Title Page 1 Title: Fengshui as a narrative of localisation: Case studies of contemporary architecture in Hong Kong and Shanghai Author: Kirsten Day Degree: Doctor of Philosophy Year of submission: 2015 Title Page 2 Abstract 3 Abstract The practice of fengshui has evolved over millennia. This classical tradition has been transformed from a method of auspicious siting for houses and graves, to a broader approach gathering disparate elements including technology, folk religion, and cultural diversification. Significant to its transformation is an increasingly global audience. In this context fengshui is often decontextualised and used as a cultural symbol to imbue Chineseness, or a Chinese identity to a project in the constructed environment. Fengshui as a sign or narrative without context has both political and commercial implications. Through analysis of the processes of globalisation and brandscape theory this thesis examines why cultural identification is frequently used as an important narrative in contemporary Chinese architecture, and further, how fengshui is used as a symbol in this context. This use of fengshui and its narratives as a method of cultural identification is not without complication. Various paradoxes characterise the contemporary adoption of fengshui: although sometimes the practice is largely symbolic, there is an assumption that because Chinese in origin, it represents all Chinese people. However the current practice of fengshui is illegal in the People’s Republic of China (PRC). On the one hand fengshui represents traditional beliefs and values, but on the other these representations are anti-modern and feudal, sourced from outdated belief systems and underpinned by conventional values. Through the use of case studies fengshui is examined as a mode of conveying narrative and cultural identification. In diverse contexts, landmark buildings in Hong Kong and Shanghai, provide a reading of fengshui in this contemporary adoption. This examination demonstrates differing levels of intention by those who drive a commercial agenda, and others who’s intentions are more political, cultural and even traditional. The subjective nature of these outcomes contributes to the complexity of interpreting the contemporary use of fengshui and the misappropriation of symbolic devices. Abstract 4 Acknowledgements 5 Acknowledgements Many people have been instrumental in the completion of this thesis. Many may not be aware of the final outcome but have been significant participants in the path that has led to this point. First, I would like to thank my principal supervisor Dr Daniel Huppatz. I did not know there was so much red ink in the world, let alone in the possession of one individual. Dan’s enthusiasm and support for this project, especially in the push toward the finish line, has been greatly appreciated. I would also like to thank him for offering opportunities along the way including the development of the theory sections of this thesis that have been delivered as coursework in the Department of Interior Architecture and Industrial Design. Being able to approach ideas from other perspectives and to reinterpret these to be suitable for communication to students as a lecture and tutorial series was extremely valuable to the resolution of these chapters. Guest lectures also enabled discussion, shifting of context, and consideration to these areas. Again, thank you. I would also like to thank my secondary supervisor Dr Nannette Carter who provided another perspective to my work, particularly when I reached a point in the research when it was “difficult to see the forest for the trees.” Nanette always had an elegant “turn of phrase” to recommend when my own words didn’t look good on paper. My thanks to my first supervisor for my Masters by Research, Professor Allan Whitfield, who guided me in the pursuit of academic research of fengshui. I would also like to thank Raymond Hsu who I worked for as a student architect while in Hong Kong. His passion for fengshui started all of this. Thanks to my design colleagues at the Swinburne School of Design. The camaraderie of PhD students both past and present has been an enormous support and greatly valued. Thanks to my family: Pat Greenwood for instilling a work ethic that got me through the 5am starts, and to Bruce Hulley for instilling a sense of optimism and belief that even the most “impossible things” can be achieved. Norman, thank you for your support, and for everything including the ability to say, “enough.” Finally, my thanks to my son Leo, who has been exceptionally patient over the past few years while I have been working on this thesis. Dr Toni Roberts edited the thesis for language, clarity, and style, and offered some suggestions about structure and content. Acknowledgements 6 Declaration 7 Declaration The examinable outcome contains no material which has been accepted for the award to the candidate of any other degree or diploma, except where due reference is made in the text of the examinable outcome; to the best of the candidate’s knowledge contains no material previously published or written by another person except where due reference is made in the text of the examinable outcome; and where the work is based on joint research or publications, discloses the relative contributions of the respective workers or authors. Thursday, 19 March 2015 Kirsten Day Declaration 8 Table of Contents 9 Table of contents !"#$%!&$'((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((')! !&*+,-./01/2/+$#'((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((('3! 0/&.!%!$4,+'(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((('5! $!"./',6'&,+$/+$#'(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((('7! $!"./#'((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((('83! $!"./',6'42!1/#'(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((('89! 4+$%,0:&$4,+'((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((';<! !"#$%&'()***************************************************************************************************************************************************)+,! "#$%&'&!$(&%)$)*!+%(!,&%-'#.$/!///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!01! -&")."%"/01&)2'"%3(4#)***********************************************************************************************************************)+5! 6(3"0/3'0")4#)7"#$%&'()************************************************************************************************************************)+8! -&")9/:)****************************************************************************************************************************************************),;! <4#30(='3(4#)34)">(%3(#$)?#4@A"B$")C)0"%"/01&)D'"%3(4#)*****************************************************),E! <4:F0($&3*)************************************************************************************************************************************************),+! G"3&4B)******************************************************************************************************************************************************),,! "#+2)&3!4)3.5).3&/!///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!66! 7+3)!8%&9!:.);$%&/!/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!6<! 7+3)!)=89!>&'&+35#!;&%'&'/!///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!6<! 7+3)!6!"+'&!').($&'/!/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!6?! &=!>$/%'8'2/$=,0,.,1?'!+0'2/$=,0#'((((((((((((((((((((((((((((((((((((((((((((((((((('@;! ."%"/01&)D'"%3(4#)********************************************************************************************************************************)H,! @+)+!58;;&5)$8%/!//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!<<! G"3&4B4A4$F)*******************************************************************************************************************************************)HI! G"3&4B%)****************************************************************************************************************************************************)H8! >&'&+35#!;&%'&'/!////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!1A! Table of Contents 10 B;8C+;$'+)$8%/!/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!16! D3+%('5+2&/!////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////!1<! </%")%3'B("%)*********************************************************************************************************************************************)JJ! "+'&!').(*!A!E8%-!F8%-9!G#&!)+;&!8,!)#3&&!C.$;($%-'/!//////////////////////////////////////////////////////////////////////////!11!