Feng Shui Application and Modern Landscape Design for Architectural Practice in Viet Nam

F ENG S HUI A PPLICATION AND M ODERN L ANDSCAPE D ESIGN FOR ARCHITECTURAL PRACTICE IN VIET NAM

HAI VAN THI DINH

MASTER OF ARCHITECTURE

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved THE GRADUATE SCHOOL CHIANG MAI UNIVERSITY SEPTEMBER 2006 ISBN 974-9895-18-5

F ENG S HUI A PPLICATION AND M ODERN L ANDSCAPE D ESIGN FOR ARCHITECTURAL PRACTICE IN VIET NAM

HAI VAN THI DINH

A THESIS SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved THE GRADUATE SCHOOL CHIANG MAI UNIVERSITY SEPTEMBER 2006 ISBN 974-9895-18-5

FENGSHUIAPPLICATION AND MODERNLANDSCAPE DESIGN FOR ARCHITECTURAL PRACTICE IN VIETNAM HA1 VAN THI DINH

THIS THESIS HAS BEEN APPROVED TO BE A PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTWRE EXAMINING COMMITTEE e

CHAIRPERSON Dr. Ekkachai

Mahaek MEMBER

Dr. Apichoke

.............

Lekagul

...

Asst. Prof. Dr. Supagtra

...

MEMBER

Suthasupa

ÅÔ ¢ÊÔ · ¸Ô ì ÁËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè .......

......................................

MEMBER

Copyright  by Chiang Mai University Dr. Paisarn

Tepwongsirirat

MEMBER

All rights reserved Suwatcharapinun

11 September 2006 O Copyright by Chiang Mai University

Acknowledgements To my Parents and Sisters, who have been a constant source of support; who taught me to seek answers to any questions; who encouraged me to pursue my dreams no matter where they lead.

Cho ba mẹ và các em, đã ủng hộ và cổ vũ không mệt mỏi đã dạy tôi cách tìm câu trả lời cho mọi câu hỏi đã khuyến khích tôi theo đuổi những giấc mơ và những khát khao…

It is difficult to know even where to begin thanking people for their help during this thesis process. Officially, this is an individual effort; however, the work done for this thesis could in no way have been accomplished without the help of many people. I am grateful to friends and fellow students, who put up with me during this work, and colleagues, whose guidance, insights and critiques were invaluable. There are many people with whom I have spoken since initiating work on this project and every one of those people was significant in the completion of this thesis.

Nevertheless there are certain people who deserve special acknowledgment for their input.

I am deeply indebted to the Faculty of Architecture, Chiang Mai University

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè (FACMU), in particular the Graduate Program, for its generous financial support during my studies, which made this thesis at all possible. Thank you also to the people

Copyright  by Chiang Mai University of Thailand for their generosity to the neighbouring countries of Indochina and for helping spread knowledge through their generous scholarship programs.

All rights reserved Before the work even began though, there were those who inspired me to

pursue certain paths of research. Key among these people was, Ajarn Dr. Sombat

THIRATRAKOOLCHAI sparked my interest in the power of design theory and the potential of Feng Shui in addressing environmental issues of architectural landscape

iii design. I am grateful to Ajarn Dr. Thiratrakoolchai for his guidance and for his insistence on only the highest levels of work.

I would like to sincerely thank my graduate committee. Ajarn Dr. Apichoke LEKAGUL,

Ajarn

Dr.

Ekkachai

MAHAEK

and

Ajarn

Dr

Sethapong

SETHABOUPPHA. They provided me with outstanding guidance and critiques while allowing me to drive the direction of this research. Ajarn Dr. Paisarn TEPWONGSIRIRAT was one of a very small number of people outside of the faculty who showed enthusiasm in this thesis from the very beginning and maintained that enthusiasm through to the final defence. Early on I knew that Ajarn Dr. Lekagul ability to offer constructive criticism would be invaluable to the outcome of this work and although we met only occasionally to discuss the work, each of those meetings was indeed a critical point of departure.

The

professional

relationship

forged

with

Ajarn

Dr.

Sant

SUWATCHARAPINUN over the last year was, without a doubt, one of the strongest forces behind this thesis. He has been both a strong advocate and an even stronger antagonist. Without the challenges which Ajarn Dr. Suwatcharapinun continually placed within my reach, this thesis would never have developed the critical rigour which I feel has ultimately been accomplished.

I would be remiss for not thanking my friends and colleagues in Chiang Mai, who are as grateful as I for the successful completion of this thesis. So in no particular

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè order, to Panita SAJUSAWAT and her family, Pat SRIARON, Chada ROMCAI,

Manissaward JINTAPITAK, Adul HERANYA, Bannarith KHATTIGNARATH,

Copyright  by Chiang Mai University Pakasit PHONEKEO, and Nattikarn KHAMMUNE – the secretary of the Graduate Office; for everyone else, Thank You – for everything.

All rights reserved Thanks to the Faculty of Architecture, Chiang Mai University for having great

technological resources and such excellent software and to the faculty IT staff who

catered to all my unique requirements and indulgences. Their zealous help to the graduated students is commendable. A tip of the hat, to Google.com for having indexed the known universe; to Skype.com and GizmoProject.com for their

iv communications technologies; Tim Berners-Lee, the inventor of the InterNet browser; Oxford University for its dictionaries.

Special thanks are due to Dr. LE Manh Thanh, Master NGUYEN Duc Quang and Dr TRAN Ba Tinh at College of Sciences, Hué, Viet Nam for their wisdom, care, and continued inspiration in my academic career. To my parents, my deepest gratitude for their unconditional love, the high standards they demanded for my academic career and during my early education, also, to both my sisters for their support and understanding.

Finally, if it were not for the help of one individual, whom I have never met in person, Jon HEWSON, the writing in this thesis would certainly be much less refined.

I will always be grateful to him for making the nuances of the English language so vivid, so easy to comprehend, who has been both a source of constant moral and emotional support and an editor without whom this thesis would definitely have required a significant amount of revision and would not have been completed so expeditiously. He also developed the thesis template that eased the formatting of this work.

HVD 2006 September

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

ชื่อเรื่องวิทยานิพนธ

การประยุกตหลักฮวงจุย กับการออกแบบภูมิทัศนสมัยใหม สําหรับการ ปฏิบัติวิชาชีพสถาปตยกรรมในประเทศเวียดนาม

ผูเขียน

Ms. Hai Van Thi Dinh

ปริญญา

สถาปตยกรรมศาสตรมหาบัณฑิต (สถาปตยกรรม)

คณะกรรมการที่ปรึกษาวิทยานิพนธ อาจารย ดร.อภิโชค อาจารย ดร.ไพศาล อาจารย ดร.สันต

เลขะกุล เทพวงศศิริรัตน สุวัจฉราภินนั ท

ประธานกรรมการ กรรมการ กรรมการ

บทคัดยอ งานวิจยั ชิ้นนี้ศกึ ษาแนวทางในการลดความขัดแยงในการทํางานของสถาปนิกที่เกีย่ วของ กับผูเชี่ยวชาญดานฮวงจุยในประเทศเวียดนาม โดยศึกษาการใชหลักฮวงจุยกับการออกแบบภูมิ สถาปตยกรรมสมัยใหมสําหรับสถาปนิก โดยมีวัตถุประสงคคือ 1) เพือ่ พิจารณาและทดสอบปจจัย ที่สอดคลองกันระหวางหลักฮวงจุย กับการออกแบบภูมทิ ัศนสมัยใหมโดยใชขอมูลเชิงประจักษ 2) เพื่อสรางคําแนะนําในการปฏิบัติวิชาชีพที่เหมาะสมกับบริบทที่มีการใชหลักฮวงจุย ในงาน ออกแบบสําหรับสถาปนิกในเวียดนาม ในการศึกษาจะมีการพิจารณาหลักฮวงจุย และหลักการออกแบบภมิทัศนสมัยใหมตาง ๆ เพื่อนําหลักการที่มีศักยภาพในการปฏิบัติที่สอดคลองกันมาจับคูเปรียบเทียบ เพื่อแสดงความ สอดคลองในแนวทาง และใชหลักฮวงจุยในจัดทําแบบสอบถาม โดยในแตละคูของหลักการ ออกแบบจะใชผังบริเวณภูมทิ ัศนที่จัดทําตามระดับการประยุกตหลักฮวงจุย โดยจะใหสถาปนิก เรียงลําดับผังบริเวณโดยใชหลักการออกแบบภูมิทัศนสมัยใหม ในการทดสอบความสอดคลอง โดยทําการสํารวจจากสถาปนิกและนักศึกษาภาควิชาสถาปตยกรรม ในเมืองเว ประเทศเวียดนาม จํานวน 200 คน โดยมีการเปรียบเทียบรูปแบบของผลลัพธกับลําดับที่จัดไวจากระดับของการ ประยุกตหลักฮวงจุย ผลการศึกษาพบวา จากหลักการของฮวงจุย และการออกแบบสมัยใหมที่มีความสอดคลอง กัน 8 คู รูปแบบของการเรียงลําดับคําตอบโดยสถาปนิกและนักศึกษามีความสอดคลองอยางมาก กับลําดับที่จัดโดยการใชหลักฮวงจุย จึงสามารถสรุปไดวามีความสอดคลองกันในวัตถุประสงค และหลักการปฏิบัติ สามารถสรางคําแนะนําได สองแนวทางคือ 1) สถาปนิกสามารถรวมมือกับ ผูเชี่ยวชาญทางฮวงจุย ในการออกแบบโครงการได โดยจะนําไปสูผลการออกแบบที่สอดคลองกัน

และ 2) สถาปนิกสามารถทําความเขาใจกับหลักการทางกายภาพเบื้องตนของฮวงจุย และใช หลักการออกแบบภูมิทัศนสมัยใหมในการออกแบบใหสามารถตอบสนองทั้งความตองการของฮวง จุย และหลักการออกแบบภูมิทัศนสมัยใหม

,

Thesis Title Author Degree

FENG SHUI APPLICATION AND MODERN LANDSCAPE DESIGN ARCHITECTURAL PRACTICE IN VIET NAM Hai Van Thi Dinh Master of Architecture

FOR

Thesis Advisory Committee Dr. Apichoke Lekagul (Chairperson) Dr. Sant Suwatcharapinun (Member) Dr. Paisarn Tepwongsirirat (Member)

ABSTRACT This research studies an approach to resolve the conflict between architects and Feng Shui masters in Viet Nam by studying Feng Shui applications and modern landscape design for architects.

The objectives are: 1) to determine and empirically test the compatibility of Feng Shui applications and modern landscape design techniques; and 2) to provide appropriate recommendations for architects practicing in Viet Nam where Feng Shui is in demand.

In the study, Feng Shui principles and modern landscape design techniques were examined to identify possible matching pairs and demonstrate compatibility in applications. For each pair, the selected Feng Shui principle will be used to produce questionnaire questions that included landscape layouts designed with different levels of Feng Shui application. The solutions were then ranked by two hundred architects and architectural students in Hué, Viet Nam. The resulting ranks were then compared with the ranks assigned by Feng Shui applications.

The results reveal that, from the eight matching pairs of Feng Shui principles and modern landscape design techniques, the patterns of ranked solutions by architects and students correlate well with those assigned by Feng Shui applications.

The findings concluded that there are compatibilities in the objectives and applications that can lead to two practical recommendations: 1) an architect can collaborate with a Feng Shui master during the design process to produce a collaborative solution; and 2) an architect can learn basic physical applications of Feng Shui principles and use this knowledge in the practice of landscape architectural design to achieve both Feng Shui and modern design requirements.

Table of Contents Acknowledgment Abstract (Thai) Abstract (English) List of Tables List of Figures Chapter 1: Introduction 1.1 Identification and Significance of the Challenge 1.2 Objectives 1.3 Research Site 1.4 Definition of Keywords 1.5 Organization of Research Chapter 2: Literature Review 2.1 Feng Shui: A Brief Review 2.2 Modern Landscape Design Techniques Chapter 3: Hue: The Influences of Feng Shui on Landscape and Architecture 3.1 Hué – Preamble 3.2 Feng Shui – Introduction to Viet Nam 3.3 Feng Shui – Application in Hué Chapter 4: Methodology 4.1 Methodological Approaches 4.2 Analysis of Modern Landscape Design Techniques and Feng Shui Applications 4.3 Compatibility between Modern Landscape Design Techniques and Feng Shui Applications 4.4 Drafting the Questionnaire Chapter 5: Questionnaire and Results 5.1 Emphasis technique and Water element 5.2 Sequence technique and Qi element 5.3 Simplicity techniques and Bright Court and Four Emblem Animals elements 5.4 Interest technique and Yin-Yang element 5.5 Balance technique and Feng Shui site plan 5.6 Proportion technique and Harmony of Five Elements 5.7 Unity technique and theme of each of Five Elements 5.8 Harmony technique and Qi prospect 5.9 Conclusion Chapter 6: Conclusions and Recommendations 6.1 Results Summary 6.2 Modern Landscape Design and Feng Shui Practice Recommendations 6.3 Conclusion Bibliography Appendices Curriculum Vitae

Page iii vi viii x xii 01 01 03 05 05 06 09 09 22 28 28 29 29 47 47 53 57 79 87 87 93 99 105 110 115 120 126 132 133 133 135 145 146 148 172

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

List of Tables Table

Table 4-1 Table 4-2 Table 4-3 Table 4-4 Table 4-5 Table 4-6 Table 4-7 Table 4-8 Table 4-9 Table 4-10 Table 4-11 Table 4-12 Table 5-1 Table 5-2 Table 5-3 Table 5-4 Table 5-5 Table 5-6 Table 5-7 Table 5-8 Table 5-9 Table 5-10 Table 5-11 Table 5-12 Table 5-13 Table 5-14 Table 5-15 Table 5-16 Table 5-17 Table 5-18 Table 5-19 Table 5-20 Table 5-21 Table 5-22 Table 5-23 Table 5-24 Table 5-25 Table 5-26

Page No table in Chapter 1 No table in Chapter 2 No table in Chapter 3 Five Geographical Elements effects in 4 scenarios Example: Compatibility between Emphasis and Water Compatibility between Emphasis and Water Compatibility between Sequence and Qi Compatibility between Simplicity and Bright Court, Four Emblem Animals Compatibility between Interest and Yin-Yang Compatibility between Balance and Feng Shui site plan Compatibility between Proportion and Five Elements Compatibility between Unity and theme of each of Five Elements Five Elements interactions Compatibility between Harmony and Qi prospect Example of Numeric Response – Harmony – 3rd question Emphasis - Position of Water - Numeric Response Emphasis - Position of Water - Written comments Emphasis - Presence of Water - Numeric Response Emphasis - Presence of Water - Written comments Emphasis - Dominant Element - Numeric Response Emphasis - Dominant Element - Written comments Sequence - Paths in Landscape - Numeric Response Sequence - Paths in Landscape - Written comments Sequence - Number of Entrances - Numeric Response Sequence - Number of Entrances - Written comments Sequence - Connected Spaces - Numeric Response Sequence - Connected Spaces - Written comments Simplicity - Open Space - Numeric Response Simplicity - Open Space - Written comments Simplicity - Location of Path and Screen - Numeric Response Simplicity - Location of Path and Screen - Written comments Simplicity - Presence of Screen and Trees - Numeric Response Simplicity - Presence of Screen and Trees - Written comments Interest - Main Object Shape - Numeric Response Interest - Main Object Shape - Numeric Response Interest - Main Object Shape - Written comments Interest - Spot View Shape - Numeric Response Interest - Spot View Shape - Written comments Balance - Elements’ Characteristic - Numeric Response Balance - Elements’ Characteristic - Written comments Balance - Vertical Asymmetry - Numeric Response

51 57 59 62 64 68 70 73 75 76 78 85 88 89 90 90 91 92 94 95 96 97 98 98 100 101 102 102 104 104 106 107 107 109 109 111 111 112

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

Table 5-27 Table 5-28 Table 5-29 Table 5-30 Table 5-31 Table 5-32 Table 5-33 Table 5-34 Table 5-35 Table 5-36 Table 5-37 Table 5-38 Table 5-39 Table 5-40 Table 5-41 Table 5-42 Table 5-43 Table 5-44 Table 5-45 Table 5-46 Table 5-47 Table 6-1 Table 6-2

Balance - Vertical Asymmetry - Written comments Balance - Feng Shui site plan - Numeric Response Balance - Feng Shui site plan - Written comments Proportion - Trees Density - Numeric Response Proportion - Trees Density - Written comments Proportion - Design Scale - Numeric Response Proportion - Design Scale - Written comments Proportion - Amount of Trees - Numeric Response Proportion - Amount of Trees - Written comments Unity - Focus Profile - Numeric Response Unity - Focus Profile - Written comments Unity - Theme of Shape - Numeric Response Unity - Theme of Shape - Written comments Unity - Shape Combination - Numeric Response Unity - Shape Combination - Written comments Harmony - Preferable Scenario - Numeric Response Harmony - Preferable Scenario - Written comments Harmony - Man-made Landscape - Numeric Response Harmony - Man-made Landscape - Written comments Harmony - River Landscape - Numeric Response Harmony - River Landscape - Written comments Three layers in Feng Shui schematic Summary

113 114 114 117 117 118 119 120 120 122 122 123 124 125 125 127 128 129 130 131 131 141 144

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

List of Figures Figure 2-1 2-2 2-3 2-4 2-5 2-6 2-7 2-8 2-9 2-10 2-11 2-12 2-13 2-14 2-15 2-16 2-17 2-18 2-19 2-20 2-21 2-22

Source* No figure in Chapter 1 Living Qi – represented by verdant plants Living Qi – represented by water Living Qi - represented by wealthy commercial district Dead Qi – presented by sandy desert Dead Qi – represented by dead trees Yin-Yang symbol The Bagua Fire characteristics Water characteristics Wood characteristics Earth characteristics Metal characteristics Productive and Destructive Cycles The twenty-eight constellations symbolize Four Animals: Dragon, Phoenix, Tiger and Tortoise The Four Emblems Animals: Green Dragon, Red Phoenix, White Tiger and Black Tortoise Five Geographical Elements in the practice of the Form School Unusual element or contrast is emphasis A clear sequence allows visitors to decide the path to follow Simplicity brings clarity and purpose to design, keep the design neat and focused Placing plants individually throughout the landscape can make garden cluttered and unfocused Doorframe is used to inspire the next discovery Windows is used to restrict views and create the impression of the interest Symmetrical balance Asymmetrical balance Large-scale Human-scale Small-scale The quality of oneness but in cohesion can create unity There are insufficient transitions and connections between elements, desultory elements in separate locations make unharmonious landscape Harmony in garden created by the accord among elements and their surroundings Hué in Viet Nam Infra-red image of the geographical features of the Hué region

Page

Wydra, 1978 Mak, 2002

11 11 11 12 12 12 14 15 15 15 15 15 16 14

Mak, 2002

15

Wydra, 1978

21 Reid, 1993 Reid, 1993

23 23 24 24 24 24

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè 2-23 2-24 2-25 2-26 2-27 2-28

Reid, 1993 Reid, 1993 Reid, 1993 Reid, 1993 Reid, 1993 Reid, 1993

25 25 26 26 26 26 27

Copyright  by Chiang Mai University

All rights reserved 2-29

2-30 3-1 3-2

27

NASA

30 31

Figure 3-3 3-4 3-5 3-6 3-7 3-8 3-9 3-10 3-11 3-12 3-13 3-14 3-15 3-16 3-17 3-18 3-19 3-20 3-21 3-22 3-23 3-24 3-25 3-26 3-27 3-28 4-1

Nature features at Hué Citadel Ngu Binh Mountain - the royal screen Perfume River is the Water Mouth Architecture of the Hue Citadel The throne – the heart of the Empire Yin-Yang roof tile in the Citadel A rockery in a royal garden A model of cosmos in the Co Ha royal garden Motif of the Four Seasons The Tiger The Phoenix Stylized “Double Happiness” motif Two Dragons motif Thien Mu Pagoda – Green Dragon Thien Mu Pagoda – natural water Tu Hieu Pagoda - Pond Bao Quoc Pagoda - Bright Court & Water Mouth Tu Hieu Pagoda - Bright Court Thien Mu Pagoda - The complex is oriented about the main North-South axis, facing North The stylized letter of the Dinh, the Cong and the Tam script Garden House schematic The front two trees - Green Dragon and White Tiger The screen - Red Phoenix The brick screen The plant screen Pond brings the cool environment Overlap factors between Feng Shui practice and modern environmental design Four major ideal landscape sketches Flow chart illustrating the process employed, using the analyzed element inputs from both modern landscape design and Feng Shui Water carries wealth and healthy significance. It is the focus in this landscape Pond - an important role of focus, a place to relax Design highlight – a Feng Shui Water is to keep it in vivid situation The flow of Qi can be very fast and sharp Good Sequence improves the flow of Qi A footpath that is not sharp and not strict Footpaths that welcome visitors and encourage Qi An open space is one way to keep Simplicity and provides pace for activities in the garden

Source Adamson, 1999

Page 33 33 33 34 34 34 35 35 36 36 36 37 37 39 39 39 39 39 40 41 42 43 43 43 43 44

Xu, 2003 48 50

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè 4-2

4-3

Yu, 1998 Author

Copyright  by Chiang Mai University 4-4

54

60 60

All rights reserved 4-5

4-6

4-7 4-8 4-9 4-10 4-11

60 63 63 63 63

65

65 4-12 4-13 4-14 4-15 4-16 4-17 4-18 4-19 4-20 4-21 4-22 4-23 4-24 4-25 4-26 4-27 4-28 4-29 4-30 4-31 5-1 5-2 5-3 5-4 5-5 5-6 5-7 5-8 5-9 5-10 5-11 5-12 5-13 5-14

An open space is the background that helps to highlight the focal point.

The spatial arrangement of the Bright Court and the Four Emblem Animals An open space welcomes Living Qi and provides a resting place for the eyes.

Contrast between scenery and subjective A moon-gate brings attraction, invites a garden discovery Symmetrical spatial layout, lacking trees at both sides of the door; The footpath leads directly to the front door Asymmetrical balance achieved in a Feng Shui garden Asymmetrical balance; the footpath is at an oblique angle to the door – a recommended solution Water theme is made from white and purple colour of shrubs and plants, and the outline contour shape Fire theme is from trees with red leaves, the clock tower.

Round, grey pots (Metal) reduce the effect of Fire element Metal element are added in the form of gate, to balance the Earth character Water supports Wood element and reduce the strong influences of Wood The stone bridge is connected with the surrounding stones The wooden bridge is connected with the bamboo trees Concrete fence blocks the flow of Qi, creates the change suddenly Hedge blocks the land, isolates the building within the boundary An example of the Sequence – 1st question An example of the Sequence – 2nd question An example of the Sequence – 3rd question Structure of a question presentation Emphasis – Position of Water Emphasis - Presence of Water Emphasis - Dominant Element Sequence - Paths in Landscape Sequence - Number of Entrances Sequence - Connected Spaces Simplicity - Open Space Simplicity - Location of Path and Screen Simplicity - Presence of Screen and Trees Interest - Main Object Shape Interest - Main Object Shape Interest – Spot View Shape Balance - Elements’ Characteristic Balance - Vertical Asymmetry

65 65 65 69 69 71 71 71 74 74 77 77 79 79 79 79 81 82 82 83 88 89 91 94 96 97 100 101 103 105 106 108 110 112

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

5-15 5-16 5-17 5-18 5-19 5-20 5-21 5-22 5-23 5-24

Balance - Feng Shui site plan Proportion - Trees Density Proportion - Design Scale Proportion - Amount of Trees Unity - Focus Profile Unity - Theme of Shape Unity - Shape Combination Harmony - Preferable Scenario Harmony - Man-made Landscape Harmony - River Landscape No figure in Chapter 6

113 116 118 119 121 123 124 127 129 130

* By the author otherwise noted.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

Chapter 1 Introduction 1.1 Identification and Significance of the Challenge Feng Shui is a belief system that has roots in ancient China. All provincial capital cities in China, from at least the time of the Xia, the first prehistoric dynasty (21st – 16th century B.C.), were built according to the rules of Feng Shui (Eitel, 1873; Rossabach, 1983). In the Chinese language, the literal translation is Wind Water. The Book of Burial (c. 300 BCE) provides a clue for the name: "The energy that rides the wind stops at the edge of water and is retained."

In Hué, Viet Nam, Feng Shui is a significant part of the landscape and architecture. It was used to explore topography, to locate building sites and to observe the cardinal points to determine building.

Feng Shui was also significant for all social classes. In order to consolidate the conquered dynasty in ancient times, the Nguyen Emperors of Viet Nam sought the advice of the Feng Shui proponents about the optimum positioning of the new Citadel and the date to accede to the throne (Phan, 1998). The feudal Mandarins used Feng Shui as a tool to rule the peasant class, which had been oppressed by the dominant class. They believed in Feng Shui in order to achieve transitory fulfillment (Vuong, 2004).

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Currently, the principles of Feng Shui are applied to transactions in real estate

Copyright  by Chiang Mai University (Vuong, 1996); to optimise opportunities for advancement (Vuong, 2004); to improve

business and commercial activities (Phan, 1998); and to choose a good day for sowing

All rights reserved and harvesting farms (Wydra, 1978).

Many believe in the positive power of Feng Shui and depend upon its

application to improve the conditions of living environments. Feng Shui helps subscribers live in harmony with nature and satisfies the thinking of “worships holy, avoids misfortune, and obtains good omens” (“có thờ có thiêng, có kiêng có lành”).

2 Since many believe that Feng Shui can help them increase their general well-being, they regard Feng Shui as an important social element.

However, the application of Feng Shui principles, without deep understanding, can render Feng Shui less reliable and ultimately discrediting the principles (Johnson, 1881; Eitel, 1873; De Groot, 1897); an additional consequence is the applications have negative effects. For instance, Feng Shui consultants usually claim to be Feng Shui specialists and elevate themselves as professors (“thầy Phong Thủy”). They try to create mysterious and transcendent force by threatening others with ill omens of Feng Shui, voicing obscure rhetoric and directing Feng Shui applications that lack clear explanation. Moreover, excessive applications of Feng Shui in life become uncontrollable, unexplainable and ineffective. Feng Shui is also ineffectively promulgated through word of mouth or reference books – both potentially poor sources.

As one of the modern environmental design professions, architects tend to omit Feng Shui in their architectural or landscape practices. This is the result of not been taught in either Landscape or Architecture school in Viet Nam. At both the Ha Noi Architectural University and the Ho Chi Minh City Architectural University, the two major universities of Architecture and Landscape in Viet Nam, architectural design and modern landscape education base their curricula on a purely environmental approach taking no account of Feng Shui principles.

The need to integrate Feng Shui in design schemes for clients appears

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè essential, especially in Hué. Clients insist that architects apply Feng Shui principles in the design stage, while the architects try to persuade their clients that Feng Shui is not

Copyright  by Chiang Mai University scientific and therefore inapplicable (Vuong, 1996).

All rights reserved This has created increasing conflicts between clients and architects. In many

instances, the unsatisfied clients submits the architects’ outline plans to Feng Shui

consultants, who lack training in architectural or landscape designs, for modification.

Therefore, the overall design costs, incorporating both design and Feng Shui consulting fees, are increased, whilst the design is a compromise of both architectural and Feng Shui principles.

3 Furthermore, the application of the ancient values of Feng Shui to modern landscape design may not be as easy as it appears since there are barriers such as lack of understanding and knowledge of Feng Shui and appropriate applications. To resolve these challenges, the principles underpinning Feng Shui must be compared against modern landscape design practice to understand how the two might be the same; thereby, eliminating any discreditable and superstitious attributes of Feng Shui.

As the intent of both modern landscape design and Feng Shui is to create improved environments to promote general well-being, it is critical that Feng Shui applications be explored in respect to modern landscape design to empirically demonstrate that both disciplines are compatible. This research hypothesis is that both Feng Shui and modern landscape design are not only compatible but amenable to integration and even enhance the ultimate design.

1.2 Objectives Human demands are more complex as living harmoniously with nature, maintaining ancient cultural values, achieving comfort and convenience are more challenging. Feng Shui has been adapted in its applicability to current requirements (Mak, 2002; Vuong, 1996; Yu, 1998). Researchers of the application of Feng Shui to modern landscape design hold that Feng Shui plays an important role in environmental design (Xu P., 1990; Xu J., 2003; Mak, 2002; Yu, 1998). Although Feng Shui is widely practiced in Asia, the applications of Feng Shui may differ in other cultures and in other design applications (Essen, 2000, Wydra, 1978, Vuong,

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè 1996). This research is focused on the Feng Shui practice in Viet Nam.

Copyright  by Chiang Mai University Feng Shui caused the Chinese to invent the compass, called a Luopan. Feng

Shui also employs a comprehensive array of calculations encompassing mathematical

All rights reserved iterations together with foundation texts, core theories and methods, and an

impressive past based on archaeological discoveries and the work of archaeoastronomers.

4 The techniques fall into two categories: San Yuan: This school is called “Compass School”, though the compass name means “Three Cycles”. This school can be described as mysterious and superstitious (Vuong, 1996, Wydra, 1978). It has a limited application in integration with modern landscape design practices.

San He: This school is called “Form School”, though the form name means "Three Harmonies". This school has been well recognised and widely accepted by a number of researchers as mentioned previously. This research emphasizes only the Form School - San He - Feng Shui applications since it comprises a rational basis in the analysis of the design environment (Mak, 2002).

An essential inheritance from previous researchers, the overlap factors between Feng Shui and modern landscape design - derived from Xu’s research (2003) - are studied to attain the basic compatibility. A methodological framework through which the compatibility of the both disciplines is explored is derived from Yu’s research (1998) and Mak’s research (2002). These methodological approaches are explained in chapter 4.

This research is intended to:

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè 1. To demonstrate the compatibility between Feng Shui and modern landscape design by illustrating their essential attributes of compatibility.

Copyright  by Chiang Mai University 2. To confirm the potential of achieving the Feng Shui applications by using

All rights reserved modern landscape design techniques: which can be effectively implemented by architects.

Finally, the conclusions of this research suggest alternative recommendations for architectural practice. Although there are ways to achieve the Feng Shui applications in a landscape design project, the results of this research could assist architects in understand the benefits of Feng Shui applications and its compatibility

5 with modern landscape design techniques. Once architects understand Feng Shui applications and the possibility of integration with modern landscape design techniques, conflicts might be reduced not only between the architects and the Feng Shui consultants, but also between modern and traditional practices. Project solutions can then be more efficient in terms of cost reduction, improving function and maintaining the aesthetic quality of landscape design.

1.3 Research Site This research is conducted in Hué, Viet Nam, since the objectives deal specifically with the condition of landscape design practice in Hué. The scope of this research and its results are primarily for garden design, which is a part of landscape design, especially for garden design in Hué city.

Ha Noi Architectural University (HAU) is the foundation of the Hué architectural profession, graduating the first architectural students in 1995 and continuing until 1999. The respondents are architects who are working in Hué and graduated between 1995 and 1999. Other respondents are fourth and fifth-year architectural students at the College of Sciences, Hué University, Viet Nam. The reasons for including fourth and fifth-year architectural students is that they have studied and practiced several years in academic projects and some landscape projects.

Moreover, they have already studied about theories of modern landscape design, including modern landscape design techniques.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè The language used in questionnaire survey is Vietnamese, the native language

of both the researcher and the respondents. The answers of respondents are translated

Copyright  by Chiang Mai University into English; the original comments with Vietnamese language are also presented in appendices as references.

All rights reserved 1.4 Definition of Keywords

In this research, some Feng Shui words have specific, different meanings. In order to understand their applications, which are italicized in this document, this section explains Feng Shui word meanings.

6 The Feng Shui terminology is based on the Chinese language and will be expressed in English, as introduced by Mak (2002), Xu (2003) and Xu (1990). Some other Vietnamese sayings are in English with the Vietnamese original in brackets.

Feng Shui principles: Qi: It is the energy, air circulation, vital breath, or life energy. Qi comprises Living Qi - good and Dead Qi - bad. Qi is the essential concept of Feng Shui.

Yin-Yang: Yin-Yang compromises complementary opposites; one cannot exist without the other. Yin-Yang is a way to perform Qi. Five Elements: Water, Wood, Fire, Metal, and Earth are the elements of Five Elements that constitute the physical world. They operate in their cyclical interactions. Five Elements are also a way to perform Qi. Feng Shui elements: Qi prospect: Symbols and Signs of Qi. Five Geographical Elements: Water, Cave, Direction, Dragon Vein, and Sand are the basic components of the Form School of Feng Shui. Five Geographical Elements are a way to perform Qi.

1.5 Organization of Research The research comprises six chapters:

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Chapter One

Copyright  by Chiang Mai University Introduction

This chapter lays out statement and significance of challenges and

All rights reserved addresses research objectives. It also discusses the location of the research operation and keywords.

7 Chapter Two Literature Review This chapter reviews the basic understandings of Feng Shui applications through a brief history and concepts of Feng Shui of the Form School (including a brief Feng Shui history, principles of Qi, Yin-Yang and Five Elements, and Five Geographical Elements).

It also explores modern landscape design techniques, focusing on categorizations of Grant, W. Reid (1993) (including Simplicity, Harmony, Unity, Proportion, Balance, Sequence, Interest and Emphasis), again such special use of these words are italicized.

Chapter Three The Influences of Feng Shui on Landscape and Architecture of Hué, Viet Nam This chapter explores the important influences of Feng Shui on four categorizations from large to small scale, that is from the whole system landscape of Hué to the system of the Citadel and its landscape, to the pagodas and their landscape, and finally to the garden houses and their landscapes.

Chapter Four Methodology

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè This chapter details existing research methodologies about the relationship between Feng Shui and landscape design. It explores the work of Xu

Copyright  by Chiang Mai University (2003) in terms of the overlap factors between Feng Shui and modern

environmental design, and the work of Yu (1998) and Mak (2002) in terms

All rights reserved of the architects' perception in relation to Feng Shui and modern landscape design. Previous research assists in determining the methodology of this research to verify the compatibility between both disciplines.

It also discusses about the analysis and verification methodology of the compatibility between Feng Shui application and modern landscape design

8 technique. The analysis of both modern landscape design techniques and Feng Shui applications into comparable attributes are introduced as essential material for the questionnaire, of which the results are discussed later on.

Chapter Five Compatibility between Modern Landscape Design Techniques and Feng Shui Applications This chapter discusses the results of a questionnaire that demonstrates the compatibilities between Feng Shui principles and Modern Landscape techniques. The questionnaire was used to verify the compatibility as to whether the Modern Landscape design techniques preferred by respondents achieve the optimal Feng Shui application. This chapter is divided into eight parts; each part corresponds to one of the eight techniques of modern landscape design - Emphasis, Sequence, Simplicity, Interest, Balance, Proportion, Unity and Harmony.

Chapter Six Conclusions and Recommendations This chapter summarizes general conclusions and limitations of this research and proposes alternative suggestions in modern landscape design technique practice to achieve Feng Shui applications. There are two options which are based upon the level of commitment of architects who

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè want to practice Feng Shui applications in their design. Finally, this chapter details the conclusion of this research.

Copyright  by Chiang Mai University

All rights reserved

Chapter 2 Literature Review It is important to explore Feng Shui influences on landscape architectures in the context of Hué, and to understand what is implied by Feng Shui applications and modern landscape design techniques. This chapter helps to define the scope of the research in relation to the relevant attributes of both Feng Shui applications and modern landscape design techniques.

This chapter comprises two parts: Part One is to gain a basic understanding through a brief history and the concepts of Feng Shui of the Form School. This part focuses on how the Form School deals with the physical form of the site and the physical features of the surrounding environment.

Part Two is to explore modern landscape design techniques, focusing on the categorizations of Grant W. Reid (1993). Simplicity, Harmony, Unity, Proportion, Balance, Sequence, Interest and Emphasis are the techniques in modern landscape design which are taught world-wide, including in the curriculum of Ha Noi Architectural University, Ho Chi Minh Architectural University, and Faculty of Architecture of Hue, which is a branch of Ha Noi Architectural University.

2.1 Feng Shui: A brief review

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Feng Shui is a traditional philosophy about landscape and building design

Copyright  by Chiang Mai University based on a specific way of observing. Originating in China, Feng Shui has spread to many countries, including Viet Nam. Feng Shui has attracted many researchers to

All rights reserved study its potentials. Essen (2000), for example, studied Feng Shui as a role in the

development of Chinese science and technology. Bennett (1978) considered Feng Shui in terms of an astro-ecology relationship between life and surrounding

environment. Lip (1979, 1985) explored Feng Shui as a model of ecology, geography and ecological design. Rossabach (1983) and Yu (1998) regarded Feng Shui as an ideal landscape model of human, linked man and his environment in harmony with

10 nature; Lip (1979) and Vuong (2004) focused on Feng Shui in terms of an ecological and functional effect in relation to landscape design, such as trapping sunlight, wind shielding, avoiding floods and well site location whilst keeping water at convenient reach for daily use. In short, these studies have shown that Feng Shui embraces a rational and logical foundation in relation to landscape design.

On a social landscape scale, for Xu (1990), Feng Shui carries essential functions of the process of landscape and building design, which is not only to maintain but also enhance the order of nature. The system of design is organized around a social structure in which humanity is central. Humanity, in such situations, is defined in biological, social, and spiritual terms. Feng Shui establishes the identification for this social structure, through the physical landscapes. For example, the model of a capital city can be understood as the first rank and in large-scale. That is to say within Feng Shui of capital city, there is Feng Shui of towns, within Feng Shui of towns there is Feng Shui of villages and so on. A sense of place makes possible through the way in which the landscape has been taken care of and well preserved. In this respect, Feng Shui can be regarded as the achievement of sustainable environment and communities.

As for man-made landscape scale, Vuong (1996) observed that Feng Shui can be understood as the process of architectural design choosing and determining living situations. In this process, the first is to choose a geographical place which can be satisfied physically and psychologically. The second is to utilise the physical

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè attributes of the area, by taking the advantage and improving the natural conditions.

Finally it is to add symbols and signs which aim to satisfy the spiritual needs of

Copyright  by Chiang Mai University occupants.

As garden landscape scale, for Wydra (1978), the manifestation of Feng Shui

All rights reserved makes sense by proposing essential meanings. In terms of topography, Feng Shui applications site the house above flood and spring overflows, protect the home from

severe weather, place the most frequently used door facing the direction of the rising sun. In terms of vegetation, Feng Shui applications ensure healthy vegetation surroundings, namely maintaining a balance of vegetation neither too sparse nor too

11 overgrown, and replacing all trees and plants either die or need to be cut down. In psychological terms, Feng Shui applications screen out large ominous objects that face the property and ensure privacy by creating a threshold to separate the public domain from the private.

To understand the Feng Shui applications, it is worthy exploring some basic understandings of Feng Shui which are Qi, Yin and Yang, the Five Elements and their cyclical interactions, and the Five Geographical Elements.

Qi Qi (“Khí”) (Qi is pronounced ‘chee’ in English) is a basic principle of Feng Shui, means life energy or air circulation. Qi is categorized into Living Qi and Dead Qi. Living Qi is warm, active, and infuses life with energy. It is manifested by the existence of verdant plants, grassy shrubs, meandering streams, crowded residential areas, wealthy commercial districts or where healthy animals enjoy life (Figures 2-1, 2-2, and 2-3). o

o

Figure 2-1: Living Qi represented by verdant plants

o

Figure 2-2: Living Qi represented by water

o

Figure 2-3: Living Qi - represented by wealthy commercial district

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè In contrast, Dead Qi is cold and still, signifying cessation of life. Visually

Copyright  by Chiang Mai University it takes the form of sandy desert, desolate highland, arid soil, fetid water, worm-eaten plant, or withered trees (Figures 2-4, 2-5).

All rights reserved

12

Figure 2-4: Dead Qi is represented by sandy desert

Figure 2-5: Dead Qi is represented by dead trees

Feng Shui landscape relies on the existence of Living Qi, which represents the “cosmic spirit that vitalizes and infuses all things, giving energy to human being, life to nature, movement to water and growth to plants” (Eitel, 1873).

This can be expressed as the movement of life energy, air circulation or vital breath in space, which can be carried by the air, held by water, broken by wind, and blocked by barriers such as trees, buildings or mountains. In the other words, every element in landscape design needs to be arranged to induce this movement of Qi thoroughly. It is believed that the accumulation of Living Qi is an essential condition for a good location and can be accumulated depending on two major criteria: guidance by water and not dispersed by wind.

Yin-Yang Yin-Yang (“Âm-Dương”) are complementary opposites; one cannot exist without the other. For example, without cold, the concept of ‘hot’ does not

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè exist; without life there is no death. They can be understood as continual change and balance, which are represented in the symbol of Yin-Yang

Copyright  by Chiang Mai University (Figure 2-6). Yin-Yang symbolizes the notion of continual change. Yin exists within Yang, and Yang exists within Yin in a cyclical conjunction.

All rights reserved Figure 2-6: Yin-Yang Symbol

13 Yin-Yang reflects the natural way or the endless rhythm of the universe (Wydra, 1978). They also symbolize the notion of balance. It is believed that Qi in the universe is produced by changing but in balance between Yin-Yang. In other words, Yin-Yang can be used to manifest Qi. Too much Yin qualities, it produces Yin Qi; too much Yang qualities, it produces Yang Qi. But if it is too much Yin Qi or Yang Qi, it becomes unbalance, and creates Dead Qi. To achieve Yin-Yang in landscape design, it requires a balance in stillness and movement, unity and variety, objective and subjective reactions.

Five Elements and two cyclical interactions In ancient belief, cosmos comprises Five Elements (“Ngũ Hành”): namely Metal, Fire, Water, Wood and Earth. The Metal element can be found in the form of coins, silver, gold, steel and bronze, the colours of white, silver, or gold. The Fire element can be found by actual fire or the colour red. Fire is useful in appropriate proportion, if it is out of control it becomes destructive. The Water element can be found by the colours blue or black. The key is to keep the water fresh and moving. The Wood element can be found by the colour of green or the living plants which can attain the Qi by filtering the air to use. The Earth element can be found in the form of Mountain, Earth tones, and colours of yellow or brown.

Five Elements is alternate method to manifest Qi. These different elements

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè react to each other both in positive and negative ways. When combined positively, they create Living Qi. When combined negatively, they create

Copyright  by Chiang Mai University Dead Qi. The combination of Five Elements is aimed to achieve the harmony of Feng Shui.

All rights reserved It is important to note that Five Elements are used differently between the Compass School and the Form School, the two Feng Shui schools of thought and practice.

The Compass School has assigned Five Elements into their directions and functions according to a tool named Bagua (Bát Quái). The Bagua is made

14 up of octagonal shape signifying the eight directions. Each direction represents one kind of luck, and has its own element (Figure 2-7). For example, the North is the sector of increasing the flow of income and success in employment and symbolized by Water element such as a lively aquarium, bubbling water fountain or rolling ball water feature, or may be represented by the colours of blue and black. The East brings good health and harmonious relationships, symbolized by Wood element such as lush green trees, shrubs or colours of green, and so on.

Figure 2-7: The Bagua (Source: Wydra, 1978)

Whilst the Compass School acknowledges the locations and functions of the Five Elements, the Form School emphasizes characteristic attributes of

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Five Elements as the manifestation of Qi.

Copyright  by Chiang Mai University These characteristics are not the elements (Metal, Fire, Water, Wood and

Earth), but rather a symbolic representation of Qi, such as Fire Qi, Water

All rights reserved Qi, Wood Qi, Earth Qi and Metal Qi (Figure 2-8 – 2-12). These Five

Elements which represent five different movements of Qi also have distinguishable characters, shapes and colours. Another way of creating

Living Qi in the practice of Feng Shui is to reach for a harmonious balance among these movements and the combination of these elements through shapes, colours, textures and materials.

15 o

o

o

o

Figure 2-8: Fire characteristics

Figure 2-9: Water characteristics

Figure 2-10: Wood characteristics

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Figure 2-11: Earth characteristics

Copyright  by Chiang Mai University

All rights reserved Fig 2-12: Metal characteristics

16 Each of Five Elements holds a distinct attribute and maintains definite mutual relationships of each other. The relationships are described by two cycles: Productive Cycle (“Tương sinh”) – sequential cycle - and the Destructive Cycle (“Tương khắc”) – non-sequential cycle (Wydra, 1978).

The Productive Cycle exists when one element produces another element or accomplishes a harmony with another element. In order to grow the trees, water has to assist, so in this case, Water and Wood exist mutually together. As the fire obtains a vital force through a tree, Wood and Fire depend on a relevant relationship. After a tree is burned, the ash goes back to the earth. Here, Earth and Fire are in a harmonious relationship. The hard iron is formed by the Earth; the Metal obtains vital force from Earth.

The formation of Water is from melting Metal.

The Productive Cycle is a sequential cycle in which Metal produces Water, Water produces Wood, Wood produces Fire, Fire produces Earth and Earth produces Metal.

Every element has two roles in this cycle - producing another element, and in return, being produced by another element. When elements are combined, and work together in balance, Living Qi can be produced. The clockwise relationship of the Productive Cycle is shown in Figure 2-13.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved Figure 2-13: Productive and Destructive Cycles (Source: Wydra, 1978)

17 The Destructive Cycle is seen when one element destroys another element and when they have mutual relationship of aversion. Fire is controlled by Water and a strong fire can be put out by water. Metal is strong, but becomes powerless when it is melted by Fire. Wood is cut by the Metal and it goes through Earth and rises. Water is suppressed by the Earth. So that, the Destructive Cycle can be identified by the Metal destroys Wood, Wood destroys Earth, Earth destroys Water, Water destroys Fire, and Fire destroys Metal. Each element plays two roles in this cycle - destroying another element, and in return, being destroyed by another element. The Destructive Cycle is presented by the cross relationship as Figure 2-13 illustrates.

According to Choi (2001), this diagram (Figure 2-13) represents ‘the cycle of harmony’ where the elements rotate clockwise and place themselves in a productive relationship to one another. In the landscape design employing Feng Shui principles, the combination between the Five Elements should be conducted in the relationship of the Productive Cycle.

The elements in a mutually destructive relationship have the force to destroy or control different elements which can be expressed as ‘the cycle of control-domination’. The combination of Five Elements in the relationship of the Destructive Cycle could disturb the Living Qi and create Dead Qi.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Schools of thought in Feng Shui - The Compass and Form School

As discussed previously, the two main schools of thought and practice in

Copyright  by Chiang Mai University Feng Shui are the Compass (“Bát quái”) and the Form (“Hình phái”).

All rights reserved The Compass School uses metaphysical speculations such as Eight Trigrams, Heavenly Stems, Earthly Branches and Constellations and composes elements in relation to the movement of the moon, the sun and

the period of time. The practice of the Compass School can be understood as mysterious formulae and ideas (Vuong, 1996; Wydra, 1978). The

18 Compass School practices seem to have a limited possibility of integration with modern landscape design (Mak, 2002).

The Form School practices are more scientific approaches, in particular in site analysis and spatial arrangement (Mak, 2002; Yu, 1998; Xu, 1990).

According to Xu (1990), the Form School practices relate to the site analysis, by examining the sources of rivers, landforms and terrains.

According to Vuong (1996), the Form School practices are based on the geographical features which can be observed and used to determine the location and orientation of a building. The geographical features in the Form School practices are Five Geographical Elements, which are Dragon Vein, Sand, Water, Cave and Direction. In the Form School practices, it is believed that Living Qi on earth is linked with these Five Geographical Elements.

The scientific approaches of the Form School practices have been well recognised and widely accepted by researchers. For example, Xu (1990) stated that Form School practices are powerful tools in site analysis.

Vuong (2004) used the Form School practices to analyse economic values of properties in villages in Hong Kong and found that the properties designed with Feng Shui applications always yielded the highest prices, in purchase or sale. Yu (1998) declared that the cities of Moscow and Washington also fulfilled the basic criteria of Feng Shui derived from the

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Form School practices. According to Mak (2002), the Form School

practices can be applied to both the macro - such as a city or a selected site

Copyright  by Chiang Mai University - and the micro - a garden or an interior layout - environment to achieve harmony between nature and humans.

All rights reserved The Form School practices include arranging the movement of Qi, through

balance and harmony of Yin-Yang and to produce Living Qi through the

Productive Cycle in relation to Five Elements. In particular, the Form School employs the Five Geographical Elements as basic components in spatial arrangement to manifest the Living Qi as follow.

19

Dragon Vein (“Long mạch”) means high topography or prosperous highland. Dragon Vein is represented by a mountainous geography or a mountain range in selecting a site. The first step in selecting the optimal site is to locate a Dragon Vein which means a site protected by mountains and located in high topography. When determining Dragon Vein in modern landscape design, the mountainous high topography can be substituted using a high building, or perennial trees, to rear of the site.

Water (“Thủy”) means the flow of water at the site. It is recommended to have a water feature (river, stream, or lake) to the South, or at least in front, of the site, and the watercourse quality should be calm and smooth and not be fast or straight. When determining Water in modern Feng Shui applications, the flow of water also includes a pond, a fountain, a birdbath or even roads and streets that carry the flow of traffic at the site.

Sand (“Cát”) means the encompassing hills. It represents the surroundings that protect the site from strong wind. Sand is represented by Four Emblem Animals which are Green Dragon, White Tiger, Red Phoenix and Black Tortoise. The origins of Four Emblem Animals theory came from the historical development of Chinese astronomy. Twenty-eight mansions are used to identify twenty-eight constellation groups (Figure 2-14). These twenty-eight mansions are grouped into four symbols, and each symbol contains seven mansions according to their shapes and directions in the

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè sky namely Green Dragon, Red Phoenix, White Tiger and Black Tortoise

representing East, South, West and North according to their directions in

Copyright  by Chiang Mai University the sky (Figure 2-15).

All rights reserved

20 o

o

Figure 2-14: The twenty-eight constellations symbolize Four Animals: dragon, phoenix, tiger and tortoise (Source: Mak, 2002)

o

Figure 2-15: The Four Emblems Animals: Green Dragon, Red Phoenix, White Tiger and Black Tortoise (Source: Mak, 2002)

Conceptually, a harmonious place where Living Qi appears should have "left Green Dragon bowing, right White Tiger sitting, front Red Phoenix flying and back Black Tortoise lifting" (Tả Thanh Long uốn mình, hữu Bạch Hổ ngồi chầu, tiền Kim Tước cất cánh, hậu Hắc Quy thúc thủ) (Figure 2-15), which means the place embraced by hills, backed by mountain, and welcomed by front screening mound. For Red Phoenix, it is further divided into two kinds: Front Hill and Facing Mountain. Front Hill is smaller and closer, whilst Facing Mountain is bigger and further away from the site. The location, which consists of all the animal symbols mentioned above, is believed to be able to maintain the Living Qi. If translating Sand into modern landscape design, trees, buildings, walls, or statues can play the role of

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Four Emblem Animals.

Cave (“Huyệt”) means the niche, or the best location to place the

Copyright  by Chiang Mai University house. To find the best location is the ultimate goal of Feng Shui practice. Cave should face a Bright Court, represented by the open

All rights reserved space, or courtyard, in front. There are further organisations of Inner

Bright Court that is enclosed by Table Hill, and Outer Bright Court by

Facing Mountain (Figure 2-16). If translating Cave into modern landscape design, Bright Court could be a lawn, or a yard.

21

Figure 2-16: Five Geographical Elements in the practice of the Form School

Direction (“Hướng”) means the orientation of the main door of the house. In the Feng Shui practice, the best direction would be due south.

As in the Form School practices, the four cardinal directions of East, West, South and North are referred as left, right, front and back. When combined with the Four Emblem Animals, buildings facing South can be organised as front Red Phoenix - South, left Blue Dragon - East, right White Tiger - West and back Black Tortoise – North (Figure 215).

In short, Feng Shui can be regarded as a rational and logical practice in its process of spatial arrangement. It is believed that the Qi appearance can be manifested

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè through the place where the harmony exists. The key is to achieve the balance and

Copyright  by Chiang Mai University harmony of Yin-Yang in combination of Five Elements and by manipulation of Five

Geographical Elements, such as mountains, hills, water, open spaces or orientations.

All rights reserved The Form School practices can be compatible with the modern landscape design, in particular through the flexible applicability of the geographical features. This inspires this research to explore the Form School practices in relation to the modern landscape

design techniques.

22

2.2 Modern landscape design techniques A Feng Shui garden can be designed by using the applications from the Form School practices such as Five Geographical Elements and principles of Qi, Yin-Yang, and Five Elements. The harmony between the man-made architectures and the natural environment is represented through the role of Feng Shui garden, which is regarded as the smooth transition and elegant connection between artificial one and natural one.

Through the element arrangement, modern landscape design can also reach the harmony and beauty of nature by using particular techniques in garden landscape.

Reid (1993) believed that people are able to stay in a concord with nature by using relevant techniques in modern landscape design. These techniques could be applied to all levels of landscape, from a simple garden edge to a complex classical design. Reid’s modern landscape design techniques - Emphasis, Sequence, Simplicity, Balance, Proportion, Interest, Unity, and Harmony - have been taught in architectural schools of Viet Nam, namely Ha Noi Architectural University and Ho Chi Minh Architectural University using such techniques as a basis for landscape design. It is important to note that the modern landscape design tents to utilize its techniques, which are similar to the way in which Feng Shui practices use its application.

Relevant techniques of modern landscape design can be examined as follows: Emphasis means an organisation in which a visual power of one element is primarily to catch observers’ attention (Figure 2-17). It is the arrangement from the most important to the less important elements in place. The parts of any combination

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè should not be equal in their visual interest, specific parts should be different, maybe

larger, or in contrast of colour, form, aroma, or texture than the surroundings. These

Copyright  by Chiang Mai University points of emphasis can be a bench, special tree, a pool, full-flower plant within a

flower garden, pieces of sculpture or other unique items that lead the observer to

All rights reserved comprehend the garden’s scene before exploring it for detail.

23

Figure 2-17: Unusual element or contrast is emphasis (Source: Reid, 1993)

Sequence means a connected series of spaces or events in landscape. A good sequence should have a point of beginning that indicates the principal approach (Figure 2-18). In landscape design, architects should consider how to create Sequence which can be utilized through direction, speed and mode of movement. The rhythms develop when line, form, texture, and colour are changed in relation to a particular direction or a point of focus. It can be achieved through repetition or by progression of elements’ quality, such as using textures in raised ladder from fine to coarse.

Sequence is used to direct the eye to a desired emphasis, which can help to connect the different design elements. Sudden changes or any barrier block will break the visual flow around the landscape.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved Figure 2-18: A clear sequence allows visitors to decide the path to follow (Source: Reid, 1993)

Simplicity means the reduction or elimination of non-essentials in a

landscape. It is economy of line, form, texture and colour. It is a basic technique of order to bring clarity and purpose to design. A simple design seems to have more effect than an excessively ambitious one. This can be done by keeping the number of

24 objects in the landscape to a minimum, such as massing similar plants rather than placing them individually throughout the landscape, by using clean lines rather than complicated lines, and by using a limited range of plant species in a garden (Figure 219). Incorporating too many themes into one area causes a complicated design with high maintenance requirements (Figure 2-20).

Figure 2-19: Simplicity brings clarity and purpose, keeping design neat and focused

Figure 2-20: Placing plants individually in a landscape can make a garden cluttered and unfocused

Interest means the technique of increasing the feeling of curiosity or attraction. Interest can be referred as variety and discovery in garden landscape.

Interest can be achieved by introducing a number of shapes, sizes, textures and colors as well as by inserting changes in direction, movement, sound, scent or light. Variety could be understood as high and low points of terrain, views of both inside and outside of a garden, large and small features, a mix of enclosed and open spaces, or a blend of coarse and smooth elements.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved Figure 2-21: Doorframe is used to inspire discovery

Figure 2-22: Windows is used to restrict views create interest

25 For example, a quiet intimate place is after noisy active playground. Bright red flowers sway on a verdant lawn. Smooth flow of water meanders then pours into a pond by a sparkling waterfall. The concept of Interest can be comprehended through the use of unusual or unique elements or patterns of organization. It aims to simulate people to surprisingly discover garden landscape. Windows can be used to restrict views and create the impression of a space (Figure 2-21 and 2-22).

Balance can be achieved in symmetrical and asymmetrical balance of vision.

Formal designs often display symmetrical balance, where left and right sides of the view are the same (Figure 2-23). Informal designs generally display asymmetrical balance, where left and right sides of the view are not the same (Figure 2-24). Formal balance is often calm and quiet creating a sense of peace and stillness; whilst, informal balance is dynamic and natural, creating a sense of curiosity and movement.

Balance refers to the stability of the landscape, and can be realized by creating equilibrium between the parts that make up the whole. One form of balance relates to layout along a central axis. Another way is in the vertical dimension. This axis can be either informal or formal in its arrangement. In all cases, the elements being balanced must both hold the same importance to the eye.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University Figure 2-23: Symmetrical balance (Source: Reid, 1993)

Figure 2-24: Asymmetrical balance (Source: Reid, 1993)

Proportion means the relative comparison of heights, lengths, numbers, areas,

All rights reserved masses and volumes. No particular element or feature should overpower others.

Proportional relationships between elements are essential in evoking emotional

responses. Large-scale refers to a space or a set of objects, which scale is beyond comparison to the human body which can convey wonderment and amazement (Figure 2-25). Human-scale refers to a space or a set of objects, which scale is easily

26 compared to the human body, which can bring a sense of recognition and comfort (Figure 2-26). Small-scale refers to a space or set of objects, which scale is comparatively smaller than the human body, which can give a sense of dominance or perhaps a desire to nurture smaller objects, such as dwarf bonsais, miniature plants, or birdhouses (Figure 2-27). o

Figure 2-25: Large-scale (Source: Reid, 1993)

o

Figure 2-26: Human-scale (Source: Reid, 1993)

Figure 2-27: Small-scale (Source: Reid, 1993)

Unity seeks to achieve a cohesive overall appearance and a perception of the landscape as a whole. Observers can sense a visual flow from one part of the landscape to another; features of one part are echoed in others. The old rock is preserved as a whole; however, it is formed from several smaller interlocking pieces (Figure 2-28). Unity can be achieved through the collaboration of various landscape features by a theme of colours, forms, or textures. Repetition of a landscape feature can be introduced to the garden, but too much repetition could become monotonous and may not stimulate reactions in the observer.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved Figure 2-28: The quality of oneness but in cohesion can create unity (Source: Reid, 1993)

27 Harmony means a state of accord between elements and their surroundings.

Key is to maintain smooth transitions and strong connections with sufficient buffers between elements. It is believed that natural materials used in garden landscapes are more harmonious than artificial products. Harmony can also be regarded as the natural transition that allows slow and gradually changes (Figures 2-29 and 2-30).

Transition can be achieved by gradual ascent or descent and the arrangement of different elements with gradated textures, forms, colours, or sizes. An example of a good transition could be understood as an effect of arranging large trees to medium trees to shrubs and to bedding plants. Transition is methods which can create illusions in the image of a garden. For example, a transition from taller to shorter plants can give a sense of depth and distance, making a garden seems larger than it really is.

Figure 2-29: The transitions are insufficient and connections between elements, desultory elements in separate locations make unharmonious landscape

Figure 2-30: Harmony in garden created by the accord among elements and their surroundings

In short, this chapter has explored how to achieve Feng Shui by using modern

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè techniques. Reid’s landscape design techniques enhance the natural beauty of a garden landscape. They transform a garden into an artistic picture with stylized

Copyright  by Chiang Mai University backgrounds, themes and main topics in which all the elements are in natural harmony. Reid’s techniques are directed towards observers’ visual senses. People

All rights reserved recognize the beauty of landscapes designed with Reid’s techniques. These techniques provoke visual experiences and emotions. Similarly, Feng Shui applications support

and interact with one another creating a natural pleasant style. The harmony between nature and man-made architectures is cherished in Feng Shui gardens. Within this harmony, the significance of Feng Shui applications influences the beauty of the garden through the visual, emotional, and spiritual realms of the garden.

Chapter 3 Hué: The Influences of Feng Shui on Landscape and Architecture This chapter is an overview of Feng Shui applications including the elements and principles which were applied to Hué and its landscape architecture. It explores how Feng Shui applications can be manifested through spatial arrangements of various building types, and illustrates how Feng Shui can be adapted for large and small scale applications.

3.1 Hué – Preamble Hué, a city in central Viet Nam and capital of Thua Thien Province, lies on the Huong River, known as Perfume River, about 15 kilometers or 9 miles from the west of the Gulf of Tonkin and about 650 kilometres or 400 miles from the south of Ha Noi. Hué was an important repository of Viet Nam’s ancient past, dominated by majestic temples, ancient tombs, and the imperial Citadel.

Recent archeological findings show traces of dwelling in Hué for thousands of years. Relics, such as stone axes and pottery ware, dating back 4000 years, show human occupation in the area. Stone axes found at regional places such as Hong Bac, Hong Van, Hong Ha, Hong Thuy, Bac Son (A Luoi), and Phong Thu (Phong Dien) prove the existence of life in this area, which could be in excess of 5000 years ago

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè (Glover, 1999). In 1987, a Cong Rang relic indicates that the inhabitants of La Chu,

Huong Chu, and Huong Tra had highly spiritual and material lives for some 2,500

Copyright  by Chiang Mai University years. Similar finding were found in Cua Thieng in 1988 (Glover, 1999).

Many historical buildings are located in Hué, largely a legacy from its time as

All rights reserved the capital of the Nguyen dynasty (1802-1945) (Phan, 1998). The city was

instrumental in the political movement against Viet Nam’s emperor. During the 1945 August Revolution, a popular uprising for independence, a coalition of communist and nationalist forces seized Hué and forced the last Nguyen emperor to abdicate.

29 After Viet Nam was partitioned in 1954, Hué became part of South Viet Nam. Since the city lies near North Viet Nam, it was central in much of the fighting during the American War in Viet Nam. During the Tet Offensive in early 1968 North Vietnamese and National Liberation Front (NLF) forces held the city for 25 days.

During the retaking of the city by the U.S. and South Vietnamese forces, the Forbidden Purple City - part of the royal complex - was heavily damaged. NLF troops finally recaptured the city on March 25, 1975. The rich history of Hué has been recognised by the United Nations, and the designation of the 410th World Heritage Council site.

3.2 Feng Shui – Introduction to Viet Nam The invasion by the Chinese in Viet Nam in 111BC signaled the commencement of Chinese rule which only ended in 938 AD (Phan, 1998). It is not surprising that Feng Shui applications were imported to Hué. Initially, Feng Shui consultants walked the land, test the soil, studied the signs made by wind and water, and sought the Five Geographical Elements regarded as the signs of prosperity (Rossabach, 1983; Yu, 1998).

3.3 Feng Shui – Application in Hué In this chapter the larger system can be explored in terms of the “natural poetic landscape”; referring to natural formations (Adamson, 1999). In opposition to the larger system, are artificial systems; understood as smaller systems which can be

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè identified by the manipulation of landscape and architectural elements. In this research, both of these elements can be called “man-made”.

Copyright  by Chiang Mai University There are acute differences between the larger regional Feng Shui system and

All rights reserved that of the smaller systems within. These differences exist despite the fact that natural elements are shared by multiple systems.

30 3.3.1 The Landscape of Hué as a Whole System When the Feng Shui consultants of the first Nguyen emperor searched for a suitable site for the capital Hué was selected because it is at the centre of the country (Figure 31). The location is comprised of various desirable geographic features, such as background mountains of the Truong Son range, embracing forests, vast plains, the Perfume River and, most importantly, the Gulf of Tonkin

(Adamson,

1999).

These geographic features can be

described

Geographical

as

the

Elements

Five of

Hué.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University Figure 3-1: Hué in Viet Nam

All rights reserved o

o

31

Figure 3-2: Infra-red image of the geographical features of the Hué region (source: NASA)

In the large scale application, mountains and watercourses, Dragon Vein and Water element respectively, were the first two important considerations when selecting Hué. Imbued with Living Qi, it is believed that Hué is protected by the Truong Son Mountains and blessed with incoming opportunities from the Gulf of Tonkin and the Perfume River (Figure 3-2).

The Truong Son Mountain Range protects Hué and nearby farm lands from harsh winds which arise in the springtime, the monsoon, and during April and May.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè The many Gulf of Tonkin commercial ports including Thuan An, Lang Co and Canh

Duong meant prosperity for the capital. The Perfume River provided water to nourish

Copyright  by Chiang Mai University the crops (Phan, 2001). It is believed that these geographical features form wholeness within and harmony between humanity, nature and heaven (Phan, 1998).

All rights reserved Despite suffering substantial damage in the American War in Viet Nam much of

Hué’s ancient architecture survived; including the royal Citadel, religious pagodas

and common garden houses. This ancient architecture is built within the larger system of the “natural poetic landscape” (Adamson, 1999) and based on Feng Shui rules in terms of spatial arrangements (Phan, 1998). The unification of ancient architecture

32 and the “natural poetic landscape” at Hué can be described as “landscape architecture” (Phan, 1998). Phan (1998) holds that the landscape architecture of the ancient capital of Hué contains Feng Shui because the site embodies all Five Geographical Elements.

3.3.2 The Citadel Construct The location of the Citadel was chosen to be the foundation of the Nguyen Dynasty. The Citadel, in which the royal family lived, forms the heart of Hué (Adamson, 1999). The ‘whole system’ concept of landscape design of the city of Hué, including the spatial arrangement of the Citadel is balanced between natural landscape and artificial architectures.

With respect to the natural landscape, the selection of a harmonious place to build the Citadel contained important geographical elements such as expanding river, screen-mountain, fertile and verdant greenery (Phan, 1998). The Citadel was designed to induce the flows of Qi and to enrich the prosperity of the immortal royal family (Phan, 1998).

Natural landscape The Dragon Vein element of the Citadel is shared with the one of the city (Truong Son Mountains) at a longer distance in a larger scale.

The Sand element of the Citadel can be identified by the Four Emblem Animals. Green Dragon and White Tiger elements represented by Hen and

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Da Vien Islands respectively in the Perfume River became two guardians

Copyright  by Chiang Mai University of the Citadel (Figure 3-3). The Red Phoenix element represented by Ngu Binh Mountain functions as a screen to protect the Citadel from Dead Qi

All rights reserved and a beacon of fortune (Phan, 1998) (Figures 3-3 and 3-4). However, it lacks the Black Tortoise at the rear of the Citadel.

The Water element is represented by the widening river section, Water Mouth, in front of the Citadel. A famous physical attribute of the Perfume River is the leisurely flow of fragrant water. When passing in front of the

33 Citadel the river widens signifying abundance for the Nguyen Dynasty, the Emperors, and their descendants (Figure 3-5).

The Cave element is defined by the Outer Bright Court, symbolized by the large square in front of the Citadel. The square is of military importance because it prevents enemies from lurking or attacking unexpectedly The Direction of the smaller Feng Shui application determines the orientation of the Citadel complex - but does so whilst maintaining the balance of the two islands. The Citadel’s orientation is southeast, embracing a bright future and becomes the guideline for all essential buildings of the Citadel. The major buildings such as High Noon Gate, Thai Hoa Palace, Can Chanh Palace are along the main axis, separated by large courtyards including Inner Bright Court. Buildings of lesser importance are on either side of the main axis in symmetrical balance.

Figure 3-4: Ngu Binh Mountain the 8royal screen

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved Figure 3-3: Nature features at Hué Citadel (source: Adamson, 1999)

Figure 3-5: Perfume River - the Water Mouth

34 Man-made architecture Whilst using Five Geographical Elements to achieve the Living Qi throughout the landscape of the Citadel, the Nguyen emperors and their Feng Shui consultants also practiced Feng Shui applications on the architecture. In particular, the principles of spatial arrangement such as Yin-Yang and the uses of the Feng Shui motifs were practiced.

To understand how both Yin-Yang principles and Feng Shui motifs were used in the architecture of Hué Citadel, it is important to refer to the ancient cosmology of the Hué Emperors. Believed as Divine Sons of Heaven living on Earth, their Citadel could only be represented by the Earth model.

In Feng Shui practice the Heaven model is identified by a round shape whilst the Earth model is identified by a square shape. The Citadel is comprised of a series of enclosures (Figure 3-6) around the throne, which is the heart of the Empire (Figure 3-7). The architecture of the Hué Citadel is designed to reflect the Earth model by the reduction of the scale of the larger unit.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University Figure 3-7: The throne – the heart of the Empire

All rights reserved

35 The Hué Citadel complex (Figure 3-6) encompasses the Capital Citadel (“Kinh thành”: the biggest rampart), the Royal Citadel (“Hoàng thành”: the middle rampart) and the Forbidden Citadel (“Tử cấm thành”: the smallest rampart) (Phan, 1998).

The harmony of the cosmos can be understood as the combination of the opposite and complementary energies Yin-Yang. o Yin shows shade of mountain, cold rainy weather, right-hand, circle, signifying all that is feminine and passive. o Yang shows the sunny side, heat, left-hand, square, signifying all that is masculine and active.

The architecture is made to harmonize the Citadel with the Yin-Yang rhythm of nature. For example, the idea of “Heaven is round, Earth is square” is a manifestation of Yin-Yang principle, this led to the square configuration of the Citadel. Yin-Yang principle is applied in the spatial arrangement with the left room/house for man and the right room/house for woman. Yin-Yang roofing tiles are used on all of buildings (Figure 38). Yin-Yang can be also understood as the harmonious combination of nature (Yin) and architectural constructs (Yang), which is the reason why every building in the Citadel has its own garden (Figure 3-9).

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved Figure 3-9: A rockery in a royal garden

Figure 3-10: A model of cosmos in the Co Ha royal garden

Gardens within the Citadel are designed to reflect the Yin-Yang principle.

Each garden is a reproduction of the cosmos; rocks, verdant trees and small ponds mimic the image of the greater world with its mountains,

36 forests and limitless oceans (Figure 3-10). Within each garden, Yin and Yang are represented by the smooth water (Yin) under the sharp rockery (Yang), or the still of the rockery (Yin) and the flow of water (Yang) (Figures 3-9, 3-10). Each element contains both Yin and Yang which allows it to balance itself with the surroundings.

Feng Shui motifs which include statues, pictures, stylized Chinese characters and embossments were deployed in various locations throughout the architectural detail of the Citadel. It is believed that statues of a Tiger or Phoenix could totally substitute for natural features (Phan, 1998), especially at locations where natural features are absent.

Figure 3-11: Motif of the Four Seasons

Feng Shui motifs include the Four Seasons: for Spring - the Apricot; for Summer - the Lotus; for Autumn - the Daisy; for Winter - the Willow (Figure 3-11); the Four Emblem Animals: the Dragon, Tiger, Tortoise,

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Phoenix (Figure 3-12, 3-13); stylized Chinese characters (Figure 3-14); and the Two Dragons fighting for a pearl (Phan, 1998).

Copyright  by Chiang Mai University

All rights reserved Figure 3-12: The Tiger motif

Figure 3-13: The Phoenix motif

37 These motifs can be regarded as visual tales expressing human desires. For example, the Four Seasons signifies the need to live in harmony with nature; the Four Emblem Animals illustrates the idea of protecting humans from natural calamities; and the Two Dragons fighting to get the pearl expresses the desire of Nguyen Emperors to possess eternal life (Figure 315).

Figure 3-14: Stylized “Double Happiness” motif

Figure 3-15: Two Dragons motif

As discussed earlier, Feng Shui symbols can be deployed where naturally occurring features are absent. The decorative motifs have a function forming elements of Living Qi. Tiger or Dragon statues (Figure 3-12) are symbolic guardians, usually placed in front of buildings. The Phoenix motif (Figure 3-13) placed in a wall substitutes for the natural feature of a small hill, and is symbolic in signifying good fortune for the buildings residents. Double-rowed groupings of civil and military Mandarin statues symbolize a wealthy and prosperous dynasty (Phan, 2001).

3.3.3 Pagodas of Hué

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Feng Shui applications are employed in the design of pagodas. As the

population of Hué can be inferred to be spiritual (Phan, 2001), many pagodas, which

Copyright  by Chiang Mai University serve this traditional belief, have been constructed throughout the city. The landscape

All rights reserved and architecture of pagodas are regarded as art in Viet Nam venerating the spirit

world and religious ceremonies (Phan, 2001). In Hué and the neighboring vicinity,

there were a large number of renowned pagodas built over the last 400 years which included Thien Mu, Bao Quoc, Tuy Van, all of which employed Form School Feng Shui (Adamson, 1999).

38 Pagoda landscapes With regard to the landscape of pagodas, Five Geographical Elements are the most important features in the selection of the land. Unlike the Citadel, where the natural features are sought to exploit the harmony of the land and all advantages from nature, the pagodas are not harmonized nor do they draw any advantages from nature. On a small scale, it is not easy to locate a site with a mountainous landscape (Dragon Vein) and a river (Water) in front. So the Hué ancients tended to improve the location of pagodas by using artificial environments.

The Dragon Vein can be referred to as the high topography on which some ancient pagodas of Hué are located, sheltered by mountains or protected by trees at the rear. Being quiet and calm, they seclude themselves from society, yet take full advantage of the Dragon Vein properties. Pagodas of Thien Mu, Bao Quoc, Huyen Khong 1 and 2, Tuy Van, Tu Hieu are such examples.

The Sand can be formed by the Four Emblem Animals which are created by artificial features such as a screen wall with the Red Phoenix. The combination of trees and stone represent the Green Dragon and the White Tiger at the left and the right of the land respectively (Figure 3-16) as viewed from the pagoda. The group of trees at the rear represents the Black Tortoise. All pagodas of Hué are enclosed by perennial plants, providing

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè cool shade and protection from the harsh climate (Phan, 1998).

The Water can be represented by a pond located either to the front or rear

Copyright  by Chiang Mai University of the pagoda entrance. This pond represents the element of Water Mouth,

All rights reserved also symbolizing watercourses cleaning the dust of life. Some pagodas,

such as Thien Mu (Figure 3-17) or Hon Chen face a river naturally, and for those lacking natural water features the artificial features such as fishponds or streams are provided (Figure 3-18).

39 The Cave can be defined by a front yard, which plays the role of Bright Court (Figures 3-19, 3-20). In the pagodas of Hué, Bright Courts can be further subdivided into a “Inner Bright Court” that is in front of a pagodas, and a “Outer Bright Court” located in front of the whole pagoda complex in the main North-South axis.

The Direction can be determined as the pagodas of Hué face south. There is a famous saying in Viet Nam of “Sages face south to pacify the world” (“Thánh nhân nhìn hướng nam bình thiên hạ”), and pagodas are no exception. Many pagodas like Thien Mu, Tu Hieu, Bao Quoc were oriented to face south, southwest or southeast, rather than to face a road or path.

Figure 3-16: Thien Mu Pagoda – Green Dragon

Figure 3-17: Thien Mu Pagoda – natural water

Figure 3-18: Tu Hieu Pagoda - Pond

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University Figure 3-19: Bao Quoc Pagoda Bright Court & Water Mouth

Figure 3-20: Tu Hieu Pagoda - Bright Court

All rights reserved Man-made architecture

Whilst the Five Geographical Elements in a natural landscape are found in

balance in the North-South axis, it is believed that the symmetrical structure in the man-made architectures of the pagodas are another way to

40 perform Qi. In this structure the middle axis, called the Spirit Axis (“trục Thần đạo”), is oriented North-South, and the buildings within the pagodas are arranged symmetrically around this axis (Figure 3-21).

Figure 3-21: Thien Mu Pagoda - The complex is oriented around the main North-South axis, facing North

Besides, the ancient Vietnamese Chu Nom scripts, which carry both good meanings and the balanced structure of the letters, are used popularly in the architectures of the pagodas. The most frequent scripts used are Dinh (signifying strength), Cong (signifying positive attack) and Tam (signifying the Three Abundances of Heaven, Human and Earth). The main buildings oriented around the Spirit Axis, in symmetrically balance, is a stylization of Chu Nom scripts.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Chu Han and Chu Nom, both using Han ideographs, were the national scripts of Viet Nam. Chu Han was used from the 1st century to 10th

Copyright  by Chiang Mai University century, from whence Chu Nom was developed to better represent spoken Vietnamese. Quoc ngu is a Latin-based script, with additional tone marks,

All rights reserved developed in the 16th century, and adopted as the national script in the1920’s.

41

Figure 3-22: The stylized letter of the Dinh, the Cong and the Tam script

According to Phan (1998), the simplest form of architectural layout in the pagodas follows the letter Dinh (stylized T), consisting of the main sanctuary perpendicular to the praying hall in the front. Another layout is the letter Cong (stylized H) where the main sanctuary and the praying hall are parallel and linked by a hall called the incense-burning hall. Another layout is the letter Tam (stylized III) which includes three parallel buildings, the lower, the middle and the upper building (Figure 3-22).

Around the main buildings there are secondary buildings such as house of the Head, residence for monks, bell-tower and the three-door entrance as the entry gate of the temple. Regardless of scripts, buildings in the Hué pagodas are arranged along the Spirit Axis and are symmetric.

3.3.4 Hué Garden Houses Hué preserves a special type of common architecture, which is not seen in

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè other regions in Viet Nam, but appeared hundreds years ago in Hué – the garden house (Phan, 1998). Whilst the royal family lived in the Citadel, many other distant

Copyright  by Chiang Mai University royal relatives and rich people lived in garden houses in villages such as Nguyet Bieu,

Vy Da and Kim Long. Like the uses of Feng Shui applications in the Citadel and the

All rights reserved pagodas, distant royal relatives and rich people used Feng Shui applications for the choice of their home site, directions, and home layouts (Adamson, 1999).

42 Garden Houses landscape The Dragon Vein can be represented by the high topography

helping

to

elevate the buildings from flooding. Whilst the Citadel and pagodas are located in a mountainous Garden utilize

landscape,

Houses such

cannot

real

natural

feature. Instead, they use an even and flat terrain with trees

at

the

back

to

symbolize mountains.

Perennial

trees

such

as

jackfruit, plum, or tamarind

Figure 3-23: Garden house schematic

are selected to protect the house from harsh wind whilst enjoying some economic values from harvesting.

The Sand is provided by the Four Emblem Animals and the surrounding trees (Figure 3-23). Similarly with Sand of the pagodas, the two trees in the front yard can be seen as the Green Dragon and White Tiger (Figure 3-

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè 24), the brick screen can be seen as Red Phoenix (Figure 3-25), banana

trees with large foliage at the rear can be seen as Black Tortoise,

Copyright  by Chiang Mai University corresponds to the ancient saying “arecas in front, bananas on back”

(“trước cau sau chuối”). It is important to note that the Black Tortoise

All rights reserved coincides with the perennial trees which symbolized a stable mountain of Dragon Vein.

43

Figure 3-24: The front two trees – Green Dragon and White Tiger

Figure 3-25: The screen – Red Phoenix

According to Phan (1998), behind the front entrances is to be found the screen of Garden Houses which symbolizes the Red Phoenix. Usually they are constructed of brick and contain art or a legends or the story of the building construction. The screen depicted in Figure 3-25 contains art in the form of Two Dragons fighting for a pearl motif. Figure 3-26 shows a Red Phoenix screen decorated with Double Happiness motif.

Figure 3-26: The brick screen

Figure 3-27: The plant screen

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Alternatively, a group of medium-sized trees (Figure 3-27) can be used in place of a screen, reducing both strong winds and curiosity seekers’ stares.

Copyright  by Chiang Mai University This screen also creates openness for the garden and reduces the separation between the house and its surroundings (Phan, 1998).

All rights reserved The Cave which means the house location can be defined by the Bright Court in front. In garden houses, the front yard plays the role of the Bright Court (Figures 3-24 and 3-25). There is only an Inner Bright Court located between the house and the Water.

44 The Water in garden houses is represented by a water pond with rockery or a small aquarium with lotus flowers, goldfish and carp (Figure 3-28), located behind the screen. There are also two rows of short trees such as hibiscus, roses, or laurels surrounding the pond. The pond improves the microclimate by evaporation and creates a calm atmosphere (Phan, 1998).

Figure 3-28: Pond cools the environment

The Direction in garden houses is met by orienting them to the south, which is reiterated in a Vietnamese saying "Get married to a woman, build south-facing house" (“Lấy vợ đàn bà, làm nhà hướng nam”). Houses with south facing aspects can avoid cold wind from the northeast in winter and enjoy fresh wind from the south in summer. Living Qi which comes with the fresh wind can enter the houses easily. Some houses turn away from

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè the road for two reasons; (1) to have good direction, to face south, and (2) to have an escape from the noise and hot atmosphere of outside life (Phan,

Copyright  by Chiang Mai University 1998).

Man-made architecture

All rights reserved Yin-Yang principle, in particular the notion of Yin represented by feminine

and passive and Yang represented by masculine and active, can be seen clearly in the spatial arrangement of garden houses. Normally, garden houses are divided into three spaces: the Yang space on the left for men

45 (“nam tả”), the Yin space on the right for women (“nữ hữu”), and the middle space to worship the Buddha or ancestors (Figure 3-23). The Yang space could be connected with expanded room for first-born son (Yang) whilst the Yin space on the right connected with the kitchen for woman and daughters (Yin).

Garden houses are made of wooden construction, with carefully executed carvings and decorations. They are located in the middle of large gardens with beautiful bonsai and trees providing year round shade and flowers.

The Feng Shui elements in a garden houses are usually comprised of a main entrance, minor entrances, a screen at the front yard, rockery, and a small aquarium. Together, with the main building in the centre of garden, there are several secondary buildings and a water well, for daily use. Like the Citadel and the pagodas, garden houses have a main axis through the main components. This main axis is regarded as the Spirit Axis for the house, following the principle of the Five Geographical Elements.

In summary, this chapter has explored the important applications of Feng Shui practice used in the context of Hué. There are various Feng Shui manifestations to be found in various architectural forms in Hué such as the Citadel, the pagodas and garden houses, as discussed above. These architectural styles reflect both Vietnamese aesthetic and foreign influences in particular China (Phan, 1998). Feng Shui influences on the landscape architectures of Hué, Viet Nam can be highlighted as

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè follows:

Firstly, Feng Shui utilizes natural features as a necessary addition to

Copyright  by Chiang Mai University architecture. For example, the Citadel has uses the two islands on the Perfume River and the Ngu Binh Mountain. Natural features are often used because people tend to

All rights reserved believe that architecture is controlled by natural elements such as the Five Geographical Elements.

Secondly, Feng Shui harmonizes nature with the human environment through the use of gardens. In some architectural styles such as the Citadel, the pagodas and

46 garden houses, garden plays an important role in harmonizing buildings and the surrounding landscapes. This is to create a smooth transition from larger scale to small scale and from the surrounding natural landscape to the artificial architectures.

Hué maintains the fresh green environment with a large number of gardens plants on the streets, and the park systems on both sides of the Perfume River. Hué has been considered a city of gardens because of its garden houses, garden pagodas, and Citadel gardens (Adamson, 1999).

Thirdly, Feng Shui creates a synergy between nature and artificial architectures. Hué architecture tends to remain in harmony with the surrounding landscape. The buildings themselves do not overwhelm the landscape, but rather are made grander by the surrounding rivers, mountains, and meadows.

Finally, Feng Shui helps ease the lack of natural features in artificial architectural environments. Where natural features of the Five Geographical Elements are absent, they can be created or replaced by adding features such as planted trees, rockeries, statues, sculptures, or decorative motifs.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

Chapter 4 Methodologies This chapter explores the relevant methodological approaches from previous research and develops the methodology of this research in relation to the compatibility between Feng Shui and modern landscape design. In order to successfully apply modern landscape design techniques to achieve Feng Shui application, it is first essential to analyse and verify this compatibility regarding as the comparable attributes of both disciplines. The purpose of this chapter is to explore previous works of other researches that focused on this compatibility.

Adapted from Xu (2003), Feng Shui applications can be effectively analyzed and compared by using modern environmental design method, through the overlap factors such as geography, hydrology, vegetation, topography, and orientation.

Adapted from studies of Yu (1998) and Mak (2002) is the use of a questionnaire in order to ascertain the perception of architects as to whether preferable conditions of constructed environments can correspond with solutions used in Feng Shui application.

4.1 Methodological Approaches In order to explore the compatibility between modern landscape design techniques and Feng Shui applications, distinct researches, Xu (2003), Yu (1998) and

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Mak (2002), are examined. Firstly, the work of Xu (2003) is focused on the overlap

Copyright  by Chiang Mai University factors of both Feng Shui practice and modern environmental design. Secondly, the methodological approach of Yu (1998) and Mak (2002) are focused on architects’

All rights reserved perception of Feng Shui practice and landscape design.

Xu (2003) holds that Form School practices are based on both climatic factors

- wind, sunlight; and physical factors of the environment - mountain, river, plant, building, and direction. In modern environmental design, many computer tools are available to analyze climatic factors and physical factors. This creates an opportunity for the information sources of Feng Shui to be combined into a digitized format for

48 viewing and comprehensive analysis. Particularly, Xu transforms these factors, which are climatic and physical, into computerised diagrams by using the overlap factors between the Feng Shui practice and the modern environmental design.

Xu (2003) considers the overlap factors with some assumptions: First, geographical factors are the most important when evaluating mountains and hills.

Second, hydrological factors are the most important when evaluating the influence of rivers and ponds.

Third, vegetative factors are the most important when evaluating plants.

Fourth, topographical factors are the most important when evaluating the spatial arrangement of architectures.

Last, orientation is the most important when evaluating the direction used in Feng Shui practice of the Form School.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University Figure 4-1: Overlap factors between Feng Shui practice and modern environmental design (Xu, 2003)

All rights reserved These rules are then applied to the Feng Shui factors such as river, mountain,

direction, plant and buildings, in order to be able to transform the Feng Shui principles into the identified rules of modern environmental design. In the diagram

above (Figure 2-31), the overlap factors between the Feng Shui practice and modern environmental design derived from Xu can be understood as river is related to

49 hydrology, mountain is related to geography, direction is related to orientation, plant is related to vegetation and architecture is related to topography.

Xu (2003) finds that these factors - geography, hydrology, vegetation, topography, and orientation - could be usefully substituted by the Feng Shui factors in the process of site analysis using the computerized diagrams. This facilitates modern environmental design as it relates to current techniques using contemporary environmental factors.

Whilst Xu does not mention the Five Geographical Elements in name, Xu’s concerns about the Feng Shui factors seem to be based on the Feng Shui applications of the Form School practice. This research suggests that, the Five Geographical Elements which are Dragon Vein, Water, Sand, Cave and Direction could also be understood as the overlap factors. Dragon Vein, which is represented by a mountainous geography, can be referred to the mountains factor; Water, which is represented by flowing water, can be referred to the rivers factor; Sand, which is represented by the enfolding hills or surrounding trees, can be referred to the plants factor; Cave which is represented by the best location to place the house can be referred to architectures factors; and Direction, which is represented by the orientation of the main door of the house, can be referred to the direction factor. It can be said that the overlap factors between the Feng Shui practice and the modern environmental design in Xu’s research are the similar concerns between the Five Geographical Elements and modern environmental design.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Xu’s findings point out the possibility of analyzing the Five Geographical

Elements in modern environmental design, by using overlap factors. In order to

Copyright  by Chiang Mai University analyse and evaluate a Feng Shui landscape model, the concerns are not only the

factors such as the appearance of mountain, river or plants, but also the criteria of the

All rights reserved Five Geographical Elements have to be considered. For example, a mountain can be

analyzed as a geographical feature in modern environmental design, but a mountain might not be evaluated as Dragon Vein without its criteria of Dragon Vein. Next is the discussion of the approaches of Yu (1998) and Mak (2003), in evaluating the criteria of the Five Geographical Elements in modern landscape design.

50 According to Yu (1998), a landscape model of the Feng Shui practice based on the Five Geographical Elements is manifest in the ideal landscape model of human.

The Feng Shui landscape model has cherished living conditions for human to create an ideal residence. For example, the Five Geographical Elements ensures the house will be protected from natural calamities and yet derives full advantage from nature.

To examine this idea, Yu requested 87 students in his university to sketch and describe their ideal landscape model for residence in their imagination. This is to establish the landscape models according to the desire of participants, and to verify whether a human’s perceptions would match those of Feng Shui. After analysis and categorization, Yu found that there were four major ideal landscape models represented in the participant sketches. Sketches that did not represent one of the four major ideals were not included in Yu’s results since the total was a small percentage.

The major models are shown in Figure 4-2 below:

Figure 4-2: Four major ideal landscape sketches (Source: Yu, 1998)

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Yu found that scenario B occupies 72.4% of most preferable landscape,

scenario A, D and C occupies a number of 10.3%, 5.7% and 3.4% of preferable

Copyright  by Chiang Mai University landscape respectively. Yu propounds that the scenario B is also the ideal Feng Shui landscape model since it satisfies the criteria of the Five Geographical Elements. To

All rights reserved develop better understanding of these models, the following table was proposed to describe the criteria of the Five Geographical Elements for the readers’ reference.

51 Table 4-1: Five Geographical Elements Effects in 4 Scenarios Five factors

Criteria

Dragon Vein Backed by hill Surrounded by trees Sand Water in front Water Water view in front Path in front Open space in front Cave Open view in front Sunshine in front Direction

Scenario A

Scenario B

Scenario C

Scenario D

¡ ¡ ¡ ¡ ¡ ¡

¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡

¡ ¡

¡

¡

¡ ¡ ¡

¡ ¡

¡

Scenario B (Figure 4-2) can be described as mountain behind the house (Dragon Vein); a pond and a footpath meandering in front (Water); trees are around (Sand); open space in front with a view to the pond (Cave); and the sun shines towards the front of the house (Direction). These criteria match the Five Geographical Elements from the Form School practices. Yu then concluded that the Feng Shui landscape model from the Form School practices matched the most preferable ideal landscape model in human imagination. The others such as scenario A, C or D which achieves fewer criteria of the Five Geographical Elements are also considered an ideal landscape model from participants. This has shown that the Five Geographical Elements play a discernable role in the design of a landscape model.

Acknowledgment from the models of ideal landscape originally derived by Yu (1998), Mak (2002) also uses these four scenarios and requests architects to select the most preferable surrounding environment. Although Mak conducted an opposite approach with Yu’s one,; however, he uses Yu’s results to verify whether design criteria of modern architects coincides with ancient Feng Shui practice.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Using a similar technique as Yu (1998), Mak (2002) uses descriptions in the

Copyright  by Chiang Mai University instruction for the four scenarios in relation to the modern factors such as geography, hydrology, vegetation, topography. To conduct an unbiased survey, there are no Feng

All rights reserved Shui terminologies or jargons to be used in the drawing questionnaire. The

participating architects in Mak’s survey were requested to rank the four scenarios

using a scale of 1–4 according to their preference. The most preferable choice is 1, whilst the least preferable choice is 4. The results of the survey overwhelmingly

52 reveal the majority of participants select scenario B as their most preferable choice (89.5%).

The results of Mak’s survey are consistent with Yu's earlier survey (72.4%).

As a result, Mak’s study shows that the ideal Feng Shui model has been subconsciously adopted by architects despite their lack of knowledge regarding the Five Geographical Elements. It is meant that the selection as proposed by the architects generally concurs with the ideal Feng Shui model.

In the study of Mak (2002), the four scenarios in the questionnaire are under the cloak of the modern factors which overlap with the Feng Shui applications. These overlap factors as shown in diagram (Figure 4-1) can be substituted for the Five Geographical Elements. This facilitates acceptability with architects to participate in a questionnaire whilst achieving clarity in reading a landscape design drawing, because they are already familiarized with these overlap factors in their practices.

In summary, the findings of Xu (2003) point out that Feng Shui applications can be effectively analyzed by using modern environmental design method, through the overlap factors such as geography, hydrology, vegetation, topography, and orientation. The Five Geographical Elements of ancient Feng Shui practices could be translated to these modern overlap factors, corresponding to the current practices and knowledge of architects on modern landscape design. Xu’s findings stimulate the method for this research, which is to demonstrate the compatibility between Feng Shui applications and modern landscape design techniques through the comparable

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè attributes. To be comparable and attain the compatibility, the attributes should contain similar information from both Feng Shui applications and modern landscape design

Copyright  by Chiang Mai University techniques.

All rights reserved Results of studies of Yu (1998) and Mak (2002) point out that the Feng Shui

applications have a rational foundation in landscape design accepted by architects.

Mak’s method reveals the advantage of the scheme which can be done by preventing

the undercover message to be discovered by participants, which could make the results less prejudiced. The method of determining the preferable landscape solution

53 using drawings is one method for conducting a questionnaire in this research. In a question, this researcher should propose several drawings ranked in a score system of Feng Shui applications, participants would be required to rank these drawings according to modern criteria. The two ranks are then compared to verify whether they are compatible.

These makes possible the methodological approaches of this research. The first is to demonstrate the compatibilities between Feng Shui applications and modern landscape design techniques. The second is to examine these compatibilities by comparing the preferable solutions of landscape design by participants in a drawing questionnaire survey. These methodological approaches are discussed in the following section.

4.2 Analysis of Modern Landscape Design Techniques and Feng Shui Applications Feng Shui applications can be compared with the modern techniques by the use of comparable attributes, which can be categorized according to rules of formmaking, roles of physically and function together with aspects of psychology.

Adapted from Xu (1990), the logic of these attributes is used to describe the applications of Qi, Yin-Yang, Five Elements, and Five Geographical Elements in landscape design.

The rules of form-making are focused on the rules and site conditions of

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè landscape design. The role of physicality is focused on appearance or the physical

image of an object. The role of function is focused on how objects induce people to

Copyright  by Chiang Mai University interpret their meanings. Finally, the aspects of psychology are focused on the way in

which the positive feelings are created or the way in which observers think and assign

All rights reserved utility to objects in such a landscape. These comparable attributes facilitate the potentiality of compatibility between modern landscape design techniques with a Feng Shui application.

To demonstrate the compatibility between modern landscape design techniques and Feng Shui applications, the absence the method of analysis. Figures 4-

54 3 illustrates the process of this synthesis, the results are the shared attributes of rules of form-making, roles of physically, roles of function and aspects of psychology.

4.1.1 Modern landscape design analysis Modern landscape

design

techniques derive from Reid (1993). Emphasis, Balance, Harmony,

Interest, Sequence,

Unity, Simplicity, and Proportion are terms often associated with art

and

architectural

design.

The

understanding of how these terms can be used in

a

landscape

and

garden design context is important. Each of them can be reduced to four

attributes

as

follows.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Figure 4-3: Flow chart illustrating the process employed, using the analyzed element inputs from both modern landscape design and Feng Shui

Copyright  by Chiang Mai University

All rights reserved Rules of form-making:

In landscape design, the rules governing the arrangement of every element

in a garden landscape needs to be observed so that the garden landscape is designed optimally in terms of visual aesthetics and function. These rules

55 are assigned into category of “rules of form-making” in the landscape synthesis process.

Roles of physicality:

Physical objects in modern landscape design technique are a specific theme. A theme bestows its own characteristics on a design and plays a significant role in the beauty of the garden as a whole. These themes are assigned into category of “roles of physicality”.

Roles of function: Each specific theme in garden landscape with their distinct characteristics is designed to convey the intents and concepts of the architects of a garden landscape and therefore fit the “roles of function” category.

Aspects of psychology: Technique rules can imbue a landscape garden with an ambience which can evoke specific responses from humans. These techniques therefore are placed in the “aspects of psychology” category.

4.1.2 Feng Shui application analysis Feng Shui applications include Five Geographical Elements, which are Dragon Vein, Sand, Water, Cave and Direction; and basic principles include Qi, YinYang, and Five Elements and are essential factors of the Form School Feng Shui application. They can be synthesized into the four attributes as follows.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Rules of form-making:

Copyright  by Chiang Mai University The Feng Shui practice rules include placing symbols, signs and site

location (Xu, 1990), so the proposed site can be located in the optimum

All rights reserved position for inducing Qi. As rules they are categorised as “rules of formmaking”.

Roles of physicality:

The objects of Feng Shui applications detailed here are not the elements of Five Geographical Elements; or principles of Qi, Yin-Yang, and Five

56 Elements, but they are intended to be tangible elements such as tree, mountain, screen, spatial layout or colours of a garden and are assigned the category of “roles of physicality”.

Roles of function: In terms of “function”, Feng Shui application can be viewed as the technique by which the Feng Shui elements can be use to induce Living Qi. Aspects of psychology: The objects described in physicality in this section, as in the landscape design attributes, infuse the garden with different ambiences and thereby affect the “psychology” of the observer and the mental feelings evoked by such a design.

The four comparable attributes of both modern landscape design techniques and Feng Shui applications are extracted and combined to establish the compatibility between the two disciplines. Once collected, the results are tabulated; one table includes one modern landscape design technique and the other Feng Shui application whose attributes conducting the compatibility. For example, Emphasis would go with Water since they contain the similar attributes of rules of form-making, physicality, visibility and psychology (Table 4-2).

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

57 Table 4-2 Example: Compatibility between Emphasis and Water Rules of Form-making Emphasis (a) The number of dominant elements must be limited; (b) The dominant element must be easy to identify; (c) The components of any combination should not be equally attractive visually; (d) The focal points must be different or in contrast with the surroundings. (a) A Water feature must be designed to be an essential and important Water decorative item; (b) The Water feature is usually located in the centre of the front garden; (c) The contrasting and complementary characteristics of YinYang are used to optimise the Water feature; (d) The quality of water must be maintained at a high standard.

Emphasis Water

Emphasis Water

Emphasis

Water

Roles of Physicality (a) Emphasis is the element that carries the most attraction to draw the visitors' attention; (b) It is therefore a unique element that has the most visual power. (a) Water features may be, for example, a man-made stream, a pond, a birdbath, or a flowing fountain; (b) Water feature can be either water body or water symbol in the form of sculptured sand; (c) Water feature must be utilized carefully and selectively, becoming a vivid element in the garden.

Roles of Function (a) Emphasis creates the landmark for orientation and provides a resting place for the eyes. (b) It forms the heart of a landscape. (a) The babbling sound, smooth water surfaces and aquatic life brings sensual pleasure to the visitors; (b) Water collects and maintains Living Qi for the site.

Aspects of Psychology (a) Emphasis provides the pleasure of determining the most important element in the garden; (b) It helps the visitors to comprehend the whole scene before scanning the scene for details. (a) Water carries a mental significance as a symbol of wealth and health; (b) It creates positive feelings of occupants

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Information Source: Reid (1993), Vuong (1996) and Vuong (2004)

Copyright  by Chiang Mai University 4.3 Compatibility between Modern Landscape Design Techniques and Feng Shui Applications

All rights reserved Each section of this part compares the principles of modern landscape design

techniques with the correlative Feng Shui applications. The comparison is based on

four major aspects – rules of form-making rules, roles of physicality, roles of function

58 and aspects of psychology - aiming to illustrate the potential relationship between the two disciplines.

4.3.1 Emphasis technique and Water element The technique of Emphasis and the Water element of Feng Shui application have the same positive effect in landscape design. Emphasis is a technique of modern landscape design, using an element with visual weight to enhance the significance of an object either as an individual element or as a whole garden. The Water element in Feng Shui is treated in a similar manner, by taking an important and dominant position in the scene or the whole garden. Here the technique of Emphasis is compared with the attributes of the Water element of Feng Shui application, which is known as the most decorative item in a garden, not only for its tangible beauty but also its intangible values.

In landscape design, Emphasis is the dominant element that attracts an observer’s attention, creating a centre of visual weight in a garden. The Emphasis of a garden is commonly a water feature, or supplemented by water, and likely the most decorative item in a garden landscape, favored by gardens owners and maintained as such. The mental significance of this Feng Shui element of Water is wealth and health. When placing Water in front of a building, it accrues Living Qi from dispersion. Emphasis can be weighted in similar to the arrangement of the Feng Shui Water. Table 4-3 gives a general comparable attributes of both the Emphasis technique and the Feng Shui Water feature.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè With respect to the rules of form-making, Table 4-3, the compatibility is

expressed through Emphasis, which is the technique of the dominant element in the

Copyright  by Chiang Mai University landscape, coupled with the Water element, an essential decorative item, which is

normally placed in the centre of a landscape. Inspection of the traditional gardens in

All rights reserved Hué, demonstrate, the location of the Water element, is the most important and visible garden focal point.

59 Table 4-3: Compatibility between Emphasis and Water Rules of Form-making Emphasis (a) The number of dominant elements must be limited; (b) The dominant element must be easy to identify; (c) The components of any combination should not be equally attractive visually; (d) The focal points must be different or in contrast with the surroundings. (a) A Water feature must be designed to be an essential and important Water decorative item; (b) The Water feature is usually located in the centre of the front garden; (c) The contrasting and complementary characteristics of YinYang are used to optimise the Water feature; (d) The quality of water must be maintained at a high standard.

Emphasis Water

Emphasis Water

Emphasis

Water

Roles of physicality (a) Emphasis is the element that carries the most attraction to draw the visitors' attention; (b) It is therefore a unique element that has the most visual power. (a) Water features may be, for example, a man-made stream, a pond, a birdbath, or a flowing fountain; (b) Water feature can be either water body or water symbol in the form of sculptured sand; (c) Water feature must be utilized carefully and selectively, becoming a vivid element in the garden.

Roles of Function (a) Emphasis creates the landmark for orientation and provides a resting place for the eyes. (b) It forms the heart of a landscape. (a) The babbling sound, smooth water surfaces and aquatic life brings sensual pleasure to the visitors; (b) Water collects and maintains Living Qi for the site.

Aspects of Psychology (a) Emphasis provides the pleasure of determining the most important element in the garden; (b) It helps the visitors to comprehend the whole scene before scanning the scene for details. (a) Water carries a mental significance as a symbol of wealth and health; (b) It creates positive feelings of occupants

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Information Source: Reid (1993), Vuong (1996) and Vuong (2004)

The contrasting and complementary characteristics of Yin-Yang are used in the

Copyright  by Chiang Mai University design of the Water feature. For example, a calm and twinkling water surface symbolizes a wide ocean (Yin), whilst a sharp and rough rockery represents grand

All rights reserved mountains (Yang). Water babbling from fast water fall represents Yang, whilst a quiet rough rock represents Yin. Movements of goldfish and silver carp represent Yang, whilst small stationary statues represent Yin. In the garden buildings of Hué, Water elements demonstrate Emphasis. To achieve Emphasis, it is required that focal points

60 have a different colour, contrast, form, or texture with respect to the surroundings.

The Water feature itself is also in contrast with the surrounding vegetation.

Figure 4-5: Pond - an important role of focus, a place to relax

Figure 4-4: Water carries wealth and healthy significance. It is the focus in this landscape

Figure 4-6: Design highlight – a Feng Shui Water is to keep it in vivid situation

Emphasis in a garden landscape or a Water feature in a Feng Shui application is not used casually, since it also carries physiological significance (Figure 4-4).

Improper location or disproportionate size might lead an unbalance in elements, such as excessive Water or Earth elements. Therefore, the water feature in a garden landscape should be the dominant and unique object of a scene (Figure 4-5).

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè The function of Emphasis is to create a focal point in the landscape, providing

a focus for the observer’s eyes. Because of the pleasant sound and image created by

Copyright  by Chiang Mai University the presence of water, it is the reason why water is used as the main feature in the centre of a garden (Figure 4-6). Emphasis helps the visitor to comprehend the whole

All rights reserved scene as well as a Water feature, which is to create a natural and relaxing atmosphere

for the whole garden.

Accordingly, Feng Shui Water can be Emphasis in the garden design, as it satisfies the principles of the Emphasis technique, and also enhances the

61 psychological values of the garden. Emphasis and Feng Shui Water are potentially compatible. Yet this requires an empirical test to confirm this relationship.

4.3.2 Sequence technique and Qi element It is accepted that the Sequence technique of modern landscape design and the Qi of Feng Shui application share the same intent of creating a continuous spatial arrangement in a landscape design.

Sequence is a technique in modern landscape design, which describes the linking of a series of spaces or events in a landscape. To make Qi flow readily, it is necessary to have a through path to facilitate free circulation. This section compares the attributes of the Sequence technique with the movement of Qi in a garden.

The process of creating a Feng Shui landscape centers on the movement and change of Qi, which can be achieved through the circulation of connected series of spaces. When the flow meets mountains, buildings, walls, or trees, the air must circulate around such barriers. In modern landscape design, it is important to organize pedestrian movement. For example, clearly defined footpaths should lead visitors into, between, through and out of the different sections of a garden. This organization creates series of elements that are described as having a Sequence.

In the same way, a garden landscape, with Feng Shui application, is experienced as a series of scenes, or landscape “rooms” (Wydra, 1978) in an organized Sequence. Often, Feng Shui garden resembles a Sequence in which small

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè spaces appear larger through the connected spaces or rooms. In order to facilitate Qi

flows through all the stages of the garden, ensuring that there is no obstruction to the

Copyright  by Chiang Mai University movement of Qi.

In practice, it is possible to use the technique of Sequence of modern

All rights reserved landscape design to arrange a landscape in which Living Qi can circulate well.

According to the rules of form-making, Table 4-4, meandering footpaths are often

used to establish the pedestrian movement in a garden. Such planning must be well organized so as to guide the visitors comfortably through the landscape. As in a Feng Shui application, flow of Qi in a garden needs to have the unobstructed paths (Figure

62 4-8 and 4-9). Qi flows in a similar manner as does water or air. Wind, water, Qi and, frequently, people choose paths of least resistance.

Table 4-4: Compatibility between Sequence and Qi Sequence

Qi

Sequence Qi

Sequence

Qi

Sequence

Rules of Form-making (a) The principle of Sequence is to create a beginning, introducing a major theme of a landscape. (b) There must be a clear traffic system to guide the visitors through the landscape. (c) A harmonious rhythm can be developed by repeating or gradually changing (form, texture, colour, size of the elements). (d) Sudden changes and barriers should be avoided since they break the flow of movement in the garden. (a) It needs a clear indication for the direction in a landscape so that finding ways become easy. (b) The principle of Qi is to create thoroughly gently curved paths that follow natural contours. (c) The principle of Qi is to form continuous links between different sections of a garden. (d) According to principle of Qi, straight footpaths and blocked spaces should be avoided as they direct the Qi flow unprofitably.

Roles of Physicality (a) Sequence represents the continuity and the link between different sections. (b) It is the movement from one section to another in a garden. (a) Principle of Qi represents paths or series of connected “rooms” in garden landscapes. (b) It is important to pay attention to the flow of Qi in a garden.

Roles of Function (a) A Sequence connects different elements, sections and events of a garden. (b) It directs the eyes smoothly to the Emphasis of the garden. (c) A well designed Sequence can guide visitors comfortably through the garden. (a) Qi creates a harmony between human and nature. (b) It creates and directs air circulation or living energy throughout the garden.

Aspects of Psychology (a) A Sequence creates the pleasure of controlling the spatial arrangement. (b) It helps visitors to understand the general theme of the garden. (a) Qi encourages all living species in the landscape to flourish. (b) It brings peace, happiness, wealth and health to the occupants.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Qi

Copyright  by Chiang Mai University Information Source: Reid (1993), Vuong (1996) and Vuong (2004)

As shown in Table 4-4, as in the roles of physicality, a modern landscape

All rights reserved design requires continuity between different sections or events in a garden; while Qi

requires a series of connected scenes or landscape “rooms”. In this organization, of garden landscape, Sequence can be referred to the movement of Qi. For example,

water flowing along a mountain stream can start as a quiet, gentle flow, then arrive at

63 a high waterfall to fall into a deep and large pool and finally settle peacefully again into a lake. They create similar physical properties.

Figure 4-7: The flow of Qi can be very fast and sharp

Figure 4-8: Good Sequence improves the flow of Qi

Figure 4-9: A footpath that is not sharp and not strict

Figure 4-10: Footpaths that welcome visitors and encourage Qi

Functionally, Sequence helps guide a visitor’s direction, whilst paths in a Feng Shui garden are designed to allow Qi to circulate smoothly. A landscape Sequence can connect different stages together, whilst a flow of Qi in a garden can bring the harmony and energy for whole garden and for each scene (Figures 4-7 and 4-10).

Both function through the relationships of elements and spaces.

4.3.3 Simplicity technique and Bright Court and Four Emblem Animals

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè It is proposed that the Simplicity technique and the Feng Shui elements, which

are used to define the Cave in Feng Shui application, to convey the analogous

Copyright  by Chiang Mai University objective in the landscape design. The Simplicity technique maintained the reduction or elimination of non-essential elements in landscape. The Feng Shui elements in this

All rights reserved application are the Bright Court and the Four Emblem Animals. Each of them has its own significance and location in the garden landscape.

In this part, the technique of Simplicity is compared with the attributes of the Bright Court and the Four Emblem Animals of Feng Shui application, which are assigned functional and mental values in the garden.

64 Table 4-5: Compatibility of Simplicity and Bright Court, Four Emblem Animals Simplicity

Bright Court, Four Emblem Animals

Simplicity Bright Court, Four Emblem Animals

Simplicity Bright Court, Four Emblem Animals

Simplicity

Rules of Form-making (a) A garden design should contain only one or two major themes. (b) Use objects with functions. (c) Group like plants together rather than separately; use a limited range of plant varieties. (d) Use of simple lines and forms rather than complicated lines and forms. (a) These elements form a Feng Shui theme in a garden. (b) Each Animal is a unique element that has its own location and its own role. (c) The Bright Court needs to be neat and spacious. (d) Arrange Bright Court and Four Emblem Animals on a balanced axis.

Roles of Physicality (a) The theme of clarity in garden landscape. (b) Essential elements in the garden. (c) Neat lines, forms, textures and colours.

These critical elements create the lucidity theme for a garden: (a) The Bright Court can be an open space, courtyard, lawn or a parking lot. (b) The Green Dragon and the White Tiger can be a tree, a stone, a rockery or a statue. (c) The Black Tortoise can be a back wall or cluster of trees. (d) The Red Phoenix can be a screen, a verdant fence, a bloom tree or a statue.

Roles of Function (a) This rule reduces and eliminates non-essential elements; (b) prevents a landscape from clutter and loss of focus; (c) reduces costs, time and mistakes.

Those Feng Shui elements have their own significance to the landscape: (a) The Bright Court welcomes fresh wind and sunlight, provides a remedy for tired eyes and a space for other activities. (b) The Green Dragon and the White Tiger are decorative items. They prevent the Bright Court from being too empty or exposed. (c) The shadow of the Black Tortoise in the sunlight is a relaxing spot. (d) The Red Phoenix protects the building from strong winds and curious eyes, thus bringing private space.

Aspects of Psychology (a) It helps visitors to define the structure of the garden. (b) It helps to strengthen the attraction of the Emphasis.

Those elements create the theme of Feng Shui landscape. (a) The Bright Court gathers and shelters Living Qi. (b) The Black Tortoise is a shelter or a garden guard. It represents longevity. (c) The Green Dragon and the White Tiger are the front guards of the building. (d) The Red Phoenix is the symbol for bright future.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Bright Court, Four Emblem Animals

Copyright  by Chiang Mai University Information Source: Reid (1993), Vuong (1996) and Vuong (2004)

All rights reserved Feng Shui application holds that the Cave can be defined by Bright Court in

the front garden (open space or courtyard) and be surrounded by Four Emblem Animals. In a garden landscape, the Four Emblem Animals are symbolized by bloom

trees, a rockery combination, and either a verdant tree, a brick screen, or a building.

The Bright Court and the Four Emblem Animals carry special meanings and play

65 different roles. They are mental symbols of the prosperity of Feng Shui in a garden.

The structure of Bright Court and Four Emblem Animals is well organized and is easily identified.

With respect to modern landscape design, Simplicity technique requires clarity and purpose to all of the elements in the landscape. The more functional the elements are, the more effective the design is. Incorporating too many concepts or redundant elements into a single area creates a complicated design with high maintenance requirements.

Figure 4-11: An open space is intended to keep Simplicity and provides pace for activities in the garden.

Figure 4-12: An open space helps to highlight the focal point.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University The structure of Bright Court and Four Emblem Animals is to explore the

applicability of this Feng Shui structure in satisfying the requirements of the

All rights reserved Simplicity technique. Table 4-5 gives a general comparable attributes of both the Simplicity technique and the Bright Court and the Four Emblem Animals.

Usually, symbols used in Feng Shui landscape design can be regarded as an expression of life, a reflection of the soul and an offering to heaven. The garden can be thought of as a body, whilst mountains and water can be regarded as the bones and

66 blood. The trees, grass, roads and buildings can be understood as skin, limbs and clothes. The gate can be understood as the face of the garden, whilst the signs can then be make-up. Every element in a Feng Shui landscape must convey its own functional and mental value to be representative, creating the Feng Shui theme in the garden.

As shown in Table 4-5, the open space in front of the building can be referred to as an economy of elements in garden landscape. Creating an open space can provide a visual resting place, a place for the common activities and this open space can provide the function Bright Court, becoming an active element in a garden creating clarity (Figures 4-11, 4-12). The Bright Court, or the open space in front of a building, is surrounded by Four Emblem Animals. They are the elements that help visitors to observe and understand the structure of the landscape. The use of such elements can be equated to the functional and mental value of modern landscape technique of Simplicity.

It is important to note that the Four Emblem Animals can be understood in terms of Simplicity technique because they tend to eliminate the non-essential elements and bring clarity to a garden landscape. The Four Emblem Animals maintain the simplicity of the garden, whilst providing decoration to the garden. They are positioned at the perimeter of the Bright Court in order to free the central area for alternative uses. Following Feng Shui application, the White Tiger is on the right side of the yard whilst the Green Dragon is on the left side. The Red Phoenix is in front,

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè whilst the Black Tortoise is at the rear. The Bright Court is located in front on the

main axis when viewed from within the area. Such arrangement creates a balanced

Copyright  by Chiang Mai University structure, maintaining essential functions for the whole spatial structure. Since the Feng Shui elements carry the meanings and functions to the garden landscape, they

All rights reserved introduce the high level of clarity in the use of Simplicity techniques.

67 4.3.4 Interest technique and Yin-Yang Both the technique of Interest and Yin-Yang principle suggest a similar goal of creating variety or discovery in a landscape design. The comparable attributes of both disciplines are explored in this part. That is to say the two disciplines use the same materials and media, namely shape, size, texture, color, movement, sound, scent and light in order to create variety and discovery in a garden.

Interest can be regarded as a discovery in a garden landscape with some hidden charms to explore. Interest can also be expressed in a variety of shapes, colors, textures and sizes of elements. In the garden Yin-Yang can be explored through the harmonious combination of opposites. For example, a Yin private niche behind a Yang gap (shrubs or small staggered flowerbeds) could entice a visitor to stop after some Yang activity. Another way to explore Yin-Yang in garden landscape is through the contrast of quality in elements including shape, form, texture, and line. For example, flowerbeds and curved paths (Yin) can be used to counterpoint and balance the straight lines of building (Yang). Above all, Interest or Yin-Yang is aimed to allure people to discover a garden, by using the performance of variety of patterns, including shape, form, texture, colour or functional spaces.

As shown in Table 4-6, in rules of form-making, the technique of Interest is viewed as contrast and variety based on a number of shapes, sizes, textures and colors and changes in direction, movement, sound, scent or light quality. The manifestation of Yin-Yang can be referred to the elements that oppose yet complementary. Besides,

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè the Yin-Yang balance could be manifested by physical characters of places, such as filled (Yang) and empty (Yin), movement (Yang) and still (Yin).

Copyright  by Chiang Mai University

All rights reserved

68 Table 4-6: Compatibility between Interest and Yin-Yang Interest

Yin-Yang

Interest

Yin-Yang

Interest

Yin-Yang

Interest Yin-Yang

Rules of Form-making (a) A variety of shapes, sizes, textures and colours should be introduced to create interest. (b) Use contrast in the qualities of elements. (c) Use unusual elements or combinations of elements that can bring surprise. (a) Use contrasting and complementary attributes of elements while maintaining them in a harmony; (b) Create contrast and harmony between elements and surroundings. (c) Use moon-gates to create hidden sceneries.

Roles of Physicality (a) Diversification of shapes, sizes, textures and colours. (b) Directions, sounds, movements, scents or light can be changed to make the scenes become more interesting. (a) Yin-Yang are contrasting, yet complementary and mutually supportive elements. (b) A Yang object normally goes with Yin scenery, or vice versa.

Roles of Function (a) An interesting garden landscape has a main theme, main attraction or main destination. (b) An interesting garden usually contains surprises or interesting things to discover. (a) Creates distinct functional spaces for different activities. (b) Creates a journey of mystery.

Aspects of Psychology An interesting garden landscape creates the feeling of curiosity and excitement Ying-Yang objects stimulate the visitors' emotions.

Ying-Yang objects create a perspective of balance and continual change.

Information Source: Reid (1993), Vuong (1996) and Vuong (2004)

By creating a pleasing balance of sun and shade; placing bright flowers within a shady corner; adding small lamps along a dark path; adding a rough rock in the middle of a peaceful flow or a surface of water, can improve the attractiveness of the

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè landscape.

With respect to roles of function, the Interest of a garden landscape relies on

Copyright  by Chiang Mai University the feeling of excitement and surprise based on the arrangement of elements.

Frequently, a moon-gate is used to frame the next adventure in a garden. With the

All rights reserved scene behind the gate representing movement, such scene brings a feeling of stillness

and mystery, which could attract and then invite people to enter.

69

Figure 4-15: Contrast between scenery and subjective

Figure 4-16: A moon-gate brings attraction, invites a garden discovery

Yin-Yang can be used in a garden landscape in such a way that satisfies the rules of Interest of modern landscape design. A variety of shapes and lines, patterns of smooth (Yin) and sharp (Yang), round (Yin) and square (Yang) are used to create the contrast. The rule that is Yin-Yang should be in balance.

4.3.5 Balance technique and Feng Shui site plan Balance is a technique in modern landscape design. It refers to the stability of the landscape by creating equilibrium between the parts that make up the whole. In general, the Balance technique and the Feng Shui site plan together achieve the symmetrical and asymmetrical visual balances.

In this part, the technique of Balance is compared with the attributes of the Feng Shui site plan, which is assigned the symmetrical spatial arrangement and the asymmetrical elements used in the landscape design.

Traditional site plan of Feng Shui landscape is easily readable with some

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè layers in the whole site map. A place was arranged with elements either natural or

man-made, internally and externally to achieve balance in spatial arrangement. The

Copyright  by Chiang Mai University inner and outer Four Emblem Animals, Bright Court, together with the building existent are arranged along a central main axis (Spirit Axis) to manifest and conduct

All rights reserved Living Qi. The manifestation of Feng Shui through the Five Geographical Elements shows a strong Balance of spatial arrangements.

70 Table 4-7: Compatibility between Balance and Feng Shui site plan Rules of Form-making Balance (a) To create equilibrium between the parts around the horizontal central axis and the vertical central axis. (b) To make one side of an area looks just like another to create symmetrical balance. (c) To make the visual weight of every element is equally distributed to create asymmetrical balance.

Feng Shui Proof the three balanced layers along the middle axis of the place (a) Layer 1: site plan The outer environment (Dragon Vein, Sand, Water). (b) Layer 2: The front environment (Cave, Direction). (c) Layer 3: The inner environment (Four Emblem Animals).

Balance Feng Shui site plan

Balance

Feng Shui site plan

Balance Feng Shui site plan

Roles of Physicality The elements or structure at both side of an axis that hold the same importance to the eyes.

Balanced structure of spatial arrangement Roles of Function (a) Symmetrical balance display formal designs, is calm and quiet. (b) Asymmetrical balance display informal designs, is dynamic and naturalistic (a) Create a formula of balanced layout where layers are easy to understand and interpret. (b) Marks the territorial boundaries. (c) Presents the characters of nature in the stability of spatial arrangement Aspects of Psychology (a) Symmetrical balance gives a sense of stability (b) Asymmetrical balance creates a sense of curiosity and movement Creates the sense of naturalistic, tranquil, solemn and traditional Information Source: Reid (1993), Vuong (1996) and Vuong (2004)

It is essential in Feng Shui to be able to read the landscape in and around the proposed application to determine a suitable site plan. Normally, an internal Feng

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Shui garden landscape could be integrated with the external environment of the

Copyright  by Chiang Mai University surrounding landscape to create a whole regarded integrated environment. For example, if there is a picturesque tower, lake or river nearby, it can be incorporated

All rights reserved into the garden’s design. Traditional Feng Shui landscape site plans have a formula where inner and outer layers are balanced relatively.

71

Figure 4-18: Asymmetrical balance achieved in a Feng Shui garden

As table 4-7 shows, with respect to rules of form-making, Balance in garden could be achieved through equilibrium between both sides of vision, using either symmetrical or asymmetrical balance techniques, which are similar to the balanced Feng Shui site plan. The overall aim is to be located in an “armchair” landscape which is balanced itself by the structure and by the elements arranged along the middle central axis (Spirit Axis). This comparison reveals compatibility in an application of

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè spatial arrangement between the Balance technique of modern landscape design and the Feng Shui site plan.

Copyright  by Chiang Mai University In a Feng Shui garden, the structure of the garden itself must hold the balanced

All rights reserved spatial arrangement, whilst distinct elements should be arranged to maintain this balance. It is not that the same trees need to be planted at both sides of a garden. The

White Tiger at the right side can be a rockery and the Green Dragon at the left side

can be a blooming tree. In this research, the balance of different elements in a garden landscape and the balance of spatial arrangement of Hué’s buildings are used as references in the questionnaire in the next chapter.

72 4.3.6 Proportion technique and harmony of Five Elements The technique of Proportion and the use of Five Elements of Feng Shui application share the same purpose of creating the relative comparison of quality and quantity of objects in garden landscapes. Both disciplines require no particular element or feature that overpowers another. These objects themselves are not the Elements - Metal, Fire, Water, Wood and Earth, but rather a symbolic representation of Qi and represent five different movements of Qi. In Feng Shui application, it is required to achieve a harmonious balance among these movements using proportional amounts of shapes, colours, textures and materials.

In this part, the technique of Proportion is compared with the attributes of harmony of Five Elements of Feng Shui application, in the congruent combination of the elements in garden landscape design. The following table shows the compatibility between Proportion technique and Five Elements.

It is accepted that everything in the universe derives from these Five Elements in combination and no one element is superior or has more value than another. With respect to rules of form-making, the technique of Proportion requires correlation in size and number between the elements, or between elements and the surroundings in which they appear. Neither the quality nor the quantity of any element of the Five Elements should overwhelm the others. Any structure or man-made landscape that clashes with its natural surroundings is considered unfavorable. For example if elements are too large, too great in number or too overwhelming. This issue of

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè harmonious combination can refer to the technique of Proportion of modern

landscape design. All the elements of a garden should have equilibrium in the sense

Copyright  by Chiang Mai University that they convey the size and the number of the whole.

All rights reserved

73 Table 4-8: Compatibility between Proportion and Five Elements Rules of Form-making Proportion

(a) Balance quantity and quality of various elements; (b) No one element or feature should overpower all of the others; (c) Use the large-scale, humanscale and small-scale in landscape design.

Harmony of Five Elements

(a) Combine Five Elements by using quality (shapes, colours, materials, textures) based on cycle of production; (b) Combine Five Elements in a harmonious quantity, no element or element’s quality is dominant; (c) Use either human-scale and small-scale in garden design.

Roles of Physicality

Proportion

(a) Comparison of heights, lengths, areas, masses, volumes and numbers of all elements; (b) Comparison of colours, materials, shapes, textures of all features.

Harmony of Five Elements

Combination of Five Elements quality and quantity.

Roles of Function

Proportion

Create the equivalence and concord of all elements and all features.

Harmony of Five Elements

(a) Create the harmony between the whole elements in the garden; (b) Avoid a monotonous scene.

Aspects of Psychology

Proportion

(a) Large-scale creates the emotions of wonderment and amazement; (b) Human-scale brings the sense of familiar and comfortable; (c) Small-scale gives a sense of dominance and a desire to care for the smaller objects.

Harmony of Five Elements

(a) Create creative, auspicious energy (b) Creates harmony of the cosmos.

Information Source: Reid (1993), Vuong (1996) and Vuong (2004)

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè In Feng Shui gardens, all elements should coexist harmoniously. Another

consideration is that the combination of Five Elements in a Feng Shui garden should

Copyright  by Chiang Mai University follow the rules of the cycle of production which emphasizes the close harmonious

relationship between each element and the equivalence or concord of all elements

All rights reserved together with the function of Proportion.

4.3.7 Unity technique and theme of each of Five Elements

The technique of Unity and each of the Five Elements of Feng Shui application share the same purpose. That is to create a cohesive perception of the landscape as a whole. To achieve the theme of the both disciplines the colours, forms

74 or textures of elements in landscape design are used. In this part, the technique of Unity is compared with the attributes of each of the Five Elements, which are assigned identification for an individual Feng Shui garden landscape. This can create the specific characteristics for such a garden.

A Feng Shui garden identifies with its owner, who might enjoy a particular element’s energy. By using the interaction of such alternatives of Five Elements, energy of such a single element theme can be created through the manipulation of colours, materials, textures or shapes of Figure 4-20: Water theme is made from white and purple colour of shrubs and plants, and the outline contour shape

that element. For example, a Water garden is the integration of water pond, birdbath,

flower beds with an undulating shape, colour of blue and purple and wavy footpaths (Figure 4-20).

In this case, the quantity of Water character may overwhelm to others and it could lead to unfavourable landscape. To reduce the strong influences of Water, whilst maintaining the distinct characteristic of the owner, other elements’ characters could be

Figure 4-21: Fire theme is from trees with red leaves, the clock tower. Round, grey pots (Metal) reduce the effect of Fire element

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè added to harmonize the landscape. For

example, adding round (Metal) flower-beds (Wood); bright red sunflower (Fire) could

Copyright  by Chiang Mai University increase variety to the garden. The cycle of production of Five Elements is also

recommended. This method is used to create the Unity by emphasizing the main

All rights reserved theme of the garden as well as the distinction of a Feng Shui landscape (Choi, 2001).

According to rules of form-making, Table 4-9, Unity can be achieved by

arranging the separated elements together within a theme; a theme of an element of the Five Elements is presented by colors, shapes, materials or textures without necessarily using exactly the same plants or objects. For example, a theme of Fire can

75 be achieved by red color, using plants with reddish foliage and other trees with similar colored flowers or shape of triangle (Figure 4-21). Achieving this Feng Shui theme in garden landscape, Unity is obtained since it requires the link of different elements in the whole picture.

Table 4-9: Compatibility between Unity and theme of each of Five Elements Unity

Theme of such Element Unity

Rules of Form-making (a) Repeat elements or qualities of elements (shapes, materials, textures or colours) without using exactly the same elements (b) Arrange the separated elements together within a theme (a) Repeat characters of one Element by using shapes, materials, textures or colours (b) Add enough buffered characters of other elements (c) Follow the cycle of production and avoid cycle of destruction Roles of Physicality (a) Quality of oneness but in cohesion (b) Unification of all features or elements in a part of garden that reminds another part

Theme of such Element

Theme of either Water, Metal, Fire, Wood or Earth in garden through shapes, materials, textures or colours

Unity

Roles of Function (a) Create the topic of separated elements in a whole picture (b) Eases overall appearance of garden, joins the separated elements.

Theme of such Element

(a) Emphasizes the characters of such Element. (b) Makes the distinction to Feng Shui gardens

Unity Theme of such Element

Aspects of Psychology Allows visitors to get a perception of the whole landscape as one (a) Allows visitors to be aware the distinction of the owners’ characteristics and hobby (b) Allows owners to present their own personality

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Information Source: Reid (1993), Vuong (1996) and Vuong (2004)

Copyright  by Chiang Mai University Unity allows an easy overall appearance and a perception of the whole

landscape as one. The Feng Shui theme of such an Element creates a distinctive

All rights reserved landscape permitting visitors to get a sense of visual flow from one part of the landscape to another.

76 Table 4-10: Five Elements interactions Element

Primary colours

Means

Shape

Rule of Rule of production avoidance

Avoid

Metal: Earth: White, gold, Yellow, Stone, clay, silver, beige, earth earth metallic, tones, circle square

Water

Blue, Black, Purple

Ponds, metal art works

Waves, curves

Earth

Yellow, Beige, Earth tones

Stone benches, rock gardens, stones, boulders, brick, flagstone

Earth Shapes: Low, flat surfaces

Wood

Green, Brown

Metal: Fruit trees, herbs, Columns, Water: Blue, White, Metal art black, medicinal plants, cylinders, gold, silver, works, white purple, play equipment, metallic, flowers posts Curve flowers circle

Fire

Red, Burgundy, Pink, Coral

Metal

White, Gold, Silver, Metallic

Barbecues, fire pits, red leaves, trees, flowers

Pointed and triangular shapes

Fire: Red, burgundy, pink, coral, triangle

Wood: green, brown, rectangle

Wood: Green, brown, rectangle

Plants and trees, colour green

Water: Ponds, Blue, black, waterfalls, purple, fountains curve

Playground, Earth: convalescing and Fire: Red, Barbecues, Yellow, burgundy, fire pits, healing, Circles and beige, earth pink, coral, pyramid, red sunbathing, arches tones, statues, wind triangle flowers square chimes (Source: Choi, 2001)

The Table 4-10 illustrates the way in which a theme of Water, Earth, Wood, Fire or Metal can be achieved. It is necessary to add some characteristics of other elements, such as a varieties of plants or the selection of colors, construction materials

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè and shapes to reduce the overpowering influences of such an Element (Figure 4-22 and 4-23). Achieving the Feng Shui theme in a garden landscape produces a unity and

Copyright  by Chiang Mai University connectedness, the distinction among various owners and the difference of Feng Shui gardens.

All rights reserved

77

Figure 4-22: Metal element are added in the form of gate, to balance the Earth character

Figure 4-23: Water supports Wood element and reduce the strong influences of Wood

4.3.8 Harmony technique and Qi prospect The technique of Harmony and the Qi prospect of Feng Shui application share the same purpose which is to relate elements with their surroundings. The key point of both disciplines is to maintain smooth transitions and strong links, with sufficient buffers between elements, in order to integrate the garden as a whole with the surroundings.

The use of all elements in landscape design seeks to be functional and have value, whilst the Feng Shui applications seek the Qi prospect through the combinations of essential elements. In this part, the technique of Harmony is compared with the attributes of Qi prospect of Feng Shui application. Both of them are assigned to harmonize between elements and surroundings, and humans and nature.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè It is often said that Feng Shui gardens are built, not planted. The key is making

a garden “look natural, though man-made” (Vuong, 1996). Feng Shui landscapes

Copyright  by Chiang Mai University normally transform their symmetrical formal site plan into a more natural style, to get

All rights reserved closer to nature, using plants selectively.

Much of the garden landscape is enclosed by walls, elegant pavilions, bridges

and decorative pavements which provide the transition and connection between building and nature. The use of transition and connection can be regarded as the way to accentuate the natural beauty in a garden landscape.

78 Table 4-11: Compatibility between Harmony and Qi prospect

Harmony

Qi prospect

Harmony Qi prospect

Harmony Qi prospect

Harmony Qi prospect

Rules of Form-making (a) Maintain smooth transitions, strong links between the elements and their surroundings. (b) Use natural materials with functional value (a) Use the elements whose shapes, materials, colours and textures echo the surroundings; (b) Create good signs such as verdant plant, water feature, nimble animals, bloomed trees; (c) Avoid bad signs such as arid soil, dry site, withered trees, fetid water; (d) Do not block building by solid fence or neighboring building; (e) Do not isolate any element, need smooth transfer, create enough buffers between elements.

Roles of Physicality The concord among the elements and their surroundings.

Signs and symbols of Living Qi prospect.

Roles of Function (a) Avoids sudden changes or the isolation of an element in landscape; (b) Helps to heighten nature. (a) Creates the fresh environment for garden; (b) Create the transition between the man-made architecture and nature landscape.

Aspects of Psychology Create visual pleasure. (a) Symbolizes of life, energy and health in garden landscape; (b) Express the ideal that man and nature could be and should be in harmonious space.

Information Source: Reid (1993), Vuong (1996) and Vuong (2004)

For the manifestation of Qi, the buildings can be understood as elements, whilst the gardens play the role of the transition and connection with nature. It is believed that when man-made architectures stay in concord with nature, humans feel comfortable. When nature is heightened, Living Qi is imbued.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè In landscape design, elements with functional value can improve harmony

(Reid, 1993). By using natural materials for the purpose is more harmonious than

Copyright  by Chiang Mai University using man-made products with little utility. While the technique of Harmony emphasizes the uses of natural and purposed elements, the Qi prospect can be

All rights reserved manifested through natural materials such as bamboo fencing, wooden bridges, stepping-stones and plants, to reflect surroundings. Every element in a Feng Shui garden functions to represent both microcosm and Qi prospect.

79

Figure 4-24: The stone bridge is connected with the surrounding stones

Figure 4-25: The wooden bridge is connected with the bamboo trees

Figure 4-26: Concrete fence blocks the flow of Qi, creates the change suddenly

Figure 4-27: Hedge blocks the land, isolates the building within the boundary

According to Vuong (1996), residences should be near rivers with fertile soil and verdant plants. Humans should live under the great stable mountain and near a quiescent watercourse because they can be unaffected by drought and become subject to flooding. A favorable residence of Feng Shui is where humans can live in harmony with nature, avoid natural calamities, and be considerate of thriving Qi. In this research, harmony between the site and nature is studied in order to know in which

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè context the optimum residence favoured by respondents should associate with selected natural features in the questionnaire in the next chapter.

Copyright  by Chiang Mai University

All rights reserved 4.4 Drafting the Questionnaire

As the results drawn from the table of the four comparable attributes, three

most important compatibilities determine the three questions in the questionnaire. The validation of whether architects are able to adopt the compatibility between modern landscape design techniques and Feng Shui applications is the result of the synthesis.

80 Such results can be used as the materials to develop twenty-four questions of a draft questionnaire. The drawings in each question can be understood as the integration of the Feng Shui practice into modern landscape design. The intent of each drawing is to integrate Feng Shui applications within the representation of eight landscape design techniques, which are Emphasis, Sequence, Simplicity, Balance, Proportion, Interest, Harmony, and Unity. This 8-page questionnaire requests the respondents to select the most preferable environment according to their professional judgments of modern landscape design techniques.

4.2.1 Questionnaire Design In general, the questionnaire comprises eight pages corresponding to eight techniques of modern landscape design. Each technique’s questions are on a separate page and contents between three and five questions. For example, in the case of the Sequence technique, there are three questions about Sequence and illustrating the solutions to obtain the Sequence in modern landscape design. Each question provides a series of drawings, with different levels of Feng Shui applications rank (Appendix A).

Question formulation In one question, there are several drawings; the first drawing satisfies the Feng Shui application; the second drawing has some aspects changed and only partially satisfies Feng Shui application requirements; the last drawing is designed in the way that does not conform to Feng Shui application whatsoever. Therefore, each drawing carries different rank of

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Feng Shui solution. In other words, each question has it own ranking system according to Feng Shui practice, using 3 scales in a question with

Copyright  by Chiang Mai University three-drawings, 4 scales with four-drawings and 5 scales with five-drawing question. The lower the rank is, the more favourable the drawing has

All rights reserved according to Feng Shui practice.

81

Question: In a garden, there are two grassed areas, one for group gatherings, the smaller one for more private gatherings and a paved patio used for occasional barbecues or banquets. The Emphasis of the garden consists of decorative elements including water fountain, rocks and lanterns. Which of the following arrangements do you prefer?

A. A meandering, continuous footpath enveloping the whole garden, providing full access to the garden.

B. Footpaths connect the larger grassed area to the smaller area and patio. A separate footpath links the patio and the smaller area.

C. Different footpaths each divided into several branches that lead to different sections of the garden.

Figure 4-28: An example of the Sequence – 1st question

For such a technique, in designing the three questions, the theme of that technique is variable. For example Sequence, the Sequence of spatial arrangement is changed throughout the three drawings. The first question

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè is about the footpath in a public park: it may be designed meandering

Copyright  by Chiang Mai University around several spaces (A), passing through several spaces (B), or separating into different paths (C) (Figure 4-28). In this example (Figure 4-

All rights reserved 28), the Feng Shui rank for these drawings are 1, 2 and 3 for drawing A, C and B respectively. The second question is about the connected spaces in

small garden formed by shrubs, the design of this could have one entrance

(A), few entrances (B), or many entrances (C) (Figure 4-29). The third question is about a gallery spaces (corridor), in which, the spatial arrangement could be opened (A), closed (B) or mixed (C) (Figure 4-30).

82

Figure 4-29: An example of the Sequence – 2nd question

Figure 4-30: An example of the Sequence – 3rd question

Presenting the questionnaire The questionnaire is presented with twenty-four questions on eight pages with each having three questions pertaining to a specific technique. The theme of each page is designated as to the techniques name (Figure 4-30).

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Each question has instructions, notes, several drawings and comment area asking respondents’ further input, together with an area where respondents

Copyright  by Chiang Mai University can add their comments. Each drawing has check-box in which the respondents rate individual drawings. The positioning of techniques is

All rights reserved randomly assigned across the questionnaire’s eight pages (Appendix A).

Respondents are expected to comprehend only the use of modern

landscape design techniques. An example of this, in Vietnamese, on the

83 Sequence technique, illustrates the question together with three associated drawings (Figure 4-31).

Figure 4-31: Structure of a question presentation

4.2.2 Respondents A short review of architectural education as well as architectural profession in Hué, Viet Nam, is appropriate AT this point. In 2001 the architectural faculty of Hué was transferred from Ha Noi Architectural University (HAU) to Hué University (HU), and is located in Architectural Department of the College of Sciences, where it remains to this day. Some five Graduating Classes of architects have graduated from HAU, between 1995 and 1999, and a further five Graduating Classes of architectural

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè students from HU, from 2001 to this point in time, in Hué.

The Graduate architects from HAU have practices in most regions of Viet

Copyright  by Chiang Mai University Nam. Most architects practicing in Hué are citizens of Hué and number some 110 in total (statistics of Architectural Department, 2006). Many of these architects

All rights reserved participate in periodic activities and are members of the Young Architects Association of Hué. There are also a number of more senior, experienced architects, graduates of

Ho Chi Minh City and Ha Noi, working in Hué. These architects, with at least 6 years of architectural practice, are also respondents in this research.

84 Fourth and fifth year architectural students at the Hué Architectural Department have studied landscape design in classes and academic projects. Their responses are of interest as they represent opinions of younger practitioners.

In total the respondents numbered approximately 250 comprising some 150 architectural students and 100 other design professionals.

4.2.3 Data collection procedure After implementing the questionnaire, the researcher attended fourth and fifth year classes to solicit respondents and recruited further respondents from architectural firms in person. After that, both were interviewed. The questionnaires were delivered to the respondents by hand to fill and immediately returned upon completion.

Respondents were asked to read the instructions carefully before completing the questionnaire. The respondents were requested to rank every drawing in each question. A scale was employed to tabulate the answers, corresponding to whether there were three, four of five drawings in any given question. The weighting was similar, with 1 representing the optimum choice and 3, 4 or 5 reflecting the respondent’s least acceptable choice. The respondents were asked to give the reasons to justify their choices, thereby allowing additional input to be gathered.

4.2.4 Data analysis process The derivative data culled from the completed questionnaires was separated into two distinct categories: (1) the numerical rankings of preference; (2) written Comments on each page that served to further confirm the numerical results. In

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè totality the results provided a dual method to confirm the compatibility between

Copyright  by Chiang Mai University modern landscape design and Feng Shui practice.

All rights reserved

85 Statistical analysis: The numerical data were processed using SPSS v10 software to produce an output that included frequency (count), valid percentage (percent) and central tendency (mode).

Table 4-12: Example of Numeric Response – Harmony – 3rd question Drawing A B C Rank 1 2 3 1 2 3 1 2 3 39 48 107 92 61 52 80 87 31 Count 20.1 24.7 55.2 44.9 29.8 25.4 40.4 43.9 15.7 Percent 3 1 2 Mode Feng Shui rank 3 1 2

For example, this question pertains to the Harmony technique and has three drawings; therefore the rank of this question was 1 – the most favoured, with 2 and 3 – the less favoured and the least favoured. The count and percentages were tabulated.

Then, rankings from respondents were compared with Feng Shui rank. In this question, the optimum Feng Shui application is depicted in (B), and 44.9% of the respondent’s awarded a ‘1’ rating (most favourable), 29.8% awarded a ‘2’ rating (favourable) and 25.4% awarded a ‘3’ rating (least favourable).

The 44.9% ranking (B) a ‘1’ qualification is sufficient to confirm the hypothesis that compatibility exists between landscape design techniques and Feng Shui application.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè A drawing is also used to verify whether the absence of a Feng Shui

Copyright  by Chiang Mai University solution is acceptable to the respondents. (A) is assigned ‘3’ rating in Feng Shui rank - the least favourable solution of Feng Shui. Some 55.2% of

All rights reserved respondents thought that it was the least preferable choice. This result has shown the compatibility between landscape design technique and Feng Shui application.

In the event there is insufficient respondent differentiation between the options, it is deemed that the Feng Shui solution was not accepted by

86 respondents, and therefore there is no compatibility between that Feng Shui application and that particular modern landscape design technique.

Content analysis:

The data from the written comments from the respondents given to each choice in the questionnaire are gathered, categorized and counted. With respect to data derived from written responses, there are two categories of classification, which are: o Subjective opinion feeling: “I love it”; “It is beautiful”; “It is interesting”; etc. o Objective opinion with explanation: “It helps to improve the air circulation”; “It reduces the heat”; “It makes intimate space”.

These are listed in subcategories of subjective opinion, as they are in the questionnaire. The similar opinions are grouped by frequency. Opinions with more than 5 counts are listed; those with fewer than 4 counts were discarded. This information will be transferred and synthesized into a table of opinions together with the statistics. The result of the analysis of the written comment data is used to support statistical analysis results.

In short, in Table 4-3, Table 4-4, Table 4-5, Table 4-6, Table 4-7, Table 4-8, Table 4-9 and Table 4-11, descriptions of both modern landscape design techniques and Feng Shui application are synthesized in order to obtain the whole spectrum; any compatibility is highlighted using bold, italic letters. Subsequently the salient

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè compatibilities form the basic input of the questionnaire. The analysis of the independent respondent ranking of the output, along with the qualification of the

Copyright  by Chiang Mai University written portion of the questionnaire, is to confirm the veracity of the analysis in the

All rights reserved table of compatibility between the two disciplines and confirm its suitability for use as a reference in modern landscape design practice of architects.

Chapter 5 Questionnaire and Results This chapter discusses the results from the data collection and data analysis processes; divided into eight parts, each part corresponds to one of the eight techniques of modern landscape design - Emphasis, Sequence, Simplicity, Interest, Balance, Proportion, Unity and Harmony.

In order to confirm the compatibility between both disciplines, a questionnaire was drafted to test the potential of achieving the Feng Shui applications by using the modern landscape design techniques, which can be effectively utilized by architects.

The results of this questionnaire, including percentages and the most frequent comments of the respondents from the verbal description answers, are presented to further verify the compatibility.

5.1 Emphasis technique and Water element Essential attributes of Feng Shui Water are explored in the test in order to verify their compatibility when employed by architects. They are the location, the importance and the role of the body of water as the Emphasis of the garden. Since the Feng Shui application supports the use of a real body of water in front of the building, playing a role in the heart of the garden.

This first part of the Questionnaire explores the use of a water feature as the

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Emphasis in garden landscape design. The purpose of these three questions is to: In Question 1, ascertain the preferred location of water bodies; in Question 2, evaluate

Copyright  by Chiang Mai University the importance of water bodies in landscape design; and in Question 3, verify whether water body can be used as the Emphasis of a garden landscape.

All rights reserved 5.1.1 Question 1: Emphasis, Position of Water

The pond is located in three positions in this question: beside, behind and in front of the building. In Vietnamese gardens, this type of pond is normally populated with lotus, goldfish and silver carp. Feng Shui application suggests that the Water

88 feature should be in front of the building, or at least on the side, not at the rear. The Feng Shui rank is therefore 1, 2 and 3 for (C), (A) and (B) respectively.

Question: There is a water pond, with lotus and goldfish, in a garden. In the following designs, the pond is placed at different positions in the garden. Which is more preferable?

A: The pond is besides B: The pond is behind C: The pond is in front of the building the building the building Figure 5-1: Emphasis – Position of Water

The result of the question shows a complete match between the rank of Feng Shui application and the rank by respondents’ preference. 67.7% of the respondents ranked (C) the first as the most favorable. 51% ranked (A) the second as favorable choice. 63.6% ranked (B) the third as the least favorable choice. The modes of the answers for (C), (A) and (B) are, in ascending order, 1, 2 and 3. This result demonstrates that the respondents agree with Feng Shui for water location to achieve Emphasis.

Table 5-1: Emphasis - Position of Water - Numeric Response Drawing A B C Respondents’ Rank 1 2 3 1 2 3 1 2 3 55 101 42 20 52 126 136 39 26 Count 27.8 51.0 21.2 10.1 26.3 63.6 67.7 19.4 12.9 Percent 2 3 1 Mode Feng Shui rank 2 3 1

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University The most common reasons for the preferences of (C) are an improvement of

All rights reserved microclimate and an increase feeling of comfort. Some respondents said that as the

pond is the most decorative item of the garden landscape, it should be in front of the building, a spatial arrangement reflecting the Vietnamese traditional layout; some thought it matches with Feng Shui applications. The second Feng Shui choice (A) received attention such as the pond besides the building can provide privacy and

appears natural. Option (C) did not garner any comments. It was concluded that the

89 pond should be in front of the building or, at least, besides the building. The comment from the respondents totally matched with objectives of the Water feature, and is used to achieve Emphasis in garden landscape design.

Table 5-2: Emphasis - Position of Water - Written comments

(C)

(A)

Comments Improves the micro climate Creates the feeling of comfort The pond is the most decorative element in the garden so it must be placed in the front Maintains Vietnamese traditional layout Spectacular view Provides buffered space Good Feng Shui Private space for owner Natural scene Both guests and owners can enjoy the pond

Count 36 29 24 23 8 5 5 16 15 9

5.1.2 Question 2: Emphasis, Presence of Water Question 2 evaluates the importance of a Water feature in garden landscapes.

There are three drawings - a waterless feature, a Water feature and a symbolic Water feature, shown in Figure 5-5. According to Feng Shui application, a Water feature is very important as it symbolizes wealth, health and a bright future. The Feng Shui rank is therefore 1, 2 and 3 for (B) - water, (C) - symbolic water and (A) – waterless, respectively.

Question: In a building, there is a front courtyard with a paved yard and a small shaded space where you can sit down under an umbrella. There is also a meandering paved footpath from the entrance to the building. Which of the solutions do you prefer?

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved A: Many different species B: Different species of C: Different species of of trees, forming a small trees and goldfish in a trees around a Water forest or arboretum. lotus pond. symbol - dry sand pond.

Figure 5-2: Emphasis - Presence of Water

90

The results highlight a remarkable match between the respondents ranking and the compliance with Feng Shui application. The majority of the respondents (63.7%) ranked (B), which contains the real water solution, the most favorable choice. 47.5% ranked (C) the second most favorable choice. 63.4% ranked (A) the third as the least favorable choice. The modes of the answers for (B), (C) and (A) are, in ascending order, 1, 2 and 3. This result is in agreement with Feng Shui application.

Table 5-3: Emphasis - Presence of Water - Numeric Response Drawing A B C Respondents’ Rank 1 2 3 1 2 3 1 2 3 40 31 123 130 67 7 41 94 63 Count 20.6 16.0 63.4 63.7 32.8 3.4 20.7 47.5 31.8 Percent 3 1 2 Mode Feng Shui rank 3 1 2

Table 5-4 lists the main reasons for ranking (B) the most preferable choice as the hot and humid tropical climate of Viet Nam. Another reason is that water provides a buffer between the building and the outside traffic environment. Also, the owner derives pleasure taking care of the pond, the goldfish and the lotus.

Some respondents further noted that (A) - waterless feature was the least favorable choice because waterless gardens lack interest. This result strongly supports the utility of real Water features in garden landscapes in Viet Nam, since much of the country is in a tropical zone. The comments also support the objectives of a Water body in the utility as an Emphasis of the garden landscape.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Table 5-4 Emphasis - Presence of Water - Written comments

Comments Water is needed in the gardens because of the hot and humid tropical climate of Viet Nam.

Count

Copyright  by Chiang Mai University 63

Water is a significant factor of landscape.

24

Water provides buffer space.

19

All rights reserved (B)

(A)

Water creates pleasure for the owners in taking care for the pond and fish.

Waterless garden lacks interest.

Too many trees are depressing.

8

15 5

91

5.1.3 Question 3: Emphasis, Dominant Element This question, Figure 5-6, is to substantiate whether a Water feature in front of the building is the most suitable element for Emphasis. A traditional Vietnamese spatial arrangement, employing the usual components, was used in Question 3 since the respondents were familiar with it. Following traditional layout, the Water feature is located at the front yard, on the centre axis of the asymmetrical balance.

Question: Which element, besides the building, in this garden design is the most important element? Circle your choice.

Figure 5-3: Emphasis - Dominant Element

The results demonstrate that the pond is considered the most important

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè element in garden landscapes in Hué, since it was selected as the most important element by 48.8% of all the respondents. 27.5% chose trees as the most important

Copyright  by Chiang Mai University element; following by the screen (13.3%) and the gate (10.4%).

All rights reserved Table 5-5: Emphasis - Dominant Element - Numeric Response The Emphasis Object Count Percent Feng Shui rank

Screen 28 13.3 3

Tree 58 27.5 2

Gate 22 10.4 4

Water 103 48.8 1

The main reason that the respondents chose the water pond as the most important element was because it is the focus (Emphasis) of the garden. The

92 appearance of water has a strong influence on the environment of the garden by evaporation from the stream thereby improving the microclimate of the garden. The babbling water, the reflective water surface and the lively fish in the pond make the garden become an enjoyable environment. Some respondents even thought that the Water feature is an important element of Feng Shui application. These can explain the potential of using water in garden landscape as an Emphasis functionally.

The respondents chose trees as another important element in garden as they provide a quiet, calm environment and are essential elements in a garden landscape.

The respondents also regarded the Screen as important because it provides privacy and guards the building from bad winds, a Feng Shui concept.

Table 5-6: Emphasis - Dominant Element - Written comments

Water

Trees

Screen

Gate

Comments Water is the focus of a garden.

It strongly influences the environment of a garden.

It brings the flexibility to the garden.

It creates a buffer space.

It is very important to Feng Shui application.

Trees create quiet and calm environment.

They are essential to a garden.

The screen prevents curious eyes from the outside, thus provides privacy.

It protects the building from bad winds.

It improves the value of the building.

The gate is the face of the building.

It is the first look.

Count 35 25 21 5 3 26 5 17 9 9 3 1

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Addressing the aspect of Emphasis, by (1) the similarity in concept which has

been shown in the comparable attributes and (2) the compatibility in application

Copyright  by Chiang Mai University which has been illustrated in the Question 1, 2 and 3, the Emphasis technique in

All rights reserved modern landscape design can substitute for the Feng Shui application Water feature.

As the findings of the research reveal, Water feature in modern landscape design

should be located in the dominant location with respect to the building, which is the centre of the front yard. The respondents held that designs with real water body of high quality are favoured over waterless gardens or gardens with a symbolic Water

93 feature, in Hué. By following such practices, all the objectives of the Emphasis technique are fulfilled.

5.2 Sequence technique and Qi element It can be seen that Qi requires Sequence technique to be guided both smoothly and thoroughly through different sections of the landscape. These survey questions concentrate on footpath configurations in a garden landscape.

These questions explore the essential attributes and conditions of Qi to verify whether they are compatible with architectural practice - the characteristics of a clearly defined footpath together with continuity and connectivity between different landscape sections. Feng Shui application suggests a clearly defined footpath with relative approaches can be used to improve the flow of Qi in a garden landscape.

The following questions are designed to ascertain the potentiality of using the site conditions to promote a flow of Qi using the Sequence technique in garden landscape design. These questions proposed various spatial arrangements of connected spaces organized by: in Question 4, different footpath configurations; in Question 5, some connected spaces with a number of entrances that create different traffic patterns; and in Question 6, different landscape gallery system configurations.

The results will confirm practicality of using Sequence technique to enhance Qi flow in a garden landscape.

5.2.1 Question 4: Sequence, Paths in Landscape

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè In Question 4, shown in Figure 5-4, the footpaths are configured in various

layouts. In (A), the footpath encloses the whole land mass and provides access to all

Copyright  by Chiang Mai University main sections of the gardens, thus Qi can flow freely throughout the whole space. In

(B), the footpaths are separated and blocked by the other elements of the landscape.

All rights reserved This can disturb Qi and might result in dead Qi. In (C), there are separate footpaths in

each area of the garden, which might result in confusion. Feng Shui application requires continuous footpaths and a clear indication of dominant direction for Qi. Feng Shui rank for these drawings is 1, 2 and 3 for (A), (C) and (B) respectively.

94 Question: In a garden, there are two grassed areas, one for group gatherings, the smaller one for more private gatherings and a paved patio used for occasional barbecues or banquets. The Emphasis of the garden consists of decorative elements including water fountain, rocks and lanterns. Which of the following arrangements do you prefer?

A: A meandering, continuous footpath enveloping the whole garden, providing full access to the garden.

B: Footpaths connect the larger grassed area to the smaller area and patio. A separate footpath links the patio and the smaller area.

C: Different footpaths each divided into several branches that lead to different sections of the garden.

Figure 5-4: Sequence - Paths in Landscape

With respect to the most favorable and the least favorable choice, the result of the question does not show exactly the same rank between the rank of Feng Shui application and the rank by respondents’ preference. Most respondents ranked (A) and (C) as their most favorable choice with 38.6% ranked (A) the first; while 43.4% ranked (C) the first. As expected, 52.3% of the respondents ranked (B) the third as the least favorable choice. The modes of the answers for (A), (C) and (B) are, in ascending order, 1, 1 and 3, which are different from the Feng Shui rank for (C). This result demonstrates that the respondents almost concur with Feng Shui for a continuous foot path to achieve Sequence.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Table 5-7: Sequence - Paths in Landscape - Numeric Response

Drawing A B C Respondents’ Rank 1 2 3 1 2 3 1 2 3 76 73 48 45 50 104 86 72 40 Count 38.6 37.1 24.4 22.6 25.1 52.3 43.4 36.4 20.2 Percent 1 3 1 Mode Feng Shui rank 1 3 2

Copyright  by Chiang Mai University

All rights reserved The results do not strongly determine the best solution between (A) and (C), although choice (B) is clearly a design which should be avoided. Most respondents ranked (C) and (A) as their first and second choices, although there are not great

95 preferences for (A), which is the best Feng Shui choice, and (C), which is the second Feng Shui choice.

Table 5-8: Sequence - Paths in Landscape - Written comments

(A)

(C)

(B)

Comments The traffic is well organized in this way.

Such design of the footpath saves the area.

This design improves the beauty of garden.

This arrangement creates privacy.

There is a clear distinction between the different sections of the landscape in this design.

The traffic is well organized in this way.

This design creates an awkward traffic.

The traffic is confusing.

Count 32 25 9 28 17 17 25 4

The most common reason for the respondents' preferences of (A) is the system of flow is clearly delineated and the scheme in (A) is considered practical as this both preserves and improves the beauty of the garden. In (C) the separate routes and entrances of the footpath system were thought to enhance privacy in the different landscape sections. The footpath system in (C) is tidy and again creates a clear delineation between different landscape sections. The respondents remarked that (B) exhibited an awkward overlapping movement; a small number of respondents opined that this solution (B) created confused flow or movement. Therefore, the comments do not support the reasons for the selection besides aesthetics and practicality, which could not be proved relating to Qi.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

96 5.2.2 Question 5: Sequence, Number of Entrances Question: In a garden, there are several areas defined by shrubs and small plants. Which of following solutions do you prefer?

A: A single pattern of B: Many entrances and C: Sections of the garden movement meandering exits, creating multiple are arranged so that throughout the whole patterns of movement visitors move in a circle garden, with several through the garden inside the garden. There entrances along the path. is only one gate.

Figure 5-5: Sequence - Number of Entrances

This question focuses on several circular spaces linked with a variety of entrances. (A) has three entrances and a few strolling routes, in which Qi can easily get in and out. (B) has four entrances and an increased number of potential routes.

Note that too many Qi flows might not be beneficial because it can create confusion.

(C) has only one route and a single entrance/exit, which makes it difficult for Qi to flow into and out of the garden because of turbulence at the sole access point. Feng Shui application requires avoidance of both chaos or blockage of flow. The Feng Shui rank is 1, 2 and 3 for (A), (B) and (C) respectively.

Table 5-9: Sequence - Number of Entrances - Numeric Response Drawing A B C Respondents’ Rank 1 2 3 1 2 3 1 2 3 109 70 18 81 109 10 19 12 163 Count 55.3 35.5 9.1 40.5 54.5 5.0 9.8 6.2 84.0 Percent 1 2 3 Mode Feng Shui rank 1 2 3

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved It is clear from the results that the respondents’ preferences match Feng Shui

principles in the evaluation of the importance of clear Sequence in landscape design.

55.3% of the respondents ranked (A) the first as the most favorable choice. 54.5% ranked (B) the second as favorable choice. 84.0% ranked (C) the third as the least favorable choice. The modes of the answer for (A), (B) and (C) are, in ascending

97 order, 1, 2 and 3. It is remarkable that most of the respondents regarded the single entrance/exit space as the least desirable choice. This corresponds with Feng Shui application.

Table 5-10: Sequence - Number of Entrances - Written comments

(A)

(B)

Comments The traffic is clear in this arrangement.

The number of gates is sufficient.

This arrangement is a complete, relaxing strolling path.

In this arrangement there are many points of access to the garden The design creates somewhat awkward traffic.

Count 26 13 7 43 24

The choice of layouts was based on optimum visitor movement. The respondents chose the system of flow in (A) which defines a clear strolling path. In (B), four gates ensure ready access to the garden, although a number of respondents state that system traffic, in (B), is somewhat confusing due to an excess of gates and routes. The reasons of the respondents strongly support the potential of Sequence technique objectives to create defined footpaths to induce a thorough flow of Qi in the garden landscape design, with fewer obstructions.

5.2.3 Question 6: Sequence, Connected Spaces This question, Figure 5-13, is about gallery systems, or corridors, in a landscape architecture. Three drawings with different spatial arrangements including connected close spaces (A), connected open spaces (B) and connected mixed spaces (C). Since Qi needs a spacious and connected space or an open corridor to flow, the Feng Shui rank for this question is 1, 2 and 3 for (B), (C) and (A) respectively.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Question: In a landscape arrangement, different sections are connected by a gallery system. Which of the following designs do you prefer?

Copyright  by Chiang Mai University

All rights reserved A: Different sections are B: Different sections are C: Gallery using both closed – though open and are naturally open and closed sections connected by corridors connected Figure 5-6: Sequence - Connected Spaces

98 The result of the question shows a complete match between the rank of Feng Shui application and the rank by respondents’ preference. 67.3% ranked (B) the first as the most favorable choice. 51.8% ranked (C) the second as favorable choice.

59.4% ranked (A) the third as the least favorable choice. The modes of the answers for (B), (C) and (A) are, in ascending order, 1, 2 and 3. Guiding Qi through different sections in a garden is one of the core purposes of Feng Shui application and it matches the respondents’ preferences.

Table 5-11: Sequence - Connected Spaces - Numeric Response Drawing A B C Respondents’ Rank 1 2 3 1 2 3 1 2 3 27 51 114 134 39 26 45 100 48 Count 14.1 26.6 59.4 67.3 19.6 13.1 23.3 51.8 24.9 Percent 3 1 2 Mode Feng Shui rank 3 1 2

The respondents' reasons with respect to (B) - the first Feng Shui solution - are the connected open spaces introducing a well-organized flow, whilst creating a different perspective in terms of views and ventilation. The respondents held that in landscape design, open spaces can be used to merge with the landscape.

The second Feng Shui solution, shown in (C), was favored as it allows more privacy while (A), the least favorable, created a closed feeling and confused movement. The conclusions were that in landscape design, it is necessary to have thorough connected spaces, defining the approach to the landscape stage as well as creating different perspectives to other stages.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Table 5-12: Sequence - Connected Spaces - Written comments

Copyright  by Chiang Mai University Comments The traffic in this drawing is well organized.

The (B) creates different perspectives of views The environment in the drawing is ventilating.

The open spaces should be used to design with landscape This arrangement creates some private spaces.

The mixed spaces bring pleasant feeling.

This (A) creates a muggy feelings The traffic in this drawing is confusing.

Count 52 21 15 14 11 6 32 23

All rights reserved (B)

(C) (A)

99 In summary, with regard to the Sequence (1) the similarity in concept was shown in the comparison of attributes and (2) the compatibility in application which was illustrated in the results from question 4, 5 and 6, they illustrated that the Sequence technique could guide Qi in a landscape design. The respondents’ comments completely supported the objectives of the site arrangement for a flow of Qi in garden landscape design. The findings of these questions suggest direction of both visitors and Qi through a garden landscape can be achieved by carefully organizing traffic systems and creating continuous connected spaces. In doing so, all the objectives of both the Sequence technique of the modern landscape design and the site conditions of Qi are fulfilled.

5.3 Simplicity techniques and Bright Court and Four Emblem Animals Elements The following part examines the results from three survey questions about Bright Court and Four Emblem Animals, confirming the compatibility of Feng Shui application and Simplicity technique employed in a front courtyard (as Bright Court) or trees (as White Tiger and Green Dragon) and the screen (as the Red Phoenix). Feng Shui application requires an open space in front of a building indicating an optimistic future and Animals surrounding the landscape, safe-guarding the occupants.

5.3.1 Question 7: Simplicity, Open Space (Bright Court) This question has three layouts with different arrangements of footpaths and open spaces: (A), no open space; (B), the open space is distant from the building, next

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè to the entrance; and (C), the open space is in front of the building. The question is

designed to evaluate the importance of an open space to a building and to determine

Copyright  by Chiang Mai University an appropriate location for an open space.

All rights reserved

100 Question: In a garden, to achieve the criteria of Simplicity, which of the following solutions do you prefer?

A: A footpath leads to the B: Similar to A except C: A footpath leads the building and passing that now there is an open visitors from the entrance around trees before space on the footpath to an open space in front reaching the building. close to the entrance. A of the building.

There are numerous trees screen is placed in this Numerous trees are in the garden. space planted Figure 5-7: Simplicity - Open Space

There is no open space in (A), symbolizing the Bright Court. Although (B) has a screen, a symbol of Red Phoenix, it blocks the open space and forces Qi to tumble and turn many times. The open space in (C), in front of the building, is considered good Feng Shui, with a simple footpath welcoming Qi. The open space, which is close to the building, is more favourable according to Feng Shui application.

Therefore, Feng Shui rank is 1, 2 and 3 for (C), (B) and (A), respectively.

Table 5-13: Simplicity - Open Space - Numeric Response Drawing A Respondents’ Rank 1 2 3 38 55 106 Count 19.1 27.6 53.3 Percent 3 Mode Feng Shui rank 3

1 12 6.2

B C 2 3 1 2 3 101 80 161 37 7 52.3 41.5 78.5 18.0 3.5 2 1 2 1

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè The result of the question shows a complete match between the rank of Feng

Copyright  by Chiang Mai University Shui application and the rank by respondents’ preference. 78.5% of the respondents

ranked (C) the first as the most favorable choice. 52.3% ranked (B) the second as

All rights reserved favorable choice. 53.3% ranked (A) the third as the least favorable choice. The modes

of the answers for (C), (B) and (A) are, in ascending order, 1, 2 and 3. This result reveals that the respondents agree with Feng Shui for the use of an open space to achieve Simplicity.

101 Table 5-14: Simplicity - Open Space - Written comments

(C)

(B)

Comments A simple meandering footpath is favourable.

The traffic in this design is well organized.

The open space is necessary (for relaxation and ventilation purposes as well as for other common activities).

The design with the open space is a visual resting place.

The screen should be in the middle of the building.

Count 56 34 17 33 6

Analysis of comments suggests that solution (C) is favoured the most due to its Simplicity and the fact that the pedestrian flow in the design is well organized. The respondents also held that the open space is necessary to organise various common activities as well as for relaxation and ventilation purposes. On the other hand, the open space in solution (B) appears to be a visual resting place. Some of the respondents suggested that the screen should be in the centre axis of the building. The comments from the respondents are fully compliant with the objectives of the Bright Court, whose role is to bring the clarity to garden landscape design.

5.3.2 Question 8: Simplicity, Location of Path and Screen Question: The following designs are different in terms of the locations of the footpath and the screen. Which one do you prefer?

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University B: A footpath is placed C: A wide footpath leads to at the left side of the site. the courtyard, with a screen A screen is at in the – both to one of the main main axis and outside of land axis. The screen is the courtyard. outside the yard.

Figure 5-8: Simplicity - Location of Path and Screen

A: A screen is placed on the yard. Both screen and footpath are in the main axis of the land.

All rights reserved This question is designed to compare Feng Shui principles with respondents'

opinions on suitable locations for a screen and the significance of open space in a garden landscape. In both (A) and (B), the screen is located in the main axis of the building. However, in (A), the screen is positioned within the courtyard; in (B), the

102 screen is outside the courtyard creating an illusion of more spaciousness. In (C), on the other hand, the screen is located on the right side of the main axis of the land.

According to the Feng Shui application, the screen should be on the main axis to protect the building from strong harsh winds and the open space needs to be spacious and neat. Therefore, Feng Shui rank is 1, 2 and 3 for (B), (A) and (C), respectively.

Table 5-15: Simplicity - Location of Path and Screen - Numeric Response Drawing A B C Respondents’ Rank 1 2 3 1 2 3 1 2 3 66 55 73 123 74 2 18 60 144 Count 34.0 28.4 37.6 61.8 37.2 1.0 9.4 31.3 59.4 Percent 3 1 3 Mode Feng Shui rank 2 1 3

The result of the question shows a promising match between the rank of Feng Shui application and the rank by respondents’ preference. 61.8% of the respondents ranked (B) the first as the most favorable choice. 37.6% ranked (A) the third as the least favorable choice; and 59.4. % did the same for (C). The modes of the answers for (B), (A) and (C) are, in ascending order, 1, 3 and 3, different from the Feng Shui rank for (A). The participants agreed that the first and the last solutions in the question matches the best and the worst Feng Shui application.

Table 5-16: Simplicity - Location of Path and Screen - Written comments

(B)

Comments The courtyard looks spacious in this design.

The screen should be in the main axis of the land.

The screen does not block the entrance, so it is possible to see the building from a distance.

This is a traditional spatial arrangement.

This schematic corresponds to good Feng Shui.

The arrangement is balanced and symmetrical.

The footpath is large.

Count 37 29 17

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè 6 6 9 4

Copyright  by Chiang Mai University (A) (C)

All rights reserved The main reason that (B) was ranked the first was the courtyard looked more

spacious when compared with (A). The screen or guard must be centred, but not

within the courtyard so as to make it visually bigger. The solution of (B) brings mystery for the land by providing a glimpse of the building from a distance, while maintaining both traditional spatial arrangement and Feng Shui applications. It is important to note that, there are some comments from the respondents indicating a

103 balanced and symmetrical arrangement in (A), which means they prefer a formal spatial layout. The comments from the respondents strongly supported the objectives in the use of the Bright Court and the Animals within a balanced and clarity structure of landscape design.

5.3.3. Question 9: Simplicity, Presence of Screen and Trees Question: Focusing on the presence the screen and the two trees in the courtyard, which of the following designs do you prefer?

A: There is no screen.

B: There is a screen. There C: There is a screen.

There are two trees are two trees There are no trees.

Figure 5-9: Simplicity - Presence of Screen and Trees

This question focuses on the presence and arrangement of the screen and the two trees in the courtyard. Here the screen is the Red Phoenix symbol and the two trees are the symbolic representations of the White Tiger and the Green Dragon. In Feng Shui application, the Red Phoenix, or the screen, protects the land from Dead Qi and bad wind, thus the screen should be located on the main axis of the land.

Although this means that the position of the screen in both (B) and (C) is wrong, placing the screen in the centre of the footpaths could reduce the negative influence of

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Dead Qi which could face the house. Since the layouts with Animals symbols are

preferable over the one without (C), Feng Shui rank is 1, 2 and 3 for (B), (A) and (C),

Copyright  by Chiang Mai University respectively.

Notwithstanding (B) was the least favorable choice of the previous question

All rights reserved (Question 8), it merits the highest rank in this one; (A) has two trees simulating two Animals, while (C) has no Animal, and the screen is wrongly positioned. Therefore,

(A) is well recognized within the Feng Shui rank.

104 Table 5-17: Simplicity - Presence of Screen and Trees - Numeric Response Drawing A B C Respondents’ Rank 1 2 3 1 2 3 1 2 3 67 40 91 110 56 34 34 97 68 Count 33.8 20.2 46.0 55.0 28.0 17.0 17.1 48.7 34.2 Percent 3 1 2 Mode Feng Shui rank 2 1 3

55.0% of the respondents ranked (B) the first as the most favorable choice.

48.7% ranked (C) the second as favorable choice. 46.0% ranked (A) the third as the least favorable choice. The modes of the answers for (B), (C) and (A) are, in ascending order, 1, 2 and 3. This is compliant with the Feng Shui rank for only the first rank (most favourable).

Table 5-18: Simplicity - Presence of Screen and Trees - Written comments

(B) (A) (C)

Comments The screen prevents curious eyes seeing the building.

The screen brings privacy to the building.

The two trees bring some shade to the courtyard.

The space is too vacant.

The courtyard is empty.

The yard is too exposed to the sun without a tree.

Count 27 25 22 15 29 19

A popular reason for the respondents ranking (B) the first is that the screen can block the curious eyes and increasing privacy. They also agreed that trees in the courtyard protected the building from overexposure to sunlight. The lack of a screen in (A) makes it less favoured even though it boasts trees. Therefore (B), which has both screen and shade trees were the optimum solution whilst retaining simplicity.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè With respect to the aspect of Simplicity, (1) the similarity in concept was

Copyright  by Chiang Mai University demonstrated in the comparison of attributes; and (2) the compatibility in application was demonstrated in the results from questions 7, 8 and 9. A screen (Red Phoenix) in

All rights reserved front of the building or on the main axis is necessary. The trees, representing the

White Tiger and the Green Dragon symbols, are decorative items that provide some shade and create interest in the courtyard.

The conclusion is that the courtyard (Bright Court) in front of the building is very important both for a variety of activities and for relaxation. The Bright Court

105 with Four Emblem Animals, form a Feng Shui structure that could be satisfied by the Simplicity technique through the essential functions of the elements, whilst sufficiently decorative and yet not overcrowded front yard can create a simple, spacious building appearance.

5.4 Interest technique and Yin-Yang element Since the manifestation of Yin-Yang principle has similarity with the concept with Interest technique of landscape design, the compatibility is examined in the questionnaire in the following part. Question 10 centers on sharp lined surroundings and combined with a constructed lake. Question 11 focuses on natural surroundings associated with a constructed mountain. Finally, Question 12 deals with geometrically formed grouping.

5.4.1 Questions 10 and 11: Interest – Main Object Shape – Lake – Mountain In Question 10, Figure 5-10, the two waterfalls and the rockeries represent Yang. The lake in (A), with a sharp contour (Yang), was combined with the Yang surroundings; thus resulting in excessive Yang characteristics. The lake in (B), which is mostly Yin due to the natural contour, was matched with Yang characteristics of the waterfalls and the rockeries, producing a contrast solution. An intermediate transition between (A) and (B) is shown in (C), in which the lake was designed with both rectangular and curved lines. The Feng Shui rank is 1, 2 and 3 for (B), (C) and (A) respectively.

Question: In a large garden, a lake is designed in different ways with two waterfalls, some rockeries and benches. Which solution do you prefer to attain the criteria of Interest?

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved A: The shape of the lake B: The lake is designed C: The shape of the lake is rectangular -straight with a naturally curved comprises of semi-circles lines and angles shape or rectangles Figure 5-10: Interest - Main Object Shape

In Question 11, Figure 5-11, the surrounding elements of the hill (the gates, pond, benches, umbrellas, trees and shrubs) balance themselves. The hill itself is a

106 Yang element that requires some Yin characters to maintain the balance of the whole landscape. The optimum Feng Shui choice is, therefore, (B), where the contours of the hill are natural curves (Yin). The second choice is (C), where the contours are mixtures of natural and sharp curves. The worst choice is (A), where the sharp profile of the hill makes it the most Yang environment. Therefore, Feng Shui rank is 1, 2 and 3 for (B), (C) and (A), respectively.

Question: A hill is designed in three different ways shown below. On this hill site, there are a moon-gate, a main gate, a pond, several benches, umbrellas, many trees and shrubs. Which of the following designs do you prefer?

C: The high shape of the A: The high shape of the B: The high shape of the hill are mixture of straight hill comprises straight hill are natural curves lines and natural curves lines Figure 5-11: Interest - Main Object Shape

There is a similarity between the results of the two questions, showing an agreement between the rank of Feng Shui application and the rank by respondents’ preference. For Question 10, 58.0% of the respondents ranked (B) the first as the most favourable choice. 52.2% ranked (C) the second as favourable choice. 66.8% ranked (A) the third as the least favorable choice. The modes of the answers for (B), (C) and (A) are, in ascending order, 1, 2 and 3. This is in agreement with Feng Shui

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè applications.

Table 5-19: Interest - Main Object Shape - Numeric Response

Copyright  by Chiang Mai University Drawing Respondents’ Rank Count Percent Mode Feng Shui rank

Question 10 A B C 2 1 2 3 1 2 3 1 26 38 129 112 46 35 69 105 13.5 19.7 66.8 58.0 23.8 18.2 34.3 52.2 3 1 2 3 1 2

All rights reserved 3 27

13.4

107 Table 5-20: Interest - Main Object Shape - Numeric Response Drawing Respondents’ Rank Count Percent Mode Feng Shui rank

1 14 7.3

Question 11 A B 2 3 1 2 13 166 131 58 6.7 86.0 65.2 28.9 3 1 3 1

3 12 6.0

C 1 2 64 120 32.5 60.9 2 2

3 13 6.6

The result of Question 11 also shows a complete match between the rank of Feng Shui application and the rank by respondents’ preference. Respondents’ preferences for Question 11 show that they ranked the three solutions similarly to Feng Shui rank. 65.2% of all the respondents ranked (B) the first as the most favorable choice. 60.9% ranked (C) the second as favorable choice. 86.0% ranked (A) as the third and least favorable choice. The modes of the answers for (B), (C) and (A) are, in ascending order, 1, 2 and 3. This is in good agreement with Feng Shui applications.

Table 5-21: Interest - Main Object Shape - Written comments

(B) (C) (A)

(B)

Comments Question 10 The lake looks natural in this design The lake is in different shape with surrounding harmoniously.

There is a harmony in this design.

The contour is creative.

Create the shape unification between the lake and the surrounding.

Count 70 16 8 6 8

Comments Question 11 It looks natural.

There is a harmony in this design.

The contours are creative.

Count 67 7 6

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè (C)

Copyright  by Chiang Mai University The main reason for ranking (B) the first in both questions is the natural

beauty of the garden, with either the lake or hill. For Question 10, the respondents

All rights reserved described (B) as this solution does not blatantly interfere with nature; and the lake contrasts with the surroundings. In Question 11, the mountain is not considered a

focus of the landscape, the respondents just harmonized it with the natural surroundings. The reason for ranking (C) as the second most favorable choice was also harmony and design creativity. This shows an agreement to employ a balance

108 between contrast and harmony in landscape design to achieve the Interest, concurrently satisfying the criteria of Yin-Yang in a Feng Shui application.

5.4.2 Question 12: Interest – View Spot Shape In Question 12 (Figure 5-12), the shapes of the view spot and the lantern were either circular (Yin) or square (Yang). In Feng Shui, within Yin, there must be Yang; and within Yang, there must be Yin. An excess of either Yin or Yang is considered a poor solution. Therefore, the Feng Shui rank for these four drawings is 1, 2, 3 and 4 for (C), (B), (A) and (D), respectively.

Question: In a landscape, there is an elliptic lake with a view spot and a stone lantern. Which of the following designs do you prefer?

A: The view spot is circular. The stone lantern is square

B: The view spot and the stone lantern are both square

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè C: The view spot is square. he stone D: The view spot and the stone lantern is circular lantern are both circular Figure 5-12: Interest – Spot View Shape

Copyright  by Chiang Mai University The result of the question shows an adequate match between the rank of Feng

All rights reserved Shui application and the rank by respondents’ preference. As predicted, (C) and (D)

were ranked in the survey as the most and least favorable choices, respectively. Of all the available respondents in the survey, 42.6% ranked (C) the first as the most favorable choice. 37.0% ranked (A) the second as favorable choice. 37.9% ranked (B)

the third as less favorable choice. Finally, 50.3% ranked (D) the fourth as the least

109 favorable choice. The modes of the answers for (C), (B), (A) and (D) are, in ascending order, 1, 2, 3 and 4. Although the ranks are not exactly the same between those of Feng Shui and the respondents’, this is an adequate agreement with Feng Shui applications.

Table 5-22: Interest - Spot View Shape - Numeric Response Drawing A B C D Respondents’ Rank 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 59 70 49 11 20 45 72 53 83 53 32 27 45 17 32 95 Count 31.2 37.0 25.9 5.8 10.5 23.7 37.9 27.9 42.6 27.2 16.4 13.8 23.8 9.0 16.9 50.3 Percent 2 3 1 4 Mode Feng Shui rank 3 2 1 4

Respondent’s reason for ranking (C) the first was contrast even though (B) has more contrast between rectangle and circle. They also emphasized that variety (the change of shape) and unity (the repeat of shape) in (C) as integral for a good landscape design. The comments from the respondents strongly support the objectives of using Yin-Yang principle to create Interest in a garden landscape design.

Table 5-23: Interest - View Spot Shape - Written comments

(C) (B)

Comments There is an interesting contrast in this design.

The shapes of the elements of the design change harmoniously.

Variety and Unity, two essential rules in landscape design, are included in this design.

There is an interesting contrast in this design.

Count 25 21 18 16

In conclusion, as regard to the Interest aspect, by (1) the similarity in concept

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè which has been shown in the comparable attributes and (2) the compatibility in application, which has been illustrated from the results of the Question 10, 11 and 12,

Copyright  by Chiang Mai University the survey’s results and the personal opinions of the respondents have shown compatibility between Yin-Yang balance and the Interest technique.

All rights reserved All of the designs with a good balance of Yin and Yang characteristics have

been ranked the best, according to the respondents whose focus was on the Interest

technique. According to the results, too much Yin or too much Yang in landscape design is unfavourable; the most favoured way is to combine Yin-Yang characteristics alternatively.

110

5.5 Balance technique and Feng Shui site plan The balance of a garden landscape in these questions relates to the layout along a central axis. In these drawings, this axis is considered as horizontal axis to create a balanced site plan in Question 13 or as vertical axis to create a balanced visual view in Question 14. A traditional site plan of Vietnamese buildings whose spatial arrangement is balanced on a vertical axis is also proposed in Question 15.

These questions are intended to express the Feng Shui site plan in order to ascertain preferences of the respondents for the balance in modern landscape design.

It is essential that Feng Shui application seeks the balance and harmony between human and nature through the natural and solemn man-made landscapes and architectures. Normally, in the traditional structure of Hué building architecture, perfectly symmetrical balance on a vertical axis is achieved; but in a garden landscape, asymmetrical balance conveys the performance of plants, pavilion and fence, in the site plan of the whole environment.

5.5.1 Question 13: Balance, Elements’ Characteristic Question: Which of these following balanced gardens do you prefer?

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè A: The perfect symmetrical B: Asymmetrical balance C: Asymmetrical balance balance between elements between different elements between similar elements Figure 5-13: Balance - Elements’ Characteristic

Copyright  by Chiang Mai University Question 13 concerns the symmetrical and asymmetrical balance of landscape

design, using similar and different elements. In a Feng Shui site plan, the natural

All rights reserved beauty is sought through the elements arranged in visual or spatial balance. The more

natural they appear the more harmonious and favourable the garden landscape becomes. Solution (B), which shows the asymmetrical balance performed by different elements, is the first rank of Feng Shui. Solution (C) and (A) are respectively the second and the third in Feng Shui rank. It is presumed that the respondents would

111 rank (B) the first as their most preferable choice. Therefore, the Feng Shui rank for these four drawings is 1, 2 and 3 for (B), (C) and (A), respectively.

Table 5-24: Balance - Elements’ Characteristic - Numeric Response Drawing A B C Respondents’ Rank 1 2 3 1 2 3 1 2 3 15 31 146 122 53 29 73 108 17 Count 7.8 16.1 76.0 59.8 26.0 14.2 36.9 54.5 8.6 Percent 3 1 2 Mode Feng Shui rank 3 1 2

This question’s results conform to the presumption and match the Feng Shui solution. 59.8% of the respondents ranked (B) the first as the most favorable choice.

54.5% ranked (C) the second as favorable choice. 76.0% ranked (A) the third as the least favorable choice. The modes of the answers for (B), (C) and (A) are, in ascending order, 1, 2 and 3. This is in good agreement with Feng Shui applications.

Table 5-25: Balance - Elements’ Characteristic - Written comments

(B)

Comments This design creates a flexible balance This design looks natural Variety criteria is necessary in landscape design

Count 26 21 7

The respondents selected (B) as the most preferable choice because this solution proposes a flexible balance and it blends with nature harmoniously. Some respondents thought that the variety of elements in garden landscape is necessary to avoid the visual monotony. The other two solutions, (A) and (C), did not garner many

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè comments from the respondents.

It has proved the Balance in a landscape design using a variety of elements

Copyright  by Chiang Mai University rather than just a symmetrical balanced arrangement. The comments from the respondents support the application of different elements in the Feng Shui site plan

All rights reserved via the Balance technique of the modern landscape design.

112 5.5.2 Question 14: Balance, Vertical Asymmetry Question: In a mountainous landscape, which following sceneries do you prefer?

n

n

n

n

A: With high pine trees B: With high pine trees C: With high pine trees on right, on left some on right, on left big on right, on left small jujube trees and flowers jujube trees and flowers jujube trees and flowers Figure 5-14: Balance - Vertical Asymmetry

In Figure 5-14, Question 14 focuses on visual balance displaying through the vertical axis in a mountainous landscape. The cluster of pine trees on the right is identical in three drawings. The size of the left group of trees is changed gradually among the three drawings.

In Feng Shui site plan, the asymmetrical balance using hierarchical elements is suggested especially for the Green Dragon and White Tiger, since “Green Dragon elevates higher to the left, White Tiger squats lower to the right” (Xu, 1994). An example is that a good landscape should have both White Tiger and Green Dragon elements, since the omission of one element signals bad omen. Besides, White Tiger should not be higher than Green Dragon, since Green Dragon acts freely above the sky. In a garden landscape, it is not required to use exactly the same elements; rather, the achievement of an asymmetrical balance is more important. The Feng Shui rank is

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè 1, 2 and 3 for (A), (C) and (B), respectively.

Copyright  by Chiang Mai University Table 5-26: Balance - Vertical Asymmetry - Numeric Response

Drawing A B C Respondents’ Rank 1 2 3 1 2 3 1 2 3 123 69 13 34 51 113 54 73 67 Count 60.0 33.7 6.3 17.2 25.8 57.1 27.8 37.6 34.5 Percent 1 3 2 Mode Feng Shui rank 1 3 2

All rights reserved The result of the question shows a complete match between the rank of Feng Shui application and the rank by respondents’ preference. 60.0% of the respondents

113 ranked (A) the first as the most favorable choice. 37.6% ranked (C) the second as favourable choice. 57.1% ranked (B) the third as the least favorable choice. The modes of the answers for (A), (C) and (B) are, in ascending order, 1, 2 and 3. This corresponds with the Feng Shui rank, (Table 5-26).

Table 5-27: Balance - Vertical Asymmetry - Written comments

(A)

Comments This landscape looks balanced There is an interesting change from left to right side It is suited to the principle of balance in landscape design

Count 41 22 5

The common thread for the respondents' preference for (C) is that the scene appeared visually balanced, with the differing tree heights adding interest. Both (B) and (C) drew few comments from the respondents.

The conclusion is that in landscape design, to achieve interesting movement of vision, it is necessary to design both sides of a scene in asymmetrical balance. In the Balance technique in landscape design, tall and large plants on one side can be balanced with a small but diverse grouping on the other. This technique matches the Feng Shui application.

5.5.3 Question 15: Balance, Feng Shui site plan Question: Focus on the footpath, from entrance to building, which design do you prefer? o

o

o

o

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University A: A footpath meanders through shrubs, passing a water pond and turns into the paved courtyard

B: A footpath goes to the courtyard, meets the screen then bifurcates, embraces a water pond

C: A footpath goes straight, leads to a bridge crossing a water pond to the building

All rights reserved Figure 5-15: Balance - Feng Shui site plan

This question is the most important one since it relates to the site plan of a Vietnamese building. The drawings differ with meandering footpath (A), bifurcated footpath (B) and straight footpath (C). The asymmetrical balance using different

114 elements of differing dimensions are tested in the following questions, in which the Feng Shui site plan is explored. According to Feng Shui application, diagram (B) shows the most beneficial solution since it attracts Qi and gently passes Qi throughout the land. Diagram (A) ranks second as the flow of Qi is conducted by a meandering footpath; but it has a complex corner. Diagram (C) is the third rank of Feng Shui as excessive Qi enters the building too directly.

Table 5-28: Balance - Feng Shui site plan - Numeric Response Drawing A B C Respondents’ Rank 1 2 3 1 2 3 1 2 3 33 87 76 140 47 18 38 59 99 Count 16.8 44.4 38.8 68.3 22.9 8.8 19.4 30.1 50.5 Percent 2 1 3 Mode Feng Shui rank 2 1 3

The result of the question shows a complete match between the rank of Feng Shui application and the rank by respondents’ preference. 68.3% of the respondents ranked (B) the first as the most favorable choice. 44.4% ranked (A) the second as favorable choice. 50.5% ranked (C) the third as the least favorable choice. The modes of the answers for (B), (A) and (C) are, in ascending order, 1, 2 and 3. This corresponds with the Feng Shui rank (Table 5-32).

The results once again demonstrate the compatibility between Feng Shui solutions and the preferred solutions of site plan according to the preferences of the respondents. The idea of creating Balance by using a traditional Feng Shui site plan obtains preferences from the respondents.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Table 5-29: Balance - Feng Shui site plan - Written comments

Copyright  by Chiang Mai University Comments This design creates privacy for the owner This design is related to the Vietnamese traditional layout.

This design creates a reasonable traffic.

This design creates the surprisingness.

This design looks balanced.

This design creates interesting hidden view.

This design looks natural.

Guest can quickly enter.

It shows the beauty of the building directly.

Count 36 23 21 18 6 16 8 7 5

All rights reserved (B)

(A) (C)

115 The most frequent reason given in ranking (B) the first was that this solution created privacy for the occupants and endorses the traditional Vietnamese site plan by using the bifurcated footpath that creates an intimate feeling for the occupants, and a surprise while maintaining balance. It has clear function and reasonable traffic flow.

The respondents agreed that (A), a meandering footpath, is complicated although, it can create interesting hidden views and therefore blend with the nature. With (C), the respondents stated that the straight footpath is too direct, that people can enter the building quickly although some suggested this solution reveals the beauty of the building.

The Comments from the respondents matched the objectives of the Feng Shui site plan, which are to create the Balance spatial arrangement in garden landscape design; to maintain the intimate atmosphere for the building and to facilitate the flow of Qi. In conclusion, there is compatibility between the concept of Balance technique and the application of Feng Shui site plan. This has been shown by (1) the similarity in comparison of attributes and (2) the compatibility in application which has been illustrated in the previous questions. To achieve the Balance in the garden design, it is possible to use the traditional site plan of the Feng Shui spatial arrangement of Hué buildings. As the results reveal, the spatial arrangement are not necessary to be symmetrical balance; instead, the asymmetrical balance of vision are emphasized. The balance within man-made and natural landscape is related to the prospect of Qi

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè performance and in doing so; all the objectives of the Balance technique of the modern landscape design have been fulfilled.

Copyright  by Chiang Mai University 5.6 Proportion technique and Harmony of Five Elements

In the following questions, the repetitive use of an element is explored

All rights reserved together with the large-scale, human-scale and small-scale environments, which are

expressed through the application of the Five Elements to verify the compatibility

with the Proportion technique in landscape design. Feng Shui application requires every element and feature to be in appropriate proportion. Too many or too little elements are considered to be a cause of misfortune.

116 This part discusses the survey results of Proportion in garden landscape design. In question 16, the quantity of trees in the garden is considered in the context of the climate conditions of Viet Nam. In question 17, three scales of landscape design are also proposed. To determine the architects’ preference for an optimal solution, the change in the number of trees near a path is proposed in question 18 to obtain the optimum combination.

5.6.1 Question 16: Proportion, Tree Density This question addresses the traditional buildings of Hué in a treed garden. In Feng Shui, trees represent the superlative manifestation of Qi and a garden landscape.

The number of trees should be compatible with other elements such as buildings and decorative items in the landscape as a whole. Too many trees create excess Yin; and more Wood elements create a gloomy feeling; while too few create excess Yang, causing the building to be exposed to Yang or hot sunlight. Occupants should be in harmony with nature, including light or shade in the building. It is believed that Living Qi is exhausted in places that are too dark and dank or too bare. The Feng Shui rank is 1, 2 and 3 for (A), (C) and (B) respectively.

Question: A building, surrounded by arecas, perennials and a quickset hedge. The sun shines brightly upon the building. Which solution do you prefer?

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè A: A few trees including B: A few arecas, short Figure C: Many arecas, arecas, perennials and perennials and quickset perennials and quickset a quickset hedge. hedge. Receiving lots of hedge. Providing lots of For much sunshine radiant sunshine shade Figure 5-16: Proportion - Trees Density

Copyright  by Chiang Mai University

All rights reserved The result of the question shows a potential match between the rank of Feng

Shui application and the rank by respondents’ preference. 53.5% ranked (A) the first

as the most favorable choice. 44.8% also ranked (C) the first as most favorable choice. 80.6% ranked (B) as the least favorable choice. The modes of the answers for (A), (C) and (B) are, in ascending order, 1, 1 and 3. This is different from the Feng

117 Shui rank; however it demonstrates an acceptable agreement with Feng Shui applications.

Table 5-30: Proportion - Trees Density - Numeric Response Drawing A B C Respondents’ Rank 1 2 3 1 2 3 1 2 3 107 82 11 14 24 158 90 87 24 Count 53.5 41.0 5.5 7.1 12.2 80.6 44.8 43.3 11.9 Percent 1 3 1 Mode Feng Shui rank 1 3 2

The comments in support of (A) as the most preferred choice suggested the use of moderate shade and light and thereby saving energy. Trees in (A) are distributed rationally; and the whole landscape is in harmony with nature. The respondents mentioned (C) as a solution where the building enhances nature while many trees in a garden can improve the microclimate, especially in the hot damp climate of Viet Nam. The worst case Feng Shui choice (B) caused respondents’ comments that this solution was not suitable for the Vietnamese climate as there was a lot of hot sunshine in this part of the country. Too few trees would expose the building to intense light, although some respondents thought that this would provide an airy space. The conclusion was that the quantity of trees in garden landscape should be in moderation.

The comments from the respondents agreed with the objectives of the Proportion; too many or too few trees in garden landscape are considered unwise.

Table 5-31: Proportion - Trees Density - Written comments

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Comments This building has enough shade, enough light It is reasonable density of trees It saves energy of lighting It is harmonious with nature Building stays in nature It improves microclimate This building has a lot of sunshine It creates well-aired space

Count 52 19 16 9 21 10 8 6

Copyright  by Chiang Mai University (A)

All rights reserved (C) (B)

118 5.6.2 Question 17: Proportion, Design Scale This question concerns the use of scale in garden landscape, where small-scale scheme in (A) refers to miniaturization; a large-scale scheme in (B) refers to space or objects that cause feelings of wonder and amazement; and human-scale scheme in (C) refers to the proportion of space and objects, which can be easily recognized as ratio of the human body. Feng Shui suggests human-scale be used in garden landscapes and the small-scale to be used in man-made sceneries. The Feng Shui rank for these scenes is 1, 2 and 3 for (C), (A) and (B), respectively.

Question: A system of scale is used to design scenery in landscape design. For your garden, which following scale do you prefer?

A: The small scale

B: The large scale

C: The human scale

Figure 5-17: Proportion - Design Scale

The result of question 17 shows a complete match between the rank of Feng Shui application and the rank by respondents’ preference. 69.7% of the respondents ranked (C) the first as the most favorable choice. 57.5% ranked (A) the second as favorable choice. 64.6% ranked (B) the third as the least favorable choice. The modes for (C), (A) and (B) are, in ascending order, 1, 2 and 3. This again correlates with

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Feng Shui rank. Respondent’s preferences strongly correspond to that of Feng Shui application in the use of scale in garden design.

Copyright  by Chiang Mai University Table 5-32: Proportion - Design Scale - Numeric Response

Drawing A B C Respondents’ Rank 1 2 3 1 2 3 1 2 3 26 111 56 40 29 126 145 54 9 Count 13.5 57.5 29.0 20.5 14.9 64.6 69.7 26.0 4.3 Percent 2 3 1 Mode Feng Shui rank 2 3 1

All rights reserved (A) did not obtain enough comments; while (B) attracted few comments. (C) human-scale - was ranked the first because it provided comfort and created harmony

119 between humans and landscape. Some even remarked that human-scale reflected Vietnamese practice.

Table 5-33: Proportion - Design Scale - Written comments

(C) (B)

Comments This scale creates comfortable feelings This scale reflects the harmony between human and nature This scale corresponds to Vietnamese anthropometry Large scale provides superb view

Count 62 25 11 6

5.6.3 Question 18: Proportion, Amount of Trees This question addresses the number and form of trees along a footpath where similar trees are planted. Another specie is added by (A) two trees, (B) three trees, or (C) only one tree. Feng Shui application suggests that trees should be placed in groups rather than individually, where the solitary element is easily overwhelmed and weakened. The Feng Shui rank is 1, 2 and 3 for (B), (A) and (C) respectively.

Question: Round shaped trees are planted along the footpath and some specific trees are added in between them. Which following solutions do you prefer?

A: There are two tubular C: There is only one B: There are three tubular shape trees tubular shape tree shape trees in between in between in between Figure 5-18: Proportion - Amount of Trees

The survey results demonstrate strong compatibility between Feng Shui application and modern landscape design in the use of proportional quantity of

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè elements in a garden landscape. Most (64.8%) of the respondents ranked (B) the first

Copyright  by Chiang Mai University as the most favorable choice. 62.8% ranked (A) the second as favorable choice.

79.3% ranked (C) the third as the least favorable choice. The modes of the answers

All rights reserved for (B), (A) and (C) are, in ascending order, 1, 2 and 3. This is in good agreement with Feng Shui solutions.

120 Table 5-34: Proportion - Amount of Trees - Numeric Response Drawing A B C Respondents’ Rank 1 2 3 1 2 3 1 2 3 63 123 10 125 45 23 18 22 153 Count 32.1 62.8 5.1 64.8 23.3 11.9 9.3 11.4 79.3 Percent 2 1 3 Mode Feng Shui rank 2 1 3

Comments supporting the selection of (B) as the first rank stated that this arrangement is both multiform and united. The three trees in repetition complete a general rhythm in the landscape. The respondents mentioned that in (A) trees must be in pairs rather than in isolation. Respondent’s comments matched application of Feng Shui in creating harmony in the combination of the Five Elements in coordination with surrounding landscape.

Table 5-35: Proportion - Amount of Trees - Written comments

(B)

(A)

Comments The trees are multiform but united in this design This design creates general rhythm The repeat criteria is important in landscape design This design has a nice proportion The combination of trees must be in pair

Count 37 12 5 7 6

In conclusion, an important point in garden design is to use Proportion to express Feng Shui harmony in combining every element in a moderation, for the human-scale or small-scale scheme. For the Proportion technique, the solutions suggested by Feng Shui application are in concord with respondents’ preferences. The combinations of characteristics of Five Elements through colours, materials, textures

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè or shapes were not explored as they will be discussed in the next technique, Unity.

Copyright  by Chiang Mai University 5.7 Unity technique and theme of each of the Five Elements

All rights reserved In this part, the highlights of the themes, which are made by qualities of

elements are drawn and explored in the questions. They are the combination of different shapes of Emphasis in garden design, combinations of different tree species

in a scene and the use of different geometric shapes. In order to create a theme, it is suggested that the characteristics of such an element of Five Elements is used, with

121 some additional characters of other elements. It is important to combine elements by following the cycle of production.

In this survey, the theme of each of the Five Elements of Feng Shui application is used to achieve Unity in modern landscape design. An Emphasis of shape is studied within the surrounding boundary (Question 19). Different shapes of some species of trees are explored in a garden scene (Question 20). Finally, a combination of a circular shape with geometric shapes is proposed (Question 21).

These questions are used to detect the combination preferred by the respondents for Unity.

5.7.1 Question 19: Unity, Focus Profile Question: At the focus of a garden, which of following combinations do you prefer?

A: A combination between rectangle focus and surroundings arcs

B: A combination between circle focus and surroundings arcs

C: A combination between arc focus and surroundings arcs

Figure 5-19: Unity - Focus Profile

This question refers to the complimentary profile of an Emphasis in the garden. A pointed arc (symbolized Fire) is used to design the backgrounds. In Figure

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè 5-19: in (A), the focus is designed with rectangle or squares – creating the combination of Fire and Earth; in (B), the focus is designed with circles –

Copyright  by Chiang Mai University symbolizing Metal; in and (C), the focus is designed with pointed arc – creating the

combination of Fire and Fire. According to the cycle of production, (A) is the first

All rights reserved choice since the Earth focus has been produced by Fire background; (C) is the second

choice since the Fire focus has been undestroyed by Fire background; and (B) is the

third choice since the Metal focus is destroyed by Fire background. The Feng Shui rank is 1, 2 and 3 for (A), (C) and (B) respectively.

122 Table 5-36: Unity - Focus Profile - Numeric Response Drawing A B C Respondents’ Rank 1 2 3 1 2 3 1 2 3 100 50 50 56 111 31 55 32 112 Count 50.0 25.0 25.0 28.6 56.1 15.7 27.6 16.1 56.3 Percent 1 2 3 Mode Feng Shui rank 1 3 2

Figures in this survey have shown the match only between the first rank of the respondents’ preference and the first rank suggested by Feng Shui. The ranking of the last two choices is not matched with that from the respondents. 50.0% of the respondents ranked (A) the first as the most favorable choice. 56.1% ranked (B) the second as favorable choice. Lastly, 56.3% ranked (C) the third as the least favorable choice. The modes of the answers for (A), (C) and (B) are, in ascending order, 1, 2 and 3. The combination between the pointed arc background and the rectangular Emphasis has been proven.

Table 5-37: Unity - Focus Profile - Written comments Comments

Count

This design creates the contrast

43

This design looks balanced

16

(C)

This design remains the unity

5

(B)

Focus has a connection with the boundaries

12

(A)

The respondents’ comments in selecting (A) as the first choice is an Emphasis could be combined well with boundaries to create the strong impression; in strong

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè contrast yet look balanced with defined boundaries. The rectangle-circle combination is therefore the optimum solution. The respondents’ second choice was (B) as the

Copyright  by Chiang Mai University circle has faultless profile that is mirrored in the arc-boundaries. They were not attracted to (C) and only a few of them agreed that this solution has unity in profile.

All rights reserved

123 5.7.2 Question 20: Unity, Theme of Shape Question: In a garden, various tree species of are planted. To the right side, there is a clump of cone-shaped trees. Which following solutions do you prefer?

A: At the left, some tubular shaped trees; centrally, round shrubs with red flowers

B: Some cone-shaped trees; centrally, sharp leaves shrubs with red flowers

C: Tubular shaped tree at left; centrally, sharp leaves shrubs with red flowers

D: Some cone-shaped trees at left; at the middle, rounded shrubs with red flowers

Figure 5-20: Unity - Theme of Shape

This question refers to the combination between varieties of shapes of trees in a garden landscape. On the right side, a group of cone-shaped trees is permanent. The shape of the left group is changed alternatively from rectangular to triangular. The shrubs in the middle are also changed from pointed foliage to round-shaped foliage, alternatively. The theme of Fire element, including pyramid, triangle and pointed shape, is used to achieve the Unity in this landscape. The best theme of Fire element is (D), which carries characters of Fire, and also includes an additional quality of roundness symbolizing Metal. The Feng Shui rank is 1, 2, 3 and 4 for (D), (B), (C) and (A) respectively.

Table 5-38: Unity - Theme of Shape - Numeric Response

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè

Drawing A B C D Respondents’ Rank 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 31 24 44 96 86 47 24 36 31 46 94 21 59 71 30 32 Count 15.9 12.3 22.6 49.2 44.6 24.4 12.4 18.7 16.1 24.0 49.0 10.9 30.7 37.0 15.6 16.7 Percent 4 1 3 2 Mode Feng Shui rank 4 2 3 1

Copyright  by Chiang Mai University

All rights reserved The survey result, Table 5-38, shows a partial match between the optimal Feng

Shui solutions with the respondents’ preference. 44.6% of the respondents ranked (B) the first as the most favorable choice. 37.0% ranked (D) the second as favorable choice. 49.0% ranked (C) the third as less favorable choice. Finally, 49.2% ranked (A) the fourth as the least favorable choice. The modes of the answers for (B), (D), (C)

124 and (A) are, in ascending order, 1, 2, 3 and 4. This is a potential match with Feng Shui applications.

Table 5-39: Unity - Theme of Shape - Written comments Comments There are both change and repeat of shape in this design.

The shapes of different trees resemble each other in this design.

There is a variety of shapes in this design.

(D) (B) (A)

Count 12 18 5

The most frequent comment for ranking (B) the first is that the shapes of trees in this landscape are similar to each other. The reason for ranking (D) the second is that there are both change and repeat in this solution. The (A) was ranked the fourth as it refers to the variety of shapes of trees. The comments from the respondents are not a strong support for the objective of the use of Five Elements theme as the Unity symbol in garden landscape design, however, it can be concluded that respondents emphasized on the harmony and the resemblance between the elements in the landscape.

5.7.3 Question 21: Unity, Shape Combination Question: For a landscape design, which of following combinations is your preference with circle?

A: With meandering line

B: With square

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè C: With rectangle

D: With triangle Figure 5-21: Unity - Shape Combination

E: With circle

Copyright  by Chiang Mai University This question is about the combination of circles and other geometric forms,

which are curved line, square, rectangle, triangle and circle. According to principles

All rights reserved of Five Elements, circle is the attribute of Metal; therefore, it should go with Earth

element and avoid Fire element, which is represented by triangle because of the rule of Destructive Cycles. The first choice is (B), in which Earth (as square) supported Metal (as circle). Other elements can be easily combined with Metal except Fire. The

125 Feng Shui rank is 1, 2, 3, 4 and 5 for a circle combining with square (B), curved line (A), circle (E), rectangle (C) and triangle (D), respectively.

Table 5-40: Unity - Shape Combination - Numeric Response Drawing

A

B

C

D

E

Rs’ Rank

1

2

3

4

5

1

2

3

4

5

1

2

3

4

5

1

2

3

4

5

1

2

3

4

5

Count

84

25

42

28

14

72

50

50

19

7

20

64

45

35

24

16

15

18

45

97

16

33

34

62

47

Percent 43.3 13.4 21.6 14.4 7.2 36.4 25.3 25.3 9.6 3.5 10.6 34.0 23.9 18.6 12.8 8.4 7.9 9.4 23.6 50.8 8.3 17.2 17.7 33.2 24.5 Mode FS Rank

1 2

1 1

2 4

5 5

4 3

The respondents’ most favorable and least favourable choices matched with the Feng Shui rank. 36.4% of the respondents ranked (B) the first as the most favorable choice. 50.8% of the respondents ranked (D) the last as the least favorable choice. 43.3% of the respondents also ranked (A) the first. The findings were that the circle was selected to combine with curved line, square and rectangle and not to combine with the triangle. The modes of the answers for (B), (A), (C), (E) and (D) are, in ascending order, 1, 1, 2, 4 and 5. This result shows a somewhat compatibility with Feng Shui solutions.

Table 5-41: Unity - Shape Combination - Written comments (B) (A) (E)

Comments The circle can match easily with square It is a flexible combination This combination includes both variety and unity This combination looks harmonious This combination creates the unity criteria

Count 16 7 6 5 9

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè In Table 5-41, the most frequent reason from the respondents for ranking (B)

the first is because the circle and square match each other. Those ranking (A) the first

Copyright  by Chiang Mai University opined that this combination of circle and curved line appears flexible and harmonious. For (E) the reason is the unity of the combination of circles. This

All rights reserved demonstrates the agreement from the respondents to combine the circle with square and to reject combinations of the triangle.

126 With respect to the aspect of Unity: (1) the similarity in concepts has been shown in the comparison of attributes; and (2) the compatibility in application has been illustrated by the results in these questions. Only the characters of Five Elements, which carry their own unique identification, can facilitate the Unity manifestation in the garden landscape design. In this research, the distinct shape characteristics of the Five Elements are studied as applied in garden design. Although this survey did not take into account other aspects of the Five Elements such as materials, textures and colours, it helps achieve a simple elegant Unity of the design.

This is a very promising result.

5.8 Harmony technique and Qi prospect Since the Qi prospect is matched with the Harmony technique of modern landscape design, the compatibility of the matching pair is tested in the following questions. In this part, three questions employing the principle of Qi prospect in a garden were proposed. The purpose of these three questions is to determine the selection of the respondents in such contexts of landscape, which are: A natural landscape with pond; trees and hill (Question 22); man-made landscapes with parks, streets and buildings (Question 23); and a residential landscape near a river (Question 24) based on the Harmony technique.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

127

5.8.1 Question 22: Harmony, Preferable Scenario Question: There are some plots of land with surrounding trees, a hill and a pond. Which of following properties do you prefer to live in?

A: A building, backed by a hill with trees and open space in front. A footpath links up the building to the back of the hill, continues through a bridge then links to outside

B: A building, backed by a hill with trees. A footpath links up the building to the pond, continues through a bridge to the other side of the pond with trees then links to outside

C: A building backing by trees. An open space D: A building, backed by a hill with trees and in front with view to a pond, also view to a trees. An open space in front with view to a hill. A footpath links up the building to the pond and trees. A footpath links the building bridge and surrounds the hill to outside to the bridge and through the trees to outside Figure 5-22: Harmony - Preferable Scenario

This question is adapted from the drawings of surrounding environment derived from Yu (1998). Four scenarios were provided to the respondents, representing different combinations of buildings, hills, ponds, open spaces, trees and

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè paths. The optimal land should have a stable mountain behind as the shelter and pond in front as the bright future. The Feng Shui rank for these drawings is 1, 2, 3 and 4

Copyright  by Chiang Mai University from (D), (B), (C) and (A), respectively.

Table 5-42: Harmony - Preferable Scenario - Numeric Response

All rights reserved

Drawing A B C D 4 1 2 3 4 1 2 3 4 1 2 3 4 Respondents’ Rank 1 2 3 0 11 50 131 37 132 25 6 12 19 114 52 162 31 1 3 Count 0.0 5.7 26.0 68.2 18.5 66.0 12.5 3.0 6.1 9.6 57.9 26.4 82.2 15.7 0.5 1.5 Percent 4 2 3 1 Mode Feng Shui rank 4 2 3 1

128 82.2% ranked (D) the first as the most favorable choice. 66.0% ranked (B) the second as the next favorable choice. 57.9% ranked (C) the third as the less favorable choice. Finally, 68.2% ranked (A) the fourth as the least favorable choice. The modes of the answers for (D), (B), (C) and (A) are, in ascending order, 1, 2, 3 and 4.

The modes from the respondents are also completely coincided with the Feng Shui rank. The survey results totally matched Yu’s results and have shown that the respondents in Hué chose the same solutions that Feng Shui suggested.

Table 5-43: Harmony - Preferable Scenario - Written comments

(D)

(B)

Comments Open space in front is preferable with nice scene This landscape provides sustainable environment This landscape conveys reasonable traffic This landscape is harmonious with nature Good Feng Shui Reasonable traffic Sustainable environment

Count 35 26 23 19 6 7 6

The most popular reason for the respondents' preferences for (D) is the open space in front of the building illustrating a beautiful scene. Furthermore, this solution was mentioned as related to a sustainable environment and reasonable traffic, and harmonious with nature. Some architects even said that this solution is favourable with Feng Shui. The comments of reasonable pedestrian flow and sustainable environment were also made on (B). The other drawing (C) and (A) drew no comment from respondents. The conclusion is that the comments from the

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè respondents totally matched the objectives of a Feng Shui landscape, which links between the man-made architecture and the nature.

Copyright  by Chiang Mai University

All rights reserved

129

5.8.2 Question 23: Harmony, Man-made Landscape Question: Your land is embraced by neighbors’ buildings, which solution do you prefer?

o

o

o

o

A: Faced a trade C: Faced an official B: Faced a green park commercial building building Figure 5-23: Harmony - Man-made Landscape

This question refers to the spaces in front of the building. There are three different spaces, which are commercial building (A), green park (B) and an official building (C). Traditionally, residence should stay as close to nature as possible. Living Qi appears where there are verdant trees, blooming shrubs or prosperous residences.

Feng Shui rank in this question drawing is 1, 2 and 3 for (B) - building faces a greenery park; (A) - building faces a commercial building and (C) - building faces an official building, respectively.

Table 5-44: Harmony - Man-made Landscape - Numeric Response Drawing A B C Respondents’ Rank 1 2 3 1 2 3 1 2 3 9 102 80 192 14 0 9 74 113 Count 4.7 53.4 41.9 93.2 6.8 0.0 4.6 37.8 57.7 Percent 2 1 3 Mode Feng Shui rank 2 1 3

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè The result of the question shows a complete match between the rank of Feng

Shui application and the rank by respondents’ preference. 93.2% of the respondents

Copyright  by Chiang Mai University ranked (B) the first as the most favorable choice. 53.4% ranked (A) the second as the

All rights reserved favorable choice. 57.7% ranked (C) the third as the least favorable choice. The mode of the answers for (B), (A) and (C) are, in ascending order, 1, 2 and 3. The

respondents have shown their preference in the environment which is closer to nature and the survey results express total compatibility with the Feng Shui characteristics.

Table 5-45: Harmony - Man-made Landscape - Written comments

130

(B)

(A) (C)

Comments The park provides fresh environment This environment is closed to the nature thanks to the park There is an open space in front of the building It proposes a good view from building It is an active and populous environment It is security environment

Count 45 31 9 5 8 5

The main reason for ranking (B) as the most preferable choice is that a nearby park: provides a fresh environment; takes the role of an open space in front of the building; creates a good view for the building, and brings the building closer to nature. Some respondents who preferred their building to face a commercial building opined that it is the active and crowded environment. Finally, reasons for positioning a building to face an official building is that it can inherit the security from around the building zone. It is concluded that building should be located in harmony with nature, to take full advantages from nature such as having a fresh air, beautiful scene and pure environment. The comments from the respondents totally supported the objectives of the site conditions of Qi prospect.

5.8.3 Question 24: Harmony, River Landscape Question: A building is located at different sections of a river. There are some shrubs scattered at the riverbanks and a small isle. Which of following locations do you prefer?

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè A: The building is located B: The building locates C: The building is located at the confluence at the riverbank at a section Figure 5-24: Harmony - River Landscape

Copyright  by Chiang Mai University

All rights reserved This question refers to a residential site which is close to a river. There are

three solutions, in which the building is placed at the confluence of the river (A), with

some distance from the river (B) or adjacent to the river (C). They were proposed to attain the preferable choice of residential placement from the respondents. Feng Shui principles dictate that a residence facing water is considered a good place. However, a building should not locate at the confluence of a river, since the flow of water could

131 point directly to the building causing Qi to flow very strongly. Instead, a building should maintain some distance from a river, gaining the advantages of nature while avoiding natural calamities. Feng Shui rank for this question is 1, 2 and 3 for drawing (B), (C) and (A), respectively.

Table 5-46: Harmony - River Landscape - Numeric Response Drawing A B C Respondents’ Rank 1 2 3 1 2 3 1 2 3 39 48 107 92 61 52 80 87 31 Count 20.1 24.7 55.2 44.9 29.8 25.4 40.4 43.9 15.7 Percent 3 1 2 Mode Feng Shui rank 3 1 2

The figures from the question have shown the compatibility between respondents’ preferences and Feng Shui solutions. 44.9% of the respondents ranked (B) the first as the most favorable choice. 43.9% ranked (C) the second as favorable choice. 55.2% ranked (A) the third as the least favorable choice. The modes of the answers for (B), (C) and (A) are, in ascending order, 1, 2 and 3. This is in good agreement with Feng Shui applications.

Table 5-47: Harmony - River Landscape - Written comments (B)

(A)

Comments The building get security from natural calamities It is a good Feng Shui location It takes full advantage of landscape It can exploit the river traffic advantage It has a spectacular view

Count 26 14 8 6 5

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè The security of (B) from natural disasters was mentioned most often. Some

respondents considered (B) a solution with good Feng Shui and natural advantages.

Copyright  by Chiang Mai University Location at the confluence of river in (A) was also selected as the first choice by few respondents with the reasons of river traffic advantage and the spectacular scene.

All rights reserved With respect to the aspect of Harmony, (1) the similarity in concept has been

shown in the comparison of attributes; and (2) the compatibility in application has been illustrated in the questionnaire, satisfying the site conditions of Qi prospect that totally correspond with the Harmony technique in modern landscape Design. From the questions in this survey, the respondents select the most preferable location

132 according to their judgments consciously. This has shown the potential of achieving the Qi prospect in the garden landscape by implementing the Harmony technique.

5.9 Conclusion In a conclusion of this chapter, in order to successfully prove that Feng Shui applications are compatible with modern landscape design techniques, it is first essential to study the similarity between the two approaches and proved the compatibility by using a questionnaire survey.

The survey in this research was designed to evaluate the potentiality of achieving Feng Shui applications by using modern landscape design techniques. No suggestions were made to the respondents with respect of Feng Shui applications in any drawing of the questionnaire. The respondents were specifically asked to objectively rank the drawings using their professional judgments. The result is that a large percentage of the respondents ranked the solutions with the most Feng Shui applications higher in preferences.

Therefore, Feng Shui applications have been proved to potentially be used in collaboration with modern landscape design techniques. The ultimate goal of Feng Shui in a garden landscape is the manifestation of Qi. In this research, by using the techniques, which are Emphasis, Sequence, Simplicity, Interest, Balance, Proportion, Unity and Harmony, a manifestation of Qi can be represented. These expected results of this research have been confirmed.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè The results also imply the potential to enhance both values of modern

landscape design and Feng Shui application. For example, to conduct the Emphasis

Copyright  by Chiang Mai University technique, there are several elements that can be used as the focus of the gardens.

According to Feng Shui applications, the focus should be emphasized by a Water

All rights reserved feature. This Water feature must also comply with other Feng Shui principles to maintain water flow and ensure high quality clean water, resulting in a healthy and pleasant environment. The interaction of modern landscape techniques and Feng Shui applications in this instance means that both disciplines could possibly be used together to achieve a better landscape design then if only one technique is used.

Chapter 6 Conclusions and Recommendations In Chapter 5, the compatibility of eight modern landscape design techniques and Feng Shui applications was supported by the results from the questionnaire survey. Most of the results revealed a similarity between the respondents’ answers of the eight techniques questions and the solutions developed by Feng Shui applications.

This demonstrates that collaborations of Feng Shui application and modern landscape design, could result in: 1) satisfying the clients’ insistence that Feng Shui be used in the design; and 2) enhancing the spiritual quality of design by architects using modern landscape design techniques.

This chapter has three parts.

Part One is the summary of the results. In this part, the applicability of Feng Shui is addressed including the limitations of this research due to the possible errors arising from the questionnaire survey, sample or the drawings design used in the questionnaire.

Part Two is the recommendations of this research, which are divided into two options. The options are based upon the level of willingness of architects to include Feng Shui applications in their designs.

Part Three is the conclusion of this research and suggestion for further

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè research.

6.1 Summary of the Results

Copyright  by Chiang Mai University It is believed that natural geographical features can induce prosperous Living

All rights reserved Qi, especially, mountainous landscape, which is considered the most favorable

environment with respect to a traditional belief. However, in the current context, many of the landscapes are not mountainous. Therefore, it is necessary to increase Living Qi where the geographical forms and features are not the best. As civilization

134 grows and people continue to reshape the landscape with roads and buildings, traditional Feng Shui practice has to adapt in the modern context of a landscape design while maintaining the ancient values. For this reason, solutions based on Feng Shui application that conform to the practice of modern landscape design are necessary.

The aforementioned reasons led to the consideration of contemporary applicability of Feng Shui practice in this research. The compatibilities of both modern landscape design and Feng Shui practice have been studied, seeking alternative strategies to induce Qi in garden landscapes using modern approaches.

Nonetheless, the applicability of the results from this research depends on the reliability of and validity for this research, which are: •

The representation of the solutions that were mainly based on the layout and arrangement of traditional Vietnamese garden. Since, the researcher and all the respondents are Vietnamese; there might be common cultural understanding among all people of the same locale and culture. Therefore, the compatibility may partly be a result of familiarity for the traditional environments.

•

The interpretations of the Feng Shui application into the diagrams for each question were done by the researchers who were trained as modern architects.

Therefore, the solution might be biased toward the modern solutions.

•

The respondents, although not trained in Feng Shui, may be frequently exposed to the Feng Shui solution. Therefore, they may tend to select Feng

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Shui solutions rather then modern techniques.

Copyright  by Chiang Mai University The results from the analysis of the questionnaire have also revealed some

unexpected discrepancies in the results, some with different ranking of answers from

All rights reserved the expected patterns of Feng Shui rank (question 4, 8, 9, 12, 16, 19, 20, and 21).

Some questions may be unclear by either the description or the solutions. Moreover, some questions proposed more than the normal three-choice questions. More choices

135 increase the confusion leading to a variety of ranking patterns (question 12, 20, 21, and 22).

Notwithstanding some minor discrepancies in the results, this research has proven successful in the compatibility test. 16 out of 24 questions yielded a complete match between the rank of the respondents and the Feng Shui rank, while 8 questions showed a partial match. The satisfactory results from the exploration of the compatibility using the preferences of practicing architects represent current practices in the context of Hué. The findings of this research helps formulate recommendations for architects to apply in their practice of modern landscape design. However, the recommendations from this research will be limited to the principles of the Form School in Feng Shui, since this research only dealt with and supported the compatibility of Form School applications.

6.2 Modern Landscape Design and Feng Shui Practice Recommendations Architects are trained to practice modern landscape design based on the contemporary standards, practicing and using techniques which are at wide variance with Feng Shui applications. However, as demonstrated in Chapter 5, the compatibility between modern landscape techniques and Feng Shui applications supports the possibility of architects using modern landscape design techniques to achieve the effects of Feng Shui applications. Doing so, they can meet their clients’ demands for Feng Shui values in their garden landscape projects.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè The simple implementation for an architect is to cooperate with a Feng Shui

Copyright  by Chiang Mai University consultant who would work alongside the architect as projects were designed and implemented.

All rights reserved The more advanced position regarding Feng Shui application is where an

architect would study and understand basic Feng Shui applications and could achieve

them using modern landscape design techniques such as the eight techniques discussed in this research. This position will satisfy the clients’ demand for Feng Shui

136 solutions and at the same time gives the architect more freedom in the working conditions.

6.2.1 Cooperation with Feng Shui consultants during the design process Normally, a Vietnamese architect works independently in the design process without reference to any Feng Shui consultant. When the design is completed, the plan is then reviewed by a Feng Shui consultant, who modifies it to achieve compliance with Feng Shui application. In many instances, the result can become a compromise or a dysfunctional uncoordinated garden. This leads to re-organizing or even re-designing the landscape plans.

In other cases, the client may discuss a project with the Feng Shui consultant before consulting the architects. Clients might give specific Feng Shui requirements such as a specific pond (Water) in the front or specific representations of Four Emblem Animals in the garden. The architects would have no flexibility in satisfying the requirements in the design.

In both situations, the architect becomes compromised or passive in the design process. The architect may decline to modify the design since it seems to be driven by unprofessional instruction.

To resolve this conflict, cooperation with a Feng Shui consultant from the beginning of the design process is recommended. It is also helpful to recognize common agreements between architects and Feng Shui consultants, in order to attain

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè the optimum solution of both modern landscape design and Feng Shui application while reducing design time. This collaboration is possible since the techniques of

Copyright  by Chiang Mai University modern landscape design can satisfy Feng Shui applications. However, the architect should believe in the possibility of achieving a better solution through cooperation.

All rights reserved It is again noted that, this collaboration, would be limited to the Feng Shui

master of the Form School practice that was explored and demonstrated in this

research. Moreover, both the architect and the Feng Shui master should be open to the possibility of collaboration. The client should also be informed on the reasonable

137 condition of the practice. Such explanation will enable the architect to cooperate with A Feng Shui consultant to better serve the client with minimum obstacles in the design process.

6.2.2 Architects using modern landscape design technique to achieve Feng Shui applications in garden landscape design Modern landscape design techniques including Emphasis, Sequence, Simplicity, Interest, Balance, Proportion, Harmony, and Unity ensure that the landscape design is attractive, visually compatible and has a “sense of fit” in the surrounding landscape. As seen in the previous chapter, Feng Shui applications can be achieved by the modern landscape design techniques to facilitate a Feng Shui theme in the modern context.

It is beneficial for an architect to understand the objectives and elements of basic Feng Shui applications and be able to identify the appropriate use. Although, the architect may not be an expert or skillful in applying Feng Shui application, the architect can use the techniques of modern landscape design to obtain the appropriate Feng Shui applications.

The intent in a Feng Shui garden is to create a harmonious environment for visitors by conducting the flow of Qi represented by the balance of Yin-Yang; the productive and destructive relationships of the Five Elements; and the presence of the Five Geographical Elements. A Feng Shui garden can be achieved by applying the techniques of Emphasis, Sequence, Simplicity, Interest, Balance, Proportion, Unity

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè and Harmony in the best possible way to achieve the objective of each technique.

Copyright  by Chiang Mai University Doing just that can also induce adequate Qi flow, a Yin-Yang balance, Five

Elements and Five Geographical Elements that are considered essential to life by

All rights reserved Feng Shui principles. Through the combination of natural elements such as water,

rock, trees and flowers and manmade elements such as architecture, road and bridge, an architect can influence the flow of Living Qi. The uses of modern landscape design

138 techniques are supported by the findings of this research; therefore they are recommended as a means for manifesting Qi in a garden landscape.

Use Emphasis technique to achieve Water feature It is demonstrated by the results from questions 1, 2 and 3, Emphasis can achieve Water Mouth. The heart of a garden should be a water feature such as fountain or pond. In fact, a water feature is recommended to be in the centre of the front garden and to maintain the flowing stream of water.

This can be done by using a water feature such as fountain, waterfall on a rockery, or symbol of water waves such as dry sand garden, to represent Water Mouth of Feng Shui. The bubble sounds and a reflection of water flowing over a stone or rock in a water garden are not only decorative items but also the elements that permit the wind or air to change its circulation, creating movements in the garden.

In summary, the practical points are to: o Placed water feature or a symbol of water in the front garden following the emphasis technique. o Emphasize the focal point by creating a flow of water and maintain the lively characteristic of water.

Use Sequence technique to achieve Qi element As demonstrated by the results from questions 4, 5 and 6, Sequence can achieve Qi element. The quality of the connecting elements that allow

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè flowing of the slow wind (and Qi) is required; while a hard and rigid

barrier such as wall and solid fence that blocks the wind (and Qi) is

Copyright  by Chiang Mai University prohibited. Similar to water, wind or air, Qi follows the paths of least resistance. If circulation is beneficial, flow should be reduced, rather than

All rights reserved blocked or redirected. Sequence technique can be implemented with paths that follow natural contours allowing wind and Qi to flow easily. Gently curving paths leading around and through several spaces with minimum

139 redirection and clearly delineated exit encourage visitors to linger and experience the landscape.

In short, the practicing points are to: o Create the meandering footpath thorough the scenes of the landscape; o Facilitate the clearly defined footpath with relevant entries and exits.

Use Simplicity technique to achieve Bright Court and Four Emblem Animals elements As demonstrated by the results from questions 7, 8 and 9, Simplicity can achieve Bright Court and Four Emblem Animals elements. Complex systems of spatial arrangements confuse both Qi and visitors. It is strongly recommended to follow Simplicity technique to reduce any unnecessary elements and to enhance important features. This can be done by the use of an open space or courtyard representing the Bright Court in front of the building to keep the garden wide, open and simple.

Other essential elements in a Feng Shui garden are Four Emblem Animals.

Red Phoenix can be represented by a screen made of plant or brick in front of the building. White Tiger and Green Dragon can be represented by a statues or sculpture, trees or rock combinations on both sides of the open space. The arrangement of the front open space with a screen in the middle front and trees or rocks on both sides creates a simple organization of the Feng Shui garden.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè In summary, the practical points are to:

Copyright  by Chiang Mai University o Leave open space in the front of the garden for common activities.

o Avoid monotony by placing two decorative items (such as trees) at

All rights reserved both side of the open space;

o Place a screen in front of the house, at the footpath to obtain privacy from the outside public.

140 Use Interest technique to achieve Yin-Yang element As demonstrated by the results from questions 10, 11 and 12, Interest technique can achieve Yin-Yang element. In Feng Shui gardens, everything should be in Yin-Yang balance in order to induce Qi. Qi can be derived from the balance of two opposite but complementary characteristics. In garden landscapes, the contrast of shape, form, texture and line can be achieved with a series of garden scenes to create interest. A frame element can be used to create the contrasts of concealed and open; spatial arrangement in the landscape encourages discovery.

In short, the practical point is to: o Use the opposite characteristics of elements to create contrast and variety.

Use Balance technique to achieve Feng Shui site plan As demonstrated by the results from questions 13, 14 and 15, Balance technique can achieve Feng Shui site plan. The overall goal in Feng Shui garden is to situate in an armchair landscape that surrounds and supports the residence and its occupants. The hills, or back of the chair, provide support. The arms of the chair are represented by smaller hills; and a small mound at the front represents the footstool. To achieve balance in Feng Shui gardens, three layers of Feng Shui layout—the outer environment, the front environment and the inner environment—can be applied.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè In summary, the practical points are to:

Copyright  by Chiang Mai University o Use different elements to create the asymmetrical balance in both vertical and horizontal axis;

All rights reserved o Create the symmetrical spatial arrangement in the whole structure of the site plan.

o Apply three layers of environments to the design; and keep each layer in balance.

141 Table 6-1: Three layers in Feng Shui schematic Layer Layer 1 The outer environment

Traditional monuments Buildings were constructed with mountains behind and a watercourse in front, with hills on either side for protection.

Layer 2 The front of the house

Bright Court allows Qi to come to the house, slows the Qi flow over the front small hill before entering into the building. Bright Court ensures no enemy can sneak up at the front and attack sight-unseen Four Emblem Animals are the Green Dragon on the left; the White Tiger on the right, the Red Phoenix in the front and the Black Tortoise at the rear

Layer 3 The inner environment

Modern monuments Buildings or tall trees are mountains; smaller trees, shrubs or neighborhood buildings are hills; roads or ponds are watercourses.

Lawns, park or parking is open space, shrubs or brick screen, security walls which guarantee privacy for the dwellers and mark the territorial boundaries, replace the small hills

Characteristic Harmonious and balanced

Specific trees, or shrubs, statues and accessories in garden can replaced these four inner animals

Harmonious and balanced

Asymmetrical

Use Proportion technique to achieve harmony of Five Elements As demonstrated by the results from questions 16, 17 and 18, Proportion can achieve harmony of Five Elements. Everything in the universe is believed to comprise Five Elements (Water, Metal, Fire, Earth and Wood).

Plants and flowers, following the Proportion technique, can be used to achieve Living Qi. Flowers and colorful plants could be used in harmony with the environment and the production cycle of Five Elements through shapes, colors, textures and materials and in harmony of size and number.

Small-scale design is also recommended for decorative items such as rockeries, ponds or artificial replicas of a larger scale object. The human-

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè scale of spatial arrangement can be used to retain harmony between human and nature.

Copyright  by Chiang Mai University In short, the suggestions are to:

o Maintain appropriate proportion of both quality and quantity of elements in landscape, not too sparse neither overwhelmed.

All rights reserved o Use human scale to design residential landscape.

o Create the concord between the elements with the surroundings.

142 Use Unity technique to achieve theme of each of the Five Elements As demonstrated by the results from questions 19, 20 and 21, Unity can achieve the theme of Five Elements. Five Elements are manifestations of Qi through shape, color, texture and material of objects in a garden.

Repetition of one element creates the theme of that element, leading to a unity in Feng Shui landscape. Wood is represented by green, tall columnar shapes, and the vertical lines of plants and trees. Metal is characterized by circular and arched shape, white and soft patio furniture, and circular table.

Earth is identified in terracotta, ceramics, bricks, tiles and earth tones, and square shape. Fire is clarified with red, triangles, pyramids and conical shapes. Water is shown by deep blue or black, lotus pond, birdbaths and circulating fountains and aquariums.

In summary, the suggestions are to: o Group the relative elements or comparative qualities of elements together in order to create the theme of the scene. o Add some more different qualities of elements to make the garden landscape scene appear attractive.

Use Harmony technique to achieve Qi prospect As demonstrated by the results from questions 22, 23 and 24, Harmony can achieve Qi Prospect. For the flow of Qi, a garden landscape should be in harmony with nature with smooth transitions, strong connections with

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè sufficient buffers between elements and between elements and their

Copyright  by Chiang Mai University background. Symbols and signs of Qi should be added in garden landscape such as green grass, flowers and verdant trees. This can be done by

All rights reserved harmonizing the elements and using the similar and relating elements in the garden.

143 The suggestions are to: o Make the garden in harmony with nature, by using the accord between elements and their surroundings. o Avoid the barriers or soulless man-made creations by trying to reach nature and using natural elements.

In conjunction with landscape design techniques, Feng Shui applications can be summed up in the following table.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

144 Table 6-2: Summary Criteria

Define

Emphasis

The heart of garden

Sequence

Series of spaces or events

Simplicit y

Reduction unnecessary elements; enhancement

Feng Shui applications Water features such as pond, fountain, waterfall in a rockery, waves in a dry sand pond, colored fish Unblocked sequence of spaces makes Qi flow smoothly and thoroughly Open space, courtyard, green lawn

reasonable elements

Interest

The contrast of physical characters of elements; Discovery

Yin-Yang balance

Balance

Symmetric view Asymmetric view

Proportio n

Correspondence of height, length, area, volume, mass, number, size of all elements

Spatial arrangement layout, including outer layer, open space in front and inner layer Combination of the Five Elements; Proportion of small-scale and human-scale

Form-making Recommendation

Avoidance

Should locate in front of house; Maintain the flowing stream of water

Cramped pond Dead fish Fetid water

Gently curving paths leading around and through several spaces, with a few clear choices of direction

Dense clusters or untrimmed plants; Dead-end corners; Single entrance/exit; Exit opposites entrance Many trees or elements can block the view; Void desolate space Too much Yin Too much Yang

Locate in front of the site/building; Enclosed by the Four Emblem Animals; Have the plain courtyard; Keep a short distance from house Should be balanced in terms of shape, form, texture, line, color; Use the opposite characteristics of elements Create the privacy and mystery Inner layer, which includes four animals features, should be symmetrical Open space on the axis of house; Create sense of naturalistic, tranquil, solemn and traditional All elements agree in the sense they convey of the size of the whole; Small-scale at the design of rockery, pond and artificial spectacles symbolize micro universe ; Human-scale design of the whole garden, spatial arrangement Using a theme of one element, such as colors, forms, or textures; Follows the productive circle of five elements; Add the complement elements Smooth transitions, strong connections with enough buffers between elements; Reality signs such as verdant plant, water stream meanders, nimble animals

Lack of one animal Red Phoenix in front too high Black Tortoise at back too short Elements or features overpower all of the others in terms of size and number

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University Unity

The theme of all elements for overall looking and perception of the whole as one The concord of elements and surroundings

Theme of one element of Fire, Metal, Water, Wood and Earth Good omens of Qi appearance

Using opposite element The destructive circle

All rights reserved Harmony

Ill omens: waterless, arid soil, withered trees, billabong or fetid water

145 6.3 Conclusion Throughout this research, the compatibility of Feng Shui applications and modern landscape design techniques has been introduced, supported, discussed and finally formed into recommendations for the architects to practice in the context Feng Shui requirements.

Architects can benefit from the use of the recommendations in practice; they can also gain from an increased understanding of Feng Shui that can extend the design vision to the spiritual dimension. Feng Shui applications can help add a spiritual realm in the modern garden landscapes, while maintaining the basic standards of modern landscape design requirements.

Although not discussed as a theme of this research, the traditional garden and architectural design appear in the examples, the proposed lay outs as well as the comments from the respondents. Therefore an area for further investigation could be the origins and persistence of traditional garden and architecture designs.

According to Yu (1998), the selection of a human residential domain was related to the development of human race where nature was most compatible and met minimum criteria for sustenance of life. Notwithstanding the optimum selection for residence, humans chose to modify the landscape. The experiences of selecting and improving the landscape for residence accumulated through subsequent generations, illustrating an appreciation of landscape effects on living standards.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè With the understanding of the traditional landscape, Vietnamese architects can

apply the traditional structure of Vietnamese landscape and architecture to achieve

Copyright  by Chiang Mai University Feng Shui and modern landscape requirements. Therefore, to facilitate this practice,

further research can be conducted to prove the potential use of traditional landscape

All rights reserved and architecture to achieve Feng Shui and modern landscape design requirements.

146

Bibliography Adamson, M. (1999). At The Heart of Hue: Assessment of the Public Spaces along the Song Huong. Lund: Lund Institute.

Barrie, T. (1996). Spiritual Path, Sacred Place: Myth, Ritual, and Meaning in Architecture. Boston: Shambhala Press.

Bell, C. (1997). Ritual: Perspectives and Dimensions. New York: Oxford University Press.

Bennett, S. J. (1978). Patterns of the Sky and Earth: a Chinese Science of Applied Cosmology. Beijing: Chinese Science.

Choi, E.H, (2001). The Suggestion of Use Method in the Collaboration of the Interior Materials by the Five Elements. Doctoral Dissertation, Korean Woosuk University.

Crotty, M. (1998). The Foundations of Social Research: Meaning and Perspective in the Research Process. California: CA: Sage Publications.

De Groot, J. J. M. (1897). The Religious System of China. Leiden: E. Brill.

Eitel, E. J. (1873). Feng Shui. Middlesex: Kingston Press.

Essen, H.V. (2000). Feng Shui for the Southern Hemisphere. Franklin: Axiom Publishing.

Glover, I. C., (1999). Letting Past Server the Present - Some Contemporary Uses Archaeology in Viet Nam. Ha Noi: Viet Nam Archaeological Institute.

Henry, B. C. (1885). The Cross and the Dragon: Light in the Broad East. New York: Anson Randolph and Company.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Johnson, S. (1881). Oriental Religions and Their Relationship to Universal Religion. Cambridge: John Wiley & Sons.

Copyright  by Chiang Mai University Lip, E. (1985). Feng Shui-Environments of Power: A Study of Chinese Architecture. London: Academy Editions.

All rights reserved Lip, E., (1979). Chinese Geomancy. Singapore: Times Books International.

Mak, M. Y., (2002). The Art and Science of Feng Shui - A Study on Architects’ Perception. Newcastle: University of Newcastle.

McHarg, I. L. (1969). Design with Nature. New York: The Natural History Press.

147 Phan, T. A. (1998). Monuments of Hue. Hue: Thuan Hoa Publisher.

Phan, T. A. (2001). Hue Reasearch. Volume 2. Hanoi: Cultural Publisher.

Reid G. W. (1993). From Concept to Form – In Landscape Design.

Toronto: Thompson Publishing.

Rossabach, S. (1983). Feng Shui: The Chinese Art of Placement. New York: E. P. Dutton, Inc. Skinner, S. (1983). The Living Earth Manual of Feng Shui: Chinese Geomancy. Singapore: Graham Brash.

Turner, V. (1986). The Anthropology of Performance. New York: American PAJ Publications.

Vuong, N. D. (1996). Secrets of Feng Shui – The Great Classic References of China. Quang Tay: Cultural Publication.

Vuong, V. (2004). Open The Feng Shui Secrets. Ho Chi Minh: General Publication.

Wydra, N. (1978). Feng Shui in the Garden. New York: American Storey Books.

Xu, J. (2003). A Framework for Site Analysis with Emphasis on Feng Shui and Contemporary Environmental Design Principles. Doctoral Dissertation, Virginia Polytechnic Institute and State University.

Xu, P. (1990). Feng Shui: A Model for Landscape Analysis. Doctoral dissertation, Harvard University.

Yang, C. K. (1967). Religion in Chinese Society. California: University of California Press.

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Yu, K.J. (1998). The Source of Ideal Landscape - The Cultural Meaning of Feng Shui. Beijing: Chinese Commercial Press.

Copyright  by Chiang Mai University

All rights reserved

148

Appendices Appendix A: Questionnaire Form (Vietnamese) Appendix B: Written Comments (Vietnamese) Appendix C: Questionnaire Form (English)

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

149

Appendix A: Questionnaire Form (Vietnamese)

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

150

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

151

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

152

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

153

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

154

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

155

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

156

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

157

Appendix B: Written Comments (Vietnamese)

Emphasis – Điểm nhấn Emphasis - Position of Water - Written comments (C)

(A)

Comments Cải thiện điều kiện vi khí hậu Tạo cảm giác dễ chịu Hồ nước là yếu tố quan trọng trong cảnh quan vườn nên cần phải đặt ở trước mặt nhà Hồ nước phía trước là phù hợp với bố cục truyền thống của nhà ở Việt Nam Tạo khung cảnh đẹp Tạo không gian đệm trước khi vào nhà Phong Thủy tốt Tạo không gian riêng tư cho chủ nhà Cảnh quan tự nhiên hài hòa Cả chủ lẫn khách đều cỏ thể thưởng thức vẻ đẹp của hồ nước

Count 36 29 24 23 8 5 5 16 15 9

Emphasis - Presence of Water - Written comments (B)

(A)

Comments Nước là cần thiết trong cảnh quan vườn vì điều kiện khí hậu nhiệt đới của Việt Nam. Nước là nhân tố quan trọng trong thiết kế cảnh quan.

Nước tạo không gian chuyển tiếp giữa trong và ngoài.

Hồ nước đem lại cảm giác vui thích khi chủ nhà có thể chăm sóc cá cảnh.

Vườn không có nước thì không hấp dẫn.

Quá nhiều cây trong vườn thì lại quá âm u.

Count 63 24 19 8 15 5

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

158 Emphasis - Dominant Element - Written comments Water

Trees Screen

Gate

Comments Hồ nước là trọng tâm của khu vườn.

Hồ nước có ảnh hưởng đến môi trường của khu vườn.

Hồ nước đem lại sự mêm mại cho khu vườn.

Hồ nước là không gian đệm giữa trong và ngoài.

Hồ nước là yếu tố quan trọng trong Phong Thủy.

Cây cối mang lại không gian yên tĩnh cho vườn.

Cây cối là yếu tố cần thiết trong vườn.

Bức bình phong ngăn cản những ánh mắt tò mò, đem lại sự riêng tư cho căn nhà.

Bức bình phong ngăn chặn gió độc.

Bức bình phong nâng cao giá trị thẩm mỹ của căn nhà.

Cổng vào là bộ mặt của ngôi nhà.

Công vào là điểm nhìn đầu tiên.

Count 35 25 21 5 3 26 5 17 9 9 3 1

Sequence – Chuỗi Sequence - Paths in Landscape - Written comments (A)

(C)

(B)

Comments Tổ chức giao thông tốt.

Tiết kiệm diện tích giao thông.

Tăng cao vẻ đẹp của khu vườn.

Giao thông theo phương thức này tạo nên sự riêng tư.

Tạo ra sự khác biệt trong phương thức tiếp cận giữa các không gian khác nhau.

Tổ chức giao thông tốt.

Tổ chức giao thông vụng về Giao thông rối loạn.

Count 32 25 9 28 17 17 25 4

Sequence - Number of Entrances - Written comments

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè (A)

Comments Giao thông rõ ràng.

Số lượng cổng vào là vừa đủ.

Thiết kế này là hoàn chỉnh và phù hợp với lối đi dạo.

Có thể tiếp cận bằng nhiều hướng Thiết kế này tạo ra nhiều lối đi nhập nhằng

Count 26 13 7 43 24

Copyright  by Chiang Mai University

All rights reserved (B)

159 Sequence - Connected Spaces - Written comments (B)

(C) (A)

Comments Tổ chức giao thông tốt.

Tạo ra được nhiều hướng nhìn khác nhau.

Không gian thoáng mát nhờ thông gió tốt Không gian mở là phù hợp với thiết kế cảnh quan Có thể tạo ra được những không gian riêng tư.

Không gian kết hợp có thể tạo ra những cảm giác thoải mái Không gian đóng mang lai cảm giác oi bức Tổ chức giao thông vụng về

Count 52 21 15 14 11 6 32 23

Simplicity – Tính đơn giản Simplicity - Open Space - Written comments (C)

(B)

Comments Lối đi đơn giản vẫn là tốt nhất.

Tổ chức giao thông tốt.

Có thể tố chức nhiều hoạt động ở sân trước.

Có khoảng sân phía trước để thư giãn Bức bình phong nên đặt ở trục chính.

Count 56 34 17 33 6

Simplicity - Location of Path and Screen - Written comments (B)

(A) (C)

Comments Cái sân nhìn có vẻ rộng rãi hơn.

Bức bình phong nên đặt ở trục chính.

Bức bình phong tạo sự ngăn cách nhẹ nhàng nhưng vẫn cho phép quan sat ngôi nhà dễ dàng.

Cấu trúc không gian nhà truyền thống Phong Thủy tốt Cấu trúc cân bằng và đối xứng Đường vào nhà rộng rãi.

Count 37 29 17 6 6 9 4

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Simplicity - Presence of Screen and Trees - Written comments

Copyright  by Chiang Mai University (B)

Comments Bức bình phong ngăn những ánh mắt tò mò.

Bức bình phong tạo ra sự riêng tư cho ngôi nhà.

Hai cái cây mang lại bóng mát cho sân.

Không gian bị rỗng.

Sân trước quá rỗng Cái sân phơi ra dưới ánh nắng mặt trời.

Count 27 25 22 15 29 19

All rights reserved (A) (C)

160

Interest – Sự hấp dẫn Interest - Main Object Shape - Written comments (B) (C) (A) (B) (C)

Comments Question 1 Cái hồ nhìn rất tự nhiên.

Cái hồ trở thành điểm nhấn đặc biệt với đường nét tự nhiên Hài hòa với khung cảnh Thiết kế có sáng tạo Tạo nên sự đồng nhất giữa hồ nước và khung cảnh

Count 70 16 8 6 8

Comments Question 2 Nhìn tự nhiên.

Hài hòa với khung cảnh Thiết kế có sáng tạo

Count 67 7 6

Interest - Spot View Shape - Written comments (C)

(B)

Comments Có sự tương phản thú vị Có sự thay đổi về đường nét Đa dạng và Thống nhất là không thể thiếu trong thiết kế.

Có sự tương phản thú vị

Count 25 21 18 16

Balance – Tính cân bằng Balance - Elements’ Characteristic - Written comments (B)

Comments Cân bằng động Nhìn tự nhiên. Đa dạng là tiêu chí cần thiết trong thiết kế cảnh quan.

Count 26 21 7

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Balance - Vertical Asymmetry - Written comments

Copyright  by Chiang Mai University Comments

(A)

Nhìn cân bằng.

Có sự thay đổi trong cân bằng từ trái sang phải.

Phù hợp với nguyên lý cân bằng trong thiết kế cảnh quan.

Count 41 22 5

All rights reserved

161 Balance - Feng Shui site plan - Written comments (B)

(A) (C)

Comments Tạo cảm giác riêng tư cho chủ nhà.

Phù hợp với bố cục nhà ở truyền thống Việt Nam. Giao thông hợp lý.

Tạo sự bất ngờ trong không gian.

Nhìn cân bằng.

Tạo những không gian bất ngờ thú vị.

Nhìn tự nhiên.

Khách có thể tiếp cận ngôi nhà nhanh chóng Phô bày trọn vẹn vẻ đẹp của căn nhà.

Count 36 23 21 18 6 16 8 7 5

Proportion – Tỷ lệ Proportion - Trees Density - Written comments (A)

(C) (B)

Comments Nhận được vừa đủ bóng mát và ánh sang.

Mật độ cây cối vừa đủ.

Tiết kiệm năng lượng thắp sáng.

Hài hòa với tự nhiên.

Ngôi nhà hòa với thiên nhiên.

Cải thiện điều kiện vi khí hậu.

Nhận được nhiều ánh nắng.

Không gian thoáng đãng.

Count 52 19 16 9 21 10 8 6

Proportion - Design Scale - Written comments (C)

Comments Tỷ lệ hợp lý tạo cảm giác thoải mái.

Phản ánh tương quan giữa con người và thiên nhiên.

Phù hợp nhân trắc học con người Việt Nam. Tỷ lệ lớn tạo cảm giác hùng vĩ.

Count 62 25 11 6

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè (B)

Proportion - Amount of Trees - Written comments

Copyright  by Chiang Mai University (B)

Comments Đa dạng nhưng vẫn thống nhất.

Tạo nhip điệu chung cho toàn khung cảnh Lặp lại là yếu tố quan trọng trong thiết kế cảnh quan.

Bố cục tốt Cây phải được bố cục theo cặp

Count 37 12 5 7 6

All rights reserved (A)

162

Unity – Tính đồng nhất Unity - Focus Profile - Written comments (A) (C) (B)

Comments Tạo ra sự tương phản.

Nhìn cân bằng.

Tạo ra sự thống nhất Điểm nhấn cần phải khác biệt với khung cảnh.

Count 43 16 5 12

Unity - Theme of Shape - Written comments (D) (B) (A)

Comments Có sự thay đổi và lặp lại.

Dáng cây có sự tương đồng.

Phong phú về dáng cây.

Count 12 18 5

Unity - Shape Combination - Written comments (B) (A)

(E)

Comments Hình tròn hợp với hình vuông.

Sự kết hợp dễ dàng.

Bao gồm cả tiêu chí đa dạng và thống nhất.

Nhìn hài hòa.

Tạo nên sự thống nhất.

Count 16 7 6 5 9

Harmony – Sự hài hòa Harmony - Preferable Scenario - Written comments (D)

Comments Không gian mở phía trước là cảnh quan đẹp.

Môi trường cảnh quan trong lành, bền vững Thuận tiện về giao thông, đi lại Hài hòa với thiên nhiên.

Phong Thủy tốt Giao thông tốt Môi trường cảnh quan trong lành, bền vững

Count 35 26 23 19 6 7 6

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè (B)

Copyright  by Chiang Mai University Harmony - Human-made Landscape - Written comments

All rights reserved (B)

(A) (C)

Comments Công viên đem lại không khí trong lành.

Gần gũi với thiên nhiên.

Có không gian mở phía trước mặt nhà.

Tạo ra cảnh quan, góc nhìn đẹp.

Môi trường năng động.

Môi trường an toàn.

Count 45 31 9 5 8 5

163 Harmony - River Landscape - Written comments (B)

(A)

Comments Tránh được ảnh hưởng xấu của lũ lụt Vị trí Phong Thủy tốt.

Tận dụng các điều kiện thuận lợi của thiên nhiên Tận dụng các điều kiện thuận lợi của giao thông đường thủy Góc nhìn đẹp

Count 26 14 8 6 5

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

164

Appendix C: Questionnaire Form (English)

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

165

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

166

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

167

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

168

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

169

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

170

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

171

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Copyright  by Chiang Mai University

All rights reserved

172

Curriculum Vitae Name:

Hai Van Thi Dinh

Date of Birth:

April 21st, 1980

Contacts:

haivandinh@gmail.com Faculty of Architecture, Colleague of Sciences Hue University, 77 Nguyen Hue, Hué, VIET NAM

Educational Background: 2003, Bachelor of Architecture Degree from Hanoi Architectural University, Viet Nam 2006, Master of Architecture Degree from Faculty of Architecture, Chiang Mai University, Thailand Scholarship: 1998-2003, Scholarship from Vietnamese Educational Ministry for studying toward Bachelor of Architecture Degree.

2004-2006, Scholarship of Faculty of Architecture, Chiang Mai University for studying toward Master of Architecture Degree Working experience: October 2003 – December 2006, Teaching Assistant at Architectural Department, College of Sciences, Hue University January 2006 – Present, Lecturer at Architectural Department, College of Sciences, Hue University

ÅÔ ¢ÊÔ · ¸Ô ì Á ËÒÇÔ · ÂÒÅÑ Â àªÕ  §ãËÁè Publications:

Copyright  by Chiang Mai University August 2003, Ferryboat Old Ma. Ho Chi Minh City: Beautiful House Magazine

All rights reserved October 2004. Old Apartment Block. Ho Chi Minh City: Beautiful House Magazine

November 2005. The Great Business. Ho Chi Minh City: Architecture of Beautiful House Magazine