The Eastern Practice of Feng Shui and Its Role in Western Architecture
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Recovering the Sense and Essence of Place: The Eastern Practice of Feng shui and its Role in Western Architecture By Kelly Wai Ying Lam A thesis presented to the University of Waterloo in fulfi llment of the thesis requirement for the degree of Master of Architecture Waterloo, Ontario, Canada 2008 © Kelly Wai Ying Lam 2008 AUTHOR’S DECLARATION __________________________________________ I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required fi nal revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. iii THE aim of this thesis is to understand, identify and test the fundamental qualities of feng shui so as to examine its applicability and relevance in western architectural design practice. While the word “feng shui” has gained popularity and even acceptance in North America during the last number of decades its principles are not well understood or integrated in contemporary western architectural practice. This stands in strong contrast to eastern cities such as Hong Kong where very few structures are built without consulting a feng shui expert. Indeed, feng shui has a long history of contributing to the shaping of Chinese culture, where it is a practice that has infl uenced the form and planning of Chinese cities, palaces, villages and cemeteries alike. Critical to the practice of feng shui is the ABSTRACT understanding of its roots, which reach deep into traditional Chinese observations about nature that are at once profoundly spiritual and practical. These observations led to a belief in the existence of a silent dialogue between man and nature that lies beneath the surface of all things. This dialogue is believed to be carried along by the fl ow of qi, the Chinese name for energy that animates all forms of life. The optimizing of this energy in order to benefi t humankind became a key factor in the widespread popularity of feng shui. Based on these underpinnings it is easy to understand both the allure and mystifi cation surrounding feng shui in western culture. This thesis rests upon the belief that the eastern practice of feng shui offers a long standing alternative approach to the western worldview of architecture, as well as a vastly different way of looking at the relationship between people and the environments they inhabit. v I would like to take the opportunity to thank the following people who made this thesis possible: Many thanks to my wonderful and supportive committee: My supervisor Andrew Levitt, who provided me with great guidance on all my work; and my advisors Lloyd Hunt, who gets straight to the point and keeps me on track (thanks for introducing me to true Northern Ontario climate; blood-sucking black fl ies and all!); and Anne Bordeleau, whose patience and sensitivity during our long talks in Cambridge are very much appreciated. The feng shui practitioners, Malca Naroll and Marcia Small, who took time out of their busy schedules to meet with me and answer my many questions; and Helen Doherty, ACKNOWLEDGEMENTS whom generously offered her knowledge and experience from her practice via many extensive emails. Richard, who has always been there throughout this entire process and pushed me along by persistently trying to motivate me. My dear sister Kate, whose blunt criticism of my work is always internally valued although perhaps externally dismissed. And fi nally, my always supportive parents, who made an important decision eighteen years ago to move halfway across the world from the East all the way to the West, giving me now the very best of both worlds. vi Preface ................................................................................................................ xiii PART 1: FENG SHUI 1.0 Principles of Feng Shui 1.1 Overview .................................................................................................... 2 1.2 Principles of Feng Shui .................................................................................. 5 The Yin-Yang Principle ........................................................................ 6 The Five Elements ............................................................................. 7 The Environment ............................................................................... 9 I-Ching and Divination ....................................................................... 10 1.3 The Concept of Qi ........................................................................................ 14 1.4 Schools of Feng Shui .................................................................................... 16 Form School ..................................................................................... 17 Compass School ................................................................................ 19 TABLE OF CONTENTS Flying Star Feng Shui .............................................................. 20 Eight Mansions or East-West School Feng Shui ............................ 20 1.5 New-Age Feng Shui ...................................................................................... 21 2.0 Feng Shui: Identity + Placemaking 2.1 The Universal Nature of Feng Shui .................................................................. 24 2.2 Feng Shui: China’s Placemaking Identity ......................................................... 25 PART 2: EASTERN/WESTERN DICHOTOMIES 3.0 Eastern/Western Dichotomies 3.1 Cultural Differences ...................................................................................... 32 3.2 The Revival of Tradiion .................................................................................. 35 4.0 Superstitions and Myths of Feng Shui 4.1 Misconceptions of Feng Shui .......................................................................... 38 5.0 Case Studies 5.0 Precedents .................................................................................................. 42 viii 5.1 Forbidden City, Beijing, China ........................................................................ 42 City of Feng Shui ............................................................................... 42 City of Symbols ................................................................................. 44 5.2 Cemeteries, Hong Kong, China ...................................................................... 46 5.3 HSBC Headquarters, Hong Kong, China ........................................................... 48 5.4 Bank of China, Hong Kong, China ................................................................... 52 5.5 Falling Water, Pittaburgh, USA ....................................................................... 56 5.6 Conclusion .................................................................................................. 59 PART 3: DESIGN EXPLORATION 6.0 The Feng Shui Integration 6.1 Feng Shui-Architecture Crossover ................................................................... 62 7.0 Design Project: Feng Shui House 7.0 Introduction ................................................................................................ 66 7.1 The Beginning ............................................................................................. 66 7.2 The Site ..................................................................................................... 68 7.3 The Design ................................................................................................. 72 7.4 Design Alterations ........................................................................................ 78 7.5 Flying Star Geomantic Chart .......................................................................... 86 7.6 Colours ...................................................................................................... 90 7.7 Materiality .................................................................................................. 93 8.0 Conclusion: The Nature of Feng Shui ............................................................. 102 8.1 Epilogue ..................................................................................................... Note: All Chinese characters 107 in the text are written in the traditional Chinese style. The pinyin written in italics refers Bibliography to its Cantonese pronunciation Bibliography ................................................................................................ only in the preface; found 110 anywhere else, the pinyin Feng Shui Resources .................................................................................... 113 refers to its Mandarin Chinese pronunciation. ix LIST OF ILLUSTRATIONS 5.0 CASE STUDIES 43 5.1.1 Photograph © Hedda Morrison Page No. Source 43 5.1.2 Photograph © kinabaloo.com, www.beijingguide2008/ forbidden_city/fcb.html 1.0 PRINCIPLES OF FENG SHUI 44 5.1.3 Image © Cate Bramble, www.qi-whiz.com/node/1094 4 1.1 Photograph by Eva Wong, A Master Course in Feng Shui, page 68 45 5.1.4 Photograph © kinabaloo.com, www.beijingguide2008/ 6 1.2 Illustration by Eva Wong, The Ancient Wisdom of forbidden_city/fcc.html Harmonious Living for Modern Times, page 42 45 5.1.5 Ibid. 7 1.3 Image by author 45 5.1.6 Photograph © kinabaloo.com, www.beijingguide2008/ 8 1.4a Photograph by T. Beth Kinsey forbidden_city/fcx2b.html 8 1.4b Photograph by Julie Park 46 5.2.1 Photograph © Daniel Klobucar, 2000 8 1.4c Image by Deco-Art, www.deco-art-uk.com 46 5.2.2 Photographs © by Ken Rahb, June 1999 8 1.4d Larry Sang, Principles of Feng Shui, page