Urban Conservation in China

URBAN CONSERVATION IN CHINA REDEVELOPMENT OF CHANGMEN HOTEL AREA IN SUZHOU

Master’s Degree Thesis Architecture and Urban Design 2020-2021

Politecnico di Milano School of Architecture, Urban Planning and Construction Engineering

Author: Kajetan Swieczkowski

Supervisor: Professor Pierre-Alain Croset 01 | Introduction

ABSTRACT

China’s rapid economic growth within the last decades was followed by many urbanisation and regeneration projects, which often resulted in demolition or damaging of historic streets and districts. Even though China’s history of heritage preservation is rich and complex, the urban heritage conservation is still a maturing notion and practice. Changmen Historical and Cultural District is one of the five historical and cultural districts in Suzhou. Located in the northwest of the ancient city, historically was an important distribution and commercial center, representing the prosperity of Suzhou. The district is mainly residential, except from two main commercial streets and the famous Changmen Gate area. As many historical districts, Changmen is an example of contrast between colourful and rich tourist zones and neglected traditional houses in residential zones where both tangible and intangible heritage need preserving.

This thesis investigates historical background regarding architectural heritage preservation in China as well as its current urban conservation practice. It analyses the current situation of Changmen Historical District, as well as a proposed masterplan and strategy for the district. The paper subsequently introduces Changmen Hotel area, a specific site that has recently undergone renovation, however is a relatively poor example of urban regeneration, which treats heritage conservation superficially. The design for the Changmen Hotel area suggests an alternative solution for the site, considering its state prior to the renovation. It serves as a tool to imagine a more appropriate approach to urban conservation, in which the vernacular and traditional elements are inspiration for a development respectful of its context.

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La rapida crescita economica della Cina negli ultimi decenni è stata seguita da molti progetti di urbanizzazione e rigenerazione, che spesso hanno portato alla demolizione o al danneggiamento di strade e quartieri storici. Anche se la storia della conservazione del patrimonio in Cina è ricca e complessa, la conservazione del patrimonio urbano è ancora una nozione e una pratica in via di maturazione. Il distretto storico e culturale di Changmen è uno dei cinque distretti storici e culturali di Suzhou. Situato nel nord-ovest dell'antica città, storicamente è stato un importante centro di distribuzione e commerciale, che rappresenta la prosperità di Suzhou. Il quartiere è prevalentemente residenziale, fatta eccezione per le due principali strade commerciali e la famosa zona di Changmen Gate. Come molti quartieri storici, Changmen è un esempio di contrasto tra zone turistiche ricche e colorate e case tradizionali trascurate in zone residenziali dove il patrimonio materiale e immateriale deve essere preservato. Questa tesi indaga il background storico relativo alla conservazione del patrimonio architettonico in Cina e la sua attuale pratica di conservazione urbana. Viene analizzata la situazione attuale del distretto storico di Changmen, nonché lo sviluppo di di un masterplan che racchiude la strategia urbana per il distretto . Il documento introduce successivamente l'area dell'Hotel Changmen, un sito specifico che è stato recentemente sottoposto a ristrutturazione, tuttavia è un esempio relativamente povero di rigenerazione urbana. Il progetto per l'area dell'Hotel Changman suggerisce una soluzione alternativa per il sito, considerando il suo stato precedente alla ristrutturazione. Il progetto diventa strumento per immaginare un approccio più appropriato alla conservazione urbana, in cui gli elementi vernacolari e tradizionali diventino ispirazione per uno sviluppo rispettoso del suo contesto.

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URBAN CONSERVATION IN CHINA REDEVELOPMENT OF CHANGMEN HOTEL AREA IN SUZHOU Politecnico di Milano School of Architecture, Urban Planning and Construction Engineering Author: Kajetan Swieczkowski Supervisor: Professor Pierre-Alain Croset Master’s Degree Thesis Architecture and Urban Design 2020-2021

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ACKNOWLEDGEMENT I would like to express my gratitude to my supervisor, Prof. Pierre-Alain Croset whose guidance, support and expertise in the subject of the thesis have been paramount in the process of writing this book. I would also like to thank professors Pierre-Alain Croset, Gaia Caramellino, Paolo Scrivano and teaching assistants Valeria Casali, Nicole de Togni and Alberto Geuna for organising an interesting and stimulating Thematic Research Seminar "The Global Architect", during which the idea for this thesis has been shaped.

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INDEX

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LIST OF FIGURES

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INTRODUCTION

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Theoretical Framework

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Research Methodology

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Structure

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HERITAGE CONSERVATION IN CHINA

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History and Origins

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Shift to Urban Conservation

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International Bodies and Western Concepts

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Conservation Projects

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‘Heritage’ vs ‘heritage’

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URBAN CONSERVATION IN SUZHOU

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Overview of Suzhou

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Urban Policies in Suzhou

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Pingjiang Street District

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New Suzhou Museum

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Gusu Yard Hotel

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Classical Gardens of Suzhou

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Traditional Suzhou Residences

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CHANGMEN HISTORICAL DISTRICT

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Overview of Changmen District

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Analysis of Changmen District

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Masterplan and Strategy Analysis

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CHANGMEN HOTEL REDEVELOPMENT

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The Site Overview

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Changmen Hotel Renovation Project 2019

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Design Approach and Strategy

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Canal Treatment

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Spatial Arrangement and Functions

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Design Proposal

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Architectural Approach

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CONCLUSION

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BIBLIOGRAPHY

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LIST OF FIGURES COVER PLAN Magazine. Issue 9. April 2019.

INTRODUCTION 1. Aerial view of the Humble Administrator’s Garden in Suzhou in autumn settings https://news.cgtn.com/ 2. Business district of Suzhou Industrial Park: Gate to the East and Suzhou Center Mall https://travelanddesign.ca/ 3. Shantang Commercial Street in Suzhou https://travelanddesign.ca/ 4. Cover of the Principles 2002 https://www.getty.edu/ 5. Cover of the revised Principles 2015 https://www.getty.edu/ 6. Contrasting roofs of traditional and new houses in Changmen District, Suzhou XJTLU Workshop document 7. Suzhou traditional houses https://www.tripsavvy.com/

HERITAGE CONSERVATION IN CHINA 8. Zhu Qiqian (1872–1964) Zhu, G. 2012. China’s architectural heritage conservation movement 9. Liang Sicheng (1901–1972) Zhu, G. 2012. China’s architectural heritage conservation movement 10. Liu Dunzhen (1897–1968) Zhu, G. 2012. China’s architectural heritage conservation movement 11. Fourteenth annual meeting 10

of the Science Society of China, August 1929, Beijing Wang, Z. 2002. Saving China through Science: The Science Society of China, Scientific Nationalism, and Civil Society in Republican China 12. Map showing the number of China’s heritage items by province Zhu, G. 2012. China’s architectural heritage conservation movement 13. Mausoleum of the First Qin Emperor, Shaanxi Province http://www.chinadaily.com.cn/ Fig. 14 Timeline of Chinese Heritage Conservation movement Author's own image 15. Zhaozhou Bridge after the repair https://www.chinastory.cn/ 16. Zhaozhou Bridge before the repair Zhu, G. 2012. China’s architectural heritage conservation movement 17. Sixth-century balustrade of Zhaozhou Bridge found in a river bed Zhu, G. 2012. China’s architectural heritage conservation movement 18. Yong Le Gong before the mural was replaced Zhu, G. 2012. China’s architectural heritage conservation movement 19. Yong Le Gong temple mural removal Zhu, G. 2012. China’s architectural heritage conservation movement 20. Panmen Gardens, Suzhou https://theplanetd.com/ 21. Suzhou Tongli Water Town https://theplanetd.com/

URBAN CONSERVATION IN SUZHOU 22. Panmen Gate, Suzhou https://travelanddesign.ca/ 23. Pingjiang Map from 1229 Tang, B., Cheung, P. 2020.

Suzhou in Transition, Historic landscape and water heritage of Suzhou beyonf the tourist gaze 24. Suzhou's historical inflection points and their impact Tang, B., Cheung, P. 2020.

Suzhou in Transition, Suzhou: A history of transformations 25. Sketch map of Suzhou and areas outside its gates Congzhou, C. 2004. Traditional Suzhou Residencies 26. Emperor Qianlong's entry to Suzhou; scroll from 1770 Tang, B., Cheung, P. 2020.

Suzhou in Transition, Historic landscape and water heritage of Suzhou beyonf the tourist gaze 27. Emperor Kangxi and his court greeted outside Chang gate; scroll from 1691 Tang, B., Cheung, P. 2020.

Suzhou in Transition, Historic landscape and water heritage of Suzhou beyonf the tourist gaze 28. Water transportation in and around Suzhou; scroll from 1759 Tang, B., Cheung, P. 2020.

Suzhou in Transition, Historic landscape and water heritage of Suzhou beyonf the tourist gaze 29. Current view of Pingjiang river Xie, J., Heath, T. 2017.

Conservation and revitalization of historic streets in China: Pingjiang Street, Suzhou. Journal of Urban Design, 22(4), 455–476.

30. Current view of Pingjiang

street and river Xie, J., Heath, T. 2017.

Conservation and revitalization of historic streets in China: Pingjiang Street, Suzhou. Journal of Urban Design, 22(4), 455–476.

31. The area of the Pingjiang district on the Pingjiang Map from 1229 Xie, J., Heath, T. 2017.

Conservation and revitalization of historic streets in China: Pingjiang Street, Suzhou. Journal of Urban Design, 22(4), 455–476.

32. The entrance of the Museum of Kunqu Opera Xie, J., Heath, T. 2017.

Conservation and revitalization of historic streets in China: Pingjiang Street, Suzhou. Journal of Urban Design, 22(4), 455–476.

33. The entrance to Wang Xiaohui’s art gallery Xie, J., Heath, T. 2017.

Conservation and revitalization of historic streets in China: Pingjiang Street, Suzhou. Journal of Urban Design, 22(4), 455–476.

34. The front elevation of the Pan family’s Mansion Xie, J., Heath, T. 2017.

Conservation and revitalization of historic streets in China: Pingjiang Street, Suzhou. Journal of Urban Design, 22(4), 455–476.

35. New Suzhou Museum buildings https://www.thinkchina.sg/ 36. Central pond in the New Suzhou Museum https://www.thinkchina.sg/ 37. Ceiling in the New Suzhou Museum https://www.archdaily.com/ 38. New Suzhou Museum ground floor plan

https://www.archdaily.com/ 39. New Suzhou Museum in context with Humble Administrator's Garden http://pei-architects.com/ 40. Gusu Yard Hotel in context with traditional Suzhou architecture https://www.gooood.cn/ 41. Low kitchen window in the hotel https://www.gooood.cn/ 42. Water terrace in the hotel https://www.gooood.cn/ 43. Courtyard of the hotel https://www.gooood.cn/ 44. Common area of the hotel https://www.gooood.cn/ 45. Lingering Garden in Suzhou https://www.smithsonianmag.com/ 46. The Garden of Cultivation in Suzhou https://www.trip.com/ 47. Corridor separating garden and water in Humble Administrator's Garden Henderson, R. 2012. The Gardens of Suzhou. University of Pennsylvania Press.

48. A winding double corridor in the Surging Wave Pavilion Henderson, R. 2012. The Gardens of Suzhou. University of Pennsylvania Press.

49. A double corridor in the Garden of Peace and Comfort Henderson, R. 2012. The Gardens of Suzhou. University of Pennsylvania Press.

50. Ground and first floor plans of Master of Nets Garden Congzhou, C. 2018. Traditional Suzhou Residences Centenary Edition. Beijing Book Co. Inc. 51. Sections of the park and the living area of Master of Nets

Garden Congzhou, C. 2018. Traditional Suzhou Residences Centenary Edition. Beijing Book Co. Inc. 52. Map of Suzhou with gardens and other places of interest Henderson, R. 2012. The Gardens of Suzhou. University of Pennsylvania Press.

53. Lion Grove Garden in Suzhou https://www.lonelyplanet.com/ 54. Master of Nets Garden in Suzhou https://www.smithsonianmag.com/ 55. Lion Grove Garden in Suzhou https://nuvomagazine.com/ 56. Gates in the 'Yipu' Garden of Cultivation Henderson, R. 2012. The Gardens of Suzhou. University of Pennsylvania Press.

56. Gates in the 'Yipu' Garden of Cultivation Henderson, R. 2012. The Gardens of Suzhou. University of Pennsylvania Press.

57. The entrance to the Surging Wave Pavilion Henderson, R. 2012. The Gardens of Suzhou. University of Pennsylvania Press.

58. Courtyard entrance to the residence in Humble Administrator's Garden Henderson, R. 2012. The Gardens of Suzhou. University of Pennsylvania Press.

59. Pavilions in the Garden of the Peaceful Mind Henderson, R. 2012. The Gardens of Suzhou. University of Pennsylvania Press.

60. A winding corridor in the Crane Garden Henderson, R. 2012. The Gardens of Suzhou. University of

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Pennsylvania Press.

61. A double-sided corridor in the Garden of Harmony Henderson, R. 2012. The Gardens of Suzhou. University of Pennsylvania Press.

62. Aerial view of the Humble Administrator’s Garden in Suzhou in autumn settings https://news.cgtn.com/ 63. Model of companion hall in Jin's residence at Bifeng Fang Congzhou, C. 2018. Traditional Suzhou Residences Centenary Edition. Beijing Book Co. Inc. 64. Residences by river at Baitaziqiao Congzhou, C. 2018. Traditional Suzhou Residences Centenary Edition. Beijing Book Co. Inc. 65. Gable end of Ren's residence at Tieping Alley Congzhou, C. 2018. Traditional Suzhou Residences Centenary Edition. Beijing Book Co. Inc. 66. Lattice doors of east flower hall of Ren's residence at Tieping Alley Congzhou, C. 2018. Traditional Suzhou Residences Centenary Edition. Beijing Book Co. Inc. 67. Ground and first floor plan of Liu's residence at Liaojia Alley Congzhou, C. 2018. Traditional Suzhou Residences Centenary Edition. Beijing Book Co. Inc. 68. Elevation and section of Liu's residence at Liaojia Alley Congzhou, C. 2018. Traditional Suzhou Residences Centenary Edition. Beijing Book Co. Inc. 69. Ground and first floor plan of Li' residence at Xibaitazi Alley Congzhou, C. 2018. Traditional Suzhou Residences Centenary Edition. Beijing Book Co. Inc. 70. Axonometric view of Li' residence at Xibaitazi Alley Congzhou, C. 2018. Traditional Suzhou Residences Centenary Edition. Beijing Book Co. Inc. 71. Section of Li' residence at

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Xibaitazi Alley Congzhou, C. 2018. Traditional Suzhou Residences Centenary Edition. Beijing Book Co. Inc.

CHANGMEN HISTORICAL DISTRICT 72. Changmen Gate in winter https://twitter.com/ 73. Market activities at Changmen Gate; scroll from 1770 Tang, B., Cheung, P. 2020.

Suzhou in Transition, Historic landscape and water heritage of Suzhou beyonf the tourist gaze 74. Satelite view of the Changmen District XJTLU Workshop document 75. Changmen Analysis Buildings of Historic Interest Suzhou Changmen Historic and Cultural District Conservation Plan. 2016 76. Changmen Analysis - Historic Era of Buildings Suzhou Changmen Historic and Cultural District Conservation Plan. 2016 77. Changmen Analysis Buildings Heights Suzhou Changmen Historic and Cultural District Conservation Plan. 2016 78. Changmen Analysis - Conservation Quality of Traditional Buildings Suzhou Changmen Historic and Cultural District Conservation Plan. 2016 79. Changmen Analysis Conservation Quality of NonTraditional Buildings Suzhou Changmen Historic and Cultural District Conservation Plan. 2016 80. Changmen Analysis - Original Functions of Existing Buildings Suzhou Changmen Historic and Cultural District Conservation

Plan. 2016 81. Changmen Analysis - Current Functions of Existing Buildings Suzhou Changmen Historic and Cultural District Conservation Plan. 2016 82. Changmen Analysis Categories of Intervention Suzhou Changmen Historic and Cultural District Conservation Plan. 2016 83. Changmen Analysis - Existing Land Use Suzhou Changmen Historic and Cultural District Conservation Plan. 2016 84. Changmen Analysis - Traffic Organization Suzhou Changmen Historic and Cultural District Conservation Plan. 2016 85. Changmen Analysis - Existing Roads Hierarchy Suzhou Changmen Historic and Cultural District Conservation Plan. 2016 86. Changmen Conservation Plan - Perimeters of Protection Suzhou Changmen Historic and Cultural District Conservation Plan. 2016 87. Changmen Conservation Plan - Height Control Plan Suzhou Changmen Historic and Cultural District Conservation Plan. 2016 88. Changmen Conservation Plan - Strategic Plan for Commerce Suzhou Changmen Historic and Cultural District Conservation Plan. 2016 89. Changmen Conservation Plan - Strategic Plan for Culture Promotion Suzhou Changmen Historic and Cultural District Conservation Plan. 2016 90. Changmen Conservation Plan - Planning of Building Functions Suzhou Changmen Historic and Cultural District Conservation Plan. 2016

91. Changmen Conservation Plan - Planning of Building Functions Suzhou Changmen Historic and Cultural District Conservation Plan. 2016 92. Changmen Conservation Plan - Building Tyoes and Preservation Guidelines Suzhou Changmen Historic and Cultural District Conservation Plan. 2016 93.Changmen Conservation Plan - Masterplan Suzhou Changmen Historic and Cultural District Conservation Plan. 2016 94. Changmen Conservation Plan - Pedestrian and Cycle Mobility Suzhou Changmen Historic and Cultural District Conservation Plan. 2016 95. Changmen Conservation Plan - Car Mobility and Parking Facilities Suzhou Changmen Historic and Cultural District Conservation Plan. 2016

CHANGMEN HOTEL REDEVELOPMENT 96. Aerial view of the Changmen Gate with the hotel in the background https://market.m.taobao.com/ 97. Suzhou in Jiangsu province on the map of China Author's own image 98. Border of historic centre and Changmen District on the map of Suzhou Author's own image 99. Changmen Hotel area on a map of Changmen Historical District Author's own image 100. Changmen Hotel plan with marked locations of the views Author's own image 101. Commercial street leading to

the hotel XJTLU Workshop documents 102. View of the canal close to the hotel area XJTLU Workshop documents 103. View of the canal close to the hotel area XJTLU Workshop documents 104. Main entrance to the Hotel area XJTLU Workshop documents 105. Entrance buildings to the Hotel area XJTLU Workshop documents 106. Contrast between hotel building and residential buildings XJTLU Workshop documents 107. Main hotel building XJTLU Workshop documents 108. Hotel building by the canal XJTLU Workshop documents 109. Entrance building of the Hotel area XJTLU Workshop documents 110. Main forecourt after the entrance to the Hotel area XJTLU Workshop documents 111. Old tennis court used as a car park XJTLU Workshop documents 112. Street leading to the other hotel buildings XJTLU Workshop documents 113. Small garden in front of Xie villa XJTLU Workshop documents 114. Green area between the hotel buildings XJTLU Workshop documents 115. Old tennis court used as a car park XJTLU Workshop documents 116. Small neglected garden of the Hotel area XJTLU Workshop documents 117. Xie family villa XJTLU Workshop documents 118. High rise hotel building in the north part XJTLU Workshop documents 119. Objects removed from the hotel buildings

XJTLU Workshop documents 120. Demolition works in the north part of the hotel XJTLU Workshop documents 121. Furniture and kitchen objects in front of the hotel buildings XJTLU Workshop documents 122. Entrance to one of the hotel buildings XJTLU Workshop documents 123. Ongoing works in front of the hotel buildings XJTLU Workshop documents 124. Service buildings of the hotel area XJTLU Workshop documents 125. Residential buildings on the other side of the canal XJTLU Workshop documents 126. The wall separating the canal and the hotel area XJTLU Workshop documents 127. Mattresses and furniture in front of the service buildings XJTLU Workshop documents 128. Residential buildings on the other side of the canal XJTLU Workshop documents 129. Mattresses and furniture in front of the hotel building XJTLU Workshop documents 130. Removal works in the north part of the hotel area XJTLU Workshop documents 131. Xie familly villa XJTLU Workshop documents 132. Green area near the hotel swimming pool XJTLU Workshop documents 133. Old swimming pool of the hotel XJTLU Workshop documents 134. Building next to the old swimming pool of the hotel XJTLU Workshop documents 135. Old swimming pool of the hotel XJTLU Workshop documents 136. Hotel building in the west part of the hotel area XJTLU Workshop documents 137. Wall separating the hotel

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area from the canal XJTLU Workshop documents 138. Wall separating the hotel area from the canal XJTLU Workshop documents 139. Lightwight roof structure next to the wall of the hotel area XJTLU Workshop documents 140. Service building of the hotel area XJTLU Workshop documents 141. Hotel building in the west part of the hotel area XJTLU Workshop documents 142. Service building in the west part of the hotel area XJTLU Workshop documents 143. Old tennis court used as a car park XJTLU Workshop documents 144. Path through a hotel garden XJTLU Workshop documents 145. Old tennis court used as a car park XJTLU Workshop documents 146. Mattresses outside of the hotel buildings XJTLU Workshop documents 147. Main forecourt with a large tree XJTLU Workshop documents 148. The outside view of the hotel entrance XJTLU Workshop documents 149. Demolition works in the north part of the hotel https://archello.com/ 149. Proposal for the renovation of the main hotel building https://archello.com/ 150. Aerial view of the proposed renovation project https://archello.com/ 151. Proposed renovated hotel entrance https://archello.com/ 152. Proposed renovated main hotel building https://archello.com/ 153. Design strategy diagrams Author's own image 154. Study of possible treatments

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of the canal at the edge of a garden Author's own image 155. Option A of the spatial arrangement Author's own image 156. Option B of the spatial arrangement Author's own image 157. Option C of the spatial arrangement Author's own image 157. Option C of the spatial arrangement Author's own image 158. Development model of option A Author's own image 159. Spatial arrangement and circulation in option A Author's own image 160. Development model of option B Author's own image 161. Spatial arrangement and circulation in option B Author's own image 162. Situation before the intervention 1:2000 Author's own image 163. Key points of the urban intervention Author's own image 164. Situation after the intervention 1:2000 Author's own image 165. Volumes and typologies before and after the intervention Author's own image 166. Design proposal of urban intervention 1:1000 Author's own image 167. Key elements of the project Author's own image 168. Isometric view of the design proposal Author's own image 169. Development of the building form Author's own image 170. Elevation of the indicated public building 1:200

Author's own image 171. Side elevation 1:200 Author's own image 172. Isometric view of two buildings connected with corridors Author's own image

CONCLUSION 173. Moon gate in the Garden of Cultivation https://www.suzhouprivatetour. com/

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01 INTRODUCTION „Historically and culturally famous cities, towns and villages also have significance as they reflect the history of the development and evolution of human settlement and are a medium through which cultural diversity is expressed.”

(ICOMOS China 2015)

The process of globalisation combined with the demand for new developments, points Chinese cities in the direction of large scale rapid urban transformations focused on increasing the land value and generating profit. This results in conservation projects in the historic cities often lacking authenticity and being tourismoriented with the aim of financial gain. One such example is Suzhou, which is still developing and expanding at fast pace reinforcing its renowned status of a global city. Suzhou, with its rich history and clear focus on urban heritage, despite offering well-known great conservation works, still has some neglected area within the historical districts with decaying urban fabric, and not far from there some fake architecture for tourists.

This thesis touches on a subject of urban conservation in historic cities looking at Changmen District in Suzhou as its case study. The structure moves from a large scale of a whole nation, investigating its history of conservation movement, moving to the scale of a city of Suzhou and narrowing down to a Changmen district, and later a specific site of Changmen Hotel.

The first research question: How has the history of heritage conservation in China caused or contributed to the neglect of some urban areas in historical districts?

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01 | Introduction

is an opportunity to acknowledge the historical context which shaped urban conservation practices today. In answering this question, I will establish an understanding of the origins and development of the heritage conservation movement considering western influences and international regulating bodies. I will then investigate the shift from building conservation to urban conservation and finally touch on different understandings of heritage value in urban context in China.

The second research question: Is it possible for current design practice of urban conservation in China to find balance between gentrification and preservation of historical values embedded in traditional urban fabric? will be answered through a ‘research by design’ approach. I will first analyse the context of the city of Suzhou with relevant projects as well as study design principles of traditional houses and gardens.

It will be followed by an analysis of the Changmen Historical District, in which the project will be developed. I will investigate a specific area in the Changmen Historical District in Suzhou and demonstrate a design proposal, which will act as a tool to answer the research question and establish an alternative approach to urban conservation.

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Theoretical Framework One of the central concepts for this thesis, is that of Authenticity in heritage conservation, which in the Principles for Conservation of Heritage Sites from 2015 is described as follows. “Authenticity resides in the original materials, workmanship and design of a site and its setting, as well as in its historical, cultural, and social characteristics and qualities.

Respecting these aspects through conservation retains authenticity. The continuation of long-established cultural traditions associated with a particular site is also a means of retaining its authenticity” (ICOMOS 2015).

However, it still does leave room for interpretations as to what exactly are the historical, social, and cultural qualities. In the case of urban conservation, the concept of authenticity is even more relevant as this practice is still relatively young in the Chinese context. In order to appropriately proceed in this thesis, it is essential to understand the scope of urban heritage conservation guidelines. Adopting an opendoor policy by China in 1978 has made a huge impact on economic development, which resulted in increased involvement in the international cultural heritage conservation movement.

In 2000, the State Administration

Fig. 1 Aerial view of the Humble Administrator’s Garden in Suzhou in autumn settings

01 | Introduction

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2 Fig. 2 Business district of Suzhou Industrial Park Gate to the East and Suzhou Center Mall

of Cultural Heritage has issued Principles for the Conservation of Heritage Sites in China (Principles), guidelines combining Chinese knowledge and experience together with international concepts and practices. In 2015 a revised version of the Principles has been published, introducing new aspects to the conservation process and paying more attention to social and cultural values, particularly in urban conservation of historic cities.

While the first version of the Principles from the year 2000 only mentions historical precincts (villages or towns) on the list of various heritage sites, the revised 15 years later edition dedicates a whole article to Historically and culturally famous cities, towns and villages. It states that the value of various components such as streets, waterways or gardens should be fully preserved through their conservation. Furthermore,

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01 | Introduction

it asserts that those sites “are still inhabited and are centers of production and commerce and must not be conserved as if frozen in time”. In those heritage sites, development and changes must be managed accordingly, so that they can be adapted to the needs of modern living while still maintaining traditional culture.

It is also pointed out that an adaptation of buildings originally used for living could have a negative impact on integrity and authenticity. And while indeed “local historic and cultural traditions should be respected and valued”, adaptations for commercial purposes with questionable authenticity have become a pressing concern surrounding the subject of historic cities conservation. An important addition to the Principles is an indication of the necessity of the community involvement in conservation of cities, towns and villages.

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The approach towards urban conservation in historic cities undoubtedly requires individual methodology based on an extensive research and has yet to be distinctly defined. It is clear however, that the Principles revised in 2015 offer a comprehensive overview of key guidelines regarding urban conservation, whether or not they are being successfully implemented. In this thesis, the design project for the Changmen Hotel area in Suzhou aims to provide an alternative solution to traditional urban conservation projects, yet remaining in accordance with the Principles.

methodologies. The first question: how has the history of heritage preservation in China caused or contributed to the neglect of some urban areas in the historical districts? can be approached by setting three objectives:

Fig. 3 Shantang Commercial Street in Suzhou

1. To understand specific history of heritage conservation movement and in particular, the shift from building to urban heritage conservation.

2. To investigate current issues and concerns regarding urban conservation, deriving from different understanding of heritage value.

3. To identify the structure of authorities and regulating bodies implementing urban heritage protection policies.

Research Methodology This thesis aims to answer its two research questions through sequential objectives by means of various sources and

In addressing the first objective, I relied on articles which extensively and thoroughly investigated and analysed different stages in the history of the movement. An

01 | Introduction

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Fig. 4 Cover of the Principles 2002

Fig. 5 Cover of the revised Principles 2015

article titled China’s architectural heritage conservation movement

by Guangya Zhu provided the historical context, while another paper titled Conservation and revitalization of historic streets in China: Pingjiang Street, Suzhou

by Jing Xie & Tim Heath provided insight into the urban conservation aspect. Another crucial source was the foreword of the Principles for the Conservation of Heritage Sites in China by ICOMOS in 2002, which was the year of publication of the English translation of the document. In addressing the second objective I found a book Suzhou in Transition, edited by Beibei Tanga and Paul Cheung, to be a valuable source. In the third chapter titled Historic Landscape and Water Heritage of Suzhou Beyond the Tourist Gaze, Yi-Wen Wang and Christian NoIf shed light on the negative impact of the tourism sector on the perception of heritage today. The 30th UNESCO session of the World Heritage Committee provided additional

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01 | Introduction

insight regarding tourism. In addressing the third objective I went back to the article by Jing Xie & Tim Heath, which offered a basic understanding of different authorities implementing relevant policies.

Moving on to the second research question: is it possible for current design practice of urban conservation in China to find balance between gentrification and preservation of historical values embedded in traditional urban fabric? it is important to articulate the conditions that were present during the research and preparation of this thesis. Because of the coronavirus pandemic and surrounding it travel restrictions, it was impossible for me to carry out research in person on site.

However, I am fortunate to have had an opportunity to visit Suzhou and Changmen Historical District in 2017 as a workshop attendee, which allowed me to make use of collected documentation

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and the experienced gained.

Furthermore, Prof. Pierre-Alain Croset, who supervised my thesis, was the coordinator of the urban conservation workshop in Suzhou I participated in, and therefore was able to provide me with extensive photographic documentation of the Changmen district, as well as the material collected for the workshop. The thesis seeks to answer the second research question through four objectives: 1. To understand the current guidelines and principles regarding the approach to urban heritage conservation.

2.

To investigate urban conservation projects in Suzhou along with the history of the city to better understand their context.

3. To analyse the existing situation as well as the proposed masterplan for the Changmen Historical District, which is the case study for the research project.

4. To establish an innovative approach towards urban

conservation projects through a design of Changmen Hotel area.

In addressing the first objective, I carried out a comparison of the two editions of the Principles for the Conservation of Heritage Sites in China, a first edition from 2002 and the revised one from 2015. In addressing the second objective I relied on various books that provided information on the historical context of Suzhou including A Millennium of Chinese Urban History by Mote, The Ancient City of Suzhou Town Planning in the Sung Dynasty by Johnston as well as articles such as City profile: Suzhou – a Chinese city under transformation by Lei Wang, Jianfa Shen and Calvin King Lam Chung. Modernity of and among the Ancient in Suzhou from a conference Humanities and Urban Heritage Research and Protection from a Global Perspective written

by Peter J. Carroll, was crucial to understand the debate around the New Suzhou Museum project

Fig. 6 Contrasting roofs of traditional and new houses in Changmen District, Suzhou

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01 | Introduction

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"Sites that retain their historic function, particularly those where the traditional way of life has become an integral part of the site’s values should be encouraged to continue that function."

(ICOMOS China 2015)

by I.M. Pei. Previously mentioned article by Jing Xie and Tim about the regeneration project of the famous Pingjiang Street provided insight into the realities today’s urban conservation undertakings.

In addressing the third objective I made use of the maps, representing different levels of conservation of existing buildings, that were part of the Conservation Plan of Historical and Cultural Blocks on Changmen, carried out by the Municipal Planning Bureau of Suzhou. The maps include the analysis of the existing situation as well as the masterplan proposed by the municipality.

A master thesis by Xu Zhuojun titled The City Design Research of Developing Control Areas in Historic Convention Areas that used the Changmen District as its case study. In addressing the fourth objective, I primarily relied on the documentation of the project site including photographs and historic information. To be able to put forward a design that is contemporary but at the same time respects cultural and historical context, the study of traditional architectural elements of Suzhou was paramount. To gain deeper understanding of Suzhou traditional architecture, as well as the classical gardens design, I relied on the book Traditional Suzhou Residencies by Chen Congzhou and The Gardens of Suzhou by Ron Henderson.

Structure The structure of the thesis is divided into four main chapters.

The first one investigates the heritage preservation movement in China, analysing its history and origins. It points out the most important events of the timeline,

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01 | Introduction

specifically those taking place on the international arena. It subsequently touches on China’s involvement with international organizations and later the crucial shift from conservation of buildings to a larger scale urban conservation. Finally, this chapter discusses the different meanings that notion of heritage in China, which has to do with selective representation of cultural identity.

The second chapter moves the focus from the nation of China to the city of Suzhou, which in this thesis serves as example to demonstrate the approach towards urban conservation.

Firstly, it gives an overview of the city with key points regarding its transformation over the years.

It then describes the current situation and problems concerning the conservation of urban heritage.

To better understand the scope of some urban interventions and surrounding them issues, this chapter brings up two projects that deal with urban heritage of Suzhou. The first project is the conservation and revitalization of Pingjiang Street, a historic area with waterways, gardens, and traditional architecture. The second project is the New Suzhou Museum by I.M. Pei, wherein the addition of a modern building to a UNESCO World Heritage Site stirred controversy and caused a heated debate. Having learned about the importance of local and traditional aspects in conservation projects, the chapter moves onto the analyses of Suzhou Gardens and traditional Suzhou dwellings.

This section establishes design principles for the subsequent intervention concerning both architecture and urban design.

The third chapter, yet again changing the scale of focus,

7

studies the Changmen Historical District in Suzhou. It provides an overview of the district recognizing its historical importance. It includes a thorough analysis of the district based on a series of maps, looking at different levels of conservation and current state of the buildings. The maps show also historical information as well as land use and traffic organisation.

This investigation is a crucial step before critically analysing the municipality’s strategic plan and masterplan for the district. It is vital to understand the proposed approach regarding urban conservation and preservation of heritage. Finally, this chapter identifies the district’s issues in terms of conservation approach and offers some suggestions that would help improve the

spatial qualities as well as living conditions for the residents.

Fig. 7 Suzhou traditional houses

The fourth and last chapter presents a design proposal for a Changmen Hotel area, which serves as an example to introduce an innovative approach to urban design regeneration projects in historical districts.

It starts with an overview and analysis of the Changmen Hotel area in Changmen District, to subsequently establish a design approach and strategy based on the study of traditional houses and gardens in the second chapter.

The design project in this thesis acts as a tool that is used to answer the second research question concerning urban conservation approaches.

01 | Introduction

23

02 HERITAGE CONSERVATION IN CHINA "The values of a heritage site should be presented and interpreted in an authentic, integrated, and accurate manner and be based on comprehensive, in-depth research. Inaccurate interpretation of a site’s history and culture must be avoided. Presentation and interpretation should meet the needs of various audiences and employ methods that are easily understandable."

(ICOMOS China 2015)

Fig. 8 Zhu Qiqian (1872–1964)

8

9 Fig. 9 Liang Sicheng (1901–1972)

10 Fig. 10 Liu Dunzhen (1897–1968)

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02 | Heritage Conservation in China

Architectural heritage is one aspect of China’s cultural heritage holistic movement. This movement protects all parts of interdependent Chinese cultural heritage, relying on understanding its individual factors. Heritage conservation movement dates to early 20th century, however its cultural background including academic research and general awareness can be traced to the 17th and 18th century (Zhu 2012).

mainly by missionaries. This transfer of western knowledge has intensified, including technology and science but also humanities, which had a huge impact on academic thinking in China. New fields were introduced, such as archaeology or architectural heritage conservation. In 1929, Zhu Qiuqian established the Society for Research in Chinese Architecture, which greatly contributed to research activities, mostly of the historical documents.

History and origins

Zhu Qiuqian, having participated in the conservation works of the Forbidden city in the beginning of 20th century, was aware that architecture, archaeology and traditional craftmanship had a great value for the society and were effectively interconnected. He then asked two young professors, Prof. Liang Sicheng and Prof. Liu Dunzhen (Figs. 9 and 10), to join the Society as deputy directors.

Zhu insisted that research must be systematic and scientific and that the wisdom and knowledge should be obtained through dialogue between intellectuals

Year 1919 marks an important landmark, when former premier Zhu Qiuqian (Fig. 8) republished a 13th century book titled ‘The construction Methods of Building’. This event sparked a nationwide research movement and a start of new discoveries into the history of traditional ways of construction, as well as ways of their preservation. 20th century presented opportunities for Chinas scholars to familiarise themselves with European science and concepts, introduced

11

and craftsmen. Even though architecture was the primary focus of the group, the society was open and keen to investigate other fields, such as sculpture, paintings or literature. Knowledge gained from this, is relevant to architectural conservation.

For Zhu, cultural heritage was something open to interpretations and further discoveries, and with his approach he contributed a lot to the present conservation guidelines. While the first half of the 20th century dealt mostly with theoretical research with only a few most urgent conservation projects, the period between 1950 and 1978 was mainly practical.

The establishment of a new republic in 1950 had a hand in the increase of the number of largescale constructions. In 1961 the government introduced a national law to make a list of heritage items on national and provincial level. This resulted in number of conservation and restoration projects of architectural heritage

objects (Zhu 2012).

Fig. 11 Fourteenth annual meeting of the Science Society of China, August 1929, Beijing

During the Cultural Revolution from 1966 to 1976 a substantial number of cultural artifacts were destroyed by the public. The main national heritage sites, however, were saved because there was no physical access to them. The conservation movement in this period can be described as ‘closed’, in terms of communication and cultural transfer, as the government was solely responsible for the conservation works. At the same time international movement was progressing with various documents being created. The end of the Revolution in 1978 marked so called ‘open-communication’ period, during which the wrong policies were reversed and the enthusiasm for heritage protection intensified. However, this resulted in an increase of construction sites including new developments within the historic districts, which have been destroyed in the 02 | Heritage Conservation in China

25

ation that is rich tion with strong In 1987, China In 1989, of all of locations, WHO , 2351 and 3000 l and provincial than 110 towns warded the title 2011, China has world heritage Development of

oriental character. The Chinese conserva back to the beginning of the 20th centur background began earlier, in the 17th an when the academic criticism of historical t the emerging, new school of research. T research was skeptical of historical docum textual criticism and analysis. Thus, intelle vated to study historic documents and relic In 1919, former premier Zhu Qiqian (Fig 13th century book, The Construction Me (Ying Zao Fa Shi), which he had chanced u Nanjing the year before. This event initiat research into the history of building meth

12

Fig. 1 Map showing number China’sChina’s heritage item process.the This phenomenon in fact, ofstrengthening position raised interest in the protection of in the international arena. By province. urban heritage including whole 2014 the number of cities on the Number of heritage items of each province 72 - 188 45 - 72 27 - 45 16 - 27 7 - 16

Fig. 12 Map showing the number of China’s heritage items by province

eritage items by 26

02 | Heritage Conservation in China

cities (Zhu 2012).

Shift to Urban Conservation From 1980s, there was a noticeable shift of focus from conserving individual buildings and objects to an idea of protecting entire cities. In 1982, influenced by the western practice, the state council approved the undertaking of Conservation of Historic and Cultural Famous Cities, registered for their significant historical value. In that year 24 cities were enlisted, including among others Beijing, Shanghai and Suzhou.

Even though the applications of the concept of city conservation were a little bit unclear, historically it was an important moment in

Fig. 2

list rose from 125. In 1994 the Ministry of Construction and the Bureau of Cultural Relics came up with a conservation plan for ‘Historically and culturally famous cities’. However, only ten years later, in 2005 the Ministry enacted regulating document, heavily influenced by the western practices. It focused on three categories: the city; the street / district; and individual structures.

It articulated height control, hazard prevention, environmental protection, conservation, preservation, refurbishment etc. The revised version of the Principles for the Conservation of Heritage Sites in China published in 2015 includes an article regarding Historically and culturally famous cities, towns and villages. This

Mr. Zhu Qiqian (1872–1

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document recognizes the heritage value in social and cultural values, apart from the historic, artistic and scientific values described in the original version of the Principles.

Nevertheless, the implementation of urban conservation policies demonstrates a top-down approach, in which the extent of involvement of heritage profession is questionable. In consequence, there are cases where the municipal government is effectively the developer and often only focuses on maximising profits and increasing the land’s value for sale. It results in many historic areas becoming tourism and commerce zones. Moreover, it has been noted that many urban heritage conservations do not involve the local community, even though the Principles clearly state the importance of community

participation. This can lead to displacement of living patterns, effectively losing the essence of the place (Fan 2014).

Fig. 13 Mausoleum of the First Qin Emperor, Shaanxi Province

International bodies and western concepts In the history of heritage conservation in China, international bodies undoubtedly played an important role in consolidating China’s status. In 1985, China participated in ICOMOS conference subsequently joining the organisation and accepting their principles for heritage conservation. This resulted in increased communication and cooperation between Chinese and foreign scholars. In 1990s students and scholars who have come back from abroad introduced new 02 | Heritage Conservation in China

27

concepts regarding conservation.

Notions such as ‘authenticity’ or ‘minimal intervention’ were effectively new and not familiar to local academics. In China there was an emphasis on maintaining the existing state or restoring to the original, which was one of the reasons for which the ICOMOS principles were not easy to follow or accept by some. In order to find balance between traditional ways and international guidelines, China’s state Administration of Cultural Heritage with cooperation of the Australian ICOMOS and American Getty Institute began works on the Principles for the Conservation of Heritage Sites in China in 1997. The document, published in 1999 in Chinese and two years later in English, aimed to define guidelines that reflects traditional experience of Chinese craftsmanship but also respects international academic achievements and discoveries concerning heritage conservation.

After the first version of the principles have been published, it sparked some discussions and

Fig. 14 Timeline of Chinese Heritage Conservation movement

Establishment of the Society for Research in Chinese Architecture

1929

Conservation Projects Described below architectural heritage conservation projects of the 20th century serve as examples demonstrating various approaches as well as changes in the conservation

Permission for Conservation of Historical and Cultural Famous Cities in China approved by the Chinese State Council

1961 Introduction of a national law to make a list of heritage items on national and provincial level

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critical debates concerning the application of newly introduced concepts. This led to creating a document known as Qufu Declaration in 2005, which gathered knowledge and experience of senior academic and craftsmen involved in restoration of the Forbidden City. They expressed disagreement with some concept described in the Principles, focusing on four main points of discussion: authenticity, reconstruction, disassembly and treatment of colour painting on architectural elements. In 2015 a revised version of the Principles have been published, paying more attention to social and cultural values, particularly in urban conservation of historic cities (Zhu 2012).

02 | Heritage Conservation in China

1982

Addition of 14 more cities to the list of the 24 cities with significant historical value

1985 China participated in ICOMOS conference and joined the organisation

1986

M C

1987

China joined the Heritage Organisa had approved six heritage site

process over the years. Before the Society for the Research in Chinese Architecture has been founded in 1929, the traditional approach using original materials was dominant in conservation projects, however there were some exceptions. In 1920s, using contemporary archaeological methods in excavation project, Chinese experts uncovered traces of civilization dating back to Yin dynasty of 2000 B.C. Having agreed on efficiency of scientific approach, they subsequently allowed the use of concrete in the process of conservation.

Concrete has become a frequent material in restoration works of important structures, such as Bao Sheng Temple in Suzhou or Lu He Pagoda in Hangzhou. The main concern in those works was architectural style, rather than historical information it preserved.

the most important projects in the second half of the 20th century.

Located in Hebei province and dating back to the beginning of the 6th century, the bridge is known to be the oldest and largest stone arched bridge in the world.

In the restoration process the stone arches were strengthened with reinforced concrete, while the balustrade was restored using traditional methods. Some of the bridge’s original elements that have been found in the riverbed were reproduced using contemporary techniques. (Fig. 17)

With the second half of the 20th century, cases adopting a combination of new and traditional methods became more common. A great example is the conservation of the Zhao Zhou Bridge, one of

On the other hand, the Small Goose Pagoda in Xian treatment shows that recently this approach has changed. In 1556 after an earthquake a crack appeared on the Pagoda, however it was not

Ministry of Construction and the Bureau of Cultural Relics formulated the Guidelines for Preparing Conservation Plans for Historical-Cultural Famous Cities

e World ation and x world es

1994

In the case of Nan Chachan Temple from the 8th century, the roof eaves that were rebuilt during the Qing dynasty (1670-1911) have been partly demolished and it was decided not to replace them, since they were not considered ‘original’.

Ministry of Construction enacted the Regulation of Conservation Plans for Historical-Cultural Famous Cities

1999 'Principles for the Conservation of Heritage Sites in China' has been published and two years later translated to

2005

Revised version of the 'Principles for the Conservation of Heritage Sites in China' has been published

2014

2015

The number of cities on the list of 'Historical and Cultural Cities' increased to 125

14

02 | Heritage Conservation in China

29

ion wasB.C. considered acceptable.

This had material astywork of 2000 Consequently, this finding to be equently utilized in the restoration of the Bao ed by western academics. mple in Suzhou, and in came Liang Si ese intellectuals then to Cheng’s believe proposed that the n for the Lu He pagoda. mporary scientific system was more efficient than to Europe, the fashionable that archiaditional approach.

Thus, theview use was of concrete in was a work type was of considered art. This notion suggests that a vation acceptable.

This material style, rather than the information it preserved, bsequently utilized in the restoration of the Bao considered in its conservation.

Temple in Suzhou, and in Liang Si Cheng’s proposed tion for the Lu He pagoda. lar to Europe, the fashionable view was that archie was a type of art. This notion suggests that a ost 1950s g’s style, rather than the information it preserved, be in its conservation. ionconsidered cases initially adopted a combination of both new and traditional. China’s first major

Post 1950s

vation cases initially adopted a combination of ds, both new and traditional. China’s first major

which were retrieved from the river underreinforced the bridge Sui Dynasty.

This restoration case bed utilized (Figs.

5–7).to strengthen the stone arches, while simultaconcrete In its using recenttraditional restoration, the Nan Chachan of the neously methods to restore theTemple balustrade eighth century had some portions of its roof eaves demolin the pattern of the Sui dynasty. The restoration was ished.

These which rebuilt during the Qing performed by parts, imitating thewere bridge’s original elements, dynasty (1670–1911), were the notriver replaced because not which were retrieved from bed under the they bridge considered (Figs. 5–7). original and thus, were valuable at the time (Fig. 8).recent restoration, the Nan Chachan Temple of the In its eighth century had some of its roof eaveshas demolRecently, however, theportions conservation approach chanished.AtThese parts,Goose whichPagoda were rebuilt theresulted Qing ged. the Small in Xian,during a crack dynasty were not because from an (1670–1911), earthquake during thereplaced Ming dynasty in they 1556.not The considered original and thus, were valuable at the time crack was not repaired, but was left untouched during the (Fig. 8). conservation to protect the historical information it Recently, however, the conservation approach has chancontained. ged. At the Small Goose Pagoda in Xian, a crack resulted from an earthquake during the Ming dynasty in 1556. The crack was not repaired, but was left untouched during the 15 conservation to protect the historical Fig. information it Zhaozhou Bridge after the repair contained.

15

Fig. 5

Zhaozhou Bridge before repair (photo by Luo Zhewen) (Shu et al., 2006).

Fig. 16 Zhaozhou Bridge before the repair

Fig. 5

16 Zhaozhou Bridge before repair (photo by Luo Zhewen) (Shu et al., 2006).

Fig. 17 Sixth-century balustrade of Zhaozhou Bridge found in a river bed 17

Fig. 6 Sixth-century balustrade of Zhaozhou Bridge found in a river bed.

treated in any way because of the reinstall them together at a new historical it preserves. location.

This hasinshown that the Fig. 6information Sixth-century balustrade of Zhaozhou Bridge found a river bed.

When in 1960s the Daoist Yong Le research into appropriate methods Gong Temple had to be relocated and technologies for individual due to construction plans of a new cases was critical. (Fig. 19) reservoir, traditional techniques executed conscientiously proved Projects of the period between to be the right answer for Chinese 1950s and 1990s showed engineers involved in the process. that even though traditional A 14th century mural painted on approach was often preferred, a temple wall had to be moved conservators and engineers to a site 30 km away. Engineers were open to new concepts decided to cut the wall into pieces and suggestions whenever they of 2 metres by 2 metres and provided a tangible solution to

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02 | Heritage Conservation in China

Fig. 8 Eighth-century Nan Chan Temple conserved in the 1960s.

Fig. 10 Yong Le Gong temple mural removal (photo b Zhewen) (Shu et al., 2006).

16 Fig. 18 Yong Le Gong before the mural was replaced 18

Fig. 9

Yong Le Gong before the mural was replaced (photo by Luo Zhewen) (Shu et al., 2006).

Fig. 19 Yong Le Gong temple mural removal 19

02 | Heritage Conservation in China

31

20 Fig. 20 Panmen Gardens, Suzhou

a problem. Most importantly this period saw cooperation between conservators and other technical departments in order to find the most suitable solutions to conservation problems (Zhu 2012).

’Heritage’ vs ‘heritage’ On the subject of heritage conservation, it is important to mention the influence of tourism on heritage sites in China. In famous cities a number of traditional structures such as temples, pagodas, houses or classical gardens are being treated as cultural goods first and cultural heritage second, controlled by authorities and tourism sector. The word ‘Heritage’ is often confused or being interpreted as distinctive historical landmarks that catch

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02 | Heritage Conservation in China

tourist’s attention, almost like a brand or symbol of the city. In Suzhou for instance, this process of selective appropriation of cultural identity has neglected countless of less picturesque ‘heritage’ assets, while maximising the profit from touristic ‘Heritage’ places. The problem revolves around the fact that being aesthetically appealing to tourists became a deciding factor on the extent to which the conservation takes place, endangering more ordinary, local, and indigenous ‘heritage’.

This conceptual distinction between ‘Heritage’ and ‘heritage’ aims to shed light on the problem of turning cultural assets into superficial commodities. A great number of heritage sites were structures already built often for the aristocracy with a purpose of monumentality and grandness

21

from the very beginning. However, a much greater number of more ordinary buildings and sites built for common people are also considered of historical importance. Whether it is because of their age value, historical value, social or cultural value, those buildings have potential to become important heritage sites, provided they are protected accordingly.

The term ‘authenticity’ often used when discussing heritage, has perhaps more in common with the ‘heritage’ buildings, rather than touristic ‘Heritage’ sites that have been appropriated over the years in order to accommodate tourists from all over the world (Tang and Cheung 2020).

In the 30th UNESCO session of the World Heritage Committee, held in Vilnius Lithuania in 2006,

the problem of excessive tourism was discussed, in regard to the city of Suzhou. Indisputably tourism is an inherent economic component of the city, however if not controlled properly it can degrade the integrity historical and the local communities. The report states that “When maintaining the actual life of residents is given priority within a historic and cultural town, visitors inevitably see and appreciate the dignity of the traditional lifestyle interwoven into the regional culture. Tourism promoted in this way guarantees natural and healthy cultural tourism and attraction for the region.” Nevertheless, the issues concerning tourism and selective appropriation of heritage are still very much present and are effectively problems deep-rooted in the society (Xie and Heath 2017).

Fig. 21 Suzhou Tongli Water Town

02 | Heritage Conservation in China

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03 URBAN CONSERVATION IN SUZHOU Ensuring continuing historic function is a means of conserving the values of this heritage. When managing such a site, special effort should be made to protect the original function. Changes to the use should only be considered after careful consideration. Special attention should be given to avoid the transformation of a residential precinct into a commercial district, as this seriously diminishes its values and authenticity.

(ICOMOS China 2015)

Overview of Suzhou Suzhou, located north form the Tai Lake and south of the Yangtze River Delta, is one of the Chinese “Famous Historic and Cultural Cities” and has a long urban history of over 2500 years.

Along the way of industrialization and globalization, it suffered its ups and downs, but historically it always remained important, both economically and culturally (Wang, Shen, and Chung 2015).

What is fascinating about Suzhou, is the fact that despite its turbulent history, the structure of the inner city has not changed significantly over 700 years, comparing the oldest available city plan from 1229 with a map from 1949. This city plan carved on stone in 1229

by Lv Ting, Zhang Yuncheng and Zhang Yundi is the earliest available accurate representation of the urban fabric of Suzhou (Xie and Heath 2017). The population doubled from 300 000 to 600 000, yet the gates, streets, canals, 34

03 | Urban Conservation in Suzhou

moats, and walls remained almost identical. Suzhou is also unique, because it is one of a few cities that reached 300 000 population in the 12th century and have continued to grow steadily for eight centuries or so, always remaining one of the biggest and most relevant cities in the region (Mote 1973). In its history, Suzhou has been referred to as the ‘Venice of China’ or ‘City of Gardens’, which shows that its canals, bridges and garden are as famous and admired as its temples and pagodas. According to the records, there have been more than 100 traditional gardens in the Suzhou area. In the Ming dynasty Suzhou was a place where poets, and other artists such as painters and writers would meet, which could be a reason explaining the number of gardens in the city over the years (Johnston 1983).

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Urban Policies in Suzhou Suzhou is an ancient city and has experienced several planning interventions for military and administration purposes (Wang, Shen, and Chung 2015). The very first attempt of modern city planning was conducted by the municipal government of the Nationalist Party in 1927 with the main goal of improving the transportation and initiate urban renewal of the old city. In 1959 the masterplan for Suzhou was formulated under the People’s Republic regime. It was based on a Soviet style blueprint with an approach combining republican and early People’s Republic of China. The post-reform period, however, was the time which brought change to the old spatial structure of Suzhou, thanks to

rapid expansion of the fabric of the city. Prior to the reform, spatial development was controlled by the central government, which meant that the local governments were unable to benefit from their lands.

The post-reform period brough administrative decentralisation to local governments, which allowed local official to focus on economic development. This however had also negative consequences for the city of Suzhou, allowing local government to heavily fund the infrastructure sector and to maximise the profit of the available land, leading to a rapid urban sprawl (Wang, Shen, and Chung 2015).

Fig. 22 Panmen Gate, Suzhou

December 1978 marks an important moment for the history of urban conservation in China, when the Third Plenary Session

03 | Urban Conservation in Suzhou

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Fig. 23 Pingjiang Map from 1229 23

36

of the 11th Central Committee took place. This meant a shift towards socialist modernization, and in Suzhou it resulted in increase of attention towards preservation and conservation of the historic urban fabric. In 1986 the State Council officially approved the "Urban Plan of Suzhou 1985-2000" (Xie and Heath 2017).

urban regeneration. Recently the local authorities implemented the “Suzhou Historic and Cultural City Protection Plan 2013-2030”, which aims at unifying the historic centre and restore its renown (Wang 2017).

Over the last decades, alongside rapid globalization, some, mostly residential, parts of the historic city became neglected, while commercial and touristic streets have been given more attention in terms of conservation and

In this section I would like to bring up the conservation and revitalization project of the Pingjiang Street district in Suzhou. The area underwent a conservation and subsequently became a new landmark in the

03 | Urban Conservation in Suzhou

Pingjiang Street District

Fig. 24 Suzhou's historical inflection points and their impact

Year or Time Frame

Event or Impetus of Change

514 BCE

Founding of Suzhou

Creation of defensible capital for the Wu State, receptiveness to capable external immigrants (Wu Zixu, Sunzi, Bo Pi)

496 BCE

Defeated Yue State

Militarisation

473 BCE c. 600 CE

Defeated by Yue State, then subsumed into Chu State (330 BCE)

Subservient state, regional administrative centre

581-618

Institution of civil service examination system

Focus on Confucian education, meritocratic selection of new government officials

907-960

Formation of Wuyne State

Independent diplomacy, foreign trade

1129

Hangzhou as Southern Song capital

Immigration of wealthy and educated officials

c. 1276

Mongol Yuan Dynasty established, capital moved to Beijing, Grand Canal restored

Major transshipment point, developing commercial and merchant center

1367-1398

Fall of Zhang Shicheng and Suzhou to Zhu Yuanzhang and reign of Ming Hongwu Emperor

Political suppression: dispersal or execution of elite population, confiscation of wealth, punitive taxation, restricted access to civil service examination degrees

1416 1420

Capital moved again to Beijing Restoration of Grand Canal

Major transmission point and commercial and merchant centre

1405-1433

Zheng He’s treasure fleet

Shipbuilding and outfitting, commercial development

1425-1850

Restoration of quotas for civil service examination degrees

Renewed focus on Confucian education, opportunities for official position, influence, and wealth; high point of Suzhou’s wealth and cultural achievement and influence

1860-1863

Taiping Rebellion

Suzhou population decimated, city badly damaged

1895-1906

Treaty of Shimonoseki

City opened to foreign investment and residency; influx of Western missionaries, educators, doctors, railroads, telegraphy, telephony, industrialisation

1937-1945

War of Japanese Aggression

Suzhou population fled or decimated, city badly damaged

1949-1960

Restoration of cultural heritage sites and Grand Canal under CPC and PRC

Commercial and industrial renewal, cultural preservation, tourism venue

1979-2001

Creation of SEZs leading to local development of SND and SIP

Urban expansion and reindustrialisation

Impact

Nature of Transformation for Suzhou

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03 | Urban Conservation in Suzhou

37

Fig. 25 Sketch map of Suzhou and areas outside its gates

Fig. 26 Emperor Qianlong's entry to Suzhou; scroll from 1770

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old city. It aimed to focus on the intangible heritage found in the way of living, considering social and cultural factors that shaped Pingjiang Street. The urban pattern of the Pingjiang district is well preserved and can be observed on a city map from 1229. The layout of Suzhou was mainly arranged by the crossing canals and parallel streets and small alleys.

The waterways were also spatial dividers between the residential blocks. In Pingjiang district, as well as in other historic Chinese cities, the relationship between the street and a residential building represented a certain social order and their complementarity. The district with courtyard houses,

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03 | Urban Conservation in Suzhou

each belonging to one family, had one of the richest households in the city during the Qing Dynasty.

However, in the 1950s, under the Land Reform Law, many courtyard houses were confiscated by the government and later redistributed to the owners of small plots.

In effect, majority of courtyard houses were then occupied by several household living in poor conditions. In 1958 more damage was done to the urban fabric, when in order to eliminate insects, such as mosquitoes, the government filled and levelled 12 waterways in Suzhou. Moreover, in 1970s some waterways have been transformed into air raid shelters, which resulted in dangerous water

Fig. 27 Emperor Kangxi and his court greeted outside Chang gate; scroll from 1691

Fig. 28 Water transportation in and around Suzhou; scroll from 1759

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27

28

03 | Urban Conservation in Suzhou

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29 Fig. 29 Current view of Pingjiang river

pollution. The Cultural Revolution, which took place between 1966 and 1976, saw many historical sites destroyed, including courtyard houses and classical gardens. In order to tackle the water pollution problem, more than 16 000 kilometres of waterways have been filled in by 1985 (Xie and Heath 2017).

In the Urban Plan of Suzhou (1985-2000), the residential area of the Pingjiang Street was labelled a preservation zone, with the plan to restore it back to the beautiful historic site. The approach was to maintain the urban morphology while meeting the needs of modern-day living. In 2004 a document ‘Conservation and Restoration Plan of Suzhou Pingjiang Historical and Cultural Street/District of the Old Suzhou’

40

03 | Urban Conservation in Suzhou

was implemented with focus on restoration of traditional architecture and improvement of the infrastructure. It also focused on restoring the visual and aesthetic qualities of urban elements in order to encourage more tourism activities. The district was listed in the top ten most famous historical and cultural streets in China in 2009, and subsequently became a common destination for national and international tourists, after being recognized by the National Tourism Administration in 2010.

During the renovation many houses were restored to accommodate public or commercial functions, which shown the high level of adaptability of the vernacular courtyard house. Figure 34 shows the front elevation of the scholar officials Pan family’s mansion which has been transformed

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into a luxury hotel. Another large courtyard house, the Ding family’s mansion, has been rebuilt as a contemporary art gallery for Wang Xiaohui (Fig. 33). Moreover, the Quanjin Guild House from 1879 has been converted into the Museum of Kunqu Opera (Fig. 32).

Sadly, after the completion of the first phase in 2004, no further action has taken place and the funding was enough merely to cover the costs of outer appearance of the streets and buildings.

This contributed to the problem of deteriorating conditions of privately owned houses, where the internal courtyards have been divided to accommodate storage space for various households.

Even though the district has been renovated in terms of its aesthetic, it seems to lack the right

management and maintenance of the whole program. Another question concerns authenticity and how should a project respond to the living patterns of two very different time periods of Suzhou. This interesting case proves that in order to have a heritage conservation project that responds in depth to social and cultural factors of the place, it is necessary to identify the sociocultural foundations. Despite its commercial success, the physical fabric of the Pingjiang district fails to reflect the social values of intangible heritage found in a way of living, and could be argued that it is one of many tourist-oriented urban developments in China (Xie and Heath 2017).

Fig. 30 Current view of Pingjiang street and river

03 | Urban Conservation in Suzhou

41

31

42

03 | Urban Conservation in Suzhou

Fig. 31 The area of the Pingjiang district on the Pingjiang Map from 1229

Fig. 32 The entrance of the Museum of Kunqu Opera 32

Fig. 33 The entrance to Wang Xiaohui’s art gallery 33

Fig. 34 The front elevation of the Pan family’s Mansion 34

03 | Urban Conservation in Suzhou

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New Suzhou Museum When discussing architectural and cultural heritage of Suzhou, the very first thing that comes to mind is the traditional “Suzhou classical garden”. In the city there are nine of them listed as UNESCO World Heritage sites. Over the years, however, the design of the traditional garden became also a local industry often being used in luxury housing projects, offering ‘fake’ traditional garden landscape for those who can afford it. Sadly enough, this kind of superficial use of traditional elements without much care for the authenticity is quite common in China. In relation to the gardens, more particularly the Humble Administrator’s Garden, I would like to bring up the controversy over the construction of a New Suzhou Museum designed by renowned native

architect I.M. Pei. The debate, that started in summer 2003, concerns the effects of the new museum on the World Heritage site, the Humble Administrator’s garden with the King Zhong Palace. At that time, there were also other cases of developments which considered demolition of urban landscape in the historic districts in cities like Beijing or Tianjin, apart from Suzhou (Carroll 2015).

In August 2003 the Xinhua news agency published an article assessing the new museum, discussing its design and impact but also addressing the criticism, specifically the letter of Huang Wei (recently retired Deputy Head Engineer of the Garden Bureau), who claimed that the demolition of a few buildings in the palace, which the project involved, directly affects the integrity of the

Fig. 35 New Suzhou Museum buildings

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03 | Urban Conservation in Suzhou

Fig. 36 Central pond in the New Suzhou Museum

garden and therefore endangers a legacy of the nation. The criticism, however, did not concern the design of the museum which could be described as an elegant combination of traditional Suzhou style with modernist architectural elements. Not only did Pei’s museum provide new, adequate exhibition spaces, it was also the final touch to the regeneration development of the famous Pingjiang district, as the museum was undoubtedly going to attract local, national and international tourists. Wei argued that the construction will harm the historical authenticity and completeness of the complex.

The counterargument revolved around the poor conditions of the western wing of the palace and surrounding buildings, which despite conservation works, had a number of issues. The debate

continued in the public eye, with majority of positive comments that saw the construction as the opportunity to modernise the area and restore the Garden. On the other hand, some claimed that the public was involved only after the process has already started and in fact the only form of communication beforehand were the notices in the street, ordering residents to relocate due to the demolition. Escalating discussion resulted in the National Reconstruction Bureau dispatching a delegation of five experts to conclusively assess the situation.

An important member of the team was Lin Yuanxiang, a professor at Jiaotong University in Shanghai and an advisor to the nation’s World Heritage Committee. The group found Huang Wei’s analysis and claims correct, since the new structure clearly was about to

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Fig. 37 Ceiling in the New Suzhou Museum 37

Fig. 38 New Suzhou Museum ground floor plan 38

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be built in the middle of a world cultural heritage site. According to Lin, a modernist museum would only belittle the historicity of the site and therefore should be realised elsewhere, while the garden and palace ought to be restored to their ‘original’ state. A valid argument against demolition was the fact that said wing of the palace had been an important site for the writing and performance of kunqu opera, which at the time was being considered for UNESCO intangible cultural property status.

Nevertheless, some experts thought that demolition of a part of the palace was a small price to pay for the city to gain an influential piece of contemporary architecture (Carroll 2015).

As the debate continued and the officials announced they needed more time to reflect on the matter, the press was constantly igniting the discussion with provocative headlines, such as “Wrecking King Zhong Palace, harming Humble Administrator’s Garden”.

At the same time, local people

used the situation to express their discontent, understandably fearing that this case could be an example for other developments to disregard heritage sites. Some even claimed that Pei had a personal interest in choosing this specific site because of its proximity to his family’s memorial hall. Following another appeal for the museum to be moved and the site restored, Suzhou officials decided to address the situation again convening a new committee to re-examine the claims, however they found them to be without merit and allowed the demolition to begin. After the huge success of the museum opening, the media discussion slowly died away, however the social dialogue regarding community involvement in conservation projects remained.

The debate around the museum made an interesting case of modern approach to architectural heritage (Carroll 2015).

Fig. 39 New Suzhou Museum in context with Humble Administrator's Garden

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Gusu Yard Hotel A different project, both in terms of scale and function, is the Gusu Yard Hotel in the Dongshua Alley in the Pingjiang district of Suzhou which is a good example of an architectural intervention in the traditional context. It uses the structure of an existing building to create space for 10 hotel rooms and shared functions. This project focuses on the idea of a ‘microgarden’ as a design element that gives the character to the building.

The small outside spaces include a front yard, a water courtyard, a terrace, an atrium, and a side background, which together with the hotel rooms are arranged in a way that each room offers at least two views of the landscape.

The approach was to emphasize the atmosphere of a vernacular courtyard house and the spatial

qualities of the area by also using elements of a Suzhou Garden. The idea of framing the view using the landscape elements is inspired by the Yipu Garden and its Longevity Hall.

When approaching the hotel, guest first encounter the front hall, which offer a glimpse of the inner courtyard. The first floor includes the front yard, water courtyard and atrium, for the outside spaces. It also includes an indoor common area. From the second floor the guests can reach a platform that offers a framed view of the historic Pingjiang Street. From the thirdfloor terrace it is also possible to see the “east gate” with the good visibility (“Donghua alley-Gusu Yard Hotel” 2020).

Fig. 40 Gusu Yard Hotel in context with traditional Suzhou architecture

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Fig. 41 Low kitchen window in the hotel 41

Fig. 42 Water terrace in the hotel 42

Fig. 43 Courtyard of the hotel 43

Fig. 44 Common area of the hotel 44

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45 Fig. 45 Lingering Garden in Suzhou

Classical Gardens of Suzhou In china there are three types of traditional gardens. Firstly, the imperial gardens, which were built as large summer or winter palaces outside the city and are located mostly in and around Beijing. Secondly, the monastic courtyards in both Daoist and Buddhist temples, where historically the routine of tending plants by the monks was very important. The last type is the scholar garden, like the gardens in Suzhou. Unlike the imperial gardens, the scholar gardens were private urban residencies located in the city. Gardens in Suzhou had a complicated history of design and construction. Many gardens were being bought,

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sold, or modified numerous times over the centuries. During the Ming and Qing dynasties a great number of private gardens were constructed, however by 1940s due to a rebellion, many of them were destroyed. The restoration or reconstruction of gardens was a common practice, which proofs its importance for the city and its people. Most of the gardens famous today and visited everyday underwent extensive renovation and conservation works, however they were done according to traditional way. The gardens are places of cultural artefacts and traditions. Traces of history can also be found on doorway carvings or the stone inscriptions, as well as furniture and pottery used. Interestingly, throughout

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the history, the identification of designers of the gardens was not as important as the cultural value embedded in the traditional way to construct them. Rather the gardens are associated with famous influential figures such as poets or painters (Henderson 2012).

The idea of being able to pause, contemplate, and observe is emphasized by the design of the gardens. Suzhou gardens, and Chinese scholar gardens in general, can be differentiated as two different kinds, based on the intention of how things in the garden are to be observed.

First type, ‘in-position viewing’ describes strategical placement of fixed viewing points and angles.

The ‘in-motion viewing’ gardens, however, are based on the principle of moving observation and shifting perspective as one moves along (Henderson 2012).

In a Classical Chinese garden the guest is therefore forced to explore the garden in sequence, gradually discovering more spaces, as the garden is designed in a way that one can rarely see the whole thing at once. Moreover, some viewing points frame the outside landscape or landmarks and are called ‘borrowed scenery.

Some pavilions and viewing points offer different experience depending on the time of a day or season of the year. In Suzhou the asymmetry and contrast between orderly sequenced courtyard houses and more organic and fluid

Fig. 46 The Garden of Cultivation in Suzhou

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Fig. 47 Corridor separating garden and water in Humble Administrator's Garden 47

Fig. 48 A winding double corridor in the Surging Wave Pavilion 48

Fig. 49 A double corridor in the Garden of Peace and Comfort 49

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garden space is evident in every garden. Residential buildings of the gardens are characterised by the orientation along north-south axis, on the other hand garden buildings are drifting through the gardens, relating their orientation to the water, rockeries often with a purpose of framing a particular view or a borrowed scenery. As for the elements of the garden,

water is one of the main features, located in most cases at the centre of the plan. Smaller gardens have a central, almost square pond, while the bigger gardens the one that stretches across the garden.

The water feature connects with each other in the garden and are integrated with the canals in Suzhou. Rocks and plants are also essential elements of

Fig. 50 Ground and first floor plans of Master of Nets Garden

Fig. 51 Sections of the park and the living area of Master of Nets Garden

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Fig. 52 Map of Suzhou with gardens and other places of interest

the garden, which together with create an aesthetically unique landscape and ambience. Certain rocks, as well as typical trees and plants, such as bamboo, pine, orchids, and chrysanthemums often have a symbolic meaning.

The rocks come mostly from the nearby Lake Tai, and with their particular shape are celebrated as natural sculptures. Rocks and plants also create unique landscape and ambience. Certain rocks, as well as typical trees and plants, such as bamboo, pine, orchids, and chrysanthemums often have a symbolic meaning.

The rocks come mostly from the nearby Lake Tai, and with their particular shape are celebrated

as natural sculptures. Gates mark the divisions between different parts of a garden, but also frame the scenery. The gates can have different shapes including a circle - moon gates, hexagon, octagon, or other more elaborate shapes.

Gates, as well as other openings in walls and corridors offer glimpses of the space on the other side.

Similarly, pavilions in Chinese gardens are placed primarily as viewing spots. Smaller pavilions are usually scattered across the garden and belong more to the nature than the residential quarters. They were often used as places to relax, contemplate, and reflect, as well as paint or write poetry (Henderson 2012).

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Fig. 53 Lion Grove Garden in Suzhou 53

Fig. 54 Master of Nets Garden in Suzhou 54

Fig. 55 Lion Grove Garden in Suzhou 55

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Fig. 56 Gates in the 'Yipu' Garden of Cultivation 56

Fig. 57 The entrance to the Surging Wave Pavilion 57

Fig. 58 Courtyard entrance to the residence in Humble Administrator's Garden 58

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Fig. 59 Pavilions in the Garden of the Peaceful Mind 59

Fig. 60 A winding corridor in the Crane Garden 60

Fig. 61 A double-sided corridor in the Garden of Harmony 61

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Fig. 62 Aerial view of the Humble Administrator’s Garden in Suzhou in autumn settings

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Traditional Suzhou Residences

Fig. 63 Model of companion hall in Jin's residence at Bifeng Fang

Many residences of various styles and sizes have survived to this day in Suzhou. Different sizes of the residences reflect the different classes of the owners. Large houses were typically owned by businessmen and aristocrats, medium size houses by lower aristocrats, and small houses were mostly built by the real estate owners. The design of buildings reflects also the social and economic conditions of a specific period. In Suzhou the residences are mostly situated parallel to the main streets. Landscape in an important part of the residences, and usually there is a garden with trees, flowers, and water behind the bigger houses. The floor plan of Suzhou houses is organised by series of enclosed courtyards connected by corridors on the side. The buildings are not

necessarily symmetrical, but they are relatively balanced along the main axis. Traditional houses used the land effectively and could be easily expanded if needed. The residences can be summarised as various combination of single buildings with a courtyard.

Formation of the residence had to meet religious, social, and cultural requirements of the society at the time. Different layouts included among the others the L-shaped layout, H-shaped layout, rectangular shape, and three or four-side enclosed courtyard.

In terms of the external appearance, the traditional residences were usually enclosed with high six meters walls. The walls were either level or in typical staircase shape.

The stepped wall that was slightly taller than the building also helped to slow the spread of fire to other residences. The walls, covered with a white lime-based stucco,

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Fig. 64 Residences by river at Baitaziqiao 64

Fig. 65 Gable end of Ren's residence at Tieping Alley 65

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Fig. 66 Lattice doors of east flower hall of Ren's residence at Tieping Alley

Fig. 67 Ground and first floor plan of Liu's residence at Liaojia Alley

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were often decorated with lattice windows. The residences were kept simple, but quite elegant with their pitched roofs, white walls, dark grey roof tiles and coloured wood along the outlines. Courtyard floors were paved with stones, pebbles, and crushed porcelain to create patterns, while the interior floors were covered with bricks. The traditional residences were primarily single story, with the occasional upper floor used for the storage. Houses, where the upper floor was used also for living, wanted to demonstrate luxury (Congzhou 2018).

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Traditional Suzhou residences, though characterised by similar general features, can differ between time period of different dynasties. Residences from late Ming and early Qing dynasties are rather large and renowned, mainly constructed by the retired government officials to spend the rest of their lives in. The buildings from Qianlong and Jiaqing periods are grand and massive, often residences of powerful and important officials. Houses from Tongzhi and Daoguang periods can be described as refined and luxurious, mostly buildings that were constructed by the officials

Fig. 68 Elevation and section of Liu's residence at Liaojia Alley

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who took part in the Taiping Tianguo uprising. Rich history of the city of Suzhou is preserved in its traditional architecture and construction methods.

Fig. 69 Ground and first floor plan of Li' residence at Xibaitazi Alley

Fig. 70 Axonometric view of Li' residence at Xibaitazi Alley

Fig. 71 Section of Li' residence at Xibaitazi Alley

Figures 67 and 68 illustrate Liu’s residence at Liaojia Alley in Suzhou. It is a south facing building with the entrance on the east wall. The entrance hall is two story high and three bays wide.

In front of and behind the house there are two wings, one of which is the gate house and the other is used as a study. The hall has a small courtyard in front of it. Liu’s residence is composed of two group of structures, although each

of them can be used separately, as each has an independent gate.

Other spaces in the residence include the kitchen, workshop, and a warehouse. This house used to operate as a red paper production place, and the space where it was being manufactured is rather small with poor air circulation and lighting. In the west part of the residence there is a private garden that directly connects with the main courtyard building (Congzhou 2018).

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04 CHANGMEN HISTORICAL DISTRICT Adaptation of a heritage site for modern use must respect the values of the site and its attributes and ensure its protection without negatively impacting those values. Use of the site must not exceed its capacity. Facilities added to a site for the purpose of use must be reversible.

(ICOMOS China 2015)

Overview of Changmen District Changmen Historical and Cultural District is one of the five historical and cultural districts in Suzhou.

It is located in the northwest of the ancient city and contains two blocks (7 and 15) of the ancient city. Historically, the district was very prosperous thanks to the commercial activities. It wasn't until the Taiping Heavenly Kingdom burned the city and the city's water transportation gradually declined that its status as a commercial center slowly changed. At present, the Changmen historical and cultural block has been transformed into a mainly residential district.

The Changmen historical and cultural district has continued Suzhou's thousand-year cultural heritage, with numerous historical relics and rich cultural resources.

The most famous, the Changmen Gate, is one of the eight gates of Suzhou. The classical private garden, Yipu, was built in the Jiajing period of the Ming Dynasty and is listed as a world cultural heritage. The Yipu garden is also 66

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known as The Cultivation Garden.

In addition, there are many cultural relics protection units and a large number of historical environmental elements scattered throughout the block. As the most economically developed area in the history of Suzhou City, the block was once home to a large number of traditional handicrafts, financials, and commerce industries, and even the birthplace of Lei Yunshang Pharmaceutical. Among them, there are many types of traditional handicrafts, such as jade carving, Su embroidery, woodcut New Year pictures, lanterns and so on. These traditional industries have been here since the Ming and Qing Dynasties. The current commercial functions of the block are mainly distributed along the Xizhong City in the central part and Wu Shifang in the east. The Xizhong City still retains the distinctive commercial street form of the Republic of China, and is distributed with a large number of time-honored restaurants and hardware facilities. For shops, Wu Shifang mainly serves the daily retail business in the block (Zhuojun 2017).

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This chapter presents the maps that are part of the ‘Suzhou Changmen Historic and Cultural District Conservation Plan’, produced by the Municipal Planning Bureau of Suzhou. Figures 75-85 analyse the Changmen district’s current situation, and figures 86-95 present the actual conservation plan for the district with different aspects. This documentation offers a good basic knowledge about the site, its history, and current situation. This conservation plan is a part of a wider city plan, the ‘Suzhou Historic and Cultural City Protection Plan (2013-2030)’. On the other hand, a conservation plan of this scale lacks focus of the revitalization of individual streets and neighbourhoods. While this plan focuses on big scale and is concerned mainly with buildings’

conditions and protecting the state of the structures, the Changmen district clearly requires an intermediate urban intervention as well. Improving the quality of public green spaces, limiting the traffic congestion and also keeping the area clean and tidy, can undoubtedly increase the quality of everyday life of the residents.

I have therefore chosen to make a design proposal for a particular site in the Changmen Historical District, rather than a large-scale masterplan of the whole district.

Fig. 72 Changmen Gate in winter

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Fig. 73 Market activities at Changmen Gate; scroll from 1770

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Analysis of Changmen District Buildings of Historic Interest Historic sites and cultural relics in China are classified on various levels and are under the jurisdiction of different authorities.

Satellite Map of the Site

The most important category is the National Historic Relic Protection Site. In the Changmen district only the famous Garden of Cultivation is listed as such, which also is the UNESCO World Heritage site.

Garden of Cultivation, known also as Yipu Garden, is one of a few traces of Ming dynasty in

Fig. 74 Satelite view of the Changmen District

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Fig. 75 Changmen Analysis - Buildings of Historic Interest 75

Fig. 76 Changmen Analysis - Historic Era of Buildings 76

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the district. Interestingly, there are also a couple of residential buildings from Ming dynasty in the Changmen district, but because of no historical importance, they are not considered protection sites of any kind. We can therefore observe that the age value in itself was not as important as historical value in determining a protection site. The second category concerns protection sites at the level of the Jiangsu province. This includes a residential complex from the Republic of China period and the remains of private gardens from the Ming dynasty, both located in the north part of the district. Another category of Historical Relic Protection sites is controlled by the Suzhou Municipal Government. Its main site includes

the Chang Gate, one of the gates to the old town, with the surrounding area and remains of the wall. At this level of protection there are also some individual residential and commercial buildings, as well as a guild building and the Taibo Temple in the north part of the district. Apart from the aforementioned categories under different authorities, there are also Control Protected Buildings and Registered Historical Relics which mostly include residential houses with historical value, relating to important people or events in history. The remaining buildings that do not fall into neither category are dived into ‘Other Traditional Buildings, as the categories concerned only traditional buildings, and ‘Non-traditional

Fig. 77 Changmen Analysis - Buildings Heights

Fig. 78 Changmen Analysis - Conservation Quality of Traditional Buildings

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Buildings’. However, since the “Conservation Plan of Historical and Cultural Changmen block” concerns urban conservation as well, the whole area is located within the perimeter of the Protected District.

Dynasty’, which lasted between 1644 and 1911, takes up almost 23 percent of the district with mostly residential houses and individual commercial buildings along Xizhongshi commercial street. Third category, ‘Buildings of Republic of China’, covers 15 percent of the area and concerns buildings built between 1911 and 1949. Similar to the Qing Dynasty period, the buildings are residential and commercial. The remaining buildings divided into two categories take up more than 60 percent of the whole district.

‘Buildings from 1949 to 1979’ include industrial, educational, administrative and public service buildings, as well as commercial and residential. They amount to 25 percent of the district area. Last

Historic Era of Buildings In terms of the historic era of buildings, five categories have been identified, each relating to a different period in history. The oldest one, ‘Buildings of Ming Dynasty’, describes buildings built between 1368 and 1644 including the Garden of Cultivation and it covers less than one percent of the Changmen district. Another category, ‘Buildings of Qing

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Fig. 79 Changmen Analysis - Conservation Quality of Non-Traditional Buildings

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group, ‘Buildings built after 1979’, takes up 35 percent of the area and consists mainly of commercial, residential and mixed-use buildings, as well as offices and cultural buildings. Overall, around 60 percent of the buildings were built (or rebuilt) in the second half of 20th century.

four storeys high have been built in the second half of 20th century.

The highest buildings in the area with five storeys and more, have all been constructed in the most recent period from 1979 onward.

Conservation Quality of Traditional Buildings and Non-traditional Buildings

Building Heights

Fig. 80 Changmen Analysis - Original Functions of Existing Buildings

In Changmen district a correlation between building heights and construction period can be observed. The vast majority of buildings are either one or two storeys high, and most of them are residential and commercial buildings from the early periods.

Most buildings that are three or

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Analysing the current situation of the Changmen district is crucial to take into account the actual conditions of the buildings. Small percentage of traditional buildings recognized as ‘good quality’ concerns mostly Historical Relic Protection Sites or Protected budlings. The majority of traditional buildings, however, have been

described to be of ‘medium’ or ‘bad quality’ with one percent of them even being of ‘very bad quality’. Non-traditional buildings amount to 30 percent of all the buildings in the district, and as they are the ones constructed more recently, they have been deemed to be of ‘good quality’. Only a few individual non-traditional buildings built before 1980s have been described as being of ‘bad quality’. The contrast between the conditions of traditional buildings comparing to the non-traditional ones is a typical issue of urban conservation projects in historical areas.

Original and Current Functions of Existing Buildings Looking at the maps representing functions of the buildings, it is clear that residential and commercial are the main functions, just like they were originally. While the number of commercial buildings stayed the same, the number of residential buildings increased significantly because some of the original functions were no longer in use. The guild buildings, industrial zones and religious structures have all been transformed into residential houses, except for the Taibo Temple, which remained the only religious building of the whole district. On the other hand, offices and public service buildings have kept their original function, as

Fig. 81 Changmen Analysis - Current Functions of Existing Buildings

Fig. 82 Changmen Analysis - Categories of Intervention 81

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well as cultural and educational facilities.

Categories of Intervention In relation to the maps regarding conservation quality of traditional and non-traditional buildings, several types of intervention categories have been proposed depending on the state of the buildings. Apart from the protected buildings and historical relics, which must follow strict rules regarding conservation, over 90 percent of traditional buildings require repair or renovation. It has also been decided that a number of traditional buildings could potentially be demolished, with the reason being bad quality

but also the location. A new development could be built in their place. When it comes to modern, non-traditional buildings, the ones that could be demolished add up to 25 percent. Some of them are in fact of bad quality, but this category mainly include buildings that really stand out and seem out of context in the district. The rest of modern buildings, which are mostly commercial, are to be preserved or renovated.

Existing Land Use The land use map shows in detail the subdivisions of each category of the functions. For residential buildings we can differentiate traditional residencies, and also

Fig. 83 Changmen Analysis - Existing Land Use

Fig. 84 Changmen Analysis - Traffic Organization

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Existing Roads Hierarchy and Traffic Organization

three other classes relating to types of buildings. For the commercial activities the maps helps identify which buildings are general shops, which are hotels, and which are the offices for financial, insurance, media or other services. There are also several buildings with mixed use of commercial and residential, located along the commercial streets. In terms of green and open spaces, there is a general park area by the river next to the Chang gate, special parks areas in two protection sites and a few small green spaces and squares.

The hierarchy map shows different categories including roads, streets, alleys and lanes, but the traffic organization map only indicates those for car mobility and those for cyclists and pedestrians. While it is clear that roads are vehicular and lanes and alleys are pedestrian, the street category is slightly ambiguous. There are vehicular streets as wide as roads and others narrower than some alleys for both car and pedestrians. The traffic organization map also underlines the issue of insufficient parking spaces with only two underground and one ground public car park.

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Fig. 85 Changmen Analysis - Existing Roads Hierarchy

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Perimeters of Protection

Fig. 86 Changmen Conservation Plan - Perimeters of Protection

The first map of the conservation plan shows different perimeters of planned protection. The planning intention is not only to conserve the buildings in the original perimeter of protection, but also to create new zones of “controlled construction” with guidelines for a “stylistic reconstruction” of new buildings. The hotel district is included in the construction control zone, and the areas around registered historical relics have

been designated as Construction Control Zone of Historical Relic Protection Site and Control Protected Buildings. This includes for example the Changmen Hotel area, in the middle of which there is a protected building, the Xie family villa. This map also shows an addition of the Perimeter of the Protected Historical Zone, which include residential street by the canal.

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Height Control Plan According to the conservation plan, the renovation of traditional residences and private houses should maintain the original storeys. The gutter’s height of one floor buildings should not exceed 2,8 meters, the ridge’s height should be within 5,8 meters.

The gutter’s height of two floor buildings should not exceed 5,8 meters and the ridge’s height should be within 8,8 meters. The plan states that if the original

building’s height exceed the height limit, its renovation can maintain this height. In terms of newly constructed buildings or renovated buildings, the plan differentiates two zones with different height limits. The light green colour indicates the zone in which the gutter’s heigh must be within 5,8 meters and the ridge’s height within 8,8 meters.

In the zone indicated by dark green those numbers change to subsequently 9 and 12 meters.

Fig. 87 Changmen Conservation Plan - Height Control Plan

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Strategic Plan for Commerce

Fig. 88 Changmen Conservation Plan - Strategic Plan for Commerce

The strategic plan for commerce suggests the categorization of the following zones: businesses with characteristic features, hotels with characteristic features, residence hotels characterized by Suzhou Lifestyle, handicraft stores and small recreational activities, main tourist spots, traditional handicraft industrial park, residential areas.

It focuses on creating the main recreational commercial street

along the river, that would go through the Changmen Gate. A smaller, secondary recreational commercial street would run along the canal in the northeast corner of the district. The main street running from the Changmen Gate towards the old city becomes the commercial street with historical brands, and the street along the canal in the east part of a district would become a commercial street with markets.

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Strategic Plan for Culture Promotion The strategic plan for culture promotion interestingly introduces a political and military center in the Changmen Gate area. The city wall axis where the commercial street is proposed becomes the focus point of this plan and includes number of monuments, several boat piers, a museum, a flower wall, as well as some sculptures and decorations. Another focus

point is the introduction of handicraft and creative streets, leading to the Changmen Gate as well. The district aims to provide information plates regarding historical buildings and structures.

In the northeast corner of the district there is a big concentration of museums and memorial halls in the plan. The street by the canal in this area has been designated as an art axis.

Fig. 89 Changmen Conservation Plan - Strategic Plan for Culture Promotion

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Planning of Building Functions

Fig. 90 Changmen Conservation Plan - Planning of Building Functions

The planning of building functions map shows the increase of commercial activities, in comparison to the existing functions. Two new perimeters are introduced. The red outline on the map indicates the border of residence hotel characterised

by Suzhou Lifestyle. It includes the Changmen hotel area as well as buildings by the canals in the north part of the district. The blue outline

represents handicraft stores area and small recreational activities.

It is unclear how the residential area might accommodate those activities. The map also shows an intention of a new complex of cultural buildings in the southwest corner of the district.

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Organization of Tourist Routes The map shows the evident importance of tourism in this conservation plan. The main access point of tourists is to be located by the Changmen Gate.

It indicates main tourist route on land, which goes through the main commercial streets and also through the new handicraft area. A tourist route on the river is indicated in the inner canals of the district. The river west from the

district’s border shows the idea for the tourist water bus, that will operate on the river outside of the historical centre. An interesting point that the map is showing is the introduction of the historic relic parks around the city walls and Changmen Gate. The green area in front of the gate also shows a big number of sculptures.

Fig. 91 Changmen Conservation Plan - Planning of Building Functions

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Building Types and Preservation Guidelines

Fig. 92 Changmen Conservation Plan - Building Tyoes and Preservation Guidelines

The map showing the building types and preservation guidelines is based on a distinction between traditional residential buildings of small, middle, and large size.

The buildings shown in green are residential buildings where the functional change is suggested.

Yellow colours indicate traditional residential buildings of smaller and middle size household, whereas

orange colour marks larger size households of traditional buildings.

The plan also mentions that preferably the traditional buildings are to be changed into residential houses of one unit or buildings with other functions. The houses marked with purple colour are the non-traditional buildings. The plan states that those buildings could be either preserved or rebuilt with a traditional language.

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Master Plan The masterplan for Changmen district shows traditional buildings, non-traditional buildings, historical relics as well as green spaces and perimeters of the protected zones.

Traditional buildings are divided into buildings to be maintained, to be repaired and to be renovated.

Non-traditional buildings similarly are divided into buildings to be preserved and to be repaired. It also indicates newly constructed

buildings. The new buildings are mainly on the west side of the district, along the river, where the new recreational and commercial street is going to be. It can also be observed from the masterplan, that it considers demolition of some of the buildings of the Changmen Hotel area and build something according to the local architectural language. The masterplan also shows an intention of preserving the city walls, incorporating them in the public space.

Fig. 93 Changmen Conservation Plan Masterplan

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Pedestrian and Cycle Mobility

Fig. 94 Changmen Conservation Plan - Pedestrian and Cycle Mobility

The pedestrian and cycle mobility map indicates three main moving paths, which are resident low speed roads, tourist low speed roads, and walking roads around the city. It also shows tourist spots, characteristic and residence hotels, public bicycle and tricycle parking lots and the main access of tourists seen previously in figure 89. This map represents a positive trend in the approach

towards cycle mobility, with the increase of bicycle parking lots and more connections created.

On this figure it is also visible that the Changmen Hotel is to be a characteristic hotel, while the houses along the canal, south and east from the Changmen Hotel, will be transformed into so called residence hotels.

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Car Mobility and Parking Facilities The map showing the car mobility and parking facilities further illustrates the approach towards green mobility and reduction of number of cars being used in the district. The majority of the district in its central part is a restricted area for motor vehicles. On the edges of the district, with a light blue colour, the off-limits areas for motor vehicles are indicated. This correlates with the commercial

streets, the hotels, and the industrial buildings. Smaller streets are to be transformed into oneway only. Parking spaces along the commercial streets are only indicated on the south side of the district, with the main focus being put on the creation of underground public parking lots.

Fig. 95 Changmen Conservation Plan - Car Mobility and Parking Facilities

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05 CHANGMEN HOTEL REDEVELOPMENT “In China, architecture and the garden are one. A Western building is a building, and a garden is a garden. They’re related in spirit. But they are one in China.”

I. M. Pei

The Site Overview The Changmen Hotel site is located in the north part of the Changmen Historical District in the the old city of Suzhou. The area of the Changmen Hotel, which was previously known as Dayuanli, covers an area of over 20 000 square meters.

Historically, it was the place of residence of four families: Wang, Lu, Cai and Xie. The Xie’s Residence, built in the second half of 1930s, is undoubtedly the most representative of the remaining buildings from the Republic of China period. It is a three-story garden villa covering 4000 square meters, stylistically based on the Republic of China with noticeable Spanish and European influences.

In 1972 it served as a guest house of the Revolutionary Committee of Suzhou and was officially named Changmen Hotel at around that time. In 1991 the Xie’s villa was listed as a Suzhou Municipal Cultural Relics Protection Unit, and still today is the only protected building in the Changmen Hotel area. The other buildings of the Changmen Hotel site have all been constructed in the 1980s and 1990s with the function of additional hotel accommodation

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and other facilities. Those nontraditional 4 and 5 story buildings in particular stand out against the surrounding traditional houses of the historic district. With the hotel’s growth in size, it became a popular high-end residence in Suzhou. In the beginning of the 21st century it was known for hosting celebrities and important personalities, as well as being used as a filming location for a number of film and television productions. Apart from a small garden, the area is characterized by unusually large open areas mostly used as a parking spaces. It is surrounded by the canals from the north and the west and with residential buildings from the south and the east. Even though the canals are used for boat transportation and occasional tourism, there is no direct access to the site from the water ("Yangtze Evening News" 2019) The site investigation and documentation shown below represent the state of the area in the year 2017 and was carried out during the second Suzhou International Architecture Workshop on the Urban Conservation of the Changmen District. As explained in the introductory chapter, this thesis

96 Fig. 96 Aerial view of the Changmen Gate with the hotel in the background

considers the presented condition of the area as existing situation before the proposed intervention.

Visible on the figures 101 to 148 are the photographs of the hotel complex. Shown first is the path from a commercial street leading to the main gate of the Changmen Hotel. The general condition of the site is poor, with buildings and green areas disorganised and neglected.

Only some buildings are in use, while others are being emptied awaiting renovation or demolition.

The state of the area demonstrated is the photographs presents a perfect opportunity to imagine a different approach towards redevelopment of the hotel, rather than in place renovation of the area that seems out of scale, context and lacks the character of the Suzhou architecture.

Fig. 97 Suzhou in Jiangsu province on the map of China

Suzhou

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Fig. 98 Border of historic centre and Changmen District on the map of Suzhou

98 Fig. 99 Changmen Hotel area on a map of Changmen Historical District

Fig. 100 Changmen Hotel plan with marked locations of the views 99

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Fig. 101 Commercial street leading to the hotel 101

Fig. 102 View of the canal close to the hotel area 102

Fig. 103 View of the canal close to the hotel area 103

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Fig. 104 Main entrance to the Hotel area 104

Fig. 105 Entrance buildings to the Hotel area 105

Fig. 106 Contrast between hotel building and residential buildings 106

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Fig. 107 Main hotel building 107

Fig. 108 Hotel building by the canal 108

Fig. 109 Entrance building of the Hotel area 109

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Fig. 110 Main forecourt after the entrance to the Hotel area 110

Fig. 111 Old tennis court used as a car park 111

Fig. 112 Street leading to the other hotel buildings 112

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Fig. 113 Small garden in front of Xie villa 113

Fig. 114 Green area between the hotel buildings 114

Fig. 115 Old tennis court used as a car park 115

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Fig. 116 Small neglected garden of the Hotel area 116

Fig. 117 Xie family villa 117

Fig. 118 High rise hotel building in the north part 118

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Fig. 119 Objects removed from the hotel buildings 119

Fig. 120 Demolition works in the north part of the hotel 120

Fig. 121 Furniture and kitchen objects in front of the hotel buildings 121

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Fig. 122 Entrance to one of the hotel buildings 122

Fig. 123 Ongoing works in front of the hotel buildings 123

Fig. 124 Service buildings of the hotel area 124

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Fig. 125 Residential buildings on the other side of the canal 125

Fig. 126 The wall separating the canal and the hotel area 126

Fig. 127 Mattresses and furniture in front of the service buildings 127

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Fig. 128 Residential buildings on the other side of the canal 128

Fig. 129 Mattresses and furniture in front of the hotel building 129

Fig. 130 Removal works in the north part of the hotel area 130

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Fig. 131 Xie familly villa 131

Fig. 132 Green area near the hotel swimming pool 132

Fig. 133 Old swimming pool of the hotel 133

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Fig. 134 Building next to the old swimming pool of the hotel 134

Fig. 135 Old swimming pool of the hotel 135

Fig. 136 Hotel building in the west part of the hotel area 136

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Fig. 137 Wall separating the hotel area from the canal 137

Fig. 138 Wall separating the hotel area from the canal 138

Fig. 139 Lightwight roof structure next to the wall of the hotel area 139

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Fig. 140 Service building of the hotel area 140

Fig. 141 Hotel building in the west part of the hotel area 141

Fig. 142 Service building in the west part of the hotel area 142

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Fig. 143 Old tennis court used as a car park 143

Fig. 144 Path through a hotel garden 144

Fig. 145 Old tennis court used as a car park 145

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Fig. 146 Mattresses outside of the hotel buildings 146

Fig. 147 Main forecourt with a large tree 147

Fig. 148 The outside view of the hotel entrance 148

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Changmen Hotel Renovation Project 2019 In 2019 the municipality approved the Changmen Hotel Renovation project, which focuses on the restoration of most buildings to its original state or in some cases introduces slight changes.

Furthermore, the renovation project will include a cultural and creative industry park, a luxurious banquet hall, an exhibition hall, as well as restaurants, shops, and office buildings. The design of the main hotel building aims to be an example of western classical architecture in the historical Chinese context. It uses red and black bricks, as well as stone, that refer to the original materials of the building, but not to the local materials in of the district.

The project mentions the use of artificial light to create peaceful and comfortable atmosphere, but

sadly there is no attempt to create such feeling using the space and architecture.

The thesis aims to propose an alternative approach towards the redevelopment of the hotel area. A proposal that will not be alienated from the historical residential part, but rather will provide new public spaces and connections for the residents and the general public. In the design process of the proposal, the thesis disregards the 2019 Renovation Project and focuses on the investigation and documentation of the site from 2017 as the existing situation.

Nevertheless, the project is worth mentioning as it shows the current approach towards conservation and redevelopments of the areas such as this one, in the historic context.

Fig. 149 Proposal for the renovation of the main hotel building

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Fig. 150 Aerial view of the proposed renovation project 150

Fig. 151 Proposed renovated hotel entrance 151

Fig. 152 Proposed renovated main hotel building 152

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Design Approach and Strategy The aim of the research by design thesis is to investigate a possibility of urban conservation project which is conscious of the immediate urban context, considers tangible and intangible heritage of the local community, at the same time introducing modern approach to a context-appropriate urban design development. It aims to explore an approach alternative to the renovation project approved by the municipality and to offer a different direction for the future urban regeneration and conservation projects. Having said that, the design project preserves only one building, the protected Xie Villa, while imagining demolition of all other buildings.

Fig. 153 Design strategy diagrams

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Interconnections of divided built and nonbuilt spaces inspired by design principles of a traditional Suzhou Garden

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The idea of the proposal for the Changmen Hotel redevelopment is to take inspiration from the Chinese garden in terms of interconnectivity of spaces and apply it to the large-scale urban project in a historical district of Suzhou. This approach is based on the principles learned by analysing traditional Suzhou Gardens and their architecture. It results in a system of interconnected buildings and open spaces, divided strategically to emphasize the relationship between built and non-built. The space, organised by courtyards buildings, pavilions and small gardens, is enclosed on all sides, but at the same time offers permeability and allows for connections with the residential

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Relationship with the canals and incorporating water into garden landscape

areas. In terms of architectural approach, the project aims to explore a contemporary language that doesn’t copy or imitate the surrounding vernacular but rather is a respectful interpretation of its context.

The main design strategies shown below are also tackling the existing issues of the area.

Interconnections of divided built and non-built spaces focuses on optimising the use of a large area by allowing more functions to take place simultaneously. Water is an important feature of a Chinese garden and a city too. The project explores options of connecting the public park and canals, creating boat landings as well as introducing a pond using the water from the canal. One of the key problems

DARK ROOF TILES

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of the existing Changmen Hotel is the architectural language of the buildings as well as lack of urban dialogue with the context.

The proposal focuses on a spatial arrangement of spaces that respect their surroundings in terms of scale, typology, and character.

Another crucial point regarding the strategy is the emphasis on the circulation and connectivity. A large-scale public space should offer multiple entry points, easily accessible by various means of transportation including a car or boat as well as the pedestrian access. The circulation inside the area allows for a number of different experiences depending on the purpose of visit, individual needs and preferences.

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Architecture responding to the context by respecting the height and basic principles of the vernacular

Meandering complex circulation through the spaces allowing for a number of different experiences

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Canal Treatment Water is a fundamental element of a Suzhou Garden, as well as an important part of the Suzhou heritage. In the garden it usually takes a form of a pond or a small lake, often with a pavilion nearby.

Most Suzhou gardens located in the historical city are enclosed by walls from all four sides and surrounded by residential houses.

However, the Surgical Wave Pavilion Garden in Suzhou is a rare exception, where the walls do not fully exclude it from the city. The Garden is situated right along the canal from the north side. In order to provide a form of enclosure,

there is a corridor that runs along the canal and provides connection between water and the garden (Henderson 2012).

The Changmen Hotel area is similar in that aspect as it is surrounded by canals from both north and west side. The project aims to integrate the canals in the public garden, by providing some form of connection with it. The study shown below demonstrates different types of intervention on the edges where the garden meets the canal. In some instances, the garden and the canal can be separated completely by a wall, however while the wall might not

Fig. 154 Study of possible treatments of the canal at the edge of a garden

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A. Complete separation by the wall

B. Separation by the wall with openings offering views out

E. Access through the wall enclosing the garden

F. Access to a boat landing through the garden enclosing wall

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offer the access through, it can still provide openings allowing for the visual connection. The same principle can apply to a building, which can be completely separated from the water, or have windows looking out. A more engaging solution is when a wall separating the canal from the garden is set back a certain distance creating a walkable path right on the edge between the water and the garden. The experience also differs depending on the number of openings, whether it is just to go through or some additional openings for the visual connection. The path could also be covered creating

a one-sided corridor overlooking the water. A double corridor is an interesting solution offering two parallel paths, one from the garden side and another by the canal.

This solution is often used with only visual connection provided between the two, creating interest in the other space without a possibility to access it right away.

A small variation can be also an addition of a boat landing, whether it is for public transportation or to be used privately. A platform on the canal could also act as a resting or a seating area.

C. Complete separation by the building

D. Separation by the building with windows offering views out

G. A one-sided corridor with openings for visual connection

H. A double-corridor offering two parallel paths 154

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Spatial Arrangement and Functions Based on the principles of the Suzhou Garden, the project is composed by interconnected spaces that include smaller gardens, courtyard buildings, as well as pavilions and corridors. The built and non-built relationship and the spatial procession are crucial in this project. Furthermore, the enclosure of the area and inner walls also play an important role in organising the space.

In the current situation the hotel is disproportionate in terms of volume and height, which in effect creates a feeling of being out of place and character. The thesis aims to propose a project where the new Changmen Hotel shares the site with an easily accessible public space, for both the general public and the guests of the hotel.

In order to establish a spatial arrangement, it is necessary to understand the functions that such area can host. Apart from the hotel, the area will accommodate a number of buildings accessible to the public, including an exhibition hall, a gallery, a multipurpose event area for the local community, a small library with a café, a restaurant as well as leisure spaces such as pavilions and seating areas. In terms of the overall size of the area, the project site covers over 21 000 square meters. The courtyard hotel with a garden will be dedicated around 4 000 square meters, leaving a considerable amount of space for the other activities. To organise the public functions, the buildings can essentially be divided into two clusters. A main cluster of buildings including a gallery, and exhibition and event space and a restaurant, covering around

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4 000 square meters and a smaller cluster covering less than 2 000 square meters, consisting of a small library with a café and a multipurpose space with activity rooms that can be used for public events as well as for the local community centre. The main green space, a garden with pond pavilions spreads across 4 500 square meters, while the protected Xie Villa with an adjacent garden covers approximately 2 000 square meters. The other small gardens and green spaces take another 2 000 square meters, while the entrance area for pedestrians, bicycle paths and vehicular circulation with parking spaces occupies 3 000 square meters.

The graphics shown in Figures 155 - 157, schematically represent three options of the distribution of aforementioned spaces. Several functions do not change their position across the proposals, either because of the fixed elements, such as the Garden with the Xie Villa, or because of their relationships with the surroundings that determine certain strategic placement. For instance, the main entrance is situated at the south end of the area where the current entry point to the site is. This is important considering the area being located in the very north part of the Changmen district. Moreover, it is by far the easiest accessible entrance for pedestrians, cyclists, and cars. Additional entrances are proposed on each side of the area creating direct connections with the residential neighbourhoods.

Their locations are determined by the district’s streets grid. Similarly, the car park is placed on the side of the main entrance, in the southeast corner.

GARDEN WITH PAVILIONS

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PUBLIC BUILDINGS GARDEN WITH THE XIE VILLA

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Fig. 155 Option A of the spatial arrangement 155

GARDEN WITH PAVILIONS

SECONDARY ENTRANCE PUBLIC GARDEN PUBLIC BUILDINGS

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GARDEN WITH THE XIE VILLA

PRIVATE GARDEN

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Fig. 156 Option B of the spatial arrangement 156

GARDEN WITH PAVILIONS

SECONDARY ENTRANCE PRIVATE GARDEN

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PUBLIC BUILDINGS MAIN COURTYARD FORECOURT

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Fig. 157 Option C of the spatial arrangement 157

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Fig. 158 Development model of option A

The main entrance is followed by a forecourt and a main courtyard to emphasize the experience of crossing through and entering the redeveloped area of the Changmen Hotel. In option A hotel buildings along with a private garden are situated at the end of the sequence of entrance spaces, right next to the canal offering the views out on the water as well as direct connection to private boats and pavilions. This linear composition of an entrance and the hotel is followed by the main garden situated in the northwest corner surrounded by the canals on both sides. The public buildings clusters are located respectively north and south from the Xie Villa. This allows for most public activities to take place on the east side of the area closer to the residential part of the district.

In option B the hotel is moved away from the canal right to the opposite site where there is a wall

separating the site from residential houses. This option also considers the hotel to be surrounded by public buildings, at the same time providing more privacy by the distancing it from a narrow canal with houses on the other side. This gives an opportunity to have a more direct access to the hotel itself, without the need to pass through a number of public buildings.

Option C takes the idea of a direct access to the hotel even further by situating the hotel on the north side. In this option the north entrance become a private access to the hotel, which still benefits from the view and the access to the canal like in option A. The hotel can also be accessed from the main entrance, creating a journey through public gardens and courtyards to the more intimate hotel buildings.

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In the next phase of establishing the spatial arrangement, options A and B are being developed further using a physical model to analyse the relationship between the spaces and their surroundings.

Option C is disregarded because of the placement of the hotel in the north part of the area.

This positioning of the hotel deprives the people living in houses on the other side of the north canal the easy access to the site, separating the two from each other. Additionally, the hotel requires vehicular access, however such bridge cannot be built there, because of the boat transportation.

Option A suggests placement of both the main entrance and the entrance to the hotel on one axis, creating a journey through public courtyards to the hotel.

Figure (NUMBER) shows the hotel buildings marked in red, and also

the circulation around the area.

Visitors to the public section can enter by any of the entrances and use the courtyards buildings or the corridors and gardens to move around the space. Guests of the hotel walk through the main entrance following the sequence of main spaces up to the hotel reception. Alternatively, they can access the private garden and corridors from the main courtyards.

The hotel buildings offer the view of the garden with the pond and pavilions, as well direct access to it. The two clusters of public buildings, however, are located on both sides of the Xie Villa. The cluster close to the main entrance has a larger area with several courtyards and smaller gardens.

The smaller cluster, more compact one in the north part, focuses more on a secondary functions such as activity rooms for the community, event space, small library etc.

Fig. 159 Spatial arrangement and circulation in option A

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Fig. 160 Development model of option B

Option B however, proposes an arrangement where the hotel is moved to the east side of the site, adjacent to the wall separating it from the residential area. Here the idea of privacy and enclosure for the hotel is reinforced. The main entrance leads visitors through a forecourt and the main courtyard like the other option. In this variation however the visitor continues through a courtyard to the next building which sits on the edge of the pond, from where the pond garden with smaller pavilions can be observed. This spatial procession is an important point of this proposal, focusing on the journey but also on the destination of this particular path. Already from the forecourt the visitor can chose the desired path depending on the preferred experience or the purpose of the visit. The public space is connected around the edges with open corridors, which is the transition space between

the inside and the outside, as well as the canal and the garden on the west and north side. Hotel guests in this option are given a choice of the path to reach the hotel reception. The path to the hotel does not go through the main courtyard but rather from a building before the courtyard or even directly from the forecourt via smaller building. Alternatively, the guests the walk directly from the car park into a small courtyard leading to the hotel. The hotel is also in a close proximity to a secondary entrance on the east side, which guests can also take advantage of.

The two rather similar options offer difference experiences because of a changed location of the hotel buildings. After a thorough analytical comparison of the options, the conclusion indicated that the placement of the hotel in option A is not desirable. The aim

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was to provide the guests with the view of the canal and the access to the boat landing, however the proximity of residential houses on the other side of the canal has to be taken into consideration. Since the canals are used for tourism and transportation, and the windows of the residential houses are only a few meters away, this option leaves little room for the intimacy and privacy of those spaces. In addition, the placement of a twostorey hotel building right next to the canal with historical houses can be questionable. One of the ideas behind creating a courtyard hotel is the peace and tranquillity it can offer by being located next to a garden-like public space, which could not be possible with the noise coming from the canal and the houses nearby. Moreover, the accessibility factor plays an important role in deciding on the further development of the option B. Apart from reduced walking

distance to the hotel from the main entrance, this option offers a possibility to access it almost directly by a vehicle in case of emergency or need. The parking spaces in this project are primarily intended for the hotel guests and to be used when delivering good to the hotel facilities, therefore situating the hotel right next to the area accessible by cars makes a lot of sense for the feasibility of the project.

Spatial arrangement shown on the development model of the option B is a starting point to create a proposal accommodating all the required functions, taking inspiration from the Suzhou Garden in terms of urban design and reflecting the character of the district with architectural language that reinterprets the vernacular form.

Fig. 161 Spatial arrangement and circulation in option B

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162 Fig. 162 Situation before the intervention 1:2000

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Design Proposal The final design of the urban proposal puts an emphasis on the connections with residential areas on all four sides of the project area.

In Fig. 164 it is visible how the new bridge connections are integrated into a wider urban context of the area. The site is enclosed by walls and corridors, and yet is easily accessible from each side. The spatial arrangement is based on

courtyard building clusters, linked open spaces and gardens. The system of corridors and pavilions organises the open part of the area and offers viewing and resting points. The main public buildings follow the orientation of the north-south axis. Another crucial aspect is circulation. Although the guest is guided through spaces in sequence, there is always an alternative and the possibility to explore the space as one wishes.

Fig. 163 Key points of the urban intervention

Enclosed site with connections to the residential areas from each side

Clusters of courtyard buildings

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Interconnected open spaces

Strategic viewing points

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164 Fig. 164 Situation after the intervention 1:2000

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165 Fig. 165 Volumes and typologies before and after the intervention

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166 Fig. 166 Design proposal of urban intervention 1:1000

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New Changmen Hotel buildings

Clusters of public buildings

System of corridors and pavilions

Linkage of green spaces

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Fig. 167 Key elements of the project

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168 Fig. 168 Isometric view of the design proposal

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Architectural approach

Fig. 169 Development of the building form

Although the Changmen Hotel redevelopment project focuses primarily on the urban design and the relationship between built and non-built, the architectural language of its buildings effectively dictates the spatial organization and gives it its character. The approach towards architecture in the project draws first and foremost from traditional Suzhou architecture.

The volume of an individual building acknowledges vernacular characteristic elements such as white plaster walls and dark grey roof tiles, however, reinterprets the pitched roof form to create a more generous and contemporary structure. Commonly a pitched roof of a traditional house in Suzhou slopes horizontally and connects perpendicularly with an outside three-stepped gable wall.

The contrast between a stepped wall and a pitched roof line has inspired me to find an opportunity in reimagining the orientation and interrelation of the two elements.

Combining a traditional stepped wall on a side of a building with a shifted pitched roof which top

Traditional pitched roof

Typical stepped gable

line runs in parallel to the entrance axis allowed for a more modern approach to a traditional form.

Attaching individual roof planes to each step of the wall gave an opportunity to provide a generous amount of natural light into the building, allowing for a strategic placement of the windows that frame the view. Furthermore, the building form integrates a semiopen corridor with is the element that connects individual structures together. Apart from the traditional Suzhou houses around the site, there is also a protected Xie Villa in the Changmen Hotel area itself, from which the project takes inspiration regarding one element.

Its character and style are very unique and stand out against the traditional buildings, however the particular shape of two intersecting pitched roof forms is reflected in the project when the pitched roof corridors meet and intersect.

Finally, the New Suzhou Museum

by I. M. Pei, an excellent example of a context appropriate modern structure in the historic city, was another inspiration for this project, particularly the articulation of the building and roof outlines with a dark, contrasting material.

Reimagined building form inspired by traditional elements 169

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170 Fig. 170 Elevation AA' of the indicated public building 1:200

Fig. 171 Elevation BB' 1:200 171

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Fig. 172 Isometric view of two buildings connected with corridors

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CONCLUSION The use of heritage sites for research should be encouraged. Heritage sites comprise the physical evidence of history and the development of culture and as such are a resource for research. Research into a heritage site is an important means of actualizing its values.

(ICOMOS China 2015)

In my thesis I set out to answer two research questions: How has the history of heritage preservation in China caused or contributed to the neglect of some urban areas in the historical districts? and; Is it possible for current design practice of urban conservation in China to find balance between gentrification and preservation of historical values embedded in traditional urban fabric?

The Changmen Hotel area in Suzhou, chosen as the site for my design project, was a great example as it helped to shed light on certain issues related to urban conservation in the historic cities.

Having compiled the research together with the design part, I have gained a certain level of understanding of the factors that come into play when approaching a conservation project in China.

It is evident from this research, that there are number of issues regarding the approach towards urban conservation projects in historic cities. The turbulent Chinese history in terms of its social and political changes, had a huge impact on the approach towards heritage preservation. It is clear that the notion of urban conservation is relatively new in

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China and is still maturing. The general willingness to protect the cities is not followed by adequate regulations and methodology.

Another critical issue is lack of engagement of the local community in the conservation of residential areas, or the engagement is superficial and does not benefit the residents.

Having analysed the conservation plan for the Changmen Historical District, it can be said that very often the projects do not reflect the guidelines of such a plan.

For the Changmen Hotel area specifically, the masterplan showed demolition of some of the tall hotel buildings and rebuilding structures more appropriate to the surroundings. However, the investigation has uncovered the project that has been realised, which showed a different approach than the one suggested in the municipality’s conservation plan.

The unsuccessful implementation of the conservation guidelines is a big threat to the traditional urban fabric in the historic centre.

In response to the second research question, I have thoroughly studied the design principles of Suzhou Gardens, as well traditional residences, and together with

the historical knowledge learned through extensive investigation, I have made an attempt to propose an alternative solution to a largescale urban redevelopment.

The design is merely a tool in finding the right approach, but I am confident this intervention points in the right direction.

This proposal is based on the principles learned by analysing traditional Suzhou Gardens and their architecture. It results in a system of interconnected buildings and open spaces, divided strategically to emphasize the relationship between built and non-built. The space, organised by courtyards buildings, pavilions and small gardens, is enclosed on all sides, but at the same time offers permeability and allows for connections with the residential

areas. In terms of architectural approach, the project aims to explore a contemporary language that doesn’t copy or imitate the surrounding vernacular but rather is a respectful interpretation of its context. I believe that through a more contemporary, holistic and methodological approach towards urban conservation projects it is possible to avoid gentrification and preserve the heritage values.

Fig. 173 Moon gate in the Garden of Cultivation

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