes of cracking were: deteriorated terracing layers,
choking of roof drainage, unequal settlement of load bearing
members and vegetative growth on the roof.
First, all the cracks were opened up to the base. Shallow cracks
were cleaned in the shape of a v-groove. After proper cleaning
and curing, cracks were filled with lime concrete, with a chicken
mesh base for reinforcement, and cured properly.
197
In some places, deep cracks had formed across the ceiling and
continued on walls, as in the Hadi Rani Mahal first floor terrace.
These cracks were opened up, in the form of trenches, for
treatment.
The cracks were opened up to the base. After proper cleaning,
the cracks in stone pattis were filled with small stone pieces
and gypsum, using chicken mesh to hold the fillings. After this
process, one 10 centimetre thick lime concrete layer was laid
over the cracked portion having a 30 centimetre flange on both
sides of the crack. Then loose filling of the trench commenced in
layers for proper compaction. Moreover, the 15 centimetre thick
top sandla layer was placed on the whole terrace with rounded
waterproofing edges to make the whole surface waterproof.
Saving painted ceilings
Painted ceilings are an important element of this palace complex.
These had started to deteriorate due to the cracks in the roofs.
At Akbari Mahal, conservation work was done very carefully. Only
minimal and controlled pressure was exerted to break open the
rooftop and curing was done with a slow but steady flow of water,
to avoid penetration of moisture.
198
Restoration of wooden ceilings

Due to leakage in the roof of Bakht Singh Mahal, the wooden
ceiling over the first floor had deteriorated and was infested with
termites. Some of the members, such as joist and purlins, had
been damaged and they were replaced by new ones. Anti-termite
treatment was given to the ceiling from the rooftop after drilling
holes in the terrace. Complete resurfacing of the terrace sandla
was then undertaken. In the Deepak Mahal, cracks were found
over the wooden joists. At first, the crack was grouted with an
adhesive sealant. Then a steel U-clamp was bolted across the
width of the beam.
Adapted from Ahhichatragarh Conservation Project Report,
Minakshi Jain
Australian Hall
Context
The Australian Hall is noteworthy as a fine Federation Free Style
building, with an architecturally significant faade and interior
spaces considered representative of the early twentieth century.
The building has high historic and social heritage value from its
continued use as a social club for various associations and ethnic
groups, a theatre and, most recently, a cinema. Most significantly,
the Australian Hall was the venue for the first Aboriginal Day of
Mourning Conference, held on 26 January 1938.
City map
Held on the 150th anniversary of the landing of the First Fleet

(the ships that brought British settlers and convicts to Australia in
1788), the Day of Mourning Conference aimed to draw attention
to the suffering of Australias indigenous population and was a
protest against oppressive legislation, inequality and injustice.
Today, as a memorial to the conference and a commemoration
of the Aboriginal civil rights movement, the Australian Hall is the
most important post-contact Aboriginal historic place in New
South Wales (NSW). Situated in downtown Sydney, today the
building is surrounded by modern structures which have replaced
nineteenth-century houses and shops.
Location
150-152 Elizabeth Street, Sydney, New
South Wales, Australia
Size
2,500 square metres
Cost
US$3,000,000
Responsible Party
Metropolitan Aboriginal Association Inc.
Heritage Architect
Building history
The Australian Hall building was originally named after the
organization which built it, the Concordia Club. Since its
construction in 1912 the three-storey red-brick structure has had
a series of owners. In the 1920s the building was owned by the
Knights of the Southern Cross (KSC), a Catholic fraternal society.
The main hall in the building was known as the Australian Hall and
from the 1920s until the 1950s this hall was leased out for a wide
range of functions, including dances and meetings.
Graham Brooks and Associates Pty. Ltd.
Contractor
St. Hillers Interiors Pty. Ltd.
Date of Completion
9 February 2001
200
During the 1960s considerable alterations were made to the hall and
other parts of the building in order to convert it first into a theatre
and later into a cinema. In 1979 the building was purchased by the
Greek Cypriot community and re-named the Cyprus Hellene Club.
It was when the site was scheduled for demolition in the early
1990s, to make way for extensive high-rise redevelopment, that
the importance of the Australian Hall for the Aboriginal community
was revealed and a drive to save the building from redevelopment
began. The Australian Hall physically represents a period in
Aboriginal post-colonial history and the struggle to preserve the
hall was concerned not only with saving the structure itself, but
also with changing the notion that Aboriginal history ended with
colonization. The struggle was also about gaining recognition of
the fact that the sacred sites of Aboriginal people are not limited
to pieces of land and other natural places, but that the Aboriginal
community also has an interest in heritage buildings.
A lengthy campaign was undertaken by the Aboriginal community,
led by the Metropolitan Local Aboriginal Land Council (MLALC) and
the National Aboriginal History and Heritage Council (NAHHC). As
a result, a Permanent Conservation Order (PCO) was placed on the
entire building in 1998, which entitles the site to protection under
the NSW Heritage Act (1977). The building has been classified by
the National Trust (NSW) and listed on the Register of the National
Estate and Schedule 1 of the Central Sydney Local Environmental
Plan 2000.
In 1998, the building was purchased by the Metropolitan Aboriginal
Association (MAA) with funding from the Indigenous Land Fund. The
buildings restoration costs were funded entirely through the MLALC
after a submission to the Federal Government for funding was rejected. The entire structure is now known as the Australian Hall.
Project history
The restoration project began in late 1998 when a survey and study
of the existing structure was undertaken. In 1999 a comprehensive
Conservation Management Plan was prepared which provided a
management framework for the project. The Plan called for the
retention of all elements of high significance, while elements
of intrusive nature were generally to be removed. Construction
works began in May 2000 and were completed in just over eight
months in February 2001, a few days after the anniversary of the
Day of Mourning conference.
Australian Hall / 2002

Since the spiritual and symbolic significance of the building to the
Aboriginal community is in the buildings public areas, especially
the hall itself and the street faade, the focus of the project was
primarily on the restoring these important parts of the building
to their 1938 state. The project also aimed to adapt the remaining
fabric of the building for a variety of uses related to the needs
of the Aboriginal community. The project sought to sensitively
introduce modern services and facilities and make the building
comply with contemporary standards for safety and access.
and materials
Works carried out on the exterior included removing new elements
which had been added in the 1960s and restoration of the
brickwork, render and openings. The remarkable transformation
of the faade was carried out by removing the intrusive theatre
awning and the 1960s marble chip cladding panels. The underlying
historic brick banding was found to be in poor condition.
Removing, turning and reusing abraded bricks proved to be
impossible due to the damage sustained to the bricks. Similarly,
using second-hand bricks as infill was found to be problematic
because of the resulting patchy effect. Therefore, new bricks
were laid. Although it was not the most honest approach, it was
considered the most suitable for such a prominent street faade.
A number of options were also considered for the reconstruction
of the rusticated render, including precasting panels moulded
from the extant render. In the end, the render was applied directly
to the faade using the original technique.
Left: Incompatible awnings and pilaster

cladding on the faade before restoration.
Above: The restored building.
Interior works included the removal of the cinema fit-outs

installed in 1961, reconstruction of the timber floor and the rear
stairs, and the reinstatement of the coffered ceiling, proscenium
arch and decorative plasterwork. While the restoration focused
on restoring as much of the 1938 character as possible, at the
same time extreme care was taken not to damage other intact
historical layers and significant elements. As such, some features
201

Top left and right: The hall was returned to
its historic configuration.
were replaced with 1938-era replicas, but in other cases the

original historic details were recovered and preserved, such as an
intact frieze which has been retained in situ with the original paint
finish. Similarly, timber joinery was repainted but the dents were
retained to illustrate the age and history of the timber. The 1920sera ground floor entry hall, with terrazzo flooring bearing the
word Concordia, was restored to its original state in recognition
of the historical layers of the building.
An attempt was made to distinguish the restoration and new
works from the historic fabric. In the main hall, for example, when
the projection box was removed, new floorboards were installed
to match with the existing flooring in the rest of the hall. The outline of the box was marked with a timber border to distinguish the
new materials and to illustrate where it had been when the hall
was used as a cinema. Key new elements were marked with the
date of construction, such as the replica proscenium arch bearing
202
the date 2001.

Another important aspect of the project was the integration of
modern services within the buildings historic fabric, reinforcing
the structural stability of the existing fabric and the provision
of equitable access to the main spaces. Rather than alter the
structure, most of the added building services were incorporated
unobtrusively within architectural features. For instance, air vents
found in the original coffered ceiling of the hall were replicated in
the reconstructed ceiling in order to function as air-conditioning
vents. Likewise, the supports for the new exhaust fan, required
to meet fire safety codes, were built into the new proscenium
structure in the hall ceiling.
Australian Hall / 2002

The awareness generated among both the general public and the
Aboriginal community about the history and importance of the
Australian Hall has ensured that it will continue to be a place of
interest and significance. As a result, its upkeep is unlikely to be
neglected in the future. The Hall has been used by the Aboriginal
community for meetings and to house offices of community
organizations. Furthermore, the revenue earned through leasing
the hall for functions, in keeping with its historic use, provides a
reliable source of funds for the maintenance of the building.
Project impact
By establishing an urban centre for the Aboriginal community,
the restoration project has recaptured the physical essence of the
1938 conference venue and the restored building is now a tangible
reminder of the historic struggle for equal rights. These reminders
have strengthened pride among the Aboriginal community in their
recent past. In addition, as a celebration of cultural heritage, the
project has enhanced awareness of Aboriginal heritage among
the younger generation of the now multi-cultural Australia and
provides a lesson about important events in Australian history.
The project has also benefited the Australian community as a
whole by conserving a significant site in Sydneys urban and social
history and restoring an important part of the early twentiethcentury urban streetscape.
Award Citation
The Aboriginal community recognizes Australian Hall, the venue of the 1938 Day of
Mourning conference, as the only European building of significance to Aboriginal
heritage. The conservation of the building to its state at the time of the conference has taken
an innovative and standard-setting approach in restoring a building to a significant historical
event. Detailed survey of the building and archival evidence allowed for a restoration which
permits the reading of various historic layers of the building. With careful craftsmanship, the
historic building fabric was restored, in conjunction with necessary infrastructure upgrades
and structural consolidation. Today, the Hall serves as an Aboriginal community centre and
living memorial to the Civil Rights movement. The technically-sophisticated restoration project
has saved a social and architectural landmark from commercial redevelopment, thereby securing
and preserving an important landmark in the history of the Australian Aboriginal community.
203

The project was undertaken to the highest
level of professional conservation practice,
as recognized by its support from both the
NSW Heritage Council and the Sydney
City Council. It fully responds to the
expressed needs of the Metropolitan
Aboriginal Association, as owners and
occupiers of the completed project. By
integrating the conservation of the cultural
heritage of both communities, the project
meets the requirements of conservation and
client objectives, providing a link to the past
and opportunities for the journey forward.
Above: Workers restore the rusticated

plaster work.
Top and bottom right: Restored hallway.
204
Yarikutz, Rupikutz, Kuyokutz,

Mamorukutz Mosques
Village map
Context
Building history
Approximately 300 years old, the four wooden mosques, Yarikutz,

Rupikutz, Kuyokutz and Mamorukutz, are considered some of
the finest in the Hunza region of northern Pakistan and together
constitute a highly significant cultural ensemble. Located in the
small mountain khun (village) of Ganish, the four mosques surround
the village chataq (common public space), an open courtyard area
paved with stones.
With the advent of Islam in the Hunza region, seven private mosques
were constructed in Ganish khun and were named after the families
that built them. According to oral histories and architectural evidence,
the four mosques surrounding the village chataq are estimated to
have been built in the early 1700s, probably around 1715.
Dating back nearly 1,000 years, Ganish is 110 kilometres north of

Gilgit and is located on the branch of the Silk Road that crossed the
Karakoram mountains and extended as far as Xinjiang in China. Only
one third of the original village remains today, after a disastrous
flood in the 1960s and the completion of the Karakoram Highway
in the 1970s which was constructed right through the village.
Providing a modern link to the rest of the world, this connection has
led to fundamental changes and challenges, altering the traditional
lifestyles and customs of Ganish community members.
By the 1990s the four historic mosques and chataq of Ganish had
fallen into disuse, and a new congregational mosque was constructed
outside the village. Coupled with the fact that the buildings were
not protected under national or international heritage legislation
to prevent their deterioration, they were practically in a state of
collapse prior to restoration.
Location
Ganish village, Hunza, Pakistan
Cost
US$13,000
Responsible Party
Shah Gul Haya, Haji Sikadar Khan
Haji Ali Madad, Altaf Hussain
Heritage Architect
Essa Khan, Masood Khan
Contractor
Date of Completion
January 2000
206
In the interest of promoting social development and heritage

conservation, the Aga Khan Trust for Culture (AKTC) has initiated
a number of projects in Pakistan through its Historic Cities Support
Programme (HCSP) under the coordination of the Aga Khan Cultural
Service Pakistan (AKCSP). These have resulted in the restoration of
traditional buildings and the upgrade of urban services in a number
of villages and settlements in the Hunza region, such as Karimabad
village, which included sanitation improvements and the restoration
of its major landmark, Baltit Fort.
The mosques share the same architectural scheme and are of a similar
size, ranging between five and nine metres wide. Built on a square
platform of rough boulders, each mosque has a portico on two sides
and an inner prayer chamber. The mosques are constructed in the
traditional Hunza manner with a rudimentary cribbage (cage made
of timber beams) filled with rubble or adobe blocks laid in earth
mortar, and an inner exposed timber frame. This type of construction
makes them resistant to earthquake forces. In two of the mosques
the exposed timber elements, doors and windows are intricately
carved. The roof structure is the typical rotated square within a
square form of timber bracing common to the region, finished with
a thick earthen roof held in place with wooden fascia boards.
Project history
Inspired by the Karimabad village rehabilitation project, the elders
of Ganish approached the AKCSP in 1996 and requested that
they initiate a similar project in Ganish. Together with the AKCSP,
the Ganish community developed a plan to upgrade services and
generally restore the historic built environment in Ganish khun. As
part of the wider village conservation plan, a project was proposed
which specifically aimed to restore the four mosques and chataq
area.

Meetings within the community identified an improved sewerage
system, electrification, clean drinking water and re-paving of
pathways as priority endeavors for the integrated conservation
project. At the same time, village elders were aware of the socio-
Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques / 2002
cultural significance of their site, and the positive impact that

restoring their historic structures would create for both their local
users and outside visitors.
The mosque restoration set out to restore the buildings to a usable
and structurally-sound state and to improve the chataq. The
main aim was to enable reutilization of the mosques, strengthen
community cohesion and to revive the function of the chataq as a
gathering place for community meetings and festivals.
The restoration project sought to stabilize the mosques while
retaining the traditional style, historic fabric and decorative details
of the buildings. In addition, the project aimed to make necessary
alterations to a number of residential buildings around the courtyard
in order to reinstate the original layout and ambience of the chataq.
Discussions were held with owners of buildings bordering the
chataq to explain why any further renovations and additions to their
buildings should be made in keeping with the style of the ancient
chataq area and to make certain that views of the valley from the
courtyard would not be disturbed by inappropriate structures.
and materials
Conservation activities in the village began with the upgrade of
sanitation and services in 1996. A storm water drainage system, an
underground electricity distribution network and a new piped water
system were installed and the entire street network was repaved
with the original type of stone.
Left: The mosques leaned precariously before restoration.

Above: The mosques after
restoration.
In the chataq area, restoration activities began in 1999 with the pilot
restoration of Rupikutz Mosque. Based on the experience gained in
the first project, the remaining three mosques were then restored
one-by-one. In addition, electric cables were put underground
in the courtyard and the chataq was repaved, and a number of
modifications were made to surrounding residential buildings.
The mosques were leaning and structurally unsound. In realigning
the mosques, the heavy earth-covered roofs were removed to lighten
the load on the timber structure and the mosques were carefully
207

This restoration was carried out in
remembrance and consideration for those
who lived, who live and who will live in
the Ganish khun, and of those who planted
the now giant chinar trees to surround
and keep alive the communitys well, its
source of life. The project was performed
with dedication and care, revealing the
greatness of small things. As a result,
Ganish, like a blossom in spring, has reemerged from under layers of earth, dust
and decay.
shifted into a vertical position and pegged with timber dowels to

ensure structural stability. The traditional roofs were then replaced
using new soil, compacted by foot in the traditional manner.
Above: Typical floor plan.

Top left and right: The restored Rupikutz mosque
and watchtower.
Opposite: Section through Mamorukutz mosque.
208
In general, original building materials and construction methods

were used. All timber surfaces in the buildings were treated using
the traditional wood preservation technique of applying walnut rind
followed by linseed oil. Some modern materials were incorporated
in the restoration works in a sensitive manner. For instance, using
the techniques developed during the restoration of Baltit Fort,
cement and sand were added to stabilize the adobe blocks and earth
mortar. In the interest of improving the function of the mosques,
the packed-earth floors of the mosques were removed and replaced
with timber flooring in deodar wood.
Inappropriate additions and structures were taken out in the
chataq area and mosques, such as the electricity pole that had been
constructed in the centre of the verandah of Mamorukutz mosque.

Negotiations were conducted with private homeowners about to
embark on new additions to prevent obtrusive accretions that might
impact both the built and natural landscape.
A documentation process was undertaken in several stages along
with the conservation activities, progressing from the mapping
of greater Ganish to surveying the historic village to the detailed
documentation of individual houses, the latter in cooperation with
the National College of Arts in Lahore. This documentation has
helped to inform conservation interventions, monitor the condition
of conserved elements and plan for future changes.
Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques / 2002
Important issues
This restoration project was initiated by the elders of Ganish
and supported by the entire community. The Ganish community
contributed physical labour, materials, ideas and determination,
while technical and financial resources were sourced externally
from the AKTC, the Norwegian Agency for Development Cooperation
(NORAD) and the Spanish government.
Once the mosques were restored, they were reconsecrated for
religious use and the chataq has also resumed its function as a public
gathering space. By congregating in the chataq, the community
become more conscious and proud of the beauty and value of their
ancient heritage. Ancillary areas that were also restored, such as the
pharee (water pond), are again busy with community life.

Community spirit and cohesiveness grew and in the spring of 2001,
the 30-odd households of Ganish met in the chataq and resolved
to establish the Ganish Khun Heritage, Social and Welfare Society
(GKHSWS) in order to manage the conservation and ongoing
maintenance of the villages heritage resources. Since its establishment,
GKHSWS has shown impressive progress in the organization and
management of the village as a tourist attraction, thus providing a
source of revenue to ensure the projects sustainability.
Project impact
The project has preserved the built heritage of this small mountainous
village, improved living conditions and has transformed the
community by strengthening community pride and giving Ganish a
strong cultural identity. As a result, the residents are also now better
equipped to sustainably conserve their heritage. With initiation
and very active participation by the villagers, this project has now
catalyzed the establishment and consolidation of communitywide institutions and serves as a role model for managing other
community assets in the area.
Award Citation
The restoration of four 300-year old wooden mosques in Pakistans Hunza Valley has
successfully revitalized the village chataq, the traditional public heart of the Ganish
historic settlement. Initiated and undertaken by the villagers, with professional guidance, the
project has rebuilt community spirit in a rural village which has undergone major socioeconomic change and natural disasters over the years. The restrained conservation approach
has stabilized the buildings which were in danger of collapse, while retaining the rich
historic patina and showcasing the intricate detailing of the structures. Modern materials
were selectively incorporated alongside the use of traditional materials and techniques. The
preservation of the surrounding buildings and infrastructural improvements were sensitively
executed, consequently strengthening the traditional town fabric while upgrading the quality of
life of residents. The project presents an outstanding example of a community-led initiative
strategically facilitated by outside support.
209
Technical Brief
Institution building in Ganish

The development and implementation of a project such as the
conservation of Ganish cannot be conceived without backing by
an organized community effort. An effective and representative
community organization can provide the much needed
convergence of opinion, based on which decisions can be taken,
collective energies harnessed and commonly agreed upon goals
achieved.
The Ganish project was driven by community demand. Meetings
between the community and the AKCSP support group led to
the commencement of the project and consultations with the
community were held throughout its implementation. Essential
to the project was the physical participation of the people in
the actual conservation work. The community contributed about
twenty percent of the project in the form of unskilled volunteer
labour and substantive management inputs.
The project developed as a series of interactions between the
community of Ganish and AKCSP. These interactions were often
intense and charged, particularly when issues were at stake
that related to participation and the setting aside of individual
interests in favour of the common good.
In the beginning, AKCSP applied a community-wide model of
development through institution building (similar in concept to
the town management institution established in Karimabad),
embracing the population and territory of greater Ganish. This
led to the Ganish Sanitary Sewerage Project, serving a large part
of greater Ganish. Yet, the community-wide management model
did little to foster a better understanding of the problems of
cultural survival and environmental threat faced by the larger
community and failed to generate a sense of common purpose.
As a result, the institutional basis for development at the scale
of greater Ganish remained at best informal and could not be
consolidated and shaped to lend its strength to the conservation
210
of heritage assets in historic Ganish. However, community

leaders with strong ties to the old village appeared to appreciate
the value of the heritage assets of Ganish Khun and how heritage
and economic well-being could be linked. It was at the level of
the historic village, therefore, that the most progress was made in
demonstrating this link. Conservation in Ganish Khun happened
in spite of the institutional dysfunction at the scale of larger
Ganish. It happened because of informal, small-scale and intimate
organizational structures that emerged within Ganish Khun.
What has been achieved in this way has helped in returning
to an emphasis on institution building. In the spring of 2001,
the thirty-odd households of Ganish met in the Ganish chataq
and resolved to establish the Ganish Khun Heritage Care and
Social Welfare Society, registered under the Societies Act. For
its aims the Society has the management of the conservation,
rehabilitation and maintenance of the village as a continuous
process, in addition to a wide range of social aims. Visits to the
village are henceforth regulated and the Society has already
shown impressive progress in the organization and management
of the village as a source of revenues.
This small institutional foundation at the level of the historic
village is now leading the process of the establishment and
consolidation of community-wide institutions, by increasingly
being looked upon by the people of Ganish as the appropriate
model for managing their community assets.
Adapted from Ganish Village Integrated Conservation and
Rehabilitation Project, Aga Khan Cultural Service Pakistan
Above: The community participated actively in
the restoration process.
Top: Villagers gather on the Kuyokutz mosque
balcony, overlooking the communal square.
Cheng Hoon Teng Main Temple
Project synopsis
Constructed in the early seventeenth century and acknowledged
as one of the oldest formal sites of worship for the immigrant
Chinese community in Malaysia and Singapore, the Cheng
Hoon Teng Temple in Melaka is of great historical significance.
The temple is also of high social importance, as evidenced by its
daily use and the fact that it is has maintained a viable existence
for four centuries. Furthermore, the main temple building has
enormous architectural value. Constructed of brick and timber
with terracotta roof tiles, this exceptional building is Malaysias
earliest example of Hokkien temple architecture and exhibits the
high quality workmanship and skills of immigrant craftsmen from
Chinas southern provinces of Fujian and Guangdong.
City map
The building is gazetted and protected under three acts of

legislation: the Federal Antiquities Act of 1976, the Melaka
Preservation and Conservation of Cultural Heritage Enactment
of 1988 and the special Cheng Hoon Teng Ordinance passed by
Parliament in 1949.
Location
Melaka, Malaysia
Size
342 square metres
Cost
Since its construction the temple complex has undergone a

number of alterations and has evolved in appearance, attaining
its current form in 1801. In the subsequent 161 years a variety of
ad hoc repairs and ill-advised modifications were undertaken on
the main building, culminating in the latest major renovation in
1963. In recent years it had become clear that the temple was in
great need of conservation work, but it was not until the collapse
of a main beam in one of the side bays in 1997 that the temple
trustees and religious community were galvanized into action.
US$400,000
Responsible Party
The Board of Trustees of the Cheng Hoon
Teng Temple
Heritage Architect
Laurence Loh
Lim Huck Chin
Contractor
Syarikat Success Construction S/B
Date of Completion
Prior to restoration, the characteristic qualities of the temple

had been greatly diminished. Flat
modern
mosaics
had
Termites
and ceramic
water had
damaged
replaced
the traditional
three-dimensional
chienleading
nien (decorative
wooden members,
including
the roof battens,
to cracks
porcelain
works).
structural
timbers had
in the roof
ridges.Roof
Limeand
plaster
had debonded
an been
gold painted
gilding
with
brightaway.
red Inappropriate
gloss polymerpaints
paints.had
Terracotta
and roof
had worn
been usedfloor
on walls
and
tiles
had
been replaced
with bathroom
tiles.such
The as
delicate
artisan
timber
elements.
The delicate
artisan works,
the frescoes,
works,
such
as the painted
gods,
had simplifi
been removed,
painted
had been
removed,
painted door
over or
naively
ed with modern
over
or naively simplified with modern motifs.
motifs.
December 2000
The restoration project focused on the main temple building and
212
began with a process of research and documentation. First, a

study of the current state of the building and the extent of the
buildings dilapidation was undertaken, along with a full inventory
of all moveable fittings and artifacts. Completed by the end of
1997, both steps were pioneering in the context of Melaka. Actual
construction works did not commence until April 1999 because
works could not begin before the deities were moved from the
main hall to ancillary buildings, and this could only occur on
certain auspicious dates.
As part of the documentation process, architecture students
assisted in carrying out measured drawings of the structure.
During the restoration process, the investigative and recordkeeping work continued with every aspect of work carefully filmed
and photographed. Furthermore, instructive signboards were put
up so as to provide the public with information on the projects
restoration methodology and progress.
The Cheng Hoon Teng Temple restoration process was successfully
accomplished with the understanding and support of its trustees,
highlighting the necessity of foresight among owners of heritage
structures. As a result of its success, this restoration project has
ignited a passion and a consciousness for historic integrity never
before witnessed in the city.
The guiding principle of the restoration project was to ensure
authenticity, to retain its original function and spatial arrangement,
and to use original materials and traditional methodology wherever
possible. Since it is a fully functioning temple, conservation works
needed to be accomplished around the daily activities of the monks
and of the devotees who work at the shrine.
Conservation works included repair of the timber roof beams and
roof retiling and the restoration of the lime plaster mouldings, chien
nien, gilding and frescoes. The project also involved the incorporation
of modern electric wiring into the building, carefully installed to
minimize the aesthetic impact.
Cheng Hoon Teng

Main Temple
2002
Tea Factory
Hotel // 2001
In the repair of the roof, approximately 75 percent of the timber had

to be replaced in order to ensure structural stability. Ridges were
lifted with a custom-made steel hoisting frame to allow for the
replacement of damaged purlins. These were hand-carved by local
carpenters and capped at the ends with copper sleeves. All the new
timber members were certified by the Forest Research Institute of
Malaysia and treated against termites. The roofs were then retiled,
with special attention paid to maximizing efficient water run-off.
To this end, an ingenious architectural solution in the form of a
smaller turtle hump roof with dual sloping gutters was discovered
between the two roofs and restored during the construction.
In the conservation of decorative features, particular attention was
paid to restoring their original appearance, which required the use
of traditional materials and methods. For example, in the restoration
of chien nien works, Chinese artisans used imported porcelain bowls
specifically made for the purpose, which they broke into shards.
They then carefully interspersed the new shards with old ones.
Similarly, a traditional organic laquer paint, ta chik, was used on
wooden elements as a protective layer against termites and as a
base for gold leaf application. Likewise, in the restoration of the chai
hui (murals), specialist Chinese artisans were employed to retouch
and repaint the frescoes with original tempera paints and organic
dyes. The original type of lime wash was imported from China for
repainting the building. All the deities, ritual artefacts and fittings
were re-installed according to auspicious timing.
Far left: Corrugated

iron patch on the roof
prior to restoration.
Left: The temple after
restoration.
213

A single restoration project can touch the
hearts and minds of so many people, it
can fill a vacuum created by uninspiring
real estate, it can lead the way in the vision
of promoting conservation awareness. Its
presence, when fully revealed, would be
bigger than any person, especially when it
has a life of its own, a life ensured by
careful conservation. The Cheng Hoon
Teng restoration was approached with the
question of how to make the past serve
the future in this historically important
centre. The single most important value
this project has promoted in the context of
Malaysia and its culture of conservation
is the value of authenticity.

By ensuring the continued existence and viability of this culturally
significant building, the restoration project has ensured that the
temple continues to serve the community in their daily lives, reinforcing the traditions established four centuries ago. At the same
time, members of the community have been made aware of the
heritage value and significance of the Cheng Hoon Teng Temple and
are motivated to continue to maintain the building through ongoing
donations.
Above: Floor plan.

Top left: The main worship chamber after restoration.
Top right: Artisans apply protective treatment prior
to gilding.
214
In addition, the project has promoted awareness of best practice

conservation methodology within the community. The consultative manner of directing and accomplishing the project supported
a healthy, communal spirit for all stakeholders. It has also sparked
further preservation and restoration endeavours. In this regard, the
project has encouraged the temple board to proceed with future restoration for the whole complex, comprising the temple gate, perimeter wall, and an auditorium across the street.
Cheng Hoon Teng Main Temple / 2002
Technical Brief
Chinese temple construction

As places of worship, Chinese temples are repositories of both
tangible and intangible heritage. Whether the deities being
worshipped are Buddhist, Taoist, Confucian, animist spirits,
clan ancestors or a combination of the above, Chinese temple
architecture has adhered to a consistent form derived from
Chinese domestic architecture.
The traditional Chinese temple is typically a rectangular, singlestorey, timber-framed structure with a tiled roof and brick walls
enclosing three, five or more jian (the Chinese spatial unit usually
translated as bays). A central or main bay is flanked by two
or more side bays. Where the temple comprises more than one
structure, the buildings are arranged in a courtyard form, with
symmetry always underpinning the design.
These basic structural principles have survived with little variation
in temples built in China and by Chinese communities outside the
mainland. While there are regional and sub-regional differences
in decorative detail and choice of materials and finishes, the
traditional template can be seen in all the projects conserving
Chinese temple architecture that have been submitted for the
UNESCO Heritage Awards.
The typologies of the Asia-Pacific Award-winning temples
mainly originate from two provinces: Guangdong and Fujian. The
Cantonese form can be distinguished by a straight, horizontal roof
ridge that is embellished with three-dimensional stucco work and
ceramic works. The ceramic works of humans, animals and natural
features are complete, homogeneous figurines, usually glazed. The
height of the building is taller in comparison to the Fujian form.
The Cantonese-type temples are mostly found in southern China,
namely the Guangyu Ancestral Hall near Guangdong, China (2003
Award of Excellence), the Hung Shing Temple (2000 Outstanding
Project) and King Law Ka Shuk Study Hall (2001 Award of Merit)
in Hong Kong SAR.
Award Citation
The restoration of the seventeenth-century temple, the oldest edifice of formal worship for the
Chinese immigrant community of the Malay peninsula, demonstrates high standards of technical
execution and sets a worthy precedent for other conservation work in Malaysia and the region. The
detailed documentation of the historic building and the restoration process is commendable, resulting
in a clear understanding of the projects sound methodology and best conservation practices. The
project successfully illustrates faithful use of original materials and integrity of artisan techniques,
and has revived the historic building for the community as a centre of worship.
215
The Hokkien (Fujianese) temples are predominant in Fujian itself,

along with other areas of Hokkien settlementfor example, the
Dalongdong Baoan Temple in Taipei, China (2003 Honourable
Mention), the Cheng Hoon Teng in Melaka, Malaysia (2002
Award of Merit), and the Thian Hock Keng Temple in Singapore
(2001 Honourable Mention). The roof of the Hokkien temple
is characterized by a curved, sweeping roof ridge and the
decorative features are composed of ceramic shards of various
colours.
In its layout, the Hung Shing Temple (2000 Outstanding Project),
on the island of Kau Sai Chau in Hong Kong SAR, typifies the
traditional, three-bay plan of a simple, rural place of worship.
The main room, housing altars to local deities, is flanked by a
room on either sideone where the temple caretaker lives and
another which used to serve as a school.
Thian Hock Keng Temple (2001 Honourable Mention), built by
Singapores Hokkien community in 1842 to honour the sea
goddess Mazu, demonstrates the grander, multiple-courtyard
plan. There are three hallsthe Entrance Hall, Middle Hall
(housing the main altar to Mazu) and Rear Hall (housing an
altar to the Goddess of Mercy, Guanyin)from three to five bays
wide, positioned along a central north-south axis and separated
by open-air courtyards. Facing the three halls on both sides are
low buildings also separated by a series of open courtyards. The
halls are linked by covered passageways that separate the main
courtyards from the side courtyards. It is worth noting that this
rigidly symmetrical courtyard form also governs the layout of
many residential buildings built by overseas Chinese in SouthEast Asia, such as the Cheong Fatt Tze Mansion (2000 Most
Excellent Project) in Penang, Malaysia.
The construction of Chinese temples rests on the load-bearing
timber frame, in contrast to Western construction in which the
walls bear the weight. The wooden frame in traditional Chinese
architecture supports the heavy tiled roof and distributes
gravitational forces downwards and outwards. It also provides
flexibility in the use of space and the placement of walls, doors
and windows. The post and beam construction system employed
216
in the temple structures, called tailiang shi (literally, raised beam),

consists of vertical posts or pillars, raised horizontal beams and
purlins braced to the beams.
The triangular stepped beam system, supported on columns set
into the ground or onto decorative granite bases above ground,
is erected transversely, at ninety degrees to the front and back
facades of the building. The purlins run in the longitudinal
direction along the length of the building. The lowest beam in
the central bay is placed on top of the inner columns. A shorter
beam is placed on top of the struts on the lower, longer beam.
Where wider spans are desired, additional shorter beams in
diminishing sizes and purlins are introduced, thus creating the
triangular timber framework. The number of columns remains
the same. However, a bracket system of dougong is introduced
to help increase the integral strength of the system and transfer
the weight of the horizontal members to the vertical ones
below.
Dougong comprise of two different elements. The first is a
block that is placed on top of a column, called dou (similar to
a capital). Above it, gong (bow-shaped elements), are placed in
the longitudinal direction. They are assembled together
employing mortice and tenon joints. Nails or glue are not
used, which allows for flexibility in accommodating movement,
for example expansion and contraction due to changes in
temperatures.
Thian Hock Keng Temple complex, for example, uses the tailiang
shi system enclosed by brick walls and masonry gables. The
timber frames in the main temple halls have pillars made
of entire tree trunks set into carved granite bases, as well as
intricately carved granite columns. The pillars are connected to
the main beams with mortised joints and dougong, which allow
for deep overhanging tiled roofs, with their upturned eaves and
decorated ridges, the hallmark of Chinese architecture.
Laurence Loh
Top: Section of tailiang shi framing system.
Above: Detail of dougong bracket system.
Convent of the Holy Infant Jesus
Project synopsis
The Convent of the Holy Infant Jesus was established in 1854 by
Reverend Jean Marie Beurel. It consists of Caldwell House, the
chapel and three other historic buildings which together form
a culturally significant architectural ensemble and represent a
noteworthy chapter in Singapores colonial history.
City map
Opposite left and right: The chapel building
before and after restoration.
Used to house the nuns, Caldwell House dates back to 1841

and is the oldest surviving residential building in Singapore.
The neo-Gothic chapel was built at the turn of the century and
was consecrated in 1904. Inspired by the churches of France, it
features finely carved column capitals and magnificent stained
glass windows crafted by the leading stained-glass artisan in
Europe at the time.
The Sisters of the Convent of the Holy Infant Jesus operated a
school and orphanage on the site for 129 years until it closed
down in 1983. The buildings, already in a state of disrepair, were
then left vacant until the chapel and Caldwell House were gazetted
for conservation in 1990. Conservation works began shortly
thereafter. The years of neglect had resulted in the decay of many
structural timber and floor members due to rainwater leakage and
moisture penetration. The subterranean construction of the Mass
Rapid Transit (MRT) also destabilized the columns and walls.
Location
30 Victoria Street, Singapore
Size
4 acres
Cost
US$65 million
Responsible Party
CHIJMES Investment Pty. Ltd.
Heritage Architect
Ong & Ong Architect Pty. Ltd.
Didier Repellin Architects
Contractor
Low Keng Huat (S) Ltd.
Date of Completion
1996
218
The project sought to demonstrate the possibility of combining

heritage conservation with modern recreation as a tool for urban
regeneration and tourist attraction, thereby increasing awareness
of Singapores history while adding to its national cultural
infrastructure. In specific terms, the conservation objectives
included the preservation and restoration of the chapel and
Caldwell House, the restoration of all stained glass windows and
joinery works and the preservation of all capital columns.
The restoration process was completed within approximately
five and a half years, in 1996. The site has been converted into
a retail, fine dining and entertainment complex known today as
CHIJMES. Caldwell House was converted for use as an art gallery,
while the chapel, now called CHIJMES Hall, is a venue for a range
of functions, including recitals and weddings. The entire convent
complex was revamped during the course of the project, with relandscaping to accommodate the addition of a sunken courtyard
ringed by an ambulatory and shops.
The overall conservation approach was one of maximum retention,
sensitive restoration and careful repair, in compliance with the
regulations of the national planning body, the Urban Redevelopment
Authority (URA).
Immediate works were undertaken to protect the structures
from further decay, such as water penetration from rainwater
ingress through the roof and rising damp from the high water
table. A temporary drain was constructed to divert surface water,
before chemicals were injected to act as a permanent dampproof membrane at the ground level. An inspection of structural
works was carried out to determine discernable defects, missing
parts, reduction in volume, moisture content and internal decay,
especially of timber members. Columns and arches damaged from
the subway works were temporarily reinforced.
In keeping with the principle of maximum retention, original
structural and architectural elements were preserved wherever
possible. In the restoration of the 30,000 pieces of stained glass, for
example, most broken pieces were repaired rather than replaced.
Likewise, the timber doors were replaced with new wood only when
absolutely necessary, with the exception of the deteriorated Gate of
Hope, where unwanted infants were once deposited. It was retained
intact, even though it is no longer used. One special case was when
the new floor tiles could not be integrated because of the difficulty
in sourcing replacements that matched the original color. The new
ones were then dispersed in different spots on the floor, producing
a new floor pattern effect while reusing the existing tiles.
When elements were replaced this was done with care and special
efforts were made to replicate the original form, using the original
methods and materials. For chipped capitols, silicon moulds cast
from intact existing capitols were used to exactly replicate the
intricate carvings. Roof tiles of a matching specification were
Convent of the Holy Infant Jesus / 2002
unavailable on the market and especially commissioned for the

project.
Furthermore, only the most highly skilled artisans were invited to
tender for repair of the masonry, sculpture and decorative works.
The stained glass panels, for example, were shipped to France for
restoration by specialists. Similarly, experienced craftsmen were
employed to manually clean and restore the faade and the 660
column capitals under the supervision of Italian experts. A team
of expert French roofers was called in to reinforce and re-clad the
rusted spire of the chapel.
Sensitivity to the historic building fabric was exercised while
introducing new structures and amenities. All the new additions
(the sunken courtyard, commercial space and basement car park)
were built below ground level to avoid disrupting the composition
of the complex. To sufficiently support new floor loads from the
commercial activities, steel I-beams were inserted at every third
timber joist to reinforce the structure. Efforts were made to ensure
new elements were unobtrusive or consistent with the original
fabric and character of the buildings.
Award Citation
The adaptive reuse of a historic convent as a lifestyle and recreational complex represents an
innovative and laudable effort in urban conservation. By choosing to retain the existing structures,
the project makes a major contribution to the public life of urban Singapore by opening up
valuable downtown space, while respecting the historic continuity of the physical site. The overall
conservation work resolves complex architectural and planning issues with sophistication, and the
level of technical execution is high. The success of the project as a lively urban hub underscores
the valuable potential from both a commercial and heritage point of view in revitalizing, rather
than abandoning or replacing, historic buildings.
Inappropriate additions were demolished to maintain the

consistent architectural language of the complex. These included
the 1950s dormitory and the two front flanges of the orphanage.
219

Located in the busy commercial hub of downtown Singapore, the
restored buildings and grounds of the Convent, with its majestic
ambiance and rich historical associations, now host corporate
and public events, thus perpetuating its function as a community
gathering space. Since the restoration, CHJIMES has conducted
tours to the site and educated visitors about the heritage story
behind its edifices. Furthermore, not only has the restoration
brought about a sense of appreciation for historic buildings, it
has demonstrated the viability of innovative adaptive reuse of
structures and the sound economic investment and potential
returns of this approach.
Above: Floor and site plan.

Top: Side elevation of the chapel.
Far left: The chapel was restored as a function hall.
Left: Rising damp in the chapel prior to works.
220
Polsheer House
Project synopsis
The 300-year-old Zovelian House, registered on the Iranian cultural
heritage list, was purchased by Polsheer Consultant Engineers
in the late 1990s and renamed Polsheer House. Located in the
Tabriziha neighbourhood in the ancient town of Isfahan, next to
the Armenian Church of St. Minas, Polsheer House was thought to
have been the home of an Armenian district headman.
City map
With its distinctive spatial arrangement, elaborate decorative

motifs and intricate details, the house is a prominent example
of Iranian historic residential architecture. The southern wing is
the oldest part, dating to the Safavid Era, while the northern and
eastern wings date back to the Zand and Qajar Eras, respectively.
At the time of purchase, due to age, neglect, and the expenses
involved in maintenance, the two-storey courtyard building
was in a state of decay. Much of the structure was in need of
stabilization and repair as evidenced by cracks in the walls and
ceilings. Also, a number of inappropriate additions had been
made to the structure over its history, diminishing its aesthetic
and heritage value. Furthermore, the prominent and characterdefining elements of the house, namely the decorative frescoes
and other artworks, were faded or covered with grime.
Location
Djolfa, Isfahan, Iran
Size
711 square metres
Cost
US$100,000
Responsible Party
The restoration project aimed to repair the existing fabric and to

integrate contemporary services within the elegant but delicate
structure. Since it was no longer possible to retain the house in
its original function, the new owners planned to breathe new
life into the building by restoring it into a working space, thereby
transforming the private spaces into a public domain. The project
took about three years to complete, although maintenance and
upgrades will be ongoing.
Mohammad Reza Ghanei
Heritage Architect
Polsheer Consultant Engineers
Contractor
Date of Completion
June 2001
222
Commencing in 1998, the conservation process involved the

following stages: stabilization, diagnosis (identification of
conservation problems) and treatment. The works called for
eliminating inappropriate additions made during the last 50 years,
strengthening the buildings structure, repairing cracks in surfaces,

eliminating destructive factors such as rising damp, restoring
frescoes and decorative details and sensitively incorporating
modern services and facilities.
The roof of the house had been covered with a heavy layer of earth,
which had led to overloading and cracks in the walls. In order
to stabilize the structure, the soil was removed, uncovering the
vaulted roof structure while steel reinforcements were inserted.
The roof was recoated with the traditional materials of mud mixed
with straw. The cracks of the walls and ceilings were repaired.
The foundations, which were bulging out from the interior towards
the courtyard, were consolidated. During the process, a basement
vault was discovered and excavated, with the entrance located
on the northern side of the court. Rising damp, which had been
detrimental to the buildings fabric, was rectified with the creation
of drainage channels around the building and the court, which
directed water away from the walls and foundations.
An important task was to restore the original layout of the
complex. Parts of the house which had been demolished earlier
were reconstructed in a way which clearly distinguishes the
recent work. The water features in the courtyard were rebuilt and
the neglected garden replanted. Thus the integrated, climaticallyresponsive design of the complex can be more thoroughly
appreciated. Meanwhile, intrusive newer elements were removed,
such as a bathroom on the eastern side of the courtyard.
Inappropriate partitions and infill walls were removed, along with
dropped ceilings which had deadened the soaring interior spaces,
revealing the original spatial configuration more fully.
Inappropriate materials were replaced with traditional materials.
To this end, several layers of plaster were removed, and original
renders were re-applied. Cement tiles in the central courtyard
and floors were replaced with traditional brick pavers. The most
prominent feature of the house, its ornate interior, was carefully
restored to its original splendor. The ornamentation, a combination
of Armenian, Iranian and European motifs, were faded or covered
with grease and dust. In areas where frescoes or motifs had
been plastered over, the plaster layers were removed and the
Polsheer House / 2002
decorative artwork recovered. Experts from the Cultural Heritage

Organization were invited to assist in the cleaning and restoration
of the buildings decorative works, notably wall paintings, which
took a period of over two years.
The vernacular design of the house, with thick walls and natural
ventilation, functioned as an in-built passive heating and cooling
system with well-modulated interior temperatures. In order to
serve its new functions, modern water, electricity, gas and sewage
systems were sensitively installed.

Financed entirely by the Polsheer company, the project has
received praise from visiting academics and both local and foreign
architects. Moreover, there is no doubt that the restoration of the
Polsheer House has served as the first step in raising awareness
in the community of the heritage value of historic buildings and
their viability for modern uses. Indeed, the project has led to a rise
in the price of real estate in the neighborhood. More importantly,
the young architects and engineers in the firm experienced
first-hand the legacy of Iranian architectural traditions, which
they had previously come across only through reading books or
watching period films.
Far left and left: The residential complex before and after restoration.
Award Citation
The restoration of the 300-year-old traditional Iranian courtyard house demonstrates
an exemplary conservation approach by remaining faithful to the original building. The
project adhered to all aspects of best conservation practice, with the result that the existing
historic building fabric is scrupulously maintained while the exquisite jewel-like interiors
are restored to their original vibrancy. By choosing to adapt an old building for modern use,
the project team is to be highly commended as their efforts set a technical benchmark for
conservation and give momentum to private-sector conservation in Iran.
223

We conduct a modern business using
modern tools within a structure that
exemplifies traditional Iranian architecture.
This proves that conserved buildings should
not necessarily be regarded as museum
showcases but instead could be turned into
modern use. We never get tired of working
in this building, something we hope to
share with our professional colleagues.
Far left: Ground floor plan.

Left: Coloured glass windows
and frescoes animate the rooms.
Top: View of the restored courtyard.
Above: Workers repair one of the
masonry arches.
224
Sydney Conservatorium
of Music
Project synopsis
Located by the harbour within the Sydney Botanic Gardens, the
building that houses the Sydney Conservatorium of Music was
originally constructed in 1821 as the Government Stables. One of
the few surviving works of the convict architect, Francis Greenway,
the dramatic Gothic structure with turrets was described as a
palace for horses. Reflecting the romantic vision of Governor
Lachlan Macquarie and British architectural trends of the time,
it exhibits the building techniques, materials and skills employed
during the early settlement era.
City map
Opposite left and right: The building
Location
Sydney, New South Wales, Australia
Size
Cost
US$118 million
Responsible Party
NSW Department of Education & Training
Heritage Architect
Megan &
Jones,
Scott Macarthur
Tanner
Associates
Pty. Ltd.
Richard
Jackson,
MaryDyke
Casey,
Tony
Daryl
Jackson,
Robin
Pty.
Ltd.Lowe
Barry Department
McGregor, Alex
Kibble,
Chrisand
Johnson
NSW
of Public
Works
Services
Contractor
Walter Construction
The Sydney Conservatorium of Music has inhabited the Stables

building since 1915. A number of alterations were made to
the original structure to accommodate the music school. Most
significant was the construction of a music auditorium, Verbruggen
Hall, in the courtyard in 1913. This made a striking impact on the
appearance of the original structure, with the new halls roof
rising above the surrounding turrets. Further major additions and
modifications were made to the building during the 1960s.
By the mid-1990s, the needs of the Conservatorium had outgrown
the building. After investigating relocation options, attention was
focused on redeveloping the site by designing a new building,
connected to the original, which would house most of the music
schools requirements. At first the intention was to simply repaint
the Stables building but it was soon decided that the need to
upgrade the music school provided a unique opportunity to
conserve and restore the historic structure.
Because of the buildings prominent location and the long
history of the site, the redevelopment and conservation project
was a controversial one. Concern was expressed about the visual
impact of the new buildings on the surrounding gardens and
about the management of the sites archaeological features that
were discovered during initial works. The final design for the new
building is terraced into the grounds and covered with gardens to
maintain the prominence of the adjacent Stables building.
Date of Completion
August 2001
226
Taking over five years from planning to completion, the project has
been received with positive acclaim. The restored historic building
and the new music school and conservatory have been functional
since the re-opening of the Conservatorium in August 2001. Now
providing an excellent facility for learning and performances, it
has since been a great source of enjoyment to students, staff and
the public.
In 1996, after over 150 years of ad hoc alterations and additions,
the historic Stables building was barely recognizable. The west and
south wing were altered extensively, the east wing became an organ
chamber, turrets were converted into toilets, doors and windows
were inserted and awnings added. The conservation approach
taken was to retain key additions, such as the auditorium, but to
view the original Greenway fabric as the most significant layer and
to restore as much of the 1821 form of the building as possible.
A rigorous process of determining the extent of the remaining
original fabric was undertaken. The research team examined historical
plans, drawings, records and photos to gain an understanding of
the building in its earliest form. In situ investigations were then
conducted to establish how much of the original building fabric
still existed. This process formed the basis of comprehensive plans
to guide the project.
Conservation of the Stables building began with the removal of
inappropriate additions and modern accretions such as the 191315 concrete awnings, fire doors and the enlarged windows on the
south side. The original features were then restored. For example,
after the removal of awnings and infill panels, the grand arched
doorways to the central courtyard were reinstated to their original
design.
During the conservation works a substantial amount of original
fabric was uncovered hidden behind new fabric, such as the
original Greenway windows which were revealed underneath
twentieth-century plaster. These windows were restored to their
original appearance, incorporating the original sandstone reveals
and timber frames. Similarly, the southern arcade of the Stables
building which had led to the horse stalls was discovered. This
Sydney Conservatorium of Music / 2002
arcade was left visible, displaying the original brickwork and

flagstones, thereby providing visitors to the building with an
insight into the buildings early history.
Within the interior, the works focused on the conservation of
the Stables building fabric and the interpretation of its former
function. To improve the open feeling of the original stable
courtyard, skylights and glazed floor blocks were installed in the
adjacent built-up areas, to allow light to flood into the ground
level. Archaeological remnants from the stables period, including
roads, drains and building parts, were retained in situ, where
possible, or in special exhibition areas and highlighted through
interpretive signage.
The historic features of Verbruggen Hall were retained and
restored, such as the decorative ceiling, decorative plasterwork and
leadlight clerestory windows. The brief called for upgrading the
hall into a world-class performance space. The proscenium stage
was enlarged and is now able to accommodate a full symphony
orchestra. A new horseshoe-shaped gallery was inserted in the
second level, unobtrusively replacing the essential number of
seats lost in the stage enlargement. Acoustics, accessibility and
other important functional features of the building were discreetly
improved.
Award Citation
The ambitious conservation and adaptive reuse of the landmark nineteenth-century Gothic complex
provides a new focal point for downtown Sydney while raising the standards for conservation in the
region. The excellent documentation of the historic structures has been translated with great clarity
in the conservation process, resulting in the rigorous restoration of the historic building fabric, the
removal of unsympathetic additions and the careful distinction between the new and the old. The
conservation project has negotiated the considerable technical and structural challenges posed by
150 years of changes to the buildings with high technical accomplishment and great sensitivity,
particularly in terms of material treatment. The project balances attention to detail with urbanscale flair, showcasing archaeological finds on the one hand, while smoothly integrating the restored
structures and contemporary buildings into the Botanic Gardens on the other.
227

Since its restoration and the reinstatement of its Gothic picturesque
character, the public can once again appreciate the fine proportions
and rich contrasts of the Stables building. Together with the
other outstanding public buildings along Macquarie Street, such
as the Sydney Opera House and the State Library, the restored
Conservatorium in its dramatic setting now completes the grand
procession of cultural institutions and reinstates a once forgotten
chapter of Sydneys early colonial settlement.
Top left: This section shows Verbruggen Hall

positioned in the courtyard of the stable
building.
Left: The refurbished Verbruggen Hall.
228
Wat Sratong
Project synopsis
Wat Sratong in Ban Bua village was constructed when the village
was first settled in 1832. The old style sim (ordination hall) within
the complex is one of the few remaining vernacular buildings of its
type in the Khon Kaen region. It was designed to only be big enough
for monks to gather during the ordination ceremony. Laymen
were restricted to the outside, where they could learn Buddhist
teaching from exterior wall decorations. While the ordination hall
is no longer used for its original purpose, this simple brick and
lime plaster building enshrines a culturally significant sandstone
Buddha image, believed to be over 200 years old.
Site plan
Opposite left: Villagers prepare
the wat for restoration.
Opposite right: After restoration.
Location
Ban Bua, Khon Kaen, Thailand
Size
37 square metres
Cost
US$10,700
Responsible Party
Phra Prayut Attakamo
Heritage Architect
Thada Sutthitham
Contractor
Residents of the local community
Date of Completion
October 2000
230
Despite buildings over a hundred years old being protected by law,

under the aegis of the Fine Arts Department, over the past few
decades many similar examples of local Thai religious architecture
have been lost. Their plain and unadorned nature is not considered
prestigious for the local community, and such buildings are often
demolished and replaced with larger, more ornate structures.
This sim was first renovated about 100 years ago with the original
wood shingles on the roof replaced with unglazed tiles and the
walls replastered and decorated with bas-relief figures and glass
mirrors. The second renovation took place about 50 years ago,
when the unglazed roof tiles were replaced with cement tiles.
Used as an ordination hall until the construction of a new and
larger hall in 1971, it then fell out of use and began to deteriorate.
Bricks were spalling and lime plaster, especially near the base, was
flaking off. Roof tiles were missing, termites had eaten through
the timber roof frame and the decorative wood carvings on
the roof were gone. The naga (mythical serpent) stair rails had
disappeared, while the decorative paintings and glass mirror work
on the exterior walls had deteriorated.
In 1999, Khon Kaen University selected the old sim at Ban Bua
village as the site in which to deliver a training programme in the
conservation of heritage buildings. The purpose of the programme
was to equip a community with the skills needed to maintain and
repair their own unique buildings, combining both traditional and
modern techniques. The project also aimed to demonstrate that by
working together on a project of value such as this, a community
could revive its appreciation for vernacular design, as well as a

sense of solidarity in safeguarding local monuments.
Beginning in March 2000, conservation works were undertaken
on the sim, starting with a one-month session during which
the villagers of Ban Bua were trained in restoration techniques
under the supervision of conservation architects, engineers and
registered contractors. Community members learned how to
dismantle termite-decayed timber pieces of the structure, lay
bricks, plaster walls and gained skills in traditional techniques of
wood joining. The residents were also made aware of a number of
Buddhist rules and ceremonies related to construction. Thereafter,
they worked in groups to carry out the conservation works under
the guidance of the conservation specialists. In October 2000, a
religious ceremony was conducted to celebrate the completion
of the project.
The aim of the conservation process was to preserve the
ordination hall and its heritage value and revive the function of
the building. The building was not restored to its original 1832
state, but to a condition which best suited the communitys needs.
For example, when restoring the roof of the sim, the existing 50year-old cement roof tiles were favoured by the community over
the original wood shingles. New tiles, in the same shape and
size as the missing ones, were ordered from the only remaining
manufacturer in Thailand. However, as they contrasted highly with
the older, thinner tiles, the whole roof was re-painted in yellow,
the sacred colour associated with Buddhism, both for protection
and to help resanctify the long-neglected building. Likewise, in
an act of veneration, the villagers preferred to refresh the wall
paintings with bright colors, instead of retaining the faded tones.
Care was taken in other instances to retain as much of the existing
fabric as possible. For example, instead of introducing entire new
timber beams, only the damaged components of the old beams
were replaced. Similarly, only the areas where plaster had debonded
were re-plastered with the original type of lime plaster.
Wat Sratong / 2002
Efforts were also made to ensure that new materials matched the old.
For example, baked clay bricks of a similar type were used to replace
missing ones. Unfortunately since bricks, tiles and lime plaster are
no longer produced in the village, these materials had to be sourced
externally. The naga stair rails were reconstructed by local masons in
the vernacular style, in accordance with the memories of the village
elders.
Some of the buildings elements could not be replicated. In the case
of the decorative wan kaew (jewel glass), for example, the type of
galvanized iron can lids that had been used as backing for the small,
irregular glass mirrors in the previous restoration, 50 years ago, was
no longer available. Therefore, while salvaging and reapplying as
many of the old iron lids as possible, glass mirrors were pasted onto
new aluminium can lids instead. Likewise, as there are no longer any
timber craftsmen available in the village for the repair or creation of
timber decorations, such as the finials, missing pieces were instead
replaced with fibreglass resin replicas moulded from a similar
ordination hall in a neighbouring province.
Award Citation
The outstanding restoration of the 1832 ordination hall of Wat Sratong demonstrates the high
standard of conservation work which can be achieved through a grassroots approach. With the
guidance of the community conservation training programme at Khon Kaen University and the
partial sponsorship of the Thai Fine Arts Department, the local villagers of Ban Bua undertook
all aspects of restoring the historic building after in situ technical training. In keeping with the
Buddhist tradition of merit-making, the villagers donated their labour and materials to return the
abandoned ordination hall to its central role in the monastery and the community. Well-considered
conservation decisions were made to retain as much of the original building fabric as possible. The
cooperative approach taken by the project sets a model of local conservation initiative which is
worthy of emulation throughout the region.
231

The project aimed to be as inclusive as possible and to encourage
cooperation between residents of the village. For example, meetings
were held to discuss issues and options so that every step was
approved by the community before action was taken. In addition,
all residents were encouraged to actively participate in whatever
way they could. Timber was donated by the villagers themselves.
Elderly members of the community volunteered to clean and paint
tiles before the re-roofing took place, while youth repainted the
walls. Drawing in women and even the handicapped villagers,
the project brought the community together. The building now
functions as a viharn, a hall used to enshrine a Buddha image.
Importantly, the training programme has also provided the
villagers with valuable conservation skills which will enable them
to undertake similar projects in the future. The project instilled a
sense of self-respect, as many participants felt that the end result
is better than what could have been achieved by a professional
hired contractor. They are applying their newly-learned skills
by undertaking annual repairs during the Thai New Year, using
donated funds.
Above: Floor plan.

Top: Section of the building.
Far left, middle and left: Community members were
engaged to carry out the conservation work, such
as repainting of walls and decorations.
232
No. 125 Huajue Alley
Site map
Opposite left and right: The residence, in the
narrow alley, before and after restoration.
Location
Huajue Alley, Xian, Shanxi Province, China
Size
192 square metres
Cost
US$48,000
Responsible Party
An Shouxin
Heritage Architect
Yang Mingrui, Gao Xiaoji, Tong Zhongren
Mao Zhongan, Shi Xiaocheng, Jing Bin
Li Hongyan, Che Ying, Eir Grytli
Kjell-Harvard Braten, Bo-Terje Kalsaas
Hallvard Odegaard, Sveinn Thorolfsson
Contractor
Department of Construction, Xian Cultural
Relics and Landscapes Administration
Bureau
Date of Completion
May 2000
234
Project synopsis
Located in the Drum Tower conservation district in central

Xian, the house at No. 125 Huajue Alley is a compact grey-brick
courtyard building with intricate wooden panels and brick carvings
depicting motifs from Chinese legends. The house is organized
along an east-west axis, with the front building opening onto the
alley, two rear buildings flanking the central courtyard and the
main building at the back.
The projects scope of works included ensuring the structural

safety of the house and providing modern services, while retaining
as much of the buildings original fabric as possible and removing
inappropriate additions and materials.
Six generations of the An family have lived in the house, which

was constructed in the early 1800s by An Hongzhang, who was
an imam of the Great Mosque and a well-known businessman in
the district. Today the neighborhood still maintains its vernacular
architecture and distinctive urban layout. However, lack of
maintenance and increasing population have contributed to the
general deterioration of the buildings.
The restoration of this Qing Dynasty house was a pilot activity of
the China-Norway Project on the Protection of the Drum Tower
Muslim District, undertaken through cooperation between the Xian
municipal government and the Norwegian University of Science
and Technology. The project aimed to raise awareness of the value
of historic buildings and provide the community with a sound
example of the techniques and process of heritage conservation.
The project also sought to demonstrate that heritage structures
could be adapted to incorporate modern amenities without
losing their historic value. A final objective was to highlight the
significance of the vernacular as an equally meaningful element
in the overall historic vista of the city of Xian.
The An family residence was selected because of its high artistic
and architectural value and the familys commitment to preservation, which resulted in the survival of carvings and faade features
after the Cultural Revolution of the 1960s. Nonetheless, since the
house was last restored in the early 1900s, it had been slowly
deteriorating and was in need of repair. Although not listed as a
cultural relic of the municipality, the project abided by standards
and requirements for the conservation of built heritage. An architectural survey was conducted by the Xian Cultural Relics Bureau
in early 1998. Restoration works began in October that year.
During the inspection stage, the timber elements of the house

were found to be very decayed, thus threatening the structural
soundness of the building. In order to stabilize the house, parts
of the building, including the brick walls and timber roof, were
dismantled and rebuilt. The whole structure was first thoroughly
documented and then elements were disassembled, numbered,
repaired and restored to their original positions. The damaged
parts, such as termite-infested pieces of timber, were removed.
New pieces were made with the original types of material and in
the same form. Likewise, the leaning brick walls were also taken
apart, stabilized and relaid brick by brick. The dismantling of the
house also provided an opportunity to install a new water supply
and sewerage system without damaging the buildings original
fabric. Previously, its residents were dependent on the community
toilet and outdoor taps.
Inappropriate features and materials added during previous renovations were taken out and the central courtyard, a vital element
in the spatial orientation of the site, was returned to its original
layout. For example, poor concrete repair work was removed while
wooden columns were reinstated in place of incompatible modern
columns. Skilled craftsmen were employed to make repairs and,
where necessary, create replacement pieces using traditional materials and techniques. For example, the carved brick panels over
the middle gate entrance were restored by artisans from Changan
county where traditional stone-carving skills are still practised.
The project was realised using combined funds contributed by the
local government, the Norwegian Agency for Development Cooperation
(NORAD) and theowner, who were responsible for financing the
conservation works, public water supply and sewerage, and indoor
sanitation and services, respectively. Multi-source financing, rather
than reliance on owner-sourced funds, was found to be the best
model to extend the reach of conservation efforts in the district.
125 Huajue Alley / 2002

Public involvement and participation was an important part of
the project. Questionnaires were distributed to local residents to
seek their initial input about the overall project. All levels of the
community, including professionals, academics, local government
officials and the general public were involved in the planning,
decision-making and implementation stages. This community
involvement fostered cooperation among the various social
groups and strengthened community bonds.
The An family has particularly benefited from the project by
gaining an improved living environment while preserving their
familys heritage for future generations. As the entry building faces
a well-known shopping street for tourists, its use as a souvenir
shop provides a steady income stream for the maintenance of the
entire residential complex.
The project was also an important lesson for the community
in demonstrating that enjoyment of modern amenities can be
compatible with preserving heritage buildings. It has sparked interest
in heritage preservation from other homeowners who, having seen
the successful outcome of the project, have approached the project
team expressing their wish to preserve their own historic houses.
Award Citation
The sound conservation approach and techniques undertaken in the restoration of No. 125
Huajue Alley serve as a model for local residents to follow in carrying out future work in
Xians Drum-Tower Muslim district and in urban neighbourhoods all around China. The
restoration of this traditional Qing Dynasty vernacular house placed a priority on preserving
as much of the original materials as possible, while addressing modern living demands. Carefully rooted in the surrounding context, the project also contributes to an understanding of
the local urban fabric. The project presents a noteworthy example for cooperation between an
outside technical adviser and local residents, while setting a technical benchmark for conservation work in China.
235

After the restoration, the buildings function is unchanged. The quality of the
building structure has been improved. The
house has been used by the An Family for
the past 100 years without major repairs.
With the restoration of the wood carving
and brick carving, the house can now be
sustained for another 100 years.
Above: Floor plan.

Top right: Section through the buildings and
courtyards.
Right and far right: The residence featured finelycarved brickwork, with one panel depicting the
past owners profession as a calligraphy artist.
236
Broken Hill Heritage and

Cultural Tourism Programme
Project synopsis
Located in outback New South Wales (NSW), with minimal rainfall
and extreme summer temperatures, Broken Hill is significant
for its history as a mining town and its rich cultural heritage,
characterized by modest historic cottages and old commercial
buildings with corrugated iron roofs and verandahs.
City map
Opposite left and right: One of the
establishments that benefited from
the Verandah Restoration Programme.
Location
Broken Hill, New South Wales, Australia
Cost
Approximately US$1.04 million
Responsible Party
City of Broken Hill
NSW Heritage Office
Heritage Architect
Elizabeth Vines
Contractor
Various contractors throughout the city
Date of Completion
Reaching its mining peak in the 1960s before gradually waning

with the subsequent closure of the mines, the city was struggling
economically by the late 1980s and community morale had
reached an all-time low. Recognizing the distinctive historic
character of the town, thoughts turned to tourism as a means
of revitalizing the towns economy. In 1986, the Broken Hill City
Council and the New South Wales Heritage Office initiated the
Broken Hill Heritage and Cultural Tourism Programme. Today,
this settlement has overcome the decline in mining and thrives
with a strong sense of community spirit.
At first, city planners considered constructing a museum as part
of the heritage and tourism programme. However, because the
heritage of the town is such that it could not be put on display
in a single building, planners aimed instead to develop the town
itself into a living museum. They hoped to provide visitors with a
unique experience while informing them about the citys historic
houses, commercial structures and its interesting collection of
mining and transport machinery. Interpretation tools in the form
of booklets and guides were produced. Heritage trails and walks,
with lookouts and signage, were created to tell the story of the
city, its history, heritage buildings and the surrounding outback
environment.
A major aspect of the tourism development plan was the broadscale restoration of the towns historic buildings and other
artefacts. In order to facilitate the restoration of privately-owned
buildings, the Broken Hill City Council provided conservation
information, guidance and funding to local residents. For example,
property owners could avail of professional conservation advice
from a specially-appointed heritage adviser free of charge.
2001 (but ongoing)
Considered a model community conservation strategy in Australia,
238
the Broken Hill programme has established many dynamic and

collaborative partnerships within the community, between
local residents, business enterprises and the relevant statutory
authorities, while presenting to visitors a mining settlement of
great interest and international significance.
Before conservation works could begin it was important to first
identify the citys heritage assets and determine how properties
be best restored. As a result, comprehensive heritage surveys
were undertaken which inventoried significant buildings, mining
relics, Aboriginal heritage and the city as a whole. Based on this
knowledge, the resulting development controls and conservation
precinct legislation have been critical in protecting the significant
features of the Broken Hill landscape. Volumes of early photographs
were compiled to guide the upgrading of properties in order to
ensure authenticity and accuracy.
The historic streetscapes were a major focal point of the project, with
the restoration of original features such as historic verandahs, iron
roofing sheets and traditional colour schemes. Modern signage was
redesigned to fit into the historic context.
Individual conservation initiatives began with a consultation between
the heritage adviser and property owners. Upon agreement on a
conservation proposal, drawings for restoration or adaptive reuse
works were prepared, after which a contractor was recommended
from a list prepared by the City Council.
Efforts were made to ensure that the public was informed and that
they were able to carry out restoration works in accordance with
quality-control standards and using appropriate materials and
techniques. This was achieved through heritage training workshops
in which the correct building skills were demonstrated.
The city has made financial support available on an unprecedented
level to local residents. The Broken Hill Heritage Restoration Fund,
for example, was established to provide financial support for the
conservation of key heritage buildings. In recognition of the sig-
Broken Hill Heritage and Cultural Tourism Programme / 2002
nificance of the modest iron miners cottages, the city has provided
grants through a Residential Paint Assistance Scheme to improve
the preservation of this local form of housing. Along the historic
throughfares, the Verandah Restoration Programme was set up to
assist local business owners in restoring or rebuilding verandahs, in
accordance with vernacular architectural and urban form.

By combining the strengths of stakeholders and encouraging
partnerships between local governments and the private sector,
the city was able to manage and conserve an important piece of
Australian history. Coupled with one of the most comprehensive
heritage assistance programs offered in the country, the
restoration works have generated a vibrant atmosphere and have
strengthened sustainable cultural tourism as an important engine
of economic growth, giving the residents of Broken Hill collective
optimism for the future.
As an ongoing project, city planners will continue to motivate
residents to maintain and restore their properties through
sustained assistance and various programmes. Voluntary
conservation initiatives, for instance of mining machinery, are
active and the Annual Heritage Awards recognize and reward
efforts in property conservation.
Award Citation
The integrated approach of conserving significant heritage buildings and revitalizing the public
streetscapes of a historic mining town establishes an exemplary conceptual framework that
can be adapted by other communities in Australia and throughout the Asia-Pacific region. The
initiative of the local government in setting up associated programmes to conserve and manage
the citys built heritage is not only noteworthy, but also demonstrates how municipalities
can play an effective role in stimulating the conservation process. Innovative plans that were
implemented by the municipality included a free heritage advisory service, heritage assistance
funding, residential paint assistance schemes and the verandah restoration programme. The
cooperative efforts between local government and the community have led to shared knowledge
between the stakeholders, and a renewed sense of pride in the community, reviving the local
economy based on sustainable cultural heritage tourism.
239

The fixed life of the mining industry has led
the city to focus on sustainable cultural tourism as an important area of growth with
heritage as its major selling point. Most
importantly, this has led to a new attitude
within the population of Broken Hill.
Above: Plan of the core historic district.

Top right: Elevation of an old commercial building.
Right and far right: Restored features such as
grillwork and awnings reinstated the streetscapes
former appearance.
240
Centre for Khmer Studies
City map
Opposite left and right: The conference hall
Location
Siem Reap, Cambodia
Size
Library: 259 square metres
Conference Hall: 166 square metres
Cost
Library: US$27,298
Conference Hall: US$13,511
Responsible Party
Wat Damnak Achars Committee
Heritage Architect
Francois Tainturier, Chhim Phet
Chea Phally
Contractor
Chea Sarin Construction Company
Date of Completion
January 2001
242
Project synopsis
Established in 1999, the Centre for Khmer Studies (CKS), an

academic institution that promotes Khmer cultural heritage, chose
two derelict buildings within Wat Damnak, a Buddhist monastery
in Siem Reap, to be their offices. The CKS resolved to restore the
two buildings in return for a 10-year lease from the monastery.
The CKS sought to restore the buildings to their original condition,

while sensitively incorporating modern materials and services to
improve stability, functionality and comfort.
The older of the two buildings was restored and converted for
use as a conference hall. Constructed between 1922 and 1923 by
the French as a government department building, this rectangular
structure with gingerbread ornaments and balustrades lacks
verandahs or an overhanging roof, reflecting the early colonial
architects inattention to local climatic conditions.
The other building chosen for restoration was the former
schoolhouse, where Pali language was taught until 1975. This
building was constructed between 1941 and 1942 and is a blend
of different local architectural styles, with borrowings from Khmer
buildings and hints of the Vietnamese half-gabled roofing style
popular among French colonial architects. The CKS converted this
building for use as a library.
During the Khmer Rouge era the two buildings had been damaged.
They were subsequently abandoned and left vacant for 20 years.
When restoration works began in February 2000, both structures
were in a state of severe dilapidation, particularly the former
school building.
The conference hall has been operational since January 2001 and
has been the venue for a number of seminars and exhibitions.
This building also serves as a venue for training programmes,
lectures and public debates, in keeping with the desire of the CKS
to promote the monastery as a place of knowledge transmission
and education. Since its completion, the library building welcomes
children, monks, tourists and scholars six days a week. It is the
only library of an academic level outside Phnom Penh.
Restoration of the library building began on 17 February 2000.

The brick structure was in a highly dilapidated state with one end
leaning outwards, due to outward thrust from the roof, and many of
the timber roof beams exposed and decaying. The leaning wall had
to be dismantled then reconstructed with new bricks. The decayed
parts of the roof were replaced and new beams installed alongside
the old roof timbers to increase stability. Works were carried out to
strengthen the building, such as the compaction of the floor and
insertion of a concrete slab. Drains were built around the structure,
ensuring no rainwater seepage under the building and damage of
the foundations. New additions included glass windows, doors and
air-conditioning units. The latter were discreetly installed on the
sides of the building to minimize their aesthetic impact.
The interior of the building was repaired and the bullet-damaged
bodhi-tree mural was restored by German conservatists. This mural
restoration work proved to be an opportunity to train Khmer
students from the Royal University of Fine Arts in art conservation
techniques. Finally, the building facade was painted. The decision
was made to paint the building a shade of red used at the National
Museum and the University of Phnom Penh, in order to denote its
higher education status.
The main structural works on the conference hall consisted of
the addition of a concrete flooring slab and the installation of
a drain. An internal brick wall which had been constructed in a
previous renovation was removed and replaced with a flexible
wooden partition. Unlike the library building, the conference hall
did not require the addition of glazing or air-conditioning, due to
its effective ventilation system. In order to restore the buildings
original appearance, decayed and missing shutters, roof tiles and
floor tiles were replaced with locally-made replicas. Finally, the
exterior of the building was painted white in keeping with the
colour of the nearby prayer hall.
Centre for Khmer Studies / 2002

Throughout the restoration process the achars (laymen of the
monastery) who, along with the village elders, are the legitimate
source of knowledge about matters of administration and history,
were consulted before any important decisions were made. The
achars make up the pagoda committee, one of the strongest
informal social and administrative institutions in the village. This
committee mobilizes the community and makes decisions on
important village matters.
The project managers sought the advice and input of the achars
on a number of matters, ranging from the lease agreement to the
choice of the exterior colour of the restored buildings. Through
such discussions the achars were made aware of the importance
of preserving built heritage. Their enthusiasm for the project
and for the CKS demonstrated that preservation of temples and
heritage buildings can be a worthwhile task. The restoration
project showed that activities which raise awareness of the
value of heritage can be successful in generating support for
restoration efforts and that awareness-raising is possibly the first
step towards the establishment of an adequate legal framework
for protecting built heritage. The project has also brought benefits
to the larger community by providing facilities which will nurture
research and education on Khmer culture.
Award Citation
The elegant and restrained restoration of two Buddhist monastery buildings to house the
recently-established Centre for Khmer Studies sets an encouraging example for the preservation
of non-monumental heritage in Cambodia and makes a persuasive case for the involvement
of private-sector institutions in conservation activities. The conversion of the French colonial
era buildings competently addressed a number of technical issues and accommodated modern
service necessities without compromising the integrity of the buildings. The preservation of
these heritage buildings and the ongoing cooperation with the monastery and local community
ably serves the mission of the Centre to strengthen the field of Cambodian studies while
promoting cooperation between Cambodian institutions and foreign ones.
243
Right: This elevation of the

library shows the hybrid
Khmer-French architectural
form and decorative features.
Below: Circulation desk area.
The floor tiles are original to
the building.
Below right: The restored
building was painted in the
same shade of red as other
establishments of higher
education.
244
Centre for Khmer Studies / 2002
Left: Elevation of the conference

hall.
Below left: Crews restoring
the interior.
Below right: The hall did not
need additional glazing or
air-conditioning, and remains
naturally ventilated.
245

The wat is the strongest social and administrative structure in the village, besides
being the traditional place for education.
By restoring the two buildings, they became
schools of heritage, where the achars of
the monastery can explain to the pupils the respect for both preservation and learning, which
can be replicated throughout Cambodia.
Above: Floor plan of the conference hall.

Top right: Workers during conservation
work on the librarys roof members.
246
Jaisalmer Streetscape
Revitalization Project
Detail of fort plan
Location
Jaisalmer Fort, Rajasthan, India
Size
60 metres along Dhunda Para (29 houses)
176 metres along Kotri Para (30 houses)
Cost
US$39,907
Responsible Party
Dhunda Para residents
Kotri Para residents
Heritage Architect
Indian National Trust for Art and Cultural
Heritage (INTACH), Kulbhushan Jain
Contractor
ABC Contractor
Date of Completion
February 2001
248
Project synopsis
In the middle of the Thar desert of Rajasthan, the twelfth-century

Jaisalmer Fort of golden sandstone is an architectural feat with
monumental walls, intricately carved palaces, temples, haveli
(mansions) and traditional adobe homes. The fort survives today as
a dynamic entity, in which medieval patterns of life still prevail.
A feasibility study was commissioned to assess the potential

impact of the project and to identify the long-term needs of
the residents. The study revealed the extent of the hygienic and
aesthetic problems, but also found that the homeowners were
largely enthusiastic and were even willing, to the extent possible,
to share in the cost of upgrading their sanitary system.
Although the fort has maintained its unique built and living heritage
for over 800 years, the pressures of modernization have led to
growing cause for concern. In particular, with changing lifestyles
and the tourism boom in the 1990s, uncontrolled construction
and the use of inappropriate materials, such as cement mortar,
are impacting the appearance of the ancient city. At the same
time, there has been an increase in precipitation and water usage,
which is now piped in daily. The forts open drainage system was
not designed for such an abundance of water; leaking drains and
seepage of water into the clay, sand and rock foundations are
causing subsidence. In the 1990s, the retaining wall at the base of
the hillside collapsed, along with two bastions of the fort and over
two hundred historic buildings. A sewerage system installed in the
mid-1990s was not able to achieve the required level of efficiency,
mostly due to problems in connecting individual houses to the
trunklines. Moreover, it had not been designed to fit in with the
historic environment, with obtrusive cement manholes and juryrigged plastic pipes extending from private homes and damaging
the old streetscape.
Initiated by the charity Jaisalmer in Jeopardy, and undertaken in
cooperation with the local authorities and the Indian National Trust
for Art and Cultural Heritage (INTACH), the pioneering Jaisalmer
Streetscape Revitalization Project was designed to introduce
modern amenities into the historic settlement and improve living
conditions through an integrated upgrade of the traditional
streetscape, encompassing faade restoration, street repaving,
installation of toilets and reconstruction of collapsed houses. In
addition, the project hoped to raise the awareness of local residents
of the value of the heritage with which they live and to demonstrate
good conservation practice in order to avoid further damage and to
encourage more restoration efforts. The pilot phase focused on two
landmark residential streets, Dhunda Para and Kotri Para.
Conservation works began in 2000. To prevent further water

seepage, open storm water drains were lined with cement
concrete and mortar to be made watertight. Uneven and broken
stone paving was excavated and relaid over a bed of plain cement
concrete to restrict penetration of water into the ground. Concrete
manhole covers in the streets were replaced with covers crafted
from local stone using a traditional design, while unsightly piping
was concealed behind stone platforms.
Houses without connections to the sewage system had lavatories
and piping installed, with special attention paid to ensure no water
leakage and to maintain the original appearance of the building.
Sewer lines were extended to the main lines.
With the aim of restoring the streetscapes original appearance, the
project removed modern, incompatible additions such as telephone
poles in favour of more sympathetic replacements wherever
possible. Furthermore, they harnessed traditional knowledge and
skills that already exist in the locality regarding the use of the
original materials.
Despite clear regulations governing works affecting the yellow
sandstone, the widespread use of cement as a convenient means
of repairing the buildings was a major concern. Not only did the
grey cement mortar deface the yellow buildings, by setting firmly,
it causes the stone to crack in times of thermal stress, thereby
compounding the problem of structural instability. In order to
address this issue, a number of residents agreed to remove the
cement and replace it with traditional lime mortar. Existing facades
were cleaned and then limewashed in traditional colours. In other
cases, however, an aesthetic compromise was achieved in which
the cement was painted yellow.
Jaisalmer Streetscape Revitalization Project / 2002

The most direct beneficiary of the project was the local
community, with a restored public environment and improved
modern services. In addition, the project created much-needed
employment opportunities for local residents and raised
awareness of the importance and viability of maintaining heritage
architecture. Furthermore, through the projects insistence on
traditional methods and materials, there has been an overall
aesthetic improvement in the city, greater structural stability and
a revival of the traditional skills of local craftsmen and artisans
which were in danger of dying out.
Overall, the restoration project has raised living standards and
fortified community spirit. In addition, the project has directed
international attention to the threats facing Jaisalmer and the
need to protect the fort. In this way, the project has given the fort
and its inhabitants the possibility of a sustainable future.
Far left and left: The project resulted

in improved drains and paving.
Award Citation
The first phase of the streetscape revitalization project in the historic fort city of Jaisalmer
represents an exemplary holistic approach to conserving the living public realm. Starting with
the basic gesture of harmoniously integrating infrastructural amenities, such as drainage
systems, into the traditional streetscape, the project seeks to address a complete range of
conservation issues, including faade restoration and the provision of hygienic facilities. The
integrated conservation effort will establish a mechanism for educating local property owners
and upgrading the entire fort in terms of modern functioning, while maintaining Jaisalmers
unique urban character and prevailing traditional ways of life. The project has the potential
to create the momentum to drive a larger conservation project, serving as a best practice case
study for other communities to learn from.
249

The contribution of the project has been
vital to the community in giving them a
sustainable future and vital to Jaisalmer
in conserving its unique heritage. It has
successfully established a framework within
which the architectural heritage of the city
may be protected for future generations.
Top right: The golden fortress walls rise from

Trikuta Hill with commanding grandeur.
Right: Artisans repairing latticed carvings on
one of the haveli faades.
Far right: One of the alleyways under repair.
250
Kow Plains Homestead
Area map
Opposite left and right: The
homestead before and after
restoration.
Location
Cowangie, Victoria, Australia
Project synopsis
Built around 1879, the Kow Plains homestead is located in Cowangie

township, in an area of northwest Victoria known as the Mallee.
Famous for its harsh climate, the Mallee has a long history as a
grazing area with a number of large stations (pastoral properties).
Due to the structures advanced state of decay, the initial conservation

strategy called for building a roof over it and managing the site as
a protected ruin. However, as it was recognized as the areas first
occupied dwelling, the policy was revised to conserve the fabric and
reinstate the form in order to interpret its value in a more holistic
way and to a wider audience. In accordance with the Burra Charter,
the conservation approach called for adhering as closely as possible
to the original construction methods and materials, as evidenced by
physical and documentary information.
Important as a rare example of a rural residential building, the Kow

Plains homestead has been listed on the national and state historic
building registers. It is architecturally significant in its use of local
materials and drop-log construction method. This method involves
placing upright posts approximately 1.2 metres apart, to which
saplings are attached on each side to form a vertical slot. Unsawn
pine logs with their bark intact are then dropped into the slots.
Surrounded by a deep verandah, the building is a simple rectangular
structure containing a lounge, kitchen, hall and bedroom. The
floors and walls in the main rooms are plastered in lime cement.
The roof was possibly made of thatch originally but the roofing
material was replaced with corrugated iron between 1879 and
1899. The building is part of a complex which also includes the
privy, cookhouse, stables, a well and a long stone water trough.
A conservation analysis was completed in 1993 but because of
issues over ownership of the building, it was not until 1997, after
the purchase of the property by the Mildura Rural City Council,
that formal conservation works were proposed. Funding was
subsequently secured and works finally began in 2001.
Size
180 square metres
Cost
Responsible Party
Kow Plains Homestead Management
Committee
Heritage Architect
Pip Giovanelli
Contractor
Terry Gibson Builders
Date of Completion
September 2001
252
The restoration process was divided into two stages. The first
stage involved structural stabilization, roof replacement, interior
repairs and reinstatement of the verandah, while the second
stage involved the reconstruction of the cookhouse, privy and the
implementation of an interpretation policy.
The objective of the project was to conserve the site, enable utilization
of the building and to provide the public with an effective illustration
of the distinctive local architecture and the unique characteristics of
Mallee settler life from the past to the present. At the same time, the
project sought to encourage community involvement and to foster
the development of specialized construction skills.
During the restoration process all original fabric was recorded and as
much was reused as possible. Any new material introduced into the
building was discreetly date-stamped. The use of modern material
was mainly limited to concrete footings and steel bracing and ties,
which were added for structural stability. Restoration commenced
with the stabilization of the structure. The building was realigned
using ropes and chains, and the foundations of decaying timber were
reinforced with concrete.
The roof was also substantially damaged prior to restoration works,
in part by blasts from the nearby quarry. In lieu of retaining the
damaged iron sheets and patching the numerous holes, it was
decided that a longer-term solution would be to salvage only the
intact corrugated iron sheets, for reuse in the northern end of the
building. Adzed roof battens and ridge capping that were still in good
condition were also recycled. New roofing sheets were installed in
the rest of the building.
As a result of neglect and weathering, the verandah had collapsed
and many of the framing elements had gone missing. The verandah
was reinstated to its historic form based on remaining elements
and old photographs. Deteriorated walls were also rebuilt. Missing
timber posts and battens were replaced with treated hardwood
members of matching size and form. To ensure authenticity, local
builders had to learn traditional bush carpentry skills, such as
adzing and axing, along with conservation principles.
In the interior, the walls were replastered, fireplaces re-bricked and
the mantlepiece restored. The entry foyer retained remnants of its
Kow Plains Homestead / 2002
original hessian-covered ceiling. A conserved sample of the original

material, a type of canvas cloth, was stitched onto new pieces of
hessian and reattached to the ceiling using tacks and battens which
were found in situ.

Without the support of the local community (represented by the
Kow Plains Homestead Management Committee) and various
government agencies, the project would never have commenced
or been seen through to completion. Neighbouring farmers
and residents volunteered over two thousand hours to the
restoration project, lent various forms of construction equipment
and contributed old building materials from other similar
structures. Now fully restored and functioning as a museum,
the homestead is an educational resource and a venue for social
gatherings. Over 400 people, amounting to the total population
along the Mallee Highway, attended the opening ceremony. The
ongoing maintenance of the building has also been entrusted to
volunteers, with funding from admission tickets, venue rental
and fundraising. With the success of the project, the remaining
buildings in the complex will also be conserved as well.
Award Citation
The restored Kow Plains Homestead is a testament to the resilience of the small Mallee
community and serves as a physical reminder of Australias pioneering settlements. A rigorous
approach of reinstating both the form and fabric of the building as faithfully as possible
to the existing physical and documentary evidence was practised consistently throughout the
project. Through revitalizing abandoned building techniques and careful attention to material
authenticity, the project clearly demonstrated solid understanding of conservation guidelines
set forth by the ICOMOS Burra Charter. The communitys initiation and ownership of the
project deserves praise for the collective efforts at conservation. This project clearly exemplifies
how the cooperation between individuals, community and all tiers of government can contribute
towards a common goal: the protection of local heritage.
253

The restored Kow Plains homestead has
ensured that this important part of our
pioneering history lives on to tell its story.
This is one project where the local heritage
brought a community togetherliterally.
Above: Floor plan.

Top right: Elevation after restoration.
Right: Workers salvage wooden logs for reuse.
Far right: The drop-log construction technique
was used.
254
Excellent Project
Guangyu Ancestral Hall, Conghua City,
Guangdong Province, China
Astana of Syed Mir Muhammad,
Baltistan, Pakistan
Water Towns of the Yangtze River
(Zhouzhuang, Tongli, Luzhi, Nanxun, Wuzheng, Xitang)
Jiangsu and Zhejiang Provinces, China
Award of Merit
Cangqiao Historical Street, Shaoxing City
Zhejiang Province, China

The Medina Grand Adelaide Treasury, Australia
Virtuous Bridge, Medan, Indonesia
Honourable Mention
Catholic Cathedral of the Immaculate Conception

Dalongdong Baoan Temple, Taipei, China
Gota de Leche, Manila, Philippines
Guangyu Ancestral Hall
Context
The Guangyu Ancestral Hall is located in Qiangang village in
Guangdong province. Established by descendants of Lu Xiufu, the
famous prime minister of the Southern Song dynasty (960-1279),
Qiangang village is listed by the Guangzhou government as one
of 21 villages protected for their historical and cultural values.
Village map
Location
Qiangang Village, Taipi Town, Conghua
City, Guangdong Province, China
Size
Believed to be built in the Ming Dynasty, either in the fourth year

of the Yongle period (1406) or during the Xuande era (14261435), the Guangyu Ancestral Hall has endured for almost 600
years. Although built during the Ming Dynasty, the style and
construction methods come from earlier eras, including the Song
Dynasty. The roof, for example, is an overhanging gable roof with
raised purlins. Some features of the hall are unique in Guangdong
province, such as the wing walls and the screen wall, and are a
valuable source of information about historical north-south
migration in China.
The integrity of Guangyu Ancestral Hall is protected under the
Antiques Conservation Law of the Peoples Republic of China
and the Law on the Protection of Cultural Relics of the Peoples
Republic of China (1991), as it is classified as a special-care
building and belongs to the Lu clan. According to article five of the
Law on the Protection of Cultural Relics, the property rights of
memorial buildings, ancient buildings and precious antiques,
which belong to a public or private entity, are protected. This
law also specifies that the Lu clan is responsible for the usage,
maintenance and repair of the building.
816 square metres
Cost
Building history
Responsible Party
The Lu Clan Committee
Heritage Architect
Lu Yuanding
Contractor
Guangzhou Company
Date of Completion
6 February 2002
258
Inscriptions on the building itself indicate that prior to its

restoration in 2002 the hall had been renovated a total of five
times, most recently in 1915. The earliest record was found
engraved on a beam in the middle bay, noting that restoration
took place in the 32nd year of the Jiajing period of the Ming
Dynasty. The latest alterations were only superficial, not structural,
and were made during the Cultural Revolution. To prevent the hall
from being destroyed by the Red Guards, villagers had covered

some of the elaborate wood carvings of the hall with lime plaster,
while officials painted proclamations onto the walls of the hall.
Project history
During a three-month survey to identify important cultural relics
in Conghua city in April 2000, Qiangang village, and the Guangyu
Ancestral Hall in particular, were recognized as being extremely
valuable. However, at the time, the hall was in an extremely
dilapidated condition and was no longer in use by the villagers.
Structural deterioration was pervasive, with part of the roof
collapsed, timber beams and columns badly decayed, and some of
the walls leaning precariously.
Restoration of the ancestral hall was to be the first step in
preserving the cultural heritage and ancestral knowledge of the
Qiangang community. It was hoped that the restoration would
foster a sense of community pride and unity by revitalizing
cultural traditions and integrating them into the modern lifestyles
of the villagers. It was intended that villagers would begin to reuse
the hall for worshipping ancestors and for village gatherings.
In October 2000, the restoration project was initiated under the
expert guidance of the South China University of Technology. A
thorough archaeological and historical study of the building was
first undertaken, to provide a basis for planning the conservation
works. In July 2001 the first draft of the restoration plan was
completed and in September of that year the construction plan
was finalized. Restoration work began in late 2001 and was
completed on 6 February 2002, in time for the villagers to use the
hall for the Spring Festival that year.
Guangyu Ancestral Hall / 2003

The restoration of Guangyu Ancestral Hall aimed to restore and
reveal its layers of architectural, social and historical significance.
In order to invest the limited resources most effectively, the team
went to great lengths to identify the various elements of the
building with the highest significance. These were consequently
restored during the actual restoration works, under strict guidelines
concerning authenticity, so as to best retain the buildings structure,
form and its embodied historical information. As such, the main
wooden frame and walls were not altered in any significant way.
Important repairs made during previous restorations were retained,
along with changes made by users of the building over its 600
year history.
and materials
The restoration plan specified that renovations would be conducted
within the framework of national laws and international conservation
charters, notably the Venice Charter. In accordance with Article
9 of the Charter, the project would opt for minor repairs rather
than major repairs in order to retain the structural form of the
building as much as possible. Furthermore, in keeping with Article
14 of the Law on the Protection of Cultural Relics, all significant
historic remains would be preserved, without unnecessary intervention,
thus obeying the principle of not changing the original state of
cultural relics. Finally, all replacements or repairs would be made
to integrate harmoniously with the whole but at the same time
be distinguishable from the original so that the restoration would
not falsify the artistic or historic evidence.
Above and left: From its former

deteriorated condition, the restored hall has been rejuvenated
as a community space.
The conservation team felt that restoration did not necessarily

equate with unity of appearance. Instead of returning the entire
building to its condition at one point in time, they believed that it
was more important to portray the authentic historical progression
of the building. The elements added to the building over the
course of various restorations, for instance, would be retained.
More recent layers of the buildings history were also deemed important.
259
These included the notices marked on the gable during the Cultural
Revolution which were kept intact, rather than being erased to
restore the gables to their Ming Dynasty appearance. After
consultations with experts from the Department of Cultural Relics
and Guangzhou Culture Bureau, a number of the proclamations
painted on the walls in the 1960s were also kept. Now, after restoration,
the various parts of the buildings brick wall reflect the buildings
evolution from its establishment to its recent history.
The team endeavoured to use traditional craftsmanship, materials
and construction methods in the restoration process wherever
possible. In order to differentiate between original and new materials,
replacement materials were indicated by subtle variations in the
tone or texture in both timber and masonry elements.
The urgent task in the project centred on returning the building to
a structurally sound state. As a first step, the leaning sections of
the walls were rectified and some areas of structure and foundation
were stabilised. Blue bricks from the same historical period were
salvaged from nearby sites to restore the walls of the structure,
using the original type of mortar. Basic works also included the
repair of the peripheral drains, since they not only comprised part
of the drainage system of the whole village, but also affected the
stability and vulnerability of the walls foundation.
The roof in the main hall was in an extremely dilapidated condition
and needed extensive repairs. Rather than undertake in situ repairs
to the damaged wooden members, it was decided to adopt the
method of luo jia (top-down repair technique) which involved
disassembling the structure, recording each component, repairing
damaged components, and reassembling the parts in their original
positions.
Top: Floor plan.

Middle, bottom: Auspicious rituals were held to
celebrate the completion of restoration.
Opposite: Cross section.
260
In other sections of the roof, the disassembly method was deemed

inappropriate due to the potential for damage to the roof and
decorative works. For these cases, the timber purlins were carefully
removed and new tenon tongues was spliced on. Rotten horizontal
beams in the roof truss were repaired by grafting, to preserve
as much of the original fabric as possible. Similarly, broken and
split rafters were replaced, while reusable members were salvaged
where possible. When new materials were used, they were marked
with a contemporary stamp, indicating the material and the date,

as per Article 9 of the Venice Charter.
The documented ash moulds and coloured decorations on the
roof ridges were restored according to their original appearance.
Non-documented parts were not restored, retaining their aged
appearance.
Interior timber members also suffered water damage. Three
wooden columns in the second and third sections had to be completely
replaced in order to ensure the stability of the structure. Traditional
materials were used in the construction of the new pillars and the
original texture and colour were closely matched, but with visible
differences. Timber columns which had split were repaired with
wood chips, bamboo slices and epoxy, using customary methods.
The columns were coated with Chinese wood oil as a preservative,
to protect them against termites and restore the original colour.
The new wood and bamboo pieces were made to integrate harmoniously
into the whole but were differentiated by adding some vermilion
or pollen to stain the wood oil.
The red sandstone bases of the pillars were severely weathered. In
order to ensure the safety and durability of the structure, these
bases were replaced with new ones made with the same style and
type of stone. The original bases were kept and placed beside the
new columns for comparison purposes.
The main gate and the screen door in the second section had long
been lost. To maintain the spatial integrity of the layout it was
decided to reconstruct them on the basis of historic evidence and
descriptions provided by village elders.
The final step was restoring the hard-rammed red sandstone soil
floor using traditional techniques. Experiments were performed in
getting the right ratio of red sandstone soil and lime in order to
match the colour and intensity of the original red sandstone floor.
The traditional man-powered frog-type ramming machine was
used. The water content was controlled, while churning cycles
and sequence of ramming were precisely timed. To test the consistency,
sample mixtures were gathered into a ball by hand and pinched
loose.
In order to ensure that the Guangyu Ancestral Hall and its

surroundings were not damaged by the construction process,
certain environmental factors were taken into consideration.
Water was sprinkled on the construction waste and the road was
paved with pebbles in order to minimize dust and air pollution.
Similarly, waste water was recycled and sewage was correctly
disposed of to mitigate water pollution. Measures were also taken
to minimize noise pollution in accordance with the regulations of
the Noise Limit for Construction Sites Law.
Important issues
Mobilizing resources and people
The villagers of Qiangang participated actively in the project,
through the mobilization of the village headmen and the head
of the Lu Clan Committee. Together they facilitated meetings,
and ensured that villagers were informed, thereby enabling the
villagers to express their views and provide feedback to the project
managers.
The two main sources of financial resources for the project were
voluntary donations from villagers and government contributions.
Villagers also provided useful input by augmenting historical
information about the building and by giving advice in construction
matters.
The hall was traditionally a place of ancestral worship and a community
gathering place during festivals but had fallen into disuse. Restoration
of the building enabled the revitalization of cultural traditions and
recreated a central gathering place for Qiangang villagers. The hall
is now a popular community centre and is currently used for its
intended purposes, such as gatherings during Lunar New Year and
clan meetings. The hall has therefore been successfully integrated
with the contemporary life of the villagers.
Since the restoration of the hall, alterations and additions to
the building have been forbidden. Painting on the walls and
hanging of objects are prohibited. Also, practical adjustments in the
practice of traditional ceremonies have been encouraged. For example,
Award Citation
In the midst of the rapidly-changing Pearl River delta region, the restoration of Guangyu
Ancestral Hall stands out as an exemplar for local heritage conservation. The cooperation
of the villagers, government agencies and technical advisors has overcome the challenges of
limited funding, resulting in a building which displays thoughtful choices in restoration and
a high level of traditional craftsmanship. By consciously adhering to the principles of the
Venice Charter and the Nara Document on Authenticity, the project team has successfully
demonstrated methodical rigour and sensitivity in documenting, assessing and interpreting the
buildings heritage value. The widely inclusive and transparent approach to mobilizing support for the restoration project ensures that this historic building will continue to play a key
role in the community for many years to come. In carefully preserving the layers of historical
change seen in the building, the Lu clan ancestral hall has not only become a living record of
the history of Qiangang village, but has also captured the sweep of Chinese history from the
Song dynasty to the current Peoples Republic.
261
Above: A slogan from the Cultural Revolution era

was retained.
Middle and far right: Severely deteriorated roof
timber members were salvaged and repaired with
epoxy or replaced.
the burning of candles and ignition of fireworks are only carried

out in the light well and front yard and are supervised in order to
ensure safety.
Lessons learned
Certain unique technologies and methodologies were found to
assist in prolonging the lifespan of traditional materials without
affecting the authenticity and original form of those materials or
of the building. For example, all timber pieces and bamboo strips
used in repairs were first steamed with brine in order to eradicate
impurities and moisture. These materials were then aired to ensure
they had elasticity comparable with existing parts. Similarly, by
frying the bamboo sticks and nails in kerosene and peanut oil,
enzymes were eliminated and rigidity was improved.

The community has taken the initiative to ensure the upkeep of
the hall. For ongoing repairs and maintenance, villagers established
the Guangyu Ancestral Hall Restoration and Management
Fund with community donations. Furthermore, a community
representative was elected to take part in the Fund Management
Committee, which ensures active input by the villagers in the
financial management of the building.
262
This enthusiasm of the community and the extent of the buildings

use suggest that the Guangyu Ancestral Hall will continue to
remain in use and will increasingly become a central part of the
villagers lives.
Project impact
The project has fostered a keen sensitivity to the communitys
cultural resources such as building techniques and traditions that
are embedded in community fabric. The project has also brought
opportunities to further enhance the economic potential and
sustainability of the village.
The success of the project has strengthened pride in the local
heritage, and catalyzed interest in restoring other buildings in
the village. The restoration of the ancestral hall will be followed
by the restoration of the four village gateway buildings and
guardhouses.
The project also raised awareness in other nearby villages regarding
preservation of their ancestral heritage, such as Deng village and
Mulan village in Shengang town. These villages have restored the
Dengshi Ancestral Hall and the Wuyue Temple, respectively.

By restoring the Guangyu Ancestral Hall,
we have successfully preserved the cultural
heritage and historical information of the
villagers ancestors, thereby promoting a
spirit of unity for the villagers.
Far left and left: Blue bricks compatible with the

original were used to repair the wall.
Below: Artisans restore the lime plaster decorative
elements along the roof ridge.
263
Technical Brief
Top-down method of repair

Only in the case where the stability of the structure is endangered
do we adopt the traditional method luo jia, or the disassembly and
re-assembly of timber structures, thereby reducing the potential
damage to the building structure and the architectual form.
To start on the roof repairs, the tiles from the roof were removed,
cleaned, dried under the sun and stored. Then we deliberated on
the best repair method for the roof frame after the examination
of the rafters, purlins and the beam conditions.
Some timber purlins between the gable wall and wood columns
were very rotten on the outer ends, while the inner ends were
dislodged from the tenon due to the dislocation of roof truss or
the inclination of wall. We adopted the traditional method of
removing the purlin and grafting the beam to protect the integrity of the overhanging gable roof, the rolling grass decoration
and the vertical ridge.
The purlins were carefully removed, with the rotten inner parts cut
off and a new tenon tonge added. Then the rotten gable ends of
the purlin were also cut off. The purlin was reinserted into place,
with a new wooden section added to connect it to the gable.
Stainless steel strings were used to keep the tenon in place.
Some horizontal beams that connect the two middle pieces of roof
truss were seriously rotten due to rain intrusion and subsequent
collapse of the roof. We kept the original components and grafted
new partial replacements, held in place by bolts. The position is
located one third into the length of the ridgepole. Each side of
the notch was at least six centimetres wide in order to receive the
force from the bolts.
The roof of the main hall had been very seriously damaged.
Moreover, some hidden problems have emerged in the course of
restoration, thus complicating the extent of work and increasing
the degree of difficulty. However, due to the potential structural
264
instability and loss of authenticity, we decided to partly adopt the

method of luo jia.
First, the roof truss of the middle bay was disassembled, and
each component was marked by a serial number. The more sound
components were cleaned and strengthened, while the damaged
parts were replaced with new wood. At the same time, damaged
column bases were replaced, columns repaired and wood frames
adjusted. After this phase in the work, the dismantled roof truss
was re-assembled in the reverse order.
The next step in the process was to replace the damaged rafters.
Priority was given to the reuse of original salvaged materials
wherever possible, with new materials used only in case of
insufficient number of reusable sections. A contemporary stamp
was placed on the new material.
Then the tiles were laid and the removed roof ridge was fixed.
Bamboo strips were embedded in the pantiles, running through
the corrugated tiles to enhance the shear resistance of every unit
of the corrugated tiles.
Adapted from Guangyu Ancestral Hall
UNESCO Asia-Pacific Heritage Awards Entry Submission
Top: The roof framing members being dismantled.

Below: Original granite column bases are
displayed alongside new ones to inform visitors
of the relationship between old and new.
Astana of Syed Mir Muhammad
Context
The Astana (tomb) of Syed Mir Muhammad is located in Khanqah
settlement, one of eight historic settlements in the town of
Khaplu. Situated in northern Pakistan, Khaplu characterizes the
particularly rich and diverse cultural and architectural heritage
of the region.
Town map
Location
Khanqah Settlement, Khaplu, Baltistan
Pakistan
Size
49 square metres
Cost
US$10,000
Responsible Party
Craftsmen and artisans from Kashmir and other parts of South

Asia originally settled Khanqah in the fourteenth century. These
settlers came with the early preachers of Islam, who built the
initial mosques and other religious buildings in Baltistan. Home
to 40 families, Khanqah has a well-defined community but has
witnessed changing lifestyles and loss of social cohesion. This has
led in turn to a decline in the popularity of compact villages and
a demand for more space and modern services, with the result
that historic structures and surrounding farmlands are facing
increasing development pressure.
In various areas of Baltistan, old wooden mosques and religious
buildings are being torn down and replaced with unsightly new
concrete structures. This demolition of historic buildings reflects
the lack of awareness of the enormous wealth of heritage of
the region, while the replacement of ancient structures with
contemporary buildings, using foreign materials, disregards the
accumulated traditional knowledge of the community.
Although Pakistans 1975 Antiquities Act (amended in 1991)
protects listed sites, land-use laws and development are under the
jurisdiction of a different agency and there is little co-ordination
between the two. Other ordinances and local regulations can be
invoked, but indiscriminate development, lack of resources and
poor implementation place sites such as the Astana at risk.
Syed Muzahir Ali
years ago by Syed Mir Muhammads descendants, the Astana of

Syed Mir Muhammad is considered one of the finest in the area.
Like most astanas in Baltistan it is a square building topped with
a conical tower. The astana has an inner square chamber enclosed
by wooden jallie (carved lattice-work screens) in the Kashmiri
style, with geometrically-shaped perforations.
Project history
The project was initiated by the Aga Khan Cultural Service
Pakistan (AKCSP), the operating arm of the Historic Cities Support
Programme of the Aga Khan Trust for Culture (AKTC). In furthering
culture-based development and heritage conservation, the AKCSP
promotes the upgrading of community buildings in order to foster
pride in customary ways of life, thereby encouraging traditional
village clusters and reducing pressure on farmlands. In such projects
the AKCSP encourages use of traditional building materials and
promotes customary building techniques and skills, such as wood
craftsmanship, which have been dying out in the region. The
AKCSP believes that revival of long-held skills in Baltistan would
strengthen community pride and generate income.
Due to its religious and historic significance, the Astana of Syed Mir
Muhammad was one of three sites selected by the AKCSP in the late
1990s as a pilot demonstration project to preserve architectural
heritage in Baltistan. The restoration was the result of a successful
collaboration between the AKCSP, two international consultants
and the Khanqah community. The AKCSP and consultants provided
the planning and conservation expertise while the community
provided local building skills, labour and materials.
Heritage Architect
Masood Khan
Building history
Contractor
Date of Completion
June 2000
266
Astanas are among the most fascinating structures in Baltistan.

They are places of eternal rest for saintly persons so are held in
reverence and visited frequently by the public. Built around 300
In 1999 when the technical study of the astana was carried out,
the building was in an advanced state of deterioration. The entire
structure was fragile and out of alignment, leaning 30 centimetres
to the southwest. Half the roof tower was missing and the erosion
of the top layers of tamped earth on the roof had resulted in the
Astana of Syed Mir Muhammad / 2003
decay of circular roof beams, timber members and jallie pieces. The
aim of the project was to restore the Astana Syed Mir Muhammad
to its original condition. In the process, the structure was to be
realigned and made stable and the decorative and historical
elements of the building repaired and reinstated.
Minimum intervention and maximum retention was the teams
guiding principle throughout the project. Within this framework,
original features were maintained while structural changes
were minimized, except those needed to increase strength and
durability. Salvaged and indigenous materials were to be used
wherever possible. The restoration project was expected to take
12 months to complete, but was completed in just six months.
and materials
The entire structure was first documented and all the timber
pieces numbered for the replacement of deteriorated members.
As a precautionary measure, the structure was supported with
wooden posts. Two options for realigning the building were
considered. The first option involved dismantling, repairing
and re-assembling the structural members, which raised the
possibility that the pieces may not have fitted together again or
that some would be damaged during the dismantling process,
thus increasing the amount of intervention required. The second
option, arrived at through consensus, was to nudge the whole
structure back into proper alignment. This was feasible as no
iron nails were used in the structure, only wooden pegs, which
allowed for structural flexibility and for the slotted wooden
pieces to move as one unit.
Left and above: The astana before and after

stabilization and restoration.
First, most of the load was taken off the structure, enabling it to be
realigned more easily and safely. The tower was dismantled in units
to ensure the sequence of the tower details would not be disturbed.
The remaining mud thatch and beams from the tower roof were also
removed, leaving only the wooden dowelled frame of the building.
The structure was then pulled using wire ropes tightened through
turnbuckles. Plumb bobs were used to record the extent of wall
deviation from vertical throughout the process.
267
During this process it was discovered that the building lacked a

firm foundation. The existing wooden base was decayed, causing
the entire structure to sink. In order to upgrade the strength and
durability of the building, a foundation of stone slabs was laid
beneath the existing wooden base in order to distribute the load
and prevent the structure from sinking further. These slabs also
provided protection for the structure against water seeping up
from the ground.
The original filling of the cribbage walls was not firmly packed
and as a result rats had been able to make holes in the structure.
To repair the cribbage walls, the filling was stabilized with cement
mortar, boulders and straw. The walls were then plastered with a
mix of cement, soil and straw in a ratio of 1:10:2.5.
Another major decision was whether or not to complete the building
by constructing a new roof tower. The extent of deterioration of
the existing roof tower meant that knowledge of the original
design was limited so a new roof might have compromised the
buildings authenticity. After extensive discussions with artisans
and elder members of the community and thorough research of
similar buildings in the region, a decision was made to reconstruct
the tower on the basis of other astanas.
Top: Delicate geometry of the
wooden lattice screens.
Right: The floor plan shows the
lattice screen surrounding the
inner chamber.
Opposite: Section through the tomb.
268
Because the project aimed to revive and develop traditional

skills and improve the capacity of the community to successfully
manage their cultural heritage, local materials were used
wherever possible and artisans were trained in traditional
skills. For example, the roof was waterproofed in the vernacular
method, with a layer of millet straw covered with birch. This was
then overlaid with mud thatch, which was compacted by foot.
Another local material, walnut rind, was applied to the wood of
the new tower roof in order to help it blend in with the remaining
elements of the astana. The planks of the inner roof were treated
with linseed oil to preserve the wood and protect against termites.
The five replacement wooden jallie were carved by local artisans.
In repairing the broken jallie, artisans used traditional methods and
salvaged recycled wood.
Important issues
The astana is co-owned by the Sadaat family, comprising seven
households in the community, and by followers of Syed Mir
Muhammad. Once mobilized by the AKCSP, community members
became enthusiastic about the restoration process. They donated
materials and their labour as homage to their religious leader and
also helped to collect and transport local materials to the site.
By assisting in the restoration of the Astana of Syed Mir
Muhammad and encouraging restoration rather than demolition
and replacement, the AKCSP helped the Khanqah community
learn about its wealth of heritage and traditional knowledge, thus
fostering a sense of ownership.
Lessons learned
The project demonstrated to community members that historic
structures have heritage value and that their preservation can have
positive social and economic impacts. It was shown that success
is more likely when the community has both tangible benefits
from the project (useful skills) as well as intangible benefits
(community pride). Furthermore, this project demonstrated that
when heritage preservation is integrated with development
policy, such efforts have a greater chance of being successful in
the long term.

Due to community involvement and subsequent communitydriven heritage conservation efforts, the project is likely to
be sustainable. Community pride in the Astana of Syed Mir
Muhammad will encourage upkeep of the structure while the use
of local materials and the development of local artisan skills will
ensure that the structure can be affordably maintained.
Award Citation
The noteworthy restoration of the 300-year old mausoleum of Syed Mir Muhammad returns an important architectural and community landmark to its former prominence in the
northern Pakistan highland settlement of Khaplu. The buildings aged patina and historic
character have been carefully retained through skillful and sensitive conservation techniques.
The meticulous documentation and low-intervention approach in stabilizing the building and
repairing deteriorated parts demonstrate great respect and maximum retention of the original
building fabric. A modest approach using local materials and construction techniques ensures
that the restoration work is carried out in accordance with vernacular architectural practices,
and can be maintained sustainably under the stewardship of the local villagers. In seeking to
revive local building crafts as part of the overall conservation agenda, the project demonstrates
how heritage preservation can become a catalyst for local economic development.
269
Project impact
Community participation, revitalization of original building skills
and articulation of heritage values to other communities were
the hallmark achievements of the project. A woodcraft workshop
was established to train new apprentices on carving and jalliemaking skills. This breathed life into a dying handicraft tradition,
while the additional skills increased employment prospects for
local people in undertaking conservation and repair works in the
future.
Another profound effect resulting from the conservation project
was the support given by AKCSP to repair an adjacent, larger
mosque, the Khaplu Khanqah. Destined for repair using modern
materials, the lessons learned while working on the astana have
encouraged the community to rethink their approach and adopt
a less intrusive repair method.
The astana project also prompted residents in Khaplu to upgrade
and improve historic buildings surrounding their traditional
settlements. The Khaplu Town Management and Development
Society was created to enable planning of future projects with
community consensus and the input of indigenous wisdom.
Region-wide, the restoration has provided a model for good
practice in conservation for other towns in Baltistan.
Clockwise from top left: Reconstruction of the roof tower. Mud thatch
compacted by foot over a straw layer on the roof. The rehabilitated roof.
270
Technical Brief
This project is a significant milestone in

nurturing local institutional development,
demonstrating rehabilitation benefits, increasing sense of ownership for significant
architectural heritage and creating a resource base for continued and self-reliant
management of cultural heritage.
Restoration of wooden elements

The whole building is a wooden frame structure with cribbage
columns on the corners. These columns are tied to the walls
with wooden ring beams which, in turn, are inserted into the
cribbage columns and pegged with hidden wooden dowels
inserted vertically. (See drawing.) Together with the roof beams
and planks, the members constitute a unified flexible structure
which has the ability to move with, and during, seismic waves.
Wood staining
For staining wood, people traditionally used the rind of walnut
cooked with water. This method has been used for centuries
with remarkably effective results. These stains protect the
timbers from weathering by sun rays and moisture penetration.
This method is cheaper than alternatives because the outer
rind of walnuts is available in the village, and can be collected
easily when the walnuts ripen. For staining all exposed timber
elements, the same materials and methods were applied. This
method achieves matching colour for all the timber elements.
It also imparts an aesthetically pleasing appearance to the
members. For staining internal timbers, linseed oil mixed with
20 percent turpentine was used to protect against termites and
insects.
Roof repair
Most of structural elements such as beams and rafters were
badly decayed. Approximately 30 percent of the beams and
rafters were replaced. Some 10 percent of the roof boards were
spliced on the decayed portions. All these beams were pegged
with wooden dowels. Millet stalks and birch bark were used as
roof covering, in accordance with existing evidence.
A traditional roofing of mud thatch was applied, with some

additions to prolong the soaking time and minimize erosion
because of the pitched slope of the roof. The available soils in
Khaplu are sandy soils which need the addition of clay content
to harden the top layer of thatch. For this purpose some studies
were carried out and mock-ups developed. These samples were
shown to and discussed with local masons and villagers for
their comment and input. The approved sample was a mix of
clay, wheat straw and local soil in a ratio of 1:1:4, which was
applied on the roof of the tomb. The thickness of the thatch is
four inches, which is an appropriate dimension and will prevent
leakage in heavy rain and snow. Finally, two coats of soil wash
were applied to fill the cracks due to shrinkage of the top layer
of mud thatch.
271
Building realignment
To correct the 30-centimetre misalignment, the local team decided
to realign the whole structure as one unit, which allowed for the
easier realignment of the tilted parts using turnbuckles and wire
ropes. This is an easy and non-risky method of realigning any
small size cribbage timber structure. The procedure was carried
out with extreme caution and in small alignment correctional
increments. About ten minutes later it was observed that the
structure was moving to its original position and the team did
not even hear any distorting sound. This process saved not only
time but also allowed for the use of original joineries especially in
the cribbage columns and ring beams.
Sher Ghazi
272
Above: The realignment was undertaken using

a simple method of pulling the structure using
wire ropes and turnbuckles.
Water Towns of the Yangtze River
Context
The six water towns, Zhouzhuang, Tongli, Luzhi, Nanxun, Wuzheng
and Xitang, are located south of the Yangtze River in the Jiangnan
region of China. These towns are situated along the border of two
provinces, occupying the far south of Jiangsu province and the far
north of Zhejiang province.
Site map
Location
Zhouzhuang, Tongli and Luzhi
Nanxun, Wuzhen and Xitang
Cost
Approximately US$1,000 per house
Responsible Party
Ruan Yisan, Shao Yong, Zhang Lan, Zhou Jian
Zhang Song, Li Zhen, Lu Yongyi, Lin Lin
Zhang Kai, Dun Mingming, Sung Meng
Miao Yang, Zhuang Chundi, Yan Pinhua
Zhang Lingling, Wu Qiurong, Chen Xianghong
Zhou Ping, Sun Jinggen, Sun Yongming
Cao Guoliang, Wang Shengjian, Ling Gangqiang
Ning Jiangren
Heritage Architect
Ruan Yisan, Shao Yong, Zhang Lan, Zhou Jian
Zhang Song, Li Zhen, Lu Yongyi, Lin Lin
Zhang Kai, Dun Mingming, Sung Meng
Miao Yang
Contractor
Suzhou Construction Company of
Classical Gardens
Date of Completion
December 2001
274
The six towns are each surrounded by lakes and marshes and have
streams and waterways branching through them. Dictated by the
shape of the waterways, these towns broke the traditional rules
of regularity and symmetry in their layout. Belt-shaped towns
grew up along a single waterway while star-shaped towns, such
as Nanxun, Luzhi, and Wuzhen, were formed around crossing
waterways. Zhouzhuang, a square-shaped town, is ringed by water,
while circular towns, such as Tongli and Xitang, were bounded by
net-shaped waterways.
The towns share the characteristic style of houses amidst small
bridges and murmuring brooks. The commercial streets are parallel
to waterways, with a width of between one and three metres.
Small lanes run perpendicularly, connecting the streets to the
canals. Stone arch bridges connect across watercourses. Mostly
constructed between the fifteenth and early twenty century, the
buildings are arranged in rows along the waterways and stonepaved roads. Usually one or two storeys high, most are courtyard
buildings constructed of brick and timber. The light coloured walls
and dark roofs of the buildings lend the towns their distinctive
black and white motif.
In recent times, a growing population, changing lifestyles and
increased demand for modern services had put immense stress
on the ancient structures and layouts of the water towns. These
factors, combined with a lack of development controls and urban
planning, had resulted in the deterioration of the ancient towns
physical and social fabric, with residents moving out to more
comfortable settlements.
Comprehensive urban planning and management were required in
order to provide a higher standard of living to residents and ensure
protection of the historic structures and character of the towns.
Work was carried out in accordance with the Urban Planning Law
and the Historic Heritage Law, which regulated the construction
methods and materials. All rights to the properties are under the
protection of the Law of Inheritance of Citizen Properties and Law
of Management of Property.
Town and building history

First settled over two thousand years ago in the fertile Yangtze
river delta, the towns became agricultural centres during the Sui
and Tang dynasties, with villagers engaged in rice cultivation,
cotton and mulberry farming, fishing and husbandry. In addition,
they also raised silkworms and produced silk. Yielding better
profits than rice cultivation, commercial crops and cotton and silk
handicrafts became dominant in the fifteenth century. The towns
grew into major trading centres linked into a regional trading
network, serving as conduits between big cities and rural areas.
Zhouzhuang, Tongli and Luzhi, for example, were markets for rice
and vegetable oil, while Nanxun and Wuzheng were silk markets.
Driven by early capitalistic activity, the water towns took on a
different social pattern from other Chinese towns under feudal
rule, with a mix of landlords, government officials, merchants,
upper class people, owners of handicraft workshops and handicraft
people, and farmers. The three traditional types of building
reflect the social makeup of the town. The houses of wealthy
landlords and government officials are large and splendid, with
spacious courtyards, painted and engraved beams, sculptures and
engravings. The buildings built by wealthy merchants have shops
in the front and residential houses in the rear. These buildings are
more compact, typically three or four storeys high, and are not as
ornately decorated as the first type of building. Ordinary residential
buildings make up the third type. These buildings have one or two
shop rooms at the front, with living areas at the rear. Different
houses show different styles depending on their location.
The prosperity of the towns enabled a rich and thriving culture to
develop. Over many years people were attracted to the lifestyle
of these towns. Retired officials and intellectuals sought peace
and isolation and gradually the region brought together an elite
Water Towns of the Yangtze River / 2003
community, including famous writers and artists. Local customs,

such as drinking granny tea were established and proudly
preserved.
Declared historic towns in their respective provinces in the early
1990s, the six water towns were included on Chinas Tentative List
in 1999, and thus have the potential to be nominated as a World
Heritage site in the future.
Project history
After centuries of change, by the 1980s the towns were beginning
to show signs of dilapidation. The Ming and Qing dynasty era
buildings were in a state of disrepair and public works were sorely
lagging in comparison to neighbouring towns.
The major dilemma facing the towns was the pressing need
to introduce modern services and facilities while at the same
time protect and restore the cultural heritage. Moreover, the
requirements of the local residents and the demands of the growing
tourism industry also had to be balanced. Solutions to these two
issues had to be proposed bearing in mind the challenges of the
existing urban management system, high conservation expenses,
limited fiscal resources and the land tenure system.
In response to the situation, in the mid-1980s the authorities
of the six water towns commissioned a conservation and
development plan for the towns in order to prevent further
damage to their historic fabric and establish effective urban
planning mechanisms. The plan focused on protecting the ancient
towns, opening up new areas, fostering tourism and developing
the economy. They sought to restore as much as possible of the
towns valuable cultural heritage by restricting redevelopment,
upgrading services and improving the standard of living of the
residents. Under expert guidance, the towns have continued to
implement conservation planning at various levels, spanning
urban aspects as well as architectural works.
Left and above: One of the water towns, Zhouzhuang,

before and after the project.
Overleaf
Top: One of the restored buildings in Wuzhen,
reused as a community performance space.
Left: The distinctive canal-side morphology
has been preserved.
Top and bottom right: Traditional woodworking
techniques are used to create folding door screens.
275

Individual restoration plans for the six towns were undertaken
within a similar scope of work, but with adaptations to fit the
individual situation of each town. The project addressed each town
holistically as a living urban organism instead of as a series of
discrete monuments, and therefore placed a priority on preserving
the larger historic setting and the overall character of the town.
At the same time, the project also sought to renew the intangible
heritage which defined each towns character. Especially in the
context of tourism, the project placed an emphasis on ensuring
that traditional crafts, festivals and customs were supported in their
authentic traditional form, to avoid their empty commercialization.
Built elements which were historically significant were carefully
restored, while those which were completely damaged were
reconstructed in a harmonious manner. This called for re-establishing
the original layout of the ancient towns, while also restoring
the original form and appearance of the buildings, streets and
waterways. Strict urban planning regulations were established on
building heights and new construction. Guidelines were also drawn
up for detailed aspects such as faade colour and signage in order to
preserve the original character and feel of the water towns.
Finally, in order to upgrade the quality of life of the residents, services
such as new electricity cables and a modern sewage system were
installed in the six towns in a discreet and unobtrusive manner.
and materials
The conservation methodology applied to the historic buildings,
structures and landscape was based on the principle of respecting
the original state. Four aspects of authenticity were strictly
preserved, namely, original context, original structure, original
materials and original techniques. As such, historic fabric which
was intact was maintained in its original condition, while original
materials and techniques were used when restoration or repair
was deemed necessary.
276
In order to develop a deep understanding of the historical

structures and urban layout, a detailed exterior and interior
inventory of all built elements was undertaken. This has proved
to be an invaluable reference during the course of the restoration
works and serves today as a permanent historical record.
In order to preserve the environmental setting and maintain the
ecological viability of the towns, a regimen has been established
to dredge out canals on an annual basis. Key rivers are also being
dredged for flood protection. Control of pollution in the nearby
Taihu Lake, which is linked to all the interconnected waterways,
has also been initiated. A wastewater system has been planned.
At the urban scale, land use guidelines were drawn up to ensure
that modern functions would be compatible with the historic
towns. In towns where the historic core was intact, the strategy
developed called for separating new development from the historic
area, such as in Zhouzhuang and Luzhi. In order to accommodate
changing modes of transport, such as the introduction of cars and
motorcycles, the road network has been adjusted and auxiliary
roads built outside the historic area. For instance, in Luzhi, a
northern bypass road was constructed, where new government
facilities and public buildings are located. Traffic restrictions on
the entry of modern vehicles into historic areas have been enacted
for the protection of ancient bridges and streets. These practical
measures have allowed the towns to accommodate reasonable
industrial growth and good accessibility, without damaging their
unique characteristics.
Award Citation
The large-scale conservation planning of the historic water towns at the mouth of the Yangtze
River sets an important milestone in the protection of living cultural landscapes. The comprehensive approach adopted by the project allows for thorough understanding and interpretation
of the areas natural and cultural heritage at both the local and regional levels. Operating
with an overall conservation masterplan, a clear policy framework and sound methodology, the
project restores the authentic significance and function of the towns waterways and historic
settlements, while accommodating modern needs and anticipated growth. Major investment by
the government for public works and by residents for individual structures creates a commendable model of sustainable long-term public-private partnership. The ambitious scope of the
project promises to have a major impact on shaping future development in the towns as well as
conservation practice throughout China.
277

More than a decade of trials and efforts
have fostered an integrated conservation
ideology and developed conservation planning with Chinese characteristics, which
provides a valuable reference for the conservation of cultural relics in China.
To improve the quality of life, streets were repaved and original

layouts restored by removing inappropriate structures and other
additions. Water, sewage and stormwater drainage pipes were
installed, along with power, telecommunications, and municipal
electricity lines. Public amenities were constructed. A firemanagement system was devised, with the installation of pumps
and hydrants along the riverbanks in order to combat the risk of
fire in the context of high density neighbourhoods with narrow
streets.
At the building scale, guidelines were enforced on the use of
exterior materials to ensure architectural integrity, being strictly
restricted to the traditional grey bricks, butterfly-shaped tiles, fir
and pinewood, and slate stones. The government arranged for the
production of traditional building materials and the salvage of
historic materials from other areas.
Previous page: A street section showing the close

relationship with the water.
Above: A floor plan of a residence showing
access to a waterway at far left.
Opposite
Top: Elevation of a restored faade.
Right and far right: An alleyway upgrade in
process, and upon completion.
Individual buildings were restored in accordance with appropriate

traditional Chinese architectural styles, such as the Shaoxing,
Xiangshan and Anhui styles. Buildings were repaired and repainted
in accordance with their historic appearance. On the exterior,
the original building proportions (width and height), finishes
(colours and paints) and elements (windows, doors, ridges, roofs
and eaves) were closely adhered to. Decorative elements, such
as carved window-shutters and balcony railings, were mended
and replicated, where necessary, using traditional materials and
techniques. On the other hand, in the interior more leeway was
allowed, with modern alterations being permitted, to allow
residents to live a modern lifestyle.
Important issues
The projects were funded by a combination of public and private
investment. The government subsidized the restoration of public
works, such as infrastructure, shared facilities, roads, bridges and
water courses, while local community members invested in the
restoration of their own homes.
278
The government was mainly responsible for monitoring at the

macro level, regulating and directing the restoration projects.
For this purpose, management agencies have been established to
take responsibility for the ongoing conservation of the ancient
buildings. Residents committees participated throughout the
conservation process, while individual homeowners were charged
with the implementation of the regulations and plans.
The ongoing guidance of the National Research Centre of Historic
Cities at Tongji University has facilitated the conservation
planning, provided guidance for renovation works, and transferred
knowledge about conservation management and techniques to
the local officials and residents.
While many traditional buildings in the six towns were originally
designed as shops, the economic and social changes over the
past few hundred years have resulted in many buildings losing
their original use. Today most of the old shop buildings serve as
residences or offices. The renovated houses serve a number of
different purposes (residential, commercial and cultural) according
to their location, surroundings and property rights. In this way,
these buildings have been integrated into the living context of
each town. Some buildings are now being used as museums to
illustrate the lifestyles and interior decoration of earlier times.
Lessons learned
In the process of restoring the towns it was discovered that in order
to ensure efficiency and consistency a professional restoration
team is necessary. Therefore in such projects a team must be set
up and trained. Furthermore, an effective management system
should be established in order to ensure the conservation plan
is followed and optimal results are achieved. In addition, a longterm plan for the managing of funds should be made in order to
avoid any delays and cash-flow difficulties.

The project has demonstrated to residents that ancient towns
are capable of comfortably accommodating modern lifestyles
while retaining charm and individuality. Residents have gained
awareness of the distinctiveness of their cultural and built
heritage and have therefore developed greater pride in it. As
a result they are now more likely to act to maintain the built
fabric of their towns. Furthermore, growing tourist interest in
the unique heritage values of the area, in part as a result of the
restoration project, will provide economic incentives for residents
to continue to protect the heritage of the water towns.
Project impact
As one of the first large-scale conservation projects to integrate
modern facilities into ancient townships, the project has
enhanced residents quality of life through the provision of
upgraded services together with improved housing. The project
has also generated greater community appreciation of their built
heritage.
The plan for the Conservation and Development of Ancient
Towns South of the Yangtze River was awarded the third prize
for Science and Technology by the Ministry of Education. Some
towns have received individual awards, with the Conservation
of Zhouzhuang winning first prize and the Conservation of
Tongli garnering second prize for Most Outstanding Planning.
As a result of the recognition it has received, the project now
serves as a valuable reference and benchmark for similar future
projects in China.
279
Technical Brief
Conservation planning
Since 1985, we have been undertaking conservation planning
for these towns and helped them with the renovation of historic
buildings and the development of tourism. Consequently, these
towns have found their historic values while the local economy
has been improved. The townspeople are now enjoying a much
better life. The experience we gained during the course of the
project is as follows.
Enhance the awareness of the importance of
conservation among the local people
It has been made clear to the local government officials,
policy-makers and residents that what they have is not ruins
or curiosities, but is just as precious as underground mines or
the natural environment. The key point is whether people can
make good use of them and develop these towns properly.
Outside influence has enhanced public awareness of the
importance of conservation. Some conferences have been held
in these ancient towns. Many influential government officials,
scholars and foreigners have been invited to these towns. The
research, visitations, comments and propaganda that have
been carried out in these towns have had great influence on
the local people, who have gradually built a firm belief in the
importance of conservation and have come to realize the value
of their towns. Thus their enthusiasm for conservation has been
inspired and they have given up any idea of tearing down these
historic buildings to make room for new ones. Once the general
agreement on conservation has been reached, efforts will be
made to specify different functions for different organizations
and resolve various conflicts.
Make a point of seeking conservation
in the course of development
Great emphasis should be placed on economic development
and prosperity in these towns. Besides the general awareness of
the importance of conservation and specific measures, financial
strength is an indispensable factor in the implementation of
280
conservation planningfor maintenance, repair and renovation.

Therefore, priority should be given to the comprehensive study
of economic development in these towns.
In this situation we have put forward a guiding principle for these
towns: Conserve the old towns and build new towns; develop
the economy and tourism industry. For some of the towns in
which good conservation work has been carried out, the general
principle is to have the new area and old area independent of
each other. In the old area, priority is given to conservation and
in the new area to development. Reasonable planning of the
new area has guaranteed reasonable industrial layout and good
transportation, which in turn favours economic development in
the new area. Backed by strong financial support by the new
area, the old town can be much better off with conservation
and renovation.
Recognize different situations and act accordingly
Since there is no conservation plan that will fit all cases, we
have assessed the cultural relics and scenic spots inside and
outside these towns. We have assigned different values to them,
on the basis of which we determine their conservation needs.
Conservation is classified into three levels: top conservation, key
conservation and average conservation. Conservation areas have
been carefully defined and conservation regulations have been
made. For some specific cultural relics and traditional buildings,
conservation measures will be carried out at four levels:
conservation, renovation, alteration and maintenance. Various
levels of conservation are meant to distinguish different cases
so that proper measures can be taken.
Plan to make possible appropriate conservation
and development
The priceless cultural relics these towns have inherited from
the past are being threatened by natural and human factors.
With a view to conserving the cultural relics, firstly, great efforts
need to be made in terms of surveying and mapping old

buildings and building complexes, including their exterior
appearance and interior structure. Secondly, reasonable
and feasible plans and implementation guidelines
are needed in the management of construction and
conservation. What needs to be done includes industrial
adjustment, planning for transportation, planning for
the construction of residential sections and planning
for tourism development. Special attention should be
paid to the conservation of important old buildings.
The role of traditional culture should be underscored
since the conservation of these old towns should be
comprehensive, including not only material heritage but
also spiritual or cultural heritage. We should make a point
of handing down the local customs, traditional products,
handicrafts, traditional food, traditional literature and
art, etc. Therefore, relevant places such as tea houses,
story-telling pubs, squares near bridges and piers, where
traditional cultural activities can be observed, should be
maintained.
Co-operate with the local government and residents
It takes some time to establish public awareness of
the importance of conservation. We have gained
approval from the higher levels of government on every
conservation plan we have undertaken. We have also
won support from farsighted officials and local residents.
The plans we have made will function as a blueprint for
the future development of these towns and they will be
implemented strictly. Implementation of the plan will be
a long process, where some adjustments will have to be
made to keep up with any changes, requiring the planners
to maintain constant concern for conservation.
Ruan Yisan
Cangqiao Historical Street
City map
Opposite left and right: The canal-side settlement before and after the improvements.
Location
Yuedu Residential Quarter, Shaoxing City
Size
1.5 kilometres in length
6.4 hectares in area
Cost
US$5,000,000
Responsible Party
All residents of Cangqiao Street
Heritage Architect
Zhong Huahua, Zhong Hai, Wu Jianrong
Ruan Yisan, Que Weimin
Contractor
Li Bo
Date of Completion
August 2001
282
Project synopsis
Located in historic, 2,500-year-old Shaoxing city, Cangqiao Street

consists of a mix of residences and businesses built along a
waterway. Buildings in this street were largely rebuilt during the
nineteenth and early twentieth centuries and are predominantly
in the traditional style with white walls and black roofs.
The project aimed to restore the original appearance of buildings

and to coordinate the style of the street. Traditional construction
techniques and materials were utilized wherever possible and
inappropriate additions were removed.
Prior to the restoration project many buildings had fallen into

disrepair and in some cases old buildings had been demolished and
replaced with modern structures, inconsistent with the traditional
style and character of the town. Furthermore, Shaoxings high
population density and shortage of modern facilities was straining
the capacity of the citys fabric and infrastructure. Demand
for more residential buildings meant that the spatial layout of
existing structures was being altered by the addition of shacks in
courtyards and other spaces. Furthermore, the lack of a central
sewerage system meant waste was being improperly treated and
often dumped into the river. These factors combined to create
a situation which greatly threatened the citys built heritage.
Historic streetscapes were marred by a tangle of electrical cables
and poles, bright signboards and a variety of door types.
Seven historic streets were chosen for the Ancient City Protection
Programme, a project designed to preserve and restore ancient
Shaoxing city. A collaboration between the city government and
local residents, the programmes main aims were to improve the
residents quality of life while preserving the citys valuable architectural heritage and traditions. This called for the renovation
of all houses along the street and the upgrade of services and
infrastructure. Cangqiao Street was the first street in which the
Ancient City Protection Programme was implemented. Completed
in August 2001, in just five months, the project restored buildings
and provided modern services. By restoring wharfs on the riverbanks and facilitating environmental improvements, the project
has also reinstated the picturesque South-East China traditional
waterfront lifestyle. As the first completed task of the Programme,
the project is an example from which similar projects can learn
valuable lessons and serves as a tribute to the unique heritage of
Shaoxing.
Of the 43 residential compounds along the street, six were

classified in terms of heritage value as first class, 13 as second
class and 24 as third class. Typical vernacular buildings, they largely
contain three layers of buildings grouped around a front and back
courtyard. While the overall wooden structure was relatively
intact in most houses, the roofs, walls, floors, doors and windows
were in need of repair. In the restoration of buildings, outer walls
were repaired with salvaged bricks, while traditional wood and
masonry skills were utilized to repair the interiors, using recycled
wood and stone. Existing roof ridges and skylights were retained
and repaired while broken roof tiles were replaced with replicas of
the original. Cement door and window frames were removed and
replaced with the traditional materials of wood or stone. Those
buildings which were severely damaged or were built during the
last 50 years were demolished and rebuilt in the original style.
To improve the residents quality of life and ensure no further
damage to the built fabric, new sewage pipelines, electrical,
telecommunications and television cables were buried under the
streets and new public amenities were constructed. Once the
services were installed, the historic streetscape and canals were
restored. The streets were relaid with slabs of irregularly shaped
stones. The small wharfs on the river banks of the Huanshan River
were restored using the original type of stones, thus helping to
restore views and maintain the continuity of community life.

The focus on improving the communitys quality of life was an
incentive for the local people to get involved and commit to
the project. Forty-five percent of the costs of the residential
renovations were paid by the residents and the House Management
Cangqiao Historical Street / 2003
Office. The remaining balance, along with the cost of public works,
was funded by the city government. In order for the works to be
carried out safely and efficiently, residents moved out during the
restoration process and were compensated by the government.
As a result of the project, living conditions, streetscape, potable
and river water quality have improved. Each family now has their
own electricity and water meters along with private sanitary
facilities. Importantly for the community, the restoration of
the street and of river access has enabled residents to continue
customary activities, including the tradition of washing their
clothes in the river.
Although the project was not carried out to enhance tourism
prospects, since its completion Cangqiao Street has generated
much public interest. The street has begun attracting tourists and
has even been featured as a backdrop for the filming of a local
television series. Such outside interest has generated economic
opportunities for residents and is a further incentive to maintain
and preserve their heritage.
Award Citation
The urban renewal and architectural conservation of Cangqiao Historical Street marks an
important first step in protecting the unique amphibious landscape of historic Shaoxing. The
conservation project sets rigorous standards in documenting and preserving the towns built
heritage, and pays great attention to material authenticity. The project thoroughly addresses
both the public realm of streets and canals as well as the private domain of houses and shops
through comprehensive infrastructure upgrades and uniform design guidelines for property
owners. By providing improved urban services while respecting the historic fabric, the conservation project successfully demonstrates the viability of the historic town as a living and
vibrant showcase of Chinese heritage.
283

Walking on the stone road or boating on
the river, visitors will feel that they are in
the past. By providing a series of methods
and measures used for conservation policies, plans and practices, the project has
a pioneering and positive impact in protecting historical and cultural cities in the
future.
Above and top right: Floor plan and section of the

1927 residential compound No. 13.
Right, middle, far right: Features of compound
No. 133: carved window opening, Shaoxing-style
furnishings and stone-framed gates.
284
The Medina Grand Adelaide Treasury
Project synopsis
Built on the site of one of the earliest colonial buildings in South
Australia, the Adelaide Treasury Building remains significant to the
state culturally, socially and architecturally. The original building
on the site, designed by George Strickland Kingston, a prominent
statesman and colonial architect, was constructed in 1839, only
three years after settlement of the colony. In the subsequent 70
years the site underwent eight major construction phases, which
saw the almost complete demolition of the Kingston building and
the construction of a number of additional buildings to accommodate the increasing need for government offices. Since 1909,
however, the site has retained a consistent style and layout.
City map
Opposite: The Treasury building before and
after being converted for use as a hotel.
Location
2 Flinders Street, Adelaide, South Australia
Size
7,400 square metres
Cost
US$7,800,000
Responsible Party
Department for Information and Administrative Services, Toga Group of Companies
Heritage Architect
SJB Architects
Danvers Schulz Holland Architects
Contractor
The complex today consists of six buildings, constructed predominantly of brick and rendered stone and connected via linking
structures. Since the mid-1990s the buildings have been vacant
and neglected, prompting a private developer to team up with the
owner, the State Government of South Australia, to rejuvenate the
site and the surrounding neighbourhood by transforming it into
hotel suites for the Medina Grand chain.
The owners aim was for the building to be converted for a use
that was compatible with its historic fabric. This was consistent
with the view of the developers who wanted to create a worldclass hotel that would retain the buildings historic features. Both
parties realized that the greatest asset the building had to offer
was its historic significance, thus no effort was spared to ensure
this distinguished building was fully restored, displayed and
returned to the public.
The project was divided into three stages: research, design and
physical works. Extensive research was carried out in order to
determine how to best carry out the restoration project and
integrate new building services into the existing fabric. Physical
works commenced on-site in July 2001 and the final stage of the
project was completed in August 2002.
Multiplex Construction (SA) Pty. Ltd.
Date of Completion
August 2002
286
The revival of interest in the Treasury Building has raised

awareness about cultural heritage and sparked interest in other
heritage buildings in Adelaide. Importantly, the restoration of the
building has demonstrated that it can be economically feasible to
convert heritage buildings and that heritage buildings can play an

active part in modern city life.
The building had been marred by unsympathetic fit-out works that
had resulted in the loss of much of the original building fabric and
decorative features. The scope of works called for the removal of
inappropriate additions, the recovery of historic features and the
careful insertion of modern services and facilities needed for the
buildings operation as a hotel.
During the restoration works, all previous service installations
were removed as they were physically intrusive. For instance, airconditioning ducts from the 1970s, which had been concealed in
lowered false ceilings, were replaced with individual air-handling
units. This allowed the dropped ceilings to be raised, revealing
the original detailed plasterwork. Similarly, cast iron arches in
one section of the building, which had been encased in plastered
columns, were revealed by removing the plaster. The arched
colonnade now forms a unique architectural element within one
of the apartments.
Delicate areas of the site were quarantined (separated from the
surrounding construction) in order to allow for detailed investigations and cautious repair work. For example, an eight-metre fragment of the original building faade wall was revealed behind a layer
of later masonry. The soft sandstone wall had been covered with a
very hard dash coat which had to be manually chipped away with a
1.5 millimetre tip chisel by a specialist conservation mason. It now
forms the focal point of the main entry lounge. Workers also uncovered a small area rich in old objects, such as glass bottles and ceramic
plates. Some of these nineteenth-century artefacts are displayed in
the hotel lounge.
In the new construction works, materials were selected on the basis
of their compatibility with the original materials. However, the final
finishes were deliberately juxtaposed with the original fabric, with
ultra-modern fittings and bold wall colours combined with period
architecture to create an eclectic mix of old and new.
The Medina Grand Adelaide Treasury / 2003

The conservation community was closely involved during the
project. In addition to conservation architects and archaeologists,
all three levels of the state Statutory Heritage Control were involved in discussions regarding proposed restoration techniques.
Statutory Heritage Advisers were provided with unrestricted
access to the site and were invited to participate in discussions
with the architects before implementation of plans.
The conversion of the building into a hotel has facilitated public
access to the building, especially to areas that were previously
highly restricted, such as the former State Cabinet room. Since the
restoration of the building, public interest in the building has soared,
with tours of the complex regularly booked out.
Interest in the once neglected building is also demonstrated by
the high occupancy rate since the hotels opening. The hotel
has led to the revitalization of the surrounding area. As greater
numbers of people are drawn to the locality, new business opportunities have arisen and shops and restaurants have opened
in the neighbourhood.
Award Citation
The sophisticated conversion of the historic Adelaide Treasury Building into a luxury hotel
complex successfully demonstrates the commercial viability of reusing historic building stock.
The project displays exemplary technical standards of conservation work, with a thorough
archaeological survey that has guided the restoration and interpretation work. Modern services
have been sensitively inserted, respecting the integrity of the original fabric. By opening the
building to the general public, this conservation project has enabled appreciation for cultural
heritage to develop and has secured an important chapter in the history of South Australia.
287

The sheer size and complexity of the project
resulted in a wide variety of specialist
conservation techniques being implemented.
Once neglected, the site is now embraced
by the public and has revitalised the city
precinct within which it sits.
Above and top right: Floor plan and elevation.

Right: The restored entry foyer.
Far right: The former basement cellar now
displays artefacts.
288
The Virtuous Bridge
Project synopsis
Located in Medan, the third largest city in Indonesia, the Virtuous
Bridge crosses the Babura River near the intersection of Zainul
Arifin Street (Calcutta Street) and Gajah Mada Street (Coen
Street) in an Indian neighborhood known as Kampong Madras.
The city was founded as a Dutch plantation centre on Sumatra
and employed workers from various local ethnic groups as well
as from the island of Java. Immigrant workers were also attracted
there from many other Asian countries. Today Medan has a diverse
community with European, Arab, Indian, Chinese, Javanese, Batak,
Malay, Acehnese, Minangkabau, Karo and Mandailing cultural
influences. Built in 1916, the Virtuous Bridge reflects this diversity
through the three languages inscribed on its pillars, Mandarin,
Jawi and Dutch.
City map
Opposite: The bridge before and after refurbishment.
Location
Zainul Arifin Street, Medan, Indonesia
Size
Cost
US$7,028
Responsible Party
Sumatra Heritage Trust
Heritage Architect
Diagram Consultant
Contractor
Muhammad Zaini
The bridge commemorates the legendary mayor of Medan,

Tjong Yong Hian, a virtuous man of Chinese descent, who lived
from 1850 to 1911. A respected member of the community, he
is remembered for his cross-cultural philanthropy. Tjong Yong
Hian and his younger brother, Tjong A Fie, constructed a mosque,
temples, a leprosy hospital, school and even railways.
Because Tjong A Fie built the bridge in memory of his brother
many people knew the bridge as Tjong A Fie Bridge. Locals also
called it Jewellery Bridge, because it originally had sparkling
ornamentation. Later the bridge also came to be known as Tjong
Yong Hian Bridge.
With four black marble pillars, golden ornaments and 16 decorated
lamps, the bridge had been beautiful and much admired when it
was first constructed. However, in 2000, the bridge had become
very rundown after years of neglect following its relocation due to
the widening of Zainul Arifin Street. The text on the marble pillars
was no longer legible, the ornaments had lost their sheen and the
decorated lamps had been removed. Furthermore, the history and
multicultural significance of the bridge were no longer known by
many of the current residents of Medan.
Date of Completion
April 2001
290
The restoration of the bridge was initiated by the Sumatra Heritage

Trust as part of its third anniversary celebration and was seen as an
opportunity to revive the spirit of multiculturalism in Medan. The

projects main objective was to restore the bridge while ensuring
that all those involved gained a sense of belonging, celebrating not
only the bridges physical refurbishment but harmony among the
different ethnic groups. All work was undertaken by community
members using contributions from local businesses. The project
was completed in three months. Upon completion, the bridge was
submitted for protection under Local Regulation No. 6/1988.
The original condition of the bridge was established from
photographic records. A crew of local volunteers was mobilized to
clean up the bridge. The four marble pillars were repaired and one
was repositioned. The illegible inscriptions were repainted. Based
on a photo taken in 1916, the 16 lamps were reproduced and reinstalled on the pillars. The railings were restored, with missing
parts reconstructed, and completely repainted.
Although a simple project in technical terms, involving
predominantly cleaning and repainting of inscriptions and
ornaments, a major part of the project was to help the community
learn more about the bridge. A temporary display board was
installed during the works, until a permanent interpretation
board was erected beside the bridge. Designed by a local graphic
designer who volunteered his services, the board tells the history
of the bridge and of Tjong Yong Hian in Bahasa Indonesia and
English. It was the first public interpretation board ever in Medan
and from the information provided by the board, the importance
of the bridge has become clear to the younger generations of the
Medan community. This board has also paved the way for public
education about local heritage.

This project was very much a community effort and not only
were a spirit of multiculturalism and appreciation of heritage
revived, those involved gained a sense of stewardship and
belonging. Many sectors of the communitybusinesses, religious
The Virtuous Bridge / 2003
institutions, individuals and ethnic associationscontributed in

some way. Consultants and contractors donated their expertise
and time. Companies provided paint, steel and equipment.
Cafes and restaurants hosted meals and snacks, while a hotel
donated rubbish bins. Free publicity was provided by local media
outlets and the Medan municipal government agreed to provide
electricity for the bridges lamps indefinitely. The residents living
around and under the bridge have volunteered to maintain
the structure in the long-term and will report to the Trust for
assistance when required.
On 29 April 2001, upon the completion of the project, the
Sumatra Heritage Trust hosted a street party to celebrate the
successful joint effort. Reflecting the close cooperation of the
citys community members, the food bazaar was organized by
the local neighborhood, while different ethnic groups in Medan
put on cultural performances. A photo and sketch exhibition
showcased the newly restored bridge. The party culminated with
a Chinese dragon dance to the bridge led by the Deputy Mayor,
where the new interpretation board was unveiled and the new
lamps turned on.
Award Citation
The successful restoration of the Virtuous Bridge stands as a moving testimony to the unprecedented cooperation between residents, businesses and government agencies in the multicultural
city of Medan. Careful historical research has been translated into a thoughtful restoration
and interpretation scheme that is firmly rooted in the community. In the process of restoring the
historic condition of the bridge, the people of Medan have also uncovered an important chapter in their shared history and awakened a new consciousness about their local heritage. The
newly restored bridge has become a unique symbol of the citys multicultural legacy, and is a
model for future community-driven efforts in conserving local heritage throughout the region.
291
Top left and above: Elevation drawing and details of the

re-created lamps.
Far left, middle and left: Moving the lamp base in place.
Applying decorations and inscriptions in three languages.
The lamps after installation.
292
Catholic Cathedral of
Immaculate Conception
Project synopsis
Constructed between 1883 and 1888 and in continuous use
for over 115 years, the Catholic Cathedral of the Immaculate
Conception is a leading centre of religious activities in Hong Kong
SAR, a source of inspiration to the community and a symbol of
religious diversity.
City map
Opposite: The main faade before and after
conservation.
Location
16 Caine Road, Hong Kong SAR, China
Cost
US$1,119,100
Responsible Party
Reverend Dominic Chan
Heritage Architect
Anna Kwong, SL Lam, WC Mak
Bernard Hui, Charles Kung, TF Lo
Peter Tsui (Audio consultant)
Kevin Li, Levin Hung, Dominic Chan (Lighting
consultant)
Contractor
Societe Bond (HK) and Company Ltd.
Wenden Engineering Service Ltd.
Tai Yue Engineering Company Ltd.
Pacific Construction Ltd.
Date of Completion
8 December 2002
294
Designed by Crawley and Company of London, the Cathedral is an

imposing Gothic Revival style building in a cruciform shape with
a tower at the intersection of the nave and transepts. The building
is constructed predominantly of bricks and stone over a granite
platform and is supported by external buttresses. The Cathedrals
original timber roof was replaced with a concrete roof in 1952
and the main altar was reconstructed in the early 1980s. With
four main chapels, a collection of statues and relics and intricate
stained glass windows, the Cathedral is a significant attraction on
the Central district heritage walk. In view of its historical, architectural and cultural significance, the Cathedral was listed as a Grade
I Historical Building by the Antiquities Advisory Board in 1981.
The Cathedrals conservation programme began in 1997 when
major roof leakages were reported. The overall goals were to
preserve the Cathedral as a living structure and ensure that the
needs of the community continue to be met while enhancing the
character and significance of the building. The project focused
on reinforcing the structural stability of the building, restoring
historic and artistic elements and improving building services.
Spanning a period of five years, the project was completed in
December 2002. It has revived community interest in liturgical art
and architecture and has become a model for the restoration of
other religious buildings.
Thorough research and documentation established the historical
and liturgical significance of the Cathedral before any construction
plans were made. Monitoring checkpoints were set up throughout
the building and underground infrared scanning was carried out
to monitor changes in the water level. Defects in the structure
were analysed and an array of options carefully discussed and

tested before deciding on repair methods. For instance, in repairing
the roof, which was the major part of the restoration project, a
waterproofing liquid membrane was applied over a section of the
roof and its performance was tested for two years before it was
implemented for the whole roof.
In conformity with the Venice Charter, the project removed incompatible elements in the name of architectural integrity. Specialists
with traditional skills were appointed to undertake replacements
and repairs using compatible materials and techniques. For example, the blue mosaic backdrop in the niche for the Statue of the
Immaculate Conception that had been added during the 1980s
was removed. Similarly, the railing previously installed in the
grotto was removed and redesigned so as to be more compatible
with the setting. Concrete paving in the front portico, sacristy
and the side entrance was replaced with granite paving similar
to the granite of the Cathedral pillars. This paving was laid by
a specialist mason in the traditional manner. The Statue of Our
Lady of Lourdes was repaired and redecorated by one of the few
surviving local artisans with traditional skills in restoring statues.
So as to acknowledge the importance of Chinese martyrs and
saints, the Chapel of Our Lords Passion was renamed the Chapel
of Our Lords Passion for the Chinese Martyrs. A Chinese artist
was commissioned to replace the geometric design on the stained
glass windows with new images depicting the Chinese martyrs. In
keeping with the character of the building, the new stained glass
windows were produced using traditional stained glass techniques
and craftsmanship.
In order to enhance the ambience of the Cathedral the lighting
and acoustics of the building were redesigned to enhance liturgical
functions. The Cathedral was zoned into different sections in order
to achieve the desired lighting effects, with the main altar having
the brightest lighting and indirect lighting used for the rest of the
Church. Interior and exterior architectural features, such as arches,
and liturgical art and statues were highlighted with lighting.
To ensure the ongoing maintenance of the structure, the ad hoc
restoration committee was given a permanent role, charged with
Catholic Cathedral of the Immaculate Conception / 2003
overseeing regular maintenance of the building in a manner which

would reduce the need for expensive future repairs, while at the
same time allowing the building to develop its patina of age.

Project managers sought to ensure that all levels of the church
community were actively involved in the project in order for the
restored Cathedral to truly meet the needs of the stakeholders.
Information about the renovation was publicly displayed and
consultation sessions were held to enable parishioner feedback.
Various age groups of the parish community were invited to
evaluate such aspects as the lighting design and to test the
illumination and acoustic levels.
A steering group was formed to appeal for donations and to
organize fundraising events such as walkathons. Donations were
matched on a dollar-to-dollar basis by Cheung Kong Property
Development Ltd.
The systematic and sensitive approach to conservation planning
and the involvement of the community has made this project a
model for the restoration of other historic churches and religious
buildings, as well as for the construction of new churches in
Hong Kong.
Award Citation
The preservation of the Cathedral of the Immaculate Conception has revitalized this
religious landmark, which has a history of continuous use for 115 years. The non-intrusive
investigation of the building and the systematic process of testing possible solutions displays
technical competence and a keen understanding of the complexity of working with historic
buildings. By undertaking necessary repair work and upgrading the services in the Cathedral,
the conservation project has not only consolidated the physical historic fabric of the building,
but has also renewed the spiritual life of Hong Kongs Roman Catholic community.
295

Responsibility for the care and upkeep of
the Cathedral is passed onto each succeeding
generation. Good maintenance begins with
good housekeeping. The project reminded the
church community that pro-active prevention
and rectification of building defects should
be based on the principle of a stitch in
time saves nine.
Above: The Greek cruciform plan with 32

columns.
Top right: Section through the nave.
Right: Inappropriate finish was removed from
the side chapels.
Far right: The refurbished altar at the nave
and transept intersection.
296
Catholic Cathedral of the Immaculate Conception / 2003
Above: Services continued during

restoration works.
Left: The new scheme provided better
illumination and highlighted the interior
Gothic arches.
Technical Brief
Lighting and acoustic design

The Cathedral was first illuminated by candlelight, then by gas
lamps and, eventually, by modern electrical fittings, which were
introduced during numerous phases of subsequent refurbishments.
Prior to the renovation of the Cathedral the lighting with respect
to qualities such as uniformity, lighting level and glare control
was not suitable for the ambience of liturgical ceremonies. Rather,
the aesthetics of the lighting equipment appeared to have been
chosen to merely meet the functional illumination requirement.
In 2001 local lighting experts were invited to submit ideas for
improving the lighting design. The lighting improvements were

as follows:
The main altar was given a dominant lux level, appropriate for
the altars position as the focus of liturgical ceremonies.
Indirect lighting was established in the rest of the church, with
a relatively low and uniform lux level.
Architectural features such as arches, roof trusses, mouldings
a nd the liturgical art and statues were highlighted.
After long discussion among the various stakeholders, including
the parish priest, the parish community, the technical advisers
and the lighting consultants, the decision was made to:
Install high colour rendition, energy saving, and warm colour
metal halide lamps for the general upward floor lighting, to create a peaceful ambience.
Use 100% colour rendition tungsten halogen lamps for the
accentuation of statues and arches.
297
Use different lumination, with a variety of photometrics, to

achieve the lighting effect required in the celebration of the
Eucharist and other liturgical ceremonies.
Ensure visual comfort, uniformity, low contrast, good glare
limitation and energy efficiency as well as ease of maintenance.
Choose lumination carefully so that they blended with the architecture of the Cathedral, keeping the aesthetic disruption of the
fittings to a minimum.
Arrange zoning and control to suit the various liturgical ceremonies yet put aside money for expensive and sophisticated dimming systems. The circuitry and control were arranged with the
greatest care.
In September 2002, a trip to Macao SAR was organized to study the

lighting effect in St. Josephs Seminary, St. Domingo Church and
other sites.
As in many large-scale churches, the Cathedral was a huge
challenge for acoustic improvement as the large volume of air
and extensive reflective surfaces made the church acoustically
reverberant. Echoes were a common problem for the congregation
as they struggled to hear the sermon and join the choir.
The most common solution, using sound absorption treatment to
decrease the reverberation over five seconds (RT60 mid-band as
measured), was considered inappropriate as the introduction of
wall insulation panels would significantly affect the character and
atmosphere of the Cathedral. This option was also expensive.
and to limit the energy spilling into the upper part of the church
where large reflective wall surfaces would reflect unwanted sound
energy. The two line array column speakers, each consisting of 12
small speakers, were set up at the main columns in front of the
main altar at listeners ear-height to test if the system would meet
the requirements before commissioning the audio expert. The
church community and priests were invited after the Sunday mass
to see and listen to the test performance and evaluate its possible
effects on the historic building.
To devise an optimum design for the sound system, acoustic
modeling computer programs were used. A complete computerized
3D model of the interior of the Cathedral acoustics was built and
different audio system design approaches were tested. The sound
levels and speech intelligibility of the Cathedral were recorded at
all spots and inputted into the model for comparison. Parish priests
and members of the repair committees were invited to the audio
studio in December 2000 to speak into the microphone, hear the
simulation and compare the different designs according to different
speakers placements, before ordering the audio equipment.
With the system installed, the results have proven consistent with the
computer simulations and the effect of reverberation has been reduced
dramatically, thus achieving the required speech intelligibility.
Adapted from Catholic Cathedral of the Immaculate Conception
UNESCO Asia-Pacific Heritage Awards entry submission
A specialist acoustic consultant was asked to assist in the design of

a new system. The design objectives were:
Control echoes to ensure clarity of speech.
Distribute sound to ensure an even level of sound at all locations in the Cathedral.
High quality audio products of neutral character to keep the
visual impact to a minimum.
Ensure the new audio equipment would cause least intrusion
in the Cathedral and be reversible.
The suggested solution was to use the line array principle to focus
a wide but very flat energy pattern so as to concentrate the sound
298
Top, middle, above: Lighting schemes for the

interior and main faade were modeled using
computer programs.
Dalongdong Baoan Temple
City map
Opposite: Before the restoration the main hall
was obscured by a modern structure.
Location
61 Hami Street, Datong District
Taipei, China
Size
Cost
Project synopsis
Established in 1805, the Dalongdong Baoan Temple enshrines

deities from local folk religions, the most important being Baoshen
Dadi, the God of Medicine. Built to ensure the well-being of the
settlers on the island, the temple was named Baoan, literally
meaning protection. The land on which the temple is built was
donated by the Wang clan. The temple is a timber and masonry
structure with elaborate ornamentation. It faces south and
consists of three main halls and two wings. Combining different
architectural styles, including northern Chinese, southern
Fujianese and Hakka, the temple embodies ethnic diversity.
The goal of the project was to restore the original spatial layout
and structure while maintaining the highest level of authenticity.
The project emphasized the recovery of original materials where
possible, and incorporated the use of modern conservation
technologies with traditional materials and construction methods.
Teams of craftspersons were recruited for the project, including
carpenters, roof specialists, painters and artisans. New materials
and techniques were permitted only in special circumstances, such
as for the provision of modern services, and only if compatible
with the preservation of the historic fabric of the temple.
Prior to this restoration, the temple had been renovated four

times, most recently in 1967. Since then few repairs were carried
out and the temple had deteriorated. By the early 1990s, it was
in a highly dilapidated condition. A banyan tree had sprouted up
on the ridge of the main hall. Termite infestation, roof leakages
and human impact, such as build-up of incense soot, all had a
deleterious effect on the internal structure and the decorative
works. Incompatible modern elements had also been added
over time, such as a platform in front of the entrance hall and a
reinforced concrete water tower.
In keeping with conservation protocols, careful documentation

was undertaken throughout the project to record the buildings
condition, the historic fabric and the repair works. For example,
when the paint from recent renovations was removed, the original
paintings underneath were photographed as a reference before
the artwork was restored. The structural system of the temple was
also carefully modeled with 3D software to better understand the
stresses on the timber frame. The strength of the wooden members
was tested using non-invasive ultrasonic techniques.
In 1994, the Baoan Temple Committee proposed a restoration plan

to repair the roof and wooden structures, remove inappropriate
elements and restore religious ornamentation. Work began in 1995,
with the most vulnerable parts of the complex being restored first.
Entirely funded by the temples followers, the restoration project
was completed in 2002.
US$7,430,000
Responsible Party
Liao Wu-Jyh
Heritage Architect
Gao Er-Pan, Wang Song-Yong, Tsai MingChe, Chu Yao-Qin, Wang Huey-Jiun
Contractor
Committee of Historic Relics Restoration of
Date of Completion
February 2002
300
Traditionally the temple was not only a place of worship but also
a community hall. Since the renovation, its traditional function
has been revived and the temple is now used as a gathering place
by many community groups, for example reading groups, English
conversation classes, the Baoan Temple Chinese Orchestra and the
Cultural History Work Association.
Prior to the commencement of works, a protective structure was

erected over the building in order to protect it during the course
of the project. Boards were erected to protect significant pillars
and walls, while projecting wood carvings were wrapped to avoid
inadvertent damage.
The first stage of the construction works included the removal of
incompatible elements, such as the 1950s-era canopy in front of
the main hall. The original stone paving in front of the entrance
hall was uncovered, while auxiliary buildings such as the bell
pavilion were restored to their original timber structure.
The roof of the dilapidated main hall was disassembled to allow
for the repair of rotten wooden members, which required the
stabilization of the decorative roof ridges, removal of roof tiles
and the step-by-step removal of the beams, rafters and purlins.
Replacement timber parts were milled using hand tools and
hoisted back into position, and the roof reassembled.
Dalongdong Baoan Temple / 2003
In the interior, the later use of modern paints, non-ventilating

doors, cement plaster and ceramic bricks in the walls and floors
had led to high levels of humidity, which exacerbated the termite
problem. They were removed, either revealing the original
materials, such as the intact original brick walls, or replaced with
traditional materials. The replacement door panels were newly
carved with the original perforated latticed designs. Modern
concrete columns were removed and replaced.
The temple is renowned for its elaborate decorative works. The
principle of maintaining original colour and appearance guided
the repair of the colourful frescoes, moulded plaster works,
intricate wood carvings, glazed ceramic ornaments, golf leaf and
lacquer appliqu, and porcelain mosaics. Previous attempts at
restoring the paintings during earlier renovations had produced
unsatisfactory results so experts were invited from Japan and
Austria for this project. A wood-carving expert from Zhangzhou
was also brought in to repair the wood carvings. Where the
original pieces were beyond repair, replicas were created using
camphor wood.
In the restoration of the intricate chien nien (porcelain mosaic)
roof ridge decorations, the glass and acrylic fragments used in a
previous restoration was replaced with the traditional porcelain
bowl shards. Likewise, a lime-based bonding agent was produced
Award Citation
The conservation of the 1805 Dalongdong Baoan Temple represents a major technical
accomplishment and is to be commended for its ambitious scope and the depth of its conservation
work. The project has taken a balanced approach between using modern scientific conservation
methods and traditional architectural and decorative materials and skills, in order to recover
as much of the historic building fabric as possible. The meticulous attention to detail and
the generous sponsorship of the project has resulted in the comprehensive conservation of the
structures religious and architectural significance.
301
on site in lieu of cement mortar. This consists of oyster shell

ash mixed with glutinous rice, black sugar, white ash and linen,
which is immersed in a tank until it reaches a thick and sticky
consistency.
Modern facilities such as water pipes, electricity, air-conditioners
and a fire control system were installed. In order to minimize visual
disturbance, they were buried underground and are controlled
through a centralized computer system. Efforts were also made
to protect the building against termites and mildew. Termites were
considered to be the most serious problem. New wood members
were soaked in pesticide. Old timber was injected with pesticides
and in areas where injections were not possible, such as between
the rafters and beams, a spray treatment was used. Inspections
for termites have become routine and reapplications of pesticides
have been scheduled for every five years.

During the restoration process the community gained invaluable
knowledge about conservation both through their own activities
and through interaction with restoration experts. In addition,
a series of seminars about cultural relics was conducted in the
temple grounds, creating opportunities for the exchange of
knowledge between overseas and local consultants.
The use of the temple grounds for community gatherings and
classes has led to the revival of local traditions. Furthermore,
classes such as Traditional Puppet Show Camp have breathed
new life into once-forgotten skills and performing arts.
Top: The elevation shows the richly

ornate faade.
Above: Floor plan.
Left: The crew hoists up a roof beam.
302
Media coverage of the restoration works and about the renewed

temple has sparked tourist interest in the area, increasing the
possibilities of developing tourism-related businesses and
creating new economic opportunities for the local community.
Gota de Leche
City map
Opposite: The fine Italianate building before
and after conservation.
Location
859 S H Loyola Street, Sampaloc, Manila
Philippines
Size
337 square metres
Cost
US$71,201
Responsible Party
La Proteccion de la infancia, Inc.
Heritage Architect
Augusto Villalon
Liliane Rejante Manahan
(Wall finishing consultant)
Contractor
Felicisimo M. Consuelo
Date of Completion
September 2002
304
Project synopsis
Situated in the congested university belt of Manila, the Gota de

Leche building is an exceptional structure surrounded by modern
medium-rise buildings of nondescript architecture. Completed in
1917, it is one of the few remaining buildings designed by Arcadio
Arellano, one of the founding fathers of Philippine architecture.
Modeled after the Ospedale degli Innocenti, an orphanage in
Florence created by renowned Renaissance architect Brunelleschi,
the Gota de Leche is an example of a successful adaptation of
Italian Renaissance architecture to the tropics. The building
incorporates an arcaded loggia with glazed terracotta spandrels,
providing a wide verandah that shades the large windows of the
building from the tropical sun. Since its construction in 1917, the
Gota de Leche building, whose name means Drop of Milk, has been
the home of La Proteccion de la Infancia, a charitable organization
providing free pediatric care and milk to indigent children.
Authenticity was the main principle guiding the restoration

process, so the first step was to remove additions and changes
made to the building to restore it to its original appearance. In
the 1950s, a new annex had been constructed on the southern
end of the building, along with three other structures built to
house classrooms used by the neighbouring university. These were
removed, thereby re-establishing sightlines from the street to the
historic building as well as providing vehicular access to the rear
parking lot. The complexs historic layout was further enhanced by
the restoration of the front garden with period landscaping.
While the Gota de Leche has long been regarded as an icon in

Philippine architecture, in recent years it had begun to show signs
of significant decay and, due to high land values, the site was a
target for real estate developers. While most heritage buildings in
Manila are being demolished to make way for modern structures,
the owners of Gota de Leche wanted to restore the building to
its original 1917 condition, in order to continue its historic social
function and to take on an expanded public role.
Luckily the building had escaped damage during World War II,
so the foundations and structural system of the building were
still in sound condition at the time of restoration so no major
structural works to the main building were required. As a result of
the project, the elegance of the Gota de Leche building has been
restored, with the building now sitting in stark contrast to the
urban decay of the surrounding environment.
In the interior, the full mezzanine on the ground floor was

replaced by one covering only half the area. Dropped ceilings
installed during the 1950s for air-conditioning purposes were
also removed, revealing the original wooden ceilings, with the
mouldings, carving and exposed trusswork completely intact.
Most of the materials used in the original construction are still
available in the Philippines today, so almost all materials used in
the restoration process were the same as the original. The flooring
tiles, for example, were replaced with the same tiles as the originals,
which were even produced by the same company. Similarly, the
wooden-framed kapis (placuna placenta) shell windows, a typical
vernacular feature, were also duplicated. No longer available in
Manila itself, they were sourced from Albay province where the
traditional skills and raw materials still exist.
Local construction skills were revived and conservation knowhow was transferred to the builders as part of the process. The
general contractor selected for the project was himself a skilled
wood craftsman who had experience in a number of previous
restoration works and was therefore familiar with the need
for emphasizing authenticity in the works. For example, in the
repair and replacement of broken grillwork, the project architect
worked with local iron forgers. Based on an examination of the
existing examples on site, they employed the traditional method
of attaching steel bars with rings and riveting, along with the
manufacture of cast lead decorative elements. Likewise, in order
to undertake hand-finishing of wall and ceiling surfaces, local
Gota de Leche / 2003
painters were trained by the heritage consultant in classical wall

finishing techniques.

Open for public access, this landmark building continues to be
used for a charitable function. It now also houses the first national
centre for womens rights, which provides counseling services for
local women. A permanent exhibition informs users and visitors
about the history of the building. The re-landscaped front garden
is a welcome green space in the congested and polluted innercity neighbourhood. Providing a venue for various community
activities, the site continues to have social significance not only
for nearby residents but also for people from around the city.
The restoration project has demonstrated to the public the
modern viability of heritage structures, and has thereby raised
public awareness of the value and use of historic buildings, as an
alternative to demolition. In March 2003, the National Historical
Institute of the Philippines honoured the structure for its
outstanding contribution to Philippine architecture. The building
had also received earlier recognition for its historical significance
in October 1977.
Award Citation
The careful restoration of the 1917 Gota de Leche building provides a welcome model for
preserving Manilas rich architectural and social history. The removal of unsympathetic
additions, the restoration of the original landscaping, and the use of traditional crafts in
repairing the dilapidated building have been undertaken within a clear and low-intervention
conservation framework. Returning the building to its original appearance and prominence in
the University Belt neighborhood provides a worthy and appropriate setting for the sustained
operation of Gota de Leches charitable programmes, while demonstrating a commendable
commitment to advancing the local conservation agenda.
305

Gota de Leche demonstrates that one of
the most important ways to improve the
quality of Manila life is through architectural restoration. It is hoped that this
project will set an example for other projects in Manila and the rest of the country.
Top: Ground floor plan.

Top right: Side elevation showing the colonnade.
Right, far right: Restored upper landing area,
which was marred by decay and graffiti before
conservation.
306
Excellent Project
Baltit Fort, Karimabad, Hunza Valley, Pakistan
Church of Our Lady of Mount Carmel, Mullewa
Western Australia, Australia

Lakhpat Gurudwara, Lakhpat Village, Kuchchh District
Gujarat, India
St. Ascension Cathedral, Almaty, Kazakhstan
Award of Merit
Dadabhai Naoroji Road Streetscape, Mumbai, India
Dorje Chenmo Temple, Shey Village, Ladakh, India
Phra Racha Wang Derm, Bangkok, Thailand
St. Thomas Cathedral, Mumbai, India
Vietnamese Traditional Folk houses, Viet Nam
Honourable Mention
Elphinstone College, Mumbai, India
Female Orphan School, Sydney, Australia
Gongziting, Beijing, China
Namuna Ghar, Bhaktapur, Nepal
Suzhou River Warehouse, Shanghai, China
Tak Seng On Pawnshop, Macao SAR, China
Zargar-e-Yazdi House, Yazd, Iran
Zhangzhou City Historic Streets, Fujian Province, China
Baltit Fort
Village map
Context
Project history
Baltit Fort is situated dramatically on an outcropping overlooking

Karimabad village in the Hunza valley. Now part of the Northern
Areas of Pakistan, the Hunza was once a princely state ruled by a
succession of Mirs until 1974. The valley, located between China
and India, is dominated by the Ultar glacier and Rakaposhi, one of
the highest peaks in the world.
In 1989, the former Mir of Hunza donated the fort to the Baltit
Heritage Trust (BHT), a community-based public organization
which was established by the Government of Pakistan for the
purpose of owning and operating the fort. This donation to a
public entity enabled the Aga Khan Trust for Culture (AKTC) to
sponsor the restoration project. The work was undertaken by the
Aga Khan Cultural Service Pakistan (AKCSP), which is the operating
arm of the Historic Cities Support Programme (HCSP) of the AKTC
in northern Pakistan.
A massive stone structure with intricately carved timber details,

the Fort has stood for centuries as the sentinel to the valley,
protecting the traditional settlements which are gathered below
it. As an architectural monument and the residence of the former
ruling family of the Hunza, it forms a significant part of the
cultural heritage of the valley and of Pakistan.
Although still remote, the area is experiencing a rural to urban
transformation which is affecting both the social and built fabric
of the place. Today the restored fort anchors a revival of local
culture and a rising tide of tourism in the valley, underscoring the
importance of preserving the integrity of the cultural and natural
heritage in the context of sustainable development.
By that point in time, the building condition had deteriorated,

facing serious structural and geotechnical problems from the steep
slope and lack of soil stability. The project had to overcome major
logistical challenges due to the remoteness of the area and the
limited access to the site. The difficulty was further compounded
by the discovery of significant structural defects during the course
of works. The project was undertaken over a six-year duration, and
was completed in the spring of 1996.

Location
Hunza, Pakistan
Size
5,000 square metres
Cost
US$1,034,482
Responsible Party
Baltit Heritage Trust (BHT)
Heritage Architect
Aga Khan Trust for Culture
Contractor
Aga Khan Housing Board for Pakistan
Date of Completion
October 1996
310
Building history
By local accounts, Baltit Fort is believed to date back over 700
years when it formed part of a royal dowry for the marriage of
a princess of Baltistan to the reigning prince of Hunza. Radio
carbon testing has confirmed this date. The earliest historic
documentation was undertaken by occupying British forces in the
late nineteenth century and provides valuable reference of the
historic state of the fort in written and photographic form.
The plan of the structure shows that it was originally built around a
core of one or two fortified houses, which then evolved into a fort.
Over time, a second storey and subsequently a partial third storey
were added. Until 65 years ago, the fort remained the residence of
the Mirs of Hunza and was only vacated when the last Mir and his
family moved to a modern residence below the village.
In keeping with the mandate of the AKTC, the project aimed to

promote both heritage conservation and cultural development
at the same time. The project was part of a larger programme
to safeguard the cultural heritage of the mountainous regions
through the inventory and preservation of historic monuments
and traditional settlements. The revival of cultural heritage would
allow it to become an instrumental tool to improve the living
standards of the local residents and revitalize community life
around the fort. Proactive heritage management would enable
the local community to benefit from new income and enterprise
opportunities, for instance, from tourism development and
handicraft promotion.
The project adopted a grassroots conservation approach which
allowed heritage concerns to be integrated seamlessly into
the community development agenda. For example, traditional
Baltit Fort / 2004
livelihoods were revived by training local builders and woodcarvers

in vernacular construction and woodworking skills.
At the same time, in addition to supporting traditional
construction know-how, the project also aimed to introduce and
disseminate international conservation practices in the country.
Architects, engineers and craftsmen benefited from on-site
training, which was supplemented by additional courses overseas
at York University and ICCROM.
The physical shell of the fort was stabilized through strengthening
bearing walls, floors and roofs. The buildings timber cage structure
was reinforced to withstand seismic shocks and continued
weathering. Minor interventions and the installation of modern
services were required to convert the building into its new use as
a museum and cultural centre.
and materials
The conservation of Baltit Fort was planned in stages. The most
urgent task was to identify and then remedy the structural problems
related to the foundations and load-bearing walls. The structural
stabilization then allowed for the subsequent conservation of
architectural fabric and finishes. The stabilization works were often
undertaken in conjunction with repairs to the fabric. For instance,
while a wall at the south end was still being underpinned with new
foundations, the emergency stairs at the north end were patched
and whitewashed. Finally, new elements required for the modern
use and safety of the structure were inserted.
Left and above: The fort complex before

and after conservation.
To enable works to be undertaken in parallel, the fort was divided

into 13 workstations which operated as structurally-independent
units. Each station comprised a portion of the main facade and
the set of rooms located behind it. At each of the stations, work
progressed through the stages of work in the same sequence,
beginning with temporary and preparatory works, followed by
reinforcement of the foundations. Next, wooden wall elements
forming the structural cages were restored. This was followed
by the consolidation, replacement or reinforcement of stone and
311
Top left and right: The projecting balcony

Above: The floor plan shows the interconnected rooms and courtyards.
Opposite: Cross section through the fort.
312
mud mortar used as infill in the walls. The surrounding retaining

walls were also reinforced. Finally, roofs and floors were restored
or replaced, and finishes were reinstated. Whenever possible,
traditional construction techniques and materials were used for
repairs. Samples of the original materials were taken from the
walls, floors and ceilings for investigation and to be preserved
for future study. Based on the studies, matching local stone,
mud and timber were selected. The traditional materials have the
advantage of being locally available, affordable and providing
good thermal comfort. Over centuries of use, they have proven
to be both earthquake resistant and long-lasting. Moreover, local
builders and artisans were mostly familiar with these materials
and techniques. The restored building showcases years of hard
work by a dedicated group of masons and workmen from Hunza
and adjoining areas.
The exterior facade of the fort was maintained with its characteristic
soft white render, which dates back to approximately 1900 when
Baltit Fort / 2004
Mir Mohammed Nazim Khan had the walls whitewashed, possibly

under British influence. Discussions ensued about the possibility
of returning the fort walls to their traditional state, exposing the
timber and rubble structure, or their later finish of mud render. It
was ultimately decided that the whitewashed facades, providing
a dramatic contrast against the grey mountainside, had become
one of the distinguishing characteristics of the fort, and should
therefore be retained.
In certain cases, modern techniques were required when the
traditional technologies could not achieve adequate levels of
safety. Following considerable research and experimentation, it
was deemed necessary to use modern tie ropes, soil-reinforcement
and stabilization techniques, and wood preservatives. Indeed,
the use of Parafil tie ropes and Geo-mesh soil-reinforcement
technology was the first application of these technologies
in historic buildings anywhere in the world. None of these
conservation works involved alteration of the original structure
or its proven resistance to earthquakes.
When new architectural elements were required, such as the
metal grill floor and the emergency staircase, they were fashioned
from modern materials in a contemporary design and inserted in
ways sympathetic to the original structure. All modern insertions
were designed to be irreversible without damaging the adjacent
original fabric. A new suspended floor was added in the area
planned for use as the public library, and allows occupants to
inspect the underlying archaeological features uncovered during
excavation works. The project also installed modern electric and
plumbing services, a small pantry, toilets and an emergency exit.
The fort was converted to house a museum collection illustrating
the history of the region and a cultural centre consisting of a
library, a research and study room, and audio-visual facilities. In
addition, five old houses in the immediate vicinity of the fort were
acquired and restored to accommodate an exhibition of traditional
ways of living, a coffee shop and a small administrative office. The
functions, exhibitions and interior fit-out were carefully designed
to be compatible with the forts former use and to highlight its
unique historic character.
Award Citation
The restoration of the majestic 700-year-old Baltit Fort exemplifies excellence in large-scale
conservation practice. This challenging project was the first of its kind in northern Hunza,
reversing the trend of neglecting heritage, and becoming a model for the revitalization of other
historic structures in the region. The monumental wood and masonry structure was carefully
repaired using a combination of traditional local knowledge and state-of-the-art conservation
techniques. The forts restoration has fostered the revival of traditional building trades, while
an associated handicrafts project is providing improved livelihood opportunities in the area.
In its new use as a cultural centre and museum, the fort attracts thousands of visitors to the
province and has contributed to reinvigorating the local communitys pride in their heritage.
313
Important issues
Since this was the first conservation project of this scale to be
undertaken in the Northern Areas, it was conceived as a learning
process for everyone involved. To maximize the long-term benefit
from the project, the site workers, masons and other craftsmen
were all drawn from the local community. The range of conservation
issues which emerged through the course of the project required
careful consultations and innovative approaches from both the
craftsmen and the professional consultants. Hunzas distance
from regional administrative and finance centres in Karachi, as
well as from the AKTCs headquarters in Geneva, added operational
complications which had to be overcome by the team.

The BHT owns and operates the Baltit Fort. A team of professionals
looks after all aspects of operations and management, including
repair and maintenance. Additionally, a reserve fund has been
created for the forts upkeep and emergencies. Facilities in the
museum and library are continuously enhanced and improved
in order to diversify income opportunities. Meanwhile, the local
community is responsible for maintaining the surrounding built
environment and the road leading to the fort, organizing cultural
festivals and ensuring security.
Project impact
The restoration of the fort has transformed Baltit into a focus
of interest in the Northern Areas, while lending local culture a
renewed legitimacy in the face of powerful factors of change
introduced in Hunza over the past few decades. Eventually, the
fort is expected to act as a focal point for research on local
traditions and as a centre for exchange between international
institutions in need of a base for their fieldwork in the region.
314
Baltit Fort / 2004
The project was also seen as an opportunity for training young

conservationists from Pakistan, as well as for the revival of
traditional crafts. For instance, the woodcarving tradition has a
long history in Northern Pakistan, but had in recent years begun
to die out. The restoration of Baltit Fort provided an opportunity
to revive this tradition through skill enhancement and training
programmes. A reservoir of conservation expertise has thus been
created which will benefit other projects in the Northern Areas
and beyond.
In terms of direct economic benefits, in the first eight years since
completion of works over 120,000 visitors have visited the fort,
with foreigners accounting for 40 percent of this group. These visits
translate into income of over US$300,000. In indirect terms, the
restoration of the fort has been a catalyst for associated projects,
such as the Karakoram Handicrafts Development Project, which
focuses on providing income-generating opportunities for local
craft workers through promotion of the traditional handicrafts
of the region. Currently, this project provides additional income

to more than 3,000 women and direct employment to over 70
women, while its rehabilitation centre provides work therapy to
60 disabled men.
Opposite
Top: Musicians perform on the restored
terrace.
Bottom left and right: Ground floor entrance
before the restoration.
As a result of the restoration, awareness about and respect

for cultural heritage has improved. In particular, traditional
settlements are now recognized for their ecologically-friendly
nature and efficient land use patterns. Consequently, demand
for conservation of architecturally and historically significant
buildings and settlements has increased in the region. Traditional
building techniques and skills are now in high demand. The
most significant impact of conserving the fort on mainstream
development policy is that cultural heritage has been recognized
as an effective tool to achieve sustainable development.
Above left, middle: The waiting room of the

former Mir before restoration. Exhibits
feature displays of local crafts and clothing.
Above right: Kitchen utensils and agricutural
tools displayed on the ground floor.
315
Technical Brief
strength polymer mesh that helps redistribute horizontal loads as

vertical forces, thereby relieving lateral pressure on the walls.
Foundation consolidation
The south faade was stabilized with the insertion of new

foundations at both ends. The middle section was left to span
the new foundations, easily achieved with the horizontal timber
cators. The new foundations are vertical columns of cribbage,
timber and stone sunk to hard moraine, six metres below ground
level. The two southeast towers were found to be pulling away
from the main structure, which was not surprising since they
turned out to have been built with no foundations at all. The
tower walls were suspended while new foundations were
inserted beneath them. The new reinforced concrete bases
were made as large as possible, allowing the load to be widely
distributed and not, as before, only vertically downwards. The
walls above were then tied to the main structure in order that
they effectively act as buttresses.
One of the major restoration issues concerning Baltit Fort was

the consolidation of its foundation. Early investigations showed
that the most significant defects of the fort resulted from the
interaction of the structure with the ground. Some of these
defects are the result of the siting, since the earliest phases of
the building were erected on top of the moraine, where the soils
are hard in surface and feature large boulders. Deep foundations
are required on slopes where in situ soils are loose, and thus
the foundations were designed also to act as retaining walls.
Similarly, deep foundations were required in areas where fill had
been deposited to extend the size of the site, or thrown off the
roofs onto the slopes during maintenance. In some instances
ground works did not exist, such as in the case of later additions
that were put up as minor extensions or rooms built over preexisting retaining walls of unknown foundation character.
Generally, the original foundations were roughly formed with
rubble stone and with longitudinal timber beams placed casually. The overall footing system is therefore fairly discontinuous
from the walls above. The increased load pattern of additional
rooms helps to explain the structural deformation which occurred at different times throughout the history of the fort.
The greatest problems were presented by the main west faade,
which showed active and old signs of severe tilting and bowing.
The complex series of walls which comprise the west faade was
first stabilized at the two ends, thereby helping to anchor the
middle section where the problems were the greatest. The west
wall, being less than 40 centimetres wide, had to be restrained
with temporary Parafil ropes across to the other side of the fort.
This permitted excavation of the high ground-level in the rooms
behind, and the walls were dismantled as necessary and then
permanently tied or slightly pushed back. The infill of the walls
could then be replaced, and the inside ground levels re-established, incorporating Geo-mesh reinforcement. This is a high-
316
While it was relatively easy to detect localized soil weaknesses

that had been signaled by defects, it was sometimes not possible
to rectify the underlying problems. This was due to several
reasons. First, some areas of loose soil were very deep, often
more than five metres, and excavation to such depths would
have jeopardized more stable soils in adjacent areas. Second,
drilling holes for grouting to stabilize the foundations was ruled
out, as water flush systems would have caused soil settlement,
and air flush might possibly have moved the stones around
and damaged the drill holes. Third, grouting of cavity-prone
material would have risked surcharging the ground, thereby
making settlement greater, not smaller; it could also have
caused bowing in nearby retaining walls as the grout found its
way downward into uncharted soil conditions. In cases where
walls were found to be settling or where the soil was particularly
loose, one technique employed was to increase foundation
widths to stepped strip footings, thereby reducing bearing
pressures. Another technique was to span weak areas below the
foundations with timber cators, in a fashion similar to placing
lintels above window openings.
Salman Beg

From the inception of this project, it was
recognized that the new economic forces
associated with development and tourism,
if not properly controlled, could spoil the
beauty of the natural setting and the cultural heritage which are the areas main
resources. Economic progress and wellbeing are to a certain extent dependent on
Karimabads environmental qualities and
therefore development must be guided in
order to preserve these essential assets.
Church of Our Lady of Mount Carmel
Context
The Church of Our Lady of Mount Carmel and its attached
priesthouse are located in the township of Mullewa in rural
Western Australia. The area saw a population boom in the early
twentieth century with the construction of the railways, which
brought new settlers who farmed wheat and raised sheep. Today
the church remains a landmark for the remote communities in
Mullewa and the Mid-West region.
Town map
Location
Mullewa, Western Australia, Australia
Size
450 square metres
Cost
US$187,500
Responsible Party
Parish of the Church of Our Lady of Mount
Carmel
Heritage Architect
John Taylor, Katrina Chisholm
Contractor
Roof and Wall Doctor Pty. Ltd.
Admiration Homes
Date of Completion
May 2003
318
Designed in Romanesque style and built in local stone and

timber with accented hand-made concrete corners, reveals and
mouldings, the church is noted for its monumental character
and rustic hand-finished surfaces. Composed in simple geometric
volumes, the building is adorned with stained glass windows. The
Priesthouse is connected to the main building by a colonnade and
shares the same stylistic attributes. Together, they are listed on the
Australian Heritage Commissions Register of the National Estate,
the Heritage Council of Western Australias Register of Heritage
Places, the Shire of Mullewas Municipal Inventory of Heritage
Places, and the National Trust of Australia (WA) List of Significant
Heritage Places.
Building history
The church was designed and constructed between 1921 and
1930 by Monsignor John Cyril Hawes, who served as the first
resident parish priest in Mullewa for over twenty years in the
period after World War I. Trained as an architect, the British-born
Hawes gained renown for his church architecture, which was
characterized by recasting classical forms to suit the local context.
He noted, A proper church is no mere assembly hall, theatre or
auditorium for preaching and community singing; but it is first of
all a place of sacrifice It should breathe forth an atmosphere of
prayer, or religious awe and supernatural mystery. In designing
the Church of Our Lady of Mount Carmel, he was inspired by the
churches of southern France during the transition period from
Romanesque to Gothic architecture, in combination with the
Spanish Franciscan missions of California. Hawes worked as the
builder, mason, laborer and general procurer of fittings, as well as

raising funds to pay for the construction. With increasing support
from the parishioners, both in terms of funds and assistance in the
construction, and the additional hands of a professional mason,
the works were accelerated, allowing the church to be opened
in May 1927. The Priesthouse was built from 1927-1930, and
a north transept was added in 1962 to meet the seating needs of
the growing parish.
Rising, falling and penetrating damp over time had led to
maintenance problems, evidenced in efflorescence on the floors.
By the 1950s, the mortar was decomposing, with sandy material
falling out of the mortar joints copiously. Attempts to render
and seal the walls with cement-based mortar only aggravated
the problem by forcing the stone-destroying water-borne salts
further up the walls, as well as altering the appearance of the
buildings.
Project history
In the early 1990s, the continuing deterioration of the masonry,
transmission of moisture through the church floor and walls, and
increasing vandalism of windows led the parish to seek advice
on the ongoing care of the place. An assessment was conducted
in 1994 of the building, which led to its listing on the Western
Australian State Register of Heritage Places, and a conservation
plan was prepared in 1995 to guide conservation works.
Once the conservation plan was approved and adopted by the
parish and the Heritage Council of Western Australia, the parish
acted immediately to secure initial conservation funding from the
Heritage Council. Works were undertaken over a decade, ending in
2003, in order to minimize disruption to the ongoing use of the
church, as well as to amortize the heavy conservation costs for the
parish and allow time for ongoing fundraising.
It continues to serve as the local Catholic church while the
Priesthouse is used as a museum displaying memorabilia relating
to Hawes. A parish council assists the priest in maintaining the
church, Priesthouse and grounds.
Church of Our Lady of Mount Carmel / 2004

Within the framework of the Burra Charter, the project sought
to preserve the original fabric in its original state and retard
deterioration while removing intrusive and destructive elements.
Missing elements were recovered and weathered fabric restored.
The project scope included the urgent repair and protection of
the stained glass windows, replacement of the floor, restoration
of the external masonry faade, removal of cement render and
mortar on the internal and external surfaces, and repairs to the
dome. Other conservation-related issues included the installation
of a security system and a termite control system, lighting design,
boundary wall reconstruction, archiving of historic artifacts, and
restoration of the choir loft organ, artwork and bellows.
and materials
The architect conducted extensive research of photographic
archives, oral interviews and on-site investigations of the building
prior to commencement of works, which were documented in
video and photographs as a permanent record and a reference
for the ongoing works.
Left and above: Incompatible cement

renders were removed from the church.
Due to their critical condition, the stained glass windows were

repaired first. In order to protect the windows from strong sunlight
and vandalism, different solutions were considered. Ultimately,
screens were fabricated from frameless polycarbonate sheets,
which were installed using galvanized fixings with allowance
for thermal expansion. The screens were designed to protect the
windows from ultra-violet rays and accidental breakage, control
insects and dust, and fit in with the style and character of the
church.
At the end of the winter of 1996, the project architect and a
materials chemist carried out tests on the masonry to determine
the cause of its deterioration and direct the course of the
319

The respect for the original architects
work is expressed in faithful and
meticulous interpretation of the historic and
physical evidence. The work demonstrates
the attention to detail and depth of courage
required to bring a project of this nature to
fruition.
Above: Floor plan.

Top left and right: Before and after photos
show the cement render removed from
masonry entrance.
Opposite: Side elevation.
320
restoration works. The masonry walls of the buildings had originally

been constructed with a combination of randomly coursed local
stone and coursed concrete blocks, bound by lime, cement and
sand mortar. The walls had been laid on stone footings, on a gravel
and clay combination foundation, with a bituminous damp-proof
course built into the wall at approximately floor level. A portion of
the cement render and intrusive concrete apron around the building
was chipped off to locate the damp-proof course and footings.
The samples were tested for moisture, salt and composition, along
with samples of the original mortar. As suspected, rising damp,
on account of these inappropriate materials, had weakened the
stonework.
Stone and concrete blocks that had been cosmetically destroyed
by salt action were replaced. The original rock quarry and source
for the mortar sand were located and used. The external cement
render was removed, exposing the historic stonework underneath.
Internal cement render which had been added in the nave, choir
loft, porch, baptistery and pulpit were removed, along with
the restoration of the sanctuary, south transept walls, dome
and sacristy. Mortar pointing was removed and the joints were
repointed. New mortar was mixed by the masons to match the
old mortar which was applied with a rustic finish in accordance
with historic photographs. The bell tower was repointed and the
dome repaired.
The porous concrete floor in the nave and narthex, and the
poor draining soil underneath, was removed in order to install
a waterproofing membrane before reinstalling a new reinforced
concrete floor. The contractors were careful to match the existing
levels and reproduce details of the original floor.
The works were undertaken in a total of eight stages. At each
stage, the works were approved by the Heritage Council of
Church of Our Lady of Mount Carmel / 2004
Western Australia. Photographic recordings of the existing fabric

were made prior to the commencement of works. All moveable
objects were removed temporarily while floors and fragile church
property were protected. All the completed works were inspected
by representatives from the parish, along with the architect and
the Heritage Council.
Important issues
The church parish has been instrumentally involved in the
project from the commissioning of the conservation plan to the
execution of conservation works over the years. Their decade-long
commitment to the project, and their support in terms of labour
and funding, have allowed the project to be carried through to
successful completion. They have contributed in manpower for
jobs, such as shifting furniture and removing debris from the site,
recalling the original days of construction, in which the architect
worked alongside local parishioners.
The parish was able to leverage recognition of the heritage
significance of the building into funding assistance by the
Australian Heritage Commission, the Heritage Council of Western
Australia and the Lotteries Commission of Western Australia.
The local authorities, notably the Heritage Council, have been
involved in reviewing and vetting the project at each stage. Their
support has allowed the work to be carried out in an otherwise
economically depressed rural community.

As a non-commercial building, there was no need to prove future
commercial viability, as the value of the project is in its social
and spiritual benefit to the community of Mullewa and in the
conservation of the regions cultural heritage. Ongoing works will
be funded by the parish and the project donors.
Award Citation
The conservation of the Church of Our Lady of Mount Carmel has restored the distinct
rustic character of this significant historic building, the focal point of the rural community
of Mullewa. Thorough scholarship about the local context and the collected works of
the buildings priest-architect has guided the sensitive conservation approach. The careful
restoration of the historic building fabric, including the magnificent stained glass windows, and
the removal of inappropriate newer elements, has reinstated the buildings intended spirituality.
The commendable technical execution of the project, along with its detailed documentation,
sets a standard for the restoration of similar buildings in the region.
321
Project impact
The restoration works have provided a more conducive environment for prayer and worship for
the parish and safeguarded an important living
monument of high historic and social significance. The project has provided a deeper appreciation of the oeuvre of Hawes and set a benchmark for the preservation of buildings in Western
Australia, particularly religious and regional
heritage sites. The project has been recognized by
the Royal Australian Institute of Architects (RAIA)
with the Lachlan Macquarie Award for Heritage
in 2003. The conservation reports and valuable
documentation such as the recipe for the historic
mortar mix are accessible as public records at the
Heritage Council, which could prove to be useful
for other projects in the future.
Top and below left: Removal of cement render

highlighted the remarkable masonry vaulting.
Middle and far right: Cement renders removed
and stained-glass windows restored.
322
Lakhpat Gurudwara
Site plan
Location
Lakhpat Village, Kuchchh District, Gujarat, India
Size
374 square metres
Cost
US$43,200
Responsible Party
Department of Archaeology, Government of
Gujarat
Heritage Architect
Gurmeet Rai, Paromita Desarkar, Ajaydeep Singh
Contractor
Context
Building history
The Gurudwara is a Sikh house of worship in Lakhpat, one of

the historic fortified settlements of Gujarats Kuchchh district.
Located near the India-Pakistan border, Kuchchh has been prone
to natural disasters since ancient times, most significantly with
periodic earthquakes. The town was a prosperous port and trading
centre until the early nineteenth century, when the Indus River
changed its course after an earthquake in 1819. Traces of palatial
houses in the older parts of this settlement date back to this
earlier period, before the subsequent decline of commercial and
agricultural activity. Today, the arid region is extremely hot in the
summer, with scarce rainfall and vegetation.
The present Gurudwara building dates back to the nineteenth

century. Initially, the caretakers of the building were drawn from
the Udasi sect. Later, the Sikh community from the Gurudwara
Nanak Singh Sabha in nearby Gandhidham started taking care of
the site. Religious functions were organized periodically to ensure
the continuity of rituals and to maintain the historic importance
and religious sanctity of the place.
Due to the harsh surroundings, economic conditions are poor

in general and have been exacerbated by natural disasters, most
recently a cyclone in 2000 and a major earthquake in 2001. A
recent two-year drought curtailed farming activity and many of
the villagers are hired as casual laborers in civil works. Some are
lucky enough to own small plots of land, while a few families
derive their livelihood from fishing.
Lakhpat has a population of approximately 400, with the
majority being Muslims and the rest being Hindu. The villagers
are very closely-knit and form a close social support network for
each other. Despite the recent increase in communal tensions
in Gujarat, the village has remained peaceful throughout the
escalating violence.
Reflecting the multicultural composition of the town, the Gurudwara
stands alongside other significant religious monuments, including
the Tomb of Ghaus Muhammad and the Temple of Hatkeshwar
Mahadev. Closely associated with the Udasi sect, the Gurudwara
has historically been a pilgrimage site for travelers en route to
Mecca, most notably the first Guru of the Sikhs, Guru Nanak Dev,
who is believed to have visited in the sixteenth century.
Cultural Resources Conservation Initiative
Date of Completion
September 2003
324
In recognition of its historic and architectural significance, the

Lakhpat Gurudwara was listed as a protected monument in 1992
under the Gujarat Ancient Monuments and Archaeological Sites
and Remains Act.
The courtyard complex is entered through a double-storey gateway

with a large pointed arch, which has massive wooden doors. The
main building comprises two rooms with a long continuous
verandah attached to an adjacent one-room wing. Built with
local limestone and red sandstone laid in lime mortar and finished
with a fine coat of lime plaster, the external walls are accented by
projecting carved stone balconies and perforated panels. The roofs
are supported by a wooden frame covered with bamboo strips,
mud mortar and traditional tiles. The walls are adorned with line
paintings in floral motifs. Other features include intricately carved
wooden columns along the verandahs and stone sculptures in the
masonry structure.
The Gurudwara houses relics such as a decoratively carved wooden
cradle, wooden sandals that are believed to have belonged to Guru
Nanak Dev and manuscripts of two of the important leaders of the
Udasi sect. The largest room in the main building contains a wooden
swing decorated with elaborate polychrome floral paintings.
Over time, the monument has undergone immense physical
deterioration due to its remote location, neglect and man-made
interventions, compounded by adverse climatic conditions. The
effects of the high salt content in the air and harsh climate damaged
the wall plaster, underlying masonry and timber members. Water
seepage caused extensive dampness in the building, leading to a
thick external build-up of algae deposits. Many of the decorative
stone elements (carved brackets, lintels, sculptures and so forth)
were also broken or missing.
A number of inappropriate repair works worsened the condition
of the building and compromised its authenticity. These included
Lakhpat Gurudwara / 2004
the use of cement-based plaster on the walls, cement concrete

in the courtyard floor, enamel paint on the woodwork, coats of
limewash obscuring the wall paintings and plants along the outer
walls.
Project history
The 2000 cyclone and 2001 earthquake accelerated the buildings
structural decay, resulting in cracks in the walls and partial
dislocation of the structural members. In the wake of these
disasters, the Sikh community in Gandhidham proposed the
restoration of the site in 2001. With technical support from the
Cultural Resources Conservation Initiative (CRCI), the project was
funded by the Archaeological Survey of India (ASI) as part of a
larger post-earthquake restoration programme in the district. The
project was further assisted by the United Nations Volunteers
Programme of the UNDP, which provided conservation architects.
Conservation works commenced in February 2003 and were
completed in September that year.

The project sought to restore the building to its original
configuration and to check its deterioration. Historic building
elements were preserved to the extent possible, while
inappropriate additions and alterations, especially those that had
an adverse effect on the building structurally and aesthetically,
were removed. In order to meet the growing demands of visitors
and pilgrims, some modern amenities were put in place.
Left and above: Before and after

restoration.
In undertaking the restoration, an emphasis was placed on

reviving the use of traditional building materials and techniques
as much possible, especially since many were on the verge of
disappearance. Expert craftsmen were brought in to undertake
the works and train local villagers in these ancient construction
methods, as a means of empowering them to look after the
building after the physical restoration had been completed.
325
The project was intended to provide a platform for dialogue and

joint action concerning the villages shared cultural heritage
amongst the local residents, the caretakers, the Sikh community,
the State Department of Archaeology and the Archaeological
Survey of India. Through the exchanges, local community members were able to better understand the conservation guidelines
protecting the site, while the government officials also developed
a greater recognition of the needs of the villagers and users.
and materials
Before commencing conservation, the Gurudwara was extensively
documented by conservation architects who made measured
drawings, assessed the building condition and took photographs.
Lime mortar and plaster were tested for their composition. A survey
and assessment was also conducted before each phase of work.
Wherever possible, deteriorated members were repaired rather
than replaced. If necessary, deteriorated elements were replaced
using material that matched the original in compatibility,
colour, texture and other visual and physical aspects. Where the
original feature was lost due to severe deterioration, the form
was replicated.
Most of the materials were sourced locally, making ongoing
maintenance more economical and replicable by the local
community in the future. Local residents supplied information
about resources that could be used for the construction work. A
work yard was established with a slaking pit and mortar mill to
make lime mortar with slaked lime, locally-available small shell
aggregate, and coarse and fine sand. A tractor was used to pull
the stone-grinding wheel made of local sandstone. A stacking
platform was constructed for the lime plaster and mortar.
Top: Aerial view of the Gurudwara compound.
Above: Floor plan.
Opposite: Section through the building complex.
326
All inappropriate additions and alterations were dismantled.

Vegetation on the walls and courtyards was uprooted. A platform
at the base of the wooden swing was removed, along with the
concrete block in-fill in the wooden door and windows. Electrical
wiring and woodwork in the niches were taken down. The cement
concrete flooring in the rooms was replaced with lime concrete to

match the original floor finishes revealed during the demolition
process. Likewise, cement-based plaster and mortar were also
chipped away, allowing the dampness trapped in the floors and
walls to evaporate.
Layers of limewash were removed from external and internal walls
and stone ornamentation, revealing the delicate line paintings
on the wall and a painting of a richly-attired couple aboard a
ship. Messages left by ancient travelers also emerged, providing
first-hand historic accounts of the historic pilgrimages. They also
show the evolution of the traditional gurmukhi script, used in
writing the Punjabi language.
Decayed soft limestone and sandstone was replaced. The exposed
stone plinth was given a poultice treatment to draw out salt
from the stone surface. Structural cracks were stitched and
the stone surfaces were thoroughly washed and repointed. The
porous masonry was then grouted with a lime-based consolidant
consisting of a mixture of milk casein, filtered and slaked lime,
marble powder and fly ash in a ratio of 1:3:1:1. Limewash was
prepared in the traditional method and coloured with ground
yellow ochre to match the original tone.
Decorative carved stone elements which had decayed badly
were restored. Those deemed beyond repair were replaced with
matching new replicas. The carved stone in the swing base and
courtyard wall was consolidated and given a protective coating of
lime adhesive. Paint over the stone sculpture was removed and a
coat of lime wash was applied to reduce the erosion of the stone.
Likewise, a coat of lime wash was applied on all the new plaster
surfaces, with instructions for reapplication in a years time.
The roof was dismantled and terracotta tiles were salvaged for
resue. Decayed purlins and roof rafters were replaced. A layer of
bitumen felt was installed to improve the waterproofing of the
roof. The original tiles were then relaid, with lime mortar applied
along the ridge and eaves.
Award Citation
The restoration of this Sikh house of worship demonstrates a sophisticated holistic understanding of both the technical and social aspects of conservation process and practice. Careful
attention to detail and sensitive repair work have ensured the retention of the buildings historic character. Most significantly, the emphasis on involving and empowering the community
ensures the long-term survival of the historic building and its associated cultural traditions.
Training given to local youth in correct conservation methods emphasizing traditional construction techniques has revitalized local craft skills and revived the use of indigenous materials.
The restoration of the Gurudwara returns it to its place of pride in the Lakhpat community,
showcasing the distinctiveness of their Sikh heritage both locally as well as nationally.
Missing and damaged wooden doors and windows and other

wooden elements, such as the ceilings in the gateway structure
327
and the wooden ladder to the terrace of the main building, were
also restored. Enamel paint that had been applied on the wooden
swing, the wooden planks on the ceiling of the verandah, carved
pillars and doors in the main building, was stripped to reveal the
wood surface, which was then given a protective coat of varnish.
New electrical wiring was installed, along with an upgraded
lighting system. The building grounds were also adjusted in order
to ensure adequate drainage of rainwater away from the building.
Plans were also drawn up to replace an inadequate modern
community building with a new building to house community
kitchens and accommodation for visitors and volunteers. In
contrast to the existing building, the new one is to be built at
an appropriate scale and using traditional materials, in order
to conform with the regulations governing development of a
historic monument.
Important issues
Above: The stone plinth was regrouted and walls replastered and
limewashed.
Right: Severe deterioration of the
masonry walls prior to
restoration.
Local artisans skilled in traditional roof building and stonework

were identified to participate in the project. A craftsman from
the nearby village was identified to repair the woodwork. Skilled
craftsmen from outside the region were also brought in, including
masons from Punjab who had extensive experience in other
conservation sites and played an important mentoring role. Stone
carvers came from central India and plasterers from Jaipur.
Throughout the course of the on-site works, local unskilled
workers were trained in various building and conservation
techniques. Representing different religious groups in the village,
most of them were primary-school educated, without any past
experience in this area. Young men were taught techniques such
as raking mortar joints, cleaning masonry for pointing, removing
lime wash from plain and decorated surfaces, stripping paint
from woodwork using chemicals, and grouting. They were also
trained in preparing lime plaster, mortar and grouting mixtures,
thereby raising both awareness and practical skills in a traditional
building technique, as an alternative to the use of cement in
repairing old buildings.
328
Right: Community members lend a hand.

Top, middle far right: Enamel paint was
removed to reveal exquisite floral paintings
on woodwork.
Bottom far right: A craftsperson replicates
a decorative stone element.
The interaction between the local workers and the outside craftsmen and conservation specialists proved to be mutually beneficial,
leading to a constructive partnership. Not only did the local
residents gain practical skills, the skilled craftsmen also bolstered
their self esteem in taking on a mentoring role, which proved that
they were capable of replicating results in another region.
deepened their sense of belonging to the historic building and

reinforced awareness of their responsibility towards safeguarding
it and similar sites in the settlement. Some older members of the
Muslim community recalled fond memories of past events, which
helped to revitalize their sense of association with the place.
The local community participated actively in the conservation

process, in particular, the Sikh kar sewak groups (volunteers for
community work) who function as the caretakers of the building.
Travelling to the project site from different places both near and far,
they played an instrumental role in contributing both comments
and inputs throughout the process of planning and implementing
the project. One group also ran a community kitchen to feed the
conservation team.
Project impact

In addition to learning the techniques required for future
maintenance, the local peoples effort in this conservation project
The project has demonstrated the benefits of constructive dialogue

between the government, local residents and representatives from
the larger Sikh community. This has set a precedent in officially
recognizing the modern role of traditional institutions and the
local community in safeguarding their own heritage, of which
they have historically served as the caretakers. As a living sacred
site, special permission has been granted by the government to
the Sikh religious body to allow Sikh volunteers to upkeep the
building and conduct religious rituals on-site. The restoration of
the building has allowed it to be used to its full capacity, and
visitors are informed about guidelines for appropriate behaviour
in the historic building.
329
Technical Brief
Lime mortar production

It is commonly supposed that the function of mortar is
to join masonry units together, but this is only one of its
attributes. The joint between the units provides a cushion
to spread the load evenly, particularly with soft bricks and
stones. Lime mortar and plaster also serve as a good surface
for evaporation.
The basic composition of lime mortar is lime, water and
aggregate. Lime mortar can be combined with the following
materials: different classes of lime, aggregates, pozzolans,
water, hair or other reinforcements, pigments and airentraining additives.
Prior to the production of the lime mortars for this project,
samples of the original mortars and plasters were taken and
simple laboratory tests were carried out to determine the
physical composition, colour and texture of the lime and
aggregates used for the original lime work. This investigation
allowed for generating the right mix for the repair, restoration
and consolidation work.
The simple mortar analysis involved the following steps.
First, pieces of mortar and plaster (minimum 10 grams) were
removed from the wall. Care was taken to ensure that the
samples were of the original mortar, were in good condition
and were representative of a large section of the works.
Second, a close examination was made of the sample for
texture, colour and bits of ash, charcoal, coal, lumps of lime,
etc. A 10x magnifying glass was used. Third, the sample was
lightly crushed. Fourth, the sample was mixed with water in a
calibrated flask (a jam jar and a ruler would also suffice) and
stirred thoroughly. Fifth, the mixture was allowed to stand
for approximately twelve hours. Next, the components of
the residue were measured and the proportions calculated.
Finally, the aggregate sizes and colours of the components
were assessed.
330
The tests revealed that the original lime mortar was a fairly
uniform composition of lime and aggregates with no fibrous
material. The lime used for preparing the mortar was of high
quality, being ivory white in colour, and used in a ratio of 1:2
with well-graded aggregate. A suitable lime-aggregate ratio
of 1:2.5 was then devised, where the aggregate was composed
of fine sand (red sand), coarse sand (crushed shell normally
used for cement manufacture) and shells (round disc shaped).
Similarly for the lime plaster, the lime-aggregate ratio was
1:2, where one part was lime and two parts were comprised
of fine sand and coarse sand.
The choice of the type of lime to be used was based on the
existing mortar in the historic building and the nature of
the wall material, which was porous limestone. The mortar
had to be made softer than the stone to allow the mortar
to breathe, to stop moisture from rising in the wall and to
prevent the stone from eroding. The choice of sand and other
fine aggregates was determined by its suitability in terms
of physical and geological characteristics, by colour and by
matching with the sand in the existing mortar. The sand was
freshwater sand from a dry riverbed in a nearby village. Care
was taken to ensure that the sand and other materials used
were hard, clean and free from vegetable and animal matter
or salt. The coarse aggregate was made from finely-crushed
shells found in the area around Lakhpat. Air-entraining
carbonate aggregates were used to increase the durability of
the lime mortar, and have historically been used in many of
the buildings in Lakhpat.
In producing the lime mortar, slaked lime in the form of lime
putty was used. In order to ensure consistency of production,
to achieve uniform performance and appearance of the lime
mortar, the putty was accurately measured in one cubic
foot measuring containers made with metal sheets. This
guaranteed that the lime putty used was not thin or watery,
which would result in the mixture having less lime and more
water.
The mortar was mixed in a traditional mortar mill. While the

mill was in motion the lime and aggregate mixture was turned
over manually with a shovel. To check for the consistency of
the mortar, a ball of the mixture was thrown from a distance
at a wall. If the mixture stuck to the wall, it was considered
ready. If it shattered or slid off the wall, it indicated that it
needed to be worked more.
The lime mortar was then stored in a stacking platform and
covered with thick plastic sheets. The mortar was stacked for
a minimum of six to seven days for maturing. Before use, the
material was beaten vigorously to a good consistency. This
was done with a shovel and by stamping on it while wearing
gum boots.
The mortar left over at the end of the work (most of which fell
beside the wall on the floor) was stacked up separately and
covered with moistened hessian cloth. This mix was later put
into the mill while preparing a fresh lot of lime mortar.
In applying the lime mortar, the masonry was cleaned of dust
and dirt and well-dampened. Wherever damaged masonry was
replaced, the stone unit was dipped in water well before use.
For repair works and repointing, the background was sprayed
with water several times in the hours before repointing.
Agriculture spray pumps were used for judicious use of water,
as fresh water is a very precious and scarce commodity in the
region. The fine mist produced by the sprayer has a greater
surface area than the larger drops and picks up carbon
dioxide from the air, which assists in carbonation. Newly
repaired masonry works were protected against the sun and
strong winds with wet hessian and from heavy rains during
the monsoon with plastic sheeting.
Adapted from What are Lime Mortars,
Gurmeet Rai and Paromita Desarkar
St. Ascension Cathedral
Context
Dating back over a century, the St. Ascension Cathedral historically
served as the seat of the Russian Orthodox Church in Almaty,
which was once the political and cultural centre of the Turkestan
region. It stands in a park in the citys historical core and is
the main urban landmark of Almaty. At 41 metres tall, it is the
tallest wooden building not only in the country but also in the
neighbouring region.
City map
Opposite: Southern faade before and
after restoration.
Location
Almaty, Kazakhstan
Size
1/200 square metres
Cost
US$344,000
Responsible Party
State Institute for Scientific Research and
Planning on Monuments of Material Culture
Heritage Architect
Timur Turekulov, Natalia Turekulova
Contractor
Vladyka Alexyi, Bishop of Almaty and
Simipalatinsk Eparchy
Date of Completion
2000
332
The building saw revolutionary change under Soviet rule, when it

was deconsecrated and converted into a radio station and later a
republican historical museum. After the dissolution of the Soviet
Union, the newly-independent Republic of Kazakhstan initiated
the revival of traditional cultural and religious expression. The
restoration of the cathedral, one of the citys most significant
religious and architectural monuments, was undertaken with
an outpouring of support from private individuals and the
government. It has now resumed its historic function as a place
of worship and continues to draw devotees, citizens and tourists
alike. St. Ascension Cathedral has been listed as a monument and
is therefore protected at the highest national level.
Building history
The construction of St. Ascension Cathedral began in the middle
of the nineteenth century when the administration of the Russian
Orthodox Church Eparchy moved to Almaty from Tashkent.
However, construction was delayed for decades due to financial
problems and the earthquake of 1887 that destroyed a large part
of the citys brick and stone structures.
In accordance with new guidelines issued to protect important
buildings from seismic damage, the cathedral was one of the first
large public buildings in the region to be constructed entirely out
of wood (local Tyan Shan spruce). Nonetheless, it maintains the
architectural forms and features of masonry construction, with a
number of innovations in design and construction. For instance,
an elaborate system of internal ventilation was installed, which
drew air in from the outside to ventilate the entire building. The
builders were faced with the challenge of designing a high-rise
structure which required new structural solutions and the use of
materials such as reinforced concrete to ensure seismic resistance.
Completed in 1907, the cathedral proved to be structurally sound,
emerging relatively unscathed from the strong 1911 earthquake.
During the 1930s, parts of the building were damaged or destroyed
as a result of anti-religious sentiment. The elaborate gilded threetiered iconostasis with carved decorations was destroyed, along
with icons, church equipment and the library. The brilliant colours
of the cupolas were masked with green paint and the ochre-hued
interiors were repainted in revolutionary pink. The building was also
substantially modified for reuse, with major reconstruction taking
place inside the building and the grounds. Due to the temporary
occupation of the building during this era, little maintenance was
undertaken, which resulted in the decay of the historic fabric. In
the 1970s efforts were made to partially restore the building as
part of its conversion into a museum, but the use of inappropriate
materials and methods resulted in further damage.
Project history
In 1994 St. Ascension Cathedral was one of the first historic buildings
returned to the Russian Orthodox Church after Kazakhstan gained
independence. A restoration project began that year to restore
the building as close as possible to its original condition, based on
historic documents and structural analyses. Funds were allocated by
the government to initiate works, which were supplemented over
time by private donations. Works were completed in 2000.

The project sought to return the building to its original function
and appearance by restoring the external faade, internal spatial
configuration, structure and setting. At the same time, it aimed
to upgrade building services and establish a long-term system
for maintaining the historic monument, which would involve the
St. Ascension Cathedral / 2004
occupants closely. It was also hoped that the project would have a
positive impact in drawing attention from locals and visitors alike.
The project was carried out in five stages. In the first stage
(1994-1995), the focus was on reviving the original function
of the cathedral by restoring the interior plan and appearance
to facilitate worship by the public, along with undertaking
emergency works to repair the roof, reduce ground water and
rehabilitate the ventilation system. As part of this initial step, the
management plan and monitoring system were developed and
put in place.
In the second stage (1995-1996), the bell tower was restored to
its authentic condition and reinforced with an eye to structural
stability as well as fire safety. In the third stage (1997-1998), the
interiors were further enhanced through the addition of a temporary replacement iconostasis and other liturgical elements. In the
fourth stage (1999-2000), the exterior appearance of the cathedral was addressed, which called for the restoration of the roof,
cupola structures, facades and original paint schemes. Finally, in
2000, seismic reinforcement of the bell tower was carried out.
333
and materials
Work on the monument was done in accordance with international
standards of conservation methodology. Archival studies, based on
historical documents and on-site structural investigations of the
building structure, materials, seismic resistance and geological
conditions, helped to reconstruct the original structure and
appearance of the cathedral. Careful attention was paid to the
preservation of the original building fabric. The project made
extensive use of authentic building technologies and materials.
Top left: Main faade of the church.
Middle: The top cupola was repaired with new metal sheets.
Right: Restored ceiling under the dome.
Opposite: Side elevation.
334
It was determined that the original reinforced concrete foundations and wooden structure of the building were generally well
preserved and in good condition. However, the building had
suffered lingering effects of damage from the 1911 earthquake,
which had caused subsidence in the southeastern corner, leading
over time to cracks in the timber framing structure. New steel
reinforcements were added to strengthen the wooden elements,

while existing steel clamps and ties were also fortified.
Timber repairs were undertaken in the small southwestern cupola,
rafters and other roof framing members. Wooden beams in the
southeastern corner of the basement of the bell tower which had
deteriorated were replaced. Wood of the same type as the original
was used to replace the beams. To ensure the long life of the
wooden elements, efforts were made to reduce water ingress and
promote improved ventilation.
All later additions made to the building, such as partition walls
and floors, were dismantled, and the wood was salvaged for reuse
in the ongoing works. Mistakes from the 1970s-restoration were
then rectified. Cement plaster, which had been accelerating the
decay of the wooden structure, particularly in damp areas, was
removed and replaced by lime plaster matching the historic plaster
composition. Work was also carried out to fix inappropriate roof repairs
which had led to major water leakage and decay of the roof. Wooden
elements affected by mould were cleaned, and deteriorated members
were replaced. The metal covering of the roof and cupolas was repaired,
and mirror mosaics were reapplied on the metal crosses.
The original system of passive ventilation had been disrupted by
the closure of ventilation windows and changes to the building
levels and roof. This prevented the whole wooden structure from
airing out from the basement to the top and led to the build up
of humidity. Ventilation holes in the basement and windows were
reopened, and ventilation channels cleared out.
The water supply system and the fire extinguishing system from the
later renovations also proved to be problematic, with leaks causing
decay in the building. For instance, the wooden joists in the basement of the bell tower, housing the water pump, had rotted, causing the entire bell tower to lean precariously. To protect against
further damage and to upgrade the functionality of the cathedral,
the leaking fire extinguishing system was dismantled and replaced
with a modern system which was connected directly to the fire
station. Interior doors, which had functioned as fire doors, were
also reinstated. A new fire resistant electrical system was installed,
along with a new water supply, heating system and telephone
Award Citation
This project has successfully restored the sacred St. Ascension Cathedral, returning Almatys
spiritual centerpiece to the Orthodox community. Thorough studies of the 1907 cathedrals
structure and history, undertaken before works began, have ensured the authenticity of the
restoration, thereby retaining the structures tremendous architectural and historic significance.
An emphasis on the use of appropriate materials and techniques and the methodical removal
of incongruous additions demonstrates good conservation practice and has successfully restored
the historic character of this unique timber monument.
335
wiring. The original lightning protection was also repaired.

Restoring the colours of the roof, cupolas and faades was
implemented after special research done into the original appearance
of the building. The research revealed that the 1970s restoration of
the exterior colours was very approximate. Deteriorated wooden
surfaces were repaired and the original lime render was restored on
the facade. The external paint schemes were then returned to match
the original yellow and white colours.
Restoration of the interior involved returning the building to
its 1907 appearance and function. Structural elements which
had been destroyed, such as arches, capitals, column bases,
doorways, staircases and floors were reconstructed. The cathedral
had originally been adorned with mosaic ceramic floors, ceiling
paintings in the prayer hall, papier mache rosettes and cornettes,
bronze and copper lamps, and movable religious artefacts. The
mosaic floors were cleaned and some restoration was done using
salvaged original tiles. The paintings on the ceilings were cleaned.
The rosettes and cornices were restored. The lamps, restored in
the 1970s using old photos and documents, were repaired and
cleaned. The original lime plaster rendering was restored with
ochre limewash on the walls. Original fragments of painted panels,
imitating oak wood, which could be salvaged were cleaned. Lost
parts were restored using the original materials and techniques.
The wooden floors in the altar and service premises were repaired.
Windows and doors were cleaned and partially restored. A new
iconostasis was designed to replicate the appearance of the
original one.
The perimeter of the building was also consolidated. Ground levels
were adjusted throughout the site to improve water drainage. In
order to manage impacts from visitors, off-site parking facilities
were installed, along with repairs to the drinking fountains and
toilets in the surrounding park.
Important issues
For the first time in the country, the construction works were
planned to be carried out alongside regular church services, with
336
relatively minimal disruption to the daily function of the building.

Open for public visits, the building site attracted great attention
and raised awareness about conservation issues in general and
about the historic cathedral in particular. The resulting support
from private individuals and institutions set a new precedent in
Kazakhstan for public-private cooperation in conservation.

A long-term building management system was established for
the building, including the provision of a core team of trained
staff. As the project progressed, a group of workers and managers
was formed within the Eparchy which took an active part in the
conservation process. This trained group was incorporated into
the permanent staff of the cathedral. The trained personnel now
provide round-the-clock supervision the building, overseeing its
maintenance and keeping an eye on any possible emergencies such
as fire. Their specialized experience and knowledge about wooden
monuments will become a valuable resource to be transmitted to
future generations.
Project impact
Since its restoration, the cathedral once again functions as a
place of worship for the Russian Orthodox community of Almaty.
It has provided a good example of how to undertake built heritage
conservation through a public-private partnership, and has also
set technical standards in terms of research and execution of
work. The project has become a model for the conservation for
other old churches in the country.

The cathedral was restored only thanks
to documents fortunately saved in the
archives. The need for conservation was
urgent, and was supported by the government
and many people ready to make donations
with the aim of returning the original
appearance and glory to St. Ascension
Cathedral.
Above and left: Wood panels and painted ceilings

were cleaned and restored in the prayer hall.
Opposite
Top and above: The main altar before and
after restoration.
337
Technical Brief
Colour conservation
Conservation works on the facades of St. Ascension Cathedral were
a major component of the project. Wide-ranging research in the
archives of Almaty, Tashkent and St. Petersburg was carried out.
This research was expanded to cover archives in Omsk, Orenburg
and Kiev and other places where information concerning
the building could be found, starting from details about its
construction. At the same time, the Eparchy requested its parishes
and all citizens to look in private archives for documents related
to the church. As the result of these attempts, an excellent visual
collection of the buildings dramatic story was gathered. Along
with the written historical sources, comprehensive structural and
surface studies of the building itself helped to establish a clear
understanding of the original appearance of the cathedral.
Studies of the paint layers on the metal-covered domes made it
possible to define more precisely the original look of the multicoloured rhombic ornamentation made with oil paints. The
building had been restored in the 1970s, when, after many years
of reconstruction, the building was prepared for conversion into
a historical museum. This partial restoration renewed the original
bronze paint of the top cupolas and the design of the small domes
and bell tower roof, which for about half a century had been
covered under layers of green paint. However, due to the brevity
of the research undertaken at that time, the restoration missed
various bronze details, misinterpreted some of the patterns in the
dome, coloured parts of the main dome incorrectly, and made
new additions such as a belt of bronze flower images. Therefore
the recent conservation project had to help correct these changes
to achieve the original appearance of the building.
The poor condition of the skin plating on the top cupolas forced
the architects to make a decision about its replacement. We
faced a choice: to make a replica with bronze paint, which would
need repainting in a couple of years, or to make a new plating
338
of modern metal with an imitation gold surface. In the process

of discussions and negotiations, it was agreed that the use of
such new material would not contradict the original technique
used on the top cupola to imitate a gold finish. Moreover, its use
would correspond to the condition of reversibility. The fact that
in Russian church tradition bronze paint is used as a temporary
material, in anticipation of future gilding of the surface, assisted
in making this decision.
We undertook surface studies to examine the use of colour on
the facade walls, which were wooden structures covered with
lime plaster. The studies showed that in the original layers
the predominant colours of the walls were ochre and yellow,
contrasting with the pink paint which had been applied most
recently. Original paint layers in three colourswhite, blue
and redwere found under later layers of white paint on the
decorative moulding of the facade cornices, in the base of domes
and top cupolas. In the same combination as the Russian flag,
these colours originally symbolized the presence of the empire
and its power over this territory in a subtle way.
During the first repair works, which took place after the earthquake
in 1911, the builders changed the original colour palette of the
domes to the Russian flag tri-colour, in commemoration of the
upcoming 300-year anniversary of Romanov dynasty in 1913.
This chapter in the buildings history can be read in the second
paint layers of the domes and was confirmed by old photos.
However, after the 1917 revolution, the USSR began its fight
with religion and all its material evidence. Most of the churches
and mosques of the city were destroyed by the 1930s. Only a
few of them survived, being transformed into buildings of other
functional uses. This required major changes in their appearance,
internal planning and structure. The cathedral was lucky to be
preserved during this struggle, surviving first the threat of
destruction and then major reconstruction, which totally changed
its original structure and appearance.
Timur Turekulov and Natalia Turekulova
Above: The original Russian flag tri-colour was

discovered and retained in the cornices, domes
and cupolas.
Dadabhai Naoroji Road

Streetscape
Project synopsis
Dadabhai Naoroji Road, a nineteenth-century streetscape
characterized by arcaded bazaars and Victorian-era buildings,
is one of the busiest commercial corridors in Mumbai. The
road is a primary artery within the historic Fort Precinct and is
anchored by the UNESCO-listed Victoria Terminus (renamed
Chhatrapati Shivaji Terminus) in the north and by Flora Fountain
in the south. Millions of pedestrians pass along the road every day.
City map
Opposite left and right: Building faade
before and after the enforcement of
signage regulations.
Location
Fort Precinct, Mumbai, India
Cost
Approximately $10,000
Responsible Party
Mumbai Metropolitan Region Development
Authority
Mumbai Municipal Corporation
Heritage Mile Association
Times of India Group
Heritage Architect
Abha Narain Lambah
Contractor
Street furniture M/S Universal Designs
Date of Completion
Signage regulation May 2001
Pilot street furniture project August 2001
340
With the demolition of the fort walls in the 1860s, large commercial
plots became available along Hornby Road, as it was known at
that time. By the 1890s, fashionable new commercial buildings in
the Neo-Classical, Gothic Revival and Indo-Saracenic styles had
been constructed. Each building was required to have a ground
floor pedestrian arcade, which acted as the unifying element tying
together the various building faades.
Over the decades, due to fierce competition among the streets
shopkeepers, the handsome facades had been concealed by
unregulated signage such as billboards and other forms of
advertisement. Street furniture, too, proliferated without any
form of coordination, resulting in road dividers, benches and other
public amenities detracting from the ambience of the historic
streetscape.
The conservation project began as an initiative, in 1998, by the
Mumbai Metropolitan Region Development Authority to prepare
a design handbook for regulating the historic streetscape. In 1999,
these urban conservation guidelines were implemented on a
voluntary basis by local stakeholders, working in conjunction with
the local municipal officer and the project architect. The redesign
of the shop fronts and signage in a historically-appropriate
manner was achieved for the entire western side of the road by
May 2001.
In 2001, the Times of India, a leading newspaper group whose main
offices are located on the street, sponsored the implementation
of a heritage-sensitive street furniture scheme for the 100-metre
stretch outside its building, a pioneering project in India.
Designated as a Grade Il Heritage Streetscape by the Heritage

Regulations of Greater Bombay (1995), the area has immense
value as a historic urban streetscape. Since the restoration, a
veritable open-air exhibition of architectural facades representing
various episodes in the history of Mumbai can be witnessed along
this route.
In the preparation of the handbook, extensive surveys were
undertaken to document the existing streetscape condition.
Measured drawings were made of the heritage facades, noting
the location of all signage, air-conditioners and other features,
while street furniture and paving were also recorded. In addition,
the land use, ownership patterns and occupancy rates were also
mapped. The guidelines recommended the redesign of signage
to fit in existing forms such as arch openings and fascia bands,
instead of obliterating the historic features with hoardings of an
inappropriate size, material and colour. Individual designs were
drawn up for each shopfront, proposing alternative designs, which
ensured that each new sign retained the original square footage.
The guidelines also provided recommendations on the design of
kiosks, litter bins, telephone booths and other elements populating
the sidewalks.
Without waiting for government funding, the project architect
began to advocate for the implementation of the guidelines.
The idea was to actively involve the shopkeepers, residents, local
executive bodies, service providers and potential sponsors in the
improvement of the urban infrastructure and restoration of the
heritage streetscape. The local municipal officers cooperated by
calling all the 150 establishments to a public meeting where the
entire design scheme was presented to them. Through a consensus
by the stakeholders, the signage scheme was implemented. Under
the framework of existing legislation, this involved removing all
hoardings and signboards impairing the appearance of the heritage
buildings and their architectural details. Even multinational
corporations such as McDonalds and Thomas Cook participated.
With the ornate arcades and facades exposed, the architectural
integrity of the Victorian streetscape has been restored.
Dadabhai Naoroji Road Streetscape / 2004
The upgrade of the street furniture also utilized the design

recommendations laid out in the handbook. Iron railings, litter
bins, telephone stands and tree guards were manufactured in castiron. A four-foot band of granite cobblestone paving was installed
in lieu of the motley assortment of Minton tiles, basalt pavers,
and marble or granite flooring which had earlier characterized the
existing pavements. Set in a sand bed, the cobblestones are easily
removable in case the electrical ducts and service lines underneath
needed to be serviced. Granite benches, information signs and
building plaques rounded out the historic ambience.

Community involvement at every stage has been the key factor in
the projects success. Both the signage works and the installation
of street furniture were completed with the voluntary and
active participation of the local community. Each establishment
shouldered the cost of relocating and redesigning their own
shop sign while the Times of India group bore the expense of
fabricating and installing the cast iron street furniture.
Encouraged by the initial success of the signage redesign scheme,
the various stakeholders of Dadabhai Naoroji Road came together
to form a citizens association, the Heritage Mile Association. This
is a non-profit group that aims to restore the heritage character
Award Citation
The first of its kind in India, this ambitious streetscape project has revived the historic ambience
of Dadabhai Naoroji Road of Mumbai through the restoration of shop fronts, signage and
street furniture to reflect the areas Victorian-era commercial heritage. Through a bottom-up
participatory approach this project has galvanized local shop owners and residents, leading to
the creation of citizens associations which sustain and expand conservation work in historic
Mumbai. Starting with grass-roots advocacy, and continuing through stakeholder consensus,
the project has succeeded in gaining commitment from the municipal government to adopt
urban design guidelines for the entire historic precinct, setting an important precedent. The
projects success has generated widespread appreciation of the aesthetic, social and commercial
values which have resulted from the preservation of the streets historic character. Through its
influence on urban policy and contribution to the commercial vitality of the neighbourhood,
this project sets the standard for future urban streetscape revitalization throughout India.
341
of the road through continued public participation and private

sponsorship.
The Association has raised funds through local stakeholders
and shopkeepers to install street furniture on another 500metre stretch of the road, with more people and establishments
committing their financial and physical support. The long-term
responsibilities in terms of maintenance, cleaning and security
have also been taken up by the Association.
Top left: A sample streetscape signage scheme.

Below, left to right: Billboards once obscured many
of the roads historic buildings. Signage, street furniture and paving patterns were coordinated to revive
the roads historic character.
342
Dorje Chenmo Temple
Village map
Opposite: The temple before and after
restoration.
Location
Shey Village, Jammu and Kashmir, India
Cost
US$7,021
Responsible Party
Raja Thinlas Namgyal
Heritage Architect
Divay Gupta, Munish Pandit
Sanjay Dhar (Painting conservator)
Contractor
Sanjay Dhar
Date of Completion
June 2003 (First phase of painting restoration)
344
Project synopsis
The Dorje Chenmo Temple is located in the historic village of

Shey in the former kingdom of Ladakh in the north of India. The
temple enshrines the eponymous goddess, the protective deity of
the village, and contains valuable wall paintings. Wall paintings
within Buddhist temples like this one form an integral part of
the sacred space, depicting deities from the vast array of the
Vajrayana Buddhist pantheon. The creation of these paintings
would have followed prescribed rituals and techniques, and made
use of mineral and stone pigments now rarely found in Ladakh.
Although no historic records exist about the temple, scholars
have ascribed an age of between 250 and 300 years to these wall
paintings, based on the iconographic representation, style and
technique of execution, while the building itself is thought to date
from an earlier period.
Built in mud brick with mud mortar, the temple was limewashed
on the exterior and finished on the interior with a fine mud plaster
containing sand and kaolin (white river clay) which had been
burnished to create a smooth surface for painting. The temple had
been abandoned with the construction of a new ritual space on top
of the original structure, and had been turned into a storeroom. In
the construction of the upper chamber, new beams and columns
had been inserted, which damaged the ceiling plaster and some
wall paintings. The ceiling was sagging from excessive loads and
rainwater stagnation, due to inadequate drainage, was causing
erosion at the base of the chamber.
According to Buddhist beliefs, an incomplete or damaged image

of a deity is no longer sacred and should therefore be renewed.
Renewal efforts elsewhere have often focused on complete
repainting of old paintings rather than on refreshing through
restoration methods. In many temples in Ladakh, damaged wall
paintings have been repainted using new synthetic pigments
which yield a vastly different effect from the original artistry.
The project sought to raise awareness of the value of these ancient
wall paintings and to demonstrate the potential of restoration
approaches, which could then be applied in many historic structures
in Ladakh. The scope of works focused on the restoration of the
wall paintings within the temple, along with limited architectural
conservation. Damaged sections were consolidated, painted
surfaces were cleaned and badly deteriorated sections were
retouched. Restoration works were completed in four months.
Extensive involvement of the local residents, including members of
the monastic community, the village head and the Shey Gandhuns
Tsogspa, was emphasized throughout the course of the project in
deciding upon conservation and reuse decisions. Upon completion,
the project has shown how abandoned heritage structures can be
restored and reintegrated into community life.
The paintings had also suffered from neglect, with soot, dust and
grime caked across the surfaces, and extensive delamination and
cracks detected in the wall surface. The cracks were thought to
have been caused by the new construction works; they included
structural cracks extending into the mud brick base layer, major
cracks affecting the plaster and minor cracks on the paint and
primer layer. The painted surfaces were primarily worn away in
the lower regions due to human contact, with localized decay near
the new beams, around the door and in high-stress areas like the
corners. There was limited damage from water seepage, but some
of the blue and vermilion pigments had oxidized.
As a first step in the building conservation works, the chamber was
excavated to remove rubble and to drop the floor level closer to
its original depth. The exterior circumambulatory path around the
structure was also lowered, leveled to enable access and proper
drainage, and repaved in local stone. New storm water outlets
were installed to allow the run-off to drain through the rear of
the temple. Wooden columns with traditional-style capitals were
installed to support the roof load, enabling the removal of the
obtrusive column in the centre of the chamber. Steel purlins were
introduced to reinforce the existing wooden beams. The front wall
was stitched to the side wall to stabilize the structure. A false
ceiling was created from twigs and local grass to contain dust and
leaves dropping from the roughly-made old ceiling. Stone flooring
was laid inside the chamber to reduce dust.
Dorje Chenmo Temple / 2004
Detailed documentation and photography to record the condition

of the paintings and the surface was undertaken. On the basis
of this, a conservation strategy was devised, which attempted
to incorporate scientific conservation methodologies with local
materials and techniques. Cracks in the wall surfaces were treated
and areas with structural damage were replastered. Patches of the
paint layer which were flaking were consolidated. The surfaces
were carefully cleaned using gentle solvents.
In some areas there was a complete loss of the painted surface
and the sacred images were therefore damaged and incomplete.
As a compromise between the Buddhist belief in renewal and
modern conservation standards, it was decided to complete the
images by outlining the damaged sections without repainting
them completely, thereby clearly differentiating between the
original painting and the repainting. In areas with substantial
deterioration, the colours applied were of a different hue, clearly
noticeable on close examination. The villagers were given time to
get accustomed to this method of retouching the sacred images
and ultimately approved of the final results.
Award Citation
The restoration of Dorje Chenmo Temple and its superb wall paintings demonstrates the
value of an integrated and inclusive conservation approach to preserving cultural heritage.
Technical aspects of the work on the once-abandoned village prayer hall were guided by architectural and art restoration experts, while a key catalytic role in the project was played by the
village oracle, who framed the project within a traditional devotional context. Working with
the project management team, the oracle encouraged extensive involvement by the residents of
Shey in the conservation work, resulting in the reintegration of the temple into community life
and the renewal of an appreciation for traditional construction techniques and decorative arts
as appropriate to the continuity of local heritage. This project sets an exemplary model for
best practice in the conservation of the extensive religious heritage of Ladakh.
345

The temple of Dorje Chenmo traditionally formed an integral part of
the local community life. Even today the villagers gather at the new
temple for daily prayers and during festivals, rituals are performed
by the resident monk. Every year between August and September,
the deity enters the body of the village oracle and processes through
the village from the temple to Shey Palace, where prophecies for
the village are then pronounced. Upon completion of the works, the
oracle conveyed the deitys great satisfaction with the restoration
and praised the villagers for their efforts. This endorsement has had
a major impact on the communitys attitude towards conservation.
It was decided after the festival to re-establish the linkage of the
restored chamber with the deity by displaying the ceremonial
vestments and ritual paraphernalia of the oracle in the room.
346
The project has provided an opportunity for the wider community to

view paintings from their past Ladakh heritage. Monks from other
monasteries visited the site regularly during and after the restoration.
Regular site visits were organized for school children from Shey and
Leh, along with students and lecturers from the Central Institute of
Buddhist Studies. The impact of the restoration on the community
is evident from the increased interest in preserving other historic
structures in the village. Several other villages have also shown an
interest in restoring the wall paintings within their temples.
Dorje Chenmo Temple / 2004
Far left and left: The wall paintings were

cleaned and restored.
Above: Painting and conservation tools.
Opposite
Top: The ceiling sagged from excessive roof loads.
Middle: New steel purlins, columns, capitals and
a false ceiling were installed.
Bottom: Floor plan.
Top right: Workers prepare twigs to make the
new ceiling.

Much of Ladakhs built heritage continues
to be in use by the community and therefore
one of the major lessons learned is the need
for a flexible approach while developing
the conservation strategy. Understanding
the communitys needs and perceptions of
this heritage was critical and at the same
time they were introduced to contemporary
conservation approaches.
347
348
Phra Racha Wang Derm Palace
City map
Opposite: The palace complex before
Location
Bangkok, Thailand
Size
4.8 acres
Cost
US$3,000,000
Responsible Party
Phra Racha Wang Derm Restoration Foundation
Heritage Architect
Grittip Sirirattumrong
Contractor
Cha Fa Ltd. Partnership, Preeda Construction Ltd.
Partnership, Charu-Bhakara Co. Ltd. Landscape
Design, Dang Shop (furniture), Union Electric
and Engineering Co. Ltd., World Heritage Co.
(archaeological survey)
Date of Completion
October 2002
350
Project synopsis
Located on the west bank of the Chao Phraya River, the Phra Racha
Wang Derm Palace was the residence of King Taksin the Great
of the Thonburi Dynasty, which was founded in 1767 AD. In the
succeeding Rattanakosin era, the palace was still used by members
of the royal family and household, notably King Rama IV, King
Rama II and King Pinklao. The complex was later bestowed by King
Rama V on the Royal Navy to serve as the Royal Naval Academy,
and was subsequently transformed into the headquarters of the
Royal Navy. Today, the historic complex includes the Throne Hall,
two Chinese pavilions, the Shrine to King Taksin, King Pinklaos
residence, Wichaiprasit Fort, the palace wall and gateways,
and numerous auxiliary buildings. The historical significance
of the complex is indisputable, given the circumstances of its
establishment and ongoing occupation and expansion over its
240-year history. The original pavilions and halls are distinguished
by their later Ayutthaya style and display the refinements of royal
craftsmanship, with fine building and decorative workmanship.
The complex was designated a national monument by the Fine
Arts Department in 1949.
The conservation project employed a two-phase approach,

starting with structural stabilization, followed by architectural
rehabilitation. The project sought to restore the traditional
architecture of the palace complex and its setting through a
combination of modern conservation techniques and traditional
construction methods. The physical restoration works were
planned in conjunction with an educational mission to promote
historical research and information related to the palace and the
Thonburi era.
Over the years, new structures and buildings had been added to the
palace complex, with repairs and modifications carried out many
times to serve various purposes. Its location next to the riverbank
posed a serious problem to the foundations of various buildings,
with rising damp, periodic flooding and siltation. Weathering
and termites added to the maintenance problems. A survey
undertaken in 1994 revealed the vulnerable condition of many of
the buildings and the need to undertake conservation work. Many
of the roofs were leaking, leading to dampness, termite infestation
and structural damage. The problems were especially severe in
the two Chinese pavilions and King Pinklaos residence. The Phra
Racha Wang Derm Restoration Foundation was established to
oversee and undertake the restoration of the palace, with HRH
Princess Maha Chakri Sirindhorn graciously presiding as the Chief
Adviser to the project.
Works began in 1995 and were completed in 2001. The palace
complex has been transformed into a cultural and educational
resource centre about a significant period of modern Thai history.
An extensive condition survey of each building was conducted in

order to determine the course of work. The survey started with
an archival study of historic evidence of the buildings original
state and the changes over the years, making reference to annals,
memoirs and old photographs. The existing condition of the exterior
and interior buildings was investigated and recorded. Drilling was
carried out to assess material conditions. Extensive archaeological
excavations were conducted on-site. Finally, thorough analysis of
all historical paint layers allowed for matching on-site samples
with contemporary paints, in some cases especially commissioned
to match the in situ samples. On the basis of this investigation,
recommendations were made for conserving each building. The
historic research formed a valuable reference for the ongoing
works.
In the stabilization phase, the buildings were repaired and restored
to good condition. This included damp-proofing, roof repairs,
structural repairs and shoring up foundations to stop subsidence.
In the rehabilitation phase, the buildings were restored to their
original form and to be suitable for their present-day uses. This
required the removal of inappropriate accretions which had been
undertaken over the years.
During roof repairs, rotten wooden rafters and ceiling planks
were repaired or replaced when necessary. Vapour barriers were
installed to prevent moisture seepage and control rising damp.
Roof tiles were replaced with exact replicas in form, material and
colour. Decorative works on the gable ends and roof ridges, such as
moulded stucco designs, woodwork and Chinese-style paintings,
Phra Racha Wang Derm Palace / 2004
were restored using expert traditional artisans. A 10-centimetre

high damp-proof course was inserted into the base of the walls
to deter rising damp. Sagging door and window lintels were
corrected through the addition of reinforced concrete tie beams.
Window shutters and door panels were repaired in accordance
with evidence from historical photos.
The project attempted to preserve as much of the authentic building
fabric as possible, such as partially damaged beams. However, in
many cases, the buildings had been added onto or renovated in
ways which were not in keeping with their architectural integrity
or which interfered with their natural functioning. Traditional
materials were used to solve problems arising from these
inappropriate decisions. For instance, the use of cement plaster
on the walls and columns restricted moisture ventilation; this was
rectified by substituting traditional lime plaster that had been
slaked on-site. Flooring finishes had also been changed over time,
and these were restored in line with historical evidence.
In circumstances where the original structures themselves were
inadequate, supplementary solutions were devised, such as the
addition of vapour barriers in the roofs to control seepage from
rainwater. In King Pinklaos residence, supplementary metal
structures were used to replace the weakened and termite attackprone wooden columns and beams.
Award Citation
The restoration of this significant royal palace complex, Phra Racha Wang Derm, sets a
new precedent for conservation in Thailand and demonstrates the enormous potential of
private sector-led efforts to save important parts of the communitys heritage. The project has
successfully preserved this valuable ensemble of structures which represent over 300 years of
transformation, including the main core of palace buildings which were the centre of royal
political and military power during the Thonburi Era. This multi-faceted and ambitious
project has effectively incorporated the use of traditional methods and craftsmanship and has
conserved important examples of royal decorative fine arts. Attention to details of the original
structures and to accuracy in colours has preserved the authenticity of individual buildings
within the complex, which each represent a historic period. Exposure of earlier features through
archaeological excavation and the use of landscape elements to interpret those features have
successfully created a palimpsest of history at the site. With the development of a historical
museum and a library on-site, the complex is a center of public outreach and education into
the history of the nation. The restoration of the palace complex highlights the achievements of
the Thonburi Era and raises awareness of an important period in the development of Siamese
statehood and foreign relations.
351
To allow the buildings to serve their modern museum and

exhibition functions, upgrades in the building services were made.
The new services were carefully designed in order to prevent them
from detracting from the historic interiors. New wiring for electricity,
telephones, lighting and security was concealed in metal conduits
buried in the walls and columns, both for aesthetic and safety
reasons. An underfloor air-conditioning system was installed where
deemed absolutely necessary. For instance, the throne hall remains
naturally ventilated, at the specific behest of the Chief Adviser.
Clockwise, from bottom: King Pinklaos residence

under restoration. Installing waterproofing membrane on the roof. Crews repair the ceiling. Before
352
The rehabilitation of the built structures was undertaken to allow

them to harmonize with the setting. Archaeological excavation was
carried out in the lawns, roads and gardens covering the complex,
which had been silted up and planted with decorative trees. The
excavation uncovered traces of brick foundations of pavilions,
verandahs and retaining walls which have since fallen into ruin,
along with numerous ceramic and metal artefacts. Fragments
of roof tile and paving stones were used to inform the choice of
restoration materials. The areas adjacent to the buildings were
excavated 30 centimetres in depth to expose the original level of
the plinths. The excavated areas were covered with a vapour barrier
and the pits refilled. Hedge plantings and paving materials were
designed to denote the underlying foundations, thereby interpreting
historical layers of the site to visitors. To prevent further flooding,
two large sumps were installed to drain floodwater to the river.
Project details
The Throne Hall was constructed in 1768, comprising two adjacent
buildings in a T-configuration. Once an open-air pavilion used by
the king to hold court, the south building was later enclosed. The
north building, which served as the Kings headquarters, is believed
to have retained its original plan and tiered Thai-style roof with
three gable ends. The roof structure and decorative details were
repaired. Internal walls added to conceal the service areas were
replaced with lightweight partition walls. Newer marble flooring
tiles which did not match with the original floors were removed.
The building services were modernized.
King Pinklaos residence, one of the earliest royal residences inspired
by European architecture, had been built in a hybrid manner with
a Thai wooden frame enclosed with brick walls, which the Navy
subsequently surrounded with another layer of concrete blocks,
leading to serious damp issues and recurrent termite problems.
A combination of metal and reinforced concrete columns were
installed to stabilize the building. Wooden wall panels were
repaired and repainted in their original dark green while the teak
floor planks were restored or replaced with matching boards. The
entry stairs were restored to their original appearance.
Phra Racha Wang Derm Palace / 2004
Far left and middle: The two Chinese-style

residences before and after restoration.
Above: Replastering the walls.
The two Chinese-style pavilions, also dating back to King Pinklaos time,
had been built in a mix of Thai and Chinese architecture, with Chinese
decorations on the pediment but Thai carved wooden windows. They
were in poor condition prior to restoration, having been used as
storerooms. Their roofs were repaired with concealed rain gutters and
teak ceiling planks were installed. Traditional artisans were commissioned
to repair the decorative plaster moulding and Chinese-style paintings
using the existing fragments as evidence of the original motifs. The
floors were refinished with terracotta tiles. New air-conditioning and
other systems were installed.
The 26-square metre Shrine to King Taksin was built in the late 1880s
in a mixture of western and Thai styles, and houses a statue of King
Taksin bearing a sword. It also required repairs to the roof. Shutters
were added to the basement-level doors to facilitate ventilation,
the walls were replastered and iron window grills were recreated.
Decorative lime plaster on the exterior and interior crown moulding
were restored. The damaged ends of the wooden joists on the upper
floor were repaired and supplemented with metal beams. The layers of
siltation deposits in the basement floor were excavated and cement
tiles were installed, leaving channels filled in with gravel to allow for
ventilation.
Wichaiprasit Fort had been built in the Ayutthaya period as one of a
pair of forts guarding opposite banks of the river. It had suffered from
years of erosion and rising damp. The retaining walls were threatening
to split apart. Over 900 concrete piles were added to shore up the
foundation of the fort and a new drainage system was installed. The
stabilized structure was then replastered and relandscaped.
Prior to restoration, the 1906 Green Wooden House, which once
served as the infirmary, was completely infested with termites.
Its rear building had been used as a canteen, resulting in general
decay. Moreover, its open porch had been enclosed and its historic
kite tiles had been replaced since the original roof structure was not
built strongly enough to support the heavy kite tiles. The porch was
re-opened and the roof structure was strengthened to support the
original type of tiles. Termites were treated and old wooden panels in
the building were repaired or replaced as necessary.

The Phra Racha Wang Derm is the
linchpin of a significant historic era.
This significance is revealed both
through the restoration works as well
as through the carefully-curated exhibits and archaeological sites located
throughout the complex.

This was the first project of this scale to be funded entirely by private
contributions, both for restoration works and for the preparation of
the museums. Relying on private conservation consultants and experts,
the project set standards with rigorous documentation prior to and
during the course of works, international conservation methodologies
and emphasis on the use of traditional construction techniques, hand
tools and original materials. During the restoration, a team of highly-
353
skilled labourers was employed and received further training in

conservation techniques. Currently, they are still involved with
the ongoing maintenance of the palace complex, while also taking
on other important conservation projects in the country, such as
Phayathai Palace.
The buildings that had ceremonial functions have retained their use,
such as the Shrine to King Taksin and the Throne Hall. King Pinklaos
residence and the two Chinese pavilions have been adapted for
educational use as museums about King Pinklao and King Taksin,
respectively. The museums focus on four collections: ceramics,
arms, coins and nielloware. They have become an important
destination for outside visitors, in particular school groups. Along
with the museums, the buildings also include a research library and
an office to house the ongoing work of the Foundation.
The restoration of the Palace and extensive advocacy and public
outreach work, in terms of publications and the production of
visitor guides, have sparked a renewed interest in the Palace, in
King Taksin and the Thonburi Era. This revival has affected the
historic community surrounding the complex, the general public of
both Thais and overseas visitors, as well as the local Thai-Chinese
community, as King Taksin had partial Chinese ancestry.
Left: The Throne Hall after restoration.

Above: Floor plan of the Throne Hall.
Top: The elevation shows the original tiered roof and gable ends.
354
St. Thomas Cathedral
City map
Opposite: The masonry fabric before and
after restoration.
Location
Mumbai, India
Project synopsis
Constructed over a 42-year period between 1676 and 1718, St.

Thomas Cathedral was the first Anglican church to be built in the
city of Mumbai. A charity school for Protestant children was also
established at the same time in the vestry of the church, which
later moved to a nearby building in the Fort Precinct. Upon its
consecration as a cathedral in 1837, a clock tower was added,
which dominated the skyline of Mumbai for decades. Over the next
century, the building was altered several times, most significantly
with a Victorian Gothic extension to the apse built to house the
choir and organ room. As part of an improvement programme in
1921, the original pitched, tiled, wooden roof on the apse end was
replaced with a reinforced concrete slab supported by steel beams,
utilizing what was the most modern technology at the time.
Since the church has been expanded and added upon at different
stages, the restoration strategy called for respecting the different
stages of interventions in order to preserve the layering of history
that they express. Before embarking on the reconstruction, the
trustees were required to undertake detailed documentation of the
church, including measured drawings of the main building and the
ancillary buildings.
By the late 1990s, the slab roof had deteriorated considerably,

causing leakages and flooding inside the cathedral. With the roof
verging on collapse, the trustees of the church were galvanized
into action. The main focus of the project was the removal of the
slab roof and its replacement with the original 1865 pitched roof
form in order to prevent water seepage and further damage to the
building fabric. It was decided by the trustees to also undertake
the conversion of the old parish hall and staff quarters into a
kindergarten, which would serve local needs as well as provide
revenue to help finance the restoration works. In addition to
restoring the roof, conservation of the grounds and decorative
elements, such as stonework and stained glass windows, was also
undertaken.
The restoration of the roof proved to be challenging without any

detailed historical photographs or architectural drawings. The two
gable walls had to be restored to their original profile. The project
team examined the old stones, many of which had been reused
when the walls were dismantled and rebuilt to support the flat
roof. A study of other Gothic Revival apses also furnished clues
concerning detailing for the finials, cornices and coping stones,
enabling an informed reconstruction design. The stone walls were
diassembled down to the level of the old kneeler, which was kept
intact as a visual marker. The old stones from the wall were kept
and reused as much as possible. During the process, the historic
finial pieces and cornice details were uncovered, which were
found to closely match the proposed reconstruction designs, thus
reaffirming the investigative results. The roof was reconstructed
with a steel structural system, with rafters spanning the vault and a
ring beam running along the apse walls. Wooden boarding, coated
with a bituminous waterproofing membrane, was laid over the steel
to support the clay tiles. The roof works were expedited in order to
be completed before the onset of the monsoon rains in June.
Cost
US$178,000
Responsible Party
St. Thomas Cathedral Trust
Heritage Architect
Brinda Somaya, Sandhya Savant
Kairmein Deboo
Swati Chandgadkar (Stained glass conservator)
Contractor
Savani Construction Co.
Date of Completion
October 2003
356
The project was initiated in 2001 and successfully completed in

2003. Listed as a Grade I building by the Heritage Regulations
of the Mumbai Municipal Corporation (1995), the cathedral
continues to serve as a major religious institution and a significant
architectural landmark. The restoration works have consolidated
the grounds, the buildings structural stability and its elaborate
Victorian Gothic interiors containing carved marble monuments,
sculpture, iron works, choir stands and pews, and stained glass
windows.
In the conservation of the apse, the primary concern was repairing

the masonry fabric. The apse addition had been completed in a
rushed manner due to the crash of the cotton exchange in the late
nineteenth century, hence the materials and craftsmanship were
not of high quality. However, in order to preserve the historic fabric,
only wrongly bedded or deteriorated stones were replaced. On the
exterior, the Porbunder limestone faade had been repointed in
epoxy which had caused the joints to spall, thus damaging the
stone. The epoxy pointing was carefully removed and replaced with
lime mortar. Other works included the repair of decorative details
such as the stained glass windows.
St. Thomas Cathedral / 2004
The conversion of the ancillary buildings to house a kindergarten

provided an opportunity to re-establish the church grounds as
an educational venue, as it had once been historically. St. Thomas
Cathedral was one of the first Grade I buildings to be granted
permission for adaptive reuse. The two buildings were in a poor
state prior to the commencement of works. The staff quarters
building was reconstructed while the parish hall was upgraded
with refurbished interiors and new toilets in order to meet modern
classroom needs.
The grounds had been largely neglected, resulting in changing
ground levels, water logging and lack of symmetry. The project
undertook the correction of the ground slopes and the installation
of a storm water system and French drains around the building. The
haphazard landscape was re-ordered into a simple Victorian garden
by transplanting trees. A low sliding bollard gate was installed to
separate the kindergarten from the church during school hours.
Throughout the project, traditional building materials and
construction techniques were used. The badly-eroded carved cornice
details were restored by remodeling details with mortar in lieu of
replacing the stone. Only in areas where the erosion was extreme
were replacements made. New materials were kept to a minimum
and were mostly used for structural reinforcements. These were
affixed to the old masonry in a way such that they could be removed
at a later stage, if necessary, without damaging the older fabric.

The restoration has encouraged the community to participate
more actively in church activities. To educate the public about
the conservation works and Victorian-era architecture, the organ
room has been transformed into an interpretation centre. Many
details about the stone masonry work were documented which
provide an insight into Gothic Revival construction methodology.
Old artefacts, providing evidence of historical construction details,
were collected and displayed. The restoration and site interpretation
have added a new dimension to the sites tourist potential.
The number of visitors had increased markedly, demonstrating
renewed interest in this important city monument.
Award Citation
The restoration of St. Thomas Cathedral, constructed between 1676 and 1718, has rescued
one of Mumbais most important landmark buildings and has contributed to revitalizing the
built heritage of the citys historic centre. The projects thorough documentation, the removal
of incongruent elements and the restrained repair work display a sound understanding of
conservation theory and methodology. By reinstating the original site plan, the project has
restored the historic coherence of the complex and grounds. Furthermore, the creative adaptive
reuse of some buildings within the complex has reinforced the function of the cathedral as a
place of community learning, while demonstrating the modern-day socio-economic viability
of historic structures.
357

The restoration enhances the sense of character and romance of the citys heritage,
which is often overlooked in a commercial
environment. The restoration of a Cathedral of such historic importance to the
city instills a sense of pride not only to the
parishioners, but also to the city at large.
Above: Site and floor plan of the cathedral.

Top right and middle: The reconstructed gable
roof replaced the 1921 flat roof.
Right: The cathedrals restored nave.
Far right: Elevation at apse side.
358
Vietnamese Traditional
Folk Houses
Opposite: House of Tran Ngoc Du

Family in Dong Nai province
Location, Size and Cost

House of Worship of Nguyen Thac Clan
Dinh Bang Village, Bac Ninh Province
124 square metres, US$45,987
House of Worship of Truong Clan
Hoi An, Quang Nam Province
House of Tran Ngoc Du Family
Bien Hoa City, Dong Nai Province
House of Worship of Dang Xuan Family
Hanh Thien Village, Nam Dinh Province
House of Pham Ngoc Tung
Vinh Tien Village, Thanh Hoa Province
House of Tran Van Binh
Dong Hoa Hiep Commune, Tien Giang Province
Responsible Party
Ministry of Culture and Information
Japan International Cooperation Agency
Heritage Architect
Dang Van Bai, Tomoda Hiromichi, Mark Chang
Nguyen Quoc Hung, Saito Hidetoshi
Nguyen Hung Oanh, Tran Khang
Yamada Yukimasa, Nguyen Ba Dang, Tran Thanh
Masuda Senjiro, Nagumo Ichiro
Contractor
Cong Ty 27/7, Xi Nghiep Xay Dung Kim An
Cong Ty Dong Ha, Cong Ty Xay Lap 1
Cong Ty Xay Dung Lam Kinh
Co So T Nhan Cong Tien Duc Thao
Date of Completion
June 2003
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Project synopsis
Due to rapid economic development and change in Viet Nam in

recent years, traditional houses are being demolished and replaced
by modern structures that do not reflect the rich culture and
history of the country. In recognition of the vulnerability of the
remaining buildings, the project sought to identify and conserve
typical traditional folk houses throughout the country.
The key objective of the project was to upgrade the capacity of

local artisans, construction companies and architects in restoring
traditional wooden buildings, which would ensure sustainability
of conservation efforts in the future. To facilitate the transfer of
knowledge, one Vietnamese restoration supervisor, one Japanese
restoration supervisor and one staff member from the provincial
Department of Culture and Information were permanently
stationed at each project site. In addition, upon the completion
of work on each house, all those responsible for the conservation
of cultural assets in nearby provinces were invited to attend a
one-week training seminar in order to further inculcate technical
expertise and conservation principles.
Through a collaborative partnership between the Vietnamese

Ministry of Culture and Information, the Japan International
Cooperation Agency and Showa Womens University,
comprehensive architectural surveys of traditional folk houses in
each province have been conducted since 1997. In the first stage,
between 300 and 900 houses in each province were documented
with simple plan drawings, photographs and interviews with the
residents. These were supplemented by more detailed measured
drawings at the second stage. The surveys presented a valuable
opportunity not only for discovering the number of existing
traditional houses, but also for raising awareness among the
residents about the cultural value of their properties.
From this shortlist, approximately six houses in every province
were selected to be designated as national cultural assets. The local
communities played an active role in identifying and nominating
the houses to be designated. They submitted entries for the initial
list of traditional houses that were used in the preliminary survey.
Further selection was carried out through consultation with the
Ministry of Culture and Information, provincial Departments of
Culture and Information and Showa Womens University.
Finally, six houses in six separate provinces were chosen for
restoration. The houses were chosen on the basis of factors such
as feasibility of training local building contractors, the educational
impact of the restoration, reuse options for the restored buildings
and balanced regional representation.
For each building, a preliminary survey was carried out in order

to determine which parts of the building should be restored to
its original form. Restoration plans were then drawn up, calling
for the retention and reuse of as much of the original fabric as
possible. In keeping with the standard approach to restoring
traditional wooden structures, the building structures were then
disassembled, with individual timber members recorded and stored.
Detailed observations undertaken during this process, especially
to inspect parts of wooden members that were not visible prior
to dismantlement, such as joints. Modifications were made to the
original restoration plan on the basis of the new information.
Each wooden component was then carefully restored. Restoration
supervisors worked closely with local carpenters to devise
solutions to repair or replace decayed parts using a combination
of traditional woodworking skills and new techniques. For
instance, in Bac Ninh province, stainless steel coach-bolts were
used to connect the remaining parts of the structure with the new
material, thereby structurally reinforcing the frame components.
Prior to reassembling the structure, the foundations of the
buildings had to be stabilized. In traditional houses, the pillars
usually rest on stone foundations. However, it was found that in
many of the project sites, many of the pillars were set on stone
bases resting directly in the soil, leading to uneven settlement.
Reinforced concrete was added under the stone bases to prevent
Vietnamese Traditional Folk Houses / 2004
further settling. These additions were implemented with care so as

not to affect the external appearance of the building.
Once the foundations were in place, the wooden framework of the
houses were reassembled. The team was mindful of the unique
framing structure of Vietnamese houses, which make extensive
use of the principal rafter beams and diagonal beams, unlike the
vernacular wooden architecture of China and Japan. Moreover, the
team was also careful to select reassembly methods appropriate to
the different ways in which beams are used and timber members
assembled in the three regions of Viet Nam.
Through interviews with the residents of the houses and surveys of
similar houses nearby, efforts were made to determine the original
form of floors, walls and architectural fittings. Where the restoration
to the original form would greatly hinder the modern lifestyle of the
current residents, discussions were held with them and efforts were
made to incorporate the requests from the residents into the restoration plan while not diminishing the cultural value of the house.
Finally, in most cases, external work was also carried out to improve
the appearance of the property as a whole. Careful attention was paid
to make a clear distinction between the old and the new elements
in refurbishing garden plantings, pavement, folding screens, water
basins and other elements of the houses.
Award Citation
Spanning six provinces in Viet Nam, this ambitious, innovative and outstanding project has
successfully preserved several typologies of vernacular timber buildings representing a range of
Vietnamese regional building crafts and architectural traditions. Methodical documentation
and research prior to the commencement of the work have ensured the retention of the
architectural authenticity of each building, and set a regional standard for applied research
in conservation practice. The projects emphasis on the transfer of technical know-how and
teaching of conservation principles has upgraded the capacity of local builders and craftsmen
in undertaking similar projects in their communities, thus ensuring the long term survival of
their buildings and traditions. The geographical distribution of the sites promises to have a
wide ranging impact on the conservation of local heritage throughout Viet Nam.
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Project details
Three houses were selected from northern Viet Nam, where the influence of Chinese culture is reflected in the built heritage.
Top and top right: Truong clans house of

worship during and after conservation.
Opposite page
Top: The eave tie beams and bracketing at
the house of Pham Ngoc Tung.
Middle: The roof of the Nguyen Thac clan
house of worship was dismembered for
examination.
Bottom: The house of worship of Dang
Xuan during restoration.
362
The House of Worship of the Nguyen Thac clan in Bac Ninh Province
was built in 1734 and considered to be the oldest existing folk house
in the country. Its design is characteristic of the traditional northern
Vietnamese house. Measuring 13 metres wide, it has a gabled thatch
roof. The restoration work was started in December 2000, with no
major alterations except for stabilizing the foundation with reinforced concrete. Upon completion, the house has been opened to
the public.
The House of Worship of the Family of Dang Xuan in Nam Dinh
Province is composed of a large main house with detailed sculptural
work, displaying the characteristics of a high status house typical to
the region. Dating back to 1866, it is considered the oldest wooden

house in the province. The house measures nine metres wide, and is
composed of a main hall flanked by side rooms. Works were started
in November 2001. Based on a survey of original construction traces,
newer brick walls and other interior architectural fittings were
removed, restoring the house to its authentic historic condition.
The House of Pham Ngoc Tung in Thanh Hoa Province possesses
magnificent sculptured elements similar to that of the Nguyen
Dynasty. In addition, due to its proximity to a Ho Dynasty palace
earmarked for extensive reconstruction, it was thought that by
choosing this house for the project, the skills and proficiency of the
artisans and architects would be sufficiently upgraded to help with
the palace project. Thought to be approximately 150 years old, the
house contains a main room used to house the family altar and side
rooms used for dwelling. Starting in October 2002, the restoration
project removed inappropriate features such as the entrance and
Vietnamese Traditional Folk Houses / 2004
windows from the northern brick wall and reinforced the foundation
with concrete.
In the central region, which is the seat of the Nguyen Dynasty culture,
the House of Worship of the Truong clan in Quang Nam Province
was selected. Built in 1840, this house is considered to be one of the
most culturally significant in the province. It possesses the charm of
aristocratic-style housing and is unique compared to the other town
houses in Hoi An. In addition, as it is the clans house of worship,
kinsfolk gather here on festive occasions, thereby maintaining the
traditional use of the building.
Two houses were selected from southern Viet Nam; strong French
influence is evident in the houses of this region. The house of the Tran
Ngoc Du family in Dong Nai Province was constructed in the early
nineteenth century on the Dong Nai River. The faade has Western
style features. Internally, the house contains an altar and reception
area in the front, and cooking and dining areas in the rear. The house
is now located within a proposed riverside park, thus increasing
its potential to be used and appreciated by local citizens for its
traditional cultural values. Prior to restoration, the house was in a
severely dilapidated state and near collapse. The roof and front brick
wall were partially destroyed and wooden elements damaged due
to water leakage and termites. Starting in October 2001, restoration
works were undertaken, using old photographs as a guideline.
Located on a canal, the house of Tran Van Binh in Tien Giang Province
was specifically selected for the project because of its Western
appearance, due to later additions of a brick arched entrance and
windows. Built in the early twentieth century, the house was thought
to have had a wooden faade originally. Based on old photographs
and architectural traces, the restoration removed the brick wall
and replaced it with a timber paneled wall. Traditional carpentry
techniques, tools and materials were used, which were transported
via the canal.

The project has helped to raise the awareness of cultural heritage
conservation among owners of cultural heritage, officials responsible

for cultural heritage management and the public. As part of the
management of the project, the house owners agreed to entrust
their houses to the Ministry of Culture and Information as a cultural
asset and to undertake their continuous maintenance. In some cases
there was evidence that the owner of the property has undergone
a shift of awareness from simply maintenance of cultural value to
enhancement of cultural value.
The impact of this restoration project as an impetus to further
conservation is evident. The year after the restoration of the Dang
family house in Nam Dinh Province, Secretary-General Truong
Chinhs house, located in the same village, was restored with funding
from the provincial government. The work was carried out by the
same contractor and carpenters who were responsible for the Dang
family project. Likewise, in Bac Ninh Province, since the restoration of
the House of Worship of Nguyen Thac clan the number of restoration
works on traditional houses in the surrounding area has increased
dramatically. There is now a movement towards conservation of
the whole village, centred around the Dinh Bang Assembly Hall.
The awareness and involvement of the local community in cultural
heritage has been greatly enhanced.
Vietnamese experts responsible for heritage conservation absorbed
modern conservation techniques and approaches and Vietnamese
architects learned many lessons from the working methods of their
Japanese counterparts. For instance, the restoration of the house in
Thanh Hoa Province, which contains many important cultural assets,
has provided invaluable training in conservation principles to the
officials of the provincial government, local building contractors and
carpenters.
The tourism industry, too, has benefited from this project. After the
restoration of the house in Tien Giang Province, it has became a new
tourist spot and is now included as one of the main attractions in
a regular canal cruise. In general, the restored traditional houses
are not only seen as cultural assets, but can also become potential
destinations. Through tourism development such as this, the
appreciation of the cultural value of Vietnamese traditional folk
housing can increase and the local economy can be stimulated.
363

If we can transfer the technical knowhow of restoration of traditional wooden
housing, many Vietnamese traditional
folk houses can be saved from vanishing,
and thereby be passed on to the next
generation.
Above and top right: Floor plan and elevation of

Truong clans house of worship.
Right and far right: Exterior and interior photos of
the restored Dang Xuan residence.
364
Elphinstone College
Project synopsis
Established in 1824, Elphinstone College is among the oldest
colleges in Mumbai and one of the pioneering educational colleges
of the British system in India. Some of its alumni are among the
greatest names of the Indian nationalist movement, strongly
establishing this institutions contribution towards shaping the
history of the Indian subcontinent.
A Grade I heritage building, Elphinstone College is a majestic
Victorian Gothic Revival building that forms part of the ensemble
of cultural institutions in the Fort Precinct. Designed by James
Trubshaw and Khan Bahadur Muncherjee Murzban, it was
completed in 1888 by John Adams, executive engineer in the
Bombay Government.
was started in January 2002 and completed in September 2003.

The Association oversaw the restoration of the faade and the
porch, while the PWD undertook the waterproofing of the terrace
and window restoration.
The restoration project was driven by the principle of respect
for the buildings historic, social and architectural significance.
A combination of scientific conservation techniques and local
building crafts was used. The architectural integrity of the building
was recovered by the removal of incongruous additions such as
ad hoc window awnings, sheds and service pipes that had been
incrementally added to the structure.
City map
Opposite: The impressive Victorian Gothic Revival
building before and after rehabilitation.
Location
Mumbai, India
Size
4,000 square metres (faade)
170 square metres (front porch)
The building is a distinguished architectural composition of

golden basalt and limestone with a dynamic fenestration scheme,
ordered by flanking stone turrets with pyramidical roofs. Finely
articulated balconies, brackets and balustrades, along with
intricately designed surface motifs, add to the decorative features
of the building.
For decades the building stood neglected, with layers of soot
and grime concealing the ornate stone faade and ficus growth
causing cracks in the stone masonry. The front porch was in
need of structural stabilization. Years of insensitive repairs and
additions had greatly compromised the buildings integrity. Added
to this, some well-meaning but insensitive repair methods had
taken their toll.
Stone cleaning on the 90-metre wide faade was undertaken

with a gentle water misting system rather than high pressure
jets or chemical surfactants. The first project in Mumbai to use
this method, it helped prevent any possibility of stone abrasion
or damage and kept intervention to a basic minimum. The stone
was cleaned with soft nylon brushes to remove superficial dirt,
before being sprayed with a fine mist of water for three seconds
at three minute intervals, to ensure that encrustations would
be detached without over-wetting the stone. After three days,
the stone masonry was cleaned with soft brushes, revealing the
underlying golden basalt base layer. In lieu of expensive imported
equipment, a locally devised system was rigged up, with the
sprinklers mounted on a scaffold set three feet away from the
faade and a solenoid switch equipped with a timer.
Cost
US$52,330
Responsible Party
Government of Maharashtra
Heritage Architect
Abha Narain Lambah
Contractor
M/s Construction Techniques
Date of Completion
September 2003 (Phase 1)
366
Through the establishment of the Kala Ghoda Association,

a citizens initiative founded in 1998 with the objective of
revitalizing this urban space as an art district, the restoration of
the Elphinstone College building became possible. For the first
time in India, a citizens group was allowed to fund, float tenders
for and undertake restoration works on a government-owned
building. The Association was responsible for the outer shell, while
the repairs within the building were under the jurisdiction of the
Public Works Department (PWD) with technical expertise provided
by the Associations consultants. The first phase of the restoration
In cleaning the sulphate encrusted decorative limestone mouldings,

capitals and sculpted panels, ammoniacal paper poultices were
applied to the stone for two to three days, followed by water
washing. Surfaces prone to algae and lichen growth were coated
with an ammoniacal solution. Ficus plants were uprooted and the
stumps treated with a traditional paste of lime and asafetida.
Local craftsmanship and materials were mobilized in the repair
of the damaged faade elements. The stone masonry had been
repaired earlier with hard cement mortar and epoxy, leading to
Elphinstone College / 2004
the delamination of the stone due to the trapped water which

was unable to evaporate. The joints in the stone masonry were
repointed using a traditional lime mortar mix dyed with kathha (a
natural colorant) to match the basalt color, which was achieved
after 50-odd trials with different combinations of various additives
such as brick dust and stone powder. Damaged limestone stringer
courses were replaced with new hand-carved sections, while
decorative panels were either restored using lime mortar or, in
cases of severe damage, new sections. Discreetly inserted stainless
steel pins were used to fix the new panels, since corrosion is an
issue, given the hot and humid climate of Mumbai.
In the front stone porch, the ends of timber rafters set in the
masonry walls were greatly damaged by wet rot. Replacement
members, in old Burma teak were sourced and installed. Stainless
steel C-sections were inserted as additional supports on alternate
ends, which have been exposed as a contemporary intervention.
Award Citation
The restoration of the faade of the Victorian landmark, Elphinstone College, was undertaken
as a result of a community-led campaign and demonstrates best practice in collaborative
private-public conservation. Setting the standard for conservation work on the Victorian
buildings of Mumbai, the projects cautious and methodical conservation approach and, in
particular, its use of non-invasive techniques have ensured the preservation of the buildings
fragile, historic fabric. The methodology used in this project serves as a model for the restoration
of the many similar structures in Mumbais historic Fort District. The project has returned
this landmark building to its former magnificence and has preserved one of the most valuable
parts of the citys history and built heritage. By illustrating the architectural splendour of
the Fort District of Mumbai, this project has contributed to consolidating the district as a
showcase for Mumbais wealth of Victorian heritage.
367

The building continues to be a vibrant educational and cultural
institution housing both a college and the State Archives. As a
result of the project, the College has opened up its grand entrance
lobby for art exhibitions, allowing for greater public interaction
with the building. In addition, a strong sense of ownership has
been cultivated in the wider community with active participation
in the restoration of the building by the college faculty, alumni,
State Government, neighborhood residents and the citizens of
Mumbai at large. As a result, the various stakeholders of the
college feel a renewed sense of pride in the building.
An important impact of this conservation project has been to
expose the PWD engineers to restoration practices and the
basic prerequisites of documentation, investigation both prior
to and during the works, an approach of sensitive and minimal
intervention as well as a concern for authenticity of material and
design. Resulting in a set of guidelines for future use, restoration
and maintenance of the building, the project has led to a new
working methodology and a successful public-private partnership
with the PWD, which is charged with the upkeep of many of
Mumbais historic buildings.
Above: Floor plan of the main building.

Top left: The elevation shows the articulation of arcades,
balconies and turrets.
Far left: Deteriorated pilaster of Porbunder limestone.
Middle and left: The colonnaded entry before and after restoration.
368
Female Orphan School
Project synopsis
The Female Orphan School is an architectural landmark located
in the University of Western Sydneys Parramatta campus. Built
in 1813, it is the oldest three-storey public building and one of
the most important surviving structures from the earliest period
of European settlement in Australia. With an imposing Palladian
facade, the design of the colonial Georgian building was modeled
upon the childhood home of the wife of Governor Lachlan
Macquarie. The building was constructed in brick, using lime shell
mortar, and accented with sandstone stringcourses, quoins and
windowsills. The floors, roof structure and operable windows were
built in wood.
City map
Opposite: Before and after restoration.
Location
Historically, the building and its site have seen three significant
phases of development. Built to house the Female Orphan School,
it was later transformed into the Protestant Orphan School for
boys and girls in 1850 and finally the Rydalmere Psychiatric
Hospital in 1888. It was vacated in 1969 before the whole site was
transferred to the University of Western Sydney in 1993.
By the time of the handover, the building was derelict as a result
of over 40 years of neglect and vandalism. Rising damp had
damaged the brickwork and plaster. Timber lintels were either
rotten or termite-eaten. The downpipes were leaking or missing.
Window panes were smashed and glazing bars broken. Alterations
made to the building over its history had, in some cases, detracted
from the original design or function of the building.
Rydalmere, New South Wales, Australia
Size
750 square metres
Cost
US$1,250,000
Responsible Party
University of Western Sydney
The University embarked on the restoration of the building in 2001

and works were finished in 2003. The building has now entered its
fourth major phase of use as part of the University of Western
Sydney, taking its place in the new millennium while preserving
its history from the earliest years of the colony.
Heritage Architect
Tanner & Associates
Contractor
St. Hillers
Date of Completion
June 2003
370
In adapting the building for use by the University, the proposed

functions and occupants were carefully vetted to ensure that
they would fit in with the existing spaces. The alterations deemed
necessary were designed so that they would not impact the historic
fabric negatively either in their installation or their on-going use.
The approach of the project was to respect and enhance the
architectural expression of the 190 year life of the building. As such,
the building has not been conserved to a particular point in history.
Rather, there has been a deliberate and purposeful approach to
show all phases of its history, including the subsequent adaptations
undertaken to accommodate its many uses.
The conservation works focused on revealing the various layers of
significant historic fabric. In some cases, this entailed the removal
of obtrusive elements which had been added on. This was carried
out literally in the restoration of the interior paint schemes. In order
to resurrect the paint remnants from the orphanage and hospital
periods, the later layers of enamel and acrylic paints were carefully
removed using an organic poultice. When uncovered, the historic
powdery paint layers were then stabilized with pure acrylic to
protect them and prevent further deterioration. The dappled walls
clearly showcase the three historic phases of the building.
The building had suffered water damage from rising and falling
damp and the associated problem of termites. In order to provide
a long term solution, the cement render covering the fretted
brickwork was removed, and the brickwork was desalinated. The
moisture content of the foundation was stabilized, and a chemical
damp-proof course was inserted into the solid brick walls. The roof
plumbing and stormwater drainage were both repaired, and the
sub-floor space was cleared out to increase sub-floor ventilation.
In the repair of the historic elements, materials were selected to
match the original fabric as closely as possible. The northeast wall
was reconstructed using matching sandstock bricks, which were
salvaged from another demolished building. However, as they were
larger in size than the extant bricks, they were trimmed down to fit
into the walls. The new sandstone trim and windowsills were also
selected to match the extant pieces.
A number of lost elements were reconstructed in order to
reestablish the buildings historic spatial layout and function. Most
Female Orphan School / 2004
significantly, a new set of double stairs was inserted into the main
atrium space to replace the original stairs that had been removed
earlier. Likewise, the reconstruction of the demolished northern
verandah has also reconnected the building to the courtyard.
The new elements were designed in a modern vocabulary using
contemporary materials, allowing them to be read distinctly from
the earlier elements. The stairs, for instance, were built in the
configuration of the colonial Georgian stairs but using a light
structure of timber treads and stainless steel balusters, which had
minimal impact on the historic walls. Likewise, a new concrete lift
tower clad with vitrepane, steel framed lift lobbies, and glazed
operable partition walls was also designed in a sympathetic
contemporary manner. Modern services were installed discreetly in
the interior spaces to allow the building to function comfortably.

The University of Western Sydney has transformed the Female
Orphan School into a centre for university and community
exchange. The building is now used as an exhibition space and
meeting rooms by diverse groups who are better able to appreciate
the heritage significance of the building through their personal
interaction with it. The rental fees contribute to the maintenance
of the building, which is overseen by the University.
Award Citation
The conservation and adaptation of the Female Orphan School has revitalized one of the
most important surviving buildings from the early period of European settlement in Australia,
and has ensured that this historic structure will continue to be utilized for years to come. This
project displays a sound technical approach in the conservation of existing significant fabric,
while the preservation of all phases of the buildings history captures in palimpsest its 190year history of varied use. Reintroduction of original elements, such as the paired staircase,
has reinstated the original circulation patterns, restoring functionality, while the new fittings
and access mechanisms such as the lighting system and lift tower have facilitated the buildings
continued use in a contemporary context. Sensitive conservation of wall paintings from one
period of occupation has retained the buildings historic personality even as its function in the
community has changed over time. Ever mindful of its sense of place, the use of this historic, but
once derelict, building as part of the University of Western Sydney campus has provided a means
by which the public can access and appreciate this significant nineteenth century structure.
371

We were committed to conserving every
trace of early construction, original flooring, windows, stencil decorations and the
like, which would show the patina of history and which would enable thoughtful
interpretation of the buildings story.
Above and top right: Ground floor plan and elevation.

Right: The restored entry foyer retained the historic
paint layers on the wall.
Far right: A construction worker examines the paint
surfaces.
372
Gongziting
City map
Opposite: The complex before and after restoration.
Project synopsis
The oldest structures on the Tsinghua University campus, the

Gongziting complex comprises 25 Chinese vernacular buildings
linked with covered walkways set in a formal landscape. The central axis is anchored by a three-bay entry gateway at the southern
edge of the compound and by the most prominent structure, an
H-shaped hall, on the northern side. The site once formed part of
the early eighteenth century Tsinghua Gardens, which were created in the Qing Dynasty during the reign of Emperor Kangxi at
the same time as the nearby Yuanmingyuan. The complex survived
the war with the French and British armies in 1860 and was later
converted, under the terms of the 1908 treaty with the United
States, into a preparatory school for students heading off to study
abroad. During its years as an academic institution, it was used for
faculty accommodation and recreational facilities. After 1949, the
complex housed the offices of the president of Tsinghua University and has also become a popular site for visitors.
The project placed primary emphasis on retaining the historical and

cultural value of the complex, encompassing both the Qing Dynasty buildings as well as the gardens. Since the buildings, like many
traditional Chinese structures, had been built or repaired over various periods, the challenge faced by the project team was to identify
the key defining elements to be preserved in each building.
Over the years, the complex has seen a number of changes.

The entry gateway, while retaining its original structure, had
been patched with tiles from different periods. Some historic
covered walkways had been demolished, while others had been
badly repaired. The courtyards had been repaved with modern
cement bricks. In the side courtyard, the original layout of the
space had been overwhelmed with new buildings. The whole
complex suffered from structural deterioration of the wood and
brick components. The garden had been replanted over time and
enclosed with modern green fences in a manner that was not in
keeping with its historic Chinese garden design. In addition, large
trees were found to be undermining the foundations.
The project was initiated in 1998 in order to address the conservation
and functional issues of the complex. A multi-disciplinary expert
team of historians, architects, conservators and horticulturalists
was formed. The team investigated the condition of the structures
and undertook a documentary and archival survey, which formed
the basis for developing a conservation strategy for the buildings
and grounds. The on-site works commenced in April 2000 and
were completed in one year.
374
Many of the traditional building crafts (tiling, carpentry, architectural painting, and masonry works) are still alive in China. Senior
craftsmen were invited to take part in the building survey in order
to determine the state of the existing structures and also to identify the materials and techniques used originally. It was found,
for instance, that the wooden columns, beams and purlins were
still in sound condition, and therefore new replacements were
not needed. As much as possible of the existing fabric deemed
historically valuable was saved. Where repair or replacements
were found necessary, the appropriate traditional techniques and
materials were used. For instance, in restoring the architectural
paintings on wood components, the faded paintings were refreshed and missing panels were repainted. Likewise, broken stone
components were restored while heavily damaged pieces were
replaced with newly carved ones.
Major restoration works were undertaken in the buildings along
the central axis, notably the entry gateway, the central hall and the
H-shaped hall. For the latter, the roof was retiled and the doors and
windows restored to their historic form. The buildings flanking the
central courtyard and along the faade wall were restored to their
original condition as per historical drawings. For minor buildings
around the perimeter, simple repair works were made to upgrade
their functionality. The covered walkways had mostly been rebuilt
with a historical appearance but without proper structural support.
These were disassembled and reassembled after the foundations
were stabilized and the column bases replaced.
In order to allow the building to function within a twentyfirst century context, a number of alterations were made. New
materials were added to improve the insulation of the traditional
windows and doors, and ensure the waterproofing of the wall
Gongziting / 2004
finishes in the bathrooms. All modern insertions were designed

to be recognizable as such and easily removable.
An historical record dating from 1909 concerning the gardens was
found in the archives and used to guide the landscape restoration.
Box hedges and a number of trees were uprooted and replaced with
peonies, magnolia, willow, elm, mulberry and the Chinese scholar
tree, among other species. The Tengyinghesheng courtyard at
the northwest corner of the complex was relandscaped with a
pond and rockery. Modern paving was removed in favour of the
original stone pavers. Discreet outdoor lighting was installed to
allow the garden to be lit up at night.

Throughout the process, close cooperation was sought with the
University community, in particular, the staff working in the
complex. After long consultations, the stakeholders agreed to
retain the function of Gongziting as the presidents office, as
it has been for the past 50 years. All vestiges of the complexs
past have been carefully retained, including not only the Qing
Dynasty structures, but also later commemorative steles and
other monuments. As such, Gongziting, embodying the rich
historical memories of the site, has been renewed as a symbol of
the University for its student, faculty, staff and alumni.
Award Citation
The restoration of Beijings historic Gongziting palace garden complex demonstrates a
clearly articulated conservation strategy combining thorough research and minimal intervention
undertaken within a well developed theoretical framework guiding landscape conservation in
the Chinese context. Through judicious use of traditional materials and methods, the buildings
and grounds have been restored to reflect their significant historic status and cultural value.
Meticulous restoration of the historic gardens of the Gongziting complex calls attention to
the importance of the conservation of historic gardens and landscapes within Chinese culture
and is testimony to the projects important contribution to cultural continuity. Reuse of this
historic garden complex within the context of the Tsinghua University campus has made this
valuable heritage asset available as an educational resource for community and ensures its long
term survival.
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The project was based on thorough investigation into the status quo, in-depth studies of
historical records, and active involvement
of Chinese traditional craftsmen and the
administration group which is the owner as
well as the user of the complex.
Above and top right: Ground floor plan and

elevation of the main hall.
Right: Landscaping was an integral part of
the restoration project.
Far right: The refurbished interior.
376
Namuna Ghar
Project synopsis
Located near Dattatreya Square in the ancient town of Bhaktapur,
Namuna Ghar (Model House) is a three storey brick and wood
structure that typifies the traditional Newari architecture of the
Kathmandu Valley. Once a farmhouse, the building is estimated to
be around 150 years old and features elaborate carved wooden
work and a tiled pitched roof.
City map
Opposite: The residence before and
after restoration.
When restoration work began in 1999 the house was in a highly

dilapidated state, having been abandoned by its owners for over
ten years and later used as a chicken shed. Restoration works were
carried out over a period of 18 months and were completed in
March 2001.
The main purpose of the restoration project was to raise awareness
within the community of the value of heritage buildings and
to encourage their protection. The project also intended to
demonstrate to the public that historical buildings can be adapted
for use without sacrificing either modern comforts or their
heritage value.
Since restoration, the house has been used as a residence and also
a venue for exhibitions and cultural events. Many old houses in
the Bhaktapur area have been restored following the example of
the Model House.
Location
Bhaktapur, Nepal
Size
85 square metres
Cost
US$17,000
Responsible Party
Rabindra Puri
Heritage Architect
Prior to restoration, the house had suffered from neglect as well

as inappropriate repairs. The ground floor had been plastered with
cement, along with the walls on the third floor. Windows had
been covered up and some of the walls were very weak, with long
cracks in the brickwork.
Rabindra Puri
Contractor
Rabindra Puri
Date of Completion
March 2001
378
The house was largely restored to its original design with a

few changes introduced to modernize the interior. The eastern,
northern and southern exterior walls were rebuilt and windows
were restored. All the floors, ceilings and inner partitions were
retained. The cement paving was removed and replaced with stone
pavers. During this process, an old rice husker was discovered
on the ground floor, which was then restored for exhibit in the
house. Extreme caution was exercised in handling the existing
fabric. Eighty percent of the materials were reused, including old
bricks and wooden artefacts. The old bricks were salvaged and
cleaned before being relaid using traditional mortar. The mortar
was produced on site, containing a mixture of brick powder and
lime, which was tested many times to get the original colour and
quality.
Where the original material was not reusable, replacement material
was sourced, largely from the architects own private collection
that had been salvaged over the years from demolition sites. For
example, the roof had been partly covered with tin sheets, ruining
its original character. During restoration, the tin was removed and
replaced by old tiles. Likewise, the decayed wooden columns on
the second floor were substituted with old columns.
The farmhouse was adapted to serve a modern function. The
living quarters on the first and second floor were retained. New
bathrooms were added by converting the storeroom on the ground
floor and a small portion of the second floor. On the third floor
the kitchen was kept, while the grain storage room was adapted
into a meeting room. The patio, characteristic of Newari buildings,
was enlarged slightly to allow more light into the kitchen and the
adjoining room. The farmyard was re-landscaped as a garden.
Traditional and local materials were used for the interior fitout. Traditional furniture and crafts displayed in the wall niches
enhance the atmosphere. All wooden parts of the house were
painted with linseed oil for durability and beauty. The use of
modern materials was limited to the new amenities added in
the bathroom and the kitchen. In addition, as Nepal is in an
earthquake-prone zone, modern tie-beams were introduced for
improved seismic performance.
Namuna Ghar / 2004

In addition to being the architects workspace, the house is a
museum open to all visitors. The house also hosts exhibitions and
cultural events. The guest room is available to scholars who come
to Bhaktapur to do research.
The restoration of Namuna Ghar set a precedent in the municipality.
The house was restored at a moment when Nepalese were slowly
forgetting their traditional architecture, and the project initiated
a greater awareness amongst both local residents and visitors.
An influx of visitors, numbering over six thousand in the first
four years after the house was restored, have come to the house.
Architecture students have studied the house to learn about the
Valleys vernacular architecture. Media attention was also directed
at the project with almost all the newspapers in Nepal and five
different documentary films featuring the house.
Influenced by this project, restoration of traditional architecture
is taking place more frequently, with homebuyers expressing
interest in restored historic buildings as a residential alternative.
In the immediate vicinity, a neighbouring home owner was
pressured by the community and the municipality to rebuild in
the traditional style.
Award Citation
The restoration and revitalization of this archetypal Newari village farmhouse has successfully
preserved a fundamental building type central to the traditional architectural vocabulary of
the Kathmandu Valley. In the process, public awareness has been raised about the value of
such traditional vernacular structures within a contemporary setting. The careful preservation
of vernacular materials has retained the structures sense of place and original charm while
modest, low-cost changes and the sensitive introduction of contemporary facilities have improved
living conditions in the house and thereby enabled use of the building in a modern context.
Demonstrating the feasibility and affordability of conserving and adapting vernacular houses
for continued residential use, this project has paved the way for the conservation of similar
traditional buildings throughout Nepal.
379

Many national and international organizations are spending millions of rupees on
different kinds of awareness campaigns
and programmes. There is no better way
than restoring an old building yourself to
make people aware about conservation,
traditional architecture, the value of traditional knowledge and real beauty. It is so
effective but costs so little money.
Above and top right: Floor plan and section of the house.
Right and middle: The former upper grain storage room
was transformed into a meeting room.
Far right: The restored Newari balcony.
380
Suzhou River Warehouse
Project synopsis
Along the banks of the Suzhou River in Shanghai lie clusters of
old warehouses and factory buildings from different eras, some
dating back over a hundred years. Many of the buildings were
constructed in a utilitarian manner using a combination of timber
and red and grey brick. Historically called the Wushong River, the
Suzhou River was once the main waterway for Shanghai, with the
now-dominant Huangpu River serving as a mere tributary. When
Shanghai functioned as a foreign treaty port, the river was part of
an important transportation and logistics network linking into the
interior of China as well as to the rest of world. After 1949, the
river nurtured a major manufacturing base, with factories located
within easy reach of the waterway.
City map
Opposite: The Suzhou River warehouse before and
after restoration.
Location
Shanghai, China
Cost
US$120,000
Responsible Party
During the reform era, the manufacturing industries withdrew

from the city and the warehouses and factories were abandoned.
Reduced to a fraction of its size by the late 1980s due to siltation,
the river was heavily polluted from the previous industrial activity,
deterring redevelopment in the surrounding area. For many
years, the warehouses remained empty and grew increasingly
dilapidated. Starting in 1992, the Shanghai government began to
clean up the river and their plans included a full-scale demolition
of the old warehouses.
The project architect proposed a different solution to revitalizing
the warehouse area. In 1993, he decided to rent one of the
warehouses, rehabilitate it and convert it into a design studio for
his personal use. The 1930s building, previously a grain warehouse,
was designed in the Art Deco style. The exterior wall is constructed
with grey and red brick. The floors and columns are made from
pinewood, while the roof is red tile. The restoration project was
completed in three years.
Fruit Limited Company, Teng Kun-Yen
Heritage Architect
Teng Kun-Yen
Contractor
Da Yang Environmental Design Ltd.
Date of Completion
October 1996
382
The project approach was to restore everything to its original

state. The restoration retained the historic materials found in
situ and salvaged materials for repair from other buildings from
a similar time period that had been demolished. In this way, the
historic building fabric was preserved.
When it was found, the warehouse had been home to over 150
migrant workers, after having been abandoned for many years. The
interior had been partitioned into small living spaces with limited
facilities. Flimsy awnings had been affixed to the brick exterior
of the building, sheltering a wholesale fruit vendor. The roof was
leaking and has been patched with corrugated roofing sheets,
the timber roof frame was damaged and the interior walls were
water stained. Electrical wiring had been mounted in a careless
and unsafe manner. Over 100 carts of rubbish were removed from
the building. Human excrement and soot buildup from the open
kitchens had to be cleaned out, with high-pressure air and water
jets used to wash away the embedded dirt.
The structure was leaning slightly, so the timber structure was
reinforced and later constructions were removed to relieve the
load on the floor. Inappropriate additions such as the front
awning were removed and the exterior brickwork was restored.
To transform the dim interior into a light-filled space, a skylight
was installed, which provided natural light and also warmth.
Three small staircases were removed to optimize the space for
its function as an architectural design studio. All alterations were
undertaken in a discreet manner in order to maintain the integrity
of the historic structure.
The skeletal structure of the cavernous space was left exposed, to
fully acknowledge the industrial character of the building. Where
partitions were needed, they were designed to be lightweight
and removable. The exposed floorboards were retained and wall
finishes were left intact, with the application of a light layer of
limewash. Interior fittings like light fixtures were chosen in a
modern industrial vocabulary, to enhance the ambience of the
warehouse while providing a contemporary counterpoint to the
historic building shell. In addition to the architecture studio, the
building also houses a design publisher and bookstore.
Suzhou River Warehouse / 2004

Following this pioneering initiative, the area has since become
a fashionable enclave for artists, many of whom have opened
studios and galleries in the abandoned buildings. Despite being
hailed as Shanghais SoHo, in the context of the citys booming
real estate market, the area was still under the threat of imminent
demolition to make way for modern high-rise buildings. However,
media attention for the successful renovation project, subsequent
interest by the public and sustained lobbying by the architect for
the rehabilitation of the whole area contributed in part to the
ultimate designation of a four-kilometre stretch of the Suzhou
River as a protected modern heritage zone by the Shanghai
municipal government. This extends from the elevated bridges
in the west to the Waibaidu bridge to the east, adjoining the
Huangpu River. A pedestrian promenade now runs in front of
the warehouse, allowing local residents and visitors to appreciate
both the restored river and the adjacent historic buildings.
Award Citation
The conservation and adaptation of this archetypical warehouse on the Suzhou River demonstrates the large scale impact that an individual, pioneering restoration project can have in focusing public attention and policy-making on new conservation agendas, in this case, Shanghais industrial history. A minimalist approach and careful retention of the defining features
of the structure have preserved the buildings ambience, while the innovative adaptation of the
warehouse for reuse as a design studio has demonstrated the feasibility of recycling industrial
buildings and the practicability of rehabilitating such heritage structures for modern use.
383

The warehouse was like a widow in black,
whose figure remains charming but covered
in dust. I wanted her to be elegant and
modern. She could then be the symbol of the
new Shanghai that is now in the limelight
of the whole world, just like the Shanghai
of 1933 when she was born, which was
at its most brilliant and shining. I firmly
believed that she would come to life again.
Today, she stands on the grey Suzhou River
bank assuming a magnificent pose.
Above: Floor plan.

Right: The new loft workspace.
Top and bottom right: Interior views before
and after conversion for reuse.
384
Tak Seng On Pawnshop
City map
Opposite: The building before and after
rehabilitation.
Location
Macao SAR, China
Size
1,543 square metres
Cost
US$250,054
Responsible Party
Companhia de Desenvolovimento
Imobiliario leng Vo, Limitada
Heritage Architect
Chan Chak Seng, Cheong Cheok Kio
Chan Kin Seng, Lui Chak Keong, Carla Figueiredo
Project synopsis
Established in 1917, Tak Seng On Pawnshop originally belonged

to a prominent local merchant, Comendador Kou Ho Neng.
The adjoining tower at the rear of the pawnshop, used for the
safe storage of valuables, was estimated to have been built in
the 1920s. The front part of the building had delicate Art Deco
architectural details mixed with Chinese elements. The tower was
designed to be impenetrable, constructed on massive granite
foundations from Chinese grey bricks, incorporating steel panel
inlays and narrow slit windows.
The projects primary concern was to preserve the authenticity

of the original construction, restore as much as possible of the
historic fabric using appropriate materials and techniques, and
minimize modern intrusions on the structure.
The pawnshop business in China dates back over 2,000 years

and played an important economic role by functioning as early
banking facilities. In Macao SAR, the industry peaked during
World War II and in the 1960s, when the gambling industry was
established and legalized. Located in the middle of the historic
Chinese bazaar area, Tak Seng On Pawnshop was classified as a
medium-level pawnshop and was an integral part of the socioeconomic development of the city. The property is included in the
heritage zone of Almeida Ribeiro Avenue and the tower is listed as
a building of architectural interest.
With the later decline of the pawnshop industry, the property
was closed down. Early proposals by the building owner, which
were never implemented, called for gutting the interior in order
to construct residential units. In 2001, an inspection of the
building revealed that it had remained surprisingly intact, with
artefacts from its pawnshop operations found in situ, such as
log records, unopened safes and registration tags. The Cultural
Institute entered into a partnership with the owner to develop the
building into an exhibition space dedicated to the memory of the
pawnshop business, as well as a private commercial enterprise,
the Cultural Club.
Contractor
Companhia de Decoracao San Neng
(phase 1)
Vo Tin Engineering (phase 2)
Date of Completion
March 2003
386
The project commenced in December 2001 with structural

consolidation and architectural restoration. Detailed repairs and
interior fit-out were undertaken between October 2002 and March
2003, and the building opened to the public on 21 March 2003.
Prior to commencement of works, detailed documentation was

undertaken, with an inventory of furniture and artifacts, complete
measurements of existing architectural elements, execution of
rigorous survey drawings, and archival research into the buildings
background and history.
The condition survey revealed that the tower was in relatively
sound condition. However, the front building had suffered from
settling and deterioration, with cracks in the walls and ceilings,
uneven pavements, rainwater infiltration, degradation of the
plaster, termite damage of wooden members, broken windows and
worn decorative motifs.
In the first phase of works, rubble and dirt were cleared away and
structures that were not part of the original architectural concept
were removed. The termite problem was addressed and decayed
wooden members were repaired, using partial replacements in
damaged areas wherever possible. The sidewalks were leveled and
debonded plaster was stabilized. Traditional construction skills
were used in all aspects of the work.
Modern services were introduced to allow the building to
accommodate its new functions. To meet fire safety and public
accessibility codes, an auxiliary staircase was integrated into
the void between the building and the neighboring property. To
maintain the entry of natural light into the space, skylight panels
were installed over this space and over the gap between the front
building and the tower. An upgraded drainage system, water
supply, toilets, electrical wiring and lighting were installed in an
unobtrusive manner.
In the second phase of works, the repair of wooden windows and
doors, ceramic tiles and original furniture was undertaken by
teams of skilled craftsmen. An air-conditioning system was added,
Tak Seng On Pawnshop / 2004
with the outage units discreetly installed out of sight on the

terrace. A traditional Chinese tearoom, library, exhibit room and
local souvenir shop constituting the Cultural Club were carefully
inserted into the historic interior.

The Pawnshop Museum now occupies the tower structure and
the front buildings ground floor, once the pawnshops reception,
accounting and storage preparation areas. The Cultural Club takes
up part of the ground floor and extends over the top two floors.
The property has become a popular cultural tourism destination,
providing a revenue stream to sustain itself. It has also attracted
visitors to nearby heritage sites such as the Street of Happiness
and the inner harbour.
The project has provided the private sector with a practical
success story for viable development of a heritage property
within the framework of Macao SARs heritage conservation
policies. The partnership between the Cultural Institute and the
private property owner has also demonstrated the potential for
such joint efforts in adaptive reuse, which can balance economic
and cultural interests. The long term viability of the property is
governed by an agreement signed between the two parties.
Award Citation
The restoration of the Tak Seng On pawnshop and tower has preserved a fine example of a
unique southern-China building type and has thereby protected the cultural memory associated
with the regions commercial and financial history. Given the important historic role played by
this type of financial institution to the communities of the Pearl River delta, by safeguarding
this building type the project has made an important contribution to cultural and community
continuity. The conservation of original features such as the main buildings interior structures
as well as the tower has retained the key elements of the buildings intended functional form.
The conservation approach has nevertheless acknowledged the evolved state of the building
over time by preserving evidence of previous renovation work. The project captures the living
practices of the pawnshop in an on-site museum, by showcasing original objects discovered
during the restoration process. A pioneering adaptive reuse project, the restoration project
has made the pawnshop one of the key landmarks on Macaos heritage trail, stimulating
conservation of other commercial structures in the city.
387

The project has proved to be a tremendous
success on various levels, enabling the conservation of one of Macao SARs most
significant heritage buildings, preserving
the history of the local pawnshop business
and ensuring a viable shopping experience
that offers continuum to the architectural
charm of the old building.
Above: The floor plan shows the buildings

narrow footprint.
Top right: Side elevation.
Right: The new souvenir shop has been
popular with visitors.
Far right: Many of the buildings elements
were found intact.
388
Zargar-e-Yazdi House
Project synopsis
The Zargar-e-Yazdi House is located next to Fort Mosque in the
historic city of Yazd in central Iran. The city dates back to about
3,000 BC and contains many buildings of historic and architectural
significance.
Commissioned by a local prince, the original building was built
at the end of the Safavid Era (1502-1736). Alterations were later
made during the Qajar (1794-1925) and Pahlavi (1925-1979) Eras.
The oldest remaining sections, notably the small courtyard, are
more than 250 years old.
City map
Opposite left: The residence in ruins.
Opposite right: The restoration nearly completed.
Location
Daroshafa District, Yazd, Iran
Size
1,416 square metres (built-up area)
1,281 square metres (courtyard)
Cost
US$7,028
Featuring stained glass windows and other artistic elements,

Zargar-e-Yazdi is significant as a fine and rare example of a
traditional vernacular residence, reflecting historic customs and
cultural influences. The building illustrates the vernacular approach
to architecture, which is well adapted to the environmental and
social context. The house is internally focused, with a solid outer
perimeter and open inner spaces. It is organized around two
courtyards. The public area of the house, used for receiving guests,
encloses the smaller front courtyard, while the private living
quarters surround the larger rear courtyard. Water bodies in the
courtyards create a cooling microclimate.
Before restoration, the house had been abandoned for a long time
and had fallen into ruin. The walls were intact but much of the roof
had collapsed. The courtyards and gardens had been left untended
for many years. The project managers restored the house with a
view to demonstrating the value of past architectural styles. The
project was completed in twelve months in March 2004, which
included one month for equipping the worksite.
Responsible Party
The Urban & Revitalization Organization
Heritage Architect
Ali Amiri Ardakani
Contractor
Maskan Sazan Corporation
Date of Completion
October 2003
390
Conservation Approach
The artistic and architectural value of this structure is related to its
simplicity and subtle geometrical pattern. As retention of this significance was paramount, the architectural integrity of the building
was carefully preserved throughout the restoration process.
The project focused on restoring much of the building to its

original Safavid Era design and decoration. There are few examples
of architecture from this period of Iranian history, and therefore
the restoration of this part of the houses identity was considered
valuable. In addition, the changes that were made in the Qajar Era
were also preserved to show the transformation of the house at
certain historical periods during its lifetime.
Detailed research and study of the house were carried out prior
to the restoration work, delving into the buildings condition and
the original design and function of the water, sewage system
and other services. The project then used the findings from the
research to undertake the restoration. By carefully examining the
different materials used in this building, the project team was
able to distinguish the parts of the house constructed at different
stages. For example, earlier walls were built in mud brick and clay,
while later walls were formed in bricks. Likewise, it was possible
to uncover the previous existence of certain design elements, for
example, the chimney, by using clues in the existing structure.
The removal of incongruous materials, such as paving, was
undertaken first. The courtyards were excavated and repaved with
bricks. The roofs were repaired using traditional materials such as
brick and plaster, with special attention paid to waterproofing and
adjusting the slope to allow for efficient run-off. Leaning walls
were restored with the fortification of foundations and the repair
of cracks. Decayed bricks were replaced with new bricks and a
traditional mortar mixture was applied.
In the interior, the floors were repaved and refinished, while walls
and ceilings were replastered. Doors were restored and returned
to their original locations. Changes to the original structure
were limited as much as possible and included the installation of
necessary modern facilities such as water pipes, air-conditioning,
electricity and a sewage system.
Much of the damage to the structure had come from rising damp
and rainwater ingress. The house had an extensive system of
subterranean channels under the courtyards that was not watertight and had resulted in water seepage. To address the problem in
a permanent way, the channels were excavated and lined with an
Zargar-e-Yazdi House / 2004
impervious layer. In addition, drainage channels were introduced

around the bases of the walls to facilitate evaporation, with
different designs depending on the level of moisture in the
area. Water gutters and spouts were cleared. The associated
problem of termites was resolved by traditional techniques.
After exterminating the termites, decayed timber members were
replaced with termite-resistant varieties. Some members were
encased in gypsum, while exposed surfaces were treated with oil
extracted from wild rocket plants. Tobacco was mixed in with the
plaster to ward off termites.
Award Citation
Different options for adaptive reuse were considered, including
a workshop and shop for ornaments and gold, a shop for Yazd
textiles or an anthropology museum. Ultimately, the house was
adapted for use as a hotel and restaurant, which was found very
suitable for the buildings layout and large existing kitchen. It
is planned that the open areas in the lower floors will be used
for fairs and other cultural activities. In addition, the house
has become popular with the local community as a location to
meet socially. With its new use, the restoration of the house has
provided an opportunity to convey to locals and tourists alike the
artistic and architectural values inherited from earlier periods in
Iranian history.
Through identifying and showcasing traditional Iranian architectural techniques, this restoration project has accurately preserved and convincingly conveyed historic continuity in local
vernacular built heritage. The project exemplifies how authentic use of traditional materials
and craftsmanship can contribute to the continuity of both architectural and socio-cultural
identity. The adaptation of the Zargar-e-Yazdi house for use as a hotel has demonstrated to
the local community the viability of using vernacular structures within a modern and commercial context and has enabled the wider public to gain understanding of and appreciation
for Iranian built heritage while securing the future of this handsome building.
391

We respect the past and its constructions
because through it, you can see our identity.
Old buildings reveal the thoughts and opinions of their builders. So during restoring,
the building itself has been very important
to us. We understood the hidden values of
the house through research and studies, but
the main goal was to explain these values
to others.
Above and top right: Floor plan and section.

Right: The small inner courtyard.
Far right: Deteriorated archways under
restoration.
392
Zhangzhou City Historic Streets
Project synopsis
Settled in 686, Zhangzhou was one of Chinas most active
commercial harbours in the past. As a trading entrept, the city
incorporated external cultural influences alongside its traditional
culture, resulting in hybrid architectural styles seen along the
streetscape. In recognition of its historic and cultural legacy,
Zhangzhou was certified as an Historic City by the state in 1986.
However, in the past twenty years, the city has seen modern
encroachments threaten its traditional architecture and layout.
In response to this trend, in 1990 the city government commissioned the Plan of Renovating the Traditional Downtown of
Zhangzhou City.
City map
Opposite: The streetscape before and
after restoration.
Location
Taiwan and Hong Kong Streets
Zhangzhou City, Fujian Province, China
Size
330 metres along Taiwan Street
(139 houses)
100 metres along Hong Kong street
(51 houses)
Cost
US$7,028
Responsible party
All building owners along Taiwan and
Hong Kong historical streets
Heritage Architect
Li Bing, Chen Yuehong, Que Weimin
Zhu Zhihong
Contractor
The junction between two historic commercial corridors, Taiwan

and Hong Kong Streets, was selected as the pilot intervention for
the plan, to provide an example for the eventual renovation of
all the historic streets in the city. Construction work started at
the end of 2001, focusing first on Hong Kong Street and then on
Taiwan Street, and was completed one year later.
Oriented east-west, Taiwan Street is the most prosperous
commercial street located in the centre of the traditional downtown
of Zhangzhou. Running north-south, Hong Kong Street intersects
with Taiwan Street and provides a connection to the harbour and
Jiulong River. Commercial activity naturally evolved on Hong Kong
Street as goods were carried along the street. Together, the two
intersecting streets have formed Zhangzhous main commercial
core for over 1,000 years. The majority of the citys residents
still shop primarily in Taiwan and Hong Kong Streets due to the
abundance of goods that can be found here.
The streets are lined with narrow two to three-storey shophouses,
known in the local dialect as zhutongcuo (bamboo pole house).
Measuring between three and four metres wide, the buildings
house a shop and workshop on the ground floor and living
quarters above.
Shen Maoran
Date of Completion
December 2002
394
Along Taiwan Street, the majority of houses date from the

eighteenth century to the 1920s, with a small number built after
the 1950s. They display a number of architectural styles, comprising
traditional, European, mixed local-European and modern styles.

Most of the houses along Hong Kong Street included in the project
were constructed in the eighteenth century and later renovated in
the 1920s in the qilou form, with a covered street-level arcade
possibly borrowed from either Guangdong or South-East Asia. The
street is marked by two sixteenth-century memorial archways.
The significance of Zhangzhous architecture is not geographically
limited to the city itself, since it also took root in other parts of
China, notably Hong Kong SAR and Macao SAR, with the waves
of emigration from Zhangzhou. To this day, the historic quarters
of these settlements still reflect the influence of this distinctive
architectural style.
In order to conserve the living commercial environment of the
streets, three main objectives governed the project, namely,
to restore the authenticity of the built historic streetscape, to
maintain the integrity of the tradition of shopping along the
streets and to ensure the continuity of the local shophouse
lifestyle. Detailed project planning entailed documenting the
architectural components of the buildings to serve as a data bank,
along with the design of a specific conservation proposal for each
individual shophouse.
Four main conservation methods were employed in restoring the
buildings. For faades which had retained their historic authenticity but were weathered by the passage of time, the damaged
sections were repaired and the faades cleaned. Seriously damaged
building parts were replaced using a combination of traditional
building techniques and materials. In a number of houses, interior
and exterior parts and finishes had been replaced with modern
equivalents, such as aluminum-framed sliding windows, cement
render and ceramic tiles. These were removed and replaced with
vernacular architectural features and finishing materials. Finally,
obtrusive modern constructions which had been added in the past
thirty years, such as signboards and additional floors, were also removed, in order to recover the original building form and faade.
The project carefully adhered to the traditional building materials
Zhangzhou City Historic Streets / 2004
of Zhangzhou streets and houses. For instance, the local Yanzhi

brick, distinctive for its red colour with brown veins, was used
exclusively in all the renovation works. The original form of the
brick was adapted in two new variationsas a smaller size and
as a thin veneer type, which was applied on faades. Both new
variations are distinguished from the original bricks by a twotone marking. Likewise, typical red tiles, carved stone lintels,
timber plank doors and carved wooden window panels were
consistently retained in the project in order to maintain the
authentic character of the buildings.
In the public realm of the street, poles and electricity and telephone
wires were removed and laid underground, along with water
pipes and sewage lines. The asphalt road surface was replaced
with the historic type of stone pavers. Signage was regulated,
with shopowners encouraged to install signs that enhanced the
streetscape. The historic red-and-white colour scheme of the
historic streets was enforced. For instance, the brickwork qilou
passageways along Hong Kong street had been plastered and
painted in blue in the 1970s, and these were restored to their
original appearance. Later constructions abutting the memorial
arches were also cleared, restoring their prominence as local
landmarks and opening up the adjacent areas as public spaces.
Award Citation
Based on a precise and well-considered plan, this project to restore and revitalize two historic
streets in Zhangzhou City has holistically preserved an urban ensemble comprising a range of
important architectural styles. The restoration has provided the local residents with improved
facilities and conditions while stimulating a significant increase in commercial activity in the
area. The emphasis on conserving original materials, the removal of inappropriate additions
and the use of prudent conservation techniques has commendably restored the building faades
and revived the historic streetscape within an urban renewal context. The community support
and satisfaction with the restoration work is such that the local government has formulated
a policy to undertake similar works in other historic streets in Zhangzhou City, exemplifying
the catalytic success such projects can have in producing conditions conducive to heritage
conservation.
395

The conservation project of Taiwan and Hong Kong Streets
required a high level of coordination between residents and
relevant government units in charge of planning and public
works. The cost for renovating public installations was borne by
the government, while the cost of renovating the houses was
undertaken on a cost-sharing basis between the government and
local homeowners, who shouldered 40 percent of the expenses.
The project has widely contributed to the cultural continuity of
Zhangzhou city. According to a survey done after the completion
of the project a vast majority of the residents are satisfied with
its outcome. Furthermore, most occupants felt that the project
increased the commercial activity in downtown Zhangzhou and
has therefore enhanced the ongoing social and economic life of
the area.
Top: The townscape now reflects Zhangzhous

traditional red-and-white colour scheme.
Far left: New services were installed in the
public right of way.
Middle: Inappropriate signage and cement render
were used to obscure the historic faades.
Left: The restored faades now reflect the towns
historic ambience.
396
Conclusion
Preservation of the world heritage is such a vast undertaking that, in the long run, it can only be successful if there is active
participation by local communities. New approaches must be developed in the areas of conservation and site maintenance,
drawing on local traditions, techniques and knowledge.
Federico Mayor, UNESCO Director-General (1987-1999)
Conclusion
Sources of Knowledge and
Sources of Continuity
With the majority of historic properties in the hands of private individuals and groups, the UNESCO Asia-Pacific Heritage
Awards for Culture Heritage Conservation programme has shown that the increased participation of civil society writ large
is critical for the long-term sustainability of the regions heritage.
The outstanding projects documented in this book have countered the gradual disenfranchisement of local communities
from heritage properties that has occurred over the past century. They have moved resolutely away from a centralized
top-down process reliant largely on the public sector, whereby local communities were unable to continue traditional
practices of maintenance and authorities were hard-pressed to step in when required due to the lack of political willpower,
funding and technical input. The winning projects have successfully negotiated the return of heritage into the hands of
traditional caretakers, social and cultural institutions, local businesses and homeowners. Furthermore, many of the projects
have emerged from the bottom up. Private sector entities, often in co-operation with local governments, have become
active stakeholders at all stages, from mapping vulnerable heritage, developing safeguarding strategies, implementing the
conservation works, to identifying contemporary uses.
The UNESCO Asia-Pacific Heritage Awards programme has brought to public attention historic structures that have been
saved from decay and abandonment, often under heroic circumstances. New life has been breathed into old buildings
in innovative and sensitive ways. The projects offer an alternative to the process of gentrification and pastiche development that have often stripped away the authentic cultural and social meanings associated with traditional architecture
and sites, and refashioned them for superficial consumption. Indigenous knowledge and traditional practices regarding materials, environmental adaptations, and social rituals embedded in local spaces, have been revived. As a result of
these conservation initiatives, the local communities who are the putative guardians of these tangible and intangible
legacies are no longer mere actors on heritage stage sets and have been culturally, socially and politically re-empowered.
The Award-winning projects have demonstrated how to capitalize on the rich potential of heritage spaces, particularly in
the ongoing production of both economic value and social meaning. In lieu of tabula rasa approaches to redevelopment,
private initiatives, frequently supported by appropriate public policies, have retained and adapted significant building stock
and urban quarters to serve contemporary uses. Not only has this process created a physical palimpsest of each sites
historical development, it has also allowed for the accretion of meanings over time, whereby new insights of the place are
deepened by old associations, and old understandings are seen in a new light. The revival of local cultural industries tied
to the sites, notably building crafts and decorative arts, has provided for a way to sustain traditional livelihoods and to
maintain the very buildings themselves.
The conservation success stories from the region which have been recognized by the UNESCO Asia-Pacific Heritage Awards
have proven to be both strong in technical achievement and visionary in social impact. These outstanding projects ensure
not only the conservation of the built environment, but also the survival of living traditions which form an inalienable part
of the continued cultural life and identity of local communities everywhere.
397
The designations employed and the presentation of material on this map do not imply the expression
of any opinion whatsoever on the part of the UNESCO concerning the legal status of any country,
territory, city, or area of its authorities, or concerning the delineation of its frontiers or boundaries.
Dotted line represents approximately the Line of Control in Jammu and Kashmir agreed upon by India
and Pakistan. The final status of Jammu and Kashmir has not yet been agreed upon by the parties.
398
Regional Map
Regional Map of Winning Projects

Australia
1 Church of Our Lady of Mount Carmel,
2004 Award of Distinction
2 Female Orphan School, 2004 Honourable Mention
3 The Medina Grand Adelaide Treasury,
2003 Award of Merit
4 The Australian Hall, 2002 Award of Distinction
5 Sydney Conservatorium of Music,
2002 Award of Merit
6 Broken Hill Heritage and Cultural Tourism Programme.
2002 Honourable Mention
7 Kow Plains Homestead, 2002 Honourable Mention
8 Bushells Tea Warehouse, 2001 Award of Distinction
9 St. Patricks College, 2000 Outstanding Project
10 Mawsons Huts Historic Site,
27 Ohel Leah Synagogue, 2000 Outstanding Project

28 Hung Shing Old Temple, 2000 Outstanding Project
29 Residence of Zhang Yunpen, 2000 Outstanding Project
India
Nepal
51 Namuna Ghar, 2004 Honourable Mention
Pakistan
52 Baltit Fort, 2004 Award of Excellence
53 Astana of Syed Mir Muhammad,
54 Yarikutz, Rupikutz, Kuyokutz,
Mamorukutz Mosques, 2002 Award of Distinction
11 Centre for Khmer Studies, 2002 Honourable Mention
30 Lakhpat Gurudwara, 2004 Award of Distinction

31 Dorje Chenmo Temple, 2004 Award of Merit
32 Dadabhai Naoroji Road, 2004 Award of Merit
33 St. Thomas Cathedral, 2004 Award of Merit
34 Elphinstone College, 2004 Honourable Mention
35 Ahhichatragarh Fort, 2002 Award of Excellence
36 Jaisalmer Streetscape Revitalisation Project (Phase I),
37 Krishan Temple, 2001 Award of Distinction
38 DBS House, 2001 Award of Merit
39 University of Mumbai Library Building,
40 Chanwar Palkhiwalon-ki-Haveli, 2000 Excellent Project
41 Hotel de lOrient, 2000 Outstanding Project
China
Indonesia
Sri Lanka
12 Gongziting, 2004 Honourable Mention

13 Suzhou River Warehouse, 2004 Honourable Mention
14 Tak Seng On Pawnshop, 2004 Honourable Mention
15 Zhangzhou City Historic Streets,
16 Guangyu Ancestral Hall, 2003 Award of Excellence
17 Water Towns of the Yangtze River,
18 Cangqiao Historical Street, 2003 Award of Merit
19 Catholic Cathedral of the Immaculate Conception,
20 Dalongdong Baoan Temple, 2003 Honourable Mention
21 No. 125 Huajue Alley, 2002 Honourable Mention
22 King Law Ka Shuk, 2001 Award of Merit
23 Xijin Ferry Project, 2001 Award of Merit
24 Zhongshan Road, 2001 Award of Merit
25 Jin Lan Tea House, 2001 Honourable Mention
26 St. Josephs Seminary Church,
42 Virtuous Bridge, 2003 Award of Merit

43 National Archives Building, 2001 Award of Excellence
44 Residence of Charles Prosper Wolff Schoemaker,
59 Tea Factory Hotel, 2001 Award of Merit

60 Harischandra Building, 2000 Honourable Mention
Cambodia
Philippines
55 Gota de Leche, 2003 Honourable Mention
56 Nielson Tower, 2001 Honourable Mention
Singapore
57 Convent of the Holy Infant Jesus (CHIJMES),
2002 Award of Merit
58 Thian Hock Keng Temple, 2001 Honourable Mention
Thailand
Iran
61 Phra Racha Wang Derm, 2004 Award of Merit

62 Wat Sratong, 2002 Award of Merit
45 Zargar-e-Yazdi House, 2004 Honourable Mention

46 Polsheer House, 2002 Award of Merit
Viet Nam
Kazakhstan
63 Vietnamese Traditional Folk-Houses,

2004 Award of Merit
64 Hoi An Town Preservation Cooperation Project,
2000 Excellent Project
47 St. Ascension Cathedral, 2004 Award of Distinction
Malaysia
48 Cheng Hoon Teng Main Temple, 2002 Award of Merit
49 Cheong Fatt Tze Mansion, 2000 Most Excellent Project
50 Rumah Penghulu, 2000 Honourable Mention
399
Australia
Architects/Designers
Regional Directory
Heritage Architects
Designers
Contractors
Danvers Schulz Holland Architects

1 Waymouth Place, Adelaide, SA 5000, Australia
Medina Grand Adelaide Treasury, 2003
Pip Giovanelli, Heritage and Conservation

Consultant
PO Box 570, Curtin, ACT 2605, Australia
Kow Plains Homestead, 2002
Godden Mackay Logan, Heritage Consultants

78 George Street, Redfern, NSW 2016, Australia
Mawsons Huts Historic Site Conservation Project, 2000
Robyn Dyke Pty. Ltd.

64 Rose Street, Chippendale, NSW 2008, Australia
Sydney Conservatorium of Music, 2002
Graham Brooks and Associates Pty. Ltd.

Level 1, 71 York Street, Sydney, NSW 2000, Australia
The Australian Hall, 2002
Howard Tanner & Associates

52 Albion Street, Surry Hills, NSW 2010, Australia
St. Patricks College, 2000
Bushells Tea Warehouse, 2001
Female Orphan School, 2004
John Taylor, Katrina Chisholm

PO Box 490, West Perth, WA 6872, Australia
Church of Our Lady of Mount Carmel, 2004
SACON International Heritage Unit

(Bruce Pettman)
GPO Box 1072, Adelaide, SA 5001, Australia
Ohel Leah Synagogue, 2000
SJB Architects
25 Coventry Street, Southbank, VIC 3006, Australia
Contractors
A.W. Edwards Pty. Ltd.
McDougall & Vines, Conservation and

Heritage Consultants
131 Sailors Bay Road, Northbridge, NSW 2063, Australia

Bushells Tea Warehouse, 2001
27 Sydenham Road, Norwood, SA 5067, Australia

Broken Hill Heritage and Cultural Tourism Programme, 2002
AAP Mawsons Huts Foundation

PO Box H76 Australia Square, NSW 1215, Australia
Mawsons Huts Historic Site Conservation Project, 2000
NSW Department of Public Works and Services
Telephone, fax and email contact details

have not been included as they are frequently
subject to change.
400
Level 19, McKell Building, 2-24 Rawson Place, Sydney

NSW 2000, Australia
Admiration Homes
76 Anderson Street, Webberton, WA 6530, Australia
Directory
Cambodia
China
Lend Lease Development
Francois Tainturier, Chhim Phet, Chea Phally
Australia Square, George Street, Sydney 2000, Australia

St. Patricks College, 2000
0426 Wat Bo Street, Salakram Roek, Siem Reap, Cambodia

Centre for Khmer Studies, 2002
Antiquities and Monuments Office

Leisure and Cultural Services Department
Multiplex Construction (SA) Pty. Ltd.

Level 22, 91 King William Street, Adelaide, SA 5000, Australia
Contractors
Architecture Design and Research Institute

Chea Sarin Construction Company
Roof and Wall Doctor Pty. Ltd.

16 Essex Street, Fremantle, WA 6160, Australia
St. Hilliers
Ground Floor, 88 Cumberland Street, Sydney
NSW 2000, Australia
Female Orphan School, 2004
St. Hilliers Interiors Pty. Ltd.

830 Elizabeth Street, Waterloo, NSW 2017, Australia
The Australian Hall, 2002
136 Nathan Road, Tsim Sha Tsui, Kowloon

King Law Ka Shuk, 2001
0320 Wat Damnak, Salakram Roek, Siem Reap, Cambodia

Centre for Khmer Studies, 2002
(Lu Zhou, Wei Qing, Liu Chang, Chen Yiren, Wu Yi, Liu Jiulin)
Tsinghua University, Beijing 100084, China
Gongziting, 2004
Architectural Services Department

5-9/F, APB Centre, 9 Sung Ping Street, Hung Hom, Kowloon
Bureau of Planning Urban & Rural Areas

(Li Bing, Xie Hongwei, Chen Yuehong)
Zhangzhou City, Fujian Province 363000, China
Zhangzhou City Historic Streets, 2004
China Cultural Relics Research Institute

Terry Gibson
1 Gibson Road, Cowangie, VIC 3506, Australia
Kow Plains Homestead, 2002
(Yang Xin)
2 Gaoyuan Road, Beijing 100049, China
Xijin Ferry Project, 2001
Walter Construction

Level 3, 100 Pacific Hwy, St. Leonards, NSW 2065

Australia
61 Hami Street, Datong District, Taipei 103, China

Dalongdong Baoan Temple, 2003
Construction Bureau
(Zhong Huahua, Zhong Hai, Wu Jianrong)
Shaoxing City, Zhejiang Province 310028, China
Cangqiao Historical Street, Shaoxing City, 2003
401
Cultural Heritage Department
Geoffrey Rex Hassell
(Carla Figueiredo, Chan Chak Seng, Cheong Cheok Kio,

Lei Man Fong, Liu Chak Keong)
Rua Pedro Coutinho, 27 Queens Court, 2/F, Macao SAR, China
St. Josephs Seminary Church, 2001
Tak Seng On Pawnshop, 2004
12/F Vita Tower B, 29 Wong Chuk Hang Road, Aberdeen

DaYang Environment Design Ltd.
9/F Block B, Yangyin Building, 34 Shuiyin Si Heng Road

Guangzhou, China
(Teng Kun-Yen)
2/F 1305 Suzhou Road South, 200003, Shanghai, China
Suzhou River Warehouse, 2004
Guangdong Provincial Institute of Cultural Relics

and Archaeology
Lin Jingsong
Ding Hongwei
Department of Architecture, Southeast University, 2 Sipailou
Nanjing 210096, China
Quanzhou City Planning Research Institute, Feng Zhe Road

Quanzhou, Fujian Province, China
Zhongshan Road, 2001
Liu Guiting
Diocesan Building and Development Commission
(Anna Kwong, SL Lam, WC Mak)
Rm 901, 16 Caine Road, Mid-Levels, Hong Kong SAR, China
Department of Architecture, Southeast University, 2 Sipailou

Lu Yuanding
Dong Wei
Department of Architecture, Southeast University
2 Sipailou, Nanjing 210096, China
Gao Xuemei
Kunming Urban Planning and Design Institute, Tang Jia Ying
Bai Ta Road, Kunming 650041, China
Jin Lan Tea House, 2001
402
Department of Architecture, South China University of

Technology, Guangzhou 510641, China
Guangyu Ancestral Hall, 2003
National Research Center of Historic Cities and

Urban Planning and Design Institute
(Ruan Yisan, Shao Yong, Zhang Lan, Zhou Jian, Zhang Song
Li Zhen, Lu Yongyi, Lin Lin, Zhang Kai, Dun Mingming
Sun Meng, Miao Yang)
Tongji University, Siping Road, Shanghai 1239, China
Water Towns of the Yangtze River (Zhouzhuang, Tongli, Luzhi,
Nanxun, Wuzheng, Xitang), 2003
Office of Xian Drum-Tower Muslim

Historic District Protection Project
(Yang Mingrui, Gao Xiaoji, Tong Zhongren, Mao Zhongan
Shi Xiaocheng, Jing Bin, Li Hongyan, Cheying)
No. 144 Beiyuanmen Street, Xian 710003, China
No. 125 Huajue Alley, 2002
Rocco Design Ltd.

(Bernard Hui, Charles Kung, TF Lo)
38/F AIA Tower, 183 Electric Road, North Point
Tan Gangyi, Liao Zhi

Research Building, South China University of Technology
4/F, No. 663, Tianhe Bei Lu, Guangzhou 510630, China
Zhang Songben, Zhang Songxiang

69 Cangxiang Daxi Road, Zhenjiang City, Jiangsu Province
China
Residence of Dr Zhang Yunpen, 2000
Zhao Chen
Graduate School of Architecture, Nanjing University
Directory
Contractors
Bureau of Planning Urban & Rural Areas
Linhai Ancient Buildings Conservation Company
(Shen Maoran)
Zhangzhou City 363000, Fujian Province, China
Zhangzhou City Historic Streets, 2004
Room 1516, Fortune Commercial Building, 362 Sha Tsui Road

Tsuen Wan, New Territories, Hong Kong SAR, China
Hung Shing Old Temple, 2000
75 Daqiao Street, Linhai City 317000, Zhejiang Province

China
Gongziting, 2004

61 Hami Street, Datong District, Taipei 103, China
Dalongdong Baoan Temple, 2003
Pacific Construction Ltd.

Fan Ran
Xiaomatou Street No. 4, Zhenjiang 212001
Companhia de Decoracao San Neng

Rua Rebanho, 12 R/C E, Edif. Fai Kwan, Macao SAR, China
Companhia de Fomento Predial Tak Fat Ltd.

13A, R/C, Travessa do Comandante Maya E Oliveira
Macao SAR, China
St. Josephs Seminary Church, 2001
DaYang Environment Design Ltd.

2/F 1305 Suzhou Road South, Shanghai 200003, China
Suzhou River Warehouse, 2004
Department of Construction
Xian Cultural Relics and Landscape Administration Bureau
No. 7 Jin Hua Bei Road, Xian 710000, China
Unit 1406, 14/F Star House, 3 Salisbury Road, Tsim Sha Tsui
Kowloon, Hong Kong SAR, China
Progress Construction Ltd.

Guangzhou Company
Room 401, No. 26, Yandu Road, Tianhe District
Guangzhou 510507, China
2-3/F, 320 Junction Road, Kowloon Tong, Hong Kong SAR

China
Quanzhou No.1 Building Construction Company

Jin Sha Company for Building Renovation Ltd.
145 Qing Nian Road, Kunming 650000, Yunnan, China
Protection & Management Office of

Historical Streets
(Li Bo)
1 Huanhua-Fang, Shaoxing 312000, Zhejiang Province, China
Cangqiao Historical Street, 2003
Linchai Historical Buildings Restoration Company

Linchai, China
Xuchucheng, Quanzhou, Fujian, China

Shanghai Gardens Engineering Company

Shanghai, China
Societe Bond (Hong Kong) & Co., Ltd.

Flat A, 14/F, Far East Bank, Mongkok Bldg, 11 Nelson, Kowloon
Suzhou Construction Company of

Classical Gardens
Suzhou, China
Water Towns of the Yangtze River (Zhouzhuang, Tongli, Luzhi
403
India
Tai Yue Engineering Co., Ltd.
Abha Narain Lambah
Unit I 8/F, On Ho Industrial Building, 17-19 Shing Wan Road

Tai Wai, Shatin, New Territories, Hong Kong SAR, China
301, B Wing, Amrit, Carter Road, Khar (W)

Mumbai 400052, India
Dadabhai Naoroji Streetscape, 2004
Elphinstone College, 2004
Tongli Historical Buildings Restoration Company
Indian National Trust for Art and Cultural

Heritage (INTACH)
71 Lodhi Estate, New Delhi 110003, India
Jaisalmer Streetscape Revitalization Proiect (Phase I), 2002
Kulbhushan Jain
Tongli, China
Ajaydeep Singh
C4/64, SDA, New Delhi-16, India
Lakhpat Gurudwara, 2004
AADI Centre, 10A Tolak Nagar, Paldi

Ahmedabad 380007, India
Jaisalmer Streetscape Revitalization Proiect (Phase I), 2002
Vo Tin Engineering
Ajit Koujalgi and Renate Hach
Minakshi Jain
Rua Comandante Joao Belo, s/n, 5 N5, Edif. Choi Pou

Macao SAR, China
Samasti, Auroville 605501, Tamil Nadu, India

Hotel de lOrient, 2000
10A Tolak Nagar, Mahalakshmi, Paldi

Ahmedabad 380007, Gujarat, India
Ahhichatragarh Fort, 2002
Brinda Somaya
Wenden Engineering Service Ltd.
Munish Pandit
1402-3 Causeway Bay Centre, 15-23 Sugar Street, Causeway

Bay, Hong Kong SAR, China
Somaya & Kalappa Consultants Pvt. Ltd.

National Insurance Building, 27 A.K. Marg, Fort
St. Thomas Cathedral, 2004
Wuzhen Historical Buildings Restoration Company
Divay Gupta
Sanrakshan Heritage Consultants

45 Triveni Apartments, West Enclave, Pitampura
Delhi 110034, India
Krishan Temple, 2001
Dorje Chenmo Temple, 2004
Wuzhen, China
Delhi, India
Nimish Patel, Parul Zaveri
Gurmeet Rai
Abhikram, Amrit-Lila Bungalow, Off Nagari Hospital Road

Near Gujarat College, Ahmedabad 380006, India
Chanwar Palkhiwalon-ki-Haveli, 2000
Zhenjiang Traditional Architecture Construction

Team
Zhenjiang City, Jiangsu Province, China
Residence of Dr Zhang Yunpen, 2000
Zhouzhuang Historical Construction Restoration

Company
Zhouzhuang, China
404
Cultural Resource Conservation Initiative, 109 Golf

Apartment, Maharishi Ramana Marg, New Delhi
110003, India
Paromita Desarkar
Flat No. 66, E-Block
Rohini Sector-18, New Delhi 110085, India
Directory
Contractors
Sandhya Savant
ABC Contractor
Cultural Resource Conservation Initiative (CRCI)
Urban Innovations
C/2A, Dalal Estate, Mumbai Central
Mumbai 400008, Maharashtra, India
DBS House, 2001
PO Box 1, Jaisalmer, Rajasthan, India

Jaisalmer Streetscape Revitalization Project (Phase I), 2002
Abdul Kadir
109 Golf Apartment, Maharishi Ramana Marg

New Delhi 110003, India
Samas Talab Ki Bari, Ajmeri Gate, Nagaur, Rajasthan, India

D.I. Construction
Advance Engineering Services
1 Ashiana Apartments, Behram Baug, Jogeshwari West

University of Mumbai Library Building, 2001
Sanjay Dhar
Painting Conservator
C-1818 Sushant Lok-I, Gurgaon
Mumbai, India
Dilawar Khan
Sudhir Deshpande
Sewri Consultant Pvt. Ltd.
Appeejay Chambers, Wallace Street, Fort
DBS House, 2001
Vikas Dilawari
273/3 Jawahar Nagar, Goregaon - West
Arjun Prajapati
V/P Deu, Dist. Nagaur, Rajasthan, India
s/o Mr Babu Khan, Silawaton Ka Mohalla, Nagaur

Rajasthan, India
Ashok Makad
Emamuddin
Plot No. 92, Arihant Nagar, Jodhpur, Rajasthan, India

s/o Mr Babuji Qureshi, Byapariyon Ka Mohalla

Jama Masjid, Nagaur, Rajasthan, India
Bhiya Ram
V/P Bhawad, Nagaur, Rajasthan, India
Ghewar Chand
Birma Ram
V/P Gotan, Dist. Nagaur, Rajasthan, India
Hema Ram
C. Guedjabady
No. 17, 9th Cross, Rainbow Nagar, Pondicherry 605012, India
Hotel de lOrient, 2000
Chhawar Lal
Jagdish Prasad
s/o Mr Bhera Ram, Near Police Thana, Railway Station
Magra Punjala, Jodhpur, Rajasthan, India

405
Keshu Ram
Mool Chand
Savani Construction Co.

s/o Mr Kima Ram, Lunda Raidna, Nagaur, Rajasthan, India

501 Parvati Nivas, Chavrewadi, G.V. Scheme Road

Mulund East, Mumbai 400081, India
St. Thomas Cathedral, 2004
Lakha Ram
Pappu Ram
s/o Purkha Ram, Khabariyan Surtaliyan Jayal, Nagaur

Rajasthan, India
s/o Mr Shetana Ram, V/P Budi, Dist. Nagaur, Rajasthan, India

Poonam Chand
Latur Ram
s/o Pooja Industries, Opposite Saboo Cement, Basni
Jodhpur, Rajasthan, India
M/S Construction Techniques

A/26 Royal Industrial Estate, Naigaon X Road, Wadala
Elphinstone College, 2004
s/o Mr Ram Kishan, Near Roadways Depot, Nagaur

Rajasthan, India
Mumbai, India
Teja Ram
Premchand Saini

C-91, Shastri Nagar, Jodhpur, Rajasthan, India

Sadakat Khan
Manish Mathur
19/303 Chopasni Housing, Jodhpur, Rajasthan, India
406
Suresh Bhakar
Prakash Anjarlekar and Associates
Near Kunda, Delhi Road, Amber, Rajasthan, India

Chanwar Palkhiwalon-ki-Haveli, 2000
GNM, Gala No C-57/85, Naik Nagar, LBS Marg

Sion West, Mumbai 400022, India
Dadabhai Naoroji Streetscape, 2004
Appeejay Chambers, Wallace St., Fort, Maharashtra

DBS House, 2001
s/o Mr Trilok Ram, I-A Indira Colony, Nagaur

Rajasthan, India
M/S Ruchi Meeta Electronics
M/S Universal Designs
Sewri Construction Pvt. Ltd.
s/o Mhd. Sadik Gori, Ajmeri Gate, Near Water Tank

Saffi Khan
s/o Mr Gaffar Khan, Ajmeri Gate, Sindlo Ka Mohalla
Directory
Indonesia
Iran
Japan
Budi Lim Architects
Ali Amiri Ardakani
Nobuo Kamei
Jalan Otista II no. 1, Jakarta Timur 13330, Indonesia

National Archives Building, 2001
Renovation and Architecture Office, Amiri Ardakani House

Mirdamad Avenue, Ardakan, Iran
Zargar-e-Yazdi House, 2004
Japan Agency for Cultural Affairs, 3-2-2 Kasuni Saseki

Chiyoda-ku, Tokyo, Japan
Hoi An Town Preservation Cooperation Project, 2000
Senjiro Masuda
99 Tabriziha Alley, Jolfa, Isfahan 81758, Iran

Polsheer House, 2002
2-25-22 Takasho, Shizuoka City, Japan

Vietnamese Traditional Folk Houses, 2004
Diagram Consultant
1 Sei Bahasa Street, Medan, Indonesia
Virtuous Bridge, 2003
Dibyo Hartono, Drs.

Jalan Tubagas Ismail III/13, Bandung 40134, Indonesia
Residence of Charles Prosper Wolff Schoemaker, 2000
Contractors
Han Awal
Maskan Sazan Corporation
Pondok Pinang Center Blk 8, 18-20, Jakarta Selatan, Indonesia

Contractors
Decorient-Ballast Indonesia
05 Citra Graha Building, Kav 35-36 Gatot Subroto
Jakarta, Indonesia
Egbal Factory, Motahari Street, Yazd, Iran

Zargar-e-Yazdi House, 2004
Ichiro Nagumo
752-2 Shimofurusawa, Atsugi City, Japan
Hidetoshi Saito
Tokyo National Research Institute of Cultural Properties
13-27 Ueno-Koen, Taito-ku, Tokyo, Japan

Institute of International Culture
(Hiromichi Tomoda, Mark Chang, Kiyosi Hirai)
1-7 Taishido, Setagaya-ku, Tokyo, Japan
Muhammad Zaini
1 Sei Bahasa Street, Medan, Indonesia
Virtuous Bridge, 2003
PT Aneka Intimulya
Yukimasa Yamada
Tokyo Metropolitan University
1-1 Minami Osawa, Hachioji, Tokyo, Japan
Bandung, Indonesia
Residence of Charles Prosper Wolff Schoemaker, 2000
407
Kazakhstan
Malaysia
Nepal
Kumbez Ltd.
Ideogram Designs
Rabindra Puri
(Timur Turekulov, Natalia Turekulova)

Cultural Heritage Conservation, Publishing House
Tazhibaeva Street 184, Office 511, Almaty 480060
Kazakhstan
St. Ascension Cathedral, 2004
(Lim Huck Chin)

6-03 Plaza 138, 138 Jalan Ampang
Kuala Lumpur 50450, Malaysia
Cheng Hoon Teng Main Temple, 2002
Dattatreya Square, Ward 3, Bhaktapur, Nepal

Namuna Ghar, 2004
Contractors
Laurence Loh, Akitek LLA
Contractors
22 Gerbang Midlands, Penang 10250, Malaysia

Cheong Fatt Tze Mansion, 2000
Andrei Vorontzov and Building Brigade

St. Ascension Cathedral, Park of 28 Panfilovs Heroes
Almaty 480000, Kazakhstan
St. Ascension Cathedral, 2004
Yahaya Ahmad
Universiti Malaya, Kuala Lumpur 50603, Malaysia
Rumah Penghulu, 2000
Contractors
(in cooperation with the Forest Research Institute
Malaysia, Jaya Renovation, Intelu)
2 Jalan Stonor, Kuala Lumpur 50450, Malaysia
Rumah Penghulu, 2000
Syarikat Success Construction

142 Jalan Seang Tek, Penang 10400, Malaysia
408
Rabindra Puri
Dattatreya Square, Ward 3, Bhaktapur, Nepal
Namuna Ghar, 2004
Directory
Pakistan
Philippines
Singapore
Aga Khan Cultural Service Pakistan (AKCSP)
Augusto F. Villalon
James Ferrie & Partners
Shahrah-e-Quaid-e-Azam, Jutial, Gilgit

Northern Areas, Pakistan
Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques, 2002
Astana of Syed Mir Muhammad, 2003
Baltit Fort, 2004
Pacific Plaza Towers, Fort Bonifacio, 1630 Taguig

Manila, Philippines
Gota de Leche, 2003
(Alisdair John Ferrie)

21a Boon Tat Street, Singapore 069620
Thian Hock Keng Temple, 2001
Leandro V. Locsin and Partners
Ong & Ong Architects Pte. Ltd.
Locsin Building, Ayala Avenue corner Makati Avenue

Makati, Metro Manila 1200, Philippines
Nielson Tower, 2001
510 Thomson Road, #10-00 SLF Building, Singapore 298135

Convent of the Holy Infant Jesus (CHIJMES), 2002
Contractors
Aga Khan Cultural Service Pakistan (AKCSP)
Shahrah-e-Quaid-e-Azam, Jutial, Gilgit
Northern Areas, Pakistan
Baltit Fort, 2004
Contractors
East Art Design & Engineering Pte. Ltd.

D. M. Consunji, Inc.
1881 President Quirino Avenue Extension, Pandacan
Manila, Philippines
Nielson Tower, 2001
Aga Khan Housing Board for Pakistan (AKHBP)

Helicopter Chowk, Shahrah-e-Quaid-e-Azam, Jutial
Gilgit, Northern Areas, Pakistan
Baltit Fort, 2004
Contractors
Felicisimo M. Consuelo
Blk 12, L5, Juana III - B, Binan, Laguna, Philippines
Gota de Leche, 2003
Blk 165 Bukit Merah Central, #08-3683, Singapore 150165

Thian Hock Keng Temple, 2001
Low Keng Huat (S) Ltd.

30 Marine Parade Road, #18-05 Parkway Parade
Singapore 449269
409
Sri Lanka
Thailand
Vietnam
Heritage Conservation Unit of

Dearborn Street Design International
Institute for Architectural Research
(Grittip Sirirattumrong)
88/8 Phaholyothin Soi 7, Phaholyothin Road, Samsen Nai
Phayathai, Bangkok 10400, Thailand
Phra Racha Wang Derm, 2004
(Nguyen Ba Dang)
389 Doi Can Street, Hanoi, Viet Nam
212/1, Bauddhaloka Mawatha, Colombo 7, Sri Lanka

Harischandra Building in Maha Vihara Monastery, 2000
Thada Sutthitham
(Nguyen Hung Oanh)

Faculty of Architecture, Khon Kaen University, Khon Kaen

Thailand
Wat Sratong, 2002
Ministry of Construction Institute for Architectural Research
Nihal Bodhinayake Associates

241, Thimbirigasyaya Road, Colombo 5, Sri Lanka
Tea Factory Hotel, 2001
Contractors
Abhayagiriya Vihara Project of the Central
Cultural Fund, Sri Lanka
Sacred City, Anuradhapura, Sri Lanka
Harischandra Building in Maha Vihara Monastery, 2000
Link Engineering (PVT) Ltd.

338, T.B. Jayah Mawatha, Colombo 10, Sri Lanka
Tea Factory Hotel, 2001
Contractors
(Truong Van)
Ministry of Culture and Information

Cha Fa Ltd. Partnership
622/5-7 Krung Kasem Road, Wat Somanas, Pomprab
Bangkok 10100, Thailand
Preeda Construction Ltd.

259/1-5 Amnuay Songkram Road, Dusit, Bangkok 10300
Thailand
(Dang Van Bai, Nguyen Quoc Hung, Tran Dinh Thanh)

51-53 Ngo Quyen Street, Hanoi, Viet Nam
School of Architecture
(Tran Khang)
196 Pasteur Street, Quarter 6, District 3, Ho Chi Minh City
Viet Nam
State Center for Cultural Building Design and

Monument Restoration
(Hoang Dao Kinh)
Duong Nguyen Trai Thanh Xuan Nam, Hanoi, Viet Nam
(Dang Kanh Ngoc)
410
Directory
Europe
Contractors
27/7 Company
Aga Khan Trust for Culture (AKTC)
Thon Duong Loi, Xa Tan Hong, Tu Son, Bac Ninh, Viet Nam
Vietnamese Traditional Folkhouses, 2004
(Masood Khan)
1-3 Avenue de la Paix, Geneva 1202, Switzerland
Baltit Fort, 2004
Dong Ha Construction Company

34 A, QL1A, To 5, Tan Hiep, Bien Hoa, Dong Nai, Viet Nam
Cor Passchier ABV

Duong Thao Construction Company Ltd.
14/68 Duong Bon, Khu Pho 2, Phuong Tan Mai, Bien Hoa
Dong Nai, Viet Nam
Schaarhuispad 9, Postbus 3165, 5203 cds Hertogen Bosch

Netherlands
Didier Repellin Architects

Kim An Construction Company Ltd.
628-630, Hai Ba Trung Street, Hoi An, Quang Nam, Viet Nam
47 Avenue Marechal De Saxe, 69006 Lyon, France

Karin Von Wietersheim
Lam Kinh Construction Company
Seefeldstrasse 162, Zurich 8008, Switzerland

31 Pho Hang Than, Thanh Pho Thanh Hoa, Thanh Hoa

Viet Nam
Office of Xian Drum-Tower

Muslim Historic District Protection Project
Nam Dinh Construction Company 1

9 Pho Nguyen Trai, Nam Dinh, Nam Dinh, Viet Nam
(Eir Crytli, Kjell-Harvard Braten, Bo-Terje Kalsaas, Hallvard

Odegaard, Sveinn Thorolfsson)
N-7491 Trondheim, Norway
Trevor J. Holmes
2 Church Lane, South Witham, Nr Grantham, Lincolnshire
NG33 5PL, United Kingdom
Hung Shing Old Temple, 2000
411
achars
Laymen of the monastery.
acroteria
An ornamented pedestal at the top joining

point of a roof.
adobe
A building material made from clay, water

and straw. Usually formed into large square
blocks, then dried in the sun.
apply
To put a substance on something else. For

example, to apply paint to a wall surface.
araish
A decorative plaster finish with a creamy

ivory colour, resulting in a marble-like appearance.
Glossary
412
banker mason A type of mason who carves the stone,

as opposed to a hewer who removes the
stone from the ground. The banker mason
carves stone on a banker (bench).
Baroque
A style of architecture and decoration

which developed in seventeenth-century
Europe after the Renaissance. Characterized by curving or oval lines, irregularity in
design and flamboyant ornamentation.
batten
Thin, narrow strip of wood covering the

joint between two parallel boards.
bimah
Raised platforms from which an orator or

priest addresses an assembly. Also refers
to the apse or chancel of a basilica. Most
commonly refers to an elevated platform
in a synagogue on which the Torah reading stand is placed.
Art Deco
A style of art and architecture popular from

1920-1945, characterised by stylized geometric patterns, sleek lines and streamlined
forms which express the modernism of the
period.
Art Nouveau
A style of fine and applied art that flourished from 1890-1914 in Europe and North
America. Characterized by fluid, undulating
motifs, often derived from natural forms.
astana
Tomb.
balau
A tropical hardwood of the family Dipterocaimen

carpaceae. A very dense, tightly-grained
wood, balau is heavily laden with rich
chai hui
tropical oils and resins. Its texture is very fine
and even. Known for its durability, strength,
weather-resistant and mechanical properties. For centuries, balau has been used for
shipbuilding, heavy-duty furniture and heavy
construction.
Burra Charter The Australia ICOMOS Charter for the

Conservation of Places of Cultural Significance. Adopted on 19 August 1979 in
Burra, South Australia. Revised in 1981,
1988 and 1999. The Burra Charter adapted
the principles detailed in the Venice Charter to suit local Australian requirements.
Decorative carved panel.
Painting or murals applied as decorative
elements in Chinese temples.
Glossary
chengal
A hardwood with even texture and high density commonly used in peninsular Malaysia.
Often used in construction for its hardness
and durability.
chataq
A common public space in a village or town.
chien nien
A style of mosaic using shards made from

porcelain bowls which are broken with pliers.
Originated in Southern China.
cladding
A material, usually a finish, applied over

another substrate material.
clerestory
windows
Windows placed above the upper part of

a high wall to provide light to the interior
space.
coffered
ceiling
A ceiling with recesses, often in geometric

pattern.
colonnade
A structure composed of a series of arches

supported by columns, usually forming a
covered passageway.
conservation
The discipline involving treatment, preventive

care and research directed toward the longterm safekeeping of cultural and natural
heritage. For actions taken to prevent further
changes or deterioration in objects, sites, or
structures, see preservation. For changes
made to an object or structure so that it will
closely approximate its state at a specific
past time, see restoration.
cribbage
A rudimentary wooden cage holding the

blocks or bricks of a building in place.
dado
The part of the wall below the chair rail and

above the base skirting, that usually receives
finish treatment or is panelled.
dado tiling
Tile decoration applied in the dado section of Federation

a wall.
style
damp-proof- An impermeable layer, either plastic or other

material, applied on the base of a wall during
course
construction to inhibit rising damp.
dapur/ruang- Kitchen/dining room in a Malay house.

makan
deodar
Also known as Indian cedar. A soft to moderately hard conifer tree found only in the
Himalayas. Noted for its strength and used
for building religious structures.
drop log
construction
A construction method which comprises a

number of upright poles to which saplings
are attached to form slots on opposite sides
of the pole. Unsawn pine logs are then fitted
into the slots.
drummy
plaster
Plaster which has debonded from the underlying material.
eave
The edge of a roof, usually extending beyond

the walls of the structure it covers.
encaustic
tiles
A wall or floor tile made with two or more

coloured clays. The pattern is inlaid into the
clay before firing.
epoxy
Type of synthetic resin used as an adhesive

that sets by chemical reaction.
Term applied to domestic designs of Australian architecture from around the turn
of the twentieth century, when the states
of Australia joined together as a federation.
These designs featured red bricks, turned
wood ornaments, half-timbering with
rough-cast in the gables, shingled walls
and striking terracotta tiles.
feng shui
The Chinese tradition of placing buildings

and arranging spaces and furnishings to
achieve harmony within its surroundings
and provide positive energy (chi) to its
occupants.
finish
The top-most cover or coating on a surface.

Also describes the texture and colour of
such a coating.
fresco
Mural or wall-painting created by applying

mineral or earth pigments onto wet lime
plaster.
frieze
Architectural term for the plain or sculptured, decorative horizontal band of the
upper part of a wall in a room, located
immediately below the cornice.
garbha griha
The cella or inner sanctum of a Hindu

temple.
Geo-mesh
A synthetic plastic material made of

interlocking woven mesh fibres used for
stabilizing sloped ground.
gild
To gloss over or cover with, often using

thin sheets of gold.
413
in situ
Gothic
A style of architecture that developed in
northern France and spread throughout
Europe between the twelfth and sixteenth
centuries. Characterized by vaulting, pointed
arches, flying buttresses, clustered columns
and sometimes elaborate carved stone decorations in the form of mythical beasts.
leadlight
Windows made with small rectagular or
diamond-shaped pieces of glass supported
by lead cames. Often simple in design and
associated with vernacular buildings.
In its present location.
jallie
Carved screen used for privacy and also to
allow air-flow through a building.
lime mortar
jarrah
A mixture of lime putty and sand used

in brick or masonry buildings. It is softer
and takes a longer time to harden than
Portland cement mortars.
A tree (Eucalyptus marginata) from Australia

noted for its rich brown-red colour.
jet-grouting
A cement-injection technique for the stabilization of soil.
Gothic Revival
An architectural movement primarily in
nineteenth century Britain and United States,
characterised by imitation of Gothic forms
and ornamentation.
A regional school of Pahari miniature painting that spread throughout the Himalayan
foothill area from about 1770 to almost the
end of the nineteenth century, with the finest
work painted around 1775-1820. Landscape
and perspective are naturalistic, colours are
subdued, linework is delicate and curvilinear
and the overall style is lyrical.
gud
Also called gur. Jaggery (coarse sugar made
from palm sap), used in mortar as a binding
agent.
Hakka style
A style of architecture originating in
southern China in which people speaking
the Hakka dialect live who migrated to the
Guangdong region in the Tang (618-907) and
Song (1127-1279) dynasties.
The inhabitants of Cambodia. From the seventh to the fourteenth centuries, the Khmer
established a powerful kingdom based at
Angkor from which they ruled over much of
present-day Indochina.
Hokkien
temple
architecture
414
A style of temple architecture that originated

in the area surrounding the Min river in
southern Fujian province, China.
An impermanent coating for walls and

other surfaces. Made from lime, water and
sometimes glue, flour and other ingredients.
linseed oil
Oil extracted from the flax plant. Used as a
carrier in oil-based paints and as a protective finish on wood.
loggia
Roofed structure open on one or more
sides. The term is also associated with a
porch or gallery, as distinguished from
an ambulatory or covered passageway.
Loggias were especially popular during the
Italian Renaissance.
A type of traditional plaster used in Indian

construction.
Ma Zu Po
Krishan
Chinese goddess of the sea.
Belonging to the Hindu god Krishna.

landmark
A recognizable edifice that has historic
significance. In preservation, a building so
designated by law and protected from alteration or destruction.
hessian
A type of canvas cloth used as a backing of
wall papering material.
lime wash
kody
Heroic Era
During the first two decades of the twentieth
century. An intense period of land-based
scientific research and geographic discovery
on Antarctica, involving 15 expeditions from
nine countries.
A mixture of aged lime and water, often

including sand or marble dust.
Khmer
haveli
A mansion in Northwest India more than two
storeys high surrounding one or more inner
courtyards.
lime putty
Kangra
laths
Narrow strips of wood used as a base for
applying plaster or tiles.
Maharihara
Parivena
A teaching institution for (and by) monks.
meranti
A tropical wood that is light to medium
weight. Widely used for light construction
and for veneers. Many other products are
derived from meranti, including oils, resins
known as dammar in the manufacture of
varnishes.
Glossary
methi
developed as a reaction to the Baroque and

Rococco style.
Also known as fenugreek. A plant widely

cultivated in South Eastern Europe and West
Asia whose seed is used for flavorings.
Pali
millet straw
Minton tiles
mortar
mortise
The dried stalks of the millet plant. A plant

producing round, golden grains.
The type of English porcelain and earthenware produced in Staffordshire beginning in
1793 by Thomas Minton and whose styles
include majolica, Parian ware, Palissy ware
and blue printed earthenware.
A mixture of cement or lime, water and fine
aggregate such as sand, used as a binding
agent for masonry and brick wall construction. Also used to fill in the spaces between
the masonry units.
A rectangular hole made to receive a tenon,
thereby forming a mortise-and-tenon joint.
Nara Document Result of the Nara Conference of 1994.

of Authenticity Underscores the importance of the cultural
context for heritage conservation. Urges
linking judgements of authenticity to a
variety of sources of information that permit
elaboration of the specific artistic, historic,
social and scientific dimensions of the cultural heritage.
narthex
A covered portico or porch running the width

of early Christian churches. It serves as a
vestibule into the nave.
nave
The main or middle aisle in a church, running

from the entrance up to the altar.
Neo-classical
A style of architecture in the late eighteenth

century that refers to a pared-down version of Classical orders and ornamentation
Ancient Prakrit language (derived from

Sanskrit) that is the scriptural and liturgical
language of Theravada Buddhism.
Parafil
High-strength composite synthetic fibre used

as ropes, cables or rigging.
Peranakan
Refers to the mixed culture and descendants

of Chinese who settled in the Malay Straits
and Java from the sixteenth century.
plaster
(noun) Soft mixture of lime, sand, water and

other ingredients that becomes hard when
dry and is used for making a smooth surface
on walls and ceilings.
(verb) To apply plaster to a wall surface.
plinth
A block used as the base of a column or

support.
plumb bob
Piece of lead that is tied to a cord and used

to test whether a wall is vertical.
point
A process of inserting mortar into joints after

a masonry unit is laid in order to achieve
water tightness or a desired appearance or
effect.
Porbunder
limestone
A type of soft limestone found in Porbunder,

western India.
Portland
cement
The water-setting mixture of limestone and

clay that is kiln-dried and powdered. It is the
main ingredient in making concrete.
poya day
Days which correspond with the four phases

of the moon. A month contains four poya
days.
privy
Lavatory.
proscenium
arch
The large arch above the stage in a proscenium theatre.
pulpit
A raised, enclosed structure or platform in

a church from where the sermon or service
is conducted.
purlins
The horizontal timber pieces laid across

the principal rafters and supporting the
common rafters in a roof.
PVC clay
Material made from PVC, other plasticizers

and ground pigments which are baked and
fused to produce a non-porous, workable
medium.
quoin
A masonry member forming the corner

edge of the exterior wall, often different in
scale and texture.
Rajput
painting
The painting style associated with the

Hindu Rajput princes of India, who came
to power in the early eighteenth century.
In contrast to Mughal painting which
is realistic, Rajput painting is symbolic
and suffused with poetic metaphor. The
coloration is typically flat and unblended
in a manner suggesting stained glass. They
fall into two main groups, Rajasthani and
Pahari.
restoration
The return of a structure or site to a

known historical period by the re-assembly of fabric and materials and by the
removal of incompatible accretions.
415
render
reuse
(noun) A wall surfacing product such as

plaster.
(verb) To apply a substance such as plaster to
a brick or stone surface.
In conservation terms, the rehabilitation
and sympathetic modification of historic
buildings in order to be utilized for another
function.
shikhar
Sikh school
of art
refer to domes, towers or spires, usually

tapering in a convex curve.
Refers to the arts produced to represent the
Sikh religion, an Indian religion founded in
the late fifteenth century that blends Islamic
and Hindu elements.
tempera
tenon
Small wooden tiles.
mixed with water and egg yolk. Sometimes

whole eggs are used as well as glue or milk.
This method produces a bright and translucent effect, and is fast-drying.
A projecting piece in a wood member that
will fit into the slot of another member with the same dimension, to form a
mortise-and-tenon joint.
sirap
ridge
The horizontal beam that provides attachment for the upper end of the rafters and is
the junction of the upper edges of two sloping roof structures.
slaked lime
spandrel
rising damp
The rise of water moisture from the ground

through the porous wall cavity via capillary
action. The evaporating water leaves salt
deposits on the surface, often resulting in
staining and damage to the interior finish.
rumah ibu
Main house in a Malay residential complex.
sacristy
Room in or attached to a church where the

sacred utensils and vestments are kept.
sanctum
sanctorum
A lime that has been made powdery or soft

through the action of water.
terracotta
A hard, semi-brown fired clay used as

facing brick, structural brick or applied
sculptural ornament in buildings.
The roughly triangular space between the

left or right exterior curve of an arch and the
rectangular framework surrounding it.
terrazzo
A type of mosaic flooring made by embedding small pieces of marble or granite in a

cement base. The surface is then polished.
Narrow horizontal bands , either flush or

string courses projecting, that run across the width of the
faade of a building. They can be plain or
moulded.
ta cik
The holiest and innermost part in a temple

or Jewish tabernacle.
Also spelled tai chik and da qi. Literally,

big oil. Tree sap applied as a finish to timber. Affords protection from termites and a
hardened finish which lasts for decades.
The main column of a Malay house.
tiang sen
top-down
restoration
transept
A joint made by notching two pieces of

timber so that they will lock together endto-end.
Te Deum
seasoned timber Any timber which has dried out and from
which the sap has gone.
Teepol
Shanghai
plaster
416
A grey grainy cement-based finish with exposed

stone aggregate that resembles granie. Popular
in Shanghai in the 1920s-1930s and in Hong
Kong in the 1950s.
In the temple architecture of India, shikhar
The shorter aisle running perpendicular to

the nave or main aisle in a church, thus
forming the cross plan.
Railings.
Arches with three arcs or lobes.
takiya
scarf
Restoration that begins from the top of the

building and continues downward to the
bottom of the building.
An ancient liturgical hymn, sometimes called

the Ambrosian Hymn, recited publicly on
the last day of the year and on other special
occaisions.
trefoil arches
trowel
A brand for a range of cleaning, washing,

and de-greasing detergent products.
tung oil
A method of painting in which pigments are
A hand tool with a metal scoped or flat

blade used to spread or form loose and
plastic materials such as mortar and cement.
A semi-drying oil used in hard-wearing
varnish and enamel. Helps to prevent termite infestation. Also called chinawood oil.
A highly heat-resistant grey metal with
Glossary
tungsten
great tensile strength.
valance
A board set a short distance from the wall for

decoration or to conceal something.
vernacular
The traditional architecture of a region, built

of local materials to suit particular local
needs usually by an unknown designer and
reflecting local technology and methods.
The style in architecture, dcor and furnishVictorian style ings popular during the reign of Queen
Victoria (1837-1901). Characterized by rapid
changes of style from Classicism, Romanticism and Eclecticism and back to Classicism.
vitrepanel
A durable wall cladding system made from

sheets of compressed fibre cement, prepainted and finished on the exterior face.
wan kaew
Traditionally, glass beads used as earrings.

Refers to small panes of glass used as ornamentation in a Thai temple.
wat
Yanzhi brick
In Thailand and Lao PDR, a collection of

buildings that comprise the Buddhist monks
compound. Used for religious, educational,
and residential purposes. Also called vat in
Cambodia.
A traditional red brick manufactured primarily in the Fujian province of China, near
Zhangzhou.
417
UNESCO
International and
Regional Charters
Convention for the Protection of Cultural Property in the

Event of Armed Conflict, 1954
http://portal.unesco.org/culture/en/ev.php-URL_
ID=8450&URL_DO=DO_TOPIC&URL_SECTION=201.html
Convention on the Means of Prohibiting and Preventing
the Illicit Import, Export and Transfer of Ownership of
Cultural Property, 1970
http://portal.unesco.org/en/ev.php-URL_ID=13039&URL_
DO=DO_TOPIC&URL_SECTION=201.htmlm
Convention for the Safeguarding of the Intangible

Cultural Heritage, 2003
http://unesdoc.unesco.org/images/0013/001325/132540e.pdf
Convention on the Protection and Promotion of the
Diversity of Cultural Expressions, 2005
http://unesdoc.unesco.org/images/0014/001429/142919e.pdf
ICOMOS
The Venice Charter, 1964
http://www.icomos.org/venice_charter.html.
Convention Concerning the Protection of the World

Cultural and Natural Heritage, 1972
http://www.unesco.org/whc/nwhc/pages/doc/dc_f2.htm
The Florence Charter, 1982

(Historic gardens and landscapes)
http://www.international.icomos.org/charters/gardens_e.htm
World Heritage Convention Operational Guidelines

http://whc.unesco.org/archive/opguide05-en.pdf
Charter on the Conservation of Historic Towns and

Urban Areas, 1987
(Washington Charter)
http://www.international.icomos.org/charters/towns_e.htm
Recommendation Concerning the Protection, at National

Level, of the Cultural and Natural Heritage, Paris 1972
http://www.unesco.org/culture/laws/national/html_eng/
page1.shtml
Recommendation Concerning the Safeguarding and
Contemporary Role of Historic Areas, Nairobi 1976
http://www.unesco.org/culture/laws/historic/html_eng/
page1.shtml
Convention on the Protection of the Underwater Cultural
Heritage, 2001
http://www.unesco.org/culture/laws/underwater/html_eng/
convention.shtml
Universal Declaration on Cultural Diversity, 2001
http://unesdoc.unesco.org/images/0012/001271/127160m.
pdf
Charter for the Protection and Management of the

Archaeological Heritage, 1990
http://www.international.icomos.org/charters/arch_e.htm
ICOMOS Guidelines for Education and Training, 1993
http://www.icomos.org/guidelines_for_education.html
Charter for the Protection and Management of the
Underwater Cultural Heritage, 1996
http://www.international.icomos.org/charters/underwater_e.
htm
Principles for the Preservation of Historic Timber
Structures, 1999
http://www.international.icomos.org/charters/wood_e.htm
International Charter on Cultural Tourism, 1999
http://www.international.icomos.org/charters/tourism_e.htm
418
International and Regional Charters
Charter on the Built Vernacular Heritage, 1999

http://www.international.icomos.org/charters/vernacular_e.
htm
ICOMOS Principles for the Preservation and Conservation/Restoration of Wall Paintings, 2003
http://www.international.icomos.org/charters/
wallpaintings_e.htm
ICOMOS Charter-Principles for the Analysis,
Conservation and Structural Restoration of Architectural
Heritage, 2003
http://www.international.icomos.org/charters/structures_e.
htm
Charter for the Interpretation and Presentation of
Cultural Heritage Sites, 2007 (draft)
http://www.enamecharter.org/downloads.html
Regional
(Asia-Pacific)
Nara Document on Authenticity, 1994
http://www.international.icomos.org/naradoc_eng.htm
ASEAN Declaration on Cultural Heritage, 2000
http://www.aseansec.org/641.htm
Hoi An Protocols for Best Conservation Practice in Asia,
2006 (draft)
http://www.unescobkk.org/fileadmin/user_upload/culture/
cultureMain/Instruments/HAP__English_.pdf
National
(Alphabetical by Country)
AUSTRALIA
Australia ICOMOS Burra Charter, 1999
http://www.icomos.org/australia/burra.html
CAMBODIA
Law on the Protection of Cultural Heritage, 1996
http://www.autoriteapsara.org/en/apsara/about_apsara/
legal_texts/decree4.html
CHINA
Principles for the Conservation of Heritage Sites in
China, 2002
http://www.icomos.org/australia/images/pdf/china_prin.pdf
INDIA
Charter for the Conservation of Unprotected
Architectural Heritage and Sites in India, 2004
http://www.intach.org/pdf/charter.pdf
INDONESIA
Indonesia Charter for Heritage Conservation, 2003
http://www.international.icomos.org/charters/indonesiacharter.pdf
MALAYSIA
National Heritage Act, 2006
http://www.hbp.usm.my/conservation/MainConservation.htm
NEW ZEALAND
ICOMOS Charter for the Conservation of Places of
Cultural Heritage Value, 1992
http://www.icomos.org/docs/nz_92charter.html
PAKISTAN
National Fund for Cultural Heritage Act, 1994, amended
2002
http://www.heritage.gov.pk/
PHILIPPINES
National Commission for Culture and the Arts (Republic
Act 7356)
http://www.ncca.gov.ph/about_ncca/history.php
REPUBLIC OF KOREA
Protection of Cultural Properties Act, amended 19822002
http://english.cha.go.kr/
SINGAPORE
National Heritage Board Act (Chapter 196A), 1993
Preservation of Monuments Act (Chapter 239)
http://www.mica.gov.sg/mica_business/b_heritage.html
LAO PEOPLES DEMOCRATIC REPUBLIC

Lao Heritage Legislation, 2006 (in Lao only)
http://www.unescobkk.org/index.php?id=2283
419
Susan Balderstone PSM LFRAIA is an architect who has worked on the conservation of heritage places for over 20 years. At the De-
Profiles of
Jury Members
(20002006)
partment of Infrastructure, Victoria she was involved with the conservation of Melbournes major nineteenth-century public buildings
and other public buildings in rural areas. She has participated in international projects in the Asia-Pacific region, including the Urban
Heritage Conservation Strategy for Tianjin, China, and the AusAid Planning and Development Control Project for Hanoi, Viet Nam.
She has presented papers and participated in conservation workshops in the region including in China, Viet Nam, the Philippines and
Australia. She also worked for the Jordanian government and various academic institutions on the investigation and conservation of
archaeological sites and ancient monuments in the Middle East. As an Adjunct Professor in the Faculty of Arts at Deakin University, Ms
Balderstone was instrumental in setting up the current post-graduate coursework programme in Cultural Heritage. She holds a BArch
(Hons) from the University of Melbourne and a MA in Conservation Studies from the University of York. (Jury member in 2000-2001)
Robert G. Boughey established his architectural practice in Bangkok in 1973. His company has been active in the architectural and
design field since that time, and has been the recipient of numerous architectural awards for its completed projects. Mr Boughey was
formerly a professor of Tropical Studies at Pratt Institute in New York. He has given talks at numerous universities and has been on the
evaluation panels for various international design competitions. (Jury member in 2000, 2003)
Mark Chang teaches at Showa Womens University in Tokyo, Japan. Trained in economics, he has been involved in collaborative projects between Japan and Viet Nam in conserving cultural heritage in Viet Nam, particularly in the UNESCO World Heritage town of Hoi
An. He participated in two projects, the Hoi An Town Preservation Cooperation Project and the Vietnamese Traditional Folkhouses, which
received UNESCO Asia-Pacific Heritage Awards in 2000 and 2004, respectively. In 2005, Professor Chang was recognized with a Viet Nam
Ministry of Culture and Information medal for distinguished service in the field of cultural heritage. (Jury member in 2005)
William Chapman is the Director of the Graduate Programe in Historic Preservation at the University of Hawaii, Manoa, and a
frequent conservation consultant in the Asia-Pacific region. His work has included training projects and assessments of heritage sites
throughout the Pacific islands and mainland South-East Asia. Professor Chapman, who holds a DPhil in archaeology from Oxford University and an advanced degree in historic preservation from Columbia University in New York, is a frequent participant in international
conferences. He has been a consultant to UNESCO in the traditional building crafts training project in Luang Prabang, Lao PDR and to
the World Monuments Fund, particularly in their training initiatives in Cambodia. A four-time Fulbright Award holder, he is a regular
lecturer at Silpakorn Universitys International Programe in Heritage Management and Tourism. (Jury member in 2000-2005)
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Prole of Jury Members
Bundit Chulasai is the Head of the Department of Architecture, Chulalongkorn University. He studied at Chulalongkorn University,
the University of Illinois at UrbanaChampaign and Unit Pedagogique dArchitecture No. 1. His research interests include architectural
and urban conservation and environmental impact assessment. A member of the Association of Siamese Architects (ASA), Professor
Chulasai served twice as the Chair of ASAs Fine Arts Commission, which has been promoting the Thai publics understanding of urban
and architectural conservation since 1982. His architectural practice has also been recognized for its contextual and sensitive design
work. His design for the renovation of the Railway Hotel in Hua Hin, Thailand is one of the countrys early examples of adaptive reuse for
historic buildings. Professor Chulasais other conservation work includes the renovation of Chulalongkorn Universitys Ruen Pharotracha in Bangkok and Daraphirom Museum in Chiang Mai. The projects received the ASA Architectural Conservation Award in 1994, 1997
and 1999, respectively. (Jury member in 2005)
Dong Wei is Vice Dean and UNESCO Chair in Cultural Management at Southeast Universitys Department of Architecture in Nanjing,
China. He was educated at the Xian Institute of Metallurgy and Building (now Xian Architecture University), the Traditional Architecture
and Garden Design Institute of Xian and Nanjing Institute of Technology (now Southeast University). After obtaining his PhD at the
Norwegian University of Science and Technology, he was a post-doctoral researcher at Tsinghua University. In 1998, Professor Dong led
the architectural survey of intact traditional buildings in the Xijin Ferry area in Zhenjiang, Jiangsu province, which resulted in the 2001
Award of Merit for the restoration work. Professor Dong was also involved with the urban restoration of Zhongshan Road in Quanzhou,
Fujian province, which was recognized with a 2001 Award of Merit. (Jury member in 2004, 2006)
Richard A. Engelhardt is the UNESCO Regional Advisor for Culture in Asia and the Pacific, based in UNESCO Bangkok. For the past
30 years, he has directed archaeology and heritage conservation projects throughout Asia and the Indo-Pacific region. In 1981, he joined
the United Nations (UN) system and has worked with the Economic and Social Commission for Asia and the Pacific (ESCAP), as well
as a number of UN specialized agencies, including the United Nations High Commissioner for Refugees (UNHCR) whose office in the
Philippines he headed from 1986-1989. From 1991-1994, he re-opened and served as Head of the UNESCO Office in Cambodia, where
he launched the international safeguarding campaign for Angkor. In recognition of his services, His Majesty King Norodom Sihanouk
awarded him the title of Commandeur de lOrdre Royal du Cambodge. He was educated in anthropology, archaeology and the history
of East, South and South-East Asia at Yale University, Harvard University and the post-graduate Population Institute of the East-West
Center at the University of Hawaii. (Jury chairperson in 2000-2006)
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H. Detlef Kammeier has lived in Thailand since 1972. From 1976-2000, he held a long-term faculty position at the Asian Institute
of Technology (AIT) in Bangkok, an international post-graduate institute with students and faculty from over 50 countries, where he
conducted research and taught in the field of urban, environmental and regional development and planning. After leaving AIT, Professor
Kammeier has continued to maintain his main residence in Thailand, while his international consulting work takes him to other countries in South-East Asia and the Middle East. He also continues to teach and currently serves as a visiting professor in two international
programmes at German universities. His long-term interest in urban conservation is reflected in his teaching and research at the postgraduate programme in World Heritage Studies at the Brandenburg Technical University (BTU) in Cottbus, Germany. He is also part of
the international postgraduate programme in Urban Management at the Technical University of Berlin. (Jury member in 2000-2002)
Pinraj Khanjanusthiti teaches at the Faculty of Architecture, Chulalongkorn University, where she coordinates the masters degree
programme in conservation studies. She has undertaken research to develop a Conservation and Management Plan for Water-based
Communities as a Cultural Tourist Attraction: the Case Study of Santa Cruz Community, Bangkok and a Master Plan for Conservation
and Development of Sam Prang Historic District, Bangkok for the Bangkok Metropolitan Authority. She received her BArch from Chulalongkorn University, her MArch from the State University of New York at Buffalo and her MA and PhD in Conservation Studies from the
University of York. (Jury member in 2006)
Spencer Leineweber FAIA is a Professor and Director of the Heritage Center at the University of Hawaii, Manoa. Educated at
Cornell University, she is a licensed architect. Since 1978, her architectural design firm, Spencer Architects Inc, has been recognized for
its sensitive design work throughout Hawaii. The office portfolio includes projects involving research, new construction and restoration.
The firm is particularly well known for its work within historic districts and new work on historic buildings. Professor Leineweber has a
specific passion for early construction techniques in Hawaii and is the leading expert on the construction of the ABCFM Missions in the
Pacific. Her Plantation Village ethnic history museum project was recognized for outstanding research-supported design with the first
Design Honor Award ever given to a project in Hawaii by the national American Institute of Architects (AIA). (Jury member in 2000-2003,
2005-2006)
Budi Lim is a chartered architect and urban designer with special interests in conservation and restoration. He studied and worked in
England in the 1970s and early 1980s. In 1984, he returned to Jakarta to start his own practice, PT. Budi Lim Architects. During the late
1980s, he persuaded Universal Bank in Indonesia to purchase many old buildings and to conserve them for use as their branch offices. Mr
Lim was the 1998 recipient of the Indonesian Eisenhower Exchange Fellowship and the winner of the highest honour in the 2001 UNESCO
Asia-Pacific Heritage Awards for the restoration of Indonesias National Archive Building. (Jury member in 2002-2006)
422
Laurence Loh is a graduate of the Architectural Association School of Architecture in London. He has operated his own design
practice in Penang since 1983 and is recognized as one of the leading practitioners in the conservation field in Malaysia. He directed
the Cheong Fatt Tze Mansion conservation project, which was recognized as the Most Excellent Project in the inaugural UNESCO AsiaPacific Heritage Awards in 2000. His work on the restoration of the Cheng Hoon Teng Temple was recognized with an Award of Merit
in 2003. In addition, he continues to work with UNESCO as an expert resource person in various conservation programmes. His work
has garnered several PAM & Industrial Awards for excellence in conservation as well as residential building design, interior design, and
the use of materials and technology. He is presently the Deputy President of Badan Warisan Malaysia, technical advisor to the Penang
Heritage Trust and a member of the Penang State Heritage Committee. He was previously Chairman of the Penang Art Gallery and the
Penang State Museum Board. (Jury member in 2001, 2003-2006)
David Lung was trained as an architect and is currently Professor of Architecture at the University of Hong Kong. He was appointed
by the Chief Executive of Hong Kong SAR to chair the Antiquities Advisory Board in 1992 and was made a member of the Cultural and
Heritage Commission of the Government of Hong Kong SAR in 2000. In May 2001, he was appointed a non-executive director of the
Urban Renewal Authority and chairs the Planning, Development and Conservation Committee. Professor Lung has been instrumental
in advising the government in formulating conservation policies, guidelines and strategies. Over three decades, Professor Lung has
researched, taught and published widely in the area of cultural heritage with reference to Chinese vernacular architecture and Hong
Kongs architectural heritage. He is the founding director of the Architectural Conservation Programme at the University of Hong Kong,
a key member of the UNESCO-ICCROM Asian Academy for Heritage Management network. (Jury member in 2002, 2004-2005)
Nimish Patel studied Architecture at the Centre for Environmental Planning & Technology (CEPT) in Ahmedabad, India and continued
his post-graduate studies at the Massachusetts Institute of Technology (MIT). After returning to India, he and his partner Parul Zaveri established their practice, Abhikram, in 1979. They undertake consultancies in planning, architecture, conservation and interior design, and
undertake research in related areas. Apart from heritage conservation, their other focus is in the use of passive human comfort systems
in buildings. They have won design awards for their work on educational, residential and public buildings, as well as for their conservation
work. Their project to restore the Chanwar Palkhiwalon-ki-Haveli was recognized as an Excellent project in the 2000 UNESCO Asia-Pacific
Heritage Awards. They have given lectures, officiated on projects, conducted workshops and published their work nationally and internationally. They are currently pursuing doctoral studies at CEPT on the subjects of lime as a building material and heritage as a tool for the
economic development of rural areas of Gujarat, respectively. (Jury member in 2001-2004)
423
Chatvichai Promadhattavedi is the Director and Deputy Chairman of the Executive Committee of the Art and Culture Foundation
of Bangkok. The Foundation undertakes art advocacy work in the areas of cultural policy and infrastructure. This includes spearheading
the establishment of the Office of Contemporary Art and Culture within the Ministry of Culture, Thailand, and the building of the Bangkok Art and Culture Centre, for which he serves as the Chairman of the Cultural Management Policy Sub-committee. During the 1970s
and 1980s he was the Director of the Bhirasri Institute of Modern Art. He is an Executive Member of the Bangkok Symphony Orchestra
and a Board Member of the Bangkok Opera. He is a member of the Siam Society and has served as a Council Member. Mr. Promadhattavedi is also the Managing Director of Pro-Space Company, a design company specializing in vernacular and modern architecture and
interior design. (Jury member in 2000, 2003-2004, 2006)
Gurmeet Rai is the director of the Cultural Resource Conservation Initiative in India. A conservation architect based in New Delhi,
she has worked on conservation projects throughout India, and particularly in Punjab where she has extensively documented historic
buildings in the state. She serves as a managing trustee of the Punjab Heritage Preservation Trust. Ms Rai directed two projects, the Krishan
Temple and Lakhpat Gurudwara, which received UNESCO Asia-Pacific Heritage Awards in 2001 and 2004, respectively. (Jury member in
2005-2006)
Johannes Widodo teaches at the National University of Singapore in the Department of Architecture, with a joint appointment in
the Asian Cities Cluster of the Asia Research Institute (ARI). His areas of specialization include architecture, heritage conservation, urban history and morphology of South-East Asian cities. He is a founder and executive of mAAN (modern Asian Architecture Network),
founder and core member of iNTA (International Network of Tropical Architecture), Registered Architect and professional member of
the Indonesian Institute of Architects (IAI), voting member of the ICOMOS International Training Committee, executive member of the
ICOMOS Indonesia National Committee, affiliate member of the UNESCO-ICCROM Asian Academy for Heritage Management, editor of
the Journal of South-East Asian Architecture (Singapore) and the ASEAN Journal on Hospitality and Tourism (Indonesia), and a member
of several heritage societies and networks. He received his professional degree in architecture (Ir.) from Parahyangan Catholic University
(Indonesia), his MArch from KU Leuven (Belgium) and his PhD from the University of Tokyo. (Jury member in 2002-2006)
424
UNESCO Asia-Pacific Heritage Awards for Culture Heritage

Conservation Regulations
Article 1 - Objective
1.1 The UNESCO Asia-Pacific Heritage Awards recognize the achievement of
individuals, organizations or companies in the conservation/restoration of a
structure or a series of structures in the private sector which is/are more than
50 years old. Houses, commercial, cultural, religious, industrial or institutional
buildings, gardens and bridges, for example, are all eligible for consideration.
Public-private partnership projects such as historic towns, urban quarters and
rural settlements where the essential elements are more than 50 years old are also
eligible.
Article 2 Award and Frequency
2.1 The Award, which is established for an indeterminate period, shall be awarded on
an annual basis.
2.2 The Awards shall consist of
a. a bronze plaque for a number of entries receiving an Award of Excellence
b. a bronze plaque for a number of entries receiving an Award of Distinction
c. a bronze plaque for a number of entries receiving an Award of Merit
d. a bronze plaque for a number of entries receiving an Honourable Mention
Certificates of recognition will be presented to all parties included on the entry
form.
2.3 The form and number of the awards may be varied from time to time at the
discretion of UNESCO.
2.4 The award will be made out in the name of the project entry.
Article 3 Eligibility
3.1 To be considered for the Awards, the conserved or restored building or buildings
must be over 50 years old.
3.2 Buildings must be privately owned or leased, and restoration must be the result
of private initiative or a public-private partnership. Projects financed, owned and
undertaken wholly by government entities are not eligible.
3.3 The works must have been completed within the last 10 years and before the
announcement date of the awards. The project must also have been occupied or
put to viable use for at least one year.
Article 4 Selection of Award Recipients
4.1 The award recipients shall be selected on the proposal of an internal jury.
Article 5 The Jury

5.1 The Jury shall be composed of
a. 1 representative from UNESCO, and
b. 6-8 international conservation experts renowned for their knowledge of
conservation in the Asia-Pacific region.
5.2 The UNESCO Regional Advisor for Culture in Asia and the Pacific shall appoint the
Jury for the full period of the Awards process.
Article 6 - Conditions of Entry
6.1 Entries for buildings may be submitted by the registered land and building owner,
registered lessee, or conservation consultant, architect or designer, any of whom
would have had to be involved in the process, preferably through the whole course
of work.
6.2 Each entry must be submitted to UNESCO before 31 March.
6.3 Submission of an entry will be taken to imply the granting of permission to publish
all material and particulars of the successful schemes, including the jury report,
without charge to UNESCO.
6.4 The wording of plaques and certificates will be based strictly on the details given
on the entry form.
6.5 All submitting persons or firms will be responsible for delivery of their respective
entries. Entry materials will not be returned.
6.6 One or more entries may be submitted by the same individual or institution.
Article 7 Announcement and Presentation
7.1 Winners of the Awards will be announced in September. The person submitting the
entry will be notified in strict confidence if their project is selected for an Award.
UNESCO reserves the right to disqualify any entry which is subject to unauthorized
prior disclosure.
7.2 Certificates and plaques will be presented to, and will record, the names of the
project, the architect/designer, building owner and the contractor of the UNESCO
Asia-Pacific Heritage Award winning projects. When appropriate, they will also
list those consultants who were key to the realization of the project. Only one
plaque per award will be presented by UNESCO. Additional plaques may be
ordered at cost.
Article 8 - Criteria for the Awards
8.1 The Award recipients will have conclusively demonstrated excellence in:
a. the articulation of the structures heritage values in order to convey the spirit
of place through the conservation work;
b. appropriate use or adaptation of the structure;
c. the interpretation of the cultural, social, historical and architectural
425
significance of the structure(s) in the conservation work;

d. the understanding of the technical issues of conservation/restoration in
interpreting the structures significance;
e. the use and quality control of appropriate building, artisan, and conservation
techniques;
f. the use of appropriate materials;
g. how well any added elements or creative technical solutions respect the
character and inherent spatial quality of the structure(s);
h. the manner in which the process and the final product contribute to the
surrounding environment and the local communitys cultural and historical
continuum;
i. the influence of the project on conservation practice and policy locally,
nationally, regionally or internationally;
j. the ongoing socio-economic viability and relevance of the project, and
provision for its future use and maintenance;
k. the complexity, sensitivity and technical consistency of the project
methodology.
Article 9 - Entry materials to be submitted
9.1 Entry Form
Each entry must be submitted with an official entry form together with the
following materials.
9.2 Drawings
Required: maps showing location of project in neighborhood, in city, in
country.
Required: site plan, floor plans and sections, showing pre- and postrestoration condition. All alterations/new additions should be clearly marked
in color.
Optional: elevation drawings.
All drawings should be reduced to A4 size.
9.3 Photographs
A minimum of 15 high-resolution color photographic prints measuring 5 x 7,
showing:
a. pre- and post-restoration conditions, including interior and exterior views and
the overall appearance of the building (minimum 6 pairs of photographs)
b. details of the restoration project, including materials and techniques used in
conservation.
All photographs must be clearly labeled. Location of photographs should be
indicated on a floor plan.
9.4 Project Description (in English)
A report of 6-8 pages (A4 sheets) should describe in detail each of the following
426
points:
synopsis of conservation project (2 paragraphs maximum)
conservation projects goals and objectives (clients brief)
the background of the property (1 page maximum)
historical background
present context, condition, use of the property
heritage/protection status of the property
scope of the conservation project
stages in restoration and time frame
project size (in sq meters) and cost (in US $)
The description should explain how the project demonstrates the criteria of the
UNESCO Awards. Please explain separately each criterion in Article 8.
articulation of heritage values and significance
appropriate use/adaptation
changes made to building (repairs and additions), and relationship of
new to old
if restoration involved changing original use, rationale for changing use
interpretation of the significance of the building(s) in the conservation work
the methodology of restoration
understanding of technical issues of conservation in the interpretation
issues of conservation/restoration considered and justifications for
solutions
use of appropriate building, artisan, and conservation techniques
use of appropriate materials
how well new elements and creative technical solutions respect buildings
character
contribution to communitys cultural continuum
key stakeholders and involvement of local community in project
impact of project on conservation practice and policy
ongoing socio-economic viability and relevance of the project
regulatory framework of the project
mobilization of financial and in-kind support from public and private
sectors
if project is a public-private initiative, contributions of each partner
should be clearly indicated
provision for future use and maintenance
the complexity, sensitivity and technical consistency of the project
methodology
The points of the project description should be well documented through text
and linked to the submitted photographs and drawings. A sample report format
is available from the UNESCO Bangkok office or the Awards programme web site.
9.5
9.6
9.6
9.7
9.7
If possible, please submit text and images in electronic format (i.e. on diskette or
CD-rom) as well as hard copy.
Occupant Comments
A brief statement from the buildings occupants describing their evaluation of
the restored structures usefulness and functionality, and their impressions of its
contribution to the communitys historic continuum must accompany the entry.
A form (optional) for these comments is available from the UNESCO Bangkok
office or the Awards programme web site.
Owner Consent
Owner
Consent
The written
consent of the building or property owner must be obtained prior
to entry. This consent should be submitted with the entry on either the owners
letterhead or the Owner Consent Form available from the UNESCO Bangkok office
or the Awards programme web site.
Additional Materials
supporting documentation may be submitted. Slides, CD-ROMs, videos,
articles are all accepted and welcome.
Article 10 Objective of the Jury Commendation

10.1 In addition to the announced Awards, the Jury will, through its special Jury
Commendation, recognize newly-built structures which demonstrate outstanding
standards for contemporary architectural design which are well integrated into
historic contexts. Projects should have been undertaken within the framework
of a larger conservation project or within a conservation zone whose essential
elements are more than 50 years old. Building annexes, new buildings, new
public spaces, and new structures such as bridges, for example, are all eligible for
consideration.
Article 11 - Award and Frequency
11.1 The Jury Commendation will be given at the discretion of the Jury.
11.2 The Jury Commendation will consist of a bronze plaque for a selected number of
entries.
Article 12 Eligibility
12.1 To be considered for the Jury Commendation, the works must have been
completed within the last 10 years and before the announcement date of the
awards. The project must also have been occupied or put to viable use for at least
one year.
12.2 The submission must demonstrate that no structures of heritage significance were
altered or cleared from the site for the purpose of the project submitted for the
Jury Commendation.
12.3 Projects which are new structures built as historic replicas, built against historic
facades, and historic theme parks will not be considered within the scope of the
Jury Commendation.
12.4 Projects which are submitted for consideration to the UNESCO Heritage Awards
programme in the same year are not eligible for submission for the Jury
Commendation. Projects which are jointly submitted will be disqualified.
The guidelines for Selection of Awards Recipients, Jury, Conditions of Entry and
Announcement and Presentation of the Awards shall be subject to Articles 4, 5, 6, and 7,
respectively.
Article 13 - Criteria for the Jury Commendation
13.1 The recipients of the Jury Commendation will have conclusively demonstrated
excellence in the following areas:
a. outstanding design concept that demonstrates critical thinking in articulating
an innovative response to the specific historic context;
b. how well the new structure helps to reveal the qualities of the place, including
historical, architectural, cultural, and social significance;
c. the compatibility and appropriateness of the new structures programme/
function in its context;
d. how well the new structure integrates with the existing built and natural
context. Factors include, but are not limited to, the following: typology,
siting, massing, form, scale, character, colour, texture;
e. the justification of selection and quality control of materials and building
techniques (either contemporary, vernacular or a combination of both);
f. the manner in which the process and the final product extend the local
communitys cultural and social continuum;
g. the influence of the project on architectural practice and design policy locally,
nationally, regionally or internationally;
Article 14 - Entry materials to be submitted
14.1 Entry Form
Each entry must be submitted with an official entry form together with the
following materials.
14.2 Drawings
Required: maps showing location of project in neighborhood, in city, in
country
Required: concept drawings in 2D and/or 3D explaining the parti of the
project
Required: site plan, floor plans, sections, perspective(s).
Required: elevation drawing(s), showing principal public faade and immediate
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14.3
14.4
14.5
14.6
14.7
428
neighboring buildings (if any).

All drawings should be reduced to A4 size.
Photographs
A minimum of 15 high-resolution color photographic prints measuring 5 x 7,
showing:
a. interior and exterior views and the overall appearance of the building
(minimum 6 pairs of photographs)
b. details of the project, including materials and techniques used in the
project.
All photographs must be clearly labeled. Location of photographs should be
indicated on a floor plan.
Project Description (in English)
A report of 6-8 pages (A4 sheets) should describe in detail each of the following
points:
synopsis of construction project (2 paragraphs maximum)
function/programme
construction phases and time frame
project size (in sq meters) and cost (in US $)
description of the design concept, with reference to concept diagrams
projects goals and objectives (clients brief)
the background of the site (1 page maximum)
historical background
description of last structure that occupied the site (if any) and the date
and justification of its demolition
context of the site (physical as well as socio-economic)
heritage/protection status of the area in which the building site is
located
projects demonstration of the criteria for the Jury Commendation. Please
explain separately each criterion in Article 13.
The points of the project description should be well documented through text
and linked to the submitted photographs and drawings. A sample report format is
available from the UNESCO office or the Awards programme web site. If possible,
please submit text and images in electronic format (i.e. on diskette or CD-ROM) as
well as hard copy.
Occupant Comments
See Article 9.5
Owner Consent
See Article 9.6
See Article 9.7
Index
Index
A
Aboriginal, 48, 200, 201, 203, 238
Acehnese, 290
achars, 243
acoustics, 294, 297, 298
aesthetic and artistic value, aesthetic value, artistic value,
23, 25, 40, 51
Arcadio Arellano, 304
adaptive reuse, adapt, adaptation (rehabilitate, reuse), 11,
13, 16, 17, 19, 53, 56, 74, 75, 109, 121, 125, 134, 136,
138, 149, 220, 238, 357, 370, 378
adobe, 36, 168, 206, 208, 248
Aga Khan Cultural Service Pakistan, AKCSP, 27, 53, 206,
266, 270, 310
Aga Khan Trust for Culture, AKTC, 206, 266, 310
aggregate, 37, 197, 330
shell aggregate, 326
Ahhichatragarh Fort, 19, 48, 189-198
airport, 50, 176
algae, algal growth, 142, 145, 324
Alois Riegl, 24
altar, 104, 152, 153, 216, 294, 298
aluminum, 231
Amsterdam School, 120
ancestral worship, 152, 153, 258, 261
Ancient Monuments and Archaeological Sites and Remains
Act (India), 78, 142
Ancient Monuments Preservation Act (India), 78, 142
Anglican church, 356
Antarctic Treaty List of Historic Sites and Monuments, 116
Antarctica, 19, 20, 31, 116, 117
Cape Denison, 31, 116
Commonwealth Bay, 116
Antiques Conservation Law (China), 258
Antiquities Act (Pakistan), 266
Antiquities Advisory Board (Hong Kong SAR), 294
Antiquities and Monuments Office (Hong Kong SAR), 94,152
apartment (house, housing, mansion, residence, residential,

villa) 14, 16, 40
serviced apartment (hotel), 14, 16, 40
apse, 41
Arab, 64, 290
araish (lime plaster), 38, 79, 82
arcade, 226, 340
arch, 112, 193, 274, 286, 297, 336, 395
arched door, 112, 226
foliated arch, 142
proscenium arch, 201, 202
trefoil arch, 148
archaeological site, 13
Archaeological Survey of India, ASI, 143, 172, 325
Architectural Services Department (Hong Kong SAR), 152
architectural value, 25, 40, 51
archive, 130, 368
ark, 40, 98
Art Deco, 56, 120, 386, 382
Art Nouveau, 70
asafetida, 366
ash (khaka), 144, 260, 327
oyster shell ash, 302
Asia-Pacific region, 23, 25, 27, 35, 38, 51, 56, 58
asphalt, 395
astana (tomb), 266
Astana of Syed Mir Muhammad, 18, 26, 30, 53, 265-272
Athens Charter for the Restoration of Historic Monuments,
14
auditorium, 226
Australasian Antarctic Expedition, 116
Australia, Australian, 15- 20, 23, 27, 35, 41,42, 48, 49, 52,
54, 61, 62, 108, 116, 117, 136, 200, 203, 226, 238, 239,
252, 286, 318, 322, 370
Adelaide, 16, 19, 286
Broken Hill, 54, 55, 61, 238
Cowangie, 252
Mallee, 35, 252
Manly, 108
Mullewa, 17, 318, 321
New South Wales, 18, 61, 136, 200, 226, 238, 370
Rocks, the, 136
Rydalmere, 370
Shelley Beach, 108
South Australia, 41, 286
Spring Cove, 108
Sydney, 16, 18,19, 42, 49, 62, 108, 136, 139, 200, 203,
226
Victoria, 19, 35, 252
Western Australia, 17, 318
Australian Hall, 48, 62, 63, 199-204
Australian Heritage Commission, 136, 318
Austria, 301
Ayutthaya style, 350
B
Badan Warisan Malaysia (Heritage Trust of Malaysia), 124
balai, 124
balau, 124
balcony, 37, 98, 278
Baltic pine, 116, 117
Baltit Fort, 31, 35, 53, 61, 206, 208, 309-316
Baltit Heritage Trust, 310, 315
bamboo, 35, 104, 195, 260, 262, 264, 324
bamboo nail, 95
Bandung Society for Heritage Conservation, 120
Baroque, 18, 25, 40, 98, 180
barrel, 40, 99
batten, 71, 95, 116, 118, 184, 252
bell tower, 320, 333, 334
Bernard Feilden, 24
bimah, 98
bracing, 206, 252
bracket (dou gong), 152, 169, 190, 191, 193, 216, 324
brass, 120, 157
429
brick, 16, 35, 36, 90, 112, 142, 161, 168, 194, 200, 212, 216,
230, 231, 234, 242, 274, 282, 286, 294, 301, 332, 352,
363, 367, 370, 374, 378, 382, 390, 395
baked clay brick, 231
blue brick (grey brick), 104, 260
brick corner, 168
brickwork, 94, 98, 102, 112, 137, 152, 201, 226, 370, 395
burnt brick dust (also see surkhi), 144
carved brick, 234
glazed brick, 148
grey brick (blue brick), 94, 152, 234, 278, 286, 382
mud brick, 344, 390
reclaimed brick, 94
red brick, 98, 102, 148, 200, 382
to re-brick, 252
Yanzhi brick, 395
bridge, 27, 33, 64, 277, 278, 290
Britain, British, 38, 48, 112, 114, 156, 172, 226, 310, 312, 318,
366
London, 16, 172
British Council, 172
Broken Hill City Council, 238
Broken Hill Heritage and Cultural Tourism Programme, 18,
27, 237-240
bronze, 336
Brunelleschi, 304
Buddhism, Buddhist, 18, 55, 56, 62, 112, 160, 161, 216, 230,
232, 344, 345
Burra Charter, 15, 23, 52, 98, 116, 252, 319
Bushells Tea Warehouse, 19, 20, 42-45, 49, 56, 135-140
buttress, 195, 294, 316
C
Cambodia, 242
Siem Reap, 62, 242
Wat Damnak, 242
canal (river, waterway), 274, 277, 363
cane, 35
Cangqiao Historical Street, 18, 58, 281-284
canopy, 79
Canton tile, 94
430
capped, capping, 116, 213, 252

carved carpentry (carved timber, carved wood), 184
cathedral (chapel, church), 18, 294, 297, 298, 332-336, 338,
356
Catholic, 56, 108, 200, 294, 318
Catholic Cathedral of the Immaculate Conception, 56, 18,
43, 293-296
cement, 37, 38, 90, 144, 195, 208, 268
cement concrete, 248
cement injection, 180
cement mortar (mortar), 90, 248, 366
cement tile, 230
ceramic tile, 71, 386
chai hui, 9, 75, 76, 213
chamber, 206, 226, 344
Chanwar Palkhiwalon-ki-Haveli, 19, 38, 49, 77-82
chapel (cathedral, church), 55, 180, 218, 219, 294
character-defining elements, 21, 28-30
char bagh, 190
Charles Prosper Wolff Schoemaker, 120
chataq, 10, 207-209
chengal, 72, 124
Cheng Hoon Teng Main Temple, 9, 26, 75, 76, 211-216
Cheong Fatt Tze, 11, 70
Cheong Fatt Tze Mansion, 11, 12, 47, 57, 69-76, 216
chi, 11
chien nien, 70, 73, 75, 76, 184, 185, 212, 213
China, Chinese, 9-11, 17, 18, 20, 25, 26, 29, 30, 33, 36, 40,
42, 43, 47-50, 52, 55, 63, 64, 70, 71, 73, 75, 84, 98, 104,
124, 152, 160, 164, 168, 169, 180, 184, 185, 206, 212,
213, 216, 234, 258, 274, 278, 282, 290, 294, 300, 310,
353, 354, 361, 374, 382, 386, 394
Anhui, 278
Changan County, 234
Conghua City, 258
Beijing, 374
Fujian, Fujianese (Hokkien), 18, 26, 57, 73, 75, 164, 184,
212, 216, 300, 394
Guangdong, Cantonese, 10, 26, 30, 48, 72, 76, 212,
216, 258, 394
Guangzhou, 152
Hakka, 300
Hokkien (Fujianese), 26, 76, 212, 216
Hong Kong SAR, 17, 18, 25, 26, 40, 43, 75, 94, 98, 152,
216, 294, 394
Huajue Alley, 234
Huangpu River, 382, 383
Huanshan River, 282
Jiangnan Region, 274
Jiangsu, 104, 160, 274
Jiulong River, 394
Kau Sai Island, Kau Sai Chau, 26, 94, 216
Kunming, 36, 168
Luzhi, 274, 277
Macao SAR, 18, 20, 58, 63, 180, 181, 298, 386, 394
Nanxun, 274
Pearl River delta region, 26
Qiangang Village, 48, 258
Quanzhou, 18, 49, 164
Shanghai, 42, 49, 50, 56, 382, 383
Shanxi, 234
Shaoxing, 18, 63, 278, 282
Shengang Town, 262
Suzhou River, 49, 382, 383
Taipei, 75, 300, 394
Tai Po Tau Village, 152
Teochew, 75, 76
Tongli, 274
Waibaidu bridge, 383
Wen Ming Street, Wen Ming Protection Area, 168, 169
Wuzhen, 274
Xian, 234
Xiangshan, 278
Xijin Ferry, 160
Xinjiang, 206
Xitang, 274
Yangtze River, 104, 160, 274
Yunnan, 168, 169
Zhangzhou, 301, 394
Zhejiang, 18, 57, 274, 282
Zhenjiang, 104, 160
Zhouzhuang, 274, 277
Index
China Principles (Principles for the Conservation of Heritage

Sites in China, the) 15, 23
Chinese Cultural Relics Research Institute,160
Chinese decorative works, 71, 75, 76
Chinese garden, 374
Chinese Historical Cities Research Institute, 160
Chinese wood oil, 260
choir loft, 320
choir stand, 356
Christian, 11, 142
church (cathedral, chapel), 13, 18, 53, 56, 180, 318, 332,
336, 338, 356, 357
Church of Our Lady of Mount Carmel, 17, 317-322
cladding, 118, 156, 201, 371
Classical, 16
clay (kaolin), 344, 348, 390
clay tile, 113, 356
clerestory window, 227
clinic, 13
clitorea ternate flower, 72
clock tower, 356
coffered ceiling, 172, 201, 202
collective memory (cultural memory), 12, 13
college (institution, school), 366, 368
colonial, colonization, colony, 18, 19, 21, 38, 41, 50, 90, 112,
114, 130,134, 200, 218, 228, 242, 286, 370, 371
colonnade, 108, 286, 318
commercial, 13, 16, 18, 54, 120, 148, 164, 219, 274, 278,
340, 386, 394, 396
community centre (community hall), 13, 152, 203, 261
concrete, 37, 99, 112, 125, 145, 176, 242, 252, 294, 300, 316,
320, 332, 333, 352, 356, 357, 360, 361, 363
concrete block, 320
concrete corner, 318
Confucian, 106
conservation plan, conservation planning, 43, 280
control tower, 176
Convent of the Holy Infant Jesus, CHIJMES, 19, 217-220
Convention Concerning the Protection of the World Cultural
and Natural Heritage (World Heritage Convention),15
copper, 157, 336
Corinthian, 72
cornice, 16, 336, 338, 356
corrugated tile, 264
courtyard, 10, 11, 72, 73, 90, 145, 168, 184, 206, 216, 219,
222, 226, 227, 234, 374, 375, 390
covered walkway, 374
cribbage, 30, 206, 268, 271, 272, 316
cruciform shape, 294
cultural centre, cultural club, 31, 50, 125, 176, 311, 314, 332,
386, 387
cultural heritage, 46, 59
Cultural Institute (Macao SAR), 58, 180, 386, 387
cultural landscape, 13, 63
cultural memory (collective memory), 13
Cultural Resource Conservation Initiative (India), 143, 325
Cultural Revolution, 10, 48, 234, 258, 260
cultural significance (significance), 13, 15, 22, 23, 25, 40
cupola, 332-334, 336, 338
curd (yogurt), 82
D
Dadabhai Naoroji Road Streetscape, 18, 49, 54, 57, 339-342
dado, 73, 76, 184, 348
Dalongdong Baoan Temple, 75, 216, 299-302
damp , 318
damp-proof course, 53, 98, 102, 320, 350, 370
damp-proofing (vapour barrier, waterproofing), 102,
350
damp-proof membrane, 94, 218
rising damp, 53, 88, 99, 102, 130, 142, 152, 168, 218,
222, 350, 351, 370
dapur, 124
DBS House, 18, 60, 147-150
Department of Cultural Relics and Guangzhou Culture
Bureau, 260
dome, 18, 180, 318, 320, 338
Dorje Chenmo Temple, 18, 47, 56, 343-348
dormitory, 219
dou gong (bracket), 76, 216
drop-log construction, 35, 252
dye (pigment), 9
E
earthquake, 35, 206, 334, 338, 378
eave, 79, 88, 168, 169, 216, 327
eave board, 94, 152
echo, 298
economic value, 41, 51
Edwardian, 25, 40
Elphinstone College, 54, 365-368
encaustic tiles, 73
England, English, 55, 72, 590
entertainment complex, 218
epoxy, 108, 118, 160, 260, 356, 366
Europe, European, 11, 16, 64, 84, 90, 184, 218, 223, 290,
352, 370, 394
exhibition, 134, 305, 314, 351, 368, 372, 378, 379, 386
F
faade, 18, 36, 144, 145, 148, 164, 180, 201, 216, 219, 248,
276, 286, 312, 316, 319, 332, 333, 336, 338, 340, 356,
363, 366, 370, 374, 394, 395
faadism, 51
factory, 13, 14, 16, 19, 20, 25, 40, 382
fascia, fascia board, 36, 124, 206, 340
Federal Antiquities Act of 1976 (Malaysia), 212
Federation style, 108, 200
Female Orphan School, 52, 369-372
feng shui, 11, 26, 29, 71, 152, 153
fenugreek (methi), 33, 37, 82, 194
fibreglass resin replica, 231
Filipinas Heritage Library, 50, 177
Fine Arts Department (Thailand), 58, 230, 350
finial, 231
First Aboriginal Day of Mourning Conference, 62, 200
flash, flashing, 116, 118
footing (foundation), 125, 184, 252, 316, 320
fort, 13, 19, 33, 248, 316
foundation (footing), 29, 180, 184, 191, 193, 194, 222, 242,
252, 260, 267, 311, 316, 320, 334, 350, 352, 360, 361,
363, 386, 390
foundation consolidation, 316
431
foundation settlement, 193, 316

France, French, 84, 90, 218, 219, 242, 318, 363
Paris, 16
Francis Greenway, 226
fresco, 9, 76, 82, 142, 212, 213, 222, 300
frieze, 94, 152, 172, 202
G
gable, 10, 73, 94, 216, 258, 260, 264, 350, 352, 356,
gallery, 218, 227, 383
garbha griha, 142
Geo-mesh, 53, 313, 316
George Strickland Kingston, 286
Georgian, 370, 371
Germany, German, 72, 242
Getty Foundation, 191
gild, 72, 75, 76, 94, 172, 212
glare, 298
glass, 17, 72, 137, 138, 148, 157, 172, 176, 242
curved glass ceiling, 120
etched glass, 157
glass mirror, 231
glass pane, 134
jewel glass (wan kaew), 231
rolled glass, 72
stained glass, 17, 38, 55, 70, 72, 172, 218, 219, 294,
318, 319, 356, 390
gold, 29, 184
Gongziting, 373-376
Gota de Leche, 48, 303-306
Gothic, 70, 108, 226, 228, 318
Gothic Revival, 18, 172, 294, 340, 356, 357
government stable, 226
graffiti, 19, 137
grass, 35
grout, 316, 348
grouting, 37, 195, 316, 328
jet-grouting, 180
to grout, 193, 197, 327
Guangdong Provincial Institute of Cultural Relics and
Archaeology, 152
432
Guangyu Ancestral Hall, 10, 26, 30, 31, 48, 59, 75, 216,
257-264
Guangyu Ancestral Hall Restoration and Management Fund,
59, 262
Guanyin, 216
gud, gur (jaggery), 82,194
guggal, 194
Gujarat Ancient Monuments and Archaeological Sites and
Remains Act, 324
gurmukhi, 327
gutter, 29, 71, 88, 108, 116, 118, 213, 353, 391
gypsum, 33, 198
H
hall, 160, 161, 218, 232, 300, 350, 374
ancestral hall, clan hall, 10, 26, 52, 56, 258
community hall (community centre), 300
conference hall, 62, 242
ordination hall, 18, 230
parish hall, 356
prayer hall, 242
study hall (shuk), 152
Hanoi Architectural University, 85
Harischandra Building, 18, 111-114
Harold Kalman, 24
haveli, 19, 38, 78, 79, 80, 81, 248
herbicide, 90
heritage centre, 124
Heritage of Malaysia Trust, 50
heritage place, 24-26
Heritage Regulations of Greater Bombay, 340
Heritage Regulations of the Mumbai Municipal Corporation,
356
heritage trail (trail), 58, 238
heritage value, 13, 23, 25, 27, 51, 56
Heroic Era, 116
H.E. Ross & Rowe, 136
hessian, 253, 330
Hethersett Tea Factory, 156
Himalayas, 144
Hindu, 10, 11, 26, 142, 143, 190, 324
Historic Heritage Law (China), 274

historic place, 47, 48
historic value , 23, 25, 40, 42, 51
Hoi An Protocols for Best Conservation Practice in Asia, 15
Hoi An Town Preservation Cooperation Project, 49, 63, 8388
horse hair, 71
hospital, 18, 40, 370
hotel (serviced apartment), 14, 20, 40, 41, 60, 74, 90, 156,
157, 286, 390
Hotel de lOrient, 20, 89-92
house (apartment, housing, mansion, residence, residential,
villa), 13, 14, 20, 33, 36, 85, 148, 168, 360, 361, 363,378,
390
bamboo pole house (zhutongcuo), 394
courtyard house, 36, 70, 168, 234, 274, 282
farmhouse, 378
folk house, 360, 361
shophouse, 164, 394
housing (apartment, house, mansion, residence, residential,
villa), 13, 14, 120, 130
Hung Shing Old Temple, 17, 26, 75, 93-96, 216
I
ice ingression, 118
illumination (lighting), 295, 297, 298
immigrant, 184
India, Indian, 10, 17-20, 26, 32, 33, 36- 38, 47-49, 54, 55,
60, 63, 64, 78, 82, 142, 148, 190, 248, 290, 310, 324,
328, 344, 340, 366
Amber, 19, 38, 49, 78, 79, 80
Fort Precinct, 57, 148, 340, 366
Gadhidham, 325
Goa, 36
Gujarat, 32, 37, 61, 324
Gurdaspur, 142
Indus River, 324
Jaipur, 328
Jaisalmer Fort, 18, 38, 248
Jammu and Kashmir, 344
Kerala, 36
Index
Kishankot Village, 10, 11, 26, 32, 142

Kuchchh, 37, 324
Ladakh, 18, 47, 344, 346, 348
Lakhpat Village, 37, 324, 330
Mumbai, 17, 18, 49, 54, 57, 60, 63, 148, 172, 340, 366
Nagaur, 19, 33, 48, 180
Pondicherry, 20, 90, 91
Punjab, 10, 26, 142, 328
Rajasthan, 19, 33, 38, 48, 49, 78, 80, 190, 194, 248, 348
Shey Village, 47, 344
Indian National Trust for Art and Cultural Heritage (INTACH),
60, 78, 80, 248
Indonesia, Indonesian, 19, 27, 32, 48, 50, 64, 120, 130, 131,
134, 290
Babura River, 290
Bali, 134
Bandung, 120, 121
Batavia, 130
Jakarta, 19, 50, 64, 130, 134
Java, Javanese, 133, 290
Jawa Barat, 120
Krukut River, 130
Medan, 27, 48, 64, 290, 291
Sumatra, 48
Indonesian Heritage Society, 64, 130
Indo-Saracenic style, 340
industrial, 16, 40, 136, 138, 139, 156
ink, 9, 73
in situ (on-site), 73, 112, 124, 136, 140, 172, 202, 227, 253,
260, 316, 350, 386
institution (college, kindergarten, school, university), 40, 62,
368, 374
academic institution, educational institution, 180, 242
monks teaching institution (Mahavihara Parivena), 112
religious institution, 356
tourism training institute (hotel school), 18
insulation, 37, 298, 375
intangible, 9, 12, 13, 15, 16, 46, 48, 51, 55, 62
International Council on Monuments and Sites, ICOMOS, 15
ICOMOS New Zealand Charter, 22
interpretation, 11, 21
Iran, Iranian, 98, 222, 390, 391

Isfahan, 222
Yazd, 390, 391
Iranian Cultural Heritage List, 222
iron, 190
cast iron, 70, 72, 108, 286 341
corrugated iron, corrugated sheet (iron sheet), 113, 238,
252, 382
galvanized iron, 231
iron sheet (corrugated iron sheet), 238, 252
Islam, Islamic, 26, 206
Italy, Italian, 48, 219, 304
Florence, 304
J
jaggery (gud, gur), 34, 37, 82, 194
Jaisalmer Streetscape Revitalization Project, 18, 38, 46, 61,
247-250
jallie (lattice), 48, 194, 266, 270
James Kerr, 24
James Trubshaw, 366
Japan, Japanese, 32, 49, 54, 84, 85, 87, 301, 360, 361, 363
jarrah, 156, 157
Jewish, 25, 47, 98, 148
jian, 216
Jin Lan Tea House, 36, 57, 167-170
John Adams, 366
Jukka Jokilehto, 24
K
Kangra, 142
kaolin, 344
kapis shell window, 304
Karakoram mountain, 206, 315
kar sewak, 329
Kazakhstan, 18, 332
Almaty, 18, 332
Turkestan, 332, 338
khaka (ash), 144
Khan Bahadur Muncherjee Murzban, 366
Khmer, 242, 243

Khon Kaen University, 230
khun, 206
kindergarten (institution), 357
King Law Ka Shuk Temple, 75, 151-154, 216
kite tile, 353
kody (shell plaster), 194
Kow Plains Homestead, 19, 35, 251-254
Krishan Temple, 10, 11, 26, 32, 141-146, 191
Kunming Urban Planning and Design Institute, 168
L
Lahore National College of Arts, 208
Lakhpat Gurudwara, 32, 37, 61, 323-330
lamp, 157, 290, 291, 298, 336
landmark, 17, 57, 60, 61, 120, 121, 149, 172, 173, 176, 206,
248, 305, 318, 332, 336, 356, 370, 395
La Proteccion de la Infancia, 304
lattice (jallie), 36, 48, 70, 156, 194, 266
Law of Management of Property (China), 274
Law on the Protection of Cultural Relics (China), 258, 259
leadlight, 40, 98, 99, 227
lead lining, 72
Leigh and Orange, 98, 102
library, 18, 50, 62, 112, 172, 176, 242, 314, 315, 332, 354,
386
lighting (illumination), 18, 29, 294, 297, 298, 319, 375
lime, 35-38, 71, 82, 98, 144, 260, 330, 335, 378
lime cement, 252
lime concrete, 192, 193, 197, 326
lime mortar (mortar), 33, 37, 38, 47, 53, 71, 90, 142, 144,
145, 173, 194, 195, 197, 248, 324, 326, 330, 367
lime plaster (araish), 37, 38, 72, 73, 78, 79, 82. 90,112,
142, 144, 145, 172, 212, 230, 231, 258, 324, 326,
328, 336, 351, 353
lime putty (putty), 38, 148
lime render (render), 98
lime shell mortar, 370
lime wash, 37, 38, 142, 145, 213, 327, 336, 382
shell lime powder, 90
slaked lime, 36, 37, 144, 326, 327, 330
433
Lingnan, 26
linseed oil, 30, 134, 208, 268, 271, 378
lintel, 36, 316, 370, 395
loggia, 304
luo jia (top-down repair), 260, 264
M
Madras terrace, 90
Maharihara Parivena (monks teaching institution), 112
Mahasha, 142
Malaysia, Malay, Malaysian, 9, 11, 26, 29, 35, 47, 50, 52, 55,
58, 64, 70, 84, 124, 212, 216, 290
George Town, 11, 58, 70
Kedah, 35, 50, 124
Kuala Lumpur, 20, 35, 50, 124
Melaka, 9, 26, 75, 76, 212, 216
Penang, 11, 29, 47, 70, 74, 75, 216
mansion (apartment, house, housing, residence, residential,
villa) 11,12, 19, 52, 70-72
masonry, 33, 36, 37, 194, 219, 286, 300, 318, 319, 324, 330,
332, 356, 357, 366, 367, 374
Mawsons Huts Historic Site, 19, 20, 31, 115-118
Ma Zheng, 168
Mazu, Ma Zu Po, 184, 216
Medina Grand Adelaide Treasury, the, 19, 41, 44, 45, 285288
Mehrangarh Museum Trust, MMT, 190, 196
Melaka Preservation and Conservation of Cultural Heritage
Enactment of 1988 (Malaysia), 212
meranti, 124
methi (fenugreek), 82, 194
Metropolitan Aboriginal Association, MAA, 63, 200
Metropolitan Local Aboriginal Land Council, 62, 200
Mildura Rural City Council, 252
Milton flooring, Milton tile, 172, 341
minimal intervention, 12, 15, 30, 50, 52
Ministry of Construction Institute for Architectural
Research, 85
monastery, 62, 242
Monsignor John Cyril Hawes, 318
434
mortar (lime mortar, cement mortar, mud mortar), 90, 108,

206, 208, 264, 318, 326, 328, 29, 330, 378, 390
mortise, 30
mosaic, 52, 212, 301, 335, 336
mosque, 10, 13, 14, 27, 190, 206, 208, 270, 338
motif, 94, 152, 324, 366
moulding, 40, 94, 102, 180, 297, 304, 338, 350, 353, 366
mud, 33, 35, 36, 22, 271, 312, 348
mud mortar (mortar), 311, 324, 344
Mughal, 78, 190
Mumbai Metropolitan Region Development Authority, 340
Mumbai Municipal Corporation, 148
Munish Pandit, 146
museum, 19, 20, 27, 31, 42, 44, 50, 80, 86, 161, 192, 253,
278, 311, 314, 315, 318, 332, 351, 353, 354, 387, 390
Muslim, 190, 234, 324, 329
N
naga, 230
Namuna Ghar, 50, 377-380
Nara Document on Authenticity, the, 9, 15
narthex, 320
National Aboriginal History and Heritage Council, 62, 200
National Archives Building, 19, 20, 31, 50, 57, 64, 129-134
National Archives Building Foundation, 134
National Historical Institute (Philippines), 177, 305
National Research Centre of Historic Cities of Tongji
University, 278
National Trust of Australia, 136, 200, 318
nave, 294, 320
Nielson Tower, 50, 175-178
Neo-Classical, 49, 340
Neo-Gothic, 218
Nepal, Napalese, 50, 378, 379
Bhaktapur, 50, 378
Kathmandu Valley, 378
Netherlands, the, Dutch, 50, 64, 84, 130, 131, 132, 134, 290
Newari, 378
New South Wales Heritage Act, 63, 136, 200
New South Wales Heritage Office, 238
New Zealand, 16
Norway, 234
Norwegian Agency for Development Cooperation, NORAD,
208, 234
Norwegian University of Science and Technology, 234
No. 125 Huajue Alley, 57, 233-236
O
office, 14, 16, 18, 20, 40, 60, 120, 130, 136, 138, 140, 176,
203, 286, 314, 354, 374, 375
Ohel Leah Synagogue, 17, 25, 40, 44, 45, 47, 97-102
on-site (in situ), 116, 134, 302, 311, 319, 350, 351, 374
orphanage, 19, 130, 218, 219, 304, 370
P
pagoda, 160
paint, 9, 19, 29, 73, 94, 120, 134, 152, 168, 176, 180, 184,
197, 202, 213, 278, 333, 338, 345, 350, 370
Balinese painting, 32
bronze paint, 338
gold paint, 338
oil paint, 338
painting, 45, 47, 52, 56, 88, 143-145, 160, 172, 181, 190,
191, 230, 261, 223, 300, 324, 327, 336, 344, 346,
350, 374
to paint, to repaint, 9, 18, 137, 242, 290, 345, 395
Pakistan, 9, 18, 26, 27, 30, 31, 35, 37, 61, 206, 266
Baltistan, 26, 266, 270, 310
Ganish, 9, 27, 206, 208, 209
Ghanche, 30
Hunza, 9, 27, 30, 35, 206, 210, 312
Karimabad Village, 61, 206, 210
Kashmir, 266
Khanqah Settlement, 266
Khaplu, 30, 266, 270
palace, 13, 33, 48, 190, 197, 248, 350, 354
Palladian, 370
papier mache, 71, 76, 336
Parafil tie rope, 313, 316
passageway (street, streetscape, thoroughfare), 160
Index
patio, 378
pavilion, 160, 350, 352, 353
pawnshop, 386
penghulu, 124
Peranakan, 184
Permanent Conservation Order, PCO (Australia), 62, 200
pesticide, 124, 302
pew, 98, 356
pharee, 209
Philippines, 50, 176, 304
Makati, 176
Manila, 48, 50, 304
Metro Manila, 176
Phra Racha Wang Derm Palace, 19, 50, 58, 349-354
pillar, 18, 79, 88, 180, 190, 216, 290, 294, 300, 328, 360
pigment (dye), 94, 344, 348
plaster (cement plaster, lime plaster, mud plaster), 36, 38,
40, 75, 76, 79, 82, 94, 168, 180, 191, 222, 230, 324, 326,
330, 344, 348, 353, 386, 390
plasterwork, 134, 201, 227, 286, 301
Shanghai plaster, 94, 180
shell plaster (kody), 194
to plaster, 193, 230, 252, 268, 395
to re-plaster, 113, 252
plinth, 90, 327, 352
plumb bob, 267
point, repoint (to plaster), 108, 193, 320, 327, 330, 356
police station, police department, 120, 176
Polsheer House, 18, 20, 221-224
polycarbonate sheet, 319
porch, 320
portico, 206, 294
post office, 112
Poya day, 112
prefabricated, 116
Principles for the Conservation of Heritage Sites in China,
the (China Principles), 15, 23
public-private partnership, 58, 60, 63, 131, 336, 368
pulpit, 320
purlin, 88, 112, 145, 213, 216, 258, 260, 264, 300, 327, 344
putty (lime putty), 134
PVC clay, 161
Q
qilou, 394, 395
quoin, 370
R
rafter, 88, 94, 169, 260, 264, 271, 300, 302, 327, 335, 356,
350, 367
Rajasthan, 144
Rajput, 78, 190
Rakaposhi, 310
ram, 36, 197, 260
frog-type ramming, 260
rasthal, 197
recreational facilitiy, 374
rehabilitate (adaptive reuse, reuse), 10, 16, 109, 134
Reiner de Klerk, 130
Renaissance, 48, 55, 304
render (plaster), 38, 98, 102, 222, 312, 313
residence, residential (apartment, house, housing, mansion,
villa), 14, 18, 112,130, 168, 235, 278, 350-352, 378, 390
Residence of Charles Prosper Wolff Schoemaker, 18, 20,
119-122
Residence of Dr Zhang Yunpen, 103-106
restaurant, 13, 19, 176, 390
retail, 16
reuse (adaptive reuse, rehabilitate), 16, 17, 20, 44, 134, 140,
176
reverberation, 298
ridge, 94, 116, 118, 152, 184, 185, 213, 216, 252, 260, 264,
282, 300, 327, 350
river (canal, waterway), 277, 283
Romanesque, 318
Royal Australian Institute of Architects, RAIA, 322
Royal University of Fine Arts (Cambodia), 242
ruang makan, 124
rumah ibu, 124
Rumah Penghulu, 19, 35, 50, 123-126
Russia, Russian, 338

Omsk, 338
Orenburg, 338
St. Petersburg, 338
Russian Orthodox Church, 332
Eparchy, 336, 338
Russian Orthodox community of Almaty, 18
rusticated, rustication, 108, 201
S
sacristy, 294, 320
saddle bar, 172
Safavid Era, 222
Sa Hyunh, 84
St. Ascension Cathedral, 18, 20, 331-338
St. Josephs Seminary Church, 18, 179-182, 298
St. Patricks College, 18, 20, 107-110
St. Thomas Cathedral, 17, 57, 355-358
sanctuary, 11, 18, 320
sand, 71, 108, 144, 208, 326, 330, 344
to sand, 72, 88, 90
sandblast, 148
sandla, 195, 197
scarf, 116, 184
school (college, kindergarten, institution, university), 14, 18,
40, 108, 218, 370, 374
scientific and research value, scientific value, 23
Scotland, Scottish, 70, 72
Glasgow, 72, 184
sealant, 197
seismic, 334, 334, 378
seva, 11, 145
Shekwan, 94
sheng, 216
shikhara, 142
shop, 19, 314, 390
souvenir shop, 235, 387
teashop, 20, 168, 169
Showa Womens University, 32, 360
Shri Gokulram, 191
shrine, 18, 30, 34, 47, 142, 143, 212, 350
435
shuk (study hall), 152

Siamese, 124
significance (cultural significance), 28
Sikh, 10, 11, 37, 142, 143, 324, 325, 329
silicone, 148, 218
sim, 18, 230
Singapore, 19, 52, 75, 184, 212, 216, 218
Singapore Hokkien Huay Kuan, 184
sirap tiles, 120
Sir Douglas Mawson, 116
Sir George Gilbert Scott, 172
social value, 13, 23, 25, 26, 40, 51, 52
South China University of Technology, 258
SouthEast Asia, 33, 36, 70, 84, 164, 216, 394
Southeast University (China), 104, 160, 168
Soviet Union, the, 332, 338
spandrel, 304
Spanish, 209
spire, 160
spiritual value, 13, 23
Sri Lanka, 18, 19, 25, 42, 44, 49, 60, 112, 114, 156
Anuradhapura, 112
Ceylon, 25
Nuwara Eliya, 156
Kandapola, 25, 42, 49, 156
stainless steel, 117, 173, 184, 193, 367
steel, 38, 45, 138, 156, 213, 219, 252
steel reinforcement, 160, 180, 222, 334
Stoke-on-Trent , 70, 73
stone, 33, 35-37, 48, 78, 79, 108, 148, 160, 168, 184, 190,
194, 195, 197, 206, 208, 248, 266, 268, 282, 294, 300,
310-312, 316, 318, 320, 324, 327, 330, 332, 344, 356,
352, 360, 366, 367, 374, 375, 378, 395
basalt, basalt paver, 341, 366
carved stone, stone carving, 37, 104, 194, 324, 327, 395
cobblestone, 341
flagstone, 227
granite, 36, 73, 74, 76, 94, 113, 152, 153, 161, 180, 216,
294, 341, 386
limestone, 33, 36-38, 144, 148, 194, 324, 327, 330, 366,
367
436
marble, 82, 90, 108, 201, 290, 327, 341, 352

Porbunder limestone, 356
rubble, 316
sandstone, 10, 18, 33, 36-38, 108, 190, 194, 226, 230,
248, 260, 286, 324, 326, 327, 370
slate, 108
stone pattis, 197
stonework, 328
storage, storehouse (warehouse), 130, 156, 386
street, streetscape (thoroughfare, passageway), 18, 35, 49,
54, 61,160, 164, 165, 238, 248, 276-278, 282, 283, 394
string course, 367, 370
stucco, 90, 98, 102, 180, 181, 216, 350
studio, 382
Sumatra Heritage Trust, 27, 64, 290, 291
surkhi (burnt brick dust), 144
Suzhou River Warehouse, 42, 44, 50, 56, 58, 381-384
Switzerland, 57, 168
Sydney Conservatorium of Music, 19, 225-228
Sydney Cove Authority, 136
synagogue, 40, 56, 98
T
ta cik, tai chik, 29, 72, 76, 213
tailiang shi, 216
takiya, 194
Tak Seng On Pawnshop, 20, 58, 63, 385-388
Tang King Law, 152
Tan Tok Seng, 184
Taoist, 216
Tea Factory Hotel, 20, 25, 42, 44, 45, 49, 56, 60, 155-158
Teepol, 172
tempera, 9, 52, 73, 76, 213
temple, 9-11, 17, 18, 34, 47, 52, 76, 112, 142, 143, 144, 146,
152, 168, 169, 184, 190, 212, 214, 216, 248, 301, 344,
346
tenon, 30, 216, 260, 264
termite, termite infestation, 88, 90, 94, 95, 124, 130, 133,
180, 181, 184, 193, 195, 197, 213, 230, 234, 260. 268,
271, 300-302, 319, 350, 352, 353, 386, 391
terrace, 73, 152, 198, 366, 386

roof terrace, 90
terracotta, 73, 79, 84, 90, 98, 99, 113, 120, 133, 212, 304,
327, 353
terrazzo, 94, 202
Thailand, Thai, 18, 19, 49, 50, 230, 232, 350, 352-354
Ban Bua Village, 49, 230
Bangkok, 19, 50, 350
Chao Phraya River, 350
Khon Kaen, 18, 49, 230
thakur, 142
thatch, 252, 267, 271, 362
theatre, 200, 201
Thian Hock Keng Temple, 75, 183-186, 216
thoroughfare (passageway, street), 160
tiang sen, 124
tie, tie beam, 112, 252
timber (wood, wooden), 19, 35, 36, 40, 72, 76, 88, 90, 94,
99, 108, 112,116, 124, 130, 133, 137, 138,145, 148, 152,
160, 181, 184, 202, 213, 216, 226, 231, 234, 242, 252,
260, 262, 264, 266, 267, 271, 294, 300, 301, 311-313,
316, 318, 324, 334, 335, 360, 361, 363, 367, 382, 395
Burma teak, 148, 156, 173, 367
carved timber, timber carving (carved carpentry, wood
carving), 72, 75, 76, 84, 104, 310
seasoned timber, 124
teak, 32, 36, 72, 133, 181, 352, 353
tin, tin sheet, 378
Tjong A Fie, 290
Tjong Yong Hian, 290
tomb (astana), 26, 30, 266, 271
Tomb of Ghaus Muhammad, 324
tongue and groove, 118
top-down repair, 184, 260, 264
Torah scroll, 99
tourism
cultural tourism, 27, 50, 61
tourism industry, 280, 363
tourism programme, 238
townscape, 18
trail (heritage trail), 27
Index
transept, 294, 318, 320

trompe loeil, 73, 76
trowel, 90
truss, trusswork, 264, 297, 304
Tsinghua University, 374
tung oil, 72, 73, 76
tungsten, 108
U
Ukraine
Kiev, 338
Ultar glacier, 310
UN Development Programme, 143
UNESCO, 46, 51, 143
UNESCO Asia-Pacific Heritage Awards for Culture
Heritage Conservation, 17, 20, 25, 26, 28, 32, 35, 40,
46, 49, 51, 59, 216
UNESCO-ICCROM Asian Academy for Heritage
Management, 54
United Nations Volunteers Programme, 325
United States, 16, 72, 84
United States National Park Service, 16
university (institution, school), 372
University of Mumbai Library Building, 38, 55, 57, 171-174
University of Phnom Penh, 242
University of Western Sydney, 19, 370, 372
Urban Planning Law (China), 274
Urban Redevelopment Authority, URA (Singapore), 218
V
valance, 113
vapour barrier (damp-proofing, water proofing), 350-352
vault, 40, 41, 222, 356
Venice Charter, 15, 22, 259, 260, 294
verandah, 27, 108, 112, 118, 208, 238, 239, 242, 304, 324,
328, 352, 371
Verenigde Oost-Indische Compagnie (Dutch East India
Company), 130, 132
vernacular, 19, 30, 35, 40, 50, 53, 63, 79, 80, 90, 120, 169,
223, 230, 231, 239, 268, 282, 300, 361, 374, 378, 390
Victorian, Victorian Gothic (Gothic Revival), 18, 38, 49, 55,

63, 72, 148,172, 356, 357
Viet Nam, Vietnamese, 32, 36, 49, 54, 84, 85, 87, 242, 360363
Bac Ninh, 360
Bien Hoa City, 360
Dinh Bang Village, 360
Dong Hoa Hiep Commune, 360
Dong Nai, 360
Hanh Thien Village, 360
Hoi An, 84-86, 88, 360, 363
Nam Dinh, 360
Quang Nam, 360
Thanh Hoa, 360
Tien Giang, 360
Vinh Tien Village, 360
Vietnamese Ministry of Culture and Information, 32, 360,
363
Vietnamese Traditional Folk Houses, 32, 36, 54, 359-364
viharn, 232
villa, 130
Virtuous Bridge, the, 27, 55, 64, 289-292
vitrepane, 371
W
wan kaew (jewel glass), 231
warehouse (storage, storehouse), 42, 44, 139, 382
Washington Charter, 22
Wat Damnak, 62
waterproofing (damp-proofing), 18, 33, 145, 148, 169, 197,
268, 327, 366, 374, 390
waterproof membrane (damp-proof membrane), 294,
320
waterproof sealant (sealant), 134
Water Towns of the Yangtze River, 18, 55, 63, 273-280
waterway (canal, river), 130, 274, 276, 277, 382
Wat Sratong, 18, 49, 55, 229-232
wharf, 282
windowsill, 112, 370
Wood, wooden (timber), 10, 29, 30, 35, 36, 88, 90, 104, 124,
133, 153, 160, 168, 207, 208, 213, 216, 218, 230, 242,
260, 266-268, 271, 300, 301, 304, 324, 327, 332, 334,
335, 348, 356, 351, 352, 360-363, 378, 386
carved wood, wood carving (carved timber, timber
carving), 52, 61, 300, 301, 315, 324, 353, 395
deodar wood, 208
oak wood, 336
Tyan Shan spruce, 332
woodwork, 120, 350
World Heritage, 84
World Heritage Convention (Convention Concerning the
Protection of the World Cultural and Natural Heritage), 15
X
Xian Cultural Relics Bureau, 234
Xijin Ferry Area Project, 159-162
Y
Yarikutz, Rupikutz, Kuyokutz, Mamorukutz Mosques, 10, 18,
27, 53, 205-210
yogurt (curd), 82
Z
Zargar-e-Yazdi House, 389-392
Zhangzhou City Historic Streets, 18, 54, 393-396
Zhenjiang Architectural Design Institute, 160
Zhongshan Road, 18, 49, 163-166
zhutongcuo (bamboo pole house), 394
zinc, 124
zincalume, 118
wrought zinc ceiling, 120
Zovelian House, 222
437
All the information included in this book has been sourced from the UNESCO Asia-Pacific Heritage Awards
entry submission dossiers and reflect the opinions of the individuals and institutions responsible for the
project. They do not necessarily represent the views of UNESCO.
Photographic Credits
All photographs by the respective entry submission dossier, except for the following:
Entry submission dossier/Yori Antar
Entry submission dossier/Ray Joyce
Entry submission dossier/Pieter Stroethoff
Entry submission dossier/Geoff Sumner
p. 131
pp. 19 (bottom), 23, 52, 140
p. 15
pp. 201(above), 202
Illustration Credits
All rendered perspectives, plans, sections, elevations and maps UNESCO/Sorasith Bootsingkhon, except for the following:
UNESCO/Fanny Ang
UNESCO/Kachain Chanjaroen
UNESCO/Ernesto Endrina
Sher Ghazi
UNESCO/Siyanee Hirunsalee and
Chonthicha Thamasith
UNESCO/Thananart Kornmaneeroj
Laurence Loh
Sumatra Heritage Trust
UNESCO/Attakit Uthaikarn
UNESCO/Akekaraj Werunit
UNESCO/Pongsakorn Yimsawat
pp. 81, 138, 162, 214, 321

pp. 69, 115, 141, 147, 151, 155, 179, 221, 237,
281, 299, 369, 394
pp. 70, 94, 108, 176, 288, 378, 398
p. 271
p. 398
pp. 77, 93, 103, 107, 111, 123, 159, 177, 229,
233, 251, 289, 309, 331, 349, 373, 381
p. 216
p. 292 (right)
pp. 83, 118, 129, 135, 167, 205, 217, 265, 293,
359, 365, 377
pp. 124, 136, 148, 156, 184, 218, 226, 340
350, 366, 370, 374, 382, 390, 394
pp. 163, 285, 233, 317, 355, 389
For permission to reproduce photographs and illustrations, please contact UNESCO Bangkok at culture@unescobkk.org.
Requests will be forwarded to the submitters of the respective projects.
438
References
Publications
References
Aga Khan Cultural Service Pakistan. 2002. Ganish Village Integrated Conservation and Rehabilitation Project.
Gilgit, Pakistan, Aga Khan Cultural Service Pakistan.
Agnew, Neville and Martha Demas, eds. 2002. Principles for the Conservation of Heritage Sites in China.
Los Angeles: Getty Conservation Institute.
CRCI. 2000. Krishan Temple Conservation Report. New Delhi, CRCI.
Ebbe, Katrinka and Lee Joanna Harper, eds. 2000. Cultural Heritage Management and Urban Development:
Challenge and Opportunity, International Conference Proceedings, Beijing, China, July 5-7, 2000. Beijing:
SACH/UNESCO/World Bank.
Feilden, Bernard. 1994. Conservation of Historic Buildings. Oxford: Architectural Press.
Fowler, Daryl et al. 2000. Appropriate Use of Cultural Heritage Sites: Developing Management Plans. In Cultural
Heritage Management and Urban Development: Challenge and Opportunity, International Conference
Proceedings, Beijing, China, July 5-7, 2000, edited by Katrinka Ebbe and Lee Joanna Harper, 73-91. Beijing:
SACH/UNESCO/World Bank.
Godden Mackay Logan. 1998. Mawsons Huts Conservation Report. Redfern, Australia, Godden Mackay Logan.
Jain, Minakshi. 2001. Ahhichatragarh Conservation Project Report. Jodhpur, India/Los Angeles: Mehrangarh
Museum Trust/Getty Grant Programme.
Jokilehto, Jukka. 1999. A History of Architectural Conservation. Oxford: Butterworth-Heinemann.
Kalman, Harold. 1980. The Evaluation of Historic Buildings. Ottawa: Parks Canada.
Kerr, James. 2000. Conservation Plan: A Guide to the Preparation of Conservation Plans for Places of European
Cultural Significance. Sydney: National Trust of Australia.
Loh-Lim, Lin Lee. 2002. The Blue Mansion: The Story of Mandarin Splendour Reborn. Penang: LPlan Sdn Bhd.
McDougall & Vines. 1996. Conservation Plan for Ohel Leah Synagogue. Adelaide, Australia, McDougall & Vines.
Rai, Gurmeet and Paromita Desarkar. 2006. What are Lime Mortars? New Delhi: INTACH UK Trust/Lime Centre/
CRCI.
Riegl, Alois. 1988. Neue Strmungen in der Denkmalpflege. In Konservieren, nicht restaurieren. Streitschriften
zur Denkmalpflege um 1900 (von Georg Dehio und Alois Riegl). Braunschweig: Friedr. Vieweg. & Sohn.
UNESCO. 2007. UNESCO Heritage Homeowners Preservation Manual for Hoi An World Heritage Site. Hoi An:
Hoi An Centre for Monuments Management and Preservation/Showa Womens University/UNESCO.
(forthcoming)
Electronic Publications
Australia ICOMOS. 2000. The Burra Charter: The Australia ICOMOS Charter for Places of Cultural Significance
1999. Australia ICOMOS Incorporated. http://www.icomos.org/australia/burra.html
ICOMOS. 1964. The Athens Charter. Centre de Documentation UNESCO-ICOMOS. http://www.icomos.org/athens_
charter.html
ICOMOS. 1964. The Venice Charter: International Charter for the Conservation and Restoration of Monuments and
Sites. Centre de Documentation UNESCO-ICOMOS. http://www.international.icomos.org/charters/venice_e.htm
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ICOMOS. 1994. Nara Document on Authenticity. Centre de Documentation UNESCO-ICOMOS. http://www.

international.icomos.org/naradoc_eng.htm
ICOMOS. 1987. Washington Charter: Charter for the Conservation of Historic Towns and Urban Areas. Centre de
Documentation UNESCO-ICOMOS. http://www.international.icomos.org/charters/towns_e.htm
ICOMOS Canada. 1983. Appleton Charter for the Protection and Enhancement of the Built Environment. ICOMOS
Canada. http://canada.icomos.org/appleton_charter.html
ICOMOS New Zealand. 1996. Charter for the Conservation of Places of Cultural Heritage Value. ICOMOS New
Zealand. http://www.icomos.org/docs/nz_92charter.html
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unesco.org/whc/nwhc/pages/doc/dc_f2.htm
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Websites
UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation
http://www.unescobkk.org/culture/heritageawards/
UNESCO-ICCROM Asian Academy for Heritage Management
http://www.unescobkk.org/culture/asian-academy/
Office of the Regional Advisor for Culture in Asia and the Pacific, UNESCO Bangkok
http://www.unescobkk.org/culture/
440
Spanning diverse cultures and building traditions, Asia Conserved:

Lessons Learned from the UNESCO Asia-Pacific Heritage Awards for
Culture Heritage Conservation (2000-2004) presents a panoramic
survey of the wealth of architectural heritage in the region and provides
a blueprint for concerted action on the part of private citizens and
governments alike in its conservation.
Presented in case study format, this book showcases best conservation
practices achieved by winning projects in the first five years of the
UNESCO Asia-Pacific Heritage Awards programme. The projects
encompass a range of building typologies, from fortified palaces to
vernacular residences, ornate houses of worship to utilitarian factories,
elegant engineering works to urban districts. From the case studies are
derived important lessons that show how strong public-private
partnerships and innovative grassroots initiatives can create a powerful
platform for the protection of the historic built environment in such
diverse places as the ancient cities of Central Asia, the cultural
landscapes and historic precincts of South Asia, the port settlements of
South-East Asia and the urban centres of East Asia.
Through colour photographs, architectural illustrations and detailed
narratives, profiles of the Award-winning projects guide the reader in
the approaches taken to resolve challenging technical, economic, social
and political issues. Technical briefs, contributed by the conservators
themselves, provide in-depth solutions to critical conservation
problems. Bridging theory and practice, essays authored by the
distinguished jury members provide a cross-cutting analysis of the body
of conservation knowledge emerging from the UNESCO Asia-Pacific
Heritage Awards programme.
Aimed at a broad audience of conservation architects, heritage
professionals, decision-makers, heritage homeowners, scholars,
students and the concerned general public, the publication will serve as
an invaluable reference for safeguarding the monumental and
vernacular heritage of the Asia-Pacific region and contributing to its
sustainable future.

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Spanning diverse cultures and building traditions, Asia Conserved:

Lessons Learned from the UNESCO Asia-Pacific Heritage Awards for

Lessons Learned from

Through colour photographs, architectural illustrations and detailed

Back cover images from top to bottom:

Supported by the Lord Wilson Heritage Trust

Lessons Learned from

Supported by the Lord Wilson Heritage Trust

The publication of this volume was supported by

Aga Khan Cultural Service Pakistan

Published in August 2007 by

Montira Horayangura Unakul

Conveying the Spirit of Place

Determining Appropriate Use

Interpreting the Significance of Heritage Sites

Understanding Technical Issues of Conservation

Using Appropriate Techniques and Materials

Adding New Elements

Contributing to the Communitys

Influencing Conservation Practice and Policy

Ensuring Ongoing Viability

2001 UNESCO Asia-Pacific Heritage Award Winners

Part III Five Years of the UNESCO Asia-Pacific

2002 UNESCO Asia-Pacific Heritage Award Winners

Part VII Glossary

Part VIII International and Regional Charters

Part IX Profiles of Jury Members

2003 UNESCO Asia-Pacific Heritage Award Winners

2004 UNESCO Asia-Pacific Heritage Award Winners

Part IV Conclusion: Sources of Knowledge

Regional Map of Winning Projects

Part VI Regional Directory

Photographic and Illustration Credits

First Principles for

UNESCO Asia-Pacic Heritage Awards

UNESCO Asia-Pacic Heritage Awards

UNESCO Asia-Pacic Heritage Awards

Award Criteria Essays

UNESCO Asia-Pacic Heritage Awards

Award Criteria Essays

Krishan Temple, India

UNESCO Asia-Pacic Heritage Awards

Cheong Fatt Tze Mansion, Malaysia

Award Criteria Essays

UNESCO Asia-Pacic Heritage Awards

Award Criteria Essays

Dalongdong Baoan Temple, China

UNESCO Asia-Pacic Heritage Awards

Historic context of reuse projects

Award Criteria Essays

Sydney Conservatorium of Music, Australia

The UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation

UNESCO Asia-Pacic Heritage Awards

Award Criteria Essays

Top: Polsheer House, Iran

UNESCO Asia-Pacic Heritage Awards

Award Criteria Essays

The elements of a story: defining and assessing significance

UNESCO Asia-Pacic Heritage Awards

identifying these values and their contribution to the meaning of a place.

Rumah Penghulu, Malaysia

Definition of Significance/Assessment Criteria