The Eastern Practice of Feng Shui and Its Role in Western Architecture

Recovering the Sense and Essence of Place: The Eastern Practice of Feng shui and its Role in Western Architecture

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.

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 19-21 47 5.2.3 Ibid. 9 1.5 Photograph by Stephen Skinner, K.I.S.S Guide to Feng 48 5.3.1 Photograph © Wing, 2008 Shui, page 66 48 5.3.2 Process Architecture issue #70, page 71 10 1.6 Eva Wong, Op.cit., page 15 49 5.3.3 Photograph by author 10 1.7 Ibid., page 16 49 5.3.4 Process Architecture issue #70, page 43 11 1.8 Larry Sang, Op.cit., page 18 49 5.3.5 Stephanie Williams, Hong Kong Bank: The Building of 11 1.9 Daniel James, www.danjamesresearch.blogspot.com Norman Foster’s masterpiece, page 105 14 1.10 Stephen Skinner, Op.cit., page 88 50 5.3.6 Process Architecture issue #70, page 85-86 18 1.11 Evelyn Lip, What is Feng Shui? page 18 50 5.3.7 Sketch by geomancer Koo Pak Ling 21 1.12 Rocket Web Designs, www.windwatrcanada.com/whatisfs.htm 51 5.3.8 Photographs by author 51 5.3.9 Stephanie Williams, Op.cit., page 258 2.0 FENG SHUI: IDENTITY + PLACEMAKING 52 5.4.1 Photograph © 2003 E. I. du Pont de Nemours and 25 2.1 Photograph taken on February 2002 © 2007 Digital Globe Company 25 2.2 Image © Chong Jeon 53 5.4.2 Photograph by author 26 2.3 Renderings © BBC News MMVIII 54 5.4.3 Photograph by author 28 2.4 Joseph Needham, The Shorter Science and Civilisation in 55 5.4.4 Photograph © Prestell Verlag China: vol.1, page 201 57 5.5.1 Photograph by author 57 5.5.2 Photograph by author 4.0 SUPERSTITIONS + MYTHS OF FENG SHUI 58 5.5.3 Frankin Toker. Fallingwter rising: Frank lloyd wright, E.J. 40 4.1 Feng Shui Mega Mall, www.fsmegamall.com Kaufmann, and America’s most extraordinary house, page 208 40 4.2 Ibid. 58 5.5.4 Ibid., page 151 41 4.3 Lillian Too, The Illustrated Encyclopedia of Feng Shui, page 95 58 5.5.5 Ibid.

x 59 5.5.6 Photograph by author 81 7.29 Photographs and model by author 59 5.5.7 Image © Western Pennsylvania Conservancy 82 7.30 Illustation by author 59 5.5.8 Photograph by author 82 7.31 Photographs and model by author 83 7.32 Floor plans by author 7.0 DESIGN PROJECT: FENG SHUI HOUSE 84 7.33 Floor plans and sketches of qi fl ow by author 67 7.1 Photographs by author 85 7.34 Sections and sketches of qi fl ow by author 69 7.2 Photograph by author 86 7.35 Table by Eva Wong 69 7.3 Photograph by author 86 7.36 Diagram by Eva Wong 69 7.4 Photograph by author 87 7.37 Chart by Eva Wong 69 7.5 Photograph by author 87 7.38 Geomantic chart by author 70 7.6 Photograph by author 88 7.39 Table by Eva Wong 70 7.7 Photograph by author 90 7.40 Photography © Rodney Hyett 71 7.8 Photograph by author 90 7.41 Photography © Ligne Roset (UK) Ltd. 71 7.9 Photograph by author 91 7.42 Photography © Neil Davis 71 7.10 Photograph by author 91 7.43 Photography © Tim Street-Porter 71 7.11 Photograph by author 92 7.44 Photography © Furniture from Home 72 7.12 Photograph by author 92 7.45 Photography © www.parisianfl at.com 72 7.13 Photograph by author 93 7.46 Photography © Neil Davis 72 7.14 Photograph by author 94 7.47 Parti illustration by author 73 7.15 Image © Google Maps 95 7.48 Illustation by author 73 7.16 Aerial photograph copyright County of Simcoe Land 96 7.49 Illustation by author Information Network Cooperative © LINC 2007. 97 7.50 Illustation by author 73 7.17 Diagram by author 98 7.51 Illustation by author 74 7.18 Photograph by author 99 7.52 Illustation by author 74 7.19 Diagram by author 99 7.53 Illustation by author 75 7.20 Table by author; information from Marcia Small 76 7.21 Diagram by author 8.0 CONCLUSION: THE NATURE OF FENG SHUI 76 7.22 Diagram by author 106 8.1 Photograph by author 77 7.23 Diagram by author 107 8.2 Photograph by author 77 7.24 Diagram by author 107 8.2 Photograph by author 77 7.25 Diagram by author 78 7.26 Photographs and model by author Note: All Chinese 79 7.27 Photographs and model by author calligraphy by author. 80 7.28 Photographs and model by author

xi heaven earth man

xii The grass is spreading out across the plain, each year it dies then ﬂ ourishes again. It is burnt but not destroyed by prairie ﬁ res, PREFACE when spring winds blows, they bring it back to life.

- Bai Ju-Yi (A.D. 772-846)

xiii PREFACE surrounded byreplicasof DRESSED the closeknitgatheringandreunionoffamilies. of wealth dish madewithablack,hair-like desertplant would include to feastondishesmadeespeciallyforthehopes ofanauspiciouscomingyear. Mandatory dishes in exchange forthehighlyanticipated money- before ourelderswithadelicatecupofhotteain ourhandsinanelaborate offeringofgoodwishes as ayoung childlivinginHongKong duringtheusualfestivities.Asyoung ones,wewouldkneel of familiesandthepotentialauspiciousofferings acomingnewyear. Irecallmemories of myself As oneofthemostimportantholidays inChineseculture,NewYear celebrates thewelfare every streetcorner; goodlucktrinkets andstatues areavailable instores; thereiseven awell- sold everywhere from largebookstoresto 24-hour convenience storestonewspaper standson while themedia bombardsthemasses withsuchinformation andknowledge.Almanac booksare of any inauspicious event thatmay occur. Childrentake intheactionsoftheirparents andelders shape ofarabbit was purchased andwas swiftlywrapped aroundmy sister’s neckinprotection taken intoconsideration, andquitesoonafterwards adelicategoldnecklacewith apendantinthe year was anticipatedtobeabadyear forthose bornunderitsstars.Certainprecautionsmust be has today). Unfortunatelyformy younger sisterandthoseborninthe year oftheOx,coming ceramic coinbankshapedlike acartoonmonkey toputonhisnightstand;itisanobject thathestill anything to do withmonkeys (latermy father, whoisborninthe year oftheSnake, purchaseda enhance luckforpeoplebornintheyear oftheDog,whilethoseSnake years shouldembrace people inthefamilywerecarefullynotedandremembered. Itwas forecastedwhatcolorswould masters aboutthegeneral luckforecastofthecomingyear. Information thatpertainstocertain in innocentplay whilethegrown-upsgatherbeforetelevision,eagertolearnfromfengshui 發財 inevery shadeofred,the fi ; orsweetChinesestuffedglutinousdumplings sh 魚 (pronouncedyu)whichsoundslike things inabundance;atraditional Chinese fi recrackers andChineseidiomswrittenelegantlyonwafer-thin papers. fi cial colorofChinesecelebration, childrenwouldbe 髮菜 fi lled redpockets. Families wouldgathertogether (pronouncedfatchoy) whichechoesthepromise

Afteranextensive meal,children wouldindulge 湯丸 xiv (tongyuen)thatsoundslike

of anasupiciouscoming especially forthehope feast ondishesmade gather togetherto “ Families would year. ” and acceptedwestern involved withChinese completely embraced I amstillverymuch society andculture, “ traditions. While Ihave ” Slowly, butsurely, I am beginningtorealize thatIhave avery uniqueidentity;Iam ahybrid fl dialect. Intheend,Iam eternallygrateful thatIamabletospeakandreadmy mothertongue attend Mandarinschoolon Saturdays; ifIhad,perhaps Iwouldnowbe hindsight, Ilamentover allthetimesIdidnotlistenwhenmy parents urgedmetocontinue overseas toToronto sothatmy familycancontinue topay respecttohimhere.) However, in Kong, wheremy grandfather was buried,thenblessedin aceremony andsubsequentlyrelocated visit my grandfather’s woodengrave plaque (thisplaquewas reproducedfrom an originalinHong columbarium attheBuddhist templenearbymy houseon the 1stand15thsofevery monthto newspapers fromHongKong. Also, my maindietremainsloyal toChinesecuisineandIgothe enjoy livinginNorthAmerica. Yet, Istillspeak completely tolifeinthewest.For example,IspeakEnglishthemajorityoftimeand genuinely society andculture,Iamstillvery muchinvolved withChinesetraditions; Ihave notlostmyself yearning toreconnectwithmy roots. WhileIhave completelyembraced andacceptedwestern when everything nowissonew and different.Growingup, there have beensignsofanunderlying faster thansomeoneoldercanever manage;you donotfeellike you have leftanything behind you areabletoadaptquickly anewsituation;you canpickupanewlanguageimmeasurably have grown accustomedtoduringmy earlieryears. Whenyou areachildin newenvironment, to recapturethesamefeelingofalargefamilygathering duringspecialholidays; somethingthatI have intheplacewhereIwas born.Withthemajoritymy relatives stillinHongKong, itishard immigrated to Toronto shortlyaftermy eighthbirthday. Ihave nowlived inCanadalongerthanI These areimagesandmemoriesofthepast.Ihave notexperiencedthesefestivitiessincemy family knowledge andwisdomforaprice. known streetthatis uently; however, my Chinese writingleaves somethingto be desired. fl anked bypalmandfacereadersoneithersidereadytooffertheirintangible xv fl uent CantoneseandIreadmagazines fl uent inanotherChinese

PREFACE PREFACE have onlydiscovered thetipoficeberg. To trulyunderstandand As my study offengshuicommencedinthebeginning year 2007, itissafetosay thatI a comprehensive acceptanceinacountryforeigntoits origins. transitional phasethatrequirestimeand efforttotrulyunderstanditsvalues before itcangarner world. Thepractice offengshuiisina similarsituationastheChinesecultureitself, currently ina that thisway ofthinking,freethebonds ofbeingexcessively rational, hasauniqueplaceinthe all, theirbeliefinluck,destiny andfengshuiareanintrinsic partofthecultural identity. Ifeel eastern way of thinking.Thetradition ofChinesethinkinghasmany differentcriterion, butabove some ofthecredulousaspectsChinesetraditions canbeunderstoodbyainvestigation intothe into my educationasanarchitectis important tomeaswell.Ifeelthat,forlackofbetterwords, west whiletryingtopreserve my roots ineasternvalues. Howthisjourneycanbeincorporated amount oflearning frombookscanever preparesomeonefor the realityofasituation. However, profession, the mostvaluable assetonecanobtainis personalexperiencein the feng shuirequires adedicationthat goes beyond theyears ofeducationinvolved. Aswithevery blurred thresholdthatneedstobeclari between heritageandtradition withthemodernnotionofprogressandimprovement. Thereisa the growingacceptanceofChineseculturein west,thereisstillafundamentaldisconnection Reminiscing uponthesefamilygatheringsandChinesefestivities,itbecomesapparent thatdespite the lastdecadeincityofToronto tothepointwhereithasachieved a traditions, cuisine andway oflife.ThepopularitytheChineseculturehasslowly beenthrivingin of Chinesepeopleimmigrate to places intheWest, theybringalongtheirowncultural values, it isnotsomethingthatyou can ridyourself ofbylivinginthewest.Asanincreasingnumber Since Ilived inHongKong foreightyears andwas raised withstrongtraditional Chinesevalues, culture andadoptingittofurthermyself inevery aspect,andthatisapowerfulposition tobein. – amixbetweenEastandWest. Inowhave theoptionofweighingoutbesttraits ofeither fi ed inmy ownidentity, asaChinesefemalelivinginthe xvi fl uently wieldthepowersof fi rm footholdinthecity. fi eld andno

excessively stagnantor rational, hasitsunique “ place intheworld. of thinking,free the bondsofbeing I feelthatthisway ” “ architectural practice... upon therigidityof up adifferentrealmof timeless practicesuch I believethatdesigning thinking thatexpands as fengshuicanopen with principlesofa ” rendering designstoberesponsive totheunseenenergiesofenvironment. can openupnewways ofthinkingthatexpandscontemporary architectural practice, potentially practices. Ibelieve thatdesigningwiththeprinciplesofatimelesspractice suchasfengshui of thisthesistorecover andreinterpretfengshuiforuseincombinationwithwesternarchitectural and themissingsensitivitytowards occupantsonametaphysical andintangiblelevel. Itisthegoal with asupplementaryphilosophy thatwouldaddressthe incompatibleissuebetweenarchitecture can be,attimes,toorational thathasleftavoid intheequationofdesign.Thisvoid canbe potential offengshuiasafuturedesigntoolinmy architectural career. Contemporary architecture its inherentlinktotraditional Chinesecultureandidentity, thisisanopportunitytoexplorethe in anattempttoclarifytheconfusionthatsurroundscurrentpractice offengshuianddiscover xvii KELLY LAM ﬁ lled

PREFACE

PART 1: FENG SHUI

Hills are empty, no man is seen, yet the sound of people’s voices is heard. Light is cast into the deep forest, and shines again on green moss.

- Wang Wei (A.D. 701-761)

1 1.1 OVERVIEW

THE Chinese believed there were fi ve determinants of life. These determinants were all interrelated and they participated in the general make up of a specifi c person at any one moment in time. Vincent M. Smith, a feng shui teacher and consultant, outlined the fi ve criteria in his book, Feng Shui: A Practical Guide for Architects and Designers1:

1. Karma 因果報應 Inﬂ uential factor from a previous life and actions of one’s current life. 2. Destiny 命運 The pre-ordained power of the cosmos of a moment in time

PART 1: FENG SHUI 1: FENG PART distilled into the destiny of a person at the moment of birth. 3. Luck 運氣 The auspiciousness of different moments in time. 4. Effort 努力 A changing and discretionary factor that may impact the outcome of destiny; knowing of what is within one’s control and ability and PRINCIPLES OF what is not and making an effort to work for it.

1.0 FENG SHUI 5. Feng Shui 風水 The environmental determinant of the auspicious potential affecting people’ lives.

These fi ve factors in a person’s life fall into three distinct categories which form the trinity of luck: heaven luck, mankind luck and earth luck. A person’s destiny is determined by his/her heaven luck (Karma and what he/she was born with), human luck (hard work, education, and good deeds) and earth luck (environment and surroundings factors). The practice of feng shui is to improve and enhance people’s earth luck. Feng shui falls under one of the categories of the fi ve Chinese Metaphysics: Mountain (study of landforms), Medicine (study of traditional Chinese medicine), Divination (study of I-Ching and the Chinese oracle), and lastly, the art of Chinese Physiognomy which includes areas of study like face reading, palm reading, and feng shui2. Physiognomy refers to the observation of appearances through formulas and calculations in order to assess the potential and outcome of a person, or in this case, the outcome of a person living in a certain property or working in a certain space in an offi ce. In a way, the purpose of feng shui is to

2 foretell the fortune of a building or space and its occupants through observations of the factors in the surrounding environment. The term “feng shui” refers to an ancient form of geomancy – divination by geographic features – a discipline that was revered in many ancient cultures (Celtic, Egyptian, and Chinese) but was progressively forgotten as the ancient civilizations eventually disappeared or evolved. It is composed of the amalgamation of several theories and addresses multiple applications, including timing of construction, building orientation, overall symbolic design and decoration. This created a dynamic science focused on the compatibility of the relationship between a building, its surrounding environment and the occupants of the space. To the ancient Chinese, the art and science of feng shui was preserved through elite scholarship. Only deserving, well-educated scholars were allowed to study and practice it; their service was reserved to those

of high social class and, at times, exclusive to the Emperor. PART 1: FENG SHUI

The exact origin of this ancient practice is unclear as multiple systems of feng shui developed in It is like the wind, which various parts of China during different times. While it is diffi cult to pin point the precise beginning you cannot comprehend, of the practice of feng shui, it is believed that it was during the T’ang dynasty 唐朝 (618-907 and like water, which you cannot grasp3. AD) that K’an Yu, as the mother of feng shui, fl ourished as a science4. The ancient term K’an Yu implies the action “raise the head and observe the sky above. Lower the head and observe the - Ernest J. Eitel environment around us,” 5 – an observation of human beings’ role as mediator between Heaven and Earth. The art of k’an yu, the precursor of the Compass School (discussed later in the text), relies on astrology and numerology as a means of predicting qi on a cosmic scale. Sophisticated feng shui methods were not used offi cially until the T’ang dynasty, while prior to that feng shui was only an art of site selection or using elemental Yin and Yang methods and theory to choose an optimal burial spot6. During this period, under the welfare of political stability, Taoist arts and geomantic sciences were able to thrive. While the compass was used in China as early as 80 AD7, it was also during the T’ang dynasty that the luopan 羅盤 was incorporated into the practice of K’an Yu as a professional tool. This circular tool consists of sixteen concentric rings surrounding a compass, with the rings divided into twenty-four segments, or directions. As the popularity of feng shui grew, its integration into traditional Chinese architecture was followed extensively by the rich, and even those of lower rank tried to incorporate their limited knowledge of the practice. Hence, cities in ancient China were planned in a way that ensured both the natural and the build

3 PART 1: FENG SHUI helped securetheirhigh positions insociety China becauseemperors andnobleskept thepoweroffengshui tothemselves, astheybelieved it culture, especiallyinHong Kong, Taiwan andMalaysia. Feng shuiremained obscureinpremodern Classical andtraditional fengshuiisstillconsideredimportant insegmentsofmodernChinese be respectedandpreserved. affect theuniverse insomeway oranother. Therefore what naturebestowedupontheearthmust changes itaffectshumanexistenceandtheirwell being;atthesametime,people’s actionsalso adapt forsurvival. Itis apush-pullrelationshiphumanbeingshaswiththeuniverse: astheworld the Universe inwhichtheylived. Astheuniverse changes,humanbeingsmustalsochange to the threemainteachingsofChina.TheConfucian theoryperceived humanityasasmallpartof Chinese ethicalandphilosophicalsystemofthought, which,alongwithBuddhism belief intheunityofallthings,practice alsostemmedfromConfucianism While fengshuiismainlyrootedintraditional Taoist values wherethereverence fornatureand became artifactsofproofwhatfengshuimasters achieved inancientChina. environments thatwerefavorable topowerandsothesepalaces,cities gardens eventually ﬂ embody oppositecharacteristics: void andsolid,opennesscloseness,curved andstraight, designed inaharmoniousbalanceoftheTaoist ideasofyinandyang. Chinesegardenswould live within.Traditional Chinesegardensand landscapesweretheepitomeofyin-yang interplay, Buildings wereconstructedtoenhancethewellbeing,wealthandrelationshipsofthosewho environment couldbemadetoenhancepositive energy;thisinturnaffectspeoplepositively. 毛澤東 partly dueto theCultural Revolution inthemid-20th centuryduringthe leadershipofMaoZedong in thePeople’s Republic ofChinatoday asitisoftenthoughtof aspeasantsuperstition. Thisis of devotion. Even thoughfengshui originated inChina,itspractice was actuallyless common pursue itasacareermust meetstringentcriteriaasitmeantpersistence, humilityandaifetime the divulgenceofitstechniques andknowledgeweretreatedwithveneration. Thosewhowant to uid andstagnant,water andhill.Emperorsinsistedonusingtheprinciplesoffengshuitocreate that setabout destroying mostofthe oldcultureofChina, makingitillegaltopractice 8 . Asaresult,fengshuibecame aguardedsecretand 4 儒學 , theancient 佛教 formed

Fig.

1.1 Aluopan 羅盤 . “ feng shuiiswindand The literalmeaningof water. ” THE 1.2 through theobservations andanalysisofan individual’s livingenvironment. the contemporary sense,fengshui canbeseenandusedasanartofassessingthequalitylife orientation ofman-madestructuresinalignment with theenvironment withminimaldisruption.In to maintainorderandharmony through adherencetomoral conduct,ritualobservances, and the Man, theybelieved, formedanessentialtrinitywith Heaven andEarth. Humanbeings’rolewas combined. To fengshuimasters,theearthisalivinganddynamic lifeformwithitsownbreath,qi. the virtuesofTaoist andConfuciancodeofethicsthetenets fengshuiprincipleswere in booksandpractitioners whohave escapedtoHongKong andTaiwan. Intraditional fengshui, feng shuionthechargeoffraud following: astronomicalphenomena, natural phenomenaandtheireffectsonhumanbehavior Taoist philosophies.Theprimitive knowledgeoffengshuiwas basedontheobservation fromthe developing throughouttheexistenceofChinesehistory andcivilization,having its rootsfromthe intelligent relationshipwith naturetoensuretheirprotectionandsurvival inthisworld.Ithasbeen designing andplanningbuildings andcities.For many centuriesthe Chinesehave relieduponthis in, representingatraditional Chinesearchitectural theoryofselectingfavorable sitesaswell principles andpractices aimedtocreateaharmonized builtenvironment forpeopletolive andwork fertility and natural environment; thewindandmountainairthatprevails andthestreams andrain thatbring Even thoughtheeffects offengshuicannot be entirelyproven byscienti through time andthereforecanprovide explanationstowhy certainthings happeninpeople’s lives. and theories stemfromlogicalconclusions aboutnatural causeandeffects thathave endured outcomes and potencyofhumanactions. Asfengshuiisbased onthelawsofnature, itspractice successive generations ofsagesandmastersmeticulouslymeasuring, recording andanalyzingthe Feng shuiprinciples wereestablishedthousandsofyears agofromtheextensive experience of PRINCIPLESOFFENGSHUI literal meaning offengshuiiswindandwater. Itstandsfortheforces that shapethe ﬂ oods. Theircompositemeaningpointsto the dynamismofworld.Feng shui 5 9 . Theessenceandaccuracy ofthepractice hasbeenkept alive 風水 ﬁ c means, itsfundamental 10 .

PART 1: FENG SHUI PART 1: FENG SHUI The Tao conceptofsimplicity andnon-interferenceevolved fromancientChinese observations of not architects. and siteplanning.Such imperative disciplineswereoriginallyadopted byfengshuimastersand the phenomenaofnature, therebyformingprinciplesthatareappliedtodisciplines ofarchitecture Feng shuiisrootedintheChinesephilosophy ofTaoism THE YIN-YANGPRINCIPLE needle. Itisinevery senseaprecisescienti which translates theearthlyandheavenly situationsintoconcentricrings aroundanavigational results. Themainapparatus usedbyfengshuipractitioners isthefengshuicompass,orluopan, ideas, practice andimpactonhumanlifecansurelybeappreciated bythosewhobene counteract the aspectsofnaturethataffectpeople’s welfareandlivingconditions. for theimprovement ofpeople’s lives. Formulas andtechniquesaresubsequentlydeveloped to these cosmicandearthlyenergiesfengshui is atoolforpeopletoharnessthistypeofpower producing positive ornegative results accordingly. Humanbeingsareaffectedbythechangesof into the everything ismadeofqi,thevital energyinalllivingthings.Thisisfurtherbroken up the productive anddestructive cycles oftheFive Elements.Chinesephilosophy preaches that principles arederived fromthe combinationofconceptssuchasqi,theYin-Yang theoryand impose adverse in version ofthecompass.Those whostudyfengshuirecognizes thattime,spaceandweather combination ofallthree–fengshui.” and alchemy), superstition(astrology, shamanism,fortune-telling), andlastly–apeculiar nature sprangearlyChinese religion(Taoism),science(astronomy,geology, magnetism, into thegrandscheme, the harmonyandimmortalityofnature.From this reverencefor way, anidentitywiththe cosmos.Poets,artists,andphilosophersalike allyearnedto “Taoist thinkersbecame disciples ofnature:idealizingit,seekingaharmony withthenatural fi ve basicChineseelements,whichinteract with each otherindifferentways, thereby fl uence andcreatesimbalance in alllivingthings.Therefore,itsfundamental 陰陽 11 fi c instrument;itsdesignissimplyamorecomplicated 道教 , whereitgathersinsightsdirectlyfrom 6 fi ted fromthe fi t Fig. 1.2 it mayberegardedasMotherofthe before theexistenceofHeavenand “There wasaBeingalreadyperfect It standsaloneandchangesnot! For atitlewecallittheTao The GreatUltimate Reaching everywhereand It iscalm!formless! I donotknowitsname. inexhaustible, Universe. - LaoTzu Earth. t’ai-ji . 12 .” Fig. 1.3 Wood, Fire,Water andEarth. The Five Elements:Metal, the ever-changing aspects ofnature. their lives andcyclical changesin thehumanbodywereintrinsicallylinked totheenvironment and the balanceandequilibriumtoachieve harmony withtheenvironment. Taoists acknowledgethat Through thepatternsofTao, onecanbegintograsp thefundamentalsoffengshuiandseek is bornfromyang, andyang resides andisbornfromyin,forever beingcreatedanddestroyed. dichotomy ofyinandyang isabout achievingabalancebetweenthetwopolarities;yinexistsand exist; withoutoldthereisnonew;anddeath thereisnolife.InChinesephilosophy, the they areinharmony. Eachdependsontheother, forwithoutcold,theconceptofhotdoesnot feminine, whileyang islightandactive, whichembodiesthemasculine.Whenunited,however, universe, withnode – was created.Thissymbolisusedto depicttheinde will reactwith oneanotherindifferent ways. The sequence producedfrom thereactionsbetween also madeup ofenergieswhichhave theirown uniquefrequencyand wavelength, therefore they an example; itrepresentstheenergy ofvegetation growth.Eachof thesephysical elementsare underlying energythatconstantly changefromoneelementtoanother. Take thewoodelement as The THE FIVEELEMENTS derived. Itisfromthiscyclical process thattheyinyang symbol,t’ai-ji the theoryofYinandYang, twoprimalopposing,yet interdependentenergies of theuniverse were opposites like theyearly cycles ofsummerleadingtowinterandthenreturningsummer. Thus, union ofinteracting opposites.TheTao isarecurring processofchangeandcreationbetween human beings’fates.Asaprinciple,Tao isbestunderstoodasastateofequilibrium;harmonious nature andtheiridenti air, earth andwater. Instead,theChineseidentify fi all traditional Chinesehealingandmedicinal practices. Theway theChineseappreciates ve elementsisnotthesameway theancientGreeksperceived theworldtobemadeupof fi ve elementsisanimportant theorythatisvitaltothepractice offengshuiandunderpins fi ned beginningorend.Yinisdarkandpassive thus representingthatofthe 五行 fi cation withit.Taoists observed thecyclical pathofnatureandtheeffectson 7 fi nitemovement andceaselessactivityofthe fi ve elementsasexamples oftypes 太極 – theGreatUltimate fi re,

PART 1: FENG SHUI PART 1: FENG SHUI Fig. 1.4d interact isoneofthe mainkeys in understanding fengshui essential forplantgrowth(Wood). Fig. 1.4a The Productive, Dominating/Destructive and Reductive cycles ofthe Five Elements. Theserelationshipsand theway theenergies Productive Cycle: Water is being extinguishedbyWater. Fig. 1.4b . Destructive Cycle: Fire 8 generates rustonMetal. Fig. 1.4c Reductive Cycle: Water o h lmns oftheelements the ﬁ ve elements assists feng shui practitioners in analyzing and interpreting the natural energies surrounding and existing within people. It is the concern of feng shui to balance any element that is not in sync with its natural sequence with the other four elements. If any element is lacking or in excess, then the key is to re-balance by draining, controlling or feeding the element with one of the other four. The three reaction cycles on the previous page are crucial in understanding how feng shui can impact the environment. These cycles outline certain directions, colours or materials that certain people should avoid, while others could embrace. “Feng shui focuses on the more spiritual and THE ENVIRONMENT 環境 energetic sensibility of a place - the genius loci.” Those who utilize feng shui believe that certain spaces are more sacred than others, and that PART 1: FENG SHUI distinct features of the environment can affect the overall wellbeing of a person. If people applied feng shui principles to their surroundings, they could balance and improve their lives. Feng shui focuses on the more spiritual and energetic sensibility of a place – the genius loci. Feng shui theories recognize that other than essential physical elements such as wind and water, certain intangible energies also permeate the earth and animate the forms of nature.

It was under the reign of the legendary Yellow Emperor that China began the period of agricultural and animal domestication13. Through people’s primitive agricultural, building and dwelling experiences, the Chinese started to form the traditional concept of searching for the optimal site to make human settlements a harmonious part of the natural world. The rural farmers in China were aware of the patterns of the universe and were adept at using form and placement to ensure the best harvest of their crops and the safest and most imposing orientation for their homes. These techniques were originally used by farmers in ancient China who lived along the banks of the Yellow River 黃河. Notorious for its occasional ﬂ ooding force, China’s mother river is both worshipped and feared by those who dwell in its midst; hence the farmers’ primary concern was to shield themselves, their farms and crops from the harsh winds and untamed waters. A site

Fig. 1.5 The unique landscape of Guilin is was considered fortunate if it was sheltered from devastation. It was considered most fortunate the inspiration of the ideal feng shui model. if the winds were gentle and the water was kept to a gentle meandering, as that would bring

9 PART 1: FENG SHUI to goodhealthandprosperity. while theinternalenvironment was ofsecondaryimportance.Acombination ofbothwouldlead importance was theexternalsurroundingofadwelling which includedthedirectionandlandform, selection ofafavorable siteandhowtomaximize theenergyofanexistinglocation.Offoremost people dependingonhowtheearth’s latentenergywas distributed. Theprimaryconcernwas the sites initsorientation,spatialorganizationandirrigation, whichinturnaffectedtheprosperityof Earlier Heaven Ba-Gua sage named FuXi history ofI-Ching literally rosefromthe depthsofthewaters andisconnectedtoagreatChinese roots, whichisbasedon theancientChineseoracle calledI-Ching theBookofChanges.The developed. Asitwas furtherre system ofunderstandingplanetaryalignmentsand theireffectsontheearth’s magnetic T0 I-CHING sages whothendevoted timeto re people. Theserudimentaryfengshuitechniques cametotheattentionofwandering scholarsand considered tohave aspiritoftheirown,hencethiswas regardedwithadeepreverence bythe provide protectionfrom the harshwindsblowingfromnorth.Bothwindandwater were should optimallyhave natural landformelementssuchasmountains,hills ortrees,whichwould as wellensuringthattheircropswouldcatch the lastrays ofthesettingsun.Theoverall site sunlight penetrating thedwellinginwinterwhileinviting coolbreezes induringthe summer naturally higher groundforirrigationpurposes.Thisorientationwouldmaximize theamountof located onthenorthernsideofriver bendandbuiltonaraised platformorpreferably ona water. Thedwellingwouldbefacingsouthwiththebacktowards thenorth.Itis optimaltobe live inaplacewhereitwas incloseproximity toariver course,whichwouldsupplyfreshclean comfort, prosperityandfertilitytothedwellers.TheancientChinesewouldtypicallychoose from thedepths oftheRiver He delve down tothevery rootoffengshui, onemusttrace backnotonlytoTaoism, buttoits 易經

AND DIVINATION 伏羲 whodiscovered the patternofHe-Tu 八卦 usedtodescribe theorderofuniverse. The imagesdescribed 卜 fi ned, fengshuidictateddesignjudgmentonbuildingsandburial 14 . Theimage oftheHe-Tu laterbecamethe8trigrams ofthe fi ning theprinciplesoriginatedbycountrypeople.Hence,a 河圖 ontheback ofahorsethatrose 10 fi eld was eld Fig. 1.6 Fig. 1.7 The He-Tu onahorse. The Lo-Shu onthe shellofatortoise. Fig. 1.8 The He-Tu andLo-Shu. Fig. 1.9 The 64 hexagrams of theI-Ching. 11

PART 1: FENG SHUI PART 1: FENG SHUI as theLaterHeaven Ba-Gua,whichwas usedtopredictthephenomenonof process that involves acomplexsorting andre-sortingof50yarrow sticks,which isthestalkof The mostancient andmostcomplicated methodofI-Ching divination istheyarrow stalkmethod, a remember in theactualdivinationprocess wheredifferentmethods ofrandom generation are used. and non-moving linesthatarepositive are7sandnegative are 8s.Thesenumbersarecrucialto turns intostableyang andviceversa. Positive linesthatchangeare9whilenegative linesare6, and iftheyhave increasingdynamism (changing),theyturnintotheiropposites: a changingyin possible conditioninheaven andon earth.Positive lines aresolid,andbroken linesare negative exact opposites.Thereare 4,096possiblecombinations(64x64),whichis saidtorepresentevery change intooneanotherthrough themovement ofoneormore ofthesixlines;theychangeintotheir world situationscontinually changeandreconstitutethemselves. Eachofthe64hexagrams can however, itisalways possiblefortheindividuallines tochangeandregroupthemselves; justas consist ofsixlines,andrepresenttheactualconditions intheworld.Withinhexagrams, original purposeoftheI-Ching was toconsultdestiny throughdivination. Thehexagrams, each of I-Ching, whichwouldeventually leadtothesystematicformation ofthefengshuipractice. The the future.Thusthisdiscovery wouldinduecoursemarkthebirthofancientdivination method earth, ancientChinesesageswereabletoextract informationthatrevealed certainthingsabout Through thesurveillance ofstars intheskiesreferencetoevents thatnaturally unfoldon The workingsoftheFlyingStarsystemwillbediscussed inthenextsection. direction; instead,theirpositionswillchangeaccording tothemonthandyear oftheNineCycles. the key vehicle ofdivination. Inscribedinthegrid,trigrams arenolongertiedtoastationary Lo-Shu totheNinePalaces, anine-squaregridusedintheFlyingStars methodoffengshuiis sequence ofhexagrams usedincontemporary versions ofthe I-Ching. Thetransformation ofthe Each trigram is associatedwithanumberandcolour, andtogether theyformthetraditional sea turtlethatemergedfromtheRiver Lo (yin) isthereceptive principle.KingWen ﬁ underlying structureandnatureofallthings,FuXiconstructedanswersintheform64 gures, 6linesstacked oneabove theother:solid(yang) isthecreative principle, orbroken line 周文王 15 hencetheimagewas calledLo-Shu laterdiscovered adifferentimageontheshellof 12 ﬂ 洛書 ux andchange –laterknown 16 .

represent everypossible condition inheavenand possible combinations, “ which issaidto There are4,096 on earth. ” Chinese traditionevento with destinyisastrong “ The desiretoconsult this day. ” to bethemoreaccurate andprecisemethodthanthetossingofcoins than toexpandenergy, whichisa yang concept.Therefore,utilizingyarrow stalkwas considered would gripthisbambootube that involved theuseofhollowed-outbambooascontainerstoholdabatchwoodensticks.One palm andface-readingrelatedbooks.Thereisamethod ofdivinationavailable inBuddhisttemples Destiny whereinanindividual’s exactmomentofbirthisstudied toreveal cluesofone’s destiny), or this day, asevident inthevast amountsofalmanacs,BaZi for theirdivinationpowers.Thedesiretoconsult withdestiny isastrongChinesetradition even to and even intheformofdowsing forwater. Theseindividualswerespecialandthereforerespected using various methodsranging fromthetossingoforacle bonesandcoinstothescattering ofrice In ancientChina,oracles, orprivilegedindividualswithsuchpowersandknowledge,woulddivine lines. Thiswas supposedlyare I-Ching, thetraditional useofyarrow stalkswas biasedtowards generating moreyinthanyang According toChrisJ. Lofting,anavid researcherontherelationshipbetweenmathematicsand process whiletryingtomaintainthesamemathematicalrandomness astheyarrow stalkmethod. yarrow plant.InmorerecenttimestheThree-Coincastingmethodwas introducedtosimplifythe of experience tobeabledivineor foreseethepossibleenergetic qualitiesofaspace through in a place.Within thevicinityofthisspace, allobjects-animate orinanimate-aresubjected tothe However, whatis importanttonoteisthatfengshuiultimatelydeals withtheenergeticqualityof are acompletelydifferent realmofstudyandwillnotbefurtherexpanded uponinthisthesis. reducing totheconsulting ofchartsandexecution ofcalculations.Theactualdivination methods number andeachfallsunder oneoftwocategories:up want answeredwhileshakingthetube untilasinglestickfallsout.Eachisassignedcertain of fengshuihasdiminished, losingsomeofitsauthentic available tothemassesthatstillexistinsome HongKong temples today. Thedivinationaspect it decodedaccordingtothe questionthatwas asked. This isacommontypeofdivinationmethod undesirable reading).Thisstickwould thenbebroughttoanearbywisemanorwoman tohave fl uencesofthese energies.Feng shuiprincipleshave beenperfectedthrough thousands ofyears 13 fi rmly withbothhands and wholeheartedlyaskthequestionthey fl ection ofadominantyinconceptconservation ofenergyrather 上 (agoodreading)ordown fl 八字 avor having now beenconsolidated, (alsoknownastheFour Pillarsof 17 . 下 (usuallyan

PART 1: FENG SHUI PART 1: FENG SHUI air, theeffectsofweather andthecosmos.Earth qiarethemainenergies thatfengshuideal with. shui: heaven qiorearth qi.Qioftheheaven aretheenergies thatoriginatefromthe sky, suchas immediate vicinity willbethemostevident. Therearetwoprimary typesofqithatconcern feng set thetoneofmovement of energy. Qiisfoundeverywhere and itsimpactonthosewithin either theway abuildingissetwithincertainlandscape or theinternallayout ofabuilding,itwill the physical environment thatpeople’s lives revolved around. Dependingonthecon and stagnant.Thenature ofthe qi occurswhentheatmosphere feelslike aspringbreeze - neitherfastandintense,norsluggish affecting theenergylevel oftheoccupants.According to thetenetsoffengshui,optimal space alsocontributeto the of theoccupantsaparticular space.Color, shapeandthephysical locationofeachitemina qi asitwillhave directimpactonthehealth,wealth,energylevel, luck andmany otheraspects to thesteam character ofqi traditional Chinese practices suchasacupunctureandmartialarts.Whenthe traditional Chinese to cosmicenergy, lifeforce,breath orvapor. Thereforetheconceptofqiisalsovital to other invisible energywhichisthoughttosustain alllifeformsonearth.ThewordqiinChinesepertains ONE 1.3 in is always anaspectofdivinationinvolved, andfengshuiisessentiallythedivinationofqiits the assessmentofmany differentcriteria.Generally whenoneisdealingwiththeunknown,there between the energy. Feng shuiisconcernedaboutthebalanceofqi,yinandyang aswellinteractions its dissipation;itisbelieved that everything intheuniverse consistsofsubtlepatterns of people’s lives anditsprinciplesarefollowedtoenhance the fl uences onpeople. ofthemostimportantandfundamentalprinciples offengshuiistheconceptqi;an THE CONCEPT OFQI 气 fi ve elements.Themostimportant istheappropriateretentionordissipationof 氣 risingfromrice isbroken down,itseparates intotwodifferentcharacters, eludingitsmeaning 氣 fl ow ofqibyslowing,redirectingoraccelerating it,therebydirectly 米 asitcooks.To fengshui,this fl ow isaffectedbyboth theinteriorandexteriorelementsof fl ow ofenergiesand tominimize fl ow ofenergyimpactsallareas 14 fi guration of guration fl fl owing ow of ow

generates themostoptimal Fig. 1.10 A gentlymeanderingriver fl ow ofqi. energy, lifeforce,breath “ The wordqiinChinese pertains tocosmic or vapor. ” fl thoughts oflove orpositivityaredirected atwater, itscrystalsappearasabrightandblossoming water revealed changeswhenspeci book theory was brought toattentionbyaJapanesescientist,Dr. MasaruEmoto, inhisgroundbreaking the objectsandpeoplein itspresence,directlyaffectinghuman’s sensorycapabilities.Asimilar a gentlecurrentandallowed tocumulateahealthy resonance,itwillconvey suchenergiesto of qi,Dr. Emotodiscussed humanbeing’s water-based geneticmakeup. Water remains pure of powerthe invisible energiesthatpermeate theearth.Inaparallel comparisonto thetheory molecules respond totheresonating energiesdirectedatthem, itmakes onewondertheextent become muddledandincomplete. Whensomethingasimperceptible theparticlesofwater existence ofqishouldnotbedif of diminutive componentsthat are energized throughtheinteraction withotherobjects;thus,the to createheat.Sinceevery object, even thosethatappearinanimatetothehumaneye consist while microwaves areelectromagneticwaves thathave the frequencytopenetrate certainobjects motion. Intermsofphysics, radiation isenergyintheformofwaves ormoving subatomicparticles, reasoned withscience,asallobjectsonearthare madeupofminusculeparticlesincessantlyin Qi may beseenasanelusive invisible forcethatanimatesallthingsonearth,butitcanalso be therefore itispossibletoanticipateits that powertobene constructions. Itisfengshui’s aimtorecover theenergeticpotentialofaspeci inherent energiesthatareboundedbyexistingphysical elementsandthetimeaspectofpotential barren whichisundesirable inany situation.Any site,byvirtueoftheirnatural formations,has in placesofextremetemperatures orhostileenvironments areconsideredtobestagnantand physical environment with bene of earthqichangesandsodoesitsquality. Vibrant andnourishing qicancreateagoodandhealthy the originalnatureofqicanbeimproved. Dependingonthecharacteristics oftheland,nature Though onecannotcontroltheinherentenergyofasite,byutilizingproperfengshuitechniques ake underthemicroscope. Conversely, underthein The HiddenMessagesin Water, fi t itsoccupants.Thisenergy, qi,hasdistinctcharacteristics initsmovement; 15 fi fi ts topeople’s mental health.Ontheotherhand,qithatisfound cult toimagine.Whenthe fi c, concentrated thoughtswere directedtoward them.When whooutlinedthediscovery thatcrystalsformedinfrozen fl ow aroundcertain objectsorwithinaspace. fl uence ofnegative thoughts,thecrystals fl ow ofenergyiscarriedthroughwith fi c siteandharness

PART 1: FENG SHUI PART 1: FENG SHUI decay people, spacesorplaces. and essentialtohumansurvival. Itisundeniable thatpeopleareenergized bycertain objects, DURING 1.4 leading tohealthcomplications.Whenbloodceases to circulated. For example,whenbloodbecomesstuckinthehumanbody, itgenerates bloodclots course toendinastagnantpuddle,thelifewater dies.Asaresult,water mustbeconstantly when inconstantmotion,suchaswater are threemain functionsoffengshui Despite the differences, genuineforms offengshuiareformulated forspeci of mutualrespectasthey recognized that eachhaditsownuniquestrengthsandspecialties. and systemsseemtobe incon departure pointofanew ideologycalledSanYuan time becameanimportant issuethatwas integrated intotheequationand eventually becamethe equation beforetheconstruction ofabuilding.Asthepractice was laterre passed downtothosestudentsworthy ofknowing.Fromthisre made revisionsandadditionstothegrowingknowledge offengshui.Thisknowledgewas only elements. Over centuriesofstudies, observations andnew infancy, basingitsstudiesonlyonthe YinandYang principlesandtheinteractions betweenthe forms, thedirections,shape, formation ofenvironmental features like terrains, mountainsandbodiesofwater. Fromthese as theoldestformofclassical fengshui.Thisschoolplacesgreatemphasis onthestudyof the SanHe SCHOOLSOFFENGSHUI 18 . Ultimately, windandwater aswellqi are thetimewhenfengshuiwas stillknown astheartofK’anYu, thepractice was stillinits 三合 systemoffengshuiemergedastheprominent ideology. SanHeisregarded fl ow and appearance allneedtobeconsideredaspartofanoverall fl ict witheach other, itwas always underlined withameasure 19 : fl owing inariver. Whenwater istrapped orwandered off 三元 fl uid elementswhichareconstantlyinmotion . Undoubtedly, whilethedifferentschools fl ow altogether, thebodywilldieand fi ndings, Chineseelitescholars have fi nement periodofthepractice, 16 fi fi c functions.There ned, theaspect of fi ve ve

formulated forspeci forms offengshuiare differences, genuine “ functions. Despite the ” fi c region ofChinaprovided picturesque topography of thesouh-western auspicous ofsites. the inspirationfor “ fi nding themost The ruggedand ” a livingentity chargedbytheenergy ofqibecamethebackbone totraditional Form Schoolfeng propitious of sites-initiallyfordwellings andburialsites.The appreciationofthe landscape as fl with eachotherprovide amorecompleteandeffective methodofreadingand manipulatingthe Ching trigrams intocalculations.Thetwo differentschoolsoffengshuiwhenusedincombination The CompassSchoolalso hasitsbasisonforms,butincorporates compassdirectionsandtheI- by thejuxtapositionofmountains,lakes, rivers, natural andarti topography ofthesouth-western regionof China provided theinspiration for predecessor of modernfengshuiwhich isknownastheForm School.The ruggedandpicturesque The scenicmountainsand hillsofrural southwesternChinagave way tothedevelopment ofthe FORM SCHOOL Form orCompass.TheForm Schoolstudiesthe but thevarious sub-systemsaredistinctfrom eachotherdependingontheiremphasiseither authentic schooloffengshuiinvolves thereadingofnatural landforms andtheuseofacompass, of timecycles, andhowitisallrelated tohumanbeingsandtheirenvironments. Every classicalor reliance ofage-oldmathematicalformulasbased onthedevelopment ofthehumanunderstanding I-Ching, theYin-Yang theoryandtheFive Elements.Anotheraspectofclassical fengshuiisits on understandingoftheway qi This “new-age” fengshui systemwillbediscussedlaterinthetext.Classicalfengshuiisbased shui senseasthesesystemsarenotaderivative ofeithertheSanHeorYuan methodologies. in thewest,BlackHatSectbeingmostpopular, isneithertraditional norclassicalinthe feng different operating levels, approachesandtechniques.Mostofwhatiscurrentlybeingpracticed developed fromeitherSanHe orSanYuan, the differentschoolsoffengshuiwerebasedon While mostformsoffengshuiarebasedonsimilar fundamentalprinciplesandareessentially •Corrective: toremedy existingproblems ow ofqi. •Predictive: toexplainthepresentorforetellfuturepossibilities •Constructive: toenhanceacurrentsituationorproduceparticular outcome 17 fl ows withinlandscapeincombinationwiththerudimentsof fl ow of qiintheexternalenvironment asdictated fi cial landscapesandarchitecture. fi nding themost

PART 1: FENG SHUI PART 1: FENG SHUI on thephysical con method considers mountainridges,surrounding hills,watercourses, locations andorientationsas the locationand orientationofbuildings orburialsitesinrelation tothephysical surroundings. This is foremosta visualapproach; rivers correspondtothefourcardinal directionsofthecompass.Thepractice of theForm School theory was built uponanunderstandingofthelandscape; topographic contoursandsourcesof Dragon enclosed openspace,also referredtoastheMingTang location whichshouldbeperchedonagentleslope. Standingonthesiteandfacingsemi- site. Fromthishilltwobranches orarmsshouldextendtoembrace themostfavorable fengshui way oftheprevailing winterwinddirectiontopreserve andmaximize theinherentenergyof mountain barriersatthenorthernpartofsite calledtheBlackTurtle Bird, rearBlackTurtle ideal fengshuimodelwithfourcelestialanimals:left AzureDragon, rightWhiteTiger, frontVermilion Having a cultureinwhichanimalsplayed animportantsymbolicrole,theChineseassociated the in awellprotectedyet energizing locationitwillprovide optimalbene and invigorate thebodyappropriatelyanditwillbeofgreatservice;similarlybylocatingbuildings important tenetthatbothpractices shareisthebeliefthatprevention isbetterthancure.Nourish area, apractitioner canrestorethisimbalancethroughappropriatetreatment.However, themost this human bodiesfunction.Like fengshui, acupunctureisanexampleofhowaskilledpractitioner in an importantunderlyingphilosophy thatparallels withthelong-lived Chineseappreciation ofhow the landscapeandhumanbeing’s immediateenvironment being aliving,harmoniousorganismis presented itselftodeterminewherebestlocatedwellingsorburialsites.Thisperceptionof shui. Withtrained experienceandintuition,practitioners coulddetectwherethispositive qi higher groundreferredto asRed BirdorVermilion Bird there shouldbea a U-shapedarmchairto enclose theidealspotforhumaninhabitation.In frontofthemingtang, fi eldcandetectwheretheqiisblocked orhyperactive withinaclient.Inisolatingtheproblem 青龍 , whiletheearthformation ontherightiscalledWhiteTiger fl ow ofsurfacewater andontheothersideof water, thereshouldbeaslightly fi guration ofmountains andwatercourses surroundingsites andbuildings.Its 左青龍、右白虎、前朱雀、後玄武 fi rst observing thelandformation andterrain, and thendetermining . Theidealnatural fengshuisiteshouldhave 明塘朱雀 , thehillonleftside is calledAzure 20 . TheForm Schoolisprimarily based 18 fi ts fortheinhabitants. 玄武白虎 hill,positionedinthe . Together theyform Fig. 1.11 The idealfengshuimodel. was developedbasedon “ founding principlesof The CompassSchool time andspace. ” in by thechanges ofthemoonrather thanthesun), lifeisbelieved tounfoldaccordingly underthe individual. Depending onone’s birth dateaccordingtothe Chineselunarcalendar (whichgoes orientations forspeci is anoctagonalapparatus imprintedwiththeeightI-Ching trigrams, which determinesfavorable As theForm Schoolwas furtherre COMPASS SCHOOL was alsousedastheprevalent foundationoffengshuiprinciplesatamacrocosmiclevel. the Form SchoolwereappliedtotheconstructionoftownsandpalacesinancientChina,thisschool the mostimportantterrestrialandcelestialelementsforhumanhabitation.Sinceprinciplesof birth date,andthenthe informationisfurtherre composed elementsoftime inspace.Auspiciousdirectionsarederived accordingtoeachindividual’s transcribed ontothefengshuicompass andtheluopan,alltobetaken into consideration withthe Trigrams, alongwith Heavenly andEarthlyfactors.Remarkably, all ofthesedeterminingfactorsare also analyzes thedirectional aspectsintermsoftherelationshipbetween theFive Elements,Eight environment. Thisparticularmethodisbasedonmetaphysical speculationsofChineseastrology; it School methodwas moreinterested inthephysiognomy ofthelandscapeand The CompassSchoolwas developed based onfoundingprinciplesoftimeandspace,whiletheForm was thein plains ofChinawhereitwas naturally dif advancement ofcultureandcivilization. This approachwas developed inthegeographically school islargelybasedonthemathematicsandnumerical logicofI-Ching, evolving alongsidethe brings inmoredepthwiththeintegration oftheluopan,aninstrumentthatisscienti and leaves thevicinityisstillacrucialelementofconsideration fortheCompassSchool.However, it believed andacknowledgedthat theenvironmental analysiswas the shui differ, theCompassSchoolincorporates andcreditsmany aspectsoftheForm Schoolasitwas aware ofthecharacteristic andnatured fl uence ofthecharacteristics ofthesign associatedwiththat particular year. Practitioners whoare fl uence andinspiration ofForm Schoolfengshui.Even thoughthetwoschoolsoffeng fi c endeavors andotherelementsbased ontherespective informationofthe 19 fi ned theCompassSchooloffengshuicameintofruition.This fl ow ofqiwithinspeci fi cult tousethemountainouslandscapeguidelinesthat fi ned withtheuseofBa-Gua.TheBa-Gua fi c spacesaswellhowitapproaches fi rst practical steptotake. Being fl ow ofwater inthe fi cally accurate. fl at

PART 1: FENG SHUI PART 1: FENG SHUI will beusedinthedesignportionofthisthesis. following aretwoofthemostwell-knownandaccepted sub-systemsoftheCompassSchool,and would requireadecisiontobemadeaswhich person’s favorable directionwillbefavored. The The drawback in thissystemariseswhenanumberofpeopleresidethesamespace,asthenit giving fengshuiamorefactualassurance insteadofaconsultant’s seeminglyrandom suggestions. comfort inknowingthatthereareothermathematical approachesinvariation ofcompassuse, people belong totheEastorWest Group. Thename ofthegroupdoesnot representitsrespective According to thismethod,peopleare categorized into twogroupsdepending on theirbirthyear; The EightMansion system(pronounced Eight Mansion the family, acolorandspeci to acompassdirection,anelement,seasonof theyear, various partsofthebody, membersin Shu magicsquaretodivideabuildingorspace into nineequalsectors.Eachtrigram isrelated The FlyingStar(pronounced Flying Star or remediesareneededtoharmonize andoptimize energy room withasimilardirectionalanalysisbyperforming calculationswhichdecidewhatactivations line uponthecompass.Thenoverall scopeoftheanalysisiszoomed inoneachindividual taught inthisschooloffengshuiwilldeterminethefacingdirectionabuildingandhowitsrooms in aconstantstateofchange accordingtospeci scienti reveal the energeticconditionsofeachspeci as theconstructiondate ofthebuilding.Oncea is determined.Thisreading istaken intoconsideration alongwithaperson’s birthdateaswell Chinese astrologyandnumerology. WiththeuseofaLo-Pan, adirectionalreadingofbuilding thorough understandingofthetheoryYin-Yang andtheFive Elements,aswellincorporating fi c observations ofenergetic patternsandrecognizes thatenergyexists inallthingsandis 飛星八宅 FengShui orEast-West SchoolFengShui fi c shapes.Thissystem embraces awiderange of disciplinesanda fei xing ) systemusestheeighttrigrams of theI-Ching, andtheLo- ba zhai ) revolves aroundtheeight directions ofthecompass. fi c sectionofthehouse. Thissystemisbasedon fi c cycles oftime. fl ying starchartisplottedout,thenumbers will fl ow withinaspace.Somepeople 20 fi nd

number ofpractitioners trained intheclassical condemned byalarge “ [BTB] hasbeen sense. ” Fig. 1.12 The BlackHat Sect ba-gua. THE 1.5 thereof, withotherindividualsaswellcertainspaces insidebuildings. activities donewithinacertainspace.Thisenables onetobeaware oftheir compatibility, orlack in turnreveals aperson’s bestandworstdirectionstoeitheravoid orsupportthespeci is thedirectionofbackbuilding.Each theeightdirectionsisgoverned byastar, which buildings areeitherintheEastorWest group andthisisdeterminedbyitssittingdirection,which of theTai-Ji. TheEastGrouprepresentsyang whiletheWest Groupisconsideredyin.Similarly, directions; rather, they are namestode practitioner CateBramble referstothisform offengshuias by alargenumberofpractitioners trained intheclassicalsense.Authorandtraditional fengshui many different aspectsofdifferentcultures.Hence,thisform offengshuihasbeencondemned Therefore thisbranch isnotbasedontraditional Chinese fengshui,butrather anamalgamation of a pupilofBTB founderGrand MasterLinYun, explainstheoriginofpractice: rituals andcharmsaswellChinesedivination,folk curesandancestorworship. Sarah Rossbach, thoughts andpractices; fromIndian religiousritualsandtheirconceptofkarmatoTibetanchant Black HatSectorBTB. Thissystemoffengshuiisamodernhybrid ofmany differentcustoms, developed byThomasLinYun calledBlackSect Tantric BuddhistFeng Shui,otherwiseknownas NEW-AGE FENGSHUI eclectic versionoffengshui, mostlybasedonintuitionandmysticalknowledge.” from thecountriesitpassed through…Oneoutcome–BlackHatfengshui –isapractical Along theway,itincorporated religiousandphilosophicaltheories,rites anddisciplines “[BTB] arosefromthelong journeyofBuddhismfromIndiathroughTibetand seeks toprovide answersforeverything. McFengshuiusesno instrumentationandcannot which replaces scienti “Feng shui‘lite’ (whichIcallMcFengshui) ismoreofalifestyle issueorapseudoscience, mostpopularandwidelyacceptedformoffengshui currentlyinthewestisanew-age system fi c uncertainty withviewsbased onpoliticalorreligious beliefsand 21 fi ne theboundariesof the yinandyang transformations McFengshui . Shewrites, fi nally toChina. 22

ﬁ c typeof

PART 1: FENG SHUI PART 1: FENG SHUI Chinese philosophies. the West asitiseasyto learn andapplydoesnotrequireanin-depthunderstandingofancient Black HatSectandtheabundanceofhow-to booksonthemarket, thisschoolisvery popularin a roleinBTB, whichrefersbacktothetheoryofFive Elements.Duetothesimplicityof the energy ofthatparticulararea.Theshapesand colours ofinteriorelementsaspacealsoplay potential imbalances.Subsequently, adjustmentsor charmsarerecommendedtomodifythe where theEightAspirations arelocated.Oncetheseareasde short, theBa-Guaissuper-imposed over the space intotheirowndistinctsectors.Theseare the‘corners’thatBramble was referringto. In The BlackHatSectutilizes theBa-Gua,eightdirectionsandcentrelocationtoseparate a and theideaof‘corners’needing‘activation’.” collect quantitativedata.Thisbeliefsystemisforced torelyonitsconceptssuchas‘clutter’ ﬂ oorplanofapropertyorspacetherebydetermining 23

ﬁ ned, theyareassessedtoreveal 22 the market,thisschool “ and theabundanceof is verypopularinthe of theBlackHatSect its how-tobookson Due tothesimplicity west. ” NOTES 15. 14. Wong, 13. Eva W 16. 23. CateBramble. 22. Rossbach, 21. Yap, Inc. 1997,page65. 20. Evelyn Lip. 19. Yap, 18. MasaruEmoto. 17. 12. LaoTzu. 11. Sarah Rossbach. 10. StephanD. Feuchtwang. Helen. NewYork: DK Publishing,Inc., 2001, page27. 9. StephenSkinner, 8. Sang, 6. Yap, 5. LarrySang. Shambhala; DistributedintheUSA byRandom House,1996,page30. 4. Eva Wong. 1979, page2. 3. ErnestJohnEitel,Feng-shui: therudimentsofnatural scienceinchina.3rded. Bristol, England:Pentacle Books, 2. JoeyYap. Illinois: AECEducation,2006,page8-9. 1. VincenM.SmithandBarbara Lyons Stewart. 7. Peter Watson. Chris J. Lofting. Ibid. Ibid. Op. cit. , page16. , page16. Op. cit. Op. cit. Op. cit. ong. Op. cit Stories andLessonsonFengShui. Tao TeChing Op.cit. A MasterCourseinFengShui. Feng ShuiTheAncientWisdomofHarmoniousLivingfor ModernTimes. , page2. The PrinciplesofFengShui. What isFengShui? , page13. , page12. , page5. IDEAS: AHistoryfromFiretoFreud. ., page15. Architect’s Guide toFengShui:Explodingthe Myth. Mathematics andtheI-Ching. The HiddenMessagesinWater. K.I.S.S GuidetoFengShui. Feng shuitheChineseArtofPlacement , page14. (Chapter25).SanDiego, UnitedStatesofAmerica:BookTree, April2003,page48. An AnthropologicalAnalysisofChineseGeomancy. 23 London;Lanham,MD:Academy Editions;DistributedbyNational BookNewtwork, 1sted.Boston,Massachusetts:ShambhalaPublications,Inc., 2001,page16. USA: AmericanFeng ShuiInstitute. 1995,page2. 2nded., Kuala Lumpur:JYBooksSdn.Bhd., 2005,page3. 2002.http://members.iimetro.com.au/~lofting/myweb/icmaths.html Feng ShuiAPracticalGuideforArchitectsandDesigners. Keep itsimpleseries,eds.Alison Bolus,North,Patsy andRidge, Trans. David A.Thayne. USA: Simon&Schuster, 2005,xvii. GreatBritian:Weidenfeld &Nicholson.2005,oninnercover. . USA: Penguin Books,2000,page 7. Boston:Architectural Press,2003,page 36. Laos:Vithagna,1974,page127. 1sted.Boston;NewYork: Chicago,

PART 1: FENG SHUI 2.1 THE UNIVERSAL NATURE OF FENG SHUI

THE premise of feng shui has remained the same throughout the span of many centuries. Its principles are universal in nature and are mainly supported through its basis of being harmonious with the natural forces of energy. One of the principal concerns of feng shui is the alignment of buildings within the environment. Feng shui alignment has a strong bearing on the planning a city or the construction of a building within a speciﬁ c environment. This practice was born from the simple observation of the direct relationship nature had on mankind. For this reason it is no surprise that other cultures embraced similar concepts. Intuition led people to believe that certain locations by virtue of their natural formations contained a special energy. The great pyramids of

PART 1: FENG SHUI 1: FENG PART Egypt followed cardinal points to achieve precise positioning that aligned itself with the heavenly constellations1; the planning concept of Beijing’s Forbidden City followed the ideal feng shui model, embracing the revered southern direction of the heavens and the sun; and the monumental stone circle of Stonehenge were positioned according to astronomical occurrences. There is also FENG SHUI: THE evidence from other cultures having a reliance on similar information. The Celtic Raurici tribe also

2.0 CHINESE IDENTITY discovered the natural guidance of eternal stars by observing the Basel sky and incorporating its patterns into their city more than two thousand years ago2. The state architect of the Swiss city of Basel, Carl Fingerhuth, explains the alignment of the city,

“The orientation of a Celtic cult site – subsequently the site of a Christian cathedral – and the positioning of the street leading to it, provided another example of Celtic geomantic practice. On solstice days, the effects of this orientation can still be experienced. At sunrise, a shaft of light enters precisely through the front cathedral window. At a perfect right angle to this shaft of light lies a Celtic road, whose surface was uncovered during several excavations. This road leads directly from the cathedral hill to the St.Johann Quarter and onward, far into the Alsace.” 3

The square as a metaphor of man’s earthly beginnings was then projected onto a city’s two- dimensional organization, leading to the archetypal structure for the global city. The Forbidden City in China, as well as the country’s farming fi elds, was organized under the infl uence of a square grid. The importance of the earthly environment which dictates the life of human beings was celebrated. An annual tradition in which the emperor acted as the “fi rst farmer of spring” was held

24 the mostoptimallocation inBeijing;andthesearchforaspotasplace forselfre Romans erected timelesstemplesforplacesofworship;the Chinesebuilttheimperialpalacein cultures have differentbeliefs,intuitions ortraditions concerningthenatureof these uniquespaces. common inNative Americantradition orientation andalignmentisnotexclusive tocityplanning. AccordingtoVincentM.Smith, wandering evilsthatmay emergefromthesurroundingcountryside.Suchuseofastronomy in settlement. Furthermore,thiscreatedaprotective shroudwhichwould protectthecityfrom place ofarolling south axisaswell.AncientRomans sharedasimilarearthlyritualastheChinese. However, in CERTAIN 2.2 practice universally applicable. to asymbolicyet practical level. Feng shui’s basisinthestudyofnatural phenonmenamakes its that patternsoftheuniverse affectedthedestinies ofhumanbeingseventually ledcityplanning Most cultureshave similarinsightsconcerningthenatureofcertainspaces.Theancientrealization as thesacredsquare to pay respecttothefertileearth.Theritualinvolved plowingthecity’s innersquare,alsoknown with nature. Likewise, asuburban homeis never complete withoutthe haven ofgreen space.For tranquility andaway from thefast-paced citylife.Thisisbecause humanbeingshave an af Even today, thereisalways aninexplicablepleasure inreturningtoareas ofpicturesquenatural it was discovered thatthepower ofthesesacredplaces was due totheirinherentphysical qualities. often taken insearchofthese specialenergeticplaces. Throughmany years oftravel andsearching, basic ideas.” of theearlyIndiantribesinUnitedStatesalso revealsanobservanceofthesame Mahal inIndia,andthegreatpyramidsofEgypt. An analysisofthehomesandstructures concepts. Somespeci “The Greeks,theEgyptians,Scandinaviansand manyotherculturesembracedsimilar FENG SHUI:CHINA’S PLACEMAKINGIDENTITY locations,byvirtueoftheir natural land formation,containaspecialenergy. Different fi 5 eld apitwas dugtoreceive sacri 4 . Similarly, Rome was alsoplannedasasquare;itspositionisonnorth- fi c examplesaretheDelphiandParthenon inGreece,theTaj 6 . Thisisespeciallytrue to theChineseaspilgrimageswere fi cial offeringstomarkthesacredcentreof a 25 fl ection isvery fi nity

balanced onbothsides. with astrong central axisthatisperfectly along astrict North-South axiallayout Fig. 2.2 Fig. 2.1 The Greatpyramids ofEgypt. The Forbidden Cityis designed

PART 1: FENG SHUI PART 1: FENG SHUI Health, WinifredGallagher, reveals thisthroughascienti attuned tolisteningtheir body. Award-winning journalistandpsychology editor atAmerican human beingsarebornwith sensorymechanismsthatwillphysically alertthe individual ifoneis positive potentialandreleaseharmfulqiinthatspeci if thenatural However, itsenergy canspiral in anegative directionifnotharnessedorusedcorrectly. Like water, to cultivate bene is bothnurturingtothephysical body andtheemotionalsenseofoccupant.Qihaspower Feng shui’s understandingofqiallowsitsprinciplestocreateaharmoniousenvironment sothat it their settings;onethatisneithersolowastoinduce boredomnorsohighastoinvite anxiety. in the stimulationtheyexert concludesthesamething.Whetherpeopleareaware ofqior sensory employ fengshuiterminology ormethods,theirmeansofanalyzingenvironments intermsof on thehumanpsyche, bothconsciously andsubconsciously. Whilebehavioral scientistsdonot inside aspaceandinitssurroundingenvironment. Bothofthesefactorshave asubstantialimpact to healthandprosperity. Itsguidelineshelpwithmanagingthe They utilized feng shuiprincipleswhichpreachedaconversion backtobasicsandharmony, leading The ancientChinesewas aware ofthisrelationshipandbuiltcitiesbyfollowingthelawsnature. beings have aninnateidenti place ofitsorigincouldbecapturedandstoredin thekeepsake. Asinstinctive creatures,human of rocksandshellswhichareonspecialdisplay inhomesandof within closeproximity. Oftenpeoplereturnfromtravels withbitsandpiecesofnatural mementoes this reasonthevalue ofresidentialareasincreaseswhenparksornatural featuresarelocated fl uence, itisinhumanbeings’instinctive naturetoseekacomfortablelevel ofstimulationfrom Although ithas notbeenproventhat peoplesensechanges inorare able toorient themselvesandnavigate accordingtothelines ofthegeomantic magnet like organs madeupoftiny collectionsofnaturalmagnetite minerals,they are Migratory animals, includingmany birds, areparticularly responsive; equippedwith sense andreact tothismysteriousforce lurkingbeneaththe thinlayerofthebiosphere. “The geomantic fl ow ofqiissevered oritremains inastagnantpoolfortoolong,itwillnegate its fi cial energytoattract auspiciouspotentialinthespacesthatsurroundpeople. fi eld of the earthin fi cation withnature. fl uences thebehaviorofmanylivingthings.[Creatures] fi c area.Although qiisaninvisible force, fi c perspective, c fi ces, asthoughthepowerof 26 fl ow ofnatural earthenergies fl uenced bythe fi eld.

Fig. 2.3 The alignment of theStonehenge. - AlanWatts disappearance ofthesystem.” either oneofthemwould be the and thatthedisappearance of of oneandthesamesystem, and south,aredifferent aspect the principlethat+and-, north negative poles,forpolarity is current withoutpositiveand incomprehensible asanelectric of Chinesethinking,thisisas the world.Totraditionalway ﬂ former andberideofthelatter thus anidealismtocultivatethe positive withthenegative,and death, goodwithevil,andthe is atwarwithdarkness,life metaphors ofothercultures,light of oppositionorcon not tobeconfusedwiththeideas the principleofpolarity,whichis thinking andfeelingtherelies “At theveryrootsofChinese ourishes throughoutmuchof ﬂ ict. Inthe 9

to hightectonic stress,formingfault lines,whicharealso called isolate thelocations ofpotentialstress point.Thesepointsare createdwhenbedrocks areexposed practitioner MarciaSmalllocatedinOakville, Ontario, dowsingisa methodthatcanbeusedto fault linesand on theeffectsofstress inhabitation. Geomancy issimilartoawesternbranch of fengshui,butitconcentrates mostly the effectsofgeopathic stress and structuredway. In the westthereisasimilartheorycalledgeomancy. Itsphilosophiestarget understand andlearnabout invisible forcesandenergiesthat existintheuniverse inasystematic energies, oreven planetaryin factors. Negative energiessuchasirresponsible lifestyles,environmental factors,geopathic behavioral patternsthatexist in modernsocietyhave evolved fromtheeffectofchangingstress similar qualitiesinorderforaharmoniouscompatibility totake place.Many unconscious human skin topeople,henceaproper positive canbeenhanced,orneutralized. Feng shuiconsidersthebuiltenvironment asathird By usingprinciplesoffengshui,negative energiescanbeeliminatedwhilethatare right. Dr. MasaruEmotosummarizes theexistenceofimperceptibleenergies, triggers aresponseinthebrain that noti tongues thatreacttoviletastingsubstances,it isallpartofasystemnatural sensorswhich From thetiny hairsonarmsandthebackofneck thatstandonends,tothetastebuds example, an undergroundwater sourcecreatesa stress geomantic always enterastrangeworldwhereallthatexists isparticlesandwaves.” is nothingmorethanvibration.Whenweseparate somethingintoitssmallestparts,we which isunique…scienceofquantummechanics generally acknowledgesthatsubstance “The entireuniverseisinastateofvibration,and eachthinggeneratesitsownfrequency, invisible forcesissomethingthatmakessense.” but theideaofhumanbeingsaffectedbychangesandfrequencyearth’s fi fi ssures, andtheirimpact onthehealthofhumanbeings.Accordingto feng shui eld onaregularbasis,norhavescientistsisolatedhumanmagneticorgan, fi elds (orthefengshuiequivalent ofdragons’ veins) suchaswater lines, 27 fl uences canimpactpeople’s daily lives. Feng shui allowspeopleto fi fi t mustbeensured.Theplacethatapersoninhabitshave elds anditsimpactonthemakingof better placesforhuman fi es anindividualinstantlywhensomethingdoes notfeel 7 fi eld; ifahouseis builtuponthisconstant fi ssures orstress 8 fi elds. For

PART 1: FENG SHUI PART 1: FENG SHUI Roman Malekwrites, core space-making issuesinthecurrent momentmakes itahighly principles need toberenewedaccording tothedemandsofexisting needs.Itsabilityto respondto accordingly tobeable participatewithintheconstraints andparameters oftoday’s society. Its but crucialpieceoftheChinese culturethatsurvived. However, thepractice needs tobeadjusted continues toincorporate thetraditional cultureandvalues ofthe Chineseheritage;itisasmall culture andbeliefs.Likewise, fengshuihasdeveloped intoa morecomprehensive systemthat exchange is necessarytohelppeopleunderstandtheimportance andintelligenceofeachother’s have penetrated westernsociety justasthewesthaspenetrated easternculture.Across-cultural feng shuicameslowlyinto westernsocietyandestablishedafootholdfor itself. Easternideals the west,theycarrytheir traditions alongwiththem.Like yoga, martialarts,andacupuncture, to play animportantrolein thetheirlives. AsanincreasingnumberofChinesepeoplerelocateto ancient traditions iswellintegrated intothecultural rootofChinese people;henceitwillcontinue strict holdthattraditional customs oncehadonpeoplehave diminished. However, therespectfor part oftheChineseidentity. Arguably, aspartsofChinabecomeincreasingly westernized, the and irrational withnoscienti deceased. Inthewesternpointofview, thesetraditional values may beconsideredsuperstitious are deepbelievers ofreincarnation), therebyextendinggoodfortunestothedescendantsof to ensurethatanabundanceofwealthandfortune continuesintotheafterlife(asChinesepeople Chinese tombsandgraves aredesignedandconstructedtoembodyauspicious fengshuiprinciples people’s lives. Itstraditions have lived onandmanifestedinthemoderncemeteries ofHongKong. China, theprinciplesandimpactoffengshuiis stillvery muchanimportantpartofChinese has ledtheChinesetobecomewhotheyaretoday. Whileitismoreobscurethanwas inancient identity. Theancientpractice embodiesthehistory, cultureand thespeci Many centuriesinthemaking,feng shuihasbecomeanundeniablepartoftheChinesecultural shui willnotbeeffective. these typesofgeopathicstress moving energyitwillpotentiallyaffectthehealthofpeople.Thisisimportant tonotebecauseif fi c basis,but thesethoughtsandtraditions areundeniablyacentral fi elds arepresentonsite,theneven themostappropriatefeng 28 fl exible andadaptive practice. fi c way ofthinkingthat

selection ofacity. consulting his magnetic compassforthesite Fig. 2.4 A representation ofgeomancers “ become anundeniable making, fengshuihas Many centuriesinthe part oftheChinese cultural identity. ”

NOTES 10. Fingerhuth, 9. AlanWatts. 6. MichaelErlewine. 5. Smith, 4. 8. Emoto, York: Poseidon Press,1993,page 84. 7. WinifredGallagher. Feng-Shui/1378-Power-Centers 1. Carl Fingerhuth. 1. how tointegrate thenatural landscapetoplay animportantroleinthedesignprocess. effectively capturestheessence ofaplacebyknowingtoavoid certainundesirable elementsand decoration, but moreimportantly, intheoriginalnatural conditionsoftheenvironment. Itspractice situations. Feng shuiphilosophiesreveal thatthe essenceofaplaceismadeuniquenotinits this isatransportable partoftheirculturethatcanbeappliedandadaptedtomany different placemaking centuriesagoandisstillrelevant andrespectedtothisday. To thetraditional Chinese, its vicinitymakes thisearlyphilosophy timeless.Feng shuiwas amajorcomponentofChinese The sensibilityoftheprimitive understandingofthepowerfuldialogue aplacehaswiththosein 3. 2. Ibid. Ibid. Ibid. universal normsontothehumanandsocietaldimension.” attitude bornoutofthisviewtheworld.One canonlyunderstanditasatransferof it, guidingitatmost…cultivatingandgiving it ritualorder–thisistheidealChinese any desiretoruleoverthem…Followingnature, allowingoneselftobein one manifestationamongmanyintheworld,must faceotherswithrespectandwithout but atruepart.Chinesemantraditionallysees himselfasabeingwho,althoughjust grasp theChinesesenseofunitywithuniverse. Manispartofthisunity,onlyapart, hostile environment,oraspurelymaterialmatter (tobeexploited),thatwecanbarely We aresousedtoseeingthephysicalworldassomething‘outsideofus,’ageneral “[We must]makeagreatefforttorelatethistraditionalChinesesenseoftheworld. , page185. , page181. , page180. Op. cit Op. cit. Tao: TheWatercourse Way. Op. cit ., page2. Learning fromChina;theTaoof the City. , page39. Power Centers The PowerofPlace: HowOurSurroundings ShapeOurThoughts,Emotions, andActions. ., page 176. 29 . IVillageInc., 1995-2008,http://lessons.astrology.com/course/show/The-Art-of- 1sted.NewYork: Pantheon Books,1975, page19-20. Germany: Birkhauser-PublishersforArchitecture,2004,page182. 10 ﬂ une by uenced New

PART 1: FENG SHUI

“Men at some time are masters of their fates.” PART 2: EASTERN/WESTERN - William Shakespeare DICHOTOMIES

31 3.1 CULTURAL DIFFERENCES

WESTERN culture has always been aware of the integral relationship between fi gure and ground. However, their emphasis lies more on the fi gure than on the ground. This is evident in the manifestation of buildings reaching skyward and sculptural museums creating landmarks in Western cities. On the other hand, while the east also recognizes the imperative tension between fi gure and ground, they developed a system that understands the importance of embracing everything as interdependent elements. The eastern philosophy of Tao is “the way” which unifi es everything in life, illustrating the need for nature and human beings to bring all opposing forces into a fl uctuating harmony. A similar Western idea is the Big Bang theory. During that event, everything was created in opposites, symmetry and perfect balance: light and dark, hot and cold, heaven and earth. It is under this constant push-pull relationship that the universe achieves harmony and sets itself to run its natural course - by following the Tao. Within the Western dichotomy of good and evil, there is often preference or moral superiority given to one side. In Chinese philosophy, EASTERN/WESTERN it is about achieving a balance between two polarities; yin exists and is born from yang, and yang

3.0 DICHOTOMIES resides and is born from yin. It is through understanding the patterns of Tao that one can begin to grasp the fundamentals of feng shui and seek the balance and equilibrium to achieve harmony with the environment. Author and feng shui scholar, Sarah Rossbach summarizes the fundamental understandings of feng shui below:

“It interprets the language articulated by natural forms and phenomena, by man-made buildings and symbols, and by continual workings of the universe, including moon phases and star alignments. Feng shui is the key to understanding the silent dialogue between man and nature, whispered through a cosmic breath of spirit – qi. The Chinese term qi is PART 2: EASTERN/WESTERN DICHOTOMIES DICHOTOMIES 2: EASTERN/WESTERN PART a life force or energy that ripples water, creates mountains, breathes life into plants, trees and humans, and propels man along a life course. If qi is misguided; man’s life and luck might falter. Man feels and is affected by qi, though he may not know it.” 1

In 1929, psychoanalyst Carl Jung also addressed the subject and penned a foreword for Richard Wilhelm’s translation of The Secret of the Golden Flower: a Chinese Book of Life,

32 “Western consciousness is by no means consciousness in general, but rather a historically conditioned, and geographically limited factor, representative of only one part of humanity. The widening of our consciousness ought not to be processed at the expense of other kinds of consciousness, but ought to take place through the development of those elements of our psyche…The invasion of the East was a deed of violence on a great scale, and it has left us the duty to understand the mind of the East. This is perhaps more necessary than we realize at present.” 2

“Man’s place in nature’s People in the west are completely foreign to the Chinese view of a unifi ed world. The western enormous expanse and eternal worldview conditioned a very different understanding of human being’s relationship with the change seems insignifi cant, universe by unknowingly setting up invisible boundaries between people and the environment. ‘a drop of water in a fl owing While technological advances increased the effi ciency of many things, it also simultaneously stream.’ Yet, he is also an removed the connection people once had with the immediate environment they lived in. Under integral part of the universe, the infl uence of advancing technology and globalization, it soon became easy to detach oneself swept along and controlled by its from the environment; subsequently, the respect for earth also diminished. In a response to this fl ow. This was expressed in the traditional landscape painting of segregation, the interest in feng shui and its holistic principles has also increased in recent years. monolithic mountains looming over streams and crossed by To the western consciousness, the physical world is often thought to be purely material and the tiny human fi gures. It was at rational process of city planning and building construction further solidifi es this logical way of once a transcendental solace thinking. The east interprets the material world as a fi eld of invisible energy with the power and a humbling thought to know to infl uence people’s well being. The Chinese regarded the intangible side of nature as a way you were part of a huge eternal 5 of life. Instead of working against it, they developed a code of assessment to govern human structure.” being’s relationship to the environment without damaging its natural fl ow. For example, in western - Sarah Rossbach tradition, a forest may be perceived as a wild place, full of strange and menacing forces3; whereas

to the Chinese, the same grove of trees can substitute for the protective function of auspicious PART 2: EASTERN/WESTERN DICHOTOMIES landforms in feng shui practice4. Another fundamental difference between the east and the west is the attitude towards the makeup of the natural world. Aristotle believed that the world was made up of four distinct elements: earth, air, fi re and water6. While the east also embraced the idea of basic elements, they observed that everything is in a constant state of transformation, and the primary elements which make up the world are also fl eeting conditions in a constant state of fl ux.

33 The Chinese believed the world consisted of energies from fi ve different elements: metal, wood, water, fi re and earth. Unlike Aristotle’s idea of the elements, these fi ve elements are not the actual objects, rather they are thought of as a representation of the elements’ inherent energies. Fire transforms wood into earth then produces metal, which in turn generates water, which nourishes wood. This way of thinking between the different cultures is an important element in understanding how an eastern practice such as feng shui can make its way into western society. There needs to be a cross-cultural appreciation of the different world views. As a Westerner who appreciated the ancient Chinese thinking and way of life, Carl Jung, wrote,

“The ancient Chinese mind contemplates the cosmos in a way comparable to that of the modern physicist, who cannot deny that his model of the world is a decidedly psychophysical structure.”7

Feng shui requires a completely different mindset when approaching elements that infl uence “There needs to the design of a space. One’s immediate environment has intimate effects on the physical and be a cross-cultural psychological well being of a person. The western study of environmental psychology is evidence appreciation of the of this. Feng shui projects a holistic perspective onto the larger equation of fi nding a natural different world views.” harmony within the world. While the western way of thinking is processed in a linear fashion – to get from point A to point B in the most effi cient way; eastern thinking is cyclical, similar to a wheel in motion. Each way of thinking has its advantages as well as disadvantages. That is why it is important for the two contrasting cultures to come together in harmony to further enhance each other’s benefi ts. The ancient Chinese were attuned to the pulsations of the earth, doing what was necessary in order to survive and live harmoniously with the disposition of the universe. In doing so, the creation of feng shui inadvertently became a natural extension of a PART 2: EASTERN/WESTERN DICHOTOMIES DICHOTOMIES 2: EASTERN/WESTERN PART sustainable philosophy towards the way of life. Its principles provided time-honored techniques of environmental protection. This branch of eastern wisdom can be understood as an attempt to re-establish a dialogue between humanity’s innate relationship with the long-estranged and much- abused earth. In this regard, the west has only just begun a long journey into a spiritual and mental detour from the rationalistic culture of modernity.

34 3.2 THE REVIVAL OF TRADITION

DESPITE an offi cial ban on the practice of feng shui in secular China, it has always remained prevalent in private practice. As China opened up to the world and globalization the new government soon embraced the western ideal for change. Determined to turn over a new leaf, this meant that old ideas, customs and traditions were to be abandoned. However, the idea of feng shui was so deeply rooted in the Chinese psyche that it was able to experience a renaissance in modern times. The return to traditional values and ideas are not without a rational explanation. As the growth of modern China continues to accelerate, there is a common worry that this rush could leave people with a spiritual void in their lives. During this vulnerable time, people are more prone to latch onto an idea of hope. Feng shui has guided the formation of dynasties for thousands of years, leading people to have great faith in its effectiveness. “Hong Kong’s City University is the fi rst in This time feng shui has come back with a vengeance. Not only has it migrated to the west, it the world to include a resurfaced in the east and into the education system. The prevalence of feng shui in Hong Kong is feng shui module in its unrivalled, so it is not surprising that its universities would see the potential value of feng shui in Master of Building and their curriculums. Hong Kong’s City University is the fi rst in the world to include a feng shui module Engineering degree.” in its Master of Building and Engineering degree8. The Chinese University of Hong Kong also introduced a course related to the principles of feng shui called Pursuit of Ideal Living Environment in its Department of Geography & Resource Management. Likewise, for the fi rst time in history, the Zhongnan branch of the Wuhan University of Science and Technology recently added an elective course called Architecture and Feng Shui. The instructor for the course, Mr. Ma Wei, emphasized that the objective of the course is to help students understand traditional Chinese culture from a scientifi c perspective and how it can be applied to contemporary architecture and building practice. PART 2: EASTERN/WESTERN DICHOTOMIES According to Ma,

“Though many think feng shui is unscientiﬁ c, many others would more or less take it into consideration when building or renovating a house. If architecture majors gain more insight into the concepts of feng shui, it would be of beneﬁ t to their work in society.” 9

35 Other than educating students on the importance and relevance of feng shui to the built environment, large conferences are being held every year, attracting feng shui professionals, professors and students alike. The coming February in 2009 marks the 4th annual International Conference on Scientiﬁ c Feng Shui & Built Environment of which the Department of Building & Construction at the City University of Hong Kong acts as a co-organizer. Topics and issues that are discussed at the conference are10:

1. Philosophy of Feng Shui design 2. Theories and practice of Feng Shui design 3. Feng Shui design and architectural theories 4. Feng Shui and town planning & urban design 5. Feng Shui and building design “However, as the 6. Feng Shui and interior design current global energy 7. Feng Shui and ecological sustainable design crisis continues to 8. Feng Shui and green design escalate, this way of respecting people’s As the contemporary east begins to break out of its shell to re-embrace its own ancient philosophy, livinging environment the west is also going through a state of transformation. Western culture was never conditioned clearly makes sense.” to view the world as an energetic place that held the key to a human being’s mental and physical health. However, as the current global energy crisis continues to escalate, this way of respecting people’s living environment clearly makes sense. Now, when western minds think of energy in the material world, they will think of the embodied energy within actual materials. Embodied energy refers to the energy required to manufacture and supply - to the point of use - a product, material or service. Western companies that are aware of its energetic consumption may also PART 2: EASTERN/WESTERN DICHOTOMIES DICHOTOMIES 2: EASTERN/WESTERN PART offer programs where offsetting energy used for their product or service can be funded. This is a revolutionary way of thinking of the world as an energetic place. When people grasp the theory of embodied energy, then it will not be difﬁ cult to understand that this energy exists in all things, including the earth itself. While this concept is not identical to the theory of qi in feng shui, it is nevertheless a start in the right direction.

36 “...energy exists in all things, including the earth itself.” 1. Rossbach, Op. cit., page 4. 2. Richard Wilhelm. Secret of the Golden Flower : A Chinese Book of Life. New York: Harcourt, Brace & World, 1962, page 136-137. 3. Christian Norberg-Schultz. Genius Loci: Towards a Phenomenology of Architecture. New York, USA: Rizzoli Intl. Pubns., 1980, page 27. 4. Feuchtwang, Op. cit., page 127. 5. Rossback, Op. cit., page 16. 6. Aristotle (Author) and Renford Bambrough (Contributor). The Philosophy of Aristotle. Trans. Creed, J.L. and Warden, A.E. New York, USA: Mentor, 1963, page 46. 7. Carl Jung, Foreword to The I Ching or Book of Changes; the Richard Wilhelm translation rendered into English by

Cary F. Baynes; 3rd ed, New Jersey, USA: Princeton University Press, 1970, page XXIV. PART 2: EASTERN/WESTERN DICHOTOMIES 8. Clifford Coonan, The Feng Shui Revolution. The Independent, January 12, 2008. http://www.independent.co.uk/ news/world/asia/the-fengshui-revolution-769756.html NOTES 9. Epoch Times staff (unknown). Chinese University offers Feng Shui Course. The Epoch Times, October 17, 2008. http://en.epochtimes.com/n2/life/feng-shui-course-5802.html 10. The 4th International Conference on Scientiﬁ c Feng Shui & Built Environment. http://bccw.cityu.edu.hk/ fengshui2009/index.htm

37 4.1 MISCONCEPTIONS OF FENG SHUI

THE goal of feng shui is to achieve harmony and balance within the seemingly chaotic workings of the universe. However, even in harmony there are times of discord. For feng shui, that discord comes in the form of misconceptions and myths, which in turn weakens its authenticity and validity. To begin, it is contrary to popular belief that feng shui is a form of religion or superstition. It is a form of natural science that resulted from a combination of principles and theories. Its goal is to provide an assessable way for human beings to decode nature’s hidden language in order to live in harmony with it. Another general misconception is that feng shui is exclusive to interior decorating. The traditional practice of feng shui encompasses a ﬂ exibility that allows it to be applied to a wide range of situations. On a macro cosmic scale, feng shui principles can be integrated with the urban planning of neighborhoods and cities to harmonize with the patterns of the earth’s energies. Similarly, projects on a smaller scale can also beneﬁ t from properly utilized principles by matching occupants to a house or the positioning of furniture. Other misguided myths have to do with feng shui’s relationship with

SUPERSTITIONS + MYTHS symbolism. It is common for the number 4 to be claimed unlucky, while a red door or a three-legged

4.0 OF FENG SHUI toad is sure to bring luck and prosperity. The notion that one should keep the toilet lid closed when not in use to avoid wealth from being fl ushed away has been perpetually mistaken as a legitimate feng shui principle. In reality, a number’s infl uence has more to do with the cosmological effects of time and space. Likewise, the colour of an object has the same connection to the fi ve Chinese elements as how on a scientifi c basis colours have signifi cant infl uences on people’s emotions.

The development of new branches or schools of feng shui that surfaced over the years are adding to the confusion. These types of pseudo-feng shui are much easier to understand by the general public, and therefore more appealing to them. Without the use of a compass or even a real understanding PART 2: EASTERN/WESTERN DICHOTOMIES DICHOTOMIES 2: EASTERN/WESTERN PART of feng shui fundamentals, all one needs to know is which corner represents what areas of one’s life. If an individual is looking for an increase in wealth, perhaps a feng shui how-to book will advise placing a statue of a three-legged toad in the wealth corner of the house. In an article titled “Beyond Feng Shui” author Joe Queenan discussed the latest craze to hit Southern California: feng che 風車. The direct translation of the two words literally means wind and vehicle, but together it is the term of a recent “science of making sure that the traveler is in complete harmony with the physical space

38 he is moving through.” 1 A feng che master would go about a living or work space as a feng shui practitioner would, ascertaining the quantity and quality of qi, but using a different diagnostic device called the denkon guagua. It is “an octagonal template on which are printed symbols for each of the eight areas that defi ne human existence (money, sex, fame, power, contacts, fi tness, enemies and revenge.)” 2 By superimposing this device over a scaled diagram of the client’s automobile, it would reveal what type of feng che objects (globes, fi sh, mirrors, fi gurines…etc.) are required in specifi c areas of the car in order to maximize benefi cial qi. A feng che master may also include the service “In spite of the sharp of devising a route for clients which will bring them from their homes to their workplaces all the while divergence between the increasing the fl ow of positive qi into their vehicles and lives. These notions have no basis in feng positions of Freud and Jung in this sphere, they shui’s traditional practices and are similar to an occult ideology in deceptive packaging. do have several things in common. Both agree that While feng shui practitioners are able to assess outcomes based on the infl uence of qi upon a particular superstitious beliefs and setting, there is an extent to the effects and ability of feng shui. Contrary to what people like to practices are deeply rooted believe, feng shui is not a cure-all. As the Chinese say: “First Destiny, Second Luck, Third Feng Shui 一 in man’s unconscious mental 命，二運，三風水,” it should be noted that feng shui is mentioned last. The Chinese believed that each processes; both held that person is born with a pre-determined capacity in life, which is destiny in Chinese Metaphysics. Joey superstition is not a thing of the past, or confi ned Yap, a renowned Malaysian feng shui master and teacher, explains the difference between what is pre- to the less educated – in determined in the course of a person’s life and what can be improved with feng shui, fact it is regarded as part “Every person is born with a certain capacity in life, a life path. This capacity governs his or and parcel of everybody’s her potential, outcomes and achievements in life. When an individual’s capacity is properly mental make-up, liable to analyzed and understood, then it is possible to assist him or her appropriately.” 3 come to the surface under certain circumstances.” 4 It is a common misconception, and shallow defi nition, that feng shui is merely an art of the placement of objects or cures. On the contrary, feng shui is a discipline that preaches fundamental thoughts and - Gustav Jahoda PART 2: EASTERN/WESTERN DICHOTOMIES ethics. It strives to teach practical skills of harnessing the powers of the landscape, time and space to benefi t an individual’s endeavors. If a person’s capacity is extensive, then feng shui principles can be incorporated into this person’s life to yield greater effects, enhancing his or her ability to fulfi ll his or her potential, or to avoid perils and downfalls in life; likewise, if an individual has limited capacity, then there is only so much that feng shui can change for this particular person.

39 Fig. 3.1 The Dragon Tortoise enhances career and longevity luck. When positioned Under the rational inﬂ uences of modern society, the complexities and unpredictability of the behind you, it can supposedly provide a universe have now been reduced to mathematical equations and scientiﬁ c breakthroughs. Feng solid support, replacing the necessary Black Tortoise formation. shui re-introduces the aspect of reconnecting with human nature’s inner creative roots, where one can search within themselves and in the surrounding natural setting for inspiration and guidance. Andrew Levitt, a Jungian-oriented psychotherapist and architecture professor at the University of Waterloo explains,

“Where we once lived in a symbiotic or harmonious relationship to our natural environment, today we live in a thoroughly built world in which we are rapidly losing the opportunity to gain the deeper self-knowledge that comes from observing the arising and passing away of natural things.” 5

Another element of feng shui that often leads to confusion is the integration of symbols in its practice. Symbols are utilized to reach to a wide range of audience; the human psyche speaks in images and communicates to the conscious mind through the language of symbols. Myths and superstitions create a bridge for the individual to have a sense of belonging to a less tangible world. During a time when geography dictated human settlement, there was a natural demand for a humble respect for the environment. Mythology as a popular transfer of knowledge was used as a mediating device to connect a person to a place. The instinctive desire for a sense of belonging to the environment will always be a relevant part of the psychology and social behavior of human beings. The primal imagery, rich in storytelling and narrative through the passing along of myths, once held tremendous signiﬁ cance and tradition. The primitive mentality does not invent myth and superstition; on the contrary, these terms merely describe the authentic and personal experience of the human psyche’s original revelations before even human beings were conscious

PART 2: EASTERN/WESTERN DICHOTOMIES DICHOTOMIES 2: EASTERN/WESTERN PART of its existence.

The practice of feng shui is gradually gaining recognition and acceptance in the west due to a growing consciousness of environmental harmony, as well as a large number of Chinese immigrating to foreign countries. However, this recent resurgence of feng shui has also generated misconceptions Fig. 3.2 Eight Immortals of a Dragon Boat boasts that each one guard one of the eight and misuse by those with rudimentary knowledge. In truth, an accomplished feng shui master directions, ensuring all round good feng shui.

40 acquires expertise through years of study, apprenticeship and practice. With no real regulation or Fig. 3.3 Can this representation of a three- accreditation program, it became increasingly easy to misinterpret principles and distort theories legged load really bring prosperity? by integrating foreign elements to feng shui. To those who are unfamiliar with the true nature of the practice, the most visible aspects of feng shui are the use of remedies. The casual use of mirrors, wind chimes and fl utes can easily subject feng shui to misinterpretations. Whether feng shui is perceived as superstitious or not, its goal of operating within a natural order and bringing an alternate sensitivity to design is commendable. There are many factors that contribute to the overall situation and circumstances that one may fi nd themselves in. One must understand the correct utilization of energy and its infl uences in order to take control of one’s own destiny. There is a story of Niels Bohr, the Noble Prize winning physicist, who kept an old horseshoe nailed securely on the wall of his offi ce with the open end facing upward in the approved manner, as it was believed to catch good luck and prevent it from spilling out. A secular visitor challenged him by asking whether he really believed a horseshoe above his door brought him luck. Bohr replied, “Of course not ... but I am told it works even if you don’t believe in it.” 6; this is a pleasant reminder that rational science need not always be at opposition with the occult.

“...rational science need not always be at opposition with the occult.” PART 2: EASTERN/WESTERN DICHOTOMIES

1. Joe Queenan. Beyond Feng Shui. February 2000 issue of Movieline. www.csicop.org/sb/2002-12/fengshui.html 2. Ibid. 3. Joey Yap. BAZI the Destiny Code. 1st ed., Kuala Lumpur: JY Books Sdn. Bhd., 2006, page 3. NOTES 4. Gustav Jahoda. The Psychology of Superstition. Great Britain: Allen Lane, The Penguin Press, 1969, page 69. 5. Andrew Levitt. The Inner Studio. Canada: Riverside Architectural Press, 2007, page 3. 6. Abraham Pais. Inward Bound: Of Matter and Forces in the Physical World. USA: Oxford University Press, 1988, page 210.

41 PART 2: EASTERN/WESTERN DICHOTOMIES

5.0 CASE STUDIES good fengshuitobadshui;andfromeastwest. shui witharchitecturefromavariety ofparameters: fromancienttomoderntimes;whatisconsidered aligned tothe Many ofitselementssatis architect withnofengshuitraining was abletodesignabuildingthatwas alignedwithnaturein many ways. Lloyd Wright’s Fallingwater served asthe importance andwas designedwithoutit.To exploreawesternexampleoffengshuiandarchitecture,Frank the priorcasewas designedexplicitlyaround fengshuiprinciples,whilethelatterunderestimatedshui’s western architectural designsincontemporary China.Themaindifferencebetween the twoprojectsisthat of ChinainHongKong areexamplesofgoodandbadfengshuirespectively. Bothskyscrapers showcase thrives, isfullofexampleshowits principlesin continue toembrace thetimelessprinciplesoffengshui.HongKong, acitywherethepractice offengshui example, moderncemeteriesinHongKong willbestudied;itisanexcellent exampleofhowChinesepeople the overall spaceplanningdowntothesmallestdetailson roofsanddoors.To analyze amorecontemporary China willbeexaminedtounderstandthepivotal rolefengshuiplayed initsdesign;principlesdetermined will beanalyzed through arange ofbuildingsinthefollowingsection.To begin,theForbidden Cityofancient PRECEDENTS 5.0 FENG SHUI CITY OFFENGSHUI 5.1 every decisionwould directlyaffectthoseunder hisreign.Magni be inharmony, continuity, andbalance. The mostfamousofallChinese palaces,theForbidden yang, void andsolidity. These elementswereplaced insuchamannerthat yinandyang would beautifully landscaped gardens,complete withwater andhills,acontrasting interplay ofyinand constructed to showcasethewealth and poweroftheruler. Thesebuildings weresurrounded by power. Emperorswereconsidered SonsofHeaven, therecipient ofthedivinemandate

PRECEDENTS FORBIDDEN CITY, fl ow of the natural setting. This series of case studies is meant to display the integration of feng ow ofthenatural setting. Thisseriesofcasestudiesismeanttodisplay theintegration offeng has longbeenutilized by Chineseemperorstocreateanenvironment favorable to of howfengshuiisincorporated intoarchitectural designsanditseffectontheoverall process fi ed fengshuiprinciplesbecause it was designedasaresponsetothesiteand 42 BEIJING,CHINA fi nal casestudy. Itisabuildingthatexempli fl uenced architecture. The HSBC headquarters and the Bank uenced architecture.TheHSBCheadquarters and theBank fi cent palacesandbuildings were fi es howawestern 1 ; hencehis

was theprimarycolour forthewalls oftheForbidden City. The earth. Red, beingthecolourof dignityandcelebration alsorepresented thesoutherndirection; henceit The coloursoftheForbidden City was derived fromtheFive Elements: metal,wood, shining forceonearth– would befacingsouth,whilesubjectsmustbow to thenorth. to entrance oftheimperialpalacewas locatedsouth,allowingformaximum natural sunpenetration pavilions facingnorthwerereserved fortheemperor’s rejectedconcubines. Asaresult,themain south. Buildingsofsecondary statuswerelocatedontheeastandwest sides.Infact,theonly Important roomswerelined uponthenorthsidesothatitwouldfacea central courtyard tothe the Forbidden Citywithitsnorth-south axes was alsoappliedtotheinternalplanningofhouses. were builttofacesouth,minimizingonnorthfacing doorsorwindows.Therectilinearplanningof yang protrudingformofamountain.Whenever possible,all the importantbuildingsofcity in thesouth.Similarly, theriver alsorepresentstheyinindentinearth,whilehillis The yinelementoftheCoalHill’s northernpositionisbalancedbythe yang oftheGoldenRiver Hill inhopestoward offtheblisteringnorthernwindand tode mountain. Theearthexcavated fromthemoatsurroundingpalacewas usedtomake theCoal of thepalace,itwas considerednecessary toachieve fengshuiharmony bycreatinganarti site. Whiletheoriginaltopography ofBeijingdidnotnaturally have atallmountaintothenorth water elementthat The Forbidden Citywas designedaccordingtoaclassicfengshuimodel.TheGoldenRiver is the role betweenheaven andearth. associated withthePole star. Hencethename ofthepalaceisasymbolemperor’s pivotal as Zijingcheng and yang (south)wouldbringuniversal harmony totheland.TheForbidden Cityisalsoknown complex was plannedalonganorth-southaxis,asitwas believed thatthebalanceofyin(north) of fengshuiusedbytheChineseinantiquitywhenitspractice was mostprevalent. Thepalace City ofBeijing,was laidout bystrictlyfollowingtheprinciplesoffengshui.Thisisanexample emperor’s robeswerealsomade inthistraditional imperialyellow. Theonly roof thatwas exempted roof tiles.Golden yellow istheof fi ll thecomplexwith yang energy. Thisalsomeant thattheemperor-SonofHeaven, the 紫禁城 fl ows justsouthofthecity, whilelowhillslieontheeastandwestsidesof , thePurpleForbidden City. Thezi fi cial imperial colourchosentopay homage totheearth;hence the 紫 representsthecolourpurple,whichis fi eryredwalls werecontrasted byyellow fl ect any othermalignant forces 43 fi re, water, and water,and re, fi cial 2 .

Fig. 5.1.1 across the moat. Fig. 5.1.2 – AncientChinesemanuscripts and organizationtothings.” spiritual concept,manbringsorder peace reign…Heavenprovidedthe ﬁ yang areintheplacesthat round isbright.Whenyinand true? Thesquareisdarkandthe and theEarthissquare.Isthat “It issaidthatHeavenround tting to them, tranquilityand The CoalHillattherear. View of awatch towerfrom 3

PART 2: EASTERN/WESTERN DICHOTOMIES PART 2: EASTERN/WESTERN DICHOTOMIES Harmony city tothedivineforcesof the universe. Likewise, theemperor’s throne islocatedintheHallofSupreme within acontrolledsymmetry ofcourtyards andbuildings.Throughthepalace, theemperorcanconnecthis City was designedtore acknowledged themandate tomaintainharmony betweenhispeople andthenatural world.TheForbidden The designandplanningof the palacewas createduponmany symbols.As theSonofHeaven, theemperor endless geometricinterplay, alludingto therelationshipbetweenheaven, earthandhuman. circle aschaosandreality of nature.Together, thetwoshapesareintertwined andlocked togetherinan simple terms,theancientChineseconsideredsquare astheorderandknowledgeofman, more bustle ofeveryday lifelike markets andkitchens were locatedinthe background the westside ofthepalace.Guestsand peopleofimportancewere received intheforeground,while the reserved forthealtar ofancestors,whilethealtar oftheearthissituatedon therightwheresunsets on the palacecomplex. To its left,thesunriseson theeast–acommonly revered direction–andtherefore THE CITY OFSYMBOLS and itscontentsoverrode everything else protection against from thethiscolourwas theimperiallibrary. Black,being thecolourofnorthandwater –aphysical the anchorsofsquarewithincelestialcircle,hence: “Heaven-round, earth-square Hence thesquareisconsideredas“ and solsticesrepresentthefourpalaces;byconnecting thepointstheyformaperfectsquare(Fig.5.1.3). the equinoxes. Thetwopointsinthesoutheastandnorthwestmarksolstices.equinoxes out toacircle.Thiscirclecrossesthecelestialequator atpointsinthenortheastandsouthwest,indicating determine anorth-southaxis.EarlyChinesescholars measuredalongthecelestialequator, whichtraced According toCateBramble, beforetheinvention ofthemagneticcompassChineseused astronomy to as welltheprotective moatwhich wraps arounditsperimeter. with energetically. Theeternalbluesky serves asthebackdropofthismajesticsetting;spacesaredotted white marbleoftheterraces, coloursweresymbolicandcontrasted againsteachother, aestheticallyand ancient Chinese used the square to represent the earth and a circle to represent the heavens. ancient Chineseusedthesquaretorepresentearthand acircletorepresenttheheavens. fl owing greenwillows.Thebrilliantcontrasts ofcoloursarere 太和殿 , which is considered to be aligned at the centre of the grid and central to every building in , whichisconsidered tobealignedatthe centreofthegridandcentral toevery buildingin fi re –became thecolouroflibrary rooftilesasthepreservation ofthebuilding fl ect the chaos of nature and the control of man, with sprawling landscaped gardens ect thechaosofnatureand thecontrolofman,withsprawling landscaped gardens fl at earth” bounded by the four seasons. The four corners become atearth”boundedbythefourseasons.Thecorners become 4 . Fromthedarkstonesusedtopave thecourtyards tothe fl ected inthepondsgardens 44 6 . 天圓地方 .” .” 5 In In

Heaven-round Earth-square. Fig. 5.1.3 Illustrated representation of Fig. 5.1.6 Fig. 5.1.5 Fig. 5.1.4 Roof oftheHall of SupremeHarmony. A typicaldoor intheForbidden City withnine rows ofbolts. Fiery redcolumnshave the symbolic meaningofjoy.

NOTES balanced elegantlyandharmoniously betweenbuildingsandopenspace,colours andlight. story whileaestheticallyit displays anincrediblesense ofgrandeur andpower. Itisadesignthat were meticulouslydesigned tocaterfengshuiprinciples.Itsdesignand historytellsacompelling to differentiatebetweenclassandrank. Detailsandcoloursfromroofs,doors,downtowindows consideration, almost every partofthepalacewas carefullydesigned tocarryacertainmessage prosperity ofthecityandwellbeingemperor. Apartfrompractical functionsandaesthetic would complywiththerulesoffengshui.Every decisionwas madeinthehopestobene It isclearthatevery effortwas madetoensuretheplanningoflayout and spacesofthepalace which wouldcon the emperor’s indisputable roleonearth,whilestillpaying homagetotherevered number10,000, speci 8. Main Attractions: Beijing.Toronto, Canada,ChinaNationalTourist8. Of 7. TheBeijing Guide, 2008,http://www.beijingguide2008.com/forbidden_city/fcc.html 6. Fingerhuth. Op. cit., page184. 5. CateBramble. 2006.http://qi-whiz.com/node/1094 4. White,Op. cit., page39. Carl Fingerhuth.Learningfrom China: theTao oftheCity.3. Birkhauser–publishersforArchitecture,Germany, 2002,page184 Inc., 1997,page72. 2. Evelyn Lip. What isfengshui?London;Lanham,MD:Academy Editions;DistributedbyNationalBookNetwork, 1. Anthony White.Theforbiddencity:Ashorthistoryandguide. England:ScalaPublishersLtd., 2002,page2. of buildings the wholepalaceworthy oftenstatuettes, anumbersymbolizingtheheaven, indicatingtheholiest the emperoronly. TheHallofSupreme Harmony isthethronehall,henceitonlybuildingin reveal thepowerofperson residingwithin.Roofs thathave ninestatuettesarereserved for number nineonasmany levels aspossible.For example, thenumberofstatuettesonroofs the word‘long’or‘lengthy’, therefore itisbelieved thattheemperorshouldbesurroundedby special becauseitholdsthehighestvalue. ThisisalsobecausenineinChineseahomonym for The ancientChinesealsofoundimportanceinnumbers.Ofallthenumbers,nine total of9,999rooms fi c numberofroomscanbenomoreorlessbecause itstandsfortherationale topromote 7 . Furthermore,thewholepalacecomplexof Forbidden Cityisreputedtohave a fl ict withanumberthatsymbolized Heaven. 8 anddoorswereoftendecorated withninerowsofbolts.Ofcourse,this 45 fi ce,2002.http://www.tourismchina-ca.com/attractions.html 九 was themost fi t the the t .

PART 2: EASTERN/WESTERN DICHOTOMIES PART 2: EASTERN/WESTERN DICHOTOMIES tomb issquare torepresenttheearth below the headiscircular, symbolizing thein 北宋朝 The historyofthecrescent shapedgrave canbetraced tothe years oftheNorthernSongDynasty evolved under stricthygiene andregulation procedures,therebyrestrictingcertainlanduse. a highdegreeofsophisticationthatwas developed intoburialsites.However, over timecemeteries In ancienttimespeoplehadmorefreedomtochoose wheretoburythedead;thereforetherewas THE YIN FENGSHUI 5.2 Dragon, whiletheshorter ridge oftherightarmwould representtheWhite Tigeroftheclassical arm, whenfacing thepanorama infront,shouldbe alongridge,containing theformofAzure east are usuallyconstructed toward thenorth;whereasdeceased wouldfacepreferably south or water. Theclassiccrescent-shaped stoneorcementwall thatencirclestheheadofdeceased left andrightsides,leaving thefrontopentoaview ofthe protecting thethreesides. Thegrave stoneissurroundedbyearth onthebackaswell Dynasty good fatetothedescendantsofdeceased. The wordfengshui abundance ofwealthandfortunecontinuedintothe afterlife.Thiswas doneinhopesofextending were designedandconstructedtoembodyauspicious fengshuiprinciplestoensurethatthe The fengshuiofburialsitesisintimatelytiedtolandforms. Traditional Chinesetombsandgraves The BookofBurial,

4 hillsidecemeteriesinHongKong areexamplesoftraditional fengshuiincontemporary China. not disperse.Theaimistokeepit the waterwillcontainit.Theancientssaidthatone shouldtrytogathertheqisothatitwill “The deadshouldtakeadvantageoftheShengQi[good qi],thewindwilldisperseqiand , directionswhichrepresent heaven andthesunrespectively (960-1127AD) CEMETERIES, 晉朝 (265-420AD).GuoPu 3 . Thetraditional Chinesegrave resemblesanarmchairwith a higherturf HONGKONG,CHINA 郭璞 fl owing butcontained.HenceitiscalledFengShui.” fl uence oftheskyor thespiritualworld.The footofthe , anotednatural historianandwriter 6 . Inatraditional crescent-shaped grave, the left fi eld or, mostpreferable, toaviewof 5 46 . Thewall of thetombaround fi rst appearedduring theJin 1 , wroteinhisbook 2

armchair formation. Fig. 5.2.1 graves inCheung Chau, HK. Fig. 5.2.2 Traditional hill-sidegraves inthe Contemporary armchair-shaped “ be justas,ifnotmore, Fig. 5.2.3 important thanthat of dead isconsidered to The burialsitefor the the residenceof the mostfavorable directionwiththemost open andunobstructedviewofwater. All thegraves areplannedtoface living. ”

NOTES dug upwhichisextremelyundesirable onmany levels. Unfortunately, publiccemeterieslet corpsesresideforonlyseven years. After that,remainsare hefty pricesisthatprivate cemeterieswill not bedisrupted;thereforegoodfengshuiwillendure. feng shuigeography caneasilycostupwards of$80,000HKdollars the residenceofliving.InHongKong, afavorable spotinacemeterylocatedwithindesirable Chinese, theburialsitefordeadisconsidered tobejustas,ifnotmore,importantthanthatof family hadtopay thetotal sum inadvance tosecurethisrestingspotformy grandfather. For the where monksgatherregularlytoperformchants andmantras. Duetothisdesirable location,my Buddhist temple.Thelocationofhisnichewas chosenforitsunobstructedviewofthecentral aisle example, my grandfather’s placeatthecolumbariumisnowsituatedinsidearespected local ashes ofthedeceased.Naturally, nichesinfavorable areaswouldcomewithahigherprice.For the lastcoupleofdecades,directlyaffecting pricesofcolumbariumnichesthatstorethe 8. TimeMagazine. 97Reasons toLove Hong Kong. http://www.time.com/time/hongkong/special/best.html 7. ChowandTeather, Op. cit. 6. Ibid., page63. 5. Ibid., page122. 4. Skinner, Op. cit., page63. co.nz/chinesevoice/ChinConf/S4.html#4.1%20Chinese%20Graves%20and%20Gravemakers%20in%20Hong%20Kong 3. C.S. ChowandE.K.Teather, ChineseGraves andGravemarkers inHongKong, 2000. 2. GuoPu.TheBookofBurial (translated byStephenL. Field),2003,chapterII. Inc., 2001,page65. 1. StephenSkinner, K.I.S.S GuidetoFeng Shui.Keep itsimpleseries,1stAmericanEd.NewYork: DKPublishing, is regardedwithstrongdisapproval view ofwater andperchedontheupper banksofahill.Unsurprisingly, disturbanceoftheground will lookkindlyupontheirdescendants.Theoptimal siteshouldbehigherupwithacommanding wish istoensurethebenevolent in will gotogreatlengthsandcostsensurethatthefengshuiofburialsiteisfavorable. Their feng shuimodel.Thesituatingofurnsandgraves isofutmostimportanceandfamilymembers 47 ﬂ uenceofthesitewillprotectdeceased,sothat theyinturn 7 . For thisreason,thepopularityofcremationincreasedover 8 . Anotherreasonbehindthe http://www.stevenyoung.

PART 2: EASTERN/WESTERN DICHOTOMIES PART 2: EASTERN/WESTERN DICHOTOMIES The original Bank headquarterswas locatedon a sitethatwas consideredtobeone ofthemost designed to de were implemented ontheleftsideof theroofofbuilding. Theserodsareafeng shui remedy be in slicing downtowards theHSBC building.Inanattempttoward off any additionalmalicethatmay forms ofthenearbyheadquarters oftheBankChinawhichisbelieved toresembleasword school ofthoughtfocuses onthesymbolicimportanceofshapes,suchas themalignanttriangular the distance.Allofthese natural elements accountforthegoodfengshuiofsite. Theother up, views goesstraight outtotheglisteningwaters ofthe harbourwiththehillsofKowloon offin bank standsatthefoot of VictoriaPeak withlowerviewsout totheStatueSquare,whilehigher “dragon’s vein” whichrunsalongthemountainridgedownto the seafromVictoriaPeak. The breeze tothesurroundingarea.Itslocationisalsoconsideredfavorable becauseitliesona This desirable location notonlyaccountsforprimerealestatevalue, butitalsooffersacooling RARELY CONTEMPORARY ARCHITECTUREANDFENG SHUI 5.3 its occupantscanenjoy unimpeded harbourviewsinexchange forheightenedfengshuibene park acrossthestreettoensureharborview remain unobstructed.Thisway, thebuildingand view outtowater issoimportantthat thebankactuallygave moneytothegovernment tobuilda - thewater elementbeingsynonymous with wealth-inthemidstofamountainousbackdrop. The Bank. Theplotoflandhasalreadyestablisheditself asaplaceofprosperityitfacesouttosea known infengshuicirclesasanauspiciousbuilding locatedontheprimelotofoldHongKong to theenduringimportanceoffengshuiinChinese culture.Thisnewbankheadquartersis Hong Kong landmarkisanextravagant andhigh-techapproachtoarchitectureatestament an exampleofawesternarchitectdealingwiththe constraints offengshuiinmodernChina.The than sorry. NormanFoster’s headquartersofHongKong Bankisnoexception. Thisbuildingis even skeptical developers, underthepressureofclientsandemployees, believed itisbettersafe

ﬂ icted uponthewelfareof bank, twometalrodsthatresembleacanonor machine gun HSBC HEADQUARTERS,

is thereaskyscraper thatisbuiltinHongKong withoutconsultingafengshuiexpert,as ﬂ ect negative energiesaway and backtoitssource. HONG KONG,CHINA 48 ﬁ ts 1 .

quarters. Fig. 5.3.1 view towards Victoria Harbour. Fig. 5.3.2 The HSBCheadquarters’ favorable The HongKong HSBChead- Fig. 5.3.4 Fig. 5.3.3 Fig. 5.3.5 cross-bracing ofthe Chevronscheme. Different schemes forthedesign A typicalHSBConehundred Mock-up ofthe reddiagonal of theHSBCheadquarters. Hong Kong dollarbill. demolished British ruleinHongKong onJuly1997commencedshortlyaftertheold headquartershadbeen – thatthenegotiationsbetweenBritishand Chineseauthoritiesregardingtheexpiration of Hong Kong dollarbills.For thatreason,itwas anunfortunatecoincidence–orwas itcoincidence? being ofthecityasawhole signi Hong Kong waterfront formany years. Thewhole character ofthebuildingwas consideredtobe landmark ran much deeperthanthat.Theloved buildinghadbeen aprominentpartofthe wealth andprosperity, the emotionalattachmentthatHongKong residentshadwiththisparticular favorable sitesinHong Kong. Notonlywas thebank buildingitselfregardedasasymbolof shui consultantoverlooking the HSBCheadquartersprojectwas LungKingChuen won everyone over. However, thefengshuiobstacles didnotceasejustyet. Theprinciplefeng offending elements;[and] itwouldgrowquicklyandobscuretheunlucky sign.” was considered tobeabadomen.Itwas recommended that to theBritishdesignteam thattheoriginalexteriorX-bracings necessaryforstructural support they wanted Bank’s boardthatthestrikingredV-shapes pointing downwards werenot theluck-inducing sign would dominatethenorthfaçadeofbuilding. Itwas cleartotheChinesemembersof diagonal bracings runningthroughoutmostofthespaces,attachingtoredvertical mastswhich backbone ofthedesign.Thestructural systemwas composedofarepetitionredv-shaped play ofcolorandgeometry. The exposedstructural elementsintheChevronschemewere the One oftheearlierschemesforbankdesigncompetition fromSirNormanFoster was astriking in the Bank. Thissketch would laterin who madeasimplebut signi to consultafengshuiadviser atavery earlystage. One ofthegeomancerwas Koo Pak Ling, Normal Foster, principle designerofthisrevolutionary of underneath the buildingwithtwolarge escalatorstobring people upalevel toenterthe bank. fi cantly synonymous withthestabilityandprosperityofnotonlybankitself, butthewell- fi nl design nal 3 . 4 . Intheend,itwas Foster’s lessfengshui-offendingCoatHanger schemethat 7 . The fi nal decision was to hollow outthestreetlevel to provide awalkway 2 . Thereforeitis 49 fi cant sketch ofthemostfavorable locationfortheentrance ofthe fl uence theway escalators onthePlazalevel wouldbepositioned fi tting that itsimageshouldbeprintedonthebank’s fi ce buildingproject,madethewisedecision “bamboo beplantedinfront ofthe 6

5 whoadvised

PART 2: EASTERN/WESTERN DICHOTOMIES PART 2: EASTERN/WESTERN DICHOTOMIES change positionsthroughout theday tore by theinstallationof480 computer-controlled mirrorsatthetopofatrium. Thesemirrors sun lightwas widelydistributedanddispersedthroughout theinternalspacesofbuilding pedestrians, wouldthen continue upwards throughthebuilding’s core.Positive energyandnatural pedestrian activities,creating apositive andopenyang atmosphere.Thisyang energy, aswell to understandhowthedesignofopenpodium level wouldbeadvantageous inaccumulating the entrance, theunexpectedvoid actsasanopenmouth, drawing thecrowdinside.Itiseasy unmistakable landmarkinthemidstofbusy During my lastvisittoHongKong in2005,Ipaidavisitto theHSBCheadquarters.Itwas an bank. good qiwillprevent waterborne spiritsfromthenearbyVictoriaHarborenteringbuilding the escalatorsalonglineoffengshuienergyrunning downfromthepeak,accumulationof considered necessarybecausemalevolent spiritstravel in astraight manner. Therefore, byangling straight position isnowangledtowards theentrance ofthebuilding.Thisoblique alignment was Eventually, thisalsoledtothere-positioning oftheescalatorsonpodiumlevel. Itsoriginal this asanecessarychange.Notdisruptingthedragon’s path willensurethesuccessofbank. be intheway if itsstreetlevel was nothollowedout.Hence,fengshuipractitioners considered downwards alongthestreetswhichwouldeventually lead thedragon tothesea.Thebankwould However, thiswas afengshuidecisionmadeto allowthespiritualdragon fromVictoriaPeak torun From acommercialstandpointthatdecisionwouldbeconsideredtowaste ofvaluable space. up fromgroundlevel, circulating itwithintheatrium,and In itssymbolicform,theescalatorswas thoughtofto have themotionofguidinggoodfortune coolant forthe airconditioningsystem. it takes advantage oftheseawater fromtheVictoria’s Harborjustoffin adistance,usingitas a directly impact therequiredairconditioning. Sensitivityhas also beengiven totheHVAC system; amount ofsun lightenteringthebuilding toreduceglareand subsequentheatgain, which would an underlyingattitudeof fengshui.Additionally, external sun shadesaredesignedtocontrolthe these designdetailstake advantage ofwhatisavailable onsiteinasustainable approach,whichis travels downwards, illuminatingthewalkway plazabelow. From anarchitectural perspective, fl ect natural lightintotheatrium fi nancial centreofHongKong. Asoneapproached fi nally dispersingitintothecoreof 50 9 whichultimately 8 .

podium level. Fig. 5.3.6 of themostfavorable entrance. Fig. 5.3.7 Geomancer Koo Pak Ling’s sketch The escalatorsontheopen-air Fig. 5.3.9 Fig. 5.3.8 guarding theentrance tothebank. Opening ceremony and blessing The twoinfamousbronze lions of thebanktower.

NOTES

10. William.Op. cit., page265. House, Inc.http://www.fodors.com/world/asia/china/hong%20kong/entity_105977.html 9. HongKong &Shanghai Bank(HSBC)MainBuilding Review. Copyright©2008 Fodor’s Travel, adivisionofRandom 8.Bruce Chatwin. WhatamIdoinghere?USA: Penguin (Non-Classic),1990, page54. 7. Williams.Op. cit., page 71. 6. Ibid., page19. 5. WitoldRybczynski. TheMostBeautifulHousein theWorld. VikingCanada,1989,page18. 4. Ibid., page105. 3. Ibid., page13. 2. Ibid., page33. Johnathan CapeLtd., 1989,page13. 1. StephanieWilliams.Hong Kong Bank:TheBuildingofNorman Foster’s Masterpiece.London,GreatBritain: complete withdrumsandgongsastheharbinger of thearrival ofamagni ceremony forthebuildingwas alsoimportant,whichwas heldintheelaborate Chinesefashion, by warding offany misfortunes whichwouldnegatively affecttherevenue ofthebank. Theopening earned theirpermanentplaceastheguardianof the bank.Theywerebelieved toprotectthebank When theHSBCtowerinHongKong was establishedasthe headquartersofthebank,theselions the liononrightwithmouthclosedwas nameaftertheShanghaibranch manager, G.H.Stitt. left lionwiththeopenmouthwas namedaftertheHong Kong branch manager, A.C.Stephen,while feng shuiconsiderations andwerecastinShanghai1935laterbroughttoHongKong. The the entrance ofthelargebankcomplex.Thetwooriginallionsculptures werecommissionedoutof Another notablefengshuiaspectofthebankhastodowithtwobronze lionstatuesthatguard 51 ﬁ cent golden dragon 10 .

PART 2: EASTERN/WESTERN DICHOTOMIES PART 2: EASTERN/WESTERN DICHOTOMIES The triangle isconsideredtoattract negative energiesdue toitsresemblance abladeand violating afeng shuirulewhereinone shouldnotintentionally bringbadlucktoone’s neighbors. They argued thattheabundanceof sharp cornerswouldbring badlucktoneighboring buildings, criticism. Despiteitsarchitectural claim tofame,fengshuicriticsvieweditunderadifferent light. on asmalllotadjacentto abusyroadtotheconstraints offengshui,thebuildingcameunder heavy Pei hadmany challengestoovercome whendesigningthis project;frommaneuvering the building consultation withfengshui mastersonmattersofdesignpriortoconstruction. contrasting controversy atthetimeofitsconstruction. Thiswas duetothefactthat itbypasseda distinctive aestheticsmake itoneofHongKong’s mostidenti with thenumbereightbecause itspronunciationsoundslike thewordforprosperity. Whileits considered tobeahighly auspiciousdatebyfengshuimasters.Chinesepeople have afascination CHINESE THE FENGSHUIREBEL 5.4 good fengshui.Thetoppingoutceremony was heldonAugust 8,1988(08-08-88) does nothave thesameopenviewofsea,itisnevertheless protectedbygeographically vicinity astheHSBCheadquarters,lyingnear sameauspiciousdragon’s vein. Althoughit stalk, symbolizingthegrowth,livelihood andstrengthofthebank.Itissituatedwithinsame triangular tubestructuremadeofglassandsteel was designedtodepictanemergingbamboo people. I.M.Pei’s designforthetowerwas inspiredbythestructureofbamboo. Theasymmetric The towerwas designedtobeaprominent landmarkrepresentingtheaspirations ofChinese buildings inHongKong designedwithoutfengshuiconsultation. Chinese architectincontemporary China.However, it is uniquebecauseitoneofthevery few Kong’s famouswaterfront. TheBankofChinaisauniqueexample ofwesternarchitecturebya light-catching façademakes it oneofthemostgracious andelegantofallthetowersalongHong heart ofHongKong. Fromanarchitectural appreciationperspective, itsdynamicgeometryand

BANK OFCHINA, -American architectI.M.Pei designedtheseventy-storey BankofChinainthe HONGKONG,CHINA ﬁ able landmarks,itsdesign was under 52 1 , whichwas ﬁ nancial

Kong. Fig. 5.4.1 The BankofChina towerinHong site oftheBank ofChinatower. Fig. 5.4.2 A busyroadadjacent tothesmall dagger aimedattheheartofBritishrule’ Obviously thisdidnotbodewellandBritishwriter SimonWinchestercomparedthebankto the bank’s facadepointtotheHongKong Legislative CouncilBuildingandtheGovernment House. the dead,andthereforeconsideredtobeunlucky. Byanunfortunatecoincidence,thetriangleson pyramid. TheChinesepronunciationofpyramid soundslike theurnsforkeeping theremainsof was thetwotallandslenderrodsperched atopofthebank.Theseantennascameunder On theotherhand,notevery element oftheBankwas consideredtobeabadin sticks usedasanofferingtothedeadinChinese Buddhistculture. mantis, preyingontheneighboringbuildings;while othersthoughtthetworodsresembledincense feng shuiexpertsincontrasting ways. Somebelieved that it madethebuildinglooklike apraying common sense: her viewsonreadingthe fengshuielementsofthisbuildingshouldbedone withanopenmindand decided tocontactaprofessional. Accordingtofengshuipractitioner andarchitectHelenDoherty, of China.Duetoalack ofinformationontheactualfengshuiconsiderations ofthis project,I want moneytodo. There isawideandvaried range ofspeculationsonthefengshuiBank pool andisprevented from However, thisslopedwaterfall featureisconsideredgoodfengshuiasthewater iscollected ina surfaces inthearea.Whetherthiswas designedasa feng shuifeature,Icannotsay forcertain. use ofthetightspacesavailable onsitewhileofferingafreshcontrast totheabundance ofhard the buildingtoleftofmainentrance tothebank.Architecturally, thisfeaturemadeclever recall my lastvisittotheBankofChina,therewas apicturesquewater featurehuggingthesideof determine if the bankhadadetrimental effect.” not fengshui. Youwouldhavetoknow veryintimatedetails oftheotherbuildings to architects are hiredfortheirreputation andtheprestigethat thebuildingwillbring, alongside Pei, thenheprobablyhad no ideaoftheimplications ofhisdesign.Renowned the author.Unless owner ofthebuildingemployedafengshuiconsultant towork published informationabout thefengshuiofbuildingsisjustguesswork onthepartof consultants -theyand their workremainanonymousforcon “I doubtthatyouwillbe able to fl 53 owing away fromthe building,synonymous withwhatmostpeople fi ndoutmuchinformation onfengshuidonebyauthentic 2 . Anotherexampleofanundesirable featureofthebank 3 fi dential reasons.Most fl uence. AsI fi re from re ‘a

PART 2: EASTERN/WESTERN DICHOTOMIES PART 2: EASTERN/WESTERN DICHOTOMIES bank, andsowithabitof ingénuetheX’s weredisguised tolooklike trianglesinstead expressed concernsabout theX’s beinganegative symbolonthewelfareandprosperity ofthe I.M. Pei had originallyincorporated gianttrusses intheshapeofX’s aswindbracing. Theclient considered, designchanges weremadenonethelesstosatisfytheclients’ concernsoffengshui. While theeffectsofcertaindesignfeaturesandtheir implicationsonfengshuiwerenotoriginally and itsstrugglewithfengshui, In thebookConversations with Headquarters inHongKong, wherethedesignunderwentmany revisionsduetofengshuiconcerns. not aforefrontconsideration ofthedesignproject.ThisiscompletelyoppositefromHSBC Despite allthespeculationsonfengshuielements ofthebuilding,fengshuiwas actually major buildings inHongKong tobypass aconsultationwith feng shuiexperts. as afeatof architecture andengineering, allthewhileearning itsnotoriousstatusas oneofthe the bamboomotifsuggesting upward growthandprosperity, whilepioneeringinthecontemporary Hong Kong skyline. Itsdesignisastorythatfoundbalancebetween traditional symbolism,like with fengshuiexperts. Nevertheless, theBankofChina towerisalandmarkandsymbolofthe while thisdecisionwas enoughtogarneracceptancefromthe client,thetriangleswereill-received neighbours.” instance, [the]buildinghadtoomanysharpcorners [whichwould]bringbadlucktoone’s attacked -justas but didnottakeitseriously.Assoonaswemade ourdesignpublic,Iwasimmediately of thebuildingonsite;andshapeform ofthebuilding.Iwasawarethis, people onallmattersofthings,especiallythe selectionofabuildingsite;placement cannot getawayfromthatproblem.Therearespecialists, fengshuimasters,whoadvise degenerated intoaformofsuperstition.Whenyou designbuildingsinHongKong,you “[Feng shui]hasitsrootsintheworshipof forcesofnature,whichsometimes 4 ﬁ ercely asIwasattackedfortheLouvre,butdifferentreasons.For I.M. Pei:LightistheKey , Pei discussedtheBankofChinaproject 54 5 . Intheend,

concrete jungleofCentral, HongKong. Fig. 5.4.3 A welcomedwater featureinthe NOTES 5. WitoldRybczynski. TheMostBeautiful HouseintheWorld. Viking Canada,1989,page19. designboom.com/portrait/pei_bank.html 4. Quotationtaken from“Conversations withI.M. Pei: LightistheKey” byGerovon Boehm.http://www. 3. Quotationtaken, withpermission,fromauthor’s personalemailswith HelenDoherty. February 1,2008. 2. Ibid. 1. MartinWilliams.IntheDragon’s Lair:FungShuiandHK,July1992issueofFar East Traveler. Fig. 5.4.4 I.M.Pei demonstrating howtheBankofChinainHongKong isjoinedtogetherinthreedimensions. 55

PART 2: EASTERN/WESTERN DICHOTOMIES PART 2: EASTERN/WESTERN DICHOTOMIES It isunlikely Frank Lloyd Wright was aware ofthefengshuiimplications inhisdesign ofthe paradoxical play ontheeyes andthemindaswell asaclever architectural juxtaposition. ﬂ has visualimpact. Lookingover theedge of thebridge,image ofthehouseappears to be the water. Itisonly when onestepsontotheentryfootbridgethat dynamicrushofthewaterfall embedded uponthehilland therocksthatonlysignofwaterfall istheconstantrushingof the natural waterfall. Asoneapproaches,the houseappearstobesosecurelyintegrated and of sculptural sandstonewhichguidesgentle a shortpathonfootfrom theparkinglottowards thehouse. Thehousesitsuponaruggedstage surprise. Thesiteisdensely populatedwithtoweringhemlocksandoaks. Visitorshave totake viewed fromthewest.During my visittothehouse,Iencountered many elementsofarchitectural foliage, whilelargeplatforms andbalconiesthrustinouttocreateadynamic movement when in theeast.Fromsouthhouseisseen nestled intimatelywiththeprotective shroudof into theearthinnorthandallowedtospillover andcascadedownthenatural slopedtopography sceneries andframed viewscanbetaken inatoneparticularmoment.Fallingwater isembedded that theentireexperienceofnaturecannever becompletelytaken invisually;onlysnippetsof and looked forways to evoke people’s desirestoonceagainreunitewithnature.Heunderstood which hestudiedandappreciated.Wright observed aharmoniousorderinthenatural landscape Although hewas notexposedtoitas apractice, itwas inherentintheorientalartandarchitecture, Wright clearlyhadanintuitive sense oftheenergiesnature,whichisintegral tofengshui. surroundings environment. viewpoint becauseitwas abletoachieve abuildingthatwas harmoniouslyintegrated intoits a westernarchitectwithnofengshuitraining. Theendresultwas successfulfromafengshui just outsideofPittsburgh.Fallingwater istheidealexampleofwesternarchitecturedesigned by IN ARCHITECTURE’S ROMANCEWITHNATURE 5.5 oating on water atthe sametimeasbeingsecurely fastenedintothe landscape.Itisawonderful

1935, Frank Lloyd Wright was commissionedbytheKaufmann familyto build acountryhouse

FALLINGWATER, PITTSBURGH,USA ﬂ owing water tospillover twentyfeetbelow, creating 56

Wright - FrankLloyd at thedesign.” when youlook the waterfall you canhear water…I think over thefalling that rock-bank the housefrom be tocantilever thing seemedto the natural waterfall, and rising besidea high rock-ledge with asolid, beautiful forest “There isa Fig. 5.5.1 Fig. 5.5.2 Frank Lloyd Wright’s Fallingwater. The approachtowards thehouse. the house.Hence, thedecisiontobuild thehousecloseby, butnot completelyover thewaterfall constantly moving underneathlivingquarters cangatheraggressive qi,which canharmpeoplein solid support fromtheearth.Thewater element isusuallydesirable, butontheother handwater room, which cantilevers over thewaterfall, fosterssome unstableenergyfrom having noreal and invitation ofprosperityand vitalityintothehouse.However, itispossiblethattheliving not onlypays tributetoafundamental fengshuielement,butitalsosymbolizes thecultivation with wealthandprosperity; thereforebyhaving water astheunderpinningmetaphor ofthehouse of water in the shiftinghorizontal planesofthehouse.Water isconsideredto be synonymous as themetaphorofthis structure. Water is The massingandformof Fallingwater isderived from theBearRun waterfall whichhighlightswater house toanexistingbouldermadeavery deepconnectiontotheearth.Itwas the relationship tothelandscape,akey ingredientoffengshui.Wright’s decisiontoanchorthe house. Inmy opinion,thearchitectural appealofFallingwater isintimatelytiedwithitsresponsive Author Lynda S. Waggoner explains, on hisfamily’s farm,Wright discovered nature’s formsandprocessesthrough harmonious coexistencewiththenatural landscape.Duetohischildhoodexperiencesgrowingup Lloyd Wright proved, bythedesignofthishouse,thatmodern westernarchitecturecansharea the waterfall andthelandscape,creatingapieceoftimeless andresponsive architecture.Frank to thesite.Therefore,regardlessoflack fengshuitraining, thedesignwas inspiredby implications inhisdesign,itachieved goodfengshuibecausehisdesigndecisionswereresponsive home toembrace thesite’s natural beauty. Even thoughWright was notaware ofthefengshui Wright thencantilevered multiple terraces thatreachedoutandallowedtheoccupantsof the masonry anchorthataimedtowards thesky, whichwas agesturethathonoredtheheavens above. those whooccupiedthehouse.Further, thehouse’s central structural element was thevertical were constructedusingnatural stones.Thiswas donetoexposethenatural rootsofthesiteto towards anintimaterelationshipbetween buildingandsite.Themassive zigzagretainingwalls nature whichaccountsfor itsrichness.” to itssubtle,orderedbeauty. Andhecametounderstandthatitisthe dichotomyin “[Wright] recognizednature’sduality,itsunrestrained seeminglychaoticpowerincontrast 57 fl 1 uid andunde fi ned, soWright echoedthemovement fi rsthand experience. fi rt step rst

PART 2: EASTERN/WESTERN DICHOTOMIES PART 2: EASTERN/WESTERN DICHOTOMIES abstract appearances, theuseofmaterialsre because thecantilevering livingroomisonlyasmallfactorwithinthelargerpicture.Despiteits is goodfengshuiforthehouse.Inend,overall fengshuiofthehouseisquiteharmonious environment tosupport a harmoniousrelationship withthesite. able toful time whenthepractice fengshuiwas remote,Fallingwater was sointuitively designed thatitwas and inviting nature intotheroutinesofeveryday life.Despitebeingdesigned inthewest,duringa and obvious.Theinteriorpaletteofearthlymaterials andwarm woodtonesre believed thattheyinandyang ofthehouseissensitively carriedoutonmany levels, bothsubtle New York City, sharedhisassessmentofFallingwater inaninterviewwithI.D. Magazine From aprofessionalperspective, AlexStark,aYale-trained architectandfengshuiconsultantin the directionwhichrepresentsHeaven. energetically. Italsosimultaneously opensthehouseuptowards thesouthernsunshineandalso of orientation,byembeddingthehousein north itofferssupportnotonlystructurally but areas arecarefullyplacedalongthesouth,whilesolid stonewalls dominateonthenorth.Interms transparent windowsreachoutward towards treesinadistance, allowingbreeze to to ashadow- terraces and sunlight;downwards, theexteriorstaircaseleads one throughthelevels anddown itself crawls uptheslopedterrain, leadingupwards totheelementofskylightand ontothe invites users toconnectboththevertical and horizontal planes ofnature.Vertically, thebuilding walls anda stretchofseatingiscompletelyintegrated intothewall. Thedesign ofthehouse way thatseamlessly blendedintothehouse.Tables andshelves appeartogrowfromthestone itself connecttoitssupportingenvironment, theinteriorfurnitureofhousewas designedina is counterbalancedbybrightceilings;anotheryin andyang contrast. Notonlydoesthehouse openings. The of thelowceilingiscounterbalancedandoffset bytheyang aspectofthemultitudewindow of thesiteandusedtobreakupseparation betweeninsideandout.Theyinenvironment fi ll many fengshuicriteria. Theendresultwas ahousethat encompassesanurturing fi lled wading pool underneaththehouse.Horizontally, thecantilevered terraces and fl oor madeuseoftherocksfromwaterfall ledge,andthedarkness ofthe fl ectsamorepractical sideofthedesign.Theglazed 58 fl ects theearthiness fi lter through, lter 2 . Stark fl oor Fig. 5.5.3 brings the livingroom intomidair. Fig. 5.5.5 laid inandover boulders. Fig. 5.5.4 Themaincantilevering element The basement level withsupports Aerial viewofthesite. Fig. 5.5.8 to maximize natural day lighting. Fig. 5.5.7 creating astrongearthlytietothesite. embedded intotheexistinghill-sideandboulders, Fig. 5.5.6 The North side of the house is securely The Northsideofthehouseissecurely Integrated interior seating. The Southfaçade ismostglazed

NOTES 1. Lynda S. Waggoner. PRECEDENTS 5.6 ensure thecomfortandwellbeingofitsoccupants. ultimately thesame:foraharmoniousrelationship betweenabuildingandtheenvironment to example isindicative ofacertain processofdesign.Whiletheydifferinapproach,theirgoalis design aspecttotheintuitively responsive designelementsofabuildingtospeci ways ofimplementation: fromthemeticulousapplicationoffengshuiprinciplesintoevery possible a harmoniouscohabitationofboth able toadaptthechangesofbuildingstylesand agrowingarchitectural professionallowingfor shui ledarchitectstodepartfromanemphasisof a changeindesignmentality. Fromalow-lying palacecomplextotowering skyscrapers, feng day China.Therange ofbuildingsfengshuiin The synthesisoffengshuiwitharchitectural design spannedfromChineseantiquitytomodern feng shuiandarchitecture.Intheeast,consulting afengshuimasterduringdesignwas essential. them. Examplesfromboththeeastandwestdisplayed differentapproachestotheintegration of 2. HilarieM.Sheets. 1996, page15. 2002, page74. CONCLUSION reveal historyandpastconcerns; however, moreimportantlyalessonemergesfrom Cosmic Appraisal. Fallingwater Frank LloydWright’sRomance withNature. 59 AlexStark’s feng shui assessmentofFallingwater inI.D. MagazineNovember fi gure and ground.Thecasestudiesalsodisplayed different fl uenced throughout theyears alsodemonstrated fi gure over ground;instead,itsprincipleswere Singapore:Universe Publishing, fi c site,each

PART 2: EASTERN/WESTERN DICHOTOMIES

“Architecture already favors the reﬂ ex, the natural easy attitude, the occult symmetry of PART 3: the grace and rhythm afﬁ rming the easy, grace, DESIGN and naturalness of natural life.” EXPLORATION - Frank Lloyd Wright, 1939

61 PART 3: DESIGN EXPLORATION

6.0 INTEGRATION THE FENGSHUI AS 6.1 spaces, thesame principleofbalance andharmony needstobeapplied. topography, thebalance ofthestructural massing,or the proportionalrelationships ofinterior the theories of fengshuiareexecuted underaconceptof parallelism. Fromthebuiltor natural world builtin aharmoniousinteraction ofinterdependent opposites:yin andyang. Likewise, 2. Humanitylivesina proportionateandparalleluniverse. situation andcircumstance thatmay arise. behind fengshuiisunderstood, thenitbecomesapowerfuldesigntoolthat canbeappliedinevery world allowsforcreative narratives toenhancespatial experiences.Whenthesymbolicmeaning to seethebuiltworldin terms ofimagesthatstimulatethemind.Theuse ofsymbolsinthebuilt 1. Imagineasymbolicworld. to integrate feng shuiintoarchitectureprojects. systematic way. Thefollowingareguidelinesofcrucialelementsthatmustbeconsideredinorder components. Thisway, designaspectscanbecomparedwithapplicablefengshuiprinciplesina order forfengshuitoworkwitharchitectural design,itisbesttobreaktheprojectdownintosmaller architects anddesignersupfrontconcerningasite’s energeticconsiderations andrestrictions.In qualities forpeopletoday. Byusingfengshuiattheonsetonacreative projectitcanbestinform principles canpotentiallybeincorporated intocontemporary architectureto create uniquespatial vital energiesexistinginaspeci towards abalancedstatebetweenthe environment anditsoccupantsthroughthemanipulationof combines designprincipleswithaprofoundunderstanding ofnatureanditsprocesses.Itaspires overall schemedowntothemostintimateofdetails.Therefore,feng shuiusedinarchitecture involves thesensitivityofarchitectstodesignforawiderange of spatialrelationships,fromthe atmospheric ambience.Architectural designisrecognized as acomplexandintuitive processthat approach towards design,engaging the sensesbyconnectinganindividualtocertainspacesand a criticalstancemustbetaken towards theprocessofitsadoption.Feng shuicontainsanintuitive fengshuibeginstogainwideracceptanceinthewest asadesigntoolforarchitectsandplanners, FENG SHUI-ARCHITECTURECROSSOVER 62 The fengshuimode of thinkingrequiresakeen senseofimagination fi c space.Feng shuiunderstandsthiscrucialrelationshipandits The Taoist worldviewseesthe speci spaces. Whenanindividualisborn,he/shereceives qifromtheuniverse atthemomentofbirth.This account boththetimeaspectofstarsmomentanditseffectonatmosphericpower of 3. Therelationshipbetweentime,spaceandfate. ceases to be easytoaccumulatebene the courseofqiislike thatofwater andtherefore 5. Understandingthemovement ofqi. be re-evaluated foritscompatibilitytoensureaharmoniousdesign. such asfurnitureordecoration, materialityandcolorsshouldbeconsidered.Lastly, everything needsto to thefengshuiaspectcorrespondingeachindividual. Finally, thearrangement ofinteriorelements determined next.Oncetheexteriorisresolved, theinteriorspatiallayout shouldbedesigned according of occupants.Theexternallayout, suchasthelandscapingandenclosureorfaçadeofbuilding,is roads, orhallways causes qi togatherspeedensuing energeticdevastation. Insuchcases,thisnegative straight nortoowinding carrythebesttype of energy. Conversely, along, straight stretch ofhighways, or destructive outcomes. Sincethenature of healthy qiistomeander, gentleroadsthat areneithertoo 6. Theeffects ofalignment. this fundamentalprinciple iscrucialtoathoroughhandlingofthemanipulation ofqi. of qibecomestoorapid, itsenergywillbecome destructive. Duetothispotentialharmfulpower, understanding topographic features shouldbeanalyzed they areallinterrelated.Feng shuioperates from alargescaletosmallscale.Thereforethenatural strategies into anarchitectural project.Bytranslating aproject intofourmodules,itwillbecomeclearhow challenge isdifferent,ithelpstomodulatethedesign processwhenitcomestoincorporating fengshui 4. Fengshuidesigningmodules. up withthechangesoftimeanditseffecton destiny ofindividuals. birth. Asthestarchangesitsfavor annually, itisimportanttotake thatfactorintoconsideration tokeep is encapsulatedforever asdestiny inthedateofbirth,speci fi c energyisthen in fl ow, theabundanceofqiandqualityenergy diminishes.Alongthesameline,where fl uenced bythe strengthsofeachtheFive Elements.Thischainofreaction fi cial energy. Conversely, if thenatural course isobstructed,becomingstagnantand The energetic dynamicsofqi’s pathoftravel can resultineitherfavorable While every designer’s approachand methodologytoacreative As an invisible form of energy that permeates the material universe, As aninvisible formofenergythat permeatesthematerialuniverse, fi rst asthishasthelargest overall impactonthewellbeing fl ows inameandering passage.Whenits The FlyingStarmethodoffengshuitakes into fi c downtotheyear, month, day andhourof 63 fl ow is gentle, it will ow isgentle,itwill fl ow ow inch high.” three-quarters ofan universe ofpeople block, inamake-believe modeling clayandwood and balsawood,with mortar butwithcard site, notwithbricksand but notonthebuilding removed. Hebuilds, it isalwaysatonestep the architectcreates, medium. Butwhen between themandtheir sculpt. Nothingcomes paint, andsculptors “Writers write,painters - WitoldRybczynski 1

PART 3: DESIGN EXPLORATION PART 3: DESIGN EXPLORATION 8. Therelationshipbetween theFiveElements. therefore lendingitselftopopularusageinChinese architecture. af building, thelargerstructureexerts apower over thesmallerbuilding.Rounded shapes,withits surrounding areawithinathree-blockradius. Aswell,whenabuildingisdwarfed byanadjacent to MarciaSmall,afengshuiconsultantinOakville, theyalsoaffecttheatmosphericvibeof such aschurchspires,antennasoreven satellites arenotonlyanaffronttoHeaven. According directed atawindowitwillaggravate thepersonoccupyingthatparticularroom.Aggressive points objects thataresharp, suchascornersorspikes. Whenabluntcornerofanadjacent buildingis western elementsofWater, Earth,Fire andAir. These tension iscreatedfromthevelocity oftheturn,like asharp ‘knife-edge.’ While curves areapositive thing,beingontheoutsideedgeofacurve ishazardousbecause momentum mustbereducedbystrategically placingbreakpoints orintroducingagentlecurve. the Earth,and whenEarthin the capacity to cutdowntheWood oftrees.Theroots treesdigdeepandextract nutrientsfrom out Fire,and theheatfromFiremelts Metal.WhenMetaliswrought intotheformofan axe, ithas weakens and devastates theotherelement,sothesecombinations shouldbeavoided. Water puts where theenergyisnourishing andbene Water (dew).Andofcourse,Water nourishesthegrowthofWood. Thisis the Productive Cycle, ash, orEarth.Fromthe depths oftheEarth,Metalscanbefound;andwhen colditssurfaceforms can alsobemanifestedinspeci 7. ShapesandtheirrelationshiptotheFiveChinese Elements off byshields,suchaslowlyingwalls ortrees. are called‘poisonarrows’, bringingillfate tothoseattheendofitspath;however, it canbewarded undesirable because qiwillaccumulateandarmatatargetthevery endofitspath.Suchforces be locatedontheprotective inside ofacurve. Also, buildings situatedattheendofaroadare are inaconstantstateof fi nity withtheheavens, have anoverall placideffectonthoseoccupying itorthosearoundit, fl ux. For example, whenWood burnsit turns intoFire,whichendsupas fi ltrates Water, itloses itsclarityandbecomes muddledandfullofsilt. fi c shapes.Poison arrows mentionedabove canbegenerated by fi cial to theelementnextinline.TheDestructive Cycle fi The ve elements representtypesofenergythat fi ve Chineseelementsare unlike the 64 . Theformationofharmfulqi 2 Instead,itisbetterto

- MarkoPogacnik pect [ofthisinteraction].” promote theconstructive as- culture andnaturemeet to the undesireddarksides when and designwouldbeto avoid urban planning,architecture, shui] inthegeneralcurriculafor the studyofgeomancy[orfeng tricts. Theaimofincorporating buildings orentireurbandis- still unhealthyvibrationsinthe geomantic organismandin- damage thesiteorlandscape’s may makegraveerrors,which knowledge ofgeomancy,they stincts andhavenotrainingor attention totheirintuitivein- designers donotpaysuf “When architectsandurban ﬁ cient 3 - CarlFingerhuth nature, andtolandscape.” relationship withtheuniverse, to cosmos. Thisiscreatinganew is connectedtoourrolesinthe with greatforcenowadaysand ern spiritualityisre-emerging new energiesofourtimes.West- well, givingexpressiontothe new citygestaltwillemergeas in thebeyond-the-modernera,a rational energies.Soonerorlater its citieswasthereforeshapedby of spiritualityandthegestalt tionality ledtothesuppression “Modernism’s explorationofra-

NOTES in reality. Therefore,theseissueswillbeputto the testindesignportionofthisthesis. is easytooutlinethesesituations outonpaper, butitisanotherthingtoovercome theseobstacles angles orslantedwalls donotmake acomfortableorpractical placetolive orworkin.Ofcourse,it appealing fromanarchitectural perspective, butinthefengshuisense,oddshapesorindulgence in and concentration inharnessingpositive energieswithinaparticularspace.Thesespacesmay be balanced whichforcesqitore add stresssubconsciouslytocertainpeople.A design alittlemore“honest”. However, theseoverhanging elements,especiallyinabedroom,can details exposedmay bea way tobringcharacter andpersonalityintoaspacewhileleaving the plan aretypicallyundesirable infeng shui.Fromanarchitect’s pointofview, byhaving construction design elementslike leaving ceiling beamsexposed,overly highceilings,andoddshapesfor the generally constitutes “goodfengshui”may notbewhatthearchitecthasinmind.For example, of creativityhasnoboundaries,butfengshuiprinciples aregoverned byrules.Therefore,what balance tothecreativityofdesignwhileworkingwithin theconstraints offengshui.Individualacts There willbemomentsduringcollaboration wherethearchitectneedstomake decisionstobring clashing orthecreationofunfavorable situationsfortheindividual. environment, asopposedtoaroomwith anabundanceofMetal.Thisisdonetoavoid thepotential to theoccupant’s birthelement.For example,aWood personwould 2. StephenSkinner. 4. Fingerhuth, 3. Fingerhuth, Inc., 2001, page88. 1. WitoldRybczynski. occupants. Itisespeciallyimportantto palettes. Extremecaremustbetaken whenusingthesesequencestodesignspacesforspeci The interaction betweenthedifferentelementswilloccurmostly whenchoosingmaterialsorcolour Op. cit., Op. cit., K.I.S.S Guideto FengShui. The MostBeautiful HouseintheWorld page188. page 196.Quote taken fromMarko Pogacnik. fl 65 ect offthewalls setatarbitrary angles.Italsodisplays alackoffocus Keep itsimpleseries, 1 fi rst fi nd outwhich elementsarebene fl oor planwithsharpanglesandoddshapesis not . VikingCanada, 1989,page24. st AmericanEd.New York, USA: DKPublishing, fl ourish inaWater-based fi cial orundesirable fl oor oor fi c

PART 3: DESIGN EXPLORATION PART 3: DESIGN EXPLORATION

7.0 FENG SHUIHOUSE DESIGN PROJECT: recently purchased apropertyclose to wherehelived innorthernOntario, Iasked to seethesite my ideaforthisproject, so Iapproachedhimwith aproposal.Whenherevealed tomethathehas culture with a wealthofknowledgeon geomancy. Ifeltthathewould understand andappreciate name cameofmind:Professor Lloyd Hunt,anavid, self-taught studentoftheChinese languageand THE 7.0 TO 7.1 to live and work. be positively channeledthroughthebuilding,creatinga holisticandhealthy environment inwhich Using theprinciplesoftraditional fengshui,theexistinglife-forceenergyofenvironment can natural manifestationsofabalanced andsupportive environment tothelifestyleofoccupant. and tofeelateaseonewiththe.Theresults offengshuiarenotmiracles; rather theyare man-made, cosmicorlocal.Thegoalistofeela senseofcompletenessandbelongingtoaspace In fengshuiterms,itisaboutlinkingmanandhis destiny withhissurroundings,beitnatural or shelter fromnatural elements,as wellasacomfortableandrelaxingsettingforhumanactivity. the followingdesignexercise, thefengshuihousewillbeabuilding thatisdesignedtoprovide to there importantly –aprivate representationof an individual’s spirit.These characteristics correspond personal needsofitsoccupants,embodyingadistinct qualitythatisdelicate,tangibleand–most balance andtranquility ontothose whooccupythespaces.Ahouserespondstointimateand is forthehousetobecomevehicle inwhichastructuresetnatural landscapecanre energies ofasite.Thisalsohasdirectimpacton thespacesinsidehouse.Theprimaryaim on bringingfengshuisensibilitytothedesignof ahouse,effectively channelingthesurrounding opportunity totake fengshuiprinciplesandapplyittoa designproject.Thisexploration isfocused beginthisdesignproject theremustbeaclient.Aftermuchconsideration andinquiries,a designportionofthisthesisistobeunderstoodas anextensionoftheearlierresearch;itis INTRODUCTION THE BEGINNING fl ective natureoffeng shuitorespondaspace’s connectiontospeci 66 fi c individuals.In fl ect

Personal Trigram: With thisinformation,thefollowingfengshuiconstituents arerevealed: Sex: Birth Place Birth Date: everything fellintoplaceafterthat. FromLloyd, Iwas abletogatherthefollowinginformation: After reviewingthecontourdrawings ofthesite,Irealized thatthiswas asignanditamazed mehow plans anddrawings. Luckwouldhave itthathehappenedtohave carriedthesetofdrawings withhim. thatin theevent whenatree falls itwillnot slicethroughthehouseaseasily The buildingshouldbetalland made fromconcrete walls orICF(insulated concreteforms) so May have opportunity tobridgeupperbanks • May have attic loftspace • • • Second Birth YearElement Lowerlevel: garage, workspace, storage, entrymud room • Garage hasbetopartofthebasementplanforsite towork • First • house. Thehouserequirements areasfollows: Once Lloyd hasagreedto take ontheroleofClient,hewas alsoabletoprovide aprogram forthe be eitherbene Trigram Compass: Birth Animal: supportive Male : Markdale,Ontario November 4th,1959at1:30pm fl oor: livingroom,diningandkitchen asonespace;3-piecebathroomandbedroom fi Year ofthePig cial orharmfulto certainactivitiesthatLloyd partake in. fl oor: 2bedrooms,3-piecebathroomand anopenloftarea KUN West Group : Earth 坤土 ; individualsbornunderthiselementcanbecharacterized as nurturing and 豬年西命

person(Yingroup)–thiswillreveal thespeci 67 ﬁ c orientationthatwill

on Lloyd’s property inMay 2008. Fig. 7.1 Photos of theheavy growth

PART 3: DESIGN EXPLORATION 7.2 THE SITE

AS if fate and destiny had a hand in it, Lloyd had recently purchased a plot of land just east of Collingwood. A site visit was planned shortly after that initial meeting. The site is surrounded by a scenic landscape which hugs the gently curving County Road 9 in the Dunedin community within the Clearview Township, a municipality of the Simcoe County in the province of Ontario. Upon arrival at the site, the road curve slightly to reveal a clearing ahead on the left, offset by a fortress of trees emerging from a sloped hill on the right; the landforms showcased a natural interplay between the yin of the open void and the yang form of the hill. Across the road from Lloyd’s property, there stands a picturesque little house with the Noisy River ﬂ owing in front and a small footbridge as access. It was at the perfect juncture to pause and slow down to admire the nearby juxtaposition of the clearing and the picturesque little house; Lloyd’s new property is located on a slope across the road. With heavy tree growth on site, it was hard to see beyond the forefront wall of bare trees trunks. It is a large plot of land; 1.3 acres of untamed landscape. Luckily, the initial slope evens out to a relatively workable area on the northeast corner of the site. A ﬂ at area for the house with a slope at the back has the inner workings of good feng shui. PART 3: DESIGN EXPLORATION 3: DESIGN PART

68 Fig. 7.3 View acrossthemainroadfrom the siteinNovember 2007. Fig. 7.2 View acrossthemainroadinMay 2008;phototaken fromdriveway entrance. 69 Fig. 7.5 Site ofproperty withNoisy River across theroadinNovember 2007. Fig. 7.4 opening ontheleft;taken inMay 2008. Photo ofpropertywithdriveway

PART 3: DESIGN EXPLORATION Fig. 7.6 View of winding laneway at entrance. Photo set taken in October 2008. The soft crunching of leaves can be heard as we walk, complimented by the continuous gurgling of the Noisy River across the road. The little house across the road can be made out vaguely through the tree trunks while the clearing southwest of the site brought in a brightness and openness that counter-balanced the deeply private grove of the site. I begin to understand what attracted Lloyd to purchase this plot of land. The landscape embodies many different aspects that pertain to the site locally, yet its topographic features have the makings of a rural site in China. The western corner of the site presented itself as an untouchable section; it was especially heavy with foliage and its steep incline discouraged any type of construction. While it is true that the acuteness of the slope rendered it rather hard to build upon and perhaps considered wasted space, this natural topographic feature fi ts the ideal feng shui model very well. The slope can be manifested into the Black Turtle formation that offers physical and spiritual protection to the overall site. As we continue to climb up the slope, we arrived at a small clearing where pools of November sunlight fi ltered through the branches, washing light upon the leaves-scattered fl oor, its crisp fresh scent being released as it crunched underfoot. It was one of those moments where everything external to the site fell away and the feeling of being entirely enveloped by the raw beauty and benevolence of the site made one forget about everything else. A sense of serenity spread over me, and I know this was a section of the site that held signifi cance. PART 3: DESIGN EXPLORATION 3: DESIGN PART

Later, it was decided that I would revisit the site in the middle of May. The experience of the site was entirely different during the warmer months. Leaves had begun to sprout on the branches and a carpet of grass and tree saplings had managed to push its way up from the once frozen soil. The constant rustling of leaves moved in sync to the fl owing play of daylight, fi ltering through the trees. Despite the scenic picture, it soon became very clear this visit had a very evident difference from the last visit; fl ies were everywhere! Lloyd had given warning beforehand on the hazards of black fl y season. Black fl ies tend to congregate where there is running water because that is where they lay their eggs. Once the thawing of the snow begins, they start to appear approximately mid- May. Usually after the fi rst three consecutive days of temperature ranging from 26-27°C the black fl y colony would meet their demise. This site visit was my fi rst and foremost introduction to these bothersome pests and will be recorded as a criterion to be considered.

Fig. 7.7 Looking down the driving lane.

70 Fig. 7.9 View through treetrunks tothedriveway Fig. 7.8 The locationofthehouse. below from upperbanks. 71 Fig. 7.10 Fig. 7.11 View ofpropertyfromdriveway entrance. View down thelaneway fromthehouse.

PART 3: DESIGN EXPLORATION 7.3 THE DESIGN Fig. 7.12 Noisy River and the open clearing across the site. THE most important step is the initial assessment of the natural environments of the site. The natural characteristics and physical elements have been discussed in the previous section. What is required now is a compass reading of the orientation of the site. On a sloped site such as Lloyd’s property, any house built will have a facing direction towards the downward slope to the road. An accurate compass reading is required to record the facing and sitting orientation with the luopan. A simplifi ed version of the traditional luopan (Fig. 7.18) was used for the purpose of this exercise (note: this simplifi ed version has only the directional rings; it is in every way still just as accurate as its full version). The site faces south-east at 150°, which translates to the direction of SSU under the third section of the south-east quadrant (SE3) on the luopan. This immediately implies that the sitting position of the site, which is directly opposite from the facing orientation, falls under NW3, which is the direction of HAI facing north-west at 330°. The overall elements on the site formed a pleasantly favorable feng shui condition, but because the site itself is mostly a slope, the precise location of the house will be dictated by what is naturally the most feasible to work with. From initial observations, the house should be located on the only relatively fl at part of the site. Basic and general guidelines are that feng shui form overrides formula, as the inherent and PART 3: DESIGN EXPLORATION 3: DESIGN PART existing energies of a space is more powerful than anything done in hindsight. Therefore, once the location of the house has been set from a topographic standpoint, it must be analyzed through feng shui to see if it is a compatible choice. Throughout this design portion, two formulas will be used: Eight Mansion and Flying Star Feng Shui. In terms of which formula to use depends on what needs to be accomplished. Generally Eight Mansion overrides the Flying Star method because the former is concerned with directions whereas the latter is about timing. In addition, they each have their respective strengths and weaknesses. Hence, the Eight Mansion formula will be used as a guideline for the orientation of the house and the space distribution of the design. Meanwhile, the Flying Star method will be used to determine the more intimate layout for each individual room.

According to Lloyd’s birthday, he belongs to the West Group. An Eight Mansion directional wheel Fig. 7.13 The ﬂ at part of the site - where (Fig. 7.19) is subsequently drawn up as the underlying template upon which the overall house will the house will be located. Fig. 7.14 Steep slope of the western part of the site.

72 Fig. 7.15 Fig. 7.16 Terrain ofsiteandsurroundingarea. Aerial planofsite property. SITE 73 Fig. 7.17 Landform feng shuiofsiteonamacroscale.

PART 3: DESIGN EXPLORATION be designed. The house can be built on the north-east section of the site, which coincides with the AA direction, the optimal direction for Lloyd. This direction is surrounded by qi of great vitality and Fig. 7.18 Simplifi ed luopan. it bodes well for success and fortune. This direction will enhance the overall vitality of the spaces and will ensure a good restful sleep. It is a favorable direction for a well-respected person in the community as well as an excellent academic; the reading for this direction is quite fi tting. Since the steepest slope originates from the western corner, the movement of qi will fl ow down from there so the house needs to be designed to capture this mass of energy. In terms of providing an access route or driving lane that leads to the house, there is only one technically feasible solution: a long, gently winding road that curves up the initial slope. It has to satisfy the building code’s minimum of a twelve meter turning radius, enough for a fi re truck and also the maximum slope of 1:12 for automobiles. Since the house is to be located on the north-east corner of the site, the entrance to the drive way will be at the southern edge, marked by an opening in the bank of trees which line the front edge of the property. Lloyd’s birth element is Earth, so anything refl ecting the sign of Earth or Fire (because the Fire element is productive of Earth from the production cycle) will be able to reinforce a favorable amount of energies within the spaces of the house as well as the surrounding environment. The Chinese represented the earth with the square; therefore a rectilinear structure would be considered an Earth house. I was inspired by the simplicity of the PART 3: DESIGN EXPLORATION 3: DESIGN PART square and its sacred meaning; therefore it became the main elemental shape of the house. A rectilinear house would also act as a counter balance towards the natural fl uidity and unhindered movement of the site to rebalance the yin against the yang. Surrounding the building and its vicinity with earthly elements will enhance and encourage the formation of supportive energies.

Now that feng shui principles have established some preliminary design parameters, the design needs to be examined from an architectural standpoint. The site embodies a raw quality to it that contrasts sharply with the clean lines of the house. The house is nestled amongst fallen leaves and veiled by the trunks of the trees, while it backs onto a lush forest that slopes towards the house. A gently curved sloping lane way guides the ﬂ ow of trafﬁ c through. The long driving lane delays the

ﬁ nal reveal of the house, but enhances the anticipation. Technically, the long and winding road is Fig. 7.19 Eight Mansion directional wheel the only possible way to create access from the main road to the house while still adhering to the for the house. building code. This works to beneﬁ t the feng shui of the site because straight lines can result in

74 THE GRADE OF QI

AA – Sheng Qi ਄᳋ D1 – Woh Hai ⑒ኂ This most favorable grade alludes to fresh and highly vital energy This is the best of the unfavorable areas. Woh Hai means and smooth flowing qi. Enhances sleeping positions in this area, accidents and mishaps. This location may cause minor disasters, enhances vitality, intuition and good communication with your small lawsuits, losing some money, minor car accidents, and loss spirit guides. This position brings good luck, success and fortune. of a job or a failed small examination. This area supports an excellent political career, a well-respected position in the community or academic excellence.

A1 – Tien Yi ᄤ㉣ D2 – Wu Kuei ੖㝩 Tien Yi means universal or divine healing or “doctor from Wu Kuei means “five ghosts.” This is the second leave favorable heaven.” This qi is healing and full of love energy. The entrances location. Aligning important workplaces and sleeping quarters in of the house and bedrooms and the sleeping position in this area this location often results in disharmony as well as frequent enhance good health, healing and safety. This location is good for quarrels in the office and with the family. Fire and burglary may those with health problems or low vitality. This area also brings also occur. Those living in a space with weak vitality may suffer prosperity and wealth to the upper middle class. from long depression or illness. Normally, the toilet and storeroom or rooms seldom used are placed in this location.

A2 – Yien Nien ᑧᐕ D3 – Liu Shah ౐ᾐ Yien Nien means extending the time and year of. This area Liu Shah means “six killings” or “sufferings.” This is the third enhances family tolerance and harmony and promotes goodwill. worst location. If entrances or bedrooms are in this location, it Excellent location for the entrance to family room or bedroom to may result in arguments, divorces and disharmony in the home or PART 3: DESIGN EXPLORATION enhance family harmony. Those with relationship problems and office. Legal problems in the family and an unprofitable business harmony problems with children or parents should locate their are common. The business may fail or a member of the family living room entrance or bedroom in this location. This location may be affected by the negative influences. enhances early marriage and the development of wealth and success in life. If the family wants children, it would be helpful to location their bedroom in this area.

A3 – Fu Wei ફ૏ D4 – Chueh Ming 絕 ๮ This location enhances personal abilities and capabilities and Chueh Ming means “total loss of life” or “life threatening” and is develops the power to progress well in one’s job and career. This the least favorable area. It is commonly associated with position is excellent for professional people and managers. This robberies, loss of property, incurable diseases, bankruptcy, loss of location also enhances clear-headedness, peace and good children (especially male) and a continuous stretch of bad luck management of affairs, giving occupants a good, but not and ill-health in the family. Avoid placing the main door, bedroom necessarily wealthy, life. and important working positions in this area to prevent attracting negative energy and bad lucky.

Fig. 7.20 Explanation to the different grades of qi.

75 the accumulation of uncontrollably potent qi. This is why Chinese gardens are full of twisting forms and sinuous paths. Through the heavily wooded slope, images and colours of the house begin to Fig. 7.21 Flow of qi on the original site. reveal itself through the vertical slits created by the tall slender trunks of the assorted arrays of maple, birch, and cherry. In terms of the overall space distribution of the house, Lloyd has already laid down some guidelines. Together with the feng shui placement of speciﬁ c rooms it will solidify the overall design. The following are some space distributions set by feng shui parameters:

Lower Level: This level is the closest to the ground, and therefore has the highest concentration of earth energy. This level will be especially nourishing to people born under the sign of Earth, which is Lloyd’s birth element. His offi ce should be located on this level to absorb the maximum amount of this earthly energy available on site. The logical location for the design offi ce would be away from the garage (which needs to be located at the eastern corner of the house as a technicality of connecting with the lane way) and should have an open view towards the downward slope. Therefore, the offi ce will be located near the southern D3 corner. However, as long as the actual workspace is out of the D3 zone, it will be considered a part of the A3 zone towards the south-west. All of the utility and storage rooms are located in the back of the house and used as buffer zones to refl ect the stale qi that might be accumulating in the garage. PART 3: DESIGN EXPLORATION 3: DESIGN PART

Ground Floor: The main entrance to the house is placed in the best area (AA) for a west group person. The guest bedroom is to be placed at one of the favorable areas of the house to avoid the interference of malicious qi. The living quarters should be designed accordingly so that while being an open concept as Lloyd requested, it should still have its own distinct boundaries to avoid the muddling of qi. Perhaps an outdoor patio space can be planned to bring the yang energies of the outdoor sunshine inside to balance the potential yin shadows of the house.

Second Floor: This is the private level of the house. Sleeping quarters are to be located in the locations most favorable to ensure restful sleep. The bedroom is where one spends a large portion

of the day therefore the quality of qi in this room can greatly affect the wellbeing of a person. An Fig. 7.22 Flow of qi on the site with house. open area for common lounging can revitalize the energy of a level that may be too isolated and private; this can be treated as a secondary space due to its less frequent usage.

76 Fig. 7.24 Fig. 7.23 and pathway ofmovement throughthesite. Sketch ofoverall schematicofhouse house’s immediateenvironment. Flow ofqithesitearound 77 Fig. 7.25 Landform feng shuiofthesiteonamicroscale.

PART 3: DESIGN EXPLORATION Studio Level: This top level is designed as a retreat for Lloyd during times when he needs inspiration and relaxation. This level of the house should have some formal vertical gesture towards the heavens above, and a physical or visual connection to the outdoor addresses its lofty position in the landscape. This space can be minimally furnished to provide a larger opportunity for creativeness in the use of the space. The openness of this space will also be used to harness the ﬂ ow of qi and subsequently it can ﬁ lter down the levels through the connective element of the stairwell.

7.4 DESIGN ALTERATIONS

THE preliminary design parameters are set by following simple feng shui rules set by the Eight Mansion method. The next task will be to integrate these parameters with architectural design. As with any design project, it is inevitable that there be several design phases, but that is a natural part of a design process and it should not be any different with the incorporation of feng shui principles. For this house, there were many phases of design, but three signiﬁ cant stages of change were documented. Each design represents and showcases a different thinking process that displayed the correspondence between feng shui principles and architectural design. PART 3: DESIGN EXPLORATION 3: DESIGN PART

First Design Iteration: This design was originally inspired by the elemental shapes of the circle and square as the representations of heaven and earth. The design began in plan with a square intersecting a circle until an even proportion was reached; each shape was combined with half of the other component. The south-western curved wall acts as a protective arm on the side of the house where the outdoor patio is located. The patio connects to a grand cascading staircase leading down to ground level, opening the house to a view down the slope. However, as space planning was incorporated further, it soon became clear that the square volume was not sufﬁ cient to house all of the necessary components that Lloyd requested, so the square soon stretched out to a rectangle that extended towards the

back of the site. This extended volume housed the guest and master bedrooms; it was intended for Fig. 7.26 Photos of the 1st design iteration. these two rooms to nestle against the slope of the site as a connection to the earth. The house itself was oriented on an angle so that the entrance was directly facing the AA direction of north-east. The

78 massing of the house is an immediate response to the sloped landscape of the site, which inspired the varying levels of rooftops, outdoor terraces, balconies and overhangs. Another design element is the attempt to have all the different levels of the house visually connected to one another, creating an interior vertical dialogue. Openings and cut outs are implemented from the lower level all the way to the second ﬂ oor. In a ﬁ nal vertical visual connection, the highest level of the house is covered by an arched glass roof offering an unobstructed view of the sky above.

Second Design Iteration: The semi-circular gravestone used in many Chinese cemeteries is the modern manifestation of the feng shui ideal. With raised turf on either side of the protected area in front and embraced within solid retaining walls, it is regarded as a model of the desired landforms that would bring optimal energies to a site. The second iteration of design is based upon this curved retaining wall element as it is a feature that would work well with the slope of the site. The two curved arms will envelope the two large outdoor spaces; the patio and the entrance porch area. Making the most out of every inch available, the space under the south-western outdoor patio is now utilized as the library which connects to Lloyd’s offi ce space. It will be a cozy room that can house Lloyd’s book collection with a wood-burning fi replace. It can also serve as a quiet area for brainstorming, with views to the planting just outside the window. In retrospect, the overall plan of the fi rst iteration of design seemed too PART 3: DESIGN EXPLORATION spacious. Many of the spaces were deemed too generous so the overall scale of the house became smaller to preserve the idea of designing to a scale that is more personable and appropriate for the occupants of the house. The layout is generally the same but the exterior volumes have changed. The tallest element which included the studio space now acted as a tower that anchored the rest of the house into the ground. From this tower, the rest of the platforms cascade down in varying levels. Instead of a transparent glazed roof that opens to the sky above, the four sides that enclose the studio level will be completely transparent to the immediate surroundings. With a 360° view of the exterior, the experience will transform the outside to the inside without leaving the studio space. As well, this is the level where access to the upper banks of the slope will be made available. The

Fig. 7.27 Photos of the 2nd design iteration. studio level will be connected to the upper banks by a short footbridge which connects to a ﬂ at area at the top of the property. Here, a foot path will be made visible with stepping stones down the slope and then over a small ridge leading the path up towards a pavilion. The pavilion is a light structure

79 set on the landscape, a stark contrast to the grounded structure of the house. It has a minimal footprint on the earth as its design is a wooden platform elevated off the ground on stilts. Its roof is a simple trellis construction that will support and highlight the growth of plants found on the site. As the season changes, this roof will change accordingly. As climbing foliage grow during the spring and summer months, it will provide a natural green shade for the pavilion. When these plants die during the colder months of the year, the pavilion roof will collect fallen leaves and open up to allow natural sunlight to penetrate through. This pavilion is the ﬁ nal destination of the journey through the site. The overall movement of the site starts at the foot of the hill, with the path leading one up the gently curving lane. As one approaches the house its façade is ﬁ ltered through the trunks of the trees. Once inside the house, it offers many opportunities to view the surrounding environment; through glazing, outdoor patios, balconies or terraces. Traveling upward through the house, the top level reveals a space that blurs the distinction between indoor and outdoor; it is a space that can easily lend itself to be used as an observatory of nature.

Third Design Iteration: During design meetings, it was discussed that perhaps the element of curved walls on either side of the house were too literal to relate to the site. There already exists a natural fl owing movement PART 3: DESIGN EXPLORATION 3: DESIGN PART that begins from the driving lane leading up to the house. Instead of incorporating actual curved elements to the exterior of the house, this fl owing movement is represented in the circulation inside the house. This way, the overall rectilinear design of the house can play contrast to the fl uidity of the site and establishes a dynamic picture of a solid Earth structure in the landscape. The rectilinear design is also refl ected in plan. The house will appear to be three overlapping squares. During a conversation with Lloyd, he explained the idea behind the design for his business card. The design was simple and succinct three squares perfectly aligned like this: □ □ □. The design was inspired by Frank Lloyd Wright’s symbol of a single red square, as well as the use of three squares by Scottish architect, Charles Rennie Mackintosh. In Lloyd’s logo, the space between the squares is symbolic of the golden section. Hence, these three squares, representative of so many things, are applied to

the plan of the house. The addition of a separate entrance for clients to enter into Lloyd’s business Fig. 7.28 Photos of the 2nd design iteration. ofﬁ ce allows for the upper ﬂ oors to remain entirely private. The separation between the clients’ entrance and Lloyd’s work space will be made of a translucent material to allow natural lighting from

80 the offi ce to fi lter through the material and into the corridor. The house was further reduced in scale to create a more intimate interior atmosphere but with extensive open views to the exterior. This will allow a visual connection with the outdoors, drawing nature inside. Most of the space planning has remained the same but the circulation corridor and the stairwell has solidifi ed into a more cohesive and simplifi ed course. The major change to the design is the location of the stairwell; it has been relocated towards the back of the house, forming a link with the shadows of the earth. The hallway which connects to the stairwell will guide movement through the main circulation of the house in a north-south axis, always guiding one towards the large expanse of glazing on the south-eastern façade and back to the solid wall of the north. It becomes a continuous interplay of opposites; light and dark, transparent and opaque; as well as the horizontal movement of the hallway and the verticality of the stairwell. The hallway is planned to be wider than most, as feng shui ruled that a long, narrow and dark hallway must be avoided at all costs. The stairwell, being the main vertical connection in the house, connects from the lower level all the way up to the studio fl oor. By using a translucent material for the staircase it will allow natural sunlight to fi lter from the top level all the way to the bottom. This invites a natural yang element to penetrate through the house down to the yin of the shadows of the lower levels. The transparent quality of the studio level remains unchanged. Within the transparent space of the studio, there is a complete 360° of uninterrupted views to the outdoors. On the roof of the second fl oor is a private roof top garden, accessible only PART 3: DESIGN EXPLORATION from the studio level. This green space creates an unexpected earthly connection with the highest level of the house. Since the house is built on a slope, the energy of the site comes from the highest point and fl ows down to the bottom. Helen Doherty, a feng shui practitioner who I have been corresponding with, advised me that to effectively catch this natural-fl owing energy, the use of materials for the railings that encloses the outdoor areas must be designed accordingly. A more solid material with no openings, such as opaque or frost glass can be used as railings to collect a pool of qi at the front porch and entrance. These two outdoor spaces are on the lowest level of the house, and therefore the in the pathway of the qi and should have the solid railings; other railings are exempted from this change. The narrative of the house has become the continuation of the fl ow of energy

Fig. 7.29 Photos of the 3rd design iteration. from the site. The movement of energy spirals upward through the interior levels until it exits at the top level to continue its natural ﬂ ow outdoors. With a large expanse of glazing on the south-eastern façade, it takes advantage of its orientation to invite natural sunlight into the interior spaces. These

81 PART 3: DESIGN EXPLORATION Fig. 7.30 Illustration of southerncornerofthehouse. 82 Fig. 7.31 Photos ofthe3rd designiteration. Fig. 7.32 Floor plans ofthehouse. 83

PART 3: DESIGN EXPLORATION PART 3: DESIGN EXPLORATION Fig. 7.33 Sketches of qi ﬂ ow insideandaround thehouse. 84 Fig. 7.34 House sections andsketches ofqi 85 ﬂ ow.

PART 3: DESIGN EXPLORATION glazed facades are all installed with operable windows to encourage natural air ﬂ ow inside the house. This not only increases air circulation indoors, it also invites a ﬂ ow of qi to invigorate an interior Fig. 7.35 The 3 Eras and 9 Cycles. atmosphere that may have become stagnant overtime. To prevent from overheating, overhangs and trellises are placed strategically where necessary.

7.5 FLYING STAR GEOMANTIC CHART

NOW that the overall building design has been confi rmed and the space distribution is completed according to the favorable directions derived from the Eight Mansion feng shui, the next step deals with the more local scale of the interior elements. A Flying Star chart needs to be drawn up to decode the condition of the different areas of the house. It is most optimal to have a south-facing house, which will coincide with Lloyd’s personal trigram of KUN 坤, the trigram of the southern direction. Next, a geomantic chart in a 3x3 grid needs to be drawn up to understand the patterns of energy that fl ow within a building. In a completed chart, there will be three different numbers in each of the squares or the Nine Palaces. The bottom number is the Earth Base star, which represents the energy of the cycle in which a house is completed. To lay out the appropriate Flying Star chart, an approximate PART 3: DESIGN EXPLORATION 3: DESIGN PART date of construction is needed. For the purpose of this exercise, it has been hypothetically decided that the house is constructed in the year of 2008, meaning that this house belongs to the eight cycle of the Lower Era, which runs from the year 2004 to 2023. Therefore the Earth Base star of the house is 8, and this number is then placed into the Central Palace – the centre square of the Nine Palace grid. Due to the fact that there are a total of nine squares, the numbers from 1 to 9 will be fi lled out accordingly. To do so, one follows the pathway of the Nine Palaces, as shown in Fig. 7.36. This sequence of numbering can go either forward (yang movement) or backward (yin movement) depending on the nature of the stars. To complete the rest of the geomantic chart, we need to look up how the Facing and Sitting directions correponds to the Mountain and Facing stars of the Flying Star method. The Mountain stars represent energy associated with the mountain direction, or the back of

a house. From the initial reading of the site, the Facing direction is SSU and the Sitting direction is Fig. 7.36 The pathway of the Nine Palaces. HAI. First, the facing direction of HAI is shown in the Cycle 8 diagram in Fig. 7.37. By locating the

86 HAI direction on the inner ring of numbers, it is revealed that it lies in the segment Six-White. Working outward from the HAI position is the Nine-Purple segment in the outer ring; therefore the number 9 is Fig. 7.37 The Cycle 8 diagram. the Mountain Star that will go into the Central Palace in the Mountain Star position on the upper left. To fi nd out whether the Mountain Star has a yin or yang movement, the cycle 8 diagram needs to be reviewed. In line with HAI on the outer ring is TING and beside it is a fi lled circle; this depicts a yin movement. A yin movement means that when fi lling out the Nine Palaces the pathway is fi lled out in a backward sequence; from 9, it is followed by 8 down to 1. The pathway remains the same in both yin and yang movement, only the numbering sequence changes either forward or backward. Since the Mountain Stars have a yin movement, the rest of the palaces are fi lled out. Next is the Facing Stars; since the Facing direction is SSU, it is located on the cycle 8 diagram and it shows that it is Four-Green on the inner ring and Seven-Red on the outer with a fi lled circle beside it. Therefore the Facing Star 7 has a yin movement, hence that is fi lled in the Central Palace and the rest is fi lled out according to the movement of the pathway in a backwards order. Fig. 7.38 shows the end result of the Flying Stars geomantic chart that will be utilized on the house for the remainder of this design process. This chart can now be applied to the house in all varying scales, but for this exercise this chart will be used on the internal organization of all the rooms in the house.

When a building is constructed, the energy on the site is subsequently captured inside the structure. By PART 3: DESIGN EXPLORATION calculating a geomantic chart, it can reveal the pattern of energy that ﬂ ows within a house or a particular space. Now that the chart for Lloyd’s house is complete, the message in the Nine Palaces needs to be translated. First, from the yin movements of the Facing and Mountain stars of the site, a general relationship between the house and its relative position to water can be determined. When both the Facing and Mountain stars have a yin movement, this is called Backward Mountain/Facing Chart, meaning this house will have good fortunes regardless of its position relative to mountains and water. Next, the conditional interactions are examined because they have priority over the unconditional interactions. Conditional interaction refers to the interaction between the Earth Base and the Facing Star in the Facing Palace only in combination with the direction these stars are located in. There are different meanings

Fig. 7.38 The Flying Star geomantic chart between special combinations of numbers. For example, if the Earth Base and the Facing star in the for Lloyd’s house. east have a combination of 1 and 6, then this is an increasing energy which yields successful scholarly

87 pursuits especially in children. However, no conditional interactions are found in the chart for Lloyd’s house, so now the unconditional interactions must be looked at. Unconditional interactions do not Fig. 7.39 The stars of the Nine Palaces and their effects. depend on special circumstances and its affects will occur only when specifi c numerical combinations of the Earth Base and Facing Star appear. Interactions found in the central palace will affect everyone in the household, while other combinations found in other sectors of the home will affect the activities in those rooms and the individuals using them. Unlike the conditional interactions, it is necessary to distinguish which number is associated with the Earth Base and Facing Star. For example, an 8-6 combination supports success in scholarly or artistic endeavors; the fi rst number always refers to the Earth Base and the second number refers to the Facing Star. However, the chart for Lloyd’s house does not contain any unconditional interactions either. In this situation, a third and fi nal process must be done to interpret the chart for an accurate feng shui reading on the spaces inside the house. In the palaces of the geomantic chart where there are no conditional or unconditional interactions, the additive effects of the Earth Base, Facing Star and Mountain star need to be evaluated. This will be done for Lloyd’s chart. The Facing Star embodies the highest level of energy, and the Earth Base imparts a mediocre level of energy, while the Mountain star’s energy level is the lowest. The general rules for evaluating the additive effects of these three stars are listed below:

PART 3: DESIGN EXPLORATION 3: DESIGN PART • A benevolent Earth base can neutralize a malevolent Mountain Star. • A benevolent Facing Star can neutralize a malevolent Mountain Star with residual benefi ts. • A benevolent Facing Star can neutralize a malevolent Earth Base. • Both a benevolent Earth Base and Mountain Star are required to neutralize a malevolent Facing Star. • Star that are neutral do not have infl uence over other stars. • When stars are not used to neutralize the effects of other stars, their benefi ts are additive. • If a star is used to neutralize a malevolent star in the same palace, its energy is tied up and cannot be used for other purposes.

The stars of the Nine Palaces and their effects are shown in Fig. 7.41. The overall Flying Star reading of Lloyd’s house is shown below and on the next page:

Conditional Interactions: none Unconditional Interactions: none

88 Additive Effects: numbers in this order: Earth Base (medium level of energy)/ Facing Star (highest level)/ Mountain Star (lowest level)

1st Row (at the top, from left to right): 7/ 8/ 1: neutral/ benevolent/ benevolent = very high level of positive energy 3/ 3/ 5: neutral/ neutral/ malevolent = low level of negative energy 5/ 1/ 3: malevolent/ benevolent/ neutral = medium level of benevolent energy

2nd Row: 6/ 9/ 2: benevolent/ 9-neutral/ malevolent = neutral (the 9 star is neutral in the presence of neutral or benevolent stars) 8/ 7/ 9: (Central Palace) benevolent/ neutral/ 9-neutral = medium level of good energy “This chart is based 1/ 5/ 7: benevolent/ malevolent/ neutral = there’s a small amount of residual negative energy upon the speciﬁ c facing and sitting directions as 3rd Row: well as the construction 2/ 4/ 6: malevolent/ benevolent/ benevolent = medium level of benevolent energy year of the house, so 4/ 2/ 4: benevolent/ malevolent/ benevolent = neutral every chart will vary.” 9/ 6/ 8: 9-neutral/ benevolent/ benevolent = very high level of positive energy PART 3: DESIGN EXPLORATION

By overlaying this chart on top of each and every room in the house, the rooms can be divided into nine squares similar to the chart and in order to distinguish the areas inside the rooms where the energy is beneﬁ cial for those who occupy the space. Of course, this chart is based upon the speciﬁ c facing and sitting directions as well as the construction year of the house, so every chart will vary. There is a more advanced Flying Star method where it is concerned with another special relationship a building has with a unique star each year, aptly called the annual star. If it suits the owners of the house to do so, furniture or outdoor arrangements can be adjusted to the new chart calculated every year to ensure the best positioning according to the changes of time and its effects on the feng shui of the house.

*All information for the Flying Star charts is taken from Eva Wong’s book, A Mater Course in Feng Shui.

89 7.6 COLOURS Fig. 7.40 A brightly lit foyer with warm, inviting colours attracts positive energy. ELEMENTAL relationships are the main concern when it comes to the colour scheme of speciﬁ c rooms in the house. Depending on the purpose of the room and the people that occupy the space the most, it is best suited to consult the interactions between the Five Elements to ensure a harmonic balance.

Foyer The foyer is one of the most important spaces in a home, both architecturally and according to feng shui. It is the threshold to the initial experience of a home; its shape and colour can affect how it receives guests and incoming energies. It can also inﬂ uence the general route of how the qi may be distributed. Foyers should generally be well lit so that qi can be positively altered to create a pleasant space that revitalizes low energy levels. It would be against feng shui principles to have a dark brown foyer for Lloyd even though it would pertain to the Earth element. Instead, having a lighter shade of blue (Earth controls the blue of Water), warm red tones (the red of Fire is productive of Earth), or white (Earth is productive of Metal) would be aesthetically pleasing as well as satisfying the elemental interactions. Using indoor plants to adorn the welcoming area of the home is not only visually engaging, it is also effective as a regenerator of qi or oxygen. PART 3: DESIGN EXPLORATION 3: DESIGN PART

Living Room As the public space that entertains guests, the living room should have visual stimuli to bring a lively and diverse atmosphere to the room. Lloyd’s living room is directly adjacent to a large expanse of glazing which frames the ever changing scenes of nature. It creates a visual tie with the exterior while bringing a variety of colours and textures into the room itself. Living rooms can be many different colours; however using muted browns and bright yellows can help align the living room with the Earth element and link it metaphorically to being the central position of a house.

Kitchen

In feng shui, the kitchen is considered to be one of the most important spaces in a home, as people Fig. 7.41 Using browns and yellows in the living tend to spend a large amount of time there. It will be beneﬁ cial for Lloyd’s kitchen to be decorated aligns it metaphorically to the Earth element.

90 in colours from the Metal or Earth element because fi re dominates Metal and fi re is productive Fig. 7.42 Earth and Metal elements are towards Earth. This relationship is favorable in the kitchen because of the heat involved in cooking, suitable in the kitchen of this Earth house. and fi re energy can be enhanced with white walls or accents from a metallic palette. Meanwhile, using earth-tone colours is an effective method of bringing an earthly element to spaces most frequently used. It is not advisable to have a red kitchen, as it will enhance too much of the fi re element or, have too much black as that is synonymous with the element of Water. While it is not benefi cial for Lloyd to use too much red or black, using these two colours as accents in small quantities will not affect the overall outcome of the energy of the kitchen. The Wood element is productive of Fire; therefore small amounts of wood furniture are also suitable.

Dining Room Like the kitchen, the dining room is where families gather for socializing around food. However, instead of a Fire element that needs to be controlled, the dining room needs to cater to the stimulation of the palate, and light and bright colours are adept at that function. A blue-green, mint or aqua is the best colour to complement Lloyd’s dining room space because it is closely aligned to the colours of nature and spring. It is the combination of blue and green, which by themselves are great colours for dining rooms, but because these two shades are associated with the Wood element and Wood dominates Lloyd’s Earth element, a more balanced option of the two will be more beneﬁ cial for Lloyd. PART 3: DESIGN EXPLORATION As well, blue or indigo actually have dual meanings. While blue can be associated with Wood or Water, it is also a mourning colour – secondary to white - for the Chinese1.

Library Lloyd’s library is set on the lower level, close to the ground to embrace the quiet shadows and the beneﬁ cial qualities of earthly qi. Its location being closer to the ground allows natural foliage to act as screens which controls the amount of natural sunlight penetrating the room. This is helpful as strong sunlight can progressively destroy colour pigment in prints and therefore should be avoided. While a library should have a quiet atmosphere, it is not a meditative space, so its colour and

Fig. 7.43 The stars of the Nine Palaces and decoration depends on the type of books that Lloyd plans to house. Since Lloyd prefers intellectual their effects. books, a warm brown or beige is an appropriate colour of his library as this colour symbolizes

91 depth, endurance and elegance. However, in a relatively yin room, the space can be balanced with Fig. 7.44 Using colours from all ﬁ ve the usage of the wood-burning ﬁ replace. The room can be painted in rich brown with reddish hues elements to achieve feng shui harmony in the work space. to warm up the interiors of a space where sunlight can’t penetrate.

Offi ce The use of colours in an offi ce is especially infl uential on the effectiveness of work and business. In Lloyd’s case, as a practicing architect, it is important to be well-rounded and open to ideas and inspirations to effectively develop long term relationships with clients. Using blues or greens are desirable as both colours symbolize growth. However, the better option is to surround the architect’s work space with all the colours from the Five elements to achieve feng shui harmony while increasing business and creative output. A neutral green carpet can be laid as a continuation from the grass outside. Meanwhile, a simple white ceiling can refl ect light downwards onto the workspace furnished with black furniture. Golden- yellow coloured walls create a warm and bright visual stimulus to enhance the imagination while red elements can be used in smaller amounts as a focal wall or decorating accents.

Bathroom Due to its relationship with water, bathrooms can be a mixture of black and white, as the white PART 3: DESIGN EXPLORATION 3: DESIGN PART Metal is beneﬁ cial to Water from the elemental production cycle; or it can be a combination of both in a soft dove gray. The neutral overall colours can be accented with towels or other objects in a brighter and intense shade of any colour for visual interest.

Bedroom The colour of the bedroom depends on the person who occupies the space most and what goals they have or what they want to achieve. Since there are two guest bedrooms in Lloyd’s house, the occupant is unknown and therefore a colour that is generally good for most people can be applied, such as light green or blue, being colours of hope and cultivation. Once a more permanent resident moves in, the colour can be changed and updated accordingly. For example, if it is a child

that occupies that particular bedroom, education may be a primary concern and therefore green Fig. 7.45 A bathroom with grey walls is with some black accents will be able to promote inner growth and encourage deep thoughts. representative of the Water element.

92 7.7 MATERIALITY Fig. 7.46 Warm colours and earthy materials are auspicious for the master bedroom. TO determine the appropriate usage of materials, their colour and elemental representation, the Five Element colour cycle and its principles should be utilized. One of the most auspicious cures to improve the overall qi of the house is to use all the colours of the Five Elements in a mutually “destructive” colour sequence2. The destructive sequence refers to the cancelation of harmful energies; it does not mean that it is destructive to the atmosphere or the occupants inside the house. The elemental colour sequence is manifested into actual materials that are applied to the house from top to bottom. This particular dynamic composition of physical materials and their corresponding feng shui elements combined create a complete and continuous cycle of energy. To represent the Water element, a black or grey material can be used on the roof; working downward, certain elements should be red for Fire which will contrast with white or pale coloured exterior walls (for Metal). Low-lying green shrubs near the base of the house will be the Wood element, while the driveway remains connected to the Earth element with stone paving in an earth tone or with the use of gravel.

Another concern is the sustainable aspect of these materials. In selecting the company to purchase “This particular dynamic PART 3: DESIGN EXPLORATION these materials from, the proximity of their plant or quarries to the building site plays a factor into composition of physical the overall consideration of specifi c material choices. For a light façade, there are stone quarries materials and their in the area that specializes in limestone, which is a very common building product in this region. feng shui elements are Limestone can be applied to the façade with a smooth fi nish, while the more natural rough textures combined to create a can be used for low retaining walls for fl ower beds and also large steps in the garden. Owen Sound complete and continuous Ledgerock Ltd. is located about 82 km northwest of the building site. This equates to approximately cycle of energy.” 1.5 hours of transportation time to get materials from the quarry directly to the site. Another company called Ebel Quarries is located about one and a half miles west of Wiarton on Bruce Road 13 on the picturesque Bruce Peninsula of the Niagara Escarpment. This company specializes in dolomite limestone, also known as dolostone, which is a type of rock similar to limestone containing magnesium and is more durable. This quarry is 118 km away from the site, which translates to almost 2 hours of transportation time. Both of these companies will be able to provide a local

93 material that matches the light façade required to satisfy the feng shui balance of the colours and elements of the exterior of the house. The concrete material required for the foundation, overall structure and roof will be provided by Lafarge with their ready-mix plant in Barrie which is located 55km away. Another option is their other plant in Orillia, 74km from the site. The driveway can be simply laid down with gravel for a more raw and earthly approach. The wood pavilion can be constructed with salvaged timber from the clearing of the site.

Fig. 7.47 Author’s parti of the house. PART 3: DESIGN EXPLORATION 3: DESIGN PART

1. Sarah Rossbach. Living Colour – Master Lin Yun’s Guide to Feng Shui and the Art of Colour. USA: Kodansha America, Inc., 1994, page 46. 2. Ibid., page 68.

94 95 Fig. 7.48 Southeast elevation.

PART 3: DESIGN EXPLORATION PART 3: DESIGN EXPLORATION Fig. 7.49 Northeast elevation. 96 97 Fig. 7.50 Northwest elevation.

PART 3: DESIGN EXPLORATION PART 3: DESIGN EXPLORATION Fig. 7.51 Southwest elevation. 98 Fig. 7.52 Looking upatthepavilion roof. 99 Fig. 7.53 The pavilion.

PART 3: DESIGN EXPLORATION

Living in retirement beyond the World, silently enjoying isolation. I pull the rope of my door tighter, and bind ﬁ rmly this cracked jar. My spirit is tuned to the Spring-season; at the fall of the year there is autumn in my heart. CONCLUSION Thus imitating cosmic changes, my cottage becomes a Universe.

- Lu Yun

101 CONCLUSION

8.0 CONCLUSION to alargerpond” the envelope byaddingfengshuitonewcurricula. apply thisapproachinthe west?Perhaps now istheoptimaltimeforschoolsofarchitecture topush any situation.Iffengshuicanbeincorporated intothecurriculaofuniversities in China,why not THE 8.0 It isimportant tonotethatthestudy offengshuishouldnot be taken lightly. Any modi feng shuiin the westcreatesacollaboration thatisbene due todifferencesinthe understandingoffengshuifundamentals.Inthis case,theadoptionof Through therebirthoffeng shuipractices inwesterncountries,newinsightsmay bediscovered to theproblemsoflife; while theextensive useoffeng shuiinChinahascorruptedthepractice. feng shuiinthewesthas introduceditsphilosophiestothoseoutsideAsia, offeringanewapproach both physically andmentally, ifoneweretoremain inthesameenvironment. Theappearance of design. Harnessingpositive energy isakey principleinfengshuiandthereforewillbebene respecting theenvironment, fengshui offersimmensevalue towesterncultureandarchitectural between rational designandtheworldasanenergeticplace.Withadistinctway ofobservingand integration of feng shuiwitharchitectureresultsinaframework thatholds adelicatebalance option isgoingstraight tothesourceofcreative designandintotheeducation ofarchitects.The perspective. However, howcanfengshuicollaborate with westernarchitectural practice? One who hasbeentrained inthefundamentalsoffengshuiareabletovisualize space withanalternate in thewest,thistasknaturally fallsuponarchitects,plannersandlandscapearchitects.Anarchitect manipulate theenergeticessenceofbuiltworld. Astheprofessionoffengshuiisnotprevalent affects thewellbeingofapersonbutoutcome ofevents. Intheeast,fengshuiprofessionals eastern approachenvisions areality whereevery spacecontainsadistinctive energy thatnotonly been exposedtotheeasternappreciationof world asaplacealive withunseenenergies.The what role,ifany, itshould have inwesternarchitectural practices. Western culturehasnever the energyof asitemay have substantialimpacton thosewithinthesurrounding vicinity. Inorder CONCLUSION: THE NATURE OFFENGSHUI mainpurposeofthisthesisistoexploretheeastern philosophy offengshuiandtounderstand - 魚不過塘不會大的 102 ; thisisaChineseproverb portraying thatonecannotgrow, “Fish cannotgrowbigger ifitisnottransferred fi cial to boththeeastandwest. fi cation to cation fi cialin

Case studies andexcursions tolocationsthat embodyfengshuielements willallowstudents to 3. FengShui Education: possibility of integrating fengshuitoHVAC designs. of qi.Asbothformsenergy ultimatelyaffectthedegreeofcomfort aspace,theremay bea systems, onemay potentiallydiscover amorescienti fl design ofHVAC systemsisaprimeexample.Conventionally, HVAC systemsareusedto guidethe mandatory todetermine whichaspectsoffengshuicouldbeincorporated withitspractice. The include greenstrategies. Withsustainable designquicklybranching out toawideraudience,itis and sustainabledesign, there may beapossibilityfortheexpansion offengshuipractices to 2. ExpansionoftheFeng ShuiPractice: world, theunderlyingforcesofinvisible energiesintheuniverse remainanunchangeablefact. will needtobeexpandedadaptthecurrenturban setting.Despitetheseobviouschangesinthe fi ago whenthepractice offengshui environment, thenatureofqiisaffected bymany factorsthatwerenon-existentthousandsofyears 1. ModernIn of several aspectsofthepractice: into westernarchitectural professionwillrequirerede massing andlayout ofstructures.However, theprocess ofintegrating traditional fengshuiprinciples sites inthelandscape, Feng shuiandarchitecturesharemany similarconsiderations suchasdeterminingidealbuilding and howbothapproachescanworkcollectively toachieve apractical andenergetic synthesis. general overview ofhowbasicfengshuiprinciplescanin and experienceaswellanapprenticeshipunderafengshuimaster. Thisthesispresentsa to have asolidgrasp of allthefundamentaltheoriesoffengshui,onerequiresyears ofeducation elds willaffectthe owofconditionedairthrough thespacesofabuilding.Bystudyingtechnical aspectsofHVAC fl uences ofQi: fl ow ofqithuschangingitsinherentnature.Therefore,certainways ofapplication fi nding optimalorientationwithinthesesitesandcoordinatingtheprogram, Educationof thebasicprinciplesoffeng shuishouldbemade apriority. Due tochangesintimeandcontextofthecontemporary living fi rst cameintobeing.For example, today’s powerlinesormagnetic Duetosimilaritiesbetween fengshuiprinciples fi fi c method ofcapturingandguidingthe nition oftheunderstanding andapplication fl uencetheprocessofarchitectural design 103 fl ow

- CarlFingerhuth world.” an understandingofthe the bondsoftoorational but ratherreleasedfrom be deliveredfromevil, “We nolongerneedto

CONCLUSION CONCLUSION The complexandunscienti 4. BeliefinFengShui: and shouldbetaughttocomplimentthebasicprinciples. methods andcalculationoffengshuiformulas. This delves intothetechnicalaspectoffengshui adaptation to theancientprinciples, amounting toanewmethodology thatoffersarchitects atool The modern translation offeng shuiintoarchitecture willvary depending ontheindividuals’personal philosophical underpinningthatsupport andextendsthecreative senses ofanarchitect. lives. Feng shuiprinciplesshouldnotberegarded asrestrictions;rather, theyprovide anenlightened to enhanceone’s personal sensesandawareness ofimmeasurable energiesthatcomposepeople’s should becenteredonanother way ofperceivingandrespecting theenvironment. Thiswillserve 6. EnhancingtheSenses: aspects oftheirlife,then thatisthebestpossiblemeasuredoutcomeoffeng shui. is fengshuithennoteffective? Practically speaking,iftheindividualexperienceschange in certain the treestillexists.Likewise, ifthereisnoway ofmeasuringtheoutcome oreffectsoffengshui, sound ordoesthistreeexist?” knowledge ofreality, 5. OutcomeofFengShui: to happen.Itmeansbeingwillinglearnfromwhat youencounter.” vulnerable. Tobeopenmeanslettinggoofself-judgment andcriticismjustallowingsomething Levitt wroteinhisbook important aspectsaboutthisthesisisrecognizing thevalue ofbeingopentonewideas.AsAndrew the outcomeoffengshui;instead,itonlymakes theoutcomemoremeaningful.Oneofmost even tocontemporary Asianarchitects.Beliefinitsprinciplesorpractice does notcontributeto a siteandbuilding.Subsequentportionsofthe coursemay focusondetailsofspeci the way studentsobserve asitewillinherentlyaffecttheway theyperceive therelationshipbetween understand thebroadersenseofpractice. Recognizing howthesebasicprinciplescanin “Ifatreefallsintheforestandnooneispresent tohearit,doesitmakea The InnerStudio,“…inorderforyoutobereceptive, youhavetoriskbeing For westernerstobelieve infengshuimay prove tobeadif fi c nature offengshuihasbeenasubjectconfusionanduncertainty Theexploration offengshuiprinciplesincontemporary architecture Thereisaphilosophicalquestionregardingthe observation and Even ifnooneisinthetree’s vicinitytowitnessthefallandhearit, 104 fi cult task. cult fi c rules, c fl uence

judgement andcriticism to learnfromwhat you It meansbeingwilling something tohappen. “ and justallowing letting goofself- To beopenmeans encounter. ” good buildingpractice. considered anaspectof “ Due totheunderlying principles, itcanbe goals offengshui ” are alignedtoharnesspositive energy. Thisenergywillthenbematchedspeci shui provide guidelinesfor designerstoensurethatthespatialqualitiesandformalorganization quality ofaspacecanbeappliedtoenhancepeoples’ lives. Inmany ways, the principlesoffeng replicate thestructureofthisancientpractice, buttoexplorehowtheknowledge oftheenergetic to optimize designsituations.Thepurposeoffengshui’s integration intoarchitectureisnotto of themostimportant architecturein theeast.Asbirthplace offengshuibecomes increasingly Feng shuihasbeenafundamental pillaruponwhich theChineseculture was built,inspiring some together toform aharmoniousplatform forcoexistence. unpredictability ofnature intomutualrespect.Onlythenmay allelements canonceagainwork eliminated makingitessential totransform thedifferences betweentherationality ofcitiesandthe and Heaven. Thereareinvisible boundariesbetweenpeople’s lives andnaturethatshouldbe teach theimportanceof balanceandhelpformacohesive relationshipbetweenHumans,Earth and nurturingattitudetowards theunseenenergiesofnatural environment. Itsphilosophies the practice offengshui,theancientChinesedeveloped asymbolicunderstandingofrespectful with thefactthathuman beingsareavery smallyet crucialpartofavast natural order. Through journey. The pathoffengshuilearningisahumblingexperience, realizingandcomingtoterms the architectural designpotential in theprocess.Despitedif steps causingthedesignertoloseoutonsymbolic worldofinvisible energiesandimpairing the methodologyoffengshui.Indoingso, thepractice offeng shuionlybecomesasequenceof between fengshuiandarchitectural intuitionbecauseitiseasytoloseoneselfinthedogmaof Without either, onecanbeleftfeelingoverwhelmed. At times,itwas dif and amentorwhocanoffertheirexpertise guidance throughtherigorouslearningprocess. shui principlesaresimplytoobroadforanovice toapprehend.Itiscrucialhave ampletime condensing thevast scopeoffengshuiinto manageablecomponentsfordesign.Intruth,feng During theresearchanddesignexercises, themostapparent obstaclewas thedif an aspectofgoodbuildingpractice. and theirparticularneeds.Duetotheunderlying goalsoffengshuiprinciples,itcanbeconsidered 105 fi culties,ithasproven tobeavaluable fi cult tomaintainabalance fi cally tooccupants fi cly in culty

CONCLUSION CONCLUSION in foothold inmodernsociety. Feng shuiistheeasterninterpretationofMarguerite Yourcenar’s quote westernized, theroleofitspractice isquestioned,thusrequiringnewinsightsinordertoregaina place incontemporary architecture,particularlyforthosewho a populartrend,itscurrentacceptanceindicates apossibilityforthispractice tohave alegitimate feng shuiisconsideredanimpractical superstition,anancientearth-centeredpractice ormerely may onceagainexperience natureandtheirsurroundingsmoreintimately. Regardless ofwhether environment, occupantswillbeable toreapitsbene occupants andtheimmediateenvironment. Byrespectingandmanipulatingtheenergiesof recover theessenceofaplaceandtocreatemoreresponsive relationshipbetweena building, its The MemoirsofHadrian,“Tobuildistocollaborate withtheearth.” ﬁ ts. Withthecreationofsuchspaces,people ﬁ nd value in itstimelessprinciples. 106 Theaimoffengshuiisto the site. Fig. 8.1 Juxtaposition ofmanandnatureon Fig. 8.3 photograph taken inauthor’s backyard. Fig. 8.2 The

view outsideauthor’s bedroom Brilliant redmapleleaves; window. the poemwas found: is reminiscentofthepoemthatintroducedthisthesis. Unexpectedly, analternative translation of wind sweepsover thetreesandclustersofleaves showertotheground.Thispicturesque scene OUTSIDE 8.1 purpose has beenserved. If thisthesis hassparked theinterestof at leastonestudent,professor orarchitect,then its grasp thefundamentalmeaningoffeng shui. language isusedinitsexplanation, whereitisappliedorhowintegrated; thekey isforone to world, remindingpeople that thisunchangeabletruthmustberespected. Itdoesnotmatterwhat the underlyingsimplicity oflife.Feng shui preachestheimportanceofnatural cycles ofthis and theenvironment. Caughtintheturmoilofmodernpreoccupations, peopleareeasilyblindto the poem,buildingscan betaken over byfengshuiandrebuiltwithagreaterconnection toqi can have aconsiderable impactonwesternarchitecture.Muchthe sameastheprairie grass in ultimately pointstothe same irrepressiblenatureofrevolution. Ifchanneledproperly, fengshui a completecycle. Althoughthese wordsdifferfromthepoematbeginningofthisthesis,it the AncientPlain:ASongofParting It isonlyattheendofthisjourneythatname ofthispoemwas discovered – EPILOGUE thewindow, goldenleaves are swaying inthecrispautumnbreeze. Alargegustof Its sun Its freshfragranceoverrunstheancientroads; Deep greenarethesepartingthoughtsofyou. That’s scorchedby 107 When onceagainwemeettosayadieu, Surging backwhenspringwindsblow. Green greenthegrassuponplain, fi That eachyeardiesto lled greennessmeets theruinedcity’swalls. . Intheend,beginningisfound;henceit theendof fl ames yetunsubdued, fl ourish anew, ourish The Grassupon

CONCLUSION

You ask for what reason I stay on the green mountain, I smile, but do not answer, my heart is at leisure. Peach blossom is carried far off by ﬂ owing water, BIBLIOGRAPHY For I have heaven and earth apart from the human world.

- Li Bai

109 APPENDICES BIBLIOGRAPHY Eitel, ErnestJohn.(1979). Chatwin, Bruce.(1990). Carroll, JohnE.(JohnEdward). (2004). Hoff, Benjamin. (1982). Gallagher, Winifred.(1993). Frumkin, Howard. (2003).Healthy Places:Exploring theEvidence. Freeman, Michael.(2005). Fingerhuth, Carl.(2004). Feuchtwang, StephanD. (1974). Emoto, Masaru.(2005). Bramble, Cate. (2003). Aristotle andBambrough,Renford (Contributor).(1963). BIBLIOGRAPHY (Non-Classic). of NewYork Press. Architectural Press. Laos: Vithagna. England: Pentacle Books. Emotions, and Actions Health Publishers forArchitecture. Schuster. J.L. andWarden, A.E.NewYork, USA: Mentor. 93,(9)(September1): 1451-6. Architect’s GuidetoFengShui:ExplodingtheMyth The ChineseGeomancer The TaoofPooh The HiddenMessagesinWater Feng-Shui orTheRudimentsofNaturalSciencein China . NewYork: Poseidon Press. Meditative Spaces Learning fromChina;the TaooftheCIty 110 The Powerof Place:HowOurSurroundings ShapeOurThoughts, An AnthropologicalAnalysisofChineseGeomancy Sustainability andspirituality . NewYork: E.P. Dutton. . NewYork: Universe Publ. in What AmIDoingHere? . Trans. David A.Thayne. USA: Simon& The PhilosophyofAristotle . Albany, N.Y.: StateUniversity American JournalofPublic . Germany: Birkhauser- P. 49-57.USA: Penguin . Amsterdam,Boston: . 3rded.Bristol, . Trans. Creed, . Vientiane, Howard, Edwin Laclede. (1931). Chinese Garden Architecture: A Matsuda, Naonori. (1986). Foster Tower: Hong Kong Bank a Collection of Photographs of Minor Chinese Buildings. New Re-evaluation of Tall Buildings - Technical Review. (#70 York: Macmillan. (Second Edition)): 23-149.

Jahoda, Gustav. (1969). The Psychology of Superstition. Great Morgan, Harry T. (1972). Chinese Symbols and Superstitions. Britain: Allen Lane The Penguin Press. Detroit, USA: Gale Research Company.

Kennedy, David Daniel. (2001). Feng Shui for Dummies. For Norberg-Schultz, Christian. (1980). Genius Loci: Towards a

dummies. United States of America: IDG Books Worldwide, Phenomenology of Architecture. New York, USA: Rizzoli Intl. APPENDICES Inc. Pubns.

Keswick, Maggie, and Charles Jencks. (1978). Chinese garden : Pennick, Nigel. (1979). The Ancient Science of Geomancy. History, Art & Architecture. London: Academy Editions. London, England: Thames and Hudson Ltd.

Keswick, Maggie, Judy Oberlander, and Joe Wai. (1990). In a Ronan, Colin A. (1980). The Shorter Science & Civilization in Chinese Garden : The Art & Architecture of the Dr. Sun Yat- China: 1. Abridged Edition of Joseph Needham’s original Sen Classical Chinese Garden. Vancouver: Dr. Sun Yat-Sen text ed. Vol. 1. USA: Cambridge University Press. Garden Society of Vancouver. Rossbach, Sarah. (2000). Feng Shui the Chinese Art of Placement. Lam, Kam Cheun. (1996). Feng Shui Handbook: How to Create United States of America: Penguin Books. a Healthier Living and Working Environment. New York: Henry Holt and Company, Inc. Rossbach, Sarah, and Yun, Lin. (1998). Feng Shui Design : From history and landscape to modern gardens & interiors. 1st Laugier, Marc-Antoine. (1977). An Essay on Architecture. Trans. American ed ed. New York: Viking. Anni Herrmann. USA: Hennessey & Ingalls, Inc. Rossbach, Sarah, and Yun, Lin. (1994). Living Color. New York, Levitt, Andrew. (2007). The Inner Studio: A designer’s guide to USA: Kodansha America, Inc. the resources of the psyche. Canada: Riverside Architectural Press. Rybczynski, Witold. (1989). The Most Beautiful House in the World. Viking Canada. Lind, Carla. (1996). Frank Lloyd Wright’s Fallingwater. California, USA: Pomegranate Artbooks. Sang, Larry. (1995). The Principles of Feng Shui. USA: American Feng Shui Institute. Lip, Evelyn. (1997). What is Feng Shui?. London; Lanham, MD: Academy Editions; Distributed by National Book Network, Skinner, Stephen. (2003). Flying Star Feng Shui. First Edition ed. Inc. United States of America: Tuttle Publishing.

111 APPENDICES Toker, Franklin. (2005). Smith, VincentM.andStewart, Barbara Lyons. (2006). Skinner, Stephen.(2001). Too, Lillian.(1999). Too, Lillian.(2002). Walters, Derek.(1991). Waggoner, Lynda S. (1996). Tzu, LaoandTice,Paul. (2003). Watson, Peter. (2005). Wang, JoshephCho. (1998). Illinois: AECEducation. Shui APracticalGuideforArchitectsandDesigners Publishing, Inc. Helen. 1stAmericaned.NewYork, NewYork: DK simple series., eds.AlisonBolus,North,Patsy andRidge, Limited. Practitioner House, Inc. New York, USA: AlfredA.Knope,adivision ofRandom E.J. Kaufmann,andAmerica’sMostExtraordinary House Britain: Weidenfeld &Nicholson. Romance withNature MearsBook Tree. Great Britain:ElementBooksLimited. Oxford University Press. Asia., eds.NigelCameron, Sylvia Fraser-Lu. NewYork: Guide toChineseGeomancy . GreatBritain:HarperCollinsPublishers The IllustratedEncyclopediaofFengShui Flying StarFengShuifortheMaster IDEAS: AHistory from Fallingwter Rising:FrankLloydWright, The FengShuiHandbook: APractical . Singapore:Universe Publishing. K.I.S.S GuidetoFengShui Fallingwater, FrankLloyd Wright’s The ChineseGarden . London:TheAquarianPress. Tao TeChing ﬁ re toFreud . Trans. Isabella . Imagesof . Chicago, . Keep it . Great Feng . . 112 Yap, Joey. (2006). Wong, Eva. (1996). Wong, Eva. (2001). Williams, Stephanie.(1989). White, Antony. (2002). Wilhelm, Richard,andCaryF. Baynes. (1970). Wilhelm, Richard(Foreword andAppendixbyCarlJung).(1962). Yap, Joey. (2005). Watts, Alan,andAlChung-liangHuang.(1975). House. York: Shambhala;DistributedintheUSA byRandom Harmonious LivingforModern Times Massachusetts: Shambhala Publications,Inc. Johnathan CapeLtd. of NormanFoster’sMasterpiece University Press(1970,1967). the 3Ded.byhe.(3DEdPrinceton,N.J.) Princeton Harcourt, Brace &World. Cary F. Baynes. New, rev. andaugm.eded.NewYork: Secret oftheGoldenFlower:AChineseBookLife Guide JY BooksSdn.Bhd. english bycaryF. baynes of Changes; Watercourse Way Kuala Lumpur:JYBooks Sdn.Bhd. . London,England:ScalaPublishersLtd. the richardwilhelmtranslation rendered into BAZI theDestinyCode Stories and Lessons onFengShui A MasterCourseinFengShui . 1steded.NewYork: Pantheon Books. The ForbiddenCity:AShortHistoryand Feng-Shui: TheAncient Wisdomof ; Hong KongBank:TheBuilding foreword byC.G.jung;pref. to . London,GreatBritain: . 1sted.Kuala Lumpur: . 1sted.Boston;New I Ching;orBook . 1sted.Boston, . 2nded. Tao: the . Trans. FENG SHUI RESOURCES

LOCAL FENG SHUI PRACTITIONERS:

Malca Naroll, Malca Narrol Consulting, Toronto, Ontario www.malcanarrol.com APPENDICES

Marcia Small, Feng Shui Canada Inc., Oakville, Ontario www.fengshuicanada.net

Joseph Yu, Feng Shui Research Center, Richmond Hill, Ontario www.josephyu.com www.astro-fengshui.com

FENG SHUI Helen Williams, Place Right, Toronto, Ontario RESOURCES www.placeright.com

For other practitioners certiﬁ ed under The Feng Shui Association of Canada, consult this listing: www.fengshuiassociationofcanada.ca/cert_members.html

FENG SHUI ORGANIZATIONS:

The Feng Shui Association of Canada www.fengshuiassociationofcanada.ca

Qi-Mag® International Feng Shui & Geobiology Institute www.feng-shui.com

113 APPENDICES www.feng-shui-architects.com Howard Choy andAssociates www. The FiveArchitects www.fsmworld.com Feng ShuiMarketing www.fengshuiagency.com The FengShuiAgency www.fengshuiarch.com Europe Feng ShuiforArchitecture www.emylouie.com Emy LouieArchitect www.dennisdesigngroup.com Dennis DesignGroup www.alexstark.com England Alex StarkArchitect www.bya-architects.com.au/Site/Home.html BYA Architects D ESIGN ﬁ vearchitects.com F IRMS /C , Tasmania, Australia OMPANIES , Italy, Germany +Australia , NorthCarolina,UnitedStates , NewYork, UnitedStates , NewYork, UnitedStates+Coventry, , LA,NewYork +Miami,UnitedStates , London,England

WITH , California,UnitedStates+ , Sydney, Australia F ENG S HUI S ERVICES : 114 even anonlinestore foranything relatedtofengshui. provides information, links,recommendations, software and Feng ShuiforModernLiving isacomprehensive website that www.fengshui-magazine.com include freeaccesstotheir onlinefengshuicalculators. and videosthatteachtraditional fengshui. Otherhelpfulfeatures Chinese Metaphysics, offersmany differentcourses, literature Joey Yap’s feng shuiorganization,TheMasteryAcademy of www.masteryacademy.com feng shuipractitioners fromaroundthe world. An amalgamationofavariety ofarticlesonfengshuibyrenowned www.fengshuiarticles.com written byfengshuipractitioners aroundtheworld. Feng ShuiTimeshave alarge collectionofcomprehensive articles www.fengshuitimes.com shui. access tohiswiderange ofarticlesandinformationonfeng Joey Yap, author, speaker, andfengshuiconsultantoffersfree www.joeyyap.com F www.teresahwang.com Canada Teresa HwangFengShuiandDesign ENG S HUI O NLINE R ESOURCES : , BritishColumbia, www.shambhala.com/fengshui/

Shambhala Publications is a company that “specialized in books that present creative and conscious ways of transforming the individual, the society, and the planet.” Their website provides a wide range of information on feng shui and other metaphysical subjects. www.art-of-fengshui.com/index.htm APPENDICES Art of Feng Shui’s website provides in depth articles and information on feng shui as well as free online tools and monthly almanacs.

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