CANTONESE CULTURAL CENTER
GUANGZHOU CHINA
By
YIRAN LIU
B.F.A. South China Normal University 2016
A Report Submitted to the Lamar Dodd School of Art
of the University of Georgia in Partial Fulfillment
of the
Requirements for the Degree
MASTER OF FINE ARTS
ATHENS, GEORGIA MAY 2019
CANTONESE CULTURAL CENTER
GUANGHZOU CHINA
by
YIRAN LIU
Approved:
______
Saral Surakul, Major Professor
______Date CANTONESE CULTURAL CENTER 3
2019
Yiran Liu
All Rights Reserved
CANTONESE CULTURAL CENTER 4
ABSTRACT
Guangzhou, the capital of the province of Guangdong, is the most populous city in the province. Guangzhou is located in the south of China, and the city has more than 2,000 years of history. Guangzhou gained worldwide recognition after hosting the Asian Games in 2010. The increased recognition brought financial investments to the city. It is not surprising that new and modern businesses are replacing traditional culture. Many old buildings were torn down and replaced by new mega shopping malls, offices, fast food restaurants, and luxury apartments.
According to the 2015 Guangzhou city update annual plan, 44 districts would be renewed and 13 would be reconstructed (Guangzhou Government, 2015). As the city expands, the residents of
Guangzhou are gradually substituting heritage for luxury.
The process is mainly occurring in the old districts. As the most ancient town in
Guangzhou, Liwan is reputed for its many traditional examples of architecture and culture that are preserved there. However, the government has already planned to spend 17 billion dollars on reconstructing the old buildings and transforming them into malls, fast food restaurants and new apartments (Wangyi, 2016). Even the Xiguan Mansions, the most prominent examples of traditional architecture in that district, are being torn down and replaced by luxury apartments.
Restaurants serving traditional Cantonese cuisine are also affected. According to
Yangcheng evening news, Guangzhou increased its quantity of restaurants from 64,292 to
126,218 between 2015 and 2016; nevertheless, the market share of traditional Cantonese restaurants decreased 6.3% during this period (Yangcheng evening news, 2016).
Cantonese opera, which has been declared an Intangible Culture Heritage of Humanity
(Cantonese opera advisory committee), is gradually disappearing in Guangzhou city. The quantity of tea houses for Cantonese opera has decreased from 30 to only one in the last 20 years CANTONESE CULTURAL CENTER 5
(CCTV, 2017). Rather than demolish traditional culture, however, I advocate preservation and improvement as a better course of action.
Guangzhou has a Xiguan Mansion museum, but the unconventional transportation system and the simple activity program make it difficult for the museum to attract visitors. The annual quantity of visitors was only 200,000 in the last three years, while the expectation of the government was 720,000 visitors annually (Guangzhou University, 2015). In order to better preserve the traditional culture of Cantonese, I would like to combine the culture with other popular programs, which can help more people to learn about the culture.
The proposed cultural center would showcase different aspects of Cantonese life and provide fun activities for visitors while learning about the culture. I hope the cultural center would ignite interests in Cantonese culture among Chinese and visitors alike.
CANTONESE CULTURAL CENTER 6
ACKONWLEDGEMENT
I would like to thank the following people who kindly contributed their knowledge, resources, patience, resources, and advices: Saral Surakul, Thom Houser, and Moon Jang.
CANTONESE CULTURAL CENTER 7
Table of Content
ABSTRACT ...... 1
ACKONWLEDGEMENT ...... 6
CHAPTER 1: INTRODUCTION ...... 11
PROBLEM STATEMENT ...... 11
PURPOSE OF STUDY ...... 11
CHAPTER 2: LITERATURE REVIEW ...... 12
1. IDENTIFYING SPACES AND THE IDENTITY OF VISITORS ...... 12
2. SPATIAL PLANNING ...... 17
3. ARCHITECTURAL WAYFINDING COMMUNICATION ...... 19
4. GRAPHIC INFORMATION ...... 25
5. CANTONESE CULTURE ...... 28
CHAPTER 3: CASE STUDIES ...... 37
1. INTRODUCTION ...... 37
CASE 1: WORLD OF COCA-COLA ...... 37
CASE 2: THE NATIONAL MUSEUM OF SINGAPORE ...... 42
CHAPTER 4: DESIGN ...... 45
4.1 INTRODUCTION ...... 45
4.2 DESIGN CONCEPT ...... 45
4.3 FLOOR PLAN ...... 47
CANTONESE CULTURAL CENTER ...... 50 CANTONESE CULTURAL CENTER 8
PERSPECTIVE ...... 50
INTRODUCTION ROOM ...... 51
CANTONESE HISTORY EXHIBIT ...... 51
XIGUAN MANSION EXHIBIT ...... 53
TRANSPORTATION EXHIBIT ...... 56
FOOD EXHIBITION ...... 57
FOOD COURT ...... 57
CLOTHING EXHIBIT ...... 59
CHAPTER 5: MFA EXHIBITION ...... 60
REFERENCE ...... 62
CANTONESE CULTURAL CENTER 9
Table of Figures
Figure 1. Kennedy Museum Design Concept ...... 22
Figure 2. “Star” Exhibition Design ...... 23
Figure 3. Color Sheet ...... 28
Figure 4. Xiguan Mansion Layout ...... 29
Figure 5. Granite Foot of Wall ...... 31
Figure 6. Granite Window Frame ...... 31
Figure 7. Oyster Shell Wall ...... 32
Figure 8. Wooden Window Frame ...... 33
Figure 9. Cantonese Barbecue Shop ...... 34
Figure 10. Barbecue Stove ...... 34
Figure 11. Dim sum Dishes ...... 35
Figure 12. Cantonese Rickshaw ...... 36
Figure 13. World of Coca-Cola ...... 37
Figure. 14 Loft ...... 38
Figure 15. Coca-Cola Theater ...... 39
Figure 16. Milestone of Refreshment ...... 40
Figure 17. Taste It! ...... 41
Figure 18. The National Museum of Singapore ...... 42
Figure 19. The Art of Rehearsal ...... 43
Figure 20. The Singapore History Gallery ...... 44
Figure 21. Main Restaurant ...... 44
Figure 22. Map of Zhujiang New Town ...... 45 CANTONESE CULTURAL CENTER 10
Figure23. Taiji and Koi Fish ...... 46
Figure 24. Top View of Cantonese Cultural Center ...... 47
Figure 25. 1st floor ...... 48
Figure 26. 2nd floor ...... 48
Figure 27. Section ...... 49
Figure 28. Elevation ...... 49
Figure 29. Night View ...... 50
Figure 30. Day View ...... 50
Figure 31. Introduction Room ...... 51
Figure 32. Cantonese History Exhibit 1 ...... 52
Figure 33. Cantonese History Exhibit 2 ...... 52
Figure 34. Xiguan Mansion Exhibit ...... 53
Figure 35. Xiguan Mansion Exhibit 2 ...... 54
Figure 36. Xiguan Mansion Exhibit 3 ...... 54
Figure 37. Xiguan Mansion Exhibit 4 ...... 55
Figure 38. Transportation Exhibit 2 ...... 56
Figure 39. Cantonese Food Exhibit 2 ...... 57
Figure 40. Food Court ...... 58
Figure 41. Clothing Exhibit 2 ...... 59
Figure 43. MFA Installation ...... 60
Figure 44. MFA Installation Poster ...... 61
Figure 45. MFA Installation Bamboo Baskets ...... 61
CANTONESE CULTURAL CENTER 11
Chapter 1: Introduction
Problem Statement
Cantonese culture is losing in different perspective. As a native Cantonese, I can
foresee that losing our own culture could be an issue. Therefore, I would like to propose a
design of a cultural center focusing on the Cantonese culture in Guangzhou. I will
research from the late Qing dynasty to the early republic of China period (1880-1920).
During this period, Guangzhou was the only port city in China. As a result, Cantonese
culture was highly influenced by other cultures as reflected in architecture, entertainment
programs, and food. The Xiguan Mansions, Cantonese Dim sum and opera were
extremely popular during those years.
Purpose of Study
The purpose of this study is to design a cultural center which is mainly focus on
teenagers and children. The main idea for this cultural center is to provide a theme park
experience to audiences. Therefore, the activities in this center need to be designed to
have more interaction with the target audiences. Also, the interior design should be
inspired by Cantonese characteristics, because the main goal for this project is to convey
the Cantonese culture to next generation.
CANTONESE CULTURAL CENTER 12
Chapter 2: Literature Review
1. Identifying spaces and the identity of visitors
Wayfinding design is mainly concerned with how to help people make correct
decisions in regard to arriving at the location that they want to go. Therefore, we need to
know what elements will influence people when making a decision and what elements
might confuse them.
1.1 Principle
When people try to find their way in a space, they will try to understand what the
setting contains and how it is organized. However, a simple guide is not enough to find a
destination. In order for people to construct a mental map of a setting, they need to
identify landmark’s points of interest to map. Among the basic building blocks of
cognitive mapping are spatial entities. People can recognize these entities only if they are
distinct and have an identity that differentiates them from their surroundings (Arthur,
1992). This situation is similar to decision making and decision execution. Decision
making can be maintained only if the destinations and intermediate sub-destinations have
an identity that distinguishes them from another place. Decision execution occurs after a
place is recognized (Arthur, 1992). According to these concepts, distinctiveness is very
important in order for people to perform decision making and execution, because
distinctiveness give the places their identity, which is a major requirement for
wayfinding. Distinctiveness can be achieved through the form and volume of the space
that defines architectural and decorative elements and by use of finishes, light, colors, and
even graphics. Activities and the atmosphere which are created by people’s behavior can CANTONESE CULTURAL CENTER 13
generate a form of distinctiveness. However, this factor is not stable and people likely
will forget it in a short time. For example, an open-air market can give a very strong
sense of distinctiveness to a street for the time it is occupied. Once the stands are taken
away, the street might not be recognizable to visitors anymore (Arthur, 1992). Therefore,
when designers try to create distinctiveness, they must remember that people cannot
memorize the elements of distinctiveness, so designers need use a variety of means to
express important information. This principle is very important for wayfinding design.
1.2 Identity of visitors
Visitors’ experience
For the learning purpose exhibition, designers should consider how to cause
visitors to be interested in the content and how to make them enthusiastic to learn the
information presented in the culture center. Creators need to provide visitors with means
to build on their own knowledge rather than trying to cram visitors with new knowledge
that we think is important for them to learn (Kamien, 2013). Therefore, before starting to
design the cultural center, designers should consider how to provide the visitor with a
good experience.
1.2.1 Defining the audience
The first problem that designers should verify is who the primary audience for
the exhibition is, A knowledge of the audience is helpful to provide a better
connection to audiences or even increase the number of visitors. If a creator can
connect with the target audience accurately, it will be easier to make the visit CANTONESE CULTURAL CENTER 14
enjoyable and accessible for them. Also, other visitors will find some experiences
and information that they will enjoy as well. The most important point of this step
is to identify the audience that the designer primarily wants to serve, so he or she
can consider what basic visitor needs they should addressed (Kamien, 2013). Both
in terms of sophistication and of the content and in the possible delivery methods
they might use can be gauged easily after considering the basic visitor needs.
1.3 Children and exhibition
The target audience group of this cultural center mainly focuses on children and
teenagers whose ages are between 6 to 18. Of all visitors, children are possibly the most
critical because they can have negative feelings toward exhibits that do not engage them
(Philip 2015). Also, if the contents are too difficult for them to understand, confused
feelings could make them lose the patience to focus on the exhibits. Children likely have
an incomplete map of how the knowledge relate to each other. If designers can give the
background knowledge to children, they might understand the meaning of displays more
easily. Therefore, for most of the learning purpose exhibition, designers should consider
how the background information can be related to each other and design their profression
accordingly (Philip 2015).
1.4 Presenting to children of differing ages
The learning purpose exhibition that focused on children will also include their
family, often with more children of differing ages. This situation requires that the CANTONESE CULTURAL CENTER 15
displays have to present to different age groups at once. According to Philip Hughes,
children will not be interested in displays that are too young for them. However, young
children will be attracted by the content which is aimed at an older age group because
they aspire to have the same experiencer as the older children (Philip, 2015). Hence, the
best solution is to pitch the design towards older children.
1.5 Engaging the children
Before the design begins, a designer should ensure that the activities in the
exhibition will engage children to stay longer. Most children enjoy group interactions
with exhibits and are social in their approach. Children may stand back from displays
until other children come to explore, and will join in only when they feel their presence is
acceptable. For example, a child plays on a machine and there is space for other children
to see what he or she is doing, when the first child has finished playing, the other children
will follow their cue from the reactions of their peer group. If the feedback is good, other
children are often to become involved (Philips, 2015).
Sometimes parents will explain how to use a display or machine, and children just
can follow their parent’s instruction to join the program. However, most children enjoy
the freedom when they visit the exhibition because they often do not have much choice in
their lives. Designers should consider how to allow children to exercise freedom while
they are visiting the exhibition and ensure that they will be safe. Most exhibition designer
agree that the activity is the most important element to successful exhibits. For example,
the best way to show European children how a Japanese woman dresses traditionally is to CANTONESE CULTURAL CENTER 16
provide them with an opportunity to try the dress on (Philips, 2015). This experience will
be much more fun than just observing a sample in a display.
1.5.1 Popular culture program
Sometime the content that is presented in exhibition is too far away for
visitors. The content may have been created many years ago or has already
disappeared. Therefore, a designer can relate their content to popular culture
because popular information sources can provide insights into what lay audiences
may find attractive about the subject matter and what starting points may be most
useful (Kamien, 2013). TV programs, websites, common misconceptions, news
headlines or books can provide insight into different people of different ages, and
a designer can learn about their inclinations of this content.
1.5.2 Human development
Often, visitors will make their own meaning by linking prior ideas,
feelings, questions, and facts to the materials that they encounter in the
exhibitions. Designers should try their best to make this kind of memory and
connection process as rich as possible for visitors. Recalling a memory, shedding
a tear, sharing personal information with in the exhibition, or placing a bit of
loose information in a newer, more interesting contest could make visitors have
more interest in staying at the exhibition (Kamien, 2013). The most useful tool for
attracting a variety of visitors to stay in an exhibition is emotional an experience.
CANTONESE CULTURAL CENTER 17
1.6 Basic requirement for exhibition
How to attract children and teenager to visit a museum or even cultural center is a
difficult problem for the operator, because may museums are boring and do not to provide
a good visit experience to their audience. According to Philip Hughes, the exhibition
should follow some principles to attract more audience members. Providing a comfortable
environment is very important for leaving a good impression with visitors. Therefore, the
cultural center should provide enough service and equipment which can meet audiences’
basic needs. Designing a good floor plan that can help visitors to easily find their way
around is also necessary because visitors will become frustrated and quickly decide to
leave if they struggle to find each other (Bitner, 1992). If the exhibition needs to attract
more people, they have to realize that different people will likely have a different
understanding of what the exhibition is displaying (Philip, 2015). Designers cannot expect
visitors to have some basic understanding before they come, so if the content is too
difficult for audiences to understand, they will likely not stay for too long. Hence,
designers should create some communication and interaction between the displays and
audiences in order to help them to have a better understanding of the content and an easier
way to learn new knowledge.
2. Spatial Planning
The difficulty of wayfinding is affected by two major physical factors: the layout of the
setting and the quality of the environmental communication. The layout is defined by its
spatial content, its form, its organization, and its circulation. Environmental communication CANTONESE CULTURAL CENTER 18
includes all of the architectural information for wayfinding (Arthur, 1992). In order to create
an organized layout, we need to follow two phases of spatial planning principles:
• Grouping of spatial units into destination zones
• Organization and linkage of unit and zones
2.1 Grouping spaces into destination
The basic grouping should be the primary objective to plan in a complex setting.
When users enter a setting, they will think about which destination they will visit and
regard these places as specific facilities. Each individual space in the setting will be a
potential destination, giving the complex setting a large number of destinations. Consider
hospitals for example. Most of the rooms inside were likely allocated to some degree by
chance, so staff members, patients, and visitors often cannot find their destination
efficiently even though hospitals have the most sophisticated information system for their
clients (Arthur, 1992). If the designer does not group them with similar functions, users
will easily lose their way in the space.
Proper articulation for each destination zone is also very important for wayfinding
and it can affect the wayfinding system in two ways. It could facilitate the cognitive
mapping process by emphasizing the spatial units to be mapped and can support the
decision-making process (Arthur, 1992). Identity and equivalence are important factors
for designers to use in order to identify spatial characteristics which will allow them to
create the articulations between each zone. Identity is the characteristic that allows us to
differentiate one space from other. Equivalence is the characteristic that allows us to
group the destinations into zones with some common traits (Arthur, 1992).. In order to CANTONESE CULTURAL CENTER 19
distinguish one destination from another, a destination must have some unique features,
but the spatial unit within the zone also needs some common characteristics
2.1.2 Linking and organizing spaces
Linking the spatial unit is the most difficult among these three steps and
concerns linking the spatial unit that has been identified as having functional
relationships. Linking the space can go in one of two directions. It can start with
the form and conclude with the circulation system, or it can leave the form and
end up with overall form (Arthur, 1992). No matter which way you start, form
and circulation are closely related. The form of a building’s volume provides users
with cues about the internal organization and circulation system. Circulation is the
key organizing factor of a layout. We would like to use it as the framework of a
setting or bone structure, which is the organizing feature of human body. The
circulation system is equally important determining the layout of the setting,
which is also the space where people move and navigate (Arthur, 1992). Thus, if
we can understand the circulation system, we can also understand the spatial
organization of the setting.
3. Architectural wayfinding communication
Many people think that signage is the most important means of providing
wayfinding information in an urban or architectural setting. However, people have to
understand the circulation information in order to find their way. Designers should learn CANTONESE CULTURAL CENTER 20
about some architectural features that can define the circulation because architecture
features communicate the relevant wayfinding information.
3.1 Entrance
Most of the time, the door is the ultimate sign of an entrance, which is often the
first element to be found when visitors try to enter the building. However, doors may not
be visible from a distance and some entrances do not even have doors or gates. This
example can indicate the importance of the legibility of an entrance. The legibility of an
entrance or a gate varies with the angle of approach. An entrance can be approached in a
frontal or indirect way. The frontal approach gives the greatest visual access to the
entrance. When the approach is indirect, the visual access will diminish as the approach
becomes more oblique and finally disappears (Arthur, 1992). Also, the form of the layout
can help people to find the entrance. If the space uses an asymmetrical layout, it will be
more difficult to interpret. This form of layout requires more special features to
distinguish the entrance. A building which has an asymmetrical layout usually relies on
additional cues to indicate the location of the entrance.
3.2 Exits
Although an exit has the same structure as an entrance, from the user’s view, an
exit differs from an entrance. For the visitors who are unfamiliar with the building, the
entrances should be the first thing to be found, while the exit in most settings requires a
simple return to the point of the entry. If the people are able to map the entrance route,
they will require only limited environment information to return to the exit. However, if CANTONESE CULTURAL CENTER 21
the setting is too complex for users to map their route back to the entrance, they will need
to search for the exit. They will do the same searching operation that was required to find
the entrance. Therefore, it is necessary to make exits easily detectable. Even though the
door is limited by height from the inside, but distinctiveness is more important in terms of
legibility than size. The limitation of size can be easily helped by making efficient use of
the light from outside (Arthur, 1992). Natural light in the right context signifies the
possibility of an exit.
3.3 Paths
The path is one of the most important parts in wayfinding because it will tell people
where they can go and whether they are allowed to a path. A path can be perceived by
markings on the ground, a guiding structure on the side or above, or by a combination of
these elements (Arthur, 1992). According to Foltz’s paper, the path should be well-
structured with a set of characteristics which are continuous and have a clear beginning,
middle and end while users view the path from each direction (Foltz, 1998).
3.3.1 Single path
The features of a well-structured path should correspond to concepts that relate to
the content of the space. The beginning and end of the path form an introduction and
a conclusion, and progress is marked by moving from one concept or message to the
next. Using the single path design is a good way to represent this idea. Consider the
Kennedy museum, for example. This museum has a well-constructed path which
consists of a spatial timeline. The beginning of the path in this museum is the 18- CANTONESE CULTURAL CENTER 22
minute introductory film. When visitors move forward, they can learn about president
Kennedy’s life through his campaign, administration, family life, assassination, and
legacy, and the pavilion provides an end-point (Foltz, 1998). The ambiguity of
direction in this museum is solved by whether movement is forward or backward in
the spatial timeline through the events in Kennedy’s life.
Figure 1. Kennedy Museum Design Concept
3.3.2 The multiple path
The multiple path design in exhibition can cause the fewer traffic problem to
visitors since they can choose other exhibits to engage with while a particular art work is
busy. This design also provides better freedom and gives visitors more opportunities to
follow their own interest. However, the multiple path design also requires to provide
more signage and orientation information to audiences. Although visitors can follow their
own interest to find the artwork, they still need information to locate themselves. The
exhibition can be divided by different routes through displays, guide group, and different
subjects (Hughes, 2015). CANTONESE CULTURAL CENTER 23
3.3.3 “Star” exhibits
“Star” exhibits design is a useful way to design the path when exhibitor wishes to
engage audiences before other less important displays draw their attention. “Star”
exhibits design could arrange artworks predominantly around outstanding objects which
could easily makes audiences to focus on the most significant artworks (Hughes, 2015).
Consider the Victoria & Albert Museum, for example. The “star” exhibit design
highlights the most dramatic and exciting examples in the collection which could
maximize visitor enjoyment and experience.
Figure 2. “Star” Exhibition Design
3.4 Vertical access
It is necessary to consider the vertical circulation when visitors need to change
levels. Stairs, escalators, and elevators should be directly perceived upon entering the
setting. They can be either strong architectural features or signage boards with
information. The installation of signs can give visitors a clear direction to the vertical
circulation, which provides convenience to visitors and reduces their confusion.
However, one of the most common problems in understanding signs for visitors is
information overload. In terms of providing a better mental communication to users,
designers should use fewer signs and make signs easier for visitors to understand. CANTONESE CULTURAL CENTER 24
3.5 Landmark
Using a landmark is the best way to create a distinctiveness for a place. According
to Foltz’s paper, landmarks can serve as two purpose. The first is as an orientation cue. If
the user knows where a landmark is and how it relates to his present position, he can say
comment about where he is and provide a cue for other people to confirm his location. A
desirable property of a landmark for this use is visibility, which means the landmark can
be seen from a wide surrounding area. Such global landmarks can help the navigator
judge his orientation within a wide area, as the Eiffel tower does in Paris, for example
(Arthur, 1992). In contrast, local landmarks can be seen only in a close vicinity. A system
of local landmarks which exhaustively cover the space can also provide the same cues as
a single, towering landmark (Foltz, 1998). The second use of a landmark is to be a
memorable location. According to Lynch’s sketch-map interviews, he noted that different
respondents would like to mark or mention many of the same places (Lynch, 1960). In
other words, memorable places can help the people to recognize one’s location instantly.
A shared feature of landmarks also provides the basis descriptions of locations or routes.
Landmarks can be decision points from where users must choose one path of many to
follow (Lynch, 1960). Therefore, landmarks are extremely useful as they make the
location and the associated decision more memorable.
CANTONESE CULTURAL CENTER 25
4. Graphic Information
Graphic information in wayfinding has the function to inform people of the
surroundings in an unfamiliar building environment. It is very important to show
information at strategic points to guide people in the right direction (Designworkplan,
2017). Therefore, graphic information in wayfinding must be legible and readable in
order to reduce visitors’ confusion whey they are finding their way (Arthur, 1992).
Graphic information in wayfinding design should follow the principles listed below in
order to give visitors a better understanding: Graphic information should create a
comprehensive, clear, and consistent visual communication system with concise
messaging; show information relevant to the space, location and navigation path and
remove unnecessary elements to create a clear visual environment ahead
(Designworkplan, 2017).
4.1 Graphic information for decision making and executing
The information can be divided into two parts, one is for decision making and the
other one is decision executing. Orientation and general information about the setting
provide users an overview of what shape the building has, where they are, and where
visitors’ destination is. For example, the maps, floor plans and building directories are all
the information for decision making. Information that guides people along a designated
or preselected route to a destination, and provided at the destination is for decision
executing. For example, signs with names or pictographs at the entrance to a destination
(Arthur, 1992). The decision making and executing processes will be changed sometime
because visitors will change their way in mid-route. However, we must start somewhere CANTONESE CULTURAL CENTER 26
and even if visitors change their destination, the sequence and the information that are
needed, particularly the graphic information, remain the same.
4.2 Location of Signs
The placement signs in the setting can be a significant problem in wayfinding
design. According to Foltz’s paper, signs should be placed only if they are necessary at
decision points (Foltz, 1998). In executing a decision plan, visitors are usually asked to
make many decisions at decision points in order to reach their final destination. Decision
points mainly relate to the corridor intersections where visitors must have assistance
frequently in the form of signs. However, the placement of signs is useless and self-
defeating at every intersection and provide directions to every location in the building.
The most important goal of signs is not quantity but the content on the sign. If the
concept of destination zones has been incorporated into the planning of the building, the
answer is obvious, and the results will be more efficient (Arthur, 1992). Therefore, the
information on signs should follow a different strategy. First, the information must be
established (through maps or directories or both) that the particular destination is in a
general area; for example, a certain level or a certain wing of the building. Then,
directions to these large areas need be provided. Finally, more finely tuned information
about the particular destination needs to be provided to the visitors after they arrive at the
large area (Arthur, 1992).
4.3 Color coding CANTONESE CULTURAL CENTER 27
Color coding is the first thing that staff members are likely to suggest as a solution to
situations in which wayfinding is acknowledged as a problem. However, for most people,
color coding is rarely practical and can considerably increase initial as well as long-term
maintenance costs. One serious impediment to color coding by function is that the
requirement is probably for a large number of colors. However, in facts, color coding
should not be more than nine hues including black, white, and grey for coding purposes.
Too much color in the setting can cause people’s memory to overload, so no more than
five colors at most should be used (Arthur, 1992). More than five colors can cause people
to neither remember nor distinguish between the colors that are used.
4.4 Color selection
Any color may be used on a sign provided there is enough contrast when it
combines with other colors in order to create a message. There is a reliable formula based
on light reflection which concern the percentage for each of the two colors involved.
When the brightness differential is over 70 percent, the legibility of this combination is
pretty well assured. When brightness differential less than 70 percent, the combination
should not be used (Arthur, 1992).
CANTONESE CULTURAL CENTER 28
Figure 3. Color Sheet
5. Cantonese Culture
China has 23 provinces and Guangzhou is the capital of the Guangdong province.
Cantonese culture originated from Guangzhou City and it is one of the most popular
cultures in China. Cantonese culture started to be popular in the late Qing dynasty (1840-
1912), because Guangzhou was the only port city in China. This situation gave Cantonese
people a great opportunity to reach foreign culture. Therefore, Cantonese people could
learn other foreign cultures and combine it with their own culture to create a new
lifestyle. The food, house, clothing, and transportation culture was the four-main
perspectives to explain why Cantonese culture was unique all over China during the Qing
dynasty.
5.1 Xiguan Mansion
5.1.1 Background information
The Xiguan Mansions were created in the middle of the Qing dynasty and
started to be popular at the end of this period. Wealthy merchants, governors, and
people who had a high social status were the main residents of these mansions.
The Xiguan Mansions normally occupied large sizes of land with well-designed
layouts and were mainly built with luxurious materials and decorated with rare
embellishments.
5.1.2 Layout CANTONESE CULTURAL CENTER 29
The Xiguan Mansions use symmetric ways to design the interior layout.
All of the living rooms are arrange along a middle line. People count each living
room as one Jin. Each Jin equals around 7 meters. The rooms along with middle
line include porch, lobby, tea room, main living room, dining room, bed room for
grandparent, dining room and a small bedroom (Lu, 2013). Each Jin would be
separated by a small courtyard which is open to the top. This design could easily
bring the daylight and fresh air into the mansion (Yang, 2012). Reading room,
bedrooms, kitchen, and indoor garden are arranged near by the middle line.
Figure 4. Xiguan Mansion Layout
5.1.3 Materials
Exterior CANTONESE CULTURAL CENTER 30
Guangzhou is located in the south part of China and belongs to the
subtropical monsoon climate area, so typhoons and rain will always influence the
city. Therefore, choosing materials for the exterior of the Xiguan Mansions was
one of the most important missions for architects. Granite, an excellent damp-
proof material, is the main material for making the base, the frame of walls and
windows, and the floor of kitchen and hallway. The granite foot of the wall could
be built around 120 to 140 centimeters which makes it provide a better protection
to the wall for avoiding the damage from rain and water logging (Yang, 2012).
Also, the granite made door frames, window frames, column bases, stairs, and
handrails are more durable in humid weather than other materials.
CANTONESE CULTURAL CENTER 31
Figure 5. Granite Foot of Wall
Figure 6. Granite Window Frame
The wall of the Xiguan mansion is made up of two layers. Both the
interior layer and the exterior layer is made of black brick and attached by lime
mortar. Each black brick would have 257 millimeters’ length, 100 millimeters’
width and 63 millimeters’ depth (Yang, 2012). The surface of the black bricks is
hand polished by workers. This process makes the surface of the bricks become
extremely smooth and eventually the high quality black brick wall could improve
the mansion’s luxurious feeling. The secondary part of the mansion would use
oyster shell as the main material to build the wall. Because Guangzhou is not far
away from the ocean, it is easy to buy oyster shell at a low price. Oyster shell is
also a high level thermal insulation and sound insulation material.
CANTONESE CULTURAL CENTER 32
Figure 7. Oyster Shell Wall
Interior
Guangzhou was the only port city during the Qing dynasty. This situation
allowed people to easily import different kinds of wood from other locations.
Also, high level hard wood not only could represent the high social status of the
owner, but also was a nice durable and mothproof material. Therefore, the high
quality hard wood became the main material to decorate the interior of Xiguan
Mansion. The doors, columns, and screens were mainly made by Giam wood.
Furniture and decoration used mahogany as the main material (Yang, 2012).
CANTONESE CULTURAL CENTER 33
Figure 8. Wooden Window Frame
5.2 Cantonese Cuisine
5.2.1 General information
The Cantonese are fastidious about daily food and drink, which is known
to the world. The Cantonese cuisine is a general term for the Canton, Teochew
and Hakka dishes in the cultural circle of Lingnan region. As one of the four
Chinese major cuisines, Cantonese cuisine is of remarkable locality in terms of its
distinctive dish varieties and tastes. It is also a key part of the civilization of the
province, reputed as the “Chinese image ambassador” popular access the country
and around the world (Lin, 2010).
5.2.2 Cantonese barbecue
Cantonese style salted and roast meat is available at take-away food sale
counters along the streets or within the restraints of Guangzhou, in bright red, an
appetizing color. Cantonese barbecue includes roast porker, goose, duck, squab,
rib, chicken, etc. Cantonese barbecue is different from northern style barbecue in
China. Northern people used to hang the meat above the fire till it is done.
Cantonese people would like to heat up the stove first, and leave the meat in the
middle of stove to bake the meat (Lin, 2010). CANTONESE CULTURAL CENTER 34
Figure 9. Cantonese Barbecue Shop
Figure 10. Barbecue Stove
5.2.3 Dim sum
Dim sum is one of the most popular food styles in Cantonese cuisine. It
usually serves as small bite sized portion in small steamer baskets or small plates.
Dim sum is usually served with tea and together forms a full tea brunch.
Therefore, Cantonese people would call dim sum brunch as “Yum Cha”, which CANTONESE CULTURAL CENTER 35
means “drink tea” in Cantonese. A traditional dim sum brunch would include
different kinds of steamed buns, rice, dumplings, and rice noodle rolls. Also, Dim
sum includes various types of ingredients such as beef, chicken, pork, shrimp, and
vegetables, which can provide enough nutrition to dine. Steaming and frying is
the most popular way to cook Dim sum. Because it is usually served as a small
size, the chef would provide three or four pieces in one dish.
Figure 11. Dim sum Dishes
5.3 Transportation system
Young Cantonese people who visited the United States started to return to
Guangzhou City, and there are no more determined agitators in China than before. These
young people use the knowledge they learn from the United States to build the tall,
modern houses along the river banks. (Bonnrd, 1926). Both urban construction and
population in Guangzhou started to grow rapidly. This situation pushed the transportation
system to create more variety and more choice of public services. Non-wheeled carriages CANTONESE CULTURAL CENTER 36
such as sedan chair began to disappear, and the rickshaw became the main transportation
tool in the city. According to GZSSZGY, the number of rickshaws in 1920 rose from a
total of 3000 to 3200 on 1922 and 3600 in 1924, and in 1929 reached 4100. In 1933,
there were 5806 registered rickshaws in operation in Canton’s street, of which 206 were
registered for private use. This data could easily prove the importance of rickshaws
during the early 19th century.
Figure 12. Cantonese Rickshaw
CANTONESE CULTURAL CENTER 37
Chapter 3: CASE STUDIES
1. Introduction
This chapter includes two case studies, which are The World of Coca-Cola and
The National Museum of Singapore. The World of Coca-Cola aims to provide a theme
park experience to visitors. The target audience is teenagers and children. The National
Museum of Singapore uses their own history for inspiration to design the project. Visitors
can learn about how Singaporeans lived from the past to now through different exhibition
and activities.
Case 1: World of Coca-Cola
Figure 13. World of Coca-Cola
The World of Coca-Cola is located in Atlanta, Georgia. It is a museum to
showcase the history of the company. The 81,000 m2 complex was opened to the public
in 2017, relocating from the original exhibit that was founded in 1990 in underground CANTONESE CULTURAL CENTER 38
Atlanta. This museum uses the secret formula of Coca-Cola as the main inspiration to
design the complex.
At the very beginning, visitors will come to the Loft, where they receive basic
introduction. On the ceiling hang numerous billboards from all over the world, from the
past to present. The colorful billboards easily arouse visitors’ interest and attract their
attention. Also, the design elements all come from the Coca-Cola bottle design.
Aluminum finish beams, red billboards, and exhibitions that relate to Coca-Cola make the
interior atmosphere extremely easy to recognize. Visitors easily feel that this museum is
all about Coke without finding a logo and slogan.
Figure. 14 Loft
After finishing in the Loft, the staff guides visitors to the next space, which is the
Coca-Cola Theater. The movie in this theater is about a celebration of life’s Moments of
Happiness. This six-minute video celebrates happy and memorable moments experienced CANTONESE CULTURAL CENTER 39
by people of different ages and cultures around the world. The director chose to use
milestone life experiences as inspiration to create the movie. These include skydiving for
the first time, surprising a loved one on a special occasion, and celebrating shared
moments of happiness both large and small. When the movie ends, the screen rises up
and visitors go through the door that is behind the screen to the next area. This design
provides a special welcome feeling to audiences.
Figure 15. Coca-Cola Theater The first section after the theater is the Vault of the Secret Formula. The vault is
the place where the legendary secret formula for Coca-Cola is secured. Visitors can travel
through the exhibit on an immersive multimedia journey toward the chamber of the
Secret Formula. Along the exhibition, visitors can learn about the origins of the secret
formula, how competitors tried to copy the success of Coca-Cola, how the owners of
Coca-Cola kept their formula throughout the years, and how the secrecy spawned a trove
of myth and legends. CANTONESE CULTURAL CENTER 40
Milestones of Refreshment is an exhibition for exploring the fascinating story of
the Coca-Coca company. The designer used a history timeline for inspiration to design
the gallery. Beginning in Atlanta and reaching out all over the world, Coca-Cola is
influential in soda history. There is a total of ten galleries to introduce the history of the
Coca-Cola company and some of its most significant possessions, including a circa-1880s
soda fountain, a 1939 delivery truck from Argentina, and the Coca-Cola contour bottle.
Walking through Milestones of refreshment, visitors can learn how the company grew to
be what it is today. In this gallery, visitors will also see more than 1,000 original artifacts,
some dating back to the earliest days of Coca-Cola’s history.
Figure 16. Milestone of Refreshment The funniest part of the museum is Taste It! Visitors in this part can taste more
than 100 international and domestic beverages made by The Coca-Cola Company. There
are five tasting stations arranged from Africa, Asia, Europe, Latin America, to North
America. Each station provides different beverages that are unique to that region. This
exciting part can not only provide a fun activity for visitors to interact with, but also give
people a special experience. CANTONESE CULTURAL CENTER 41
Figure 17. Taste It!
The only thing that this museum could improve on is the layout. As a complex
that attracts tons of children annually, designers should have really considered children
when arranging the layout. Once visitors walk into the main atrium, there are too many
directions for children. If children get lost in an exhibition, parents cannot easily find
them.
. CANTONESE CULTURAL CENTER 42
Case 2: The National Museum of Singapore
Figure 18. The National Museum of Singapore The National Museum of Singapore is the oldest museum in the nation that seeks
to inspire with stories of Singapore. The history of this museum dates back to 1887 when
it opened on Stamford Road as the Raffles Library and Museum. The museum mainly
focuses on exhibits that relate to the history of Singapore, and it is one of four national
museums in the country.
The reason why the museum is popular is because it has numerous features and
exhibitions. The Art of the Rehearsal is one of these. This exhibition is a three-channel
immersive video installation that depicts Singaporean dancers across various cultures
practicing along the back lanes of cultural districts in the city. The main purpose of this
video installation is to present the process of the dance rather than the final outcome.
Using this way to present history makes the content more vivid and easier to attract CANTONESE CULTURAL CENTER 43
audiences.
Figure 19. The Art of Rehearsal One of the most attractive designs for the museum is the designer’s use of history
for inspiration. The Singapore History Gallery uses their history timeline to create the
exhibits. The gallery starts with Singapura (1299-1818), then Crown Colony (1819-
1941), then Syonan-To (1942-1945), and finally Singapore (1945- present). The different
sections use the most significant characteristics for inspiration. Also, designers made lots
of activities based on the history for visitors to interact with. This design can not only
provide an opportunity for visitors to learn the history, but also makes younger visitors
enjoy the learning process.
CANTONESE CULTURAL CENTER 44
Figure 20. The Singapore History Gallery The main thing that I am not satisfied with this museum is the restaurant. This
museum attracts thousands of children and their parents annually. However, the
restaurant is not well-designed for visitors. The main restaurant’s focus is fine dining;
both the interior design and the finitudes are extremely classic and elegant. Also, the only
relation between the café and the museum is the food, which uses stories from the
galleries for inspiration. Lacking attractions for children will cause them to lose interest.
Figure 21. Main Restaurant
CANTONESE CULTURAL CENTER 45
Chapter 4: Design
4.1 Introduction
This cultural center is mainly focused on children who are under the age of 16.
Therefore, students in middle and elementary schools are the main target audience of my
project. Tianhe district is the selected location of this center. It includes shopping malls,
the Guangzhou International Finance Center, and the Chow Tai Fook Finance Center.
There are also has many office buildings in this area. Most importantly, this district is the
most significant place for visitors to enjoy cultural activities because of the presence of
the Guangzhou Library, Guangzhou Opera, and Guangdong Province Museum. Also,
three subway stations are located in this area, and more than 330,000 tourists visit the
area daily. Therefore, Tianhe is the most appropriate location for the cultural center.
Figure 22. Map of Zhujiang New Town
4.2 Design Concept
CANTONESE CULTURAL CENTER 46
Guangzhou is one of the most important port cities in China because it is close to
the ocean, and the Pearl River is located in the middle of Guangzhou. Therefore, from the
Feng Shui perspective, Guangzhou belongs to the water element. The fish, the most
significant animal that lives in the water, has become the main inspiration for my project.
Ying Yang is my second inspiration, as it is another popular icon in Chinese Feng Shui.
Additionally, Ying Yang represents the balance of the world and the idea that everything
can be mixed together. Hence, I have combined the fish element with Ying Yang to
generate the double fish layout. Zhujiang New Town is extremely close to the Pearl
River, so from the Feng Shui perspective, Zhujiang New Town is like a pond. Thus, from
this perspective, when the double fish layout starts to rotate, it will generate a vortex that
could absorb the wealth and people in this district. I also plan to open an entrance on both
the south and north sides of this building. This design will allow air to flow through the
building, which will enhance the power of the vortex and allow it to absorb more people
and wealth.
Figure23. Tai Ji and Koi Fish
CANTONESE CULTURAL CENTER 47
Figure 24. Top View of Cantonese Cultural Center
4.3 Floor Plan
The features of a well-structured path should correspond to concepts that relate to
the content of the space. The beginning and end of the path form an introduction and a
conclusion, and progress is marked by moving from one concept or message to the next.
Using the single path design is a good way to represent this idea. Each exhibition has
only one entrance and exit, which means visitors will not lose their way in the building.
The first floor of the building will include the Introduction Room, Cantonese History
Exhibit, Xiguan Mansion Exhibit, Auditorium, Café, and gift shop. The second floor will
include the Transportation Exhibit, Food Exhibit, Food Court, and Clothing Exhibit.
Because of the one line design, visitors can come in the building and exit the building
from the same door. This design can decrease the possibility of losing children, who are
the main target audience of this project. CANTONESE CULTURAL CENTER 48
Figure 25. 1st floor
Figure 26. 2nd floor
CANTONESE CULTURAL CENTER 49
Figure 27. Section
Figure 28. Elevation
CANTONESE CULTURAL CENTER 50
Cantonese cultural center Perspective
Figure 29. Night View
Figure 30. Day View
CANTONESE CULTURAL CENTER 51
Introduction Room
The first part of this cultural center is the Introduction Theater. It will provide
overall center information and introduce Cantonese history. The theater will present a 3D
movie in order to stimulate visitors’ interests. Once they are fully visualized and engaged
with the content, they are ready to enjoy the rest of the museum.
Figure 31. Introduction Room
Cantonese History Exhibit
The Cantonese History Exhibit will mainly focus on Cantonese history. The
exhibition will show the infrastructural progression of the Canton area since the Qing
dynasty until now. At the very beginning, the exhibition would use a massive curve wall
monitor to visualize the city view of Guangzhou. The most popular architecture model of
each Cantonese city will be displayed in the second area. The use of granite, red wood,
marble, and light wood for the main materials in this exhibition will not only create an CANTONESE CULTURAL CENTER 52
elegant and dark atmosphere in the area, but also magnify the fact that they are the most
significant material in Cantonese history.
Figure 32. Cantonese History Exhibit 1
Figure 33. Cantonese History Exhibit 2
CANTONESE CULTURAL CENTER 53
Xiguan Mansion Exhibit
The Xiguan mansions are almost extinct in Guangzhou, and this is why I want to
install the original Xiguan mansion design into this cultural center. The goal of this idea
is to convince the new generation the importance of this magnificence design. The
complexity of the architecture itself could stand alone competing with the world’s other
styles. Xiguan Mansion uses a symmetric design for the interior layout. All of the living
rooms are arranged along a middle line. People count each living room as one Jin. Each
Jin equals around seven meters. The areas include the porch, lobby, tea room, main living
room, dining room, bed room for grandparents, dining room, and a small bedroom.
Figure 34. Xiguan Mansion Exhibit
CANTONESE CULTURAL CENTER 54
Figure 35. Xiguan Mansion Exhibit 2
Figure 36. Xiguan Mansion Exhibit 3
CANTONESE CULTURAL CENTER 55
The word “Kung Fu” is directly translated from the Cantonese. Bruce Lee, Jackie
Chan, and Donnie Yan are some of the world most famous Hong Kong Kung Fu movie
stars. However, only a few people know that Kung Fu is originally from Foshan.
Therefore, I designed this Kung Fu section in order to deliver more background
information to visitors. I also designed a Kung Fu video game and the holography on
each wall, because these activities attracts children easily and they will be able to learn
better from interactions.
Figure 37. Xiguan Mansion Exhibit 4
CANTONESE CULTURAL CENTER 56
Transportation Exhibit
Rickshaw was one of the most popular transportation methods during the Qing
dynasty. Drivers normally would park under shop houses and wait for clients. The shop
house contains stores on the bottom level and apartments above. Therefore, the shop
house has become the main inspiration for my transportation exhibition design. I chose a
Nanyang style shop house that comes from Malaysia for my inspiration, because the
colorful design makes the atmosphere come alive.
Figure 38. Transportation Exhibit 2
CANTONESE CULTURAL CENTER 57
Food Exhibition
Dim Sum and Cantonese style barbecue is the most popular food in Canton area.
Therefore, I use Dim Sums with bamboo baskets to make a Dim Sum wall and build a
Cantonese barbecue shop in the food exhibition. I chose the fragmented stone as the main
material for the floor; this inspiration came from the luxurious restaurants in Guangzhou.
Figure 39. Cantonese Food Exhibit 2
Food Court
The lanterns and bird cage lamp design are inspired from the Shunde Lantern
festival. Also, the bird cage is a tradition of the last generation which elderly people CANTONESE CULTURAL CENTER 58
usually own pet birds and they carry the cages to public as a way of interaction. The
fragmented stone floor is picked from the luxurious Cantonese restaurant. The reason
why I chose to design a food court instead of a restaurant is because the target audience
of this cultural center is teenagers and children. Building a food court can provide more
options to the kids. When children come together and enjoy their meals in the same room
with various colorful designs and food choices, they are more likely to have better
appetite. The parents will have less pressure to make them have fun, they are able to find
attractions initially.
Figure 40. Food Court
CANTONESE CULTURAL CENTER 59
Clothing Exhibit
The clothing exhibition is separated into four parts. The first part introduces the
different kinds of fabrics used during the late Qing dynasty. The second part presents the
traditional Cantonese clothing from the daily dressing level to the well-decorated level in
order to make visitors have a better understanding about the various types of clothing.
The third part shows the fancy costumes of Cantonese opera, which is one of the most
critical elements of Cantonese culture. The last part is a holography installation which
will easily attract children’s attention.
Figure 41. Clothing Exhibit 2
CANTONESE CULTURAL CENTER 60
Chapter 5: MFA Exhibition
This installation is inspired by dim sum, a big part of part of Cantonese people’s
lives. Every morning, people would get up early and before you realize the time they are
already in line for dim sums. Dim sum is usually served in bamboo baskets which is great
to steam food and preserve the temperature. The poster in these baskets present a
Cantonese cultural center designed to convey our traditional Cantonese culture to the next
generation.
Figure 43. MFA Installation
CANTONESE CULTURAL CENTER 61
Figure 44. MFA Installation Poster
Figure 45. MFA Installation Bamboo Baskets
CANTONESE CULTURAL CENTER 62
Reference
Arthur, P., & Passini, R. (2002). Wayfinding: People, signs, and architecture. Oakville, Ont.: Focus.
Bitner, M. J. (1992). Servicescapes: The Impact of Physical Surroundings on Customers and
Employees. Journal of Marketing,56(2), 57. doi:10.2307/1252042
Black, G. (2010). The engaging museum: Developing museums for visitor involvement. London:
Routledge.
Bogle, E. (2013). Museum exhibition planning and design. Lanham: Altamira Press.
Chow, S. (2009, October). Inscription of Cantonese Opera on UNESCO Representative List of
Intangible Cultural Heritage of Humanity. Retrieved from http://www.coac-
codf.org.hk/en/news_and_other_information/messages_list_3/2009_10.html
Cliff, S. (1996). The best in exhibition design. London: B T Batsford.
Crippa, E., Beck, M., Hatherley, O., Alloway, L., Sylvester, D., Hamilton, R., . . . Steeds, L.
(2016). Exhibition, design, participation `an Exhibit 1957 and related projects. London: Afterall
Books.
Golledge, R. G. (1999). Wayfinding behavior: Cognitive mapping and other spatial processes.
Baltimore: Johns Hopkins University Press.
He, C. (2015, July 08). 广州 13 个三旧片区改造正在实施 44 片区列入今年计划. Retrieved
October 22, 2018, from http://gz.bendibao.com/news/201578/content192358.shtml
Honglie,Y., & Wenzhong, H., & Guangqing P. (2012). Xiguan Mansion and Shop house.
Guangzhou: Jinan University Publishing
Hughes, P. (2015). Exhibition design: An introduction. London: Laurence King Publishing.
Li, M. (2010). Cantonese Cuisine. Guangzhou: Guangdong Education Publishing.
CANTONESE CULTURAL CENTER 63
McKenna-Cress, P., & Kamien, J. (2013). Creating exhibitions: Collaboration in the planning,
development, and design of innovative experiences. Hoboken, NJ: Wiley.
Minghong, S. (n.d.). Travel Guide in Guangzhou. Retrieved April 4, 2019, from
http://www.foreignercn.com/index.php?option=com_content&view=article&id=897:travel-
guide-in-guangzhou&catid=29:travel-in-guangdong&Itemid=118
Qi, L. (2013) GuangFu MinJu. Gunagzhou: South China University of Technology Publishing
Wang, H. (Ed.). (2016, October 20). 老城改造范本彰显岭南文化魅力. Retrieved April 4, 2019,
from http://fs.southcn.com/f/2016-10/20/content_157964147.htm
Wang, Q. (2016, February 17). 广州西关大屋几乎绝迹 一大 ... - cul.china.com.cn. Retrieved April
4, 2019, from http://cul.china.com.cn/cswh/2016-02/17/content_8578026.htm
Xiguan House. (n.d.). Retrieved November 6, 2018, from
https://www.chinatouradvisors.com/attractions/Guangzhou-Xiguan-House-1181.html?id=1181
广州仅存一家的粤剧茶楼 回味旧日时光 The only Cantonese opera in Guangzhou. (2017, March
15). Retrieved August 8, 2018, from
http://travel.cctv.com/2017/03/15/PHOAnJ2DNgi2u4vQ5fIZVnhY170315.shtml
广州民俗博物馆陷窘境 一上午不超 5 个游客. (2014, August 11). Retrieved April 4, 2019, from
http://www.chinanews.com/cul/2014/08-11/6478255.shtml