Representing Chinese Architecture: Interpreting and Integrating Chinese Calligraphy as an Architectural Identity Poh Xin Yi

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Thesis Background 1.1 Chinese Architecture in Malaysia Immigrating from the southern provinces of China in the early 19 century, the Malaysian Chinese were now one of the prominent ethnic after Malay. They were employed on tin mines, rubber estates, trades, craftsmen and shopkeepers. From then, the Chinese has made Malaysia their home, with settlements blossoms in Taiping and Kuala Lumpur, where the tin mines are located. The Chinese were not only settled inland permanently but had brought their customs, religion and language as well as the Southern Chinese architecture. By and large, the styles of the Southern Chinese architecture in Malaysia have been influenced by three major factors which are history, climate and religious beliefs. --------Assoc. Prof. Dr. A. Ghafar
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Ahmad. (n.d.). Southern Chinese Architecture.

Assoc. Prof. Dr. A. Ghafar Ahmad pointed out that many traditional buildings adapted colonial architecture into their building facades. Large openings, louvered doors and covered walkways are provided to suit local climate. The Feng Shui beliefs would be another geomantic system in pursue of harmonic relationships with cosmic forces. Ornamental symbolism on temple and association buildings has too become a characteristic. However, those qualities can be found in traditional buildings with more than 50 years of history. Name the buildings in Malaysia that uphold Chinese architecture and what you get would be Cheong Fatt Tze mansion (1890s) and Khoo Kong Si (1906). There is a discontinuity in Chinese architecture of Malaysia, especially with the inevitable globalization and westernization. In Prof Tajuddins article, The Question of Identity in Malaysian Architecture, he pointed out the forced architectural identity occurs, a result of pure economic concerns of insensitive developers and government agencies that fail to place the priorities of the people in relation to the cultural interpretation of architecture, thus losing the natural architectural identity. Another concern is that some previous scheme or elements that portray Chinese architecture are no longer appropriate for modern buildings. Imagine having water well below skywell or drawing door god at entrance door. Some ornaments of Chinese architecture such as crafting and clay art are not common now due to discontinue of skills. Hence, the design principles of Chinese architecture need to be rethink, represented and integrated in contemporary design.

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Chinese Calligraphy Chinese character is the only writing that can become an aesthetic art in the world. Chinese calligraphy occupies a really really important position in Chineses traditional culture. ------------------------------------------------------------------------------ Famous Chinese calligraphy writer, Mr Ji Xian Lin (pingyin, ) Chinese calligraphy (Shu Fa, ) is regarded as the most abstract and sublime form of art in Chinese culture. In simple, it is about the beauty of writing Chinese character. It is known as the quintessence of Chinese culture. Unlike other visual art techniques, Chinese calligraphy is a combination of both discipline and free expression of art. On one hand, calligraphy strokes are permanent and incorrigible, demanding careful planning and confident execution. On the other hand, the expression can be extremely creative and free. By controlling the concentration of ink, the thickness and adsorptive of the paper, and the flexibility of the brush, the artist is free to produce an infinite variety of styles and forms. Chinese Calligraphy is a most relaxing yet highly disciplined exercise indeed for one's physical and spiritual well being. ------------------------------------------Asiawind Art Gallery Chinese calligraphy in Malaysia Chinese calligraphy is used as a common writing tool before independence. After pen has been introduced, the practicality of Chinese calligraphy has been challenged. However, in the Chinese society, Chinese calligraphy still maintains as a high concern culture with a lot of related education and competition to promote and retain this culture. How prominent Chinese calligraphy is in local context can be viewed through our education system. From 1908 till now, Chinese calligraphy is a curricular subject in Chinese schools. Students who took Chinese subject in PMR are required to write Chinese calligraphy. After 1980s, more tuition center of Chinese calligraphy is founded, either by NGOs or private coach due to compact academic calendar. (Chen Yu Pei, 2008) Datuk Sim Mow Yu, a leading

Chinese educator, strongly promote Chinese calligraphy. It is a ethnic culture

that the Malaysian Chinese feel proud of. 2.0 Design Intention 2.1 Design Question 2.1.1 Looking at the needs of searching for Malaysias Chinese architecture identity and the Chinese calligraphy as the quintessence Chinese culture, is this terminology of interpreting and integrating Chinese calligraphy into architecture an answer to the lost identity? How can the interpreting and integrating Chinese calligraphy into Chinese architecture be achieved?

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Design Objectives 2.2.1 2.2.2 2.2.3 To challenge the typical traditional Chinese architecture built form explore alternative for building the identity of Chinese architecture in Malaysia To propose a contemporary terminology of Chinese architecture that sought into form and functions by integrating Chinese calligraphy.

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Thesis statement The progression of Chinese architecture in Malaysia is minimal and currently experiencing a lost in its architectural identity. Therefore, a terminology of interpreting and integrating Chinese calligraphy, the quintessence of Chinese culture, is seen as a solution in represent a appropriate identity to the local Chinese building.

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Architectural Approach

The dissertation aims to explore the relationship between chinese calligraphy and architecture, from the elements or presentation of the art itself to the essence behind those writings. With that, further integration of chinese calligraphy and architecture can be experiment. Integration of chinese calligraphy is believe not to be limited to only the built form. The space and its syntax could be a possible exploration field. In Framptons 1983 essay Towards a Critical Regionalism: Six Points for an Architecture for Resistance, he argues in favour of an architecture resistant to an

overwhelming global culture that threatens local place-identity. Many of the elements described lend themselves to the pursuit of an architecture whose responsiveness to local conditions leads both to greater energy and material efficiencies, and addresses local cultural mores and tectonic traditions, leading to not only greener but also more meaningful architecture which departs from the canon of universalizing international modernism. Understanding of chinese calligraphy in terms of its history, essense and meaning.

Find similarity and difference between chinese calligraphy and architecture

Generate concept and inteprete chinese calligraphy architecture

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Prefered panel: Regionalism Bibliography

Application through integrating chinese calligraphy into building building design.

Assoc. Prof. Dr. A. Ghafar Ahmad. (n.d.). Southern Chinese Architecture. Retrieved July 17, 2011, from Main Conservation: http://www.hbp.usm.my/conservation/chinese__architecture.htm Chen Yu Pei, . (2008). Description of Chinese Calligraphy Education of Malaysia in 100 years . , 14. Chinese Calligraphy. (n.d.). Retrieved July 21, 2011, from China Online Museum: http://www.chinaonlinemuseum.com/calligraphy.php Rare Chinese calligraphy scroll fetches $46m at auction. (n.d.). Retrieved 07 24, 2011, from BBC news - Asia Pacific: http://www.bbc.co.uk/news/world-asia-pacific-11811868 Rasdi, P. D. (n.d.). The Question of Identity in Malaysian Architecture. Retrieved 7 19, 2011, from http://www.vintagemalaya.com/files/The_Question_Of_Identity_in_Malaysian_Archite cture.pdf ), Z. B. (n.d.). The crisis of chinese calligraphy and responsibility of Chinese Calligraphy writer. Retrieved 7 29, 2011, from http://www.dashuhua.com/boke/60176028.html