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.