Textures: Urban and Rural Regeneration in Asia

TEXTURES AR5952A Urban and Rural Regeneration in Asia

Sharne Sulaiman

TEXTURES AR5952A Urban and Rural Regeneration in Asia

Sharne Sulaiman

Singapore

Copyright Š 2020 by Sharne Sulaiman All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher.

Sulaiman, Sharne Textures All photographs by Sharne Sulaiman unless otherwise credited. #shotoniphone Book design by Sharne Sulaiman.

Published in Singapore by shiraz by Sharne Sulaiman.

Printed in the Republic of Singapore.

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THANKS TO Singapore Lam Ann Association, Adjunct Assistant Professor Chen Yu, and

the Various Local Governments, Operators, Owners, Guides, and Locals for their immense generosity and hospitality.

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CONTENTS Preface: Trip viii Kuixiacun 1 Lim Loh House 18 Lim Keng Lian House 26 Rongmei House & Ruifeng House 30 Tea, Anxi 38 Yingbaolou 42 Jusilou 48 Kinmen Military Landscape 54 Zaishan Tunnel 58 Mashan Broadcasting Station 64 Boat-shaped Fortress 70 Chenggong Beach 76 Precedents 82 Tianbiancuo 83 Zizaixianjing 84 Grace Kinmen B&B 85 Lee Kong Chian Former Residence 86 Liguangdi House 87 Wenmiao, Anxi 88 Reflections 89 Bibliography 95

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map

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PREFACE: TRIP

that presented themselves throughout the trip. Texture is the quality of that which can be touched or seen, as a combination of materials and colours, and the degree of which is smooth or rough, soft or hard. Plainly it is the unmistakable character of a piece of architecture.

A fieldtrip to Southern Fujian, so generously sponsored by the Singapore Lam Ann Association, was led by Dr. Chen Yu from 8th to 15th December 2019. The troupe of 12 persons toured a total distance of 645 km over the course of 8 days 32 places of interest.

The fieldtrip’s intentions were to identify the values of heritage sites and analyse them for purposes of regeneration. Through on-site observation and interview, the group explored and recorded values of the numerous areas of interest. Close relationships with the local people allowed the group to understand the sites from both a local and visitor’s perspective.

This book aims to use textures as a vector to appreciate Southern Fujian architecture, and to critically analyse the importance of architecture to the sites, as architecture can greatly improve the trajectory of development when alternative futures are proposed. This book hopes to heighten awareness of the ignored values of architecture and culture that subtly enrich society.

What was most striking was not trademark Southern Fujian forms, but the unique textures ix

TEXTURES Kuixiacun 奎霞村 A little village a short distance away from Xiamen is a treasure trove of textures and traditional materials. It is one of many such small towns in the county, and relies on agriculture and its shoreline industry of oyster farming.

Asia, particularly the Philippines and Singapore, to find a better life. In fact, the overseas Kuixia population is 5 times that of the 3,300 villagers. In addition, most villagers have moved to the city for more comfortable dwellings and better job opportunities, returning only during festivities.

The historical core of the village is a patchwork of Qing dynasty architecture, overseas chinese houses or fanzailou 番仔楼, and modern buildings. Since the beginning of the 20th century, many houses have been abandoned, moving the new centre of the village outwards toward the main trunk road.

Each step through Kuixiacun is full of a sense of time, as one cognises that the minnan red brick are witness to the slow emptying of the village.

It is unfortunate that Kuixiacun’s residents have forsaken fine architectural heritage for “progressive life” elsewhere, choosing to forget their inheritance of vernacular architecture instead of rejuvenating it.

The drain of population was caused by a large emigration of Kuixiacun villagers to Southeast

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There is an intense multiplicity of textures within the small 0.16 square kilometer old village core. The textures span across a few centuries. The finely preserved, albeit abandoned, examples of Minnan craft in granite, brick and timber exude a glow that envelopes the explorer in warm light. This richness parallels the beauty of Rome.

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The abandoned nature of Kuixiacun is very tangible. Despite the lack of contemporary human activity, the walls speak volumes of the village’s history through their unique patina.

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The presence of multistorey houses, built around the turn of the 20th Century, with adapted traditional internal layouts, prove foreign influence in the remote town of Kuixiacun.

architectural styles can be seen in the non-Chinese forms and textures.

Decorative tiles, sourced from Singapore, England, or Japan, and terrazo, an originally Italian creation commonplace in Southeast Asia, can be found in the numerous houses that overseas chinese built. There is an increased polychromy when compared to traditional Qing architecture.

In the early and mid 20th century, a large number of Kuixiacun residents left the village to find better lives in Southeast Asia, settling mainly in Singapore and the Philippines. Either returning from Southeast Asia or sending money and materials back to China, their preference for Nanyang

Walking through Kuixiacun transports one to a time when villagers crossed the sea to find greener pastures.

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Most decorative tiles are stamped on the back with their company and city of origin, and/or year of manufacture. We are able to decipher the history of buildings if existing damage unveils these secrets.

Vernacular materials include oyster shells, a byproduct of Kuixiacun’s local fishing industry, as concrete aggregate. Fired pulverised shells (creating lime) are mixed with water and sand.

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While the red Minnan brick is a common and visible motif for buildings in the village, it is only used in buildings that were built during the Qing dynasty. All that was built after the 1980s employed simpler, less labour intensive methods of construction.

Long slabs of granite to form walls and floors show the village’s continued connection to the prefectural mining industry further away in the hills nearby. Contemporary use of unfinished granite is harmonious with the town’s historic texture, capturing light in delightful ways.

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PROPOSAL

As the architectural and hertiage value of Kuixiacun is too rich not to be shared, it is possible that the historical centre of the village could be turned into a torusit attraction.

more accessible. With less reliance on the car, and increased convenience of travel, businesses between villages can have increased relationships, encouraging economic success to spill over to surrounding villages.

As tourists come to view the unique Qing and overseas chinese architecture, related business like shops and restaurants can move in, bringing a new vibrancy to the abandoned village.

This also encourages owners of houses, businesses, and the government to keep the village in a good condition to continue attracting toursists.

Each village along the new scenic railway describes a different narrative.

For Kuixiacun, it is one of architecture and its trade of oysters.

The railway station is possible to be located in a position that connects Kuixiacun’s historical core and its sea industry together. This spot is at the Kuixiacun dock along the coast, minimising disruption to the existing fabric of Kuixiacun. Passengers need only walk a short distance to the ancestral hall of the village, and the dock has direct access to the station for transportation of goods.

However, the village is about an hour’s drive from Xiamen island, and may not be the most accessible countryside attraction to visit. Hence, it is possible that a new scenic railway links the few historic villages of Quanzhou together, making them as a whole

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Lim Loh House

Lim Loh (1852-1929) was born in Houpu, Nanan, and at a young age migrated to Malaya, becoming a successful building contractor, businessman and philanthropist.

He led the construction of many landmarks in Singapore including the Victoria Theatre and Concert Hall. Lim Loh is indubitably tied to Singapore’s history as war hero Lim Bo Seng was his 11th son.

The outstanding architecture of the Lim Loh House shows exceptional skill and craft. Creative experiments and solutions abound to the challenges of achieving Western detailing with vernacular materials. The house’s varied ornamentation, design motifs, use of materials, and building techniques indicate a Southeast Asian influence in Southern Fujian.

In a surprising coincidence, the tiles that were used in a renovation of a significant Singaporean temple, the Thian Hock Keng Temple, were also found in Lim Loh House.

Lim Loh built a ninety-nine room house for himself in his hometown.

There is an old saying in Southern Fujian that “one may have as much wealth as Lim Loh, but one will not have a house like his”.

The Lim Loh House allows a deeper understanding of the trajectory of Singaporean architectural history.

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Due to the double storey construction of the Lim Loh House, creative solutions to the unusual need of a staircase in a traditional plan were found. This staircase is hidden behind the main hall and is adorned with both Chinse and Western ornaments.

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This view from a gun tower framing the Lim Lok House compound allow the viewer to appreciate the roof lines and textures, layed upon the unique double storey arrangement of the house, inspired by and built with techniques from Nanyang.

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PROPOSAL

The Lim Loh House sits at the cultural and social centre of the village; before it is an informal plaza where villagers congregate for festivities and other communal activities. The compound is also nearby to another house that Lim Loh built for a friend.

such that the income generated can be used to fund conservation and museum operating expenses. The house belonging to Lim Loh’s friend in proximity could be a satellite accomodation for this district. This creates a sustainable business model that promotes architectural heritage while maintaining relevance in the contemporary economy.

Hence, one could say that the Lim Loh House is situated within a district of cultural, historical and architectural significance. This means that the house is networked with other buildings and activities for a strong narrative.

The industries that could potentially supplement the district are already there: local farming of vegetables provide a rural experience to hotel guests.

It is possible that the house could be turned into museum-hotel. The architecture and narratives are preserved for educational purposes, but it is made more accessible to the general public with a hotel component.

Ensuring connectivity to encourage visits is assured by the easy accessibility of the district. Since it is along a major highway, the district can be visitied as a stopover before larger nodes of Anxi or Meishanzhen.

The numerous now empty rooms can be converted to hotel rooms

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One of the many rooms of the Lim Loh House.

They are sizeable even by modern standards.

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Lim Keng Lian House Lim Keng Lian (1893-1968) was born in Luoyancun, Anxi, but moved to Singapore in 1927 as a tea merchant, setting up a branch of his family firm “Lim Kim Thye�. He was greatly involved in Chinese matters in Singapore, continually in a position of leadership within the community, finally culminating in presidency of the Singapore Chinese Chamber of Commerce (1935-1936).

The house he had built for himself in Luoyan is heavily influenced by Southeast Asian architecture. It is a rare arrangement being two storeys in its entirety. It is a very defensive piece of architecture, its exterior facade being built wholly from granite, with numerous windows in slits as gunholes. In addition, it has a gun tower to defend from bandits. The interior retains the traditional Chinese flavour and layout, being constructed with timber.

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Lim’s descendants continue to inhabit the house, and carry on the family business of tea making. As they have no part to play in Lim’s company, their situation is one of poverty. They have little money to maintain the house, leaving it in a sate of disrepair that is dangerous to their health and safety. The introverted design of the house can be felt on all floors- the strong granite wall and its plastered interior surface is present in every room.

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The current inhabitants make do with the spaces in the house. Many of them are multipurposed- at once both a space to process tea and care for children. There is no dedicated storage nor a place to dry clothes. While they feel that the house is special in some way they cannot understand, they fail to appreciate its true architectural value.

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Rongmei House & Ruifeng House

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These large houses in Luoyancun are within walking distance to each other.

The owners were of obscure originone was a general in the army. Both owners did not seem to have any connection with Southeast Asia, yet their houses display an unexpected Nanyang influence. These can be seen from the double-storey arrangement of the houses, the decorative tiles on the facades, and the non-Chinese forms of panelling in the second storey main halls.

It is possible that the craftsmen had some knowledge of Nanyang construction, having learnt them while working on other overseas chinese houses, and when employed to build these houses, decided to implement their inspirations according the the large budget of their clients.

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In this wall painting is a view of the very house containing the painted panel. The novel double storey arrangement, an innovation originating from Nanyang, is clearly and accuratedly depicted.

This image can serve as a blueprint for future restorations.

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While still in continuous use by the original owner’s descendants, the state of dilapidation is apparent.

Poorly maintained roofs lead to the quick deterioration of timber members.

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An unfortunate affliction that affected all sites, but particularly these houses, was the Cultural Revolution in the 1960s. Much of the traditional elements of the houses were pillaged and damaged. Also in an effort to conceal the traditional elements, many were destructively painted or plastered over, never to return to their original glory. Since the houses’ construction, many timber members have rotted or been broken due to negligence.

The conditions in which the descendants of the original owners have kept the houses is certainly disappointing. It is quite obvious that there is a high level of craftsmanship and extravagance in these houses, yet the inhabitants repurpose well detailed/decorated rooms into animal enclosures or storage. While understandable that restoration is a financial issue, there is a blatant disregard for the architectural value that is highly apparent.

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PROPOSAL

There is a difficulty in proposing a comprehensive solution to the Lim Keng Lian House and the two old houses, as they dispersed in various locations which are hard to access.

An Operator may suggest turning the property into a hotel, enriching guests’ stays with a village experience. This could mean trying out agricultural work like farming or tea harvesting and processing. Louyancun is largely tea planting area, hence lodges involving tea making or tea appreciation may be most appropriate.

There is a possibility that may work with these houses. A business model that involves the Government, Owner, and an Operator in a rental or lease situation may help to rejuvinate the houses.

This way, the Owner gets the benefit of a free renovation in exchange for a lease of his house for a duration of some decades. The Government altruistically improves the living conditions of the village while simultaneously injecting new life into the village economy. The Operators find new and cheap premises to start innovative models that revolve around rural conservation.

The Owner may apply to the Government a request for the Government to renovate his house, given sufficient substantiations of architectural and historical value of the building. Upon approval, the Government may find an Operator to suggest a business to use the premises in a creative way.

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This tea tree is said to be the original plant or 母树 of Huangdan 黄旦, a type of Oolong tea. Under its shade is a spectacular view of the Anxi mountains textured with terraces and the leaves of tea bushes.

Tea, Anxi Anxi is China’s capital of tea. Almost all Tieguanyin tea 铁观音 comes from Anxi.

fixing at temperatures of 200-300 °C called “killing green” or 杀青 that destroys enzymes from continued fermentation, the tea leaves are rolled, roasted at 70 °C, and compressed.

Various grades of tea are mixed to a blend before being prepared for consumption.

Anxi’s Tieguanyin may taste floral or nutty and is much loved throughout China. This Oolong 乌龙 variety has a very specific method of preparation. Beginning with plucking the fresh tea leaves, they are then dried and fermented to produce the tea’s hallmark taste. After a quick

The Fujian way of appreciating tea is through the gongfu tea ceremony to maximise the taste of a tea.

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Anxi has a tea village (not pictured) that encourages involvement with the county narrative of tea. It hosts programmes using active learning.

Youth and tour groups alike are engaged through hands-on experience of tea processing. Bootcamps for children inculcate independence at young age. The village also has leisure activities such as a water park that draw city dwellers out to connect with the rural countryside.

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Yingbaolou 映宝楼 Yingbaolou is a type of tulou 土 楼, a defensive communal building.

They were built as protection against travelling bandits and land-hungry neighbours. They represent a fine collective effort of multiple families still unseen today.

attacking groups. The lack of external windows, except on the top floor for gun holes, boosted the buildings’ defensive capabilities.

Yingbaolou, though conserved by the local government, is not a well known landmark. Its location is only revealed publicly on a map in the Anxi Wenmiao.

The buildings are fortified on the outside by compacting earth and cladding with stone to form thick walls that would be impenetrable by

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These round ports are meant for an inportant part of tea processing: fixing, a halting of the oxidation of tea leaves by denaturing oxidising enzymes, and roasting.

Wood fires would have been kindled in the earthern ports and bamboo baskets containing the tea placed on top to process the leaves.

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Yingbaolou’s close relationship to the tea industry of the region shows in its design. Round ports on the top floor, though at first mistaken for toilets, are in fact stoves for parts of the process of tea processing. Fixing and roasting require wood fires to be kindled in the ports, with bamboo baskets containing the tea placed on top for processing.

The tulou is unusually spacious for the number of intended occupants. Despite the lack of external windows, it has spectacular views of the surrounding mountains from the courtyard.

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Jusilou 聚斯楼

Jusilou is a large tulou with many rooms. Its earthen wall has shown signs of pillaging; stone cladding on its east side that is expected symmetrically on the west side is missing. It is likely that the stones were taken for other local constructions. The building’s large overhang has protected the thick earthen external wall from weathering.

The national government had recently declared it as a monument, and had refurbished the interior. However, the building sits empty, awaiting proposals for reuse.

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The tulou’s timber interior is beautifully patinated, and its roof well restored.

The timber panels reflects the light of the setting sun in a peculiar brown and grey tone, giving the building a rustic charm.

Though empty, the building feels alive- its timber flooring creaks and groans under human weight, yet feels solid enough to handle much more.

A soft breeze fills each room, keeping the building well ventilated. It surely anticipates an exciting future.

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KINMEN MILITARY LANDSCAPE

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PREAMBLE

Kinmen has been a flashpoint in the standoff between Taiwan and China, being a Cold War military base.

Kinmen was governed by the military from 1949 to 7 November 1992, a period of nearly half a century. In contrast to other Cold War standoffs where both sides were equal in size and power, the small island of Kinmen faced an intensive artillery bombardment from its much larger neighbour. Despite the great disparity in power, there was an indefatigable determination of the military and people of Kinmen to defend their homes.

Contemporary Kinmen is inextricably tied to its historic battlefield culture. On account of the historical battlefield background of Kinmen, the island is dotted with military facilities and picturesque landscapes. After many years

of military government, the local society and spatial environment has been almost completely militarised. The experience of battleground life has become a collective memory of all residents. A special “military landscape” emerged; the island now has many tangible and intagible features of battlefield culture.

Kinmen’s unique situation enables a deeper understanding of a battlefield culture and landscape that is rich historically, culturally, and architecturally.

In response to the threat of war, it was necessary for Kinmen to integrate politics, the economy, society, culture, and ideology toward military pursuit. The island is very close to Mainland China, but 227 km from the island of Taiwan. As such it was important to be able

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to engage in independent combat.

The basic prinicples of Kinmen’s defensive operations include destroying the enemy on beachheads, preserving combat capability underground, and utilise military-civilian unity to enhance overall combat capability.

Kinmen’s military installations, which included training facilities, transport systems, logistics facilities, and intellegence installations, exploited the island’s topography. Most of the fortifications were built taking into consideration the terrain, to achieve the objectives of blocking, camouflage, invisibility, and self-defense.

Civil administration was directed to mobilising manpower and materials

to support military combat operations while reinforcing social order. Various civil aspects were closely linked to the military. The battlefield culture and wartime atmosphere brought military and civilians close together as they bravely defended their homes in the face of adverse circumstances.

Elements of life and culture were affected as a product of military-civilian collective memory. This encompasses faith, food and drink, and handicrafts. Most of these have been preserved as part of society, either in built form or others.

Kinmen National Park is in charge of decommissioned battleground sites and has actively worked to regenerate them. More than 30 military strongholds have been restored and opened to the

public in the past 3 decades.

By being pieces of historical, cultural, and architectural heritage or resource, new links between contemporaneous society and the past can offer different perspectives such that the haunting of a war long over can function as a foundation on which future peace is built. Moreover, films and guide books produced by the park showcase the tangible elements of military culture. This highlights the story of Kinmen’s remarkable defense, paying homage to the brave servicemen and local residents.

The textures described by Kinmen are mostly of modern materials- concrete and steel.

While many find this material as “faceless” and “blank”, the textures elaborated in this chapter seek to advocate it differently. Concrete, being a modern material, is fairly

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familiar to the contemporary man, and hence the person experiencing it is able to connect more directly with the narrative of the textures and their history than with tradtional craft materials.

Beyond the materiality of architectural textures, the combination of physical and natural setting aid in narrative.

Taiwan, hence Kinmen, represents an excellent example of urban and rural regeneration in a controlled and sustainable manner that is beneficial to all parties. It is encouraged that urban and rural regeneration projects look to similar ones that have already been done in Taiwan in order to create a successful outcome.

Kinmen sits upon hard granite with large streaks of inclusions. This granite protects underground installations from heavy artillery bombardment.

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Zaishan Tunnel In response to a war based mainly on artillery bombardments, most of Kinmen’s various military strongholds and facilities were placed underground.

From core command posts, military strongholds, artillery positions, assembly areas, supply boat tunnels, broadcasting stations, radio stations, hospitals, hotels, electricity generating stations, water storage ponds and gas tanks, to combat village undergrond tunnels, the strategic objective was “to preserve combat capability underground and bring firepower to bear aboveground”.

Kinmen’s granite geology enabled operational fortifications and core installations to be located in rock without expensive reinforcement.

Most command units remain in tunnels carved directly out of the grey stone.

The First Taiwan Strait Crisis resulted in both sides surrendering, battling mostly on beaches and land. Shelling drove the military underground in the Second Taiwan Crisis, protecting units by strong granite caverns.

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The void of Zaishan Tunnel was blasted from the granite rock with dynamite between 1963 to 1966. The fingerprints of this process can still be seen today- holes drilled into the rock where dynamite was charged dot the walls and ceiling. The fractures of the explotions emanate from these nodes.

reflection, and the serpentine shape of the tunnel enhances reverberation, creating a sound that is reminiscent of great cathedrals. Over the past decade, the Kinmen National Park, the owner and operator of Zaishan Tunnel, has creatively collaborated with numerous classical musicians for an annual music festival where musicians perform on a gondola that floats from one end of the tunnel to the other. The atmosphere with music reverberating through the tunnel is otherworldly.

Besides the physical texture of the tunnel, the space has an aural texture too. The water and rock provide large areas of hard surfaces for sound

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These holes are remnants of dynamite charges that were drilled into the stone to blast it apart to create the tunnel.

Image courtesy of Classic Kinmen Travel.

Mashan Broadcasting Station One of the few installations of psychological warfare, Mashan Broadcasting Station was meant to blast propoganda messages to mainland China.

Current affairs were also broadcast.

The narration needed to be loud and slow for it to be heard clearly over the long distance to China.

Due to the station’s continuous use till the 1990s, it remains in a usable condition. The smoothness found on walls and edges speak of the wear of repeated human contact over many years of use.

Within the subterranean facility are entirely man-made surfaces- concrete and plaster. Unlike the Zaishan Tunnel, Mashan Broadcasting Station was built closer to the surface which did not provide the usual solid granite protection.

The familiarity of the station’s textures of concrete, plaster, and paint normalises the architecure, presenting the narrative in a straightforward and relatable manner. Visitors are able to immediately connect with and understand the story.

The propaganda messages or 喊话 were never recorded in audio, hence the messages survive in the memory of Kinmen and Quanzhou residents across the waters. The messages usually broadcast emotional personal narratives to sway mainland Chinese.

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The beautiful landscape setting of Mashan Broadcasting Station accentuates the narrative.

Upon arriving at the station, one is able to appreciate a large beach with anti-landing barricades.

This image reinforces the military past of the island and its battlefield story.

Approaching the entrance of the underground installation, one realises that the plants in

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the surrounding are not native to Kinmen. The vegetaton is sharp and spiny, meant as an area denial barrier to ensare enclosing enemy troops.

Cacti and bougainvillea found around Kinmen in civilian contexts remind the population continuously of the military history of the island.

Fortifications and military installations were planted with species that had spines or serrated leaves, serving as a deterent to enemy troops enterring these areas.

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Boat-shaped Fortress To allow a crossfire network to block bays and beaches, almost all frontline coastal strongholds across the island were located on capes or in the middle of beaches.

Coastal strongholds built out of reinforced concrete were numerous, whether protruding from the surface, blending into the environment, or partially hidden underground, forming an important battlefield landscape.

This “boat-shaped� fortress, E-037, was constructed in 80s and is located on the beach

of Northeastern Kinmen, facing the coast of mainland China. Since it is easy for enemies to disembark, the beach is equipped with three rail anti-landing piles and mined zones. The vessel shapped fortress is armed with embrassures on both sides intending to control the sides to the left and right of the fortress, and attack the enemies in cooperation with neighbouring strongholds.

The fortress is uniquely shaped, and its peculiarity of form helps it to assimilate into the landscape as if there were

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a boat already on the shore.

Its extreme roughness of its man-made concrete texture, possibly due to haste in construction, indicates its completely utilitarian function. The roughness and brutality brings to mind the battlefield culture and climate.

Within, the integration of explanatory panels with the architecture on the second storey allow the architecture to speak louder than words, the text only enhancing the experience for visitors.

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A view from one of two pillboxes that protect the left and right side of the stronghold. It is from here that enemies are attacked if they come too close to the stronghold.

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The stronghold is located in the centre of a wide shore, a shallow sandy beach uncommon on the east of Kinmen. This beach could have been easily landed by hostile forces.

Hence a mine zone to the left and right of the stronghold was planted, and an additional 500-pound napalm mine as a last resort to exterminate the enemy should their advance be unstoppable. This meant the soldiers within the stronghold would be decimated together with the enemy.

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The contemporary setting of the stronghold against the serene sea of the Taiwan Strait is a large contrast to its brutal history. The placid beach, now sans dangeorous landmines, allows a physical space for the mind to fill with contemplation and reflection; the mind imagines a different reality, one which war could have ravaged the viewer’s immediate surroundings.

This confluence of textures and landscape highlights out the very real threat of war that had, and continues to exist.

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Chengong Beach

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Because land mines are unable to be planted on rock, the military had to devise alternative methods to hinder advancing enemies. Glass shards are cemented on boulders as a painful barrier to troops from the sea.

While Chenggong Beach itself is a classic example of Kinmen’s coastal defense, with barnacle-encrusted anti-landing spikes, glass shard-covered boulderes, and hidden pillboxes, its location and setting on the southern side of Kinmen encourages contemplation and personal reflection on this quiet beach.

The beach has brilliantly wide views of the Taiwan Strait. The surrounding relics of war help to place the viewer in the position of a soldier during the Cold War, looking across the Strait beyond the horizon in the mind’s eye to his source of passion- Taiwan Island and its democracy. The depressing reason for being so far away from “home” is to fight a noble cause against the enemy. Yet beyond is the Pacific Ocean, the Earth’s sea of tranquility, a calm expanse of space so at odds with the conflict locally on Kinmen.

Chenggong Beach is an ideal place to catch sunsets, as it is more than likely that the sun descends upon the southernmost cape of Kinmen, and every so often a plane departs from Kinmen Airport, gracing the sky quietly with an ornament of shadow. The view of an 8km long unbroken strip of beaches frames the sunset in a dramatic crest.

Sunsets represent a moment for reflection for

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events in our lives.

Questions we ask ourselves in the quiet moment of pause measure our thoughts and actions. It is through this which we understand the impact of our actions.

Immediate to the viewer is the crashing of waves on large rocks and fine sand shifting along the shore, more slowly the dipping of the sun below the horizon and the gradual dimming of the sky, yet even more slowly the erosion of the fortifications and rusting of antilanding spikes. The viewer cognises the passing of time through the hardly tangible textures of sea, sky, sand, rock, concrete, and steel.

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PRECEDENTS In order to more precisely understand urban and rural regeneration, one must use past examples to appreciate the climate of such regeneration. The pros and cons of such projects must be analysed and assessed if they can be done better or differently.

In redevelopment projects, many parties are at play, and a reasonable arrangement must be framed such that all parties benefit from the regeneration. While most regeneration projects are successes, it may not be so in the long term. Sustainable models must be sought to ensure continuity of architectural and cultural heritage.

Ultimately, the reality of economy, and social pressure play an important part in redevelopments, and it is a culmination of many factors that are hard to measure.

The proposals suggested for Kuixiacun, Lim Loh House, Lim Keng Lian House, Rongmei House, and Ruifeng House are substantiated by these precedents. The extent of architectural conservation and business models described in this chapter are successful examples that can be employed elsewhere.

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ACCOMODATION

Tianbiancuo 田边厝 The hostel is located deep in the mountains. It takes a drive of about 1.5 hours along a narrow and winding mountain road. The group finally arrived beside fields, the namesake of the hostel.

The group journeys deep into the mountains on narrow roads to reach Tianbiancuo.

Upon arrival, the group marvels at the unique restoration and sensitive repurposing of Tianbiancuo.

The concept was designed by Zhang Mingzhen 张明珍, the founder of a rural planning and design firm, an architectural professor who so kindly arranged most of the trip for the group. He had decided to use Tianbiancuo as a way to exercise conservation of rural traditional Chinese architecture and allow guests to experience the “slow life” of the countryside. It was hoped that the hostel would be a tool to encourage greater village connectivity and resource sharing that contemporary urban thinking had begun to negatively affect rural mindsets.

The hostel is an old house that was restored and updated with modern conveniences.

Each room has air conditioning, a comfortable bathroom, and sufficient electrical points. The group was awed at the condition

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of the house, especially since the lighting had illuminated the building in a classy manner.

While the group did not have sufficient time to enjoy the hostel and its surroundings, the group was particularly amazed at how an old house could be renovated to remain relevant to contemporary times. The old architecture was not overbearing and hence did not seem “spooky” given that traditional houses tended to be mentally linked to temples and shrines.

The group could certainly understand the intentions of the hostel, which were to follow the rural lifestyle, see the landscape and ecological scenery, and witness the self-sufficient rural life of villagers.

The hostel is operated by Zhang’s firm Southeast Village Construction, such that the firm and government jointly invest money into the venture, bringing the renovation of the house to a low cost of RMB300,000.

Zizaixianjing 自在仙境 This unique hostel is composed of three large traditional houses and is run by a sole owner Lin Zhixian 林志贤.

The owner was able to renovate the historic house injecting new materials and modern standards into the old architecture.

Conversations with the owner and his hospitality revealed the richness of rural regeneration.

The group stayed at the hostel for only one night, but found great value in the conversations and hospitality of Lin. Upon arriving, he immediately showed us around the hostel and its operation- two houses were for accomodation while one was for rural and cultural education. The place included a large newly built multipurpose hall for gatherings of 50 or so people. The programmes he hosted were tea making and farming, mainly for visiting tour groups or students. After a dinner prepared in a kitchen converted from two rooms of the southmost house, Lin offered tea and alcohol to the group, relating how the hostel had come about.

Lin shared that his experiences of travelling through international hostels, in addition to seeing the success of redeveloped properties, inspired him to find a unique place to set up a hostel. He wanted something with nostalgia, though

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he related that “instead of finding the place, the place found [him]”.

While the houses were planned by a famous fengshui master, talks to procure the houses were very easy as the original owners desperately wanted someone to take over. Old houses did not have plumbing and electricity, and the abandonment to comfortable modern homes in the 80s left the houses in bad state.

With some money from the local government after proving the houses’ historical value, that the interiors had issues, and that a future plan could work, it took two years to renovate the houses.

Challenges were plumbing and imperfect alignments.

Lin employed an experienced carpenter to slowly refurbish all parts to an original condition.

Since designs were symmetrical, the carpenter used opposing sides to refer to for refurbishment.

On the topic of Lin’s business model, it was discussed that any sustainable business needed a Product, its Processing, and its Supporting Industries.

Grace Kinmen B&B 新水调歌头 This hostel in Kinmen is one of 75 traditional houses that were converted into hostels, or minsu 民宿, under a government programme. Others had been converted to shops or restaurants.

The model used by Grace Kinmen B&B and similar hostels was shared over breakfast by the Operator. She shared that in the scheme, there were three distinct parties involved- the Owner, the Government, and the Operator.

Under the programme, historic houses can be converted into hostels, shops, or restaurants through a lease contract. Owners allow the Government to lease their property for 30 years while an Operator uses the property for their own use in 1+1, or 5+4 year rental modes. This is the Government’s way of assisting Operators to test waters in business sustainability. However, issues with handover at the end 30 years is not yet fully understood.

Grace Kinmen B&B’s Operator shared that Kinmen locals like their old houses and are willing to

handover the house to renovations if they are not staying, as it means a rejuvination of their house and potential income. She related that Operators prefer to deal with the Government to deal with Owners than by themselves as it reduces conflict and personal interest.

While the Government renovates the house and uses tenders to chose Architects and Contractors to do the work, some Owners choose to renovate the houses themselves, and as such receive Government subsidies. As long as there is a semblance of the original house, then the house can be considered for rebuilding or renovation.

The Government assesses the proposal to renovate - how similar the planned completion is to the original and what the benefits of the proposal are - before approving. The Government is kind enough to suggest directions of the proposal and spell out what it is responsible for in renovation and leasing contracts.

This model is seen as a good way to encourage rural regeneration.

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Breakfast is served as the operator shares the homestay model typical of Kinmen.

Beside the mingshu is yet another designed with Western influences.

Beautiful decorative tiles adorn the facade.

MUSEUMS

Lee Kong Chian Former Residence

The house has been almost completely rebuilt, looking uncannily perfect- an odd sight given its long history. Its ancestral hall is still open for visiting descendants, but the rest of the building is now a museum.

Lee Kong Chian was a prominent Chinese businessman and philanthropist in Malaya.

Through his ventures into banana, rubber, pineapple, and palm oil plantations, including dry food and banking, Lee was one of the richest men in Southeast Asia in the 1950s and 1960s.

It is hard to fathom that this man, from a small village deep in the mountains of Fujian province would have significant links to Southeast Asia.

He was born in 1893 to a simple and poor life, later moving to Singapore in 1903 to search for a better life, but prospects did not change much. Apparently, he had worked under Lim Loh to study in an English school to better his education.

The house is part of a greater park that revolves around Lee Kong Chian and his contributions.

The group visited his place of birth in Furong Village, Nanan.

The house was a large one that was almost completely rebuilt.

The perfection of the rebuild is uncanny despite the house’s 100 over year old history. While much of the main facades are redone

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with tradtional materials, most of the secondary spaces are rebuilt with contemporary materials i.e. concrete and plaster. The room in which Lee lived in as a child serves only as a token memento of the original architecture- the room is no more than a marker of location despite its attempts to recereate the original layout with period furniture.

The Lee Kong Chian Former Residence is divided into two sections, one being a reconstruction of the old house with its ancestral hall for continued use by descendants, another in the annex blocks or hulou, a museum plastered with explanatory panels of Lee’s personal journey and legacy. While the latter section generously educates the public, the modernist interior is hardly remarkable and fails to assist carrying the architectural heritage value of the building.

The house is part of a greater network of buildings, including a large middle and high school that revolve around Lee and his contributions.

Liguangdi House 李光地故居 This house is a good example of well-maintained and preserved architecture with new purposes.

The group was led around the house by the 11th generation of the original owner’s descendants.

He was an elderly gentleman who had a knack for story telling and narration, giving much counsel on aspects of life. His expert guiding was essential to understanding the story of the house, and its relevance to contemporary life.

The house is a five-entry house, or 五开间. Despite its typological name, it has 4 halls and 3 courtyards. Such houses were meant to show off the owner’s economic strength and social status. Liguangdi the original onwer was a Chinese court official during the early Qing dynasty.

The almost perfect preservation of this 300 year old house is owed to a major restoration in 2006 in addition to small repairs over the years. Few modern materials have found its way into the house, and where they are present, do not

detract from the true architecture.

Upon realising the value of the Liguangdi House in recent decades, the local government moved its residents out to covert the building into a museum, only allowing a few select people to continue staying within. The group understood that they did not agree to the resettlement terms.

It is possible that due to the descents still remaining in the house that the government carefully and sensitively restored the building. The descendants could also have a high sense of ownership over the place, upkeeping it and maintaining it as filial relatives.

Even though the house is in a remarkably good condition, it was still subject to the pressures of modern development. The group understands that behind the house was a small garden with two longan trees, which has since been replaced with other houses fronting the main road.

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The house is maintained well with few replacements and changes to the original architecture.

Some rooms at the back of the house remain in use by the descendants of the original owner, but the rest have been turned into a museum.

Wenmiao, Anxi 安溪文庙

A tour guide brings the group around the temple which has been converted into a museum.

A hands-on activity involves the entire group, educating us in a particular method of printing for conservation purposes.

Wenmiao, as the name suggests, is a Confucian temple that has been converted into a museum of historical artefacts and art. The architecture of the temple dates from the early Qing dynasty of the 17th Century, and is said to be the most representative of such types of architecture.

A rather large complex in the heart of Anxi, it is now shadowed by towering apartment buildings.

There is no angle from within the temple’s courtyards that one can take a photo without modern inclusions.

The group was brought around the museum by a guide, who explained the long history of the building, its architecture, and how it encapsulates Confucian teachings. At the gate are 通天 至 columns that reach from the ground to sky, while frescos and relief carvings show scenes of tea more than 300 years ago. They indicate that Anxi’s relationship with tea is unchanged; the white cups in use today are exactly the same as in the Qing dynasty. Due to the brilliance of

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the architecture and its strong expression of ancient values, the temple had to be protected by semi-destructive methods during the Cultural Revolution by scattering temple artfacts and plastering or painting over ornaments.

While the architecture remains spectacular and is preserved wonderfully as such, much of the annex buildings have lost their original character, having been converted to open air galleries that lack a tectonic of fine grain.

The group was invited to partake in a hands-on activity that was similar to a process which conservationists use to record and recreate the carvings on door plaques. The group was enthusiastic in trying to very quickly learn the craft and refine it such that the product would turn out perfect. Many failed trials resulted in the group focusing mostly on one print.

While involving, the activity’s connection to the narrative of Wenmiao was not concrete.

REFLECTIONS Rural China This trip to rural Southern Fujian really changed my perspective on China. I had only ever visited big cities and developed places like Beijing, Shanghai, and Hainan.

The grain of metropolitan Chinese cities is immensly different from that of Chinese villages.

Villages in Southern Fujian hold many more stories which enrich the architectural value and visiting experience. I assume my preconceived notions of traditional Chinese architecture were just as negative as other Singaporeans- a typology stuck in ancient and superstitious beliefs, in the same vein as eerie Taoist temples that possibly harboured evil spirits in its dark corners. Yet this trip revealed that traditional Southern Fujian architecture was extremely rich and varied. Each design was unique and a creative play on exisitng typologies.

I had never expected such gems of architectural heritage could be found deep in the mountains, linked historically to international geopolitical climates. I wish more people could see these amazing

places and appreciate their unique cultural and architectural value, acknowledging their own family narratives and cognising themselves within the greater arc of the Asian story.

Traditional Chinese Houses It saddens me that the reason why most of the sites we had visited were in such a state was the unfortunate but inescapable reality of their histories. Migration out of villages was a recurring issue that seemed to be the root of most problems.

This narrative of large scale Chinese emigration to Southeast Asia began in the 17th Century when Xiamen became a dominant port. Traders went to and from China with and without government support, creating an international network of Chinese.

The defeat of China at the end of the Opium wars in the mid-19th Century pushed many Chinese outwards. These people were mostly coolies. The economic rise of Southeast Asia in the early 20th Century attracted a diverse composition of Chinese, while later in the century the wealth of

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the People’s Republic of China increased the mobility of Chinese to travel in the hopes of finding fresh pastures to expand their businesses. There is a saying in Fujian about those who travelled overseas, “山上福建、海上福建、 海外福建” meaning that there are Fujian people in the mountains, on the sea, and overseas. Lately, the drain of residents from villages is due to the rise in developed Chinese cities which present attractive opportunities and lifestyles.

As shared by our guide in Guanshancun 观山村, migration was encouraged by word of mouth- one family calls upon another family for help and aid.

But the government has bee nattempting to attract people back to the villages. Various rural upgrading schemes improve living conditions and communal activities. Given the upgraded rural amenities, new houses have been built in Guanshancun by city dwellers as a country retreat, though at the expense of neglecting or abandoning their ancestral home. The historically intended model of a communal house to return to has now shifted to privatedly owned houses of nuclear families. Many old houses are left either empty or occupied by less fortunate descendants.

An added concern is that the new houses tend to be rather large and

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tall, affecting the countryside landscape significantly. But the government prefers not to place planning restrictions as they are worried it deters villagers from coming back to their hometown.

Moreover, there is little land to build as well given topography of landscape.

The problem of old dilapidated ancetral homes is regrettable as they took much effort and money to build. In order to bring the required large slabs of granite to the site, these stones were quarried far away and manually carried along narrow mountain trails. It also forgets the large amount of effort that overseas Chinese took to send hard earned money back to China to build these houses.

More must be done to conserve these traditional Chinese houses as they hold much architectural and historical value.

This fate does not severely affect overseas Chinese houses (fanzailou 番仔楼) which have a distinctly Western-influenced design on the outside, with traditionallooking interiors. Most of these showcase Nanyang celing/floor construction. It seems that locals and the local government value these architectural pieces due to their unique look as compared to the more common traditional Chinese house.

Personal Interactions I am incredibly thankful for the

hospitality and generosity of all the governments, operators, owners, guides, and locals. They so charitably guided us through the sites, and provided delectable meals. I found it was in these small moments when the stories they shared were most interesting and useful for the purposes of understanding the climate of urban and rural regeneration in China or Taiwan.

Over meals, I came to understand that there was a common model in which old houses were rejuvinated.

Usually, the house is rented from the family who now stays in the city, while the government or an operator renovates the house.

This is a win-win situation for all as the family keeps the house while collecting rental, while the operator generates profit with low capital outlay due to government/ crowdfunding subsidides.

At Zizaixianjing, I was surprised the owner Lin was so generous in offering us a locally distilled liquour at no charge. Through the conversations I learnt that he liked alcohol and liked the discussions that came with it. From the discussions I came to understand various views on what was good and bad in regenerations.

For example Foguangshi 佛光寺 in Shanxi was perceived to have lost its spirit because of cultural replacement. Long ago it was repaired by families, but since its

restoration after being declared a UNESCO World Heritage site the familial connection was lost and so was its spirit. This is in spite of its preservation. Lin mentioned that the soot and ashes of a temple is part of the spirit of a place, and that sterile environments were unhealthy in keeping the genius loci.

I also learnt that Fujian was a melting pot and intensifier of culture. Many people had moved to the Chinese South to escape the problems of the North. Hence Fujian and its people keep a lot of their individualism and spirit.

Culture continues to live on and fester. The added interactions with foreigners during colonial times allow culture to both mingle and be exported. Therefore Fujian has significant cultural value given its history.

Yet I undertand from Lin that villagers remain traditional and conservative. In contemporary times they still place their identity in villages or surnames.

The transfer of knowledge was certainly not one sided however.

The Singpoarean delegation helped Lin and Zhang understand the cultural and social development differences between Singapore and China.

One example was the irrevokable zoning of land for temples and places of worship, a concept which was very foreign to the Chinese.

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Tea As the group moved through Southern Fujian where tea is a significant part of the culture, there were many opportunities to appreciate tea’s taste and narrative.

Many times during the trip we were “interrupted” with sessions of gongfu tea ceremonies, where hosts would invite us to drink some tea with them.

I found that Fujian tea was unlike that of black tea, which I am most familiar with. The latter’s story is completely affected by colonialism.

I came to understand through the gongfu tea ceremony that tea was not only for itself, nor for its health benefits, but for the pursuit of relationships, self-cultivation, and soul satisfaction. Tea enables one to slow down from the frantic pace of contemporary life and return to all that is pure and simple.

Taiwan Before the study trip I had toured a number of cities in Taiwan for vacation, and found the climate of urban regeneration there to be extremely sensitive yet creative and successful.

Kinmen, being a part of Taiwan despite its proximity to China, was no different.

Kinmen used the American model of employing a governmental body to protect and preserve national parks/monuments. Since

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Kinmen had a high green coverage and natural landscape, Kinmen National Park takes care of the historic military installations in addition to the natural areas.

The Taiwan Strait Crises offered Kinmen a lot of development potential as there could be many harmonious interactions between military, civil and natural environments. The group was fortunate to try kaoliang, a local liquor made from sorghum with its roots in the war. In an effort to boost synergies between the military and civilian life, the military offered one pound of rice for every pound of sorghum harvested. New ways of living were brought about by Kuomingtang troops, many soldiers of which were not from the Chinese south.

For example beef and dumplings were introduced into Kinmen and Taiwan.

Kinmen and Southeast Asia While a small island, it is surprising that Kinmen has high relations with Southeast Asia.

There are at least 10 Kinmen or Kinmen village related associations in Singapore. When comparing these overseas Chinese populations, Indonesia’s overseas Chinese is a large population but a small percentage of the even larger Indonesian population.

Hence they feels distinct from general Indonesia. In Singapore where Chinese is a large percentage of the population,

most Chinese feel comfortable as Singaporean and hence feel no major connection to China or Kinmen. Similarly in Malaysia while there is a strong influence of Chinese culture, most have settled deeply in Malaysia and feel a sense of belonging there.

Hence overseas Chinese houses have little relevance to overseas Chinese people. Yet because of their prominence locally in Kinmen and China, they are reminders of a history of migration.

Conclusion The trip allowed me to more fully understand the challenges of rural and urban regeneration. In Southern Fujian, it was caused by the efflux of people from the region, and the consequences of which are difficult to manage due to economic and social issues which have to be handled by inexperienced or ill-equipped stakeholders. It is hoped that the climate of rural and urban regeneration improves as education and media carry the ideas and successes of regeneration further such that solutions can be sought for architecture still left languishing. There is an immense amount of cultural, historical, and architectural value yet to be shared with the world. Perhaps, the proposals set forth in this book are some of the possibilities given the learning points of similar examples.

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