Preserve the Religious buildings to Conserver the Spiritual Memory- Paper

Preserve the Religious buildings to Conserver the Spiritual Memory Paper

Hung-che Cho ArtEZ University of Art Master interior architecture

Contents 1. Introduction 1-1. Abstract ............................................................................................................................. 01 1-2. Background....................................................................................................................... 02

2 Literature Review 2-1. The idea of Architectural Conservation....................................................................03 2-2. Definition of Conservation, Preservation, and Restoration..............................04 2-3. Design Strategies..............................................................................................................06 2-4. Research Question ...........................................................................................................09

3. Research Methodology 3-1. Religious buildings in Asia and Europe....................................................................10 3-2. Design Approaches..........................................................................................................11 3-3. Boekhandel Dominicanen - Adapating....................................................................12 3-4. Nikko Tosho-gu - Corrective Maintenance.............................................................22 3-5. Zhì Zhu Si - Conversion..................................................................................................31 3-6. Case Study Summary.......................................................................................................38

4. Conclusion......................................................................................................................40 5. Note.......................................................................................................................................41

6. Bibliography............................................................................................................44

“Architecture is to be regarded by us with the most serious thought. We may live without her, and worship without her, but we cannot remember without her.“ – The Seven Lamps of Architecture, John Ruskin

1. Introduction 1-1. Abstract Architecture is a living heritage. As Ruskin said "Architecture is to be regarded by us with the most serious thought. We may live without her, and worship without her, but we cannot remember without her." 1 They reflect the background characteristic of times, technology, style, and culture.

Over time, monuments record the development and memory of human beings.

With the rise of human civilization, religious buildings have always been with us in our lives.

Humans and religions are interdependent. Without our participation, churches and temples are just one space. As Albert Jacquard said, "The individual is only a stone, humanity a cathedral." Without our memory contained in the building, the space doesn't mean anything.

In the past, we shared our life with religious buildings, from our birth to death. People pray for the health of the child in the religious buildings when he was born, pray for the blessing of God when he got married, and pray for him to return to the embrace of God when he died. Religious buildings once carried people's lives, however, the acceleration of history has speeding-up the rate of change since the second half of the nineteenth century. Our life is no longer closely connected with religion, architecture gradually loses its function, and the memory that once existed in space also passes over time. How to preserve the memory of the building is the key point of architectural conservation.

This research's goal is to find out when preserving the religious buildings, are there any general principles or elements that can relate to the preservation of memory. By comparing three cases from different cultural backgrounds and design strategies.

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1-2 Background Memory is an intangible thing that elapses over time. But throughout history, humans commemorate in all kinds of ways and conserve memory in any form, and architecture is one of them. We build up the grave, museum, and church to memorize something we lost and remind us we used to have. The architecture becomes the carrier of memory. "Heritage underpins and enriches continuities with those who came before and those who will come after us." 2 When people in the space whether it is a house, school, church, or shop, we all leave our trace in it. However, with the advancement of human technology, the needs of the people, and the increase in the value of the land, the reprogramming of buildings has become sparse and common. Most of the time people tend to rebuild the space instead of preserving it. The pace of human life is getting faster, and correspondingly many buildings lost their function with the progress of mankind. When the building lost its function, the memory remains in the space, but it is gradually faded. Faced with such a situation, choosing to preserve, reuse or even dismantle is a matter of all cultures.

Different interpretations will produce different results with commercial, political, and cultural considerations. How to preserve is also different from country to country. Although they all represent conservation and preservation, the differences in techniques will also be affected by various factors. Such as designer, government policy, the monument itself.

Photo Credit: 陳伯義

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2. Literature Review 2-1. The idea of Architectural Conservation The earliest preservation regulation can be traced back to 1933 when Le Corbusier and CIAM (Congrès Internationaux d'Architecture Moderne) come up with the idea of Charte d'Athènes which is the Charter of Athens. The Charte mainly focuses on urban planning but it is also related to the preservation of the monuments. It set up the 7 general principles for all kinds of monuments. And it brings a huge influence on the postwar world. "67. But their preservation should no [sic] entail that people are obliged to live in insalubrious [sic] conditions." 3 According to Charte, monuments should be kept only when they were valuable and did not affect people living conditions.

Take Philadelphia city as an example, reservation, demolition, and reproduction are three strategies that city planners apply to the vision of a historicized cityscape. "Preservation indicates the retention of some aspect of the existing built environment; demolition indicates the removal of older built environments deemed to have lesser cultural value; reproduction indicates the creation of new buildings meant to replicate, approximate, or accentuate the historical built environment."

4 According to the article, Philadelphia city's historic building preservation was judging the fate of the monuments based on the three principles by government and professionals. As a result, the city is well combined the modern and old. Monuments are not just become the obstacle of city development but become the booster.

But the rules could also change depending on the value of monuments. Beijing Forbidden City in China is an example, according to the UNESCO's regulation. "For effective protection of the nominated property, a buffer zone is an area surrounding the nominated property which has complementary legal and/or customary restrictions placed on its use and development to give an added layer of protection to the property." 5 Therefore, in 2004, the Beijing Cultural Relics Bureau established a law to protect the complete landscape of the Forbidden City. The law stipulates that the buffer zone must maintain the traditional style and historical authenticity. Therefore, the Forbidden City and its buffer zone become a complete historical site area. The new construction in the area must also comply with the regulations in the law, and building height, spatial scale, architectural form, and color style must be unified with the traditional style. Depending on the value of historical sites, the way they are preserved and protected will also change, and cultural differences will also affect the result.

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"Imbued with a message from the past, the historic monuments of generations of people remain to the present day as living witnesses of their age-old traditions. People are becoming more and more conscious of the unity of human values and regard ancient monuments as a common heritage. The common responsibility to safeguard them for future generations is recognized. It is our duty to hand them on in the full richness of their authenticity." - The Venice Charter 6 1964, The Venice Charter inherited the context from Athens Charter and expanded the definition, and explanation about the restoration and conservation become more delicate and forwardlooking. Even for now the Charter is still followed and identified by most of the countries in the world. "Article 9. The restoration, in any case, must be preceded and followed by an archaeological and historical study of the monument." 7 According to Article 9, any restoration should be carried out only when there is a detailed investigation and understanding of the monuments and sufficient information. Under such conditions, most of the famous monuments have maintained the status quo.

Most of the Asian countries have been affected by their economic conditions that have not yet stabilized due to WWII, and there are generally serious shortcomings in the knowledge of conservation and restoration. Take Taiwan as an example. According to a report by the Bureau of Cultural Heritage, the Sanchuan Gate of Tainan Grand Tianhou Palace originally had a very exquisite western classical capital. However, during a repair in the early 1980s, the principals believed that the western architectural language could not appear in the traditional temples, so they were all replaced. They did not realize that these western classical capital were the witnesses of the introduction of western architecture into Taiwan during the Japanese occupation. On the contrary, it obliterated history and violated authenticity.

In Europe, which was also affected by WWII, even if it has more professional knowledge of preservation and conservation, it also has a different perspective between countries. Germany and the Netherlands took different approaches in restoring the ruined city. The city of Dresden was thoroughly bombed during the war. The land became ruins, and after the war ended, the government adopted a method of complete restoration. The configuration, architectural style, and even materials of the city were completely restored. On the other hand, Rotterdam was also bombed during the war, but it did not completely restore its original appearance like Germany. Instead, the Netherlands used this as an opportunity to use modern technology to rebuild the city. Therefore, Rotterdam now has a variety of high-rise buildings and diverse architectural languages. "One can say that the city itself is the collective memory of its people, and like memory, it is associated with objects and places. The city is the locus of the collective memory." 8 A city is an aggregation of buildings and a place where people gather. Our memories become a collective memory, but when the city was once destroyed, where will the memories go? Dresden is completely restored to its original appearance. However, can the memories in the people's minds still correspond to this restored city? Rotterdam has adopted a modern route, but is it possible that the memory inherit by the skyscraper?

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2-2. Definition of Conservation, Preservation, and Restoration According to "PRINCIPLES OF PRESERVATION" from Michael Petzet ICOMOS, here he defines conservation, "To conserve means to keep, to preserve. Thus the basic attitude of preservation comes most purely to expression in conservation: to conserve is the supreme preservation principle." 9 For the restoration, the author quotes from The Venice Charter "the aim of restoration is to preserve and reveal the aesthetic and historic value of the monument and is based on respect for original material and authentic documents." 10 Another explanation from "Rethinking Architectural Conservation" by Jihoon Kim. In this paper, the author describes "Restoration refers to the process of renewal and refurbishment of the fabric of a building." As for preservation is a "professional endeavor that seeks to preserve the ability of older (e.g., 'historic') objects to communicate intended meaning." Last, conservation "describes the process through which the material, historical, and deign integrity of mankind's built heritage is preserved through carefully planned interventions." 11 The article provides a clear depiction of how conservation can include preservation, and categorize with the timeline. It is easier to see where restoration, preservation, and conservation are positioned when they are placed on a time continuum.

Redrawall by Hungche Cho, According to "Rethinking Architectural Conservation" by Jihoon Kim

From PRINCIPLES OF PRESERVATION, although there is a close relationship between conservation and preservation, the author did not explain the difference between the two but still conveyed the concept that conservation includes preservation. On the other hand, Rethinking Architectural Conservation uses the timeline to define and analyze the differences between the three. From a time perspective, conservation includes the past, present, and future. However, preservation is more inclined to the present progressive on the timeline.

From the aforementioned vantage point, they all present fairly compelling arguments, and it can be seen from this that the relationship between conservation, preservation, and restoration is inseparable.

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2-3. Design Strategies In my thesis, the basic architectural preservation attitude to design strategies will be based on "Architecture in existing fabric" by Johannes Cramer and Stefan Breitling. In the book, they categorize four different design strategies. An architect may use one of four design approaches, or a mix of them, to produce a new design when working with an existing structure or building.

1. Corrective Maintenance 2. Modernisation 3. Adaptation 4. Replacement

Original

Corrective Maintenance

Modernisation

Replacement

Adaptation 6

1. Corrective Maintenance "Maintenance works can include restoration, the purpose of which is to stabilize and improve the condition of damaged fabric, as well as conservation." 12 Restoration is always regarded as the last resort in various artistic fields, from the famous slogan Georg Dehio's "Conserve, do not restore." to John Ruskin's writing in The Seven Lamps of Architecture, "They are not ours. They belong partly to those who built them, and partly to all the generations of mankind who are to follow us."13 People are scared that restoration will cause the most complete ruin to a building. However, reasonable restoration of monuments will not only destroy their original historical and aesthetic value but can instead preserve them. Control Yuan as an example, founded in 1915, was originally the Taipei State Hall in the Japanese Occupation Period.

It was designed by Matsunosuke Moriyama. It is currently the most intact preserved Westernstyle building in Taiwan. Due to frequent earthquakes and heavy rain, the building structure has cracks, water leakage, and spalling. This restoration project aims to maintain the structural safety of historical sites.

2. Modernisation "For the architect in the first instance, it entails adapting the existing building to the requirements of modern infrastructure." 14 According to the book, modernization is more focused on upgrading the facility and adapting to nowadays surrounding without major changes.

One example from the book is Palazzo to a museum in Venice designed by Carlo Scarpa. In this case, the client asked to develop a solution for the ground floor rooms and garden which were subject to flooding.

Scarpa began by increasing the building's circulation by designing an elaborate and precise insertion that replicates, among other things, Venice's boat entrance channels. From this case, it is clear to see how modernization applies to the building. Without significant changes in the building and structures, but revitalize the building to the modern society.

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3. Adaptation "adaptation is generally characterised by a change in the character of the building as a result of a change of use or fundamental building works." 15 According to the definition in the book, adaptation is to change the character of the building itself and to introduce new uses without changing the original architectural form. Take Kruisherenhotel Maastricht as example. The construction was completed around 1520. As a church until 1797, it was called up as a barracks and warehouse during the French Revolution. It was restored at the beginning of the 20th century and later used as a temporary church and agricultural research. At the end of 2000, the church was acquired by the hotel group. Now in operation as a luxury hotel, most of the building's space has been completely reserved, but overall reprogramming has been carried out.

Another way of thinking of adaptation is been mentioned here which is conversion. "the conversion of a building involves making sometimes significant changes to the building substance but respects its overall volume." 15 When an existing structure no longer functions as it once did, is abandoned as ruins, or has little historical significance as a constructed artifact, this technique is typically used, allowing for more active architectural involvement such as structural alteration and partial demolition. One example is the Kolumba Museum in Germany. It showed the coexistence between old and new. Museum once to be a late-Gothic church but it becomes ruined during World war II. The architect Peter zumthor combined the facade of the part of the original with the new materials, extending the memory and integrating it into the modern, forming a kind of ingenious relationship.

4. Replacement "In such cases there is usually no sensible alternative but to demolish the building, taking care to dispose of its materials ecologically. Whether one decides to save a particular element, either for nostalgic reasons, or to incorporate it into a new replacement building is a matter of personal preference." 16 In this chapter, the authors mentioned that to a certain extent, the building is irretrievable. In this situation, reconstruction or retaining elements are all under the framework of replacement. The author cited the Frauenkirche in Dresden. After the destruction of World War II, Germany decided to completely repair the city's buildings. "However, the new Frauenkirche in Dresden is not the product of Georg Baer and his master craftsmen, but of their 21st-century counterparts." 17 Of course, the reconstruction taken by people because of nostalgia or regret for the loss is understandable, but at the same time, it may also show distrust of modern architecture.

From these examples, they represented four different methodologies to conserve and preserve.

Even four of them choose to revitalize the space, but the results are different due to the cultural and architectural uses. ”They believe in the inner values of art, its ability to make us think and feel, its spiritual values. This project emerged from the inside out, and from the place,” explained Zumthor at the museum opening18. As Zumthor said, architectural preservation should make people think and feel its meaning and value, and this is also the greatest significance of architectural preservation.

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2-4. Research Question From my personal experience, whenever I move, I always have certain things that have special meaning. When I move into a new room, I will first take out my laptop, Bluetooth speaker, Paintings, and candles. Those are the things I need most in the new environment. These things give me a sense of belonging and suggest that this is my personal space, instead of an ordinary room. And this also makes me wonder if it can also be applied to architectural preservation. When preserving religious buildings, are there some important elements that need to be preserved first? What important factors affect people's spiritual memory? Is there a common preservation principle among different conservation cases of the same type of building?

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3. Research Methodology 3-1. Religious buildings in Asia and Europe The type of building has always been a crucial key to preservation, whether it is the methodology, materials, or the direction of the preserve. Religious buildings are a special category in architectural preservation with each culture having different standards and concepts for religious sites that all affect the method and form of preservation.

Preservation of churches and temples could be difficult to deal with it. Two main reasons are involved, first, the building itself may be a monument with important cultural connotations. Second, due to religious beliefs, the perception of believers is also vital to the result. Summarizing the above reasons, the difference between cultures and methodology is what this research wishes to discuss.

When people gradually lose the habit of going to church to worship, many churches decay as time pass. Take the Netherlands as an example, according to the research by Trouw, "one in five churches in the Netherlands is no longer in use as a church. Of the nearly 6,900 churches, around 1,400 have been given a new destination."19 By the church loses its function, the preservation of the building becomes an issue.

The preservation and reprogramming of churches in Europe are relatively open, and the concept of preservation is more common. Most Catholic countries in Europe generally accept church reconstruction. "Vice versa, Catholic countries often consider the insertion of new uses into the churches from a point of view of cultural opportunity, looking at ‘extreme’ modifications that are generally not significant from an architectural point of view." 20 Take Italy and Spain as examples. St Giuseppe Della Pace in Milan, a 20th-century church reprogramming into a nightclub. S. Barbara a Llanera in Spain, an early 20th-century building that became a covered skate park. In the 1980s, the Netherlands also began to experiment with unuse churches. 21 On the other hand, Asia is more conservative in the preservation of religious sites. The idea of preservation and conservation in Asia is not familiar to the public, which led to the result of people's ignorance of it. In terms of preservation, owner of the heritage tend to preserve their original appearance, and that can also apply to religious heritages. Taking the abandoned temple as an example, the people are more inclined to rebuild or keep it as it is, just because it involves religious factors. In Buddhism, Taoism, and Shintoism, believers generally believe that temples are sacred and inviolable places, even if the temple loses its functionality, people still believe in its sacred nature. However, in Japan, Taiwan, and China most of the temples are made of wood. Therefore the temple is constantly needed to be restored. "Conservation architects in Japan, though, believe that to preserve wood buildings, they must be periodically dismantled and reassembled or the wood will rot and the structure will collapse." 22 In Taiwan and Japan, the temple could be reconstructed for architectural preservation purposes. Architects are aware, however, that this reconstruction approach may violate the Venice Charter.

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3-2. Design Approaches This research will compare three cases with three design approaches based on "Architecture in existing fabric" by Cramer and Breitling, but in this thesis, I will reshuffle the terms to apply to my methodology. According to the book, the scope of Adaptation is quite extensive, and among them, I think there is another design possibility, that is, Conversion. Although it is under the same concept of adaptation, however, at the same time it retains the old functions, materials with the new. On the other hand, Corrective Maintenance rejuvenates the building with restoration and maintenance as the major approach.

Three design strategies rejuvenate the building, but different concepts and ideas led to a distinction result. Three methodologies represent diverse pros and cons, however, nothing is absolute. It would not be very suitable if we just used the Adaptation, Conversion, and Corrective Maintenance formula to decide all the projects. Conservation can be different for various reasons, and it should always be adapted to the current conditions. In my methodology, I will analyze three different cases in different cultures and different approaches to architectural conservation.

1) Boekhandel Dominicanen in the Netherlands - Adapating 2) Nikko Tosho-gu in the Japan - Corrective Maintenance 3) Zhì Zhu Temple in China - Conversion The three cases use a different approach to revitalize the space. Boekhandel Dominicanen has been constantly changing since its completion. On the other hand, Nikkō Tōshō-gū, which has maintained the most traditional and original nature throughout history. Whereas for the Zhì Zhū Si Temple, their method of preservation lies somewhere between the two - preserving the tradition while introducing the new era into the space. The reason why I choose these three cases to compare is that although all of them are religious heritages that continue to flourish, there are great differences in the way they are, and I want to study if there are common preservation elements, even under the various methodology of the three cases. I will focus on the analysis of the three lenses of the building, skin, structure, and space. From the building's completion to the present, it has undergone various restoration and maintenance over time. What I will discuss in the research is the changes of the three lenses and the reasons behind them.

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3-3. Boekhandel Dominicanen - Adapating Background of Boekhandel Dominicanen The Boekhandel Dominicanen was consecrated in 1294 as a Dominic church. It was forced to cease religious activities when Napoleon occupied Maastricht in 1794. Although it was returned to the Netherlands in 1815, it was never used for religion. Instead, it constantly changes its functions, from the city government archives warehouse, boxing arena, fire department equipment warehouse, bicycle parking place, concert hall, and finally into the bookstore that what we know.

During this process, the church itself suffered a lot of damage. However, in 2004, the restoration work of the church was completed by SATIJNplus Architects. After the restoration was complete, SATIJNplus Architects did not withdraw its hands but cooperated with the subsequent design studio Merkx+Girod. They worked together to find out what is a suitable plan for this church. SATIJNplus even formulated a brief which the interior architect had to follow to ensure the monumental character of the church would be respected. Throughout the process, several meetings included different related parties that all opinions are respected and considered as equally valuable. In this case, although the history of the church has gone through hundreds of years of religious activities, when it lost its function, the unrestricted reprogramming of the Netherlands made the existence of the church itself thinner during the process, and the church became a space carrier. The significance of function is far greater than the building itself. Nevertheless, the combination of restoration and a more moderate bookstore business model allowed the church to become an attraction in its own right.

According to the information provided by Regionaal Historisch Centrum Limburg, before the church was converted into a bookstore from 2005 to 2006, the church also experienced a largescale restoration between 1912 and 1917 by the famous Dutch architect Pierre Cuypers and Willem Sprenger. According to my private interview with Mr. Rob Brouwers of the architectural firm SATIJNplus, the national monument needs to seek the cooperation of Rijksdienst voor het Cultureel Erfgoed (R.C.E) before making any changes. R.C.E will provide historical experts to conduct in-depth research on the building itself. Analyze and provide suggestions. Taking this case as an example, historical experts will make assessments based on historical values and current conditions, and draw analysis diagrams of buildings, and make value grading according to colors. Blue, green, and yellow each represent, high-value, positive value, and negative value. The architect will carry out the design plan according to this analysis drawing. According to the Assumptions and considerations for advice on built and green national monuments on the R.C.E website23, they provide the basic preservation knowledge and guidelines of the monument owner. In the guidebook, it is mentioned that R.C.E can provide different bits of advice at various stages of the case. Depending on the condition of the monument and design, the recommendations will also be different.

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Floor Plan in different period Redrawall by Hungche Cho, According to the data from “Dominicanen” , Historisch Centrum Limburg, and Merkx + Girod

1895 Floor Plan

1974 Floor Plan

2006 First Floor

2006 Ground Floor

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Restoration Before 1912-1917 and After it According to the description in the book, the church has been used as a warehouse for the city government for nearly a century, and the result has also caused a great burden on the church building. Therefore, in 1907, the architect Willem Sprenger was able to propose a restoration plan, and it was implemented in 1912. Although later on the church was used as an archive of the municipal government in 1976, most of the space was used as a reversible form and did not touch the wall of the church. During the 1912-1917 restoration process, architect Sprenger and his mentor Dr. Cuypers had different opinions on restoration. For example, Willem once mentioned, "17thcentury portal in front of the west facade between the Conterforst was demolished on the advice of Dr. Cuypers and the alderman of the Municipality." 24 According to The Venice Charter "Article 11.

The valid contributions of all periods to the building of a monument must be respected, since unity of style is not the aim of a restoration." 25 As a restoration architect in the 20th century, his concept is still in line with modern restoration principles. He built a good foundation for the subsequent restoration in 2005-2006, and his restoration standards coincided with SATIJNplus.

Dominicanerkerkstraat 1890-1895 Photo Credit: Historisch Centrum Limburg – photo number 21133

Dominicanerkerkstraat1903 Photo Credit: Dominicanen P.142

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Dominicanerkerkstraat1977 Photo Credit: Historisch Centrum Limburg – photo number 21145

Restoration in 2005-2006 In 2000, the city government planned to renovate the Entre-Deux shopping area located next to the church, and the government planned to include the church in the plan. Later on, the municipality commissioned SATIJNplus to conduct an investigation, and in 2005 began to carry out restoration works. The contents of the restoration works contain vault paintings, roof, gutters, walls, joints, buttresses, pinnacles, corbels, stained glass, wood, circuit installation. Among the work, the tombstones and murals in the church, in particular, require special attention by The Cultural Heritage Department and Land Affairs Department. In the process of the project, the necessary modernization was carried out for the sake of future use of the space. The basement was newly equipped with toilets, book storage space, heating equipment, lighting, etc.

Restoration 2005-2006 Photo Credit: Dominicanen P.271

Vault painting Restoration 2005-2006 Photo Credit: Dominicanen P.217

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Analyse of Boekhandel Dominicanen Skin According to the 1840 archive drawing of Historisch Centrum Limburg, it can be seen that the exterior of the church has not changed significantly from the modern one. During the restoration period of 1912-1917, the stained glass was partially replaced. And the sash window with bolted frames in the west was replaced with pointed arch windows. Afterward, the restoration between 2005 and 2006 continued to use glass only for cleaning and maintenance. And during this restoration, the portal on the west side of the 17th century was moved to another place and became the facade we are familiar with today under the instructions of Dr. Cuypers. In addition, the biggest change is that there were originally many houses built on the outer wall of the church itself on the east side of the church. They were also removed during the first restoration and kept their distance. In this change, the entrance in the south aisle may have disappeared before, and Architect Sprenger has restored the demolished intermediate style of the former entrance. The restoration from 2005 to 2006 carried out comprehensive maintenance of the exterior of the church, and it also carried out partial modernization, such as gutters. The change is its west entrance. Merkx+Girod redesigned a new entrance portal for the church, using steel as a material to design an entrance that can be opened like a book, "It should make passers-by curious" by Evelyne Merkx. 26 As a historical monument building, the appearance of the church has been preserved to the maximum extent, except that the entrance has a new change under the presence of the bookstore, even if there is such a change, the entrance can be removed without damaging the building. It is very vital to understand that the adaptation strategy lies in the balance between the old and the new.

Whether it’s the first or second restoration, both are trying to find the balance.

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Fig.8 Drawing1840 by Ph. van Gulpen Photo Credit: LGOG 581

Restoration 1912-1917 East Side Photo Credit: Historisch Centrum Limburg – photo number 21128

Fig.9 Church Dominicanen West Facade1938 Photo Credit: Historisch Centrum Limburg– photo number 21133

Before 1912, houses built against the church Photo Credit: Dominicanen P.131

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2006 New Entrance for the bookstore Photo Credit: Dominicanen P.242

Structure Boekhandel Dominicanen is a classic Gothic church, so there are many iconic elements in the structure, such as rib, Latin cross, apse, pointed arch, flying buttresses, etc. The building materials are mainly marl and yellow stone from the Netherlands and Belgium. In addition, the supporting structure of the pointed arch is made of wood. According to the information in the book, the two restorations did not make major changes to the structure. In 1912-1917, architect Willem Sprenger removed the plaster part of the pillars of the church and returned to the original material appearance. The restoration work from 2005 to 2006, only the floor and basement were updated.

Apart from strengthening the structure and installing the necessary modern facilities, it did not have any other impact on the structure. In 2006, the bookstore officially began the renovation of the interior of the bookstore. Merkx+Girod built a structure made of steel inside the bookstore.

According to the Municipality's restrictions on monuments, the structure will not damage the bricks and tiles in the church. Therefore the bookstore structure and the pillars and walls always maintain a small space in between.

From the above information, it can be seen that even with the adaption design strategy, the minimum changes to the structure are the core concept, and the more it lies in the maintenance and coexistence. According to the private interview with Mr. Rob Brouwers from SATIJNplus, during the restoration, in addition to considering the building itself, the architects must also take into consideration the subsequent use of the bookstore. The balance between the two is a major point for them, and the restoration process also uses similar techniques and materials as much as possible.

In 1905 columns were still plastered before 1912 restoration Photo Credit: Dominicanen P.136

Church Nave Structure Photo Credit: Dominicanen P.76

Basement Restoration 2005-2006

Photo Credit: Dominicanen P.272

Dominicanen 2006 Built Steel Structure Photo Credit: Dominicanen P.243

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Space The interior space of the church is the place that has undergone the most changes among all the lenses. From the 1900s, it was used as a government warehouse, then in the 1930 art exhibition, the 1970 municipal government archive, and the bookstore today. However, its space has not been irreversibly changed. Before the restoration in 1912-1917, when the church was still used as a warehouse it used to divide by two with the bricks wall. And between the columns, there are still supporting beams from the mezzanine floor that were installed in the side aisles. In response to the needs of the Maastricht municipality archive in 1970, a switching and transformer room was installed in the northern aisle, and a small part of the south was newly built with walls as storage space for central heating room, and a storage room. Then in 2005- 2006, the temporary wall on the south side was removed.

During 2005-2006, one of the key points of interior restoration was the murals and vault paintings on the north wall. Because of the importance of its history and artistic value, the professional restoration work was completed by the Restauratie Atelier Limburg Foundation.

The biggest change to the interior space from 2005 to 2006 was the entry of bookstores. In addition to the installation of steel shelves in the south, the function of a coffee shop was also introduced in the north. Although the space added many modern elements inside, it did not destroy the original church. For the overall atmosphere, the lighting is set on the newly added steel structure to reduce the chance of damaging the building itself. Not only harm the building, but the soft lighting adds to the brilliance of the church. A small amount of lighting is used on the vault paintings to make the space experience even better.

The changes in architectural use attributes have the greatest impact on the interior space. With the presence of modern bookstores, many new elements must be indispensable. Among them, the lighting, bookshelves, coffee shops, and even warehouses have a far-reaching influence. The interlacing of the old and the new is most clearly reflected in the interior space. The space is divided by bookshelves and display cabinets. The altar where scriptures are taught in the east is replaced by a coffee shop. Under such spatial interlacing, the alternation of old and new elements is a surprising fusion.

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1900s Church was used to divided as two with brick wall Photo Credit: Dominicanen P.140

1962 Church Interior Space Photo Credit: Historisch Centrum Limburg – photo number 21128

2021 Bookstore Interior Space Photo Credit: Hung-Che Cho

Fourteen Century Wall Painting recorded in 1867 by Victor de Stuers Photo Credit: Historisch Centrum Limburg – GAM 1681

2021 Present Wall Painting Photo Credit: Hung-Che Cho

2005-2006 Restoration of Vault painting Photo Credit: Dominicanen P.213

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Summary The first preservation between 1912 and 1917, the main purpose was restoration, and from 2005 to 2006 it was still doing the restoration, but at the same time, it also had modernization according to the subsequent functional requirements. The bookstore that was transformed into a modern bookstore must inevitably require changes in space and equipment. According to the Venice Charter "Article 5. 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 envisaged and may be permitted." 27 I believe that the Boekhandel Dominicanen is an excellent example of balancing modernization and monument preservation, while still following the rules of the Charter. Although the results of the two preservations are not the same, the common goals are to preserve the core values of historical monuments and continue to use buildings. Since its founding, the church has experienced numerous renovations and restorations, but it has kept most of its essential values. It all has to credit to the careful preservation and renovation of the architect.

Interior Space in 2021 Photo Credit: Hung-Che Cho

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3-4. Nikko Tosho-gu - Corrective Maintenance Background of Nikko Tosho-gu Nikko Tosho-gu in Japan. It is a temple for Shogun (General) Tokugawa Ieyasu. General unity Japan in 1603 and ended the period of warring states. After his death, people built up the temple where his eternal resting place was. In Japan, it is common that powerful leaders were posthumously apotheosized and worshiped as tutelary deities. This temple is not only a place of prayer but also a symbol of a country's ruler resting place. Because of its importance, from the very beginning of the construction of this temple, the builder had thought of the subsequent preservation method, that is, to leave the most detailed sketches including painting, engraving design drawings, construction methods, etc. These are all contributed to the subsequent preservation. In the beginning, Toshogu was not what we familiar with nowadays. After it was completed in 1617, the style was not as magnificent as it is now, or even plain. However, in 1634-1635, the three generations of General Tokugawa Iemitsu ordered to reconstruct the temple into now that everyone was familiar with it.

The very first restoration began in 1654 and since then there is always has restoration work every 20 years. 28 In 1879, due to the new Meiji government budget issue, they can not support the repair funds of Toshogu. As a result, Toshogu was unable to carry out regular maintenance, as usual, therefore local private volunteers started to form "Hokoukai" to help Toshogu. This organization later became the "Nikko Shrine Cultural Preservation Association"( 日光社寺文化保存協会 ) which is now mainly responsible for the affairs of Nikko Toshogu.

From its completion to the present, Toshogu has undergone 19 times restoration. Among those repaired, the Showa and Heisei restoration is the large-scale repairs. In 2019, Heisei restoration finally came to an end. With sufficient knowledge and technology, the temple was finally able to be presented to the public in a complete appearance and allowing the temple to be preserved and revitalized. Nikkō Tōshō-gū has kept its original functions from the beginning to the present and even preserved all the materials of the temple itself. It has achieved complete preservation and restoration, giving new life and maintaining its original appearance. In terms of space, without destroying the temple building itself, large-scale events such as weddings and prayers will also be held. It is in line with the modern without destroying its cultural and traditional meaning.

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Site Plan of Nikko Toshogu

Toshogu Site Plan Redrawall by Hungche Cho, According to the data from “ 日光宮建造物装飾文様調査報告 ” Gohonja Floor Plan Redrawall by Hungche Cho, According to the data from “ 修理工事報告書 2013”

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Nikko Tosho-gu Restoration Most of the buildings in Toshogu were rebuilt in 1636. There are 55 buildings in the Toshogu. In 1999, the Toshogu complex was officially registered as a World Cultural Heritage. According to the website of UNESCO "The site continues to function today as a place of religious rituals and other activities which maintain its traditions, both physically and spiritually. The site has suffered from natural disasters (e.g. fire, falling trees, and earthquakes) over the centuries. Each time, the damaged building was restored faithfully, following rigorously the original plans and techniques, using the original materials whenever possible with attention and care to the preservation of colouring, materials and decorative works." 29 From the above description, it can be clearly understood that in terms of the preservation and restoration of Toshogu, Japan has always achieved a high level of authenticity and integrity.

1)Showa Restoration 1950-1986 2)Heisei Restoration 2013-2019 According to the official website of Nikko Toshogu, in the two major restorations, the Showa Major Restoration included repair work on 40 buildings. Although the restoration work was completed in 1986, the follow-up maintenance and repair work continued until 2002. The second Heisei Restoration focuses on the two main buildings of Toshogu, the Gohonja ( 御本社 ) and Yangmingmen ( 陽明門 ).30 From the 1967 Maintenance Report of the Cultural Assets Preservation Committee of Nikko Two Shrines and One Temple( 日光二社一寺文化財保存委員会 ), it described in detail the preservation and maintenance attitude since the Kanei reconstruction in 1636 to later generations. "These repairs were mainly renewals of lacquerware, coloring, and finishing of decorative metal fittings, but sometimes there were roof re-roofing, rotten wood repairs, and even radical dismantling repairs." 31

Origin of Toshogu before the reconstruction 1636 Credit: 狩野探幽

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Based on the information from the official restoration report, there are six steps to repair the building.30 1. Investigation/Record Investigation Make a record of the current situation and draw a sketch.

2. Base preparation (clothing) After removing the old paint, apply a cloth with lacquer on the entire surface to prevent cracking of the wood.

3. Placement The pattern is lively with paint 4. Gold leaf stamping (lacquer leaf) Gold leaf is applied to the patterns, etc.

5. Coloring Color with natural mineral pigments 6. Topcoat Use a wooden spatula to squeeze the lacquer and brush it.

And these processes could vary due to different purposes.

From the report, Japan recorded every detail about the processes and the reasons. The restoration report here is not only a record but also an important source of information for future maintenance and repair, so that future generations can fully understand the restoration process and changes in each period. This is also a major focus of why Toshogu can carry out such a complete restoration and protection. In this chapter, the Gohonja ( 御本社 ) included haiden、honden、ishi-no-ma will be the focus of the analysis, with other symbolic architectural elements of the other building in Toshogu.

The repairing processes of Gohonja Credit: 日光東照宮ホームページ

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Skin The architectural style and form of Toshogu corresponded to the general’s preferences during his lifetime. The architectural style and sculptures were deeply influenced by the Tang Dynasty in China.

According to the investigation report of the Cultural Assets Preservation Committee of Nikko Two Shrines and One Temple( 日光二社一寺文化財保存委員会 ), there are a total of 5173 sculptures in Toshogu. Carved on the theme of Chinese gods and myths, honden occupies 2,468. Each carving has its meaning. Most of them are praying for peace and prosperity.

Take the "Sleeping Cat", one of the national treasure sculptures of Toshogu as an example. The sleeping cat represents a peaceful and prosperous world where even a vigilant cat can fall asleep.

There is another statue of a sparrow playing behind the sleeping cat. It means that the weak can play with peace of mind in such a peaceful environment. Another national treasure sculpture "Three Wise Monkeys", the meaning he represents comes from the Analects written by Confucius Analects of Confucius, "Look not at what is contrary to propriety; listen not to what is contrary to propriety; speak not what is contrary to propriety; make no movement which is contrary to propriety." 32 After being introduced to Japan, it became "mizaru, kikazaru, iwazaru," which means "see no evil, hear no devil, and say no evil."

In hoden, there are a huge number of tapirs( 貘 ) in many sculptures. The reason is that according to the description of the Chinese poet Bai Juyi, this creature likes to eat copper and iron. At that time, most of the weapons were made of casting. Therefore, engraving the membrane of this creature here means praying for everlasting peace.

In terms of restoration, each period of restoration will redraw the sketch, and repeatedly test the correctness of the color and shape in the actual operation. The color, gold leaf, shape, etc. of the engraved surface are all carried out following the original draft. During the process, a restorer will have multiple senior restorers to check, and each repair is carried out with rigorous procedures and methods. And when necessary, such as wood decay, etc., it will also be replaced. With the progress of the times, it will also be repaired with modern instruments, such as X-ray scanners. The colors and sculptures of the building facades of Toshogu have profound implications and have a profound and lasting impact on visitors both visually and culturally. And that is part of the reason why Japan must have more stringent requirements for preservation. Maintaining the same appearance precisely the way they preserve their traditions.

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Front Gate of Main Hall Credit: 日光東照宮、御朱印

Back Side of Main Hall Credit: 日光東照宮、御朱印

Three Wise Monkey Credit: 日光東照宮 , 公益財団法人日光社寺文化財保存会

Tapirs 貘 Credit: 日光東照宮 , 公益財団法人日光社寺文化財保存会

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Structure The architectural structure of Main Hall Gohonja ( 御本社 ) is a traditional Japanese architectural style called Gongen-zukuri. A gongen is a Shinto kami considered to be an avatar or manifestation of the Buddha. The style was named for Nikko Toshogu, where Tosho Daigongen (Tokugawa Ieyasu).

This style incorporates the worship hall haiden ( 拝殿 ) and main sanctuary honden ( 本殿 ) under a single, complex roof. The roof is hip-and-gable style irimoya-zukuri ( 入母屋造 ) are connected by an intermediate space called the ai-no-ma ( 相の間 ) or ishi-no-ma ( 石の間 ), with the roof ridge of this space running perpendicular to the other roofs so that they form an I or an inverted T shape when viewed from above.

Toshogu is composed of haide, ishi-no-ma, and honden. The haiden has wings with slightly lower roof heights attached to the left and right sides. 33 Of the repairs to Toshogu during the Edo period(1603-1868), the ones that attracted particular attention were the roof repairment in 1654. The traditional cypress bark roof was remodeled into a copper plate tile roof, which was a big repair even in the Edo period. The reason may be due to economic considerations or problems such as preventing water leakage. 31 When it comes to structural restoration, because the building structure is made of wood, it is affected by long-term moisture and natural disasters. It must be replaced regularly to ensure the safety of the building. When the structure is being repaired, woodworking repair experts' will do the evaluation, and replacement or repair will be carried out according to the condition of the wood.

Due to budget and safety considerations, most of the time will not be repaired as a whole. Instead, partial dismantle and replacement will be judged based on the severity of wood decay.

Gongen-zukuri Structure Credit: Shinto Shrines: A Guide to the Sacred Sites of Japan's Ancient Religion

Section of haiden Credit: 修理工事報告書 2013

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Space The space configuration of Gohonja ( 御本社 ) is divided into three parts as mentioned earlier, the worship hall haiden ( 拝殿 ), intermediate space ishi-no-ma ( 石の间 ), and main sanctuary honden ( 本殿 ). Heisei Restoration 2013-2019 during this maintenance overall restoration was carried out. In the haiden, there are two spaces on the left and right sides, Hōshin'nō chakuza-kan( 法 親王着座間 ) and Shōgun chakuza-kan( 将軍着座間 ). Hōshin'nō chakuza-kan represents local lords' seating room, and Shōgun chakuza-kan represents the room where the descendants of the Tokugawa general stayed. Ishi-no-ma, if taken literally, can be translated into a stone room, but in reality, it is composed of tatami mats. The reason why it is called ishi-no-ma is that its original place is paved with stone slabs. The last honden is also the place where the spirit body of Tokugawa Ieyasu is placed. It constitutes a three-story space composed of outer formations Heiden( 幣殿 ), inner formations Naijin( 内陣 ) and inner-inner formations nainaijin ( 内々陣 ). This space is generally only open for ceremonies, and under normal circumstances, even the priests of the host palace are forbidden to enter.

The Gohonja is the most important building in the entire Toshogu, so its interior is also particularly gorgeous and important. Various sculptures and portraits fill the room, and the pillars and ceiling of the structure are also decorated with many sculptures and gold leaves. Take the ceiling as an example. The paintings are full of different Chinese mythological creatures, Phoenix and Luan, both of which represent a symbol of peace. In terms of space, after being rebuilt in 1636, this is the place where the spirit body of Tokugawa Ieyasu is located. Because of its importance, it can be said to be the place with the least changes in the buildings in the Toshogu. Only thorough restoration and maintenance have been carried out.

Interior of Haiden Credit: 日光東照宮、御朱印

Entrance of Honden Credit: 日光東照宮、御朱印

Interior space of Shogun chakuza-kan Credit: 日光東照宮、御朱印

Celling of ishi-no-ma Credit: 日光東照宮、御朱印

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Summary Since its reconstruction in 1636, Toshogu has always maintained its original appearance and function. It has maintained its integrity even after a long period of time and natural disasters, thanks to the unremitting spirit and hard work of the Japanese. In this case, the corrective maintenance method was successfully implemented. Toshogu’s architectural preservation is not just to preserve it and only for people to watch. Toshogu protects not only the mausoleum of Japanese generals but religious sites for worship and prayer. Its architecture has important meanings in Japan both historically and culturally. Under such a premise, it is possible to understand why architectural restoration and preservation are important to Toshogu, rather than using other design approaches to revitalize the space. Maintaining tradition is the first consideration in Toshogu, and how to preserve its spirit and its meaning in the case of Toshogu, Japan chooses to preserve and restore.

Yangmingmen 陽明門 Photo Credit: Ko Hon Chiu Vincent

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3-5. Zhì Zhu Si - Conversion Background of Zhì Zhu Si Zhì Zhu Si was built in 1756, with a very complete three-entry courtyard layout, which is typical of Beijing Buddhist temples in the Qing Dynasty. Emperor Kangxi praised Tibetan Buddhism and promoted the construction of Buddhist temples across the country around the end of the 17th century. Three prominent temples were chosen to be built on the site of the former Imperial Scripture Printing Factory in Beijing.

The three temples, Zhizhu Temple, Fayuan Temple, and Songzhu Temple, are organized in a line from east to west, forming a bigger group of temples. Emperor Qianlong inscribed the three characters "Zhizhu Si." The name can be translated to "temple of wisdom." Zhizhu Si, along with Songzhu Si and Fayuan Si, became the most important Tibetan Buddhist sacred sites in Beijing under the reigns of Kangxi and Qianlong. The "living Buddha" Jangjia Qututgtu (JangjiaQututgtu), as one of the most outstanding religious leaders at the time, has always lived in Zhizhu Si and adjacent temples, and often held various religious ceremonies and activities here. Until 1949, on the eve of the founding of the People's Republic of China, the Sixth Living Buddha still lived in Zhizhu Temple. 34 With the changes of time and political factors, the ZhiZhu Si has undergone many different functional changes. After 1949, most of the temples in Beijing were open to the public to use, from gold paint factories, bicycle factories, TV factories, etc. With the process of industrialization, the interior appearance and structure were also damaged by the machine. In 1970, a fire broke out in the temple. The main hall was affected by the fire, which led to the resulting structure turning black.

In 1984, ZhiZhu Si became Beijing’s cultural relics protection unit, but it is still been occupied by the machine factory. The factory did not play a substantial role in protection. Moreover, in 2000 the temple has been leased out as a waste collection station for up to 3 years. After the removal of the waste collection station, Zhizhu Si fell into decline due to the harsh environment and reached its most dangerous time. 35 In 2007, Juan van Wassenhove of Belgium found this temple and decided to restore the temple.

He cooperated with the local design team and spent five years repairing the temple since 2008.

The restoration of the temple was completed under the protection and restoration of the original structure and materials of the original as much as possible. In 2013 the temple was able to open to the public with its new and old appearances. Some of the buildings are now reused as a restaurant, hotel, multi-functional exhibition hall, etc. Moreover, the temple was awarded from 2012 UNESCO Heritage Award. "The comprehensive restoration of the architecturally significant late 17th century Zhizhusi temple complex in Beijing has enabled the rich layers of its history to be revealed, enhanced, and celebrated." 36 The award shows that how the success of the result is. The ZhiZhu Si conservation is not just giving the temple new life, but also preserving the temple's history and traditional values.

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Floor Plan in different period Redrawall by Hungche Cho, According to the data from Old Buildings as the Palimpsest - Tian Zhuang

ing Dynasty

After 1949

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After 2013

Zhì Zhu Si Before the Restoration and After it The timeline of Zhizhu Si can be divided into three parts for analysis. From Yongzheng in the Qing Dynasty to the Republic of China, the second half of the 20th century, and after its restoration in 2013. The biggest difference from the previous two cases is that the Zhizhu Si was restored in a nearly abandoned state, which makes it more difficult to repair and preserve the building. The Zhizhu Si has changed from the original royal temple to a nearly deserted place under the evolution of time. The reason is that in the second half of the 20th century, the People's Republic of China issued the policy that opened most of the temples for private use, therefore the building did not being used well, it has become a victim of the evolution of the times.

It can be seen from the plan that from the beginning of the Yongzheng period of the Qing Dynasty, Zhizhu Si was the first Tibetan Buddhist temple in Beijing, therefore its scale was a rather formal and solemn, three-entry courtyard pattern( 三進院落 ). In 1950, the temple lost its religious function and opened for civilian use. In response to the use of the factory, the space configuration and architecture of the temple began to undergo substantial changes. The houses on the west side and bell tower and drum tower were demolished and replaced by factories and temporary buildings.

The courtyard space before and after the main hall was also filled with temporary buildings. It was not until the restoration of the building in 2008-2013 that it gradually recovered its vitality.

During the 2008-2013 maintenance, according to 一条 interview with the main restoration operator Juan van Wassenhove( 註解 ), it can be learned that Mr. Wassenhove, a Belgian, is deeply fascinated

by Zhizhu Si and is willing to put a lot of effort into this space. The restoration is carried out with the concept of repairing the old as before. However, the removal of temporary buildings that are harmful to the building is not just a comprehensive removal but respects the changes that have occurred in the building and space under the historical evolution, such as the buildings newly built during the Republic of China were retained, and the factory buildings added later were cleaned and reused. The attitude it holds is also fully in line with the "Article 11 The valid contributions of all periods to the building of a monument must be respected, since unity of style is not the aim of a restoration." 37

Zhì Zhu Si Before the Restoration Credit: 崔金泽

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Skin From the 一条 interview with Mr. Wassenhove, it can be known that he is following the principle of repairing the old. 38 Therefore the restoration project of 2008-2013 did not carry out a large scale except for the necessary repair and material replacement in the appearance of the building.

However, it can be inferred from the photos that the south facade of the main hall ( 大悲殿 ) may have changed during the period when the temple was used by the people. The arcade pillars that should have surrounded the building only exist at the north. In addition, although the color paintings of the outdoor beams of the main hall faded, even partially peeled off, due to lack of sufficient information, the current situation is still maintained for protection. Furthermore, the glass and window frames of the windows also have signs of changes, but they are still in use today and have not been replaced. According to Zhang Fan’s research and interviews with the personnel responsible for the restoration work, it can be learned that the repair staff will observe every day, such as when the color paintings naturally peel off, they will clean up and protect them, and rebrush special oil on the wood construction materials for protection. 39 A more special point is that, to meet the needs of the new exhibition space while achieving the effect of protecting the old doors and windows, the restoration project in 2008 nested new doors and windows on the inner layer to meet the daily use needs of the exhibition hall. The additional building on the south side of the main hall was transformed into a hotel, and the east wall of the building was plastered, which echoes the original brick surface to add modernity to the building. The pool on the east side of the hotel has been preserved, and the original factory building outline has been used. The lighting installation art in cooperation with the Japanese team lab has been added here.

From the above changes, the restoration in 2008 did not make major changes to the historical buildings except for the most basic maintenance and repair and necessary painting of the facade of the building. Most of the changes were concentrated in the 1960s. Subsequent new buildings such as factory buildings have not undergone substantial restoration of the temple body since the establishment of the Qing Dynasty.

North Façade of Main Hall Credit: 沈安杨

South Façade of Main Hall Credit: 沈安杨

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Structure Zhizhu Si is a typical Han-Tibetan mixed Buddhist temple layout. From the central axis, they are First Entrance( 山門 ), Second Hall( 天王殿 ), Main Hall( 大悲殿 ), Longevity Hall( 長壽殿 ), and Back Hall( 後殿 ). The latter two buildings are due to property rights, therefore are not within the scope of repair. The original building was severely damaged during the occupation and renovation, and the halls on the central axis were damaged to varying degrees. The traces of the renovation can be seen in the three buildings. Except for the main structures, the other part of the building of the structure has undergone a certain level of change.

Mr. Wassenhove mentioned in the interview that the Main Hall was the place where the most effort was spent. 38 A fire broke out in the main hall in 1970. Although the building was not server damaged due to timely rescue, part of the wood structure became scorched, and fragility. During the restoration in 2008, part of the burnt-out building structure was also replaced. Because Mr. Wassenhove adhered to the principle of repairing the old, so he deliberately put the wood into the old appearance when replacing the building materials. By doing that the traces of replacement become less obvious. In terms of the roof, a total of more than 60,000 roof tiles were left from the Qing Dynasty. To keep those precious tiles, and for subsequent safety and stability, the craftsmen removed the tiles and manually cleaned them, and installed them back on the roof. Besides the Halls in the middle, the buildings of the east side, including the Eastern side hall( 東配殿 ) and the space where the monks lived, have also undergone structural restoration.

The architectural structure of Zhizhu Si has changed to varying degrees over time. In the absence of sufficient building materials, the restoration project in 2008 did not guess and rehabilitate arbitrarily. Instead, most of the construction maintains the original building structure and repair the damage under the original foundation. The factory buildings built in the 1960s have also changed their appearance during the restoration period with the introduction of new functions. But while changing, it also matched the atmosphere of the ancient temple to create a harmonious visual image.

Restoration of Roof Structure Credit: 一条 Interview Video

Restoration of Roof Structure II Credit: 一条 Interview Video

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Space The spatial transformation of Zhizhu Si is the most changed part in the three lenses. The spatial transformation includes, First Entrance ( 山門 ) transformed into an open exhibition space, Second Hall ( 天王殿 ) is used as the front hall of the restaurant on the west side. The Main Hall ( 大悲殿 ) is used as a multifunctional space, the Eastern side hall is used as a meeting room, and the Eastside monk's living space is used as an exhibition space. The western new building was converted into a French restaurant and Hotel.

In terms of restoration, the Main Hall is a major focus in the restoration project. The interior of the space has many traces of different ages, from the slogan "Unity, Tension, Seriousness, and Lively" in the early construction of the People's Republic of China to the traditional Sanskrit on the ceiling of the Qing Dynasty decoration paintings, colored paintings on beams and pillars. These interior elements of different ages have been well taken care of in the 2008 restoration. According to Mr. Wassenhove, when repairing the ceiling paintings, a professional painter was specially invited to clean and maintain them. The act of respecting its authenticity and not performing a comprehensive restoration is a major focus of the entire restoration project.

Another major change in the temple is the building complex on the west side. It was rebuilt in 1960 and connected with the original ancient building. The restoration project did not destroy its current condition. Instead, it used the space formed by the new and old buildings here to introduce the function of the hotel. The newly-added factory building has undergone a substantial transformation into a French restaurant and its kitchen. In addition to the renovation of the building, the overall environment of Zhizhu Si also has many details. Many modern elements have been added to the original layout, such as sculptures, seats, pool, installation art, etc. In the solemn atmosphere of the ancient temple, more lively artistic elements have been added, and harmony with the temple has been taken into consideration in terms of color and style.

After Restoration of Main Hall Credit: 一条 Interview Video

After Restoration of Main Hall Celling Credit: 一条 Interview Video

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Summary Zhizhu Si has undergone many changes from the formerly respected royal temple to the garbage collection site to the new multi-functional space now. Its architecture also left many different traces over time. Under the careful restoration and preservation of later generations, the current Zhizhu Si is not only the royal temple of the Qing Dynasty but the new Zhizhu Si that has experienced a rebirth after suffering. Buildings in different periods have been respected under the restoration work, rather than simply pursuing the original appearance. The most admirable thing is the spirit that the craftsman holds "repair the old as the old", which is also in line with the Venice Charter "Article 12. Replacements of missing parts must integrate harmoniously with the whole, but at the same time must be distinguishable from the original so that restoration does not falsify the artistic or historic evidence." (The Venice Charter 1964, 3) 40 Although Zhizhu Si did not have enough information and even started with poor conditions, it still restored the history and memory of Zhizhu Si to the public. The memories of different periods contained in the Zhizhu Si are introduced to visitors through space and architecture.

In front of Main Hall Photo Credit: 一条 Interview Video

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3-6. Case Study Summary It can be observed from the preservation of the three cases that even though they have used different methods to preserve the buildings, there are still have common principle within it.

In the case of Skin, it is the first layer that visitors will come into contact with. Visitors approach the building in the most intuitive visual way. From the appearance, it can be distinguished that the building was once or is still a religious building. Therefore, preserving the spiritually symbolic elements is the first task. For Toshogu, the paintings and sculptures on the facade of the building have many meanings. On the other hand, although Boekhandel Dominicanen does not have many extraordinary sculptures like Toshogu. However, the building materials and stained glass are still passing to people the historical memory it contains. From the analysis point of view, the three cases all preserve and maintain the appearance of the building as much as possible, and their purpose is to preserve the unique architectural facade of the religious building.

On the other hand, Structure, as the most important part of the building, visually visible pillars, roofs, floors, beams in the building, wooden structures supporting the roof, etc. These are the cornerstones that maintain and build the building, as well as the treasures of historical sites. The historical value and beauty of the construction methods of traditional buildings are immeasurable.

This is more important in churches and temples. The difference between religious architecture and general architecture is that it is not only a space created for people but also gods. Take churches as an example, to highlight the smallness of human beings and the sense of grandeur and sacredness of gods, church ceilings are always higher than ordinary buildings. So doest the temple complex, it has a complex and special structure. Each building has its different function, and the arrangement of its buildings also has special religious connotations. It can be seen from the three cases that no matter what the restoration project is, it only repairs and maintenance the structure, not only because of compliance with the Venice Charter or any laws but because the architect of the restoration clearly understands that the traditional structure of the building is an important part of the individuality of religious architecture. And any non-essential changes will only make it lose its charm and authenticity.

In the last Space, compared with the Nikko Toshogu it maintenance traditional space until now, the interior spaces of Boekhandel Dominicanen and Zhizhu Si have undergone many changes since they were built to the present day. And these changes' impact on the interior of the building is huge and obvious. Regarding the preservation and restoration of space, the transformation of space, reused or maintaining its original appearance, are aiming to protect the same thing, that is, the spiritual memory in the space. Take indoor ceiling paintings as an example. The ceiling frescoes in Boekhandel Dominicanen represent the art of its church, so they have also received special care during the restoration project. The Zhizhu Si also has decorative Sanskrit wood panels on the ceiling, which are also specially restored during the restoration process. Not to mention Toshogu who protect the traditional for over 385 years. The space brings people not only the visual senses but also the spiritual feeling. When it comes to the architectural space with religious connotations, the elements retained or removed in the process of preservation and restoration are ultimately for the purpose of allowing people to feel the memory remains in the space.

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Although the three cases focused differently on architectural restoration and preservation. But after I analyzed the three cases, I found that the most important thing for architectural preservation is the Experience that it can bring to people, not just visually, but it lies in the overall concept and atmosphere, the facade of the building, the representative structure, and the interior space, which are all important parts of the preservation of the building and affect the overall experience of the building. The preservation of meaningful elements such as statues, paintings, building materials, windows, etc. Although they are only part of the preservation, it can be seen that regardless of the aspect of preservation and restoration, when those elements can be noticed when the building is restored and preserved. Then it can successfully preserve the memory of architectural connotation.

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4. Conclusion Through the case studies of three different cultures and design approaches. We could understand that even though the situations are different from the three cases. But one important principle exists within conservation, that is "balance between the old and the new. The new here does not only refer to renovations or adding the new but includes restoration and preservation. Although the conditions of the buildings in the three cases are different, and the standard of this balance varies according to cultures and building conditions. But they are ultimately looking for a balance, without destroying the authenticity of history, and achieving the coexistence of the old and the new to generate a historical continuity.

Learning from the three cases, I would claim that religious buildings need to preserve memory through architectural preservation by conserving their overall form. The conserved form must be able to give people an experience, and the most important thing about this experience is to enable people to feel the memory of the place. The key to achieving this goal is to extract elements with cultural spirit and historical significance. From a series of observations, investigations, and researches, we can finally make a selection of the existing elements that best represent its spiritual significance.

From the above conclusions, it can be known that even if different preservation methods are used, it is still necessary to balance the old and the new and save its overall form. Therefore it would be improper to use Replacement design strategies from "Architecture in existing fabric" to conserve the memory in religious buildings. Since conserving the memory is established on respecting the old while introducing the new to the building.

When the architect has grasped the elements that need to be preserved, no matter which direction of the preservation method that the architect chooses in the subsequent building preservation projects, it can all capture the spiritual memory.

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5. Note 1.

John Ruskin, The Works of John Ruskin. the Seven Lamps of Architecture. - 1903. - (Ruidnr.: M102412516) (London: George Allen, 1903), 224.

2.

David Lowenthal, “Why the Past Matters,” Heritage & Society 4, 2011 , no. 2 (July 18, 2013): p.

159, https://doi.org/https://doi.org/10.1179/hso.2011.4.2.159.

3.

Congress Internationaux d'Architecture moderne (CIAM), La Charte d'Athenes or The Athens Charter, 1933. Trans J.Tyrwhitt. Paris, France, 1946, p.4.

4.

Kevin Loughran, Gary Alan Fine, and Marcus Anthony Hunter, “Architectures of Memory: When Growth Machines Embrace Preservationists,” Sociological Forum 33, no. 4 (2018): p. 3, https:// doi.org/10.1111/socf.12449.

5.

Operational Guidelines for the Implementation of the World Heritage Convention (Paris: UNESCO World Heritage Centre, 2008).

6.

International Congress of Architects and Technicians of Historic Monuments, The Venice Charter (London; ICOMOS, 1964), p.1 7.

International Congress of Architects and Technicians of Historic Monuments, The Venice Charter (London; ICOMOS, 1964),p.2 8.

Aldo Rossi, “The Architecture of the City,” in The Architecture of the City (Cambridge, , Mass: MIT Press, 2007), p. 130.

9.

Michael Petzet, John Ziesemer, and Margaret Thomas Will, International Principles of Preservation (Berlin: "Hendrik Bäßler", 2009), 9.

10.

Michael Petzet, John Ziesemer, and Margaret Thomas Will, International Principles of Preservation (Berlin: "Hendrik Bäßler", 2009), 10.

11.

JIHOON KIM, “DIFFERENCE & DEFERENCE RETHINKING ARCHITECTURAL CONSERVATION,” Difference & Deference - JKAW, 2010, https://cargocollective.com/jihoonkim/DIFFERENCEDEFERENCE. 12.

Johannes Cramer and Stefan Breitling, Architecture in Existing Fabric: Planning Design Building (Basel: Birkhäuser, 2007), 112.

13.

John Ruskin, The Works of John Ruskin. the Seven Lamps of Architecture. - 1903. - (Ruidnr.: M102412516) (London: George Allen, 1903), 245.

14.

Johannes Cramer and Stefan Breitling, Architecture in Existing Fabric: Planning Design Building (Basel: Birkhäuser, 2007), 115.

15.

Johannes Cramer and Stefan Breitling, Architecture in Existing Fabric: Planning Design Building (Basel: Birkhäuser, 2007), 119.

41

16.

Johannes Cramer and Stefan Breitling, Architecture in Existing Fabric: Planning Design Building (Basel: Birkhäuser, 2007), 134.

17.

Johannes Cramer and Stefan Breitling, Architecture in Existing Fabric: Planning Design Building (Basel: Birkhäuser, 2007), 136.

18.

Karen Cilento, “Kolumba Museum / Peter Zumthor,” ArchDaily (ArchDaily, August 6, 2010), https://www.archdaily.com/72192/kolumba-musuem-peter-zumthor?ad_source=search&ad_ medium=search_result_all.

19.

Marinde van der Breggen and Nico de Fijter, “Een Op De Vijf Nederlandse Kerken Is Geen Kerk Meer,” Trouw, June 24, 2019, https://www.trouw.nl/religie-filosofie/een-op-de-vijfnederlandse-kerken-is-geen-kerk-meer~b033cc0f/?referrer=https%3A%2F%2Fwww.dutchnews. nl%2Fnews%2F2019%2F06%2Fone-in-five-churches-in-the-netherlands-is-no-longer-a-house-ofworship%2F. Translate by Hungche Cho 20.

Stefano F. Musso, Loughlin Kealy, and Donatella Fiorani, “Conservation Adaptation: Keeping Alive the Spirit of the Place Adaptive Reuse of Heritage with Symbolic Value,” in Conservation Adaptation: Keeping Alive the Spirit of the Place Adaptive Reuse of Heritage with Symbolic Value (Hasselt: EAAE, 2017), 124.

21.

Stefano F. Musso, Loughlin Kealy, and Donatella Fiorani, “Conservation Adaptation: Keeping Alive the Spirit of the Place Adaptive Reuse of Heritage with Symbolic Value,” in Conservation Adaptation: Keeping Alive the Spirit of the Place Adaptive Reuse of Heritage with Symbolic Value (Hasselt: EAAE, 2017), 125 129.

22.

Miguel Angel Corzo, in The Future of Asia's Past: Preservation of the Architectural Heritage of Asia: Summary of an International Conference Held in Chiang Mai, Thailand, January 11-14, 1995.

(Getty Conservation Institute, n.d.), 5.

23.

Ministerie van Onderwijs, Cultuur en Wetenschap, “Uitgangspunten En Overwegingen Advisering Gebouwde En Groene Rijksmonumenten,” Richtlijn | Rijksdienst voor het Cultureel Erfgoed (Ministerie van Onderwijs, Cultuur en Wetenschap, March 2, 2020), https://www. cultureelerfgoed.nl/domeinen/monumenten/publicaties/publicaties/2019/01/01/uitgangspuntenen-overwegingen-advisering-gebouwde-en-groene-rijksmonumenten.Translate by Hungche Cho 24.

Frank Hovens, Mes Wilhelmus Antonius Adrianus, and A. H. Jenniskens, Dominicanen: Geschiedenis Van Kerk En Klooster in Maastricht (Maastricht: Stichting Historische Reeks Maastricht, 2006), 151. Translate by Hungche Cho. 25.

International Congress of Architects and Technicians of Historic Monuments, The Venice Charter (London; ICOMOS, 1964), 3.

42

26.

Frank Hovens, Mes Wilhelmus Antonius Adrianus, and A. H. Jenniskens, Dominicanen: Geschiedenis Van Kerk En Klooster in Maastricht (Maastricht: Stichting Historische Reeks Maastricht, 2006), 241. Translate by Hungche Cho. 27.

International Congress of Architects and Technicians of Historic Monuments, The Venice Charter (London; ICOMOS, 1964), 2.

28.

Kokuhō Tōshōgū Honden Ishinoma Haiden shūri Kōji Hōkokusho (Nikkō: Nikkō Nisha Ichiji Bunkazai Hozon Iinkai, 1967), 52-57. Translate by Hungche Cho. 29.

UNESCO World Heritage Centre, “Shrines and Temples of Nikko,” UNESCO World Heritage Centre, 1999, https://whc.unesco.org/en/list/913/.

30. 日光東照宮ホームページ , accessed December 1, 2021, http://www.toshogu.jp/heisei/index. html. Translate by Hungche Cho. 31.

Kokuhō Tōshōgū Honden Ishinoma Haiden shūri Kōji Hōkokusho (Nikkō: Nikkō Nisha Ichiji Bunkazai Hozon Iinkai, 1967), 4. Translate by Hungche Cho. 32.

Confucius, THE ANALECTS OF CONFUCIUS, trans. William Edward Soothill (WILLIAM EDWARD SOOTHILL, 1910), 558.

33.

Joseph Cali, John Dougill, and Geoff Ciotti, Shinto Shrines: A Guide to the Sacred Sites of Japan's Ancient Religion (Honolulu, T.H.: University of Hawai'i Press, 2013).

34. 张帆 , “嵩祝寺测绘及始建年代研究 ,” 古建园林技术 , December 15, 2008, 17. Translate by Hungche Cho. 35.

Yanni Cao and Anyang Shen, “Restoration and Reuse of Zhizhu Temple and the Inspiration to the Conservation of Architectural Heritage,” December 2019, 113. Translate by Hungche Cho. 36.

UNESCO, “Project Profiles for 2012 UNESCO Heritage Award Winners,” 2012, https://bangkok. unesco.org/sites/default/files/assets/article/Asia-Pacific%20Heritage%20Awards/files/2012-winners. pdf.

37.

International Congress of Architects and Technicians of Historic Monuments, The Venice Charter (London; ICOMOS, 1964), 3.

38.

A Belgian Restored A 3000 ㎡ Temple next to the Palace Museum, A Belgian Restored A 3000 ㎡ Temple next to the Palace Museum, 2019, https://www.youtube.com/ watch?v=WPckI1mK26k&t=11s. Translate by Hungche Cho. 39.

Fan Zhang, “ 智珠寺始建年代考证及修缮细节品鉴——兼论文物建筑的‘合理利用 ,’” 2015 年中国建筑史学会年会暨学术研讨会论文集（上）, November 27, 2015, 105. Translate by Hungche Cho. 40.

International Congress of Architects and Technicians of Historic Monuments, The Venice Charter (London; ICOMOS, 1964), 3.

43

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46